Professional Photographer October 2009

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P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected]

Keep the change

senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

manager, publications and sales/strategic alliances

HARNESSING LIFE’S UPHEAVAL

LESLIE HUNT [email protected]

Maybe it’s the fact that my family and I are moving to a new home in a few weeks that’s made me so aware that change is the underlying theme of this month’s issue. We’ve all heard that getting married, having babies, switching jobs, moving, divorcing, and the illness or death of a loved one are stressful episodes in anyone’s life. But how do such tumultuous events affect one’s business? Could it be these moments when life up and rearranges itself—as we claw, scrape and cry against it—when we find the courage to leap in an entirely new direction? For Chenin Boutwell, that moment came when another joint venture became so successful that her husband/studio partner had to step away from their wedding business to oversee it. On p. 90, you’ll read how Boutwell—while pregnant, mind you—reinvented the photography business she and her husband had built together. And for Ross Oscar Knight, a leap of faith took him from engineering to photography, though it took five years of preparation. “I took a long look at my life and career, and defined where I wanted to be,” he says in his profile on p. 76. He’s arrived. A few short years ago, Eric Sartoris and Laura Elskan were independent studio owners in Seattle. Then they met, fell in love, and decided to open a studio together. Oh, and to relocate the whole thing to Austin, Texas, and then to announce their engagement. Turn to p. 86 to read how they hit the ground running in a new city where no one knew how good they were. They didn’t stay anonymous for long. Based in Seattle (and Paris), commercial powerhouse Chase Jarvis finds inspiration in new places and changing environs—he travels 150,000 miles a year on assignment alone and flourishes. Lately, he’s turned his attention to fulfilling his personal passion in universal communication through photography. Turn to p. 96 to read about his latest imaging ventures in fostering creativity and Web-based image-sharing. � Cameron Bishopp Director of Publications [email protected]

editor-at-large

CORRECTION Our red-faced apologies to Ms. Chris Kogut, creator of “A Leap of Faith,” which we featured in the Folio section of the September PP. She captured the image, then she cropped and retouched it. Do visit Chris’s website to see more of her gorgeous photography: www.chriskogut.com.

4 • www.ppmag.com

KARISA GILMER [email protected] sales/strategic alliances assistant

JEFF KENT [email protected]

CHERYL PEARSON [email protected]

technical editors

circulation

ANDREW RODNEY, ELLIS VENER, DON CHICK

MOLLIE O’SHEA [email protected]

director of sales and strategic alliances

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

northeast region ad manager

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

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

southeast region ad manager

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

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

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

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

Features 96

WHAT MOVES YOU Chase Jarvis expands the boundaries of communication with imagery By Jeff Kent

102

MOVING PORTRAITS Timothy Greenfield-Sanders continues to forge ahead By Lorna Gentry

76

WEDDINGS: ROAD TO HAPPINESS

How Ross Oscar Knight evolved from engineer to photographer By Jeff Kent

82

CHILDREN: ANYTHING BUT “CHEESE!”

86

WEDDINGS: TWO STARTING ANEW

90

WEDDINGS: A TOTALLY NEW YEAR

12 techniques for photographing children By Renee Gardner-Dubins

Eric Sartoris and Laura Elskan show success can strike twice By Jeff Kent

Chenin Boutwell: Know thyself, know thy studio brand By Stephanie Boozer IMAGE BY CHENIN BOUTWELL

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

16

FOLIO

61

IMAGING USA

110

CALENDAR

115

PPA TODAY

130 GOOD WORKS

©Chase Jarvis

Departments C O N TA C T S H E E T 22 Fine-art photographer Kathryn Kolb 24 Irving Penn at the Getty Center 26 Meta-wedding photography 28 Small town, big debut

by Sara Tafoya

PROFIT CENTER 31

What I think: Ross Oscar Knight

32 Ask the SMS experts 34 How we did it:

Carla Nelms 38 Why choose you?

by John Mireles 40 Sign language: Designing a logo

by Stephanie Millner, CPP

THE GOODS 45 What I like: Tristan Tri Huynh 46 Light Modifiers: Creative

Light Deluxe Reflectors by Don Chick 48 Light Modifiers: Creative Light

Soft Boxes and Umbrella by Don Chick 50 Light Modifiers: California

Sunbounce Micro-Mini Reflector by Stan Sholik 54 Lighting: Quantum QFlash

96

Seattle-based photographer Chase Jarvis branched into multimedia as a means of

storytelling with greater dimension. “The capture tool is just that, a tool. I want to use the format that can best tell the story,” he says. The best ad agencies are looking for that sort of versatility, and as a result, Jarvis’ roster of A-List clients tells a story of success.

8 • www.ppmag.com

Trio QF8 by Stan Sholik 58 Lighting: Grin & Stir FourSquare

by Ellis Vener ON THE COVER: Timothy Greenfield-Sanders is a collector—of paintings, of photographs, of people, of accomplishments. Where a collection does not exist, Greenfield-Sanders will create his own with one of his large-format cameras. Our cover image of tennis star Serena Williams is from his photographic series, the “Black List.”

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books make great gifts for the hubby and the children/family books are a perfect gift for Mom. Press Printed Books also help create a modern product to offer to our senior clientele. Instead of the plain folios we offered in the past we now have a more fashionable product that the seniors LOVE! With our funky designs, the books relate to our seniors and give them something to show to their friends that they are proud of! ”

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

12 • www.ppmag.com

industry advisor KEVIN CASEY [email protected]

WILDA OKEN Director of Administration [email protected]

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

PPA staff DAVID TRUST Chief Executive Officer [email protected]

BETSY REID Director of Education [email protected]

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

SCOTT KURKIAN Chief Financial Officer [email protected]

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

THERESE ALEMAN Director, Marketing and Communications [email protected]

LENORE TAFFEL Director of Events [email protected]

CHRISTEL APRIGLIANO Director of Member Value & Experience [email protected]

BING ZENG PPA China Managing Director [email protected]

CAMERON BISHOPP Director of Publications [email protected]

SANDRA LANG Executive Assistant [email protected]

SCOTT HERSH Director of Sales & Strategic Alliances [email protected]

*Executive Committee of the Board

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]

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folio| ANDREW JENKINS A high school senior portrait session yielded just the right image for Andrew Jenkins’ “Speaker of the House.” Jenkins, CPP, M.Photog.Cr., of Canfield Jenkins House of Photography in St. Johns, Mich., captured the image with a Canon EOS 5D and Canon 24-105mm f/4 L IS USM EF lens, for 1/100 second, at f/11, ISO 160. A 1,500WS Photogenic Powerlight and 40x50-inch Ed Pierce Signature Halo Softbox by Westcott with a 40x73-inch Aurora Soft White panel reflector provided the main lighting, and a second 1,500WS Photogenic PowerLight and 2x3-foot Larson soft box served as hair light. A 600WS White Lightning bare-bulb flash lit the background. Jenkins used Adobe Photoshop and a LucisArt filter for the final retouching. www.canfieldjenkins.com

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.

©Andrew Jenkins

What the judge thought:

“This is a great example of using lens

distortion to exaggerate the perspective and make the composition especially strong. I enjoy the leading lines created by the legs, the guitar and the wooden planks of the floor. The use of black and white helps to make the story strong for an exciting senior portrait.” —Dave Huntsman, M.Photog.Cr., and PEC Committee member. 16 • www.ppmag.com

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©Robin Spencer

ROBIN SPENCER During a pre-wedding portrait session, Robin Spencer of Photography by Robin in Rigby, Idaho, found the perfect field and rustic barn to fulfill her clients’ vision. With a Canon EOS 5D camera and a Canon 28-300mm f/3.5-5.6 L IS USM EF lens, Spencer exposed “Country Romance” for 1/40 second at f/5.7, ISO 200. She performed minor retouching in Adobe Photoshop CS2 to enhance the romantic atmosphere. www.robinspencerphotos.com

TINA PETTA-PELLETIER Tina Petta-Pelletier, CPP, of Uniquely Yours Photography in Waterbury, Conn., couldn’t resist capturing the window light flooding onto a bouquet of roses. She grabbed her Nikon D200 and Nikkor 28-70mm f/2.8 D IF-ED AF-S Zoom lens, and exposed “The Rose” for 1/80 second at f/4.5, ISO 400. She performed only minor retouching in Adobe Photoshop with a LucisArt filter. www.uniquelyyoursphoto.com

18 • www.ppmag.com

©Tina Petta-Pelletier

Brianna Graham | Brianna Graham Photography

I am Brianna Graham. I Am Encouraged. Every photographer out there will tell you how much time is consumed by owning your own business. It is a delicate balance between managing my local customers, traveling nationally for my workshops, and spending as much time as I can with my family. My daughter and husband are my best friends, and my biggest source of encouragement. I Am Adventurous. I have always taken risks. I think it’s important to take every chance you get and never hold back. Moving into my studio 5 years ago was the scariest thing I’ve taken on, but with it came an incredible surge to my artistic freedom and a major leap to efficiency. I Am Aware. Design, colors, and pattern, everything that I see around me in my everyday life, is my inspiration. While others may see beauty in nature, I see it where the masses tend to avoid. I developed my style around this six years ago with my first urban shoot. My style involves color, composition, location, style, emotion, and connection. If any one of these elements is missing, then it really isn’t me and it shows. I Am Hard to Please. I love what I do and I am very passionate about it. I am always trying new products, as I never want to become complacent. Having tried many other album suppliers with little success, the new album line up and selections that Miller’s recently launched blows all of the competitors out of the water. There is no other lab out there that offers so many choices, with exceptional quality and impeccable delivery. And the fact that an album can be produced within the same week is incredible. I am Miller’s. My lab is Miller’s Professional Imaging because I Expect More.

Expect More

To see how Brianna uses Miller’s to grow her studio, please visit www.millerslab.com/BriannaGraham. For more information about Brianna’s workshops, please visit www.briannagrahamworkshops.com.

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

The real In the world of photography, where digital

image manipulation has become the norm, Kathryn Kolb of Atlanta is an exception.

too much for me to think about,” says Kolb.

She takes many of her photographs in her

realized that what truly interested her were

not the expected shots, but the artistic elements

own backyard, a space she’s let revert to a

that were also present, such as the way a

natural state. When she goes exploring on

shaft of sunlight gilded a particular leaf in

published work includes assignments for

Georgia’s coastal islands or in the desert wilds

the background. She has pursued fine-art

Smithsonian magazine, Kolb captures the

of California’s Joshua Tree National Park,

photography ever since, and her work is

natural world with a decidedly analog

she brings back close-framed images that

represented in numerous public, corporate

medium-format camera and uses no post-

portray an intuitive relationship with nature.

and private collections.

A fine-art photographer whose much-

capture alteration, not even darkroom

“I feel my strength as a photographer is

Kolb takes all her photographs with a

cropping. “What you see is what I captured

not so much in creating something new, but

Hasselblad camera and prints with tradi-

—it is 100 percent real,” she says.

in noticing how things are,” she writes in the

tional enlargers. The disappearance of printing

afterword of her newly released book,

venues spurred her and a group of friends in

“Kathryn Kolb Photographs” (K2 Press).

photography to establish The Photographer’s

Kolb is passionate about using only the camera’s viewfinder to compose her images. She immerses herself in the observation and

Kolb grew up in rural Virginia and has

Print Studio, which opened in Atlanta in

capture of the patterns and shapes of natural

family roots in the mountains of North

2008. There, both professional and amateur

elements: the divergent angles of tree branches,

Carolina. Early in her career she was engaged

photographers are encouraged to produce

the leaves of autumn becoming colorful abstrac-

in editorial photography, documenting home-

their own high-quality prints at a nominal

tions, a dandelion emerging in a sea of wavy

less men and women on the streets of Atlanta

cost in both traditional and digital formats.

grass. “What’s there is so vastly complicated

and making portraits of regional artists. In

that to add another layer of complication is

the 1990s, Kolb’s focus radically shifted. She

See more of Kathryn Kolb’s work at www.kathrynkolb.com.

22 • www.ppmag.com

thing Fine-art photographer

Kathryn Kolb takes care of her own

BY VIRGINIE DRUJON-KIPPELEN

All images ©Kathryn Kolb

October 2009 • Professional Photographer • 23

CONTACT SHEET

“Small Trades”: Irving Penn at the Getty Center Irving Penn’s seminal collection of photo-

1960s, a period of experimentation with

graphs depicting tradesmen in their work

platinum printing. The 252 prints in the

Publications has released the book, “Irving

clothes, “Small Trades,” is on display at the

Getty Museum collection, acquired in

Penn: Small Trades,” featuring the entire

J. Paul Getty Museum in Los Angeles

2008, are the ones Penn deemed the most

collection (www.getty.edu).

through January 10, 2010.

brilliantly lucid of his gelatin silver and

This is the first exhibit of all 252 of the “Small Trades” series of prints at one site. Penn began photographing the series, predominantly full-length portraits, in the summer of 1950 while on assignment in Paris. In addition to practitioners of traditional trades, he captured images of individuals in the workingclass neighborhoods of the city. Penn continued the series in London, then in New York, where he broadened the scope to include vendors and deliverymen working near his studio on the East River, and people working in the fields of entertainment, sports and technology. Penn’s assistants would seek subjects in the workplace and invite them to the studio for a sitting, dressed as they were and carrying the tools of their trade. Penn posed the subjects against a plain canvas background, and used only natural light. “Penn prized the small trades and deliberately included their tools or accoutrements,” explains Anne Lacoste, co-curator of the exhibition. “He carefully positioned the workers and their tools to create balanced compositions that emphasize their skills. Penn’s portraits not only define the occupation but also convey the workers’ pride.” Penn, born in 1917, created innovative fashion, still life, and portrait compositions. His photographs are defined by their elegant simplicity, and his meticulous rigor became the trademark of Penn’s style. Natural lighting, a neutral backdrop, and minimal props contribute a refined austerity to his images, yet underscore their fundamental theatricality. Penn used a tripod-mounted camera with black-and-white negative film, and made gelatin silver prints. He returned to the “Small Trades” series in the mid-

24 • www.ppmag.com

platinum/palladium enlargements.

In conjunction with the exhibition, Getty

Irving Penn, “Fireman (B),” New York, 1951. Partial gift of Irving Penn. The J. Paul Getty Museum, Los Angeles. ©1951, renewed 1979 Condé Nast Publications, Inc.

You spend time photographing other people’s families.

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CONTACT SHEET

The day after

Adrienne Scott say day-after photography is

Meta-wedding photographs splice bridal couple and newlyweds

of their business. “We much prefer after

Nashville-based PPA-members Chris and so popular now that it accounts for a third sessions because they offer us more space and time than the wedding day,” says Chris.

©Chris & Adrienne Scott

Day-after sessions take place in public spaces with the couple in their wedding attire. Depending on the wedding package, the Scotts offer day-after photos gratis or sell them a la carte. They also market them as a cost-savings. “Sometimes you can’t afford the wedding photographer you want, but you can usually afford a session. Day-after sessions are a less-expensive way to get a wedding photographer you admire but can’t afford.” —Lorna Gentry To see more of Paul Von Rieter’s work, visit his website, www.vonrieter.com. To see more from Chris and Adrienne Scott, visit www.chrisandadriennescott.com. Lorna Gentry is a freelance writer in Atlanta.

©Paul Von Rieter

Wedding photographer Paul Von Rieter in

“I’m not sure my market wants boudoir

Mission Viejo, Calif., is fortunate to work in

photography, but they do want something

Orange County, the number-one bridal

extra at the end of their wedding album,

market in the state, according to Lynn

something fresh and different,” says Von

Adams, publisher of Orange County Bride

Rieter. “These pictures are not engagement

magazine. To put it in context, says Adams,

or wedding portrait. They’re based on [the

weddings average $26,000 nationally, while

premise] that the couple didn’t honeymoon.

OC weddings average $35,000, which

Rather, they went home right after the cere-

contributes to making the state of California

mony and started married life by jumping

the top wedding market in the nation.

into household chores, or they kicked back

Naturally, competition among photog-

together on the sofa with a glass of wine

raphers in Orange County is fierce, so Von

watching TV, still wearing remnants of

Rieter continually looks for competitive advan-

their wedding garb. It’s both romantic

tages. He hit upon an idea a few months ago

and practical.”

while checking out the competition online.

Day-after sessions are collaborative, says

He noticed a few websites pictured bridal

Von Rieter. “I put couples in natural poses

couples dressed in formal attire in offbeat

that I think will generate a response, and

locations. Wouldn’t it be cool to offer day-

they come up with stuff I wouldn’t have

after photographs of bridal couples dressed

thought of. I use a long lens, a 70-200mm

in a combination of wedding costume and

f/2.8, and back off so that it isn’t about the

street clothes in a domestic setting?

photography, it’s about them.”

26 • www.ppmag.com

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CONTACT SHEET All images ©Sara Tafoya Photography

Small town, big debut

a day in July and planned for the event to

helped give away tickets to people who called

run from mid-afternoon into the evening. I

in. This was super fun! I sent a press release

reserved pipes and drapery for hanging banners,

to the newspaper, which published a story

canvases and clothing. I calculated a price

about me and the upcoming expo in the busi-

for the booths to cover all the expenses. I found

ness section, so I didn’t need to buy ad space.

How I planned and staged my own expo & fashion show

a DJ to be the emcee and to man the lights

I had huge banners printed and had

for the fashion show. I hooked up with a

them hung outside where passing drivers

trendy local boutique that fit my style of

would see them. My assistants and I passed

BY SARA TAFOYA

photography, and launched a model search

out thousands of 4x6 flyers and more than

I was a newlywed in a new town, Sedalia,

contest. The chosen models would win a

100 11x17 full-color posters.

population 30,000. It’s about an hour’s drive

fashion shoot with me and the images would

from Kansas City where I grew up. Adjusting

be featured on the walls of the boutique.

to life in a small town would be a real challenge. How in the world am I supposed to let the

I created promotional material targeted

On D-Day, my assistants and I scurried around doing finishing touches and helping the vendors. A crew stuffed hundreds of

to the businesses I wanted to attract,

bags with the vendors’ promo materials to

people of Sedalia know I’m here, I thought

including info about me and the show’s

give to every attendee. Women lined up at

to myself. I had to find a way to promote

sales potential.

the door and crowded the expo floor as soon

myself that didn’t come off as snobbish or

I met with every small business owner and

cocky. These folks don’t immediately trust

multi-level marketing rep in town whose store

perfectly, everyone enjoyed the dancers, and

newcomers, but if they hear about you from

or service had something to do with women.

we had tons of model search sign ups.

family or friends who say you’re legit, they figure you’re worth a look. I heard about a photographer who was

I contacted several dance studios and hair

as we opened. The fashion shows went off

The Sunday paper’s feature headline read

salons. The salons would provide the models’

“Girl’s Night Out Sweeping Success.” Two

makeup and hair styling and have their name

other papers also featured the show.

doing a girls’ night out, using a fun network-

mentioned in the fashion show. I asked a

ing event as a way to introduce women to

couple of vendors to give 10-minute

office. Everyone wants to know when the

the studio. Why not have a women’s expo

seminars on their field of expertise. One

next show will be. This event brought the

with a fashion show, and entertainers, and

vendor provided tips on home improve-

town together in a way no one had done

seminar speakers? That inspiration turned

ment, another exercise and fitness.

before. Seniors are calling about shoots and

into a huge project requiring meticulous

I ran ads on a local radio station, trading

E-mails and phone calls have flooded my

moms are booking sessions for the children.

preparation, just like planning a wedding.

a few senior sessions to pay for them. One

If you want to make a big splash in a small

First, the venue. The state fairgrounds

ad was meant to attract vendors, the other

town, this could be the way.

has a beautiful building that’s big enough to

to tell the town about the event. The radio

hold all the vendors I wanted to invite. I picked

station interviewed me on air three times and

For more info, visit www.saratafoyaphotography.com.

28 • www.ppmag.com

Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Ross Oscar Knight focuses on service, sensitivity and community What advice would you give to someone just starting out in photography? Buying the latest and greatest technology is not the solution to all business problems. If it’s not implemented seamlessly, you end up with even more concerns. Define a concrete and repeatable process that exposes issues before they explode. What do you consider your big break—the turning point? Getting married! Planning my own wedding heightened my sensitivity to the needs of our clients. It helped us refine our customer experience, which led to a positive impact on our referrals. What’s your deal breaker? A client who wants more for less. At some point, negotiations are inevitable, so find ways to create value in your packages without adversely affecting your bottom line. How have you adapted your business to the economic instability of the past year? I’ve concentrated on profitable product lines to increase revenue, simultaneously working to cut operating costs. Building meaningful relationships with loyal clients and vendors has also been key. How has the business of professional photography changed in the last couple of years? Photographers have definitely become more business savvy. Even amateurs are focusing on things like residual income from licensing prints and creating innovative products. Through it all, my commitment to building community keeps me grounded so I’m not consumed with all of the hype. IMAGE BY ROSS OSCAR KNIGHT WWW.ROSSOSCARKNIGHT.COM

October 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

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 Whether to lease or buy, archiving practices and non-compete clauses Q: I’ve only been in business two-and-a-half years and am struggling to decide how long I should archive images from my client sessions and in what format. Should I archive only the images the client orders or all of the final, edited images from the session? Is archiving these images on an external hard drive enough, or should I burn each session to a disk? What’s the standard practice? A: There’s no right or wrong answer when it comes to archiving images. It comes down to what meets your clients immediate and future needs and gives you peace of mind. The stress that results from not covering the bases definitely precludes taking shortcuts. This is our studio’s method: 1. Download images to a hard drive. 2. Burn raw images to silver DVDs. 3. Generate proofs (edit images for client viewing). 4. Burn proof images to CD for the sales session. 5. Store CD in client folder after order is delivered. 6. Store image files for two years on a dedicated archive drive. Telling clients that you will archive only the images they order creates an incentive for them to buy everything they like at the ordering appointment. Very few clients order additional images after that. However, for that rare tragedy in a client’s life, it’s a wonderful feeling to be able to retrieve images that may have been lost. —Julia Woods (portraitlife.com) Q: We’re growing fast, and people have asked us about both internships and employment opportunities. We live in a town of about 5,200 people, and our

32 • www.ppmag.com

biggest concern is that we’d be training potential competition who would open shop down the street. Should we make a noncompete contract or an agreement for interns and employees to sign? A: If the intern or employee will be working closely with your clients and be exposed to sensitive studio information, consider using an agreement that includes a non-disclosure, noncompetition, or even a non-solicitation clause. Non-disclosure clauses place restrictions on what the intern/employee can do with studio information—trade secrets—made available to them. Non-competition, or noncompete clauses, restrict business activity related to the employee’s duties, such as preventing his opening a studio within a certain radius of your location. Non-solicitation clauses place restrictions on activities related to the employee’s interaction with your clients, such as preventing him from marketing his own photography to your clients. When you implement such an agreement, be sure to work with a local attorney, especially with non-competition and non-solicitation agreements. The laws governing their legality vary not only by state but often by county and city as well. PPA has online resources available to members on a variety of employer-employee topics at ppa.com. —Maria Matthews, PPA Copyright & Government Affairs manager Q: How do I determine whether to lease or buy new equipment? What questions should I ask myself? A: For business tax purposes, typically it’s best to purchase equipment or finance it if necessary.

This allows you to write off the entire cost of the equipment in the year you purchased it, regardless of how long it takes to pay it off. With operating leases, you’re usually allowed to write off only the payments you make each year. The tax benefit of the asset is delayed, so you can’t take advantage of the “time value of money” principle. One leasing option, a capital lease, does allow you to write off the entire amount of the lease in the year you acquire the asset. Unlike an operating lease, at the end of a capital lease, you keep the equipment or furniture with no further payment, or a small token payment to keep the equipment or furniture at the end of the lease (often $1). Operating leases usually require a large payment at the end of the lease if you’re going to keep the asset. Consumer automobile leases are one example of a typical operating lease. PPA offers a capital lease option through a partnership with UnitedFunding, a third-party leasing company. UnitedFunding has done thousands of leases for photographers that allow you to deduct the entire cost of the asset in the year the lease begins. For details, call 800685-7571 or go to www.unitedfundingllc.com. Whenever contracting with a leasing company, make sure you understand the effective interest you’re paying on the lease, and confirm that it’s comparable to the interest you’d pay with a line of credit or a credit card. Leases can be an easy way to secure credit, but don’t pay an exorbitant premium to obtain that credit. � —Scott Kurkian, PPA Chief Financial Officer Got a question? The SMS team wants to hear from you. E-mail our panel of experts via PP editor Cameron Bishopp at [email protected] and include “experts” in the subject line.

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©Nelms Photographic Artistry

PROFIT CENTER

BY JEFF KENT BY JEFF KENT

Carla Nelms’ studio was performing well, even though she had never set concrete financial objectives. Now with a plan in place, Nelms’ outlook has gone from good to great.

How we did it Carla Nelms felt her business was on autopilot. The successful child portrait studio in Midlothian, Va., now almost ran itself. For two decades Nelms had maintained a following based on her reputation and word of mouth referrals. She didn’t advertise beyond placing displays in doctors’ offices and upscale businesses, and donating portrait sessions for charity auctions. With a session average of about $1,700, the business made a healthy profit every year and grew consistently. In January 2007, the construction of Nelms’ 5,000-square-foot commercial building was completed. She had designed it to house her studio and one tenant. The construction costs and the purchase of new equipment and furnishings left her $50,000 in debt. “I’m not a debt person,” says Nelms. “It was eating at me. I was not comfortable with it at all.” Seeking solutions, Nelms attended a PPA Studio Management Services (SMS) class in October 2007. She submitted her books for SMS analysis and was pleased to learn hers was the highest performing retail studio in the class. The typical problem of a disparity between cost of sales and gross income

“There’s a wonderful peace of mind knowing I have somebody watching my back. … I’ve been able to manage my schedule so I work only four days a week, from 8 a.m. to 5 p.m., never at night or on weekends. You can make a great living and have a life if you manage your numbers correctly.” —CARLA NELMS 34 • www.ppmag.com

wasn’t an issue in her case. But the planning element was completely absent. Nelms had never formulated a budget, set per-session sales goals, or written down concrete financial objectives for the studio. She realized that the business that seemed to be on autopilot was actually a vessel without a captain at the helm. “I felt like I had no control over the business or when clients would call me,” she says. “It was as if the studio was a big yacht floating down the river with no one at the controls. It was time to get that control and steer in the direction I wanted to go.” Nelms signed up for SMS services. Her consultant, Bridget Jackson, opened her eyes to planning and managerial accounting. Jackson helped her set up a detailed budget and explained how per-session sales goals work. By establishing a target amount for each session, Nelms knows how many sessions she needs to book per month to reach her overall sales goals, pay herself a salary, and realize a net profit for the year. She can predict and prepare for the slow times, and use that time to plan and implement strategies for developing new business. Every day, Nelms and her assistant review the studio’s monthly and annual session goals. They have a running tally posted in the work room. If the studio is falling short of projections, they brainstorm ways to fill the session count. With the help of her SMS mentor, Lori Nordstrom, Nelms has planned new promotions, updated her logo, and redesigned her website. She uses her new promos and marketing materials to launch targeted niche-marketing campaigns to help fill the schedule during slow downs. Nelms’ assistant works under a two-tier bonus system that pays her when the studio meets the month’s session number goal and again when it meets the month’s financial target. These measures enabled Nelms to increase her gross revenue from $233,000 in 2007 to $289,000 in 2008, without a significant

Carla Nelms

increase in expenses. She paid off the entire $50,000 debt in 2008, and set aside $15,000 in a rainy day fund. The increased net profit provided $45,000 of those funds. Nelms also refinanced her building loan and took out $20,000 of the equity. The additional profit also went toward the cost of a part-time retoucher to free Nelms’ time for shooting, selling and marketing. Even after paying off her debt and paying the additional salary, she achieved a 2008 bottomline profit—owner’s compensation plus net profits—of $92,000. This year the studio has kept pace with her 2008 profits and remained debt-free. Nelms covers operating expenses with cash (through debit cards) and uses credit cards only for purchases she can pay off within a month. In a time of economic uncertainty, her business has maintained its growth and profitability, a feat Nelms feels wouldn’t have been possible without a firm plan to guide its course. Most important, Nelms Photographic Artistry has a captain at the helm. Nelms rests easier knowing there’s a support system in place if the numbers get out of whack. “There’s a wonderful peace of mind knowing I have somebody watching my back,” says Nelms. “I know that Bridget and SMS are not going to let me fail. I’ve been able to manage my schedule so I work only four days a week, from 8 a.m. to 5 p.m., never at night or on weekends. You can make a great living and have a life if you manage your numbers correctly.” �

Go to www.ppa.com or e-mail [email protected] to learn more about SMS consultations, webinars and workshops. Visit Carla Nelms online at www.portraitsofchildren.com.

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PROFIT CENTER

BY JOHN MIRELES

Your style is your most important unique selling point. So make it true to your work and your personality.

Your clients continually ask themselves, “What is this person going to do for me?” Your style must be true to your work and

Why choose you?

your personality if you’re going to be able to communicate it to your client. The way you describe your style should convey your

I recently joined an online discussion among

point. The look that makes your photography

passion and excitement about your

professional photographers about how to

different from all the others is what gives

photography. The more passionate you are,

respond when clients ask, “What is your pho-

prospects a clear, compelling reason to

the more good things follow.

tographic style?” That might not sound difficult

purchase from you alone. Your style is to

to answer, but we learned that it’s actually

your work as safety is to Volvo, classy is to

dollar and grant you creative freedom, look

tough for most of us to put into words.

Tiffany’s, and, well, cheap is Walmart.

to you for guidance. If you’re consistently

Even if nobody comes out and asks, it’s

The best clients, those willing to pay top

Forget about defining “style” for now,

attracting less desirable customers—price

important to articulate an answer. “Style”

because that’s not what prospects are really

shoppers and difficult people—it could be

isn’t reserved for the esoteric practitioner,

asking about. They want to hear about your

because you’re not communicating your

and photographers are artists as well as

unique selling points. They want to know

uniqueness. Some of my clients have com-

businesspeople. You can’t separate the two,

why they should buy from you.

plained about photographers who wouldn’t

and you need both to succeed. In marketing your studio, your particular style is your most important unique selling

©John Mireles

You could argue that your work speaks

take ownership of any particular style in

for itself, but it’s up to the photographer to

their work, photographers who imagine

supply the words in clear, simple, yet

they’re doing the client a favor by doing

powerful terms that clients easily

whatever it is she wants. Failing to stand for

understand. Exactly what makes you

something is the same as standing for

special, and how does it relate to the client?

nothing. Discerning clients expect more.

If we were in a classroom full of photog-

Yes, you can do okay in photography with-

raphers and I asked who would describe their

out a defined unique selling point, but you’ll

unique style, i.e., selling point, as “photo-

get only so far. You can bet that the best pho-

journalistic” or “candid,” how many hands

tographers, working with the best clients and

would go up? I bet at least half of the

commanding top dollar know exactly what

audience would raise their hands. Not a

they offer and are very good at sharing that

unique point at all.

insight with their clients. Would you rather

You’ll need to dig deeper, do some soul searching. What are you bringing to the photo shoot or wedding day that no one else can?

sit in the middle of the pack or lead it? The next time a client asks, “What’s your style?” Be ready with your answer. �

How did your unique life experiences shape your photography? What are you seeing in your mind’s eye when you look through the camera lens? How does that affect the client?

Mireles Photography is in San Diego. A popular photo instructor, John Mireles specializes in wedding and advertising photography. Visit his gallery at johnmireles.com.

special, and how does it relate to the client? Exactly what makes you

38 • www.ppmag.com

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PROFIT CENTER

BY STEPHANIE MILLNER, CPP

A logo involves much more than just making your business name look pretty. Think it through while deciding on design.

appeal to brides, and a logo featuring an adorable baby probably won’t send the desired message to corporate clientele.

Sign language

A strong logo adapts to a changing business. Try to design your logo around what your business will grow into. Two

The cornerstone of a brand is an effective

versatile and timeless. It should be appropriate

years from now you might find a passion

logo. It will appear on all of your marketing

for every kind of photography you do, and

for doing a completely new photographic

pieces, from your website to your print ads

every segment of your clientele—a tattoo-

niche; let the rest of your branding

and displays. Above all, your logo should be

style logo designed for seniors probably won’t

establish your new niche, but hang onto your established logo. Consider that a logo needs to work at any size—at 1/2 inch, will it be readable on your business card? If your logo has both graphic elements and text, would each be recognizable by itself as your logo? As the identifying entity of your business, make sure it works in every possible scenario, from tiny watermark to signage. BLACK AND WHITE OR BUST: The primary rule of logo design is If it doesn’t work in black and white, it doesn’t work at all. That’s not to say that you shouldn’t use colors, but see how effective your design is in plain black and white. If it’s not visually strong enough to be memorable without color, it’s back to the drawing board.

Logos come in all shapes and sizes. Yours needs to be simple, timeless, readable large or small, and have a style appropriate for every kind of photography you do.

K.I.S.S. That’s right, keep it simple. The key here is legibility and impact. Use solid fills and strong lines. Avoid gradients, drop shadows, textures, photographs,

DO

DON’T

… make a timeless logo

… design around trends

gazillions of colors and other effects. Don’t

… keep your logo simple

… over-design with complex shapes

design your logo with only optimal viewing

… make a readable logo at any size

… use flowery or complex fonts

and reproduction conditions in mind. In a

… design in black and white

… add color until your design is complete

print ad in a community paper or in the

… keep your logo to a max of one color & black

… design a logo that relies on color

Yellow Pages, whatever, at some point your

… consider a slogan that complements your logo

… incorporate your slogan into your logo

logo will be reproduced in one color, small,

… use clean, modern typefaces

and poorly. Give your design the Xerox test.

… get multiple vector files of your logo

… use Papyrus, Curlz, Harrington, or anything from the Microsoft Suit. They’re overused!

… use Adobe Illustrator

… get only RGB raster files

photocopy your logo at various sizes. How

… remember, you get what you pay for: Hire a graphic designer.

… use Adobe Photoshop

bad does it look?

… do it yourself if you’re not committed to doing it correctly. It’s your business!

design yours in Adobe Photoshop. Photoshop

40 • www.ppmag.com

Find the oldest copy machine you can, and

Because logos need to be scalable, do not

is made to edit pixels of raster images, and raster images are not easy to resize. Instead, create your logo as a vector image, which is infinitely scalable. The industry standard for vector design is Adobe Illustrator. Create separate vector files for both positive and negative versions of your logo on transparent backgrounds. If your logo

cornerstone of a brand is an effective logo. It will appear on all of your marketing pieces, from your website to your print ads and displays. Above all, your logo should be versatile and timeless. The

contains colors, create positive and negative color versions as well. Create all versions in both CMYK and RGB. You also need to save raster versions of the vector files for digital usage, like on your website. Save the file in

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an array of sizes and in the formats JPG, GIF, and PNGs (best for websites). Another factor in your logo color choices is offset printing costs—the more colors, the more expensive. Limiting the colors to two, particularly if one of them is black, can drastically cut cost, in some cases, by as much as 80 percent. Peruse your printer’s Pantone color guide, an index of ink colors that can be mixed in

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various ratios to produce other colors. Perhaps there’s a shade of teal you love, and according to your software’s color picker, it’s a blend of cyan, magenta, yellow, and black. Most likely there’s a similar shade in the Pantone index —your four-color-build logo just became an inexpensive solid ink. Custom ink mixes can slightly increase printing costs. When you’ve got a logo that’s versatile, simple, reproducible, scalable, and costeffective, don’t go changing it for awhile! About the time you’re getting bored with your logo, the public is beginning to recognize it. �

Stephanie Millner runs a pet portrait studio in Alexandria, Va. Her professional experience includes printing and freelance graphic design and instruction. Visit her website, www.stephaniemillner.com.

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October 2009 • Professional Photographer • 41

Photography by Scott Kelby©2009

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What I like Tristan Tri Huynh goes for quality and longevity What is your most valuable workflow tool? The spectrophotometer, because it affords a more consistent transition from one stage of the workflow to the next, and thus predictable final results. What’s the best equipment investment you’ve ever made? I told my Brooks students to choose a camera system first, then get the best lenses money can buy. You don’t have to replace them unless you break one or the manufacturer changes the mount. Little thing, big difference ... Well, it’s not little, but it’s cheap: my 60-inch umbrella. It’s quite a versatile piece of equipment. I can use it on location with portable flash or in-studio with a strobe. I can increase the diffusion of the light source by shooting the light through it, or decrease it by bouncing the light off it. It’s small enough to carry around and easy to set up and pack. What hot new product are you going out of your way to use? The Olympus E-P1. This PEN camera is small enough to take everywhere, has interchangeable lenses, and gives me outstanding image quality. IMAGE BY TRISTAN HUYNH WWW.EIGHT74.COM

October 2009 • Professional Photographer • 45

THE GOODS: LIGHT MODIFIERS

If you’re on your own when you shoot on location, triangular Deluxe reflectors lend you the dexterity to control the light with one hand while you shoot with the other. B Y D O N C H I C K , M . P H O T O G .C R . , C P P

Bright bounce

CREATIVE LIGHT DELUXE REFLECTORS

Creative Light recently released a new line of

enough to keep the reflector flat while in use.

competitively priced light modifiers, including

One drawback to using the circular reflector

soft boxes, umbrellas and reflectors. The reflec-

—without a holder on a stand or an assistant,

tors come in circular and triangular versions

it’s difficult to control with one hand while

(the Deluxe models). Both versions are avail-

you hold and shoot with the camera in the

able in four fabric combos, white and silver,

other. The Deluxe version’s triangular shape

white and gold, white and sunlight and translu-

and built-in handle eliminate this problem.

cent. The circular versions come in three

The Deluxe version’s extra-large fabric-

sizes, 20, 38 and 47 inches, and the Deluxe

covered handle makes it easier to use one-

in three, 24, 33 and 47 inches. All come

handed, although the 47–inch (120cm)

with a heavyweight fabric storage pouch.

Deluxe reflector is almost too large for one

I tried out all three Deluxe reflector sizes

person to handle with a camera in the other

and a 38-inch (95cm) white and silver circular

hand (Figure 1). I often bounce light onto

version. The circular reflector is well made, and

the subject to brighten the scene, but the

the silver fabric bounces light onto the subject

47-inch model was a bit awkward to work

efficiently. The internal metal ring is robust

with, and almost too big and efficient at bouncing light into the scene.

Figure 2

All images ©Don Chick; Model: Dana McAllister

I did prefer the largest model’s substantial grip to the tubular rubber grips on the two smaller ones. No matter which reflector you choose, please open it well away from your subject. Reflectors spring open quickly, and if you’re not careful you could hurt someone or damage equipment. In an environmental setting, I positioned my model, Dana, on a bench beneath the overhang of tree limbs, in order to block the overhead light. This will minimize the shadowing of her eyes, often referred to as raccoon eyes. Most of the light came from one direction, creating a pleasing light ratio and catch-lights in her eyes (Figure 2). By Figure 1 46 • www.ppmag.com

adding light with a 32-inch silver reflector,

Figure 3

you could brighten the eye sockets a bit

Gauging the ratio of the main to second fill

tain some shadow without flattening the

without sacrificing all the pleasing contrast

light falling onto the subject is a matter of per-

light completely. In Figure 4, the position

(Figure 3).

sonal taste; the primary objective is to main-

of the reflector yields a pleasing light ratio. If the reflector is too far into the shadow

Figure 4

side of the subject (Figure 5), the light

Figure 5

ratio is all but eliminated, greatly diminishing the dimensionality and form that the shadow detail would contribute. Even when you have a big, efficient reflector, you still need to position it correctly to model the light and contribute to the beauty of the overall image. Creative Light Deluxe reflectors range in price from $46 for the translucent 24-inch size to $83 for the 47-inch non-translucent models. The standard circular reflectors range from $19 for the translucent 20-inch model to $68 for the 47-inch nontranslucent reflector. More information is available at www.creativelight.com. �

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October 2009 • Professional Photographer • 47

THE GOODS: LIGHT MODIFIERS

A new company from Sweden breaks into the light modifier market with style and aplomb, and at an affordable price. B Y D O N C H I C K , M . P H O T O G .C R . , C P P

Elegant economy CREATIVE LIGHT SOFT BOXES AND UMBRELLA Creative Light, a new brand of photographic

universal speed ring is certainly more

lighting accessories from Sweden, boasts

efficient than grappling with several and

“exceptional quality at a competitive price.”

sometimes grabbing the wrong ring when,

The equipment I evaluated, several of the

for example, you’re on location and in a

soft boxes, lives up to this claim.

hurry to assemble several soft boxes. Each

I was immediately impressed with the

accessory comes in its own fabric pouch.

quality of the materials and construction. The

But the assembly is actually the one

fabric of the soft box is black on the exterior

drawback with this product. Each of the

and shiny silver on the interior. My review

rods has to be bowed for insertion in the

unit came with two diffusion fabrics, one for

speed ring. As with other manufacturers’

use as an interior baffle, the other for the

similarly designed soft boxes, flexing the rods

front side. I shot without the internal baffle.

can require a challenging amount of force. If

To assemble, insert the four steel rods, one

you do location photography and have to

in each corner of the soft box. The color coding

frequently assemble and disassemble your

system simplifies matters (see universal

soft boxes, it might be worth the higher price

speed ring, bottom right). Having only one

to get a brand designed to do it more easily.

©Don Chick; Model: Laura Brunson

Figure 1

48 • www.ppmag.com

Figure 2

The portrait images have been enhanced with Imagenomic Portraiture (imagenomic.com). The background is from Super Lite Backdrops (www.superlitebackdrops.com).

My studio space measures only 13 feet

I like the look that an accent light gives

other videos to watch for creative

square. Creating a proper lighting ratio

to my portraits; look at Laura’s hair in the

(contrast) with multiple strobes in a small

right side of Figure 1. I used the 30x120 soft

room can be challenging with a quantity of

box with a grid for this accent lighting. In

other lighting accessories, definitely consider

light bouncing around the room. As I metered

my small studio, the 30x120 worked very well

the Creative Light product line. The high-

the lights for my session with Laura, I found the

as an accent, and would also work well as a

quality materials, excellent construction,

silver interior material to be extremely efficient

hair light modifier. I prefer to modify my

competitive pricing and ease of use make

in reflecting light, and I had to lower the power

hair light with a set of louvers to spread the

these products worthy contenders.

setting on my strobes to prevent overexposure.

light in more than one direction, but they

That’s something to consider, especially if

were unavailable at press time. In Figure 2,

mum advertised price of $160, the recessed-

you work in a small space and use high-power

Laura is surrounded by Creative Lighting

front 90x120 soft box sells for $223. The

strobes that don’t have low power settings. The

equipment, including a 90x120cm soft box

30x90 soft box, the model I used for accent

white fabric of the umbrella fill is also highly

for the main light, a 105cm umbrella for fill

lighting, sells for $146, the grid for $90. To

efficient in bouncing light into the scene.

and a 30x90cm soft box for accent.

those prices, you have to add the price of a

For these test images of Laura, I used both

The guides that came with each product

inspiration. If you’re in the market for soft boxes and

The flat-front 90x120 soft box has a mini-

speed ring, ranging from $53 (Photogenic

the flat front (FF) and recessed front (RF) of a

were adequate, providing both written

and most other manufacturers) to $121 for

3x4-foot (90x120cm) soft box; a 1x3-foot

instructions and photo illustrations. I

the Profoto model. The umbrella I used for

(30x90cm) soft box with a grid for the

enjoyed the Creative Light website, which

fill light is priced at just $39. Creative Light

accent light; and a 41-inch (105cm) white

has several videos demonstrating the use of

is distributed in the U.S. by the MAC Group

umbrella for fill light.

its products by actual photographers, and

(www.creativelight.com). �

October 2009 • Professional Photographer • 49

THE GOODS: LIGHT MODIFIERS

A rigid-frame reflector works well when you don’t have an assistant, even better with a flash attachment.

With corporate budgets slashed, these days on location I’m usually working with one assistant or all alone. I’m learning how to

B Y S TA N S H O L I K

Kiss of gold CALIFORNIA SUNBOUNCE

MICRO-MINI REFLECTOR

pack more efficiently, use smaller dedicated flash units, and make do with less. The Micro-Mini Reflector from California Sunbounce fits this way of working perfectly. The Micro-Mini is the smallest in the extensive California Sunbounce line. Measuring

All images ©Stan Sholik

just 2x3 feet and weighing just a little over 1 pound, the unit rolls up for transport in a shoulder bag. It takes only a few seconds to unroll the reflector and snap the aluminum support bar studs into the crosspiece. Get a clip and you can even hang the Micro-Mini on your belt while you’re metering or posing the subject. With your camera mounted on a tripod and a remote release, you can pose the subject, move the reflector into position, and shoot. Without a remote release, if you hold this large reflector high and to the side of the camera, it creates a much more flattering light than on-camera flash, or even off-camera flash placed in the same position. For me, the Micro-Mini really earns its keep when you mount a dedicated wireless flash to the optional flash bracket, then attach it to the reflector. When you use the unit as the main light, you can work in open shade or backlit settings with complete control over the lighting. This setup works

For this bridal portrait (top, left), I had envisioned a beautiful sunset over the Pacific, with the MicroMini bouncing light into the shadow side of the bride’s face, but the weather wouldn’t cooperate. Instead, I had to deal with a heavy layer of clouds. I decided to light the bride with a Nikon SB-800 bounced into the Zebra side of the reflector, using the overcast sky as fill. Without flash, the photo is as dull and gray as the day. Using the Micro-Mini as the main light coming from the same direction as the setting sun created a sunset-like glow (top, right). The setup (bottom).

50 • www.ppmag.com

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THE GOODS: LIGHT MODIFIERS

The backside of this Micro-Mini configuration, top, shows the crosspiece that tensions the fabric and the white fabric side. The Micro-Mini with the gold and silver Zebra fabric mounted and the flash bracket and Nikon SB-800 attached, right.

nicely with the system mounted on a light stand or with an assistant. Using Nikon SB-800 flash units required aligning the reflector-flash system so that

page 54). I used it two ways in testing. I

with one of the Micro-Mini fabric frame

the remote flash could see the infrared

bounced the Trio into the Micro-Mini as a

pockets that needed sewing repairs on

trigger signal. This gave me all the QTTL

main light and triggered it in QTTL mode

arrival, it makes me question modern

control I wanted, but the triggering was

with the Quantum Pilot on the camera hot

German quality control. Yet this compact,

sporadic. I tried to mount my Nikon SU-4

shoe. Then I used a Quantum T5d-R with a

versatile, and simple-to-fold unit is a great

remote trigger to the flash bracket to give

wireless receiver bounced off the Micro-Mini,

reflector system on location.

me a wider range of placement, but the SU-

and triggered with the Trio on the camera hot

4 needs a tripod screw, which the flash

shoe for QTTL ratio mode flash. Exposures

fabric (a gold and silver zigzag that raises

bracket doesn’t have.

were as consistent as QTTL ever is, and trig-

the color temperature about 400 Kelvin) on

gering was perfect. The added power of the

one side and a white fabric on the other, has

Quantum over the Nikon was welcome, too.

a street price of about $205, including the

With an Elinchrom Skyport transmitter on-camera and a Skyport receiver attached to the SB-800 on the flash bracket,

Despite its name, California Sunbounce’s

The Micro-Mini I tested, with a Zebra

carrying bag. There are other reversible fabric

triggering was no problem, but I had to

headquarters and manufacturing plant are

combinations available, including black and

measure the flash exposure and set the

in Germany. The company proclaims the

white and silver and white, that sell for $100

camera exposure manually. This gave me the

quality of German workmanship, but

to $150, sold separately or with a frame. The

most consistent exposures frame after

apparently it isn’t what it used to be. The

flash bracket costs an additional $120. �

frame, with perfect reliability.

Quantum flash, weighing a half-pound

The system that proved the most conven-

more than the Nikon SB-800, would twist

ient and reliable included the new Quantum

out of position repeatedly no matter how

Instruments Trio wireless radio flash (see

much I tightened the connection. Coupled

52 • www.ppmag.com

More information about the Micro-Mini, as well as other California Sunbounce products, is available at www.sunbounce.com.

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THE GOODS: LIGHTING

Quantum Instruments impresses with the versatility of a new flash with built-in wireless radio connectivity. B Y S TA N S H O L I K

Flash command QUANTUM QFLASH TRIO QF8

The Quantum Trio QF8 with front diffuser attached. It can be hot-shoe mounted for oncamera use, or mounted on a tripod or light stand for remote use with the mounting shoe included with the system.

Major camera manufacturers offer flash units

technology is operable over a wider range of

any number of remote Trios or older Qflash

that can wirelessly control off-camera flash

conditions the others’ infrared connection.

models equipped with FreeXwire receivers

Now Quantum takes it further with the

assigned to three controllable groups. The

units in sophisticated ways, but Quantum Instruments leapfrogged over all of them

new Qflash Trio QF8, featuring built-in

Trio models not only duplicate all the functions

with the introduction of the add-on

FreeXwire wireless radio connectivity in a

of the respective manufacturers’ units, they

FreeXwire FW7Q digital receiver for the

QF8C model for Canon and the QF8N model

extend those functions with user-savable

T5d flash head. Far more reliable, this

for Nikon. Both models send commands to

programs, USB update capability and more.

All images ©Stan Sholik

When it’s powered by a Quantum Turbo battery, you can shoot with the Trio as you would with any hot shoe flash. Even without an internal battery, it weighs about a half-pound more than a Nikon SB-800, but that disadvantage is far outweighed by the unit’s power output (roughly 1.5 stops), the larger reflector for softer light, and the taller profile, which directs the light higher above the subject’s eyes. Yet the real power of the Trio isn’t unleashed until it’s used with multiple flash units. With an assistant moving with the portrait subject or walking through guests at a wedding reception with the remote flash on a light pole, you can control the lighting ratio of the remote flash to your on-camera flash with the push of a few buttons. Working alone, you can set up remote units in opposite

I used the Quantum Trio system to shoot exteriors, interiors and fashion for an editorial spread on a vintage clothing store. For this exterior, I used a Trio and a T5d-R inside the store, triggered with the Pilot on the camera. I aimed the light at the front of the store at the mannequins, and set it to QTTL, one stop below the camera exposure on the Pilot. I bounced the light in the back of the store (set to full manual power) off the ceiling.

THE GOODS: LIGHTING

specs:

Quantum Qflash Trio

corners of a large room and effortlessly shoot an event all evening with consistent exposures. As with Canon and Nikon flash systems, this versatility comes with a price—a steep

FLASH POWER: 150 watt-seconds

learning curve. The operating instructions are

GN (FEET): 160 at ISO 100 (normal reflector)

excellent in explaining the nine available oper-

AUTO RANGE: 113 feet at ISO 100 (normal reflector)

ating modes and their uses, but I would have

RECYCLE TIME WITH TURBO 2X2 BATTERY: 1.9 seconds

the functions for various common situations.

APPROX. SIZE WITHOUT REFLECTOR: 6 x 6 x 3 inches

serving as a main light and you want the on-

WEIGHT: 26 ounces

what mode would you select and what

appreciated seeing some examples of how to set For instance, if your remote flash is

The LCD on the Trio displays the nine operating modes across the top of the screen, the selected mode in the center. The - and + buttons cycle through the functions.

camera flash to be a one-stop lower fill light, should the setting be? One option is to use the QTTL Ratio mode with the on-camera flash set to -1 and the remote flash set to +1, which will make the remote unit flash for the camera’s exposure settings and the oncamera flash deliver one stop less. Remember to set the remote flash to RG mode. I thought I’d figured out a few combinations by trial and error, but after consulting technical support, I found I was right only about half the time. In the case above, for

The Advanced Multi mode of the Trio is much like the Normal mode of the Pilot. The buttons below the screen set the wireless modes and light ratio for three groups of controlled lights.

example, I’d thought the remote should be set at zero compensation. Once you do come up

much quicker to learn. As with the Trio, it

with combinations that work for you, for-

can control three groups with an unlimited

tunately, you can save up to eight of them for

number of flash heads in each group. Setting

quick recall. Unfortunately, you can’t name

ratios and operating modes for the remote

them—they’re simply labeled P1, P2, etc.

units is straightforward; you need only to

The Trio wireless radio line is complemented by the new Qflash Pilot QF9,

group. Then when you turn on the Pilot, you

a shoe-mount wireless radio command unit

have full control right from your camera.

compatible with remote Trio and T5d-R flash heads with wireless interfaces.

This fashion photo was taken at Echo Park Lake with the LA skyline as the backdrop. My assistant held the Trio on a pole just out of camera range as I shot with a long telephoto lens. I set the Trio exposure on the Pilot to -0.3 stop below the camera exposure to ensure good light on the shadow side of the clothing in the strong sunlight.

56 • www.ppmag.com

set the remote units to the appropriate

Quantum’s system approach combines everything a photographer could need for

You can set the Trio not to fire while

location or even studio flash use, and frees you

commanding remote flash units, but in

from depending on both AC power and inter-

that situation it’s better used as a remote

connecting control cords. The MSRP of the new

flash. With a Pilot mounted on your camera,

Quantum Trio head is $1,180, the Pilot $589. �

you have all the command capabilities of a Trio without the flash, and it also relieves the camera of about half the weight. With fewer operating modes, the Pilot is

Get more information and helpful videos at www.qtm.com. For a tutorial on setting up the Quantum system for various situations, visit www.ppmag.com/web-exclusives.

THE GOODS: LIGHTING

Harnessing the power and versatility of speedlights like never before, the FourSquare system brings big light control to TTL flash potential. BY ELLIS VENER

Flash foursome GRIN & STIR FOURSQUARE

The Grin & Stir FourSquare is the first light

box wands fit into the corners. Two of the

box or way to use speedlights with umbrellas.

modifier system that accepts up to four speed-

inside corners have umbrella mounts, the

The FourSquare is the first light modifying

lights in a single mount. The first release in the

other two attachments for a stand adapter or

system designed specifically for TTL-controlled

modifier system is a 30-inch square soft box.

handgrip. As of press time, users had to

speedlights. With the maturation of wireless

supply their own mount, but a stand mount,

technology for communication between

heavy-duty square of anodized T6061 alu-

handgrip and various other mounting

camera and off-camera flash, photographers

minum alloy, is the core of the system. Lights

accessories are on their way.

can work faster, lighter, and smarter. That’s

The FourSquare itself, a precisely milled,

mount on its sides, and the aluminum soft

The system is more than just another soft

the big idea behind the entire lightweight lighting trend, and it has some vigorous

©Ellis Vener

advocates, such as Strobist’s David Hobby, “Hot Shoe Diaries” author Joe McNally, and Kirk Tuck, author of the “Minimalist Lighting” books. These photographers understand the potential of smart TTL-controlled flash and, moreover, appreciate the ultimate control of the lighting effects of larger, heavier systems. The FourSquare system unites the strengths of both ways of working: speed, portability, and control over light quality. The materials and construction of the FourSquare products are first rate. The relatively shallow (18 inches) 30-inch square soft box is made of heavy-gauge sailcloth, with a white interior and black exterior. The diffusion screen is removable and there’s no internal baffle. The exterior of one side of the softbox features a large Velcro patch for attaching a wireless receiver. This is particularly useful

A FourSquare soft box with two Canon speedlights provides a pool of neutral light to separate the subject from the incandescent lamp light at the subject's right.

58 • www.ppmag.com

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THE GOODS: LIGHTING

with Canon Speedlites and the PocketWizard ControlTT system, as Canon’s Speedlites generate localized radio noise that can interfere with the PocketWizard FlexTT5 receiver. Moving the receivers away solves the problem, but requires Canon’s off-shoe camera cord OC-E3. You can create a wide variety of subtle effects by tilting and swiveling each speedlight’s head to point at a different side of the box or straight out, and by zooming the heads as well. You can control the falloff of the light from side to side, top to bottom and center to edge. Try removing the diffusing screen for the non-soft box look of a hard yet relatively large light source. Such versatility makes the FourSquare soft box stand out among the other models. Try not using the soft box at all. With multiple speedlights mounted on the FourSquare block, you can use one umbrella or a small umbrella facing a large umbrella in a clamstyle configuration. Using none of the light modifiers, you can create a powerful selfcontained, TTL controlled hard light. That could be handy at a wedding reception: Put

©Ellis Vener

For this portrait, I used the FourSquare with two Canon 580 EX II Speedlites, triggered by a Canon ST-2 attached to the camera with a Canon OC-E3 off-camera cable. Everything worked together seamlessly.

the FourSquare on a monopod for your assistant to carry and point one or more of the heads forward to get a hard defining

During a break in the action, I spotted the

light, angling the others to bounce light, or

ref leaning against the ropes, swung the

use a diffuser with them.

FourSquare toward the corner he was in,

I took the FourSquare on location to shoot

and got his attention just long enough to

The FourSquare soft box is relatively shallow—18 inches—and comes with a removable diffusion screen.

press kit images for a young songwriter (pre-

snap a perfectly composed, lit and exposed

vious page). Working with Canon’s new tilt-

single frame (above). There’s no way a

shift lens, the TS-E 17mm f/4L set to f/4, I

spontaneous image like could happen unless

tilted the lens up, limiting the depth of field

all the tools had worked together seamlessly.

to the first lines of the song he was writing

Sometimes you just get lucky, but being

Paul Peregrine, owner of Lightware and devel-

while exaggerating the perspective. The

prepared can only improve your chances.

oper of the softcase, and inventor Gary Register,

FourSquare soft box with two Canon 580EX II

One more attribute of the FourSquare pre-

co-founder of Chimera Lighting and founder

speedlights inside provided a pool of neutral

sented itself when I processed the raw file of

of Plume Ltd. Grin & Stir products will be dis-

light to separate the subject from the incan-

the ref. The white balance on the Canon EOS

tributed by LightwareDirect. The FourSquare

descent table lamp to his immediate right.

1Ds Mark III was set to the flash, and as you

portable lighting system is available at an

An assignment for a new wrestling league

can see (above) the color is right on the money.

introductory price of $249.95. �

client took me to a gym to make promo photos.

Grin & Stir is a new company founded by

60 • www.ppmag.com

Get more info at lightwaredirect.com.

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THE ULTIMATE PHOTOGRAPHER’S BALANCING ACT Jan.11, 7:00am

See how Michele, a Canon Explorer of Light, lives her own advice and turns beautiful images into big sales.

WHERE HAVE ALL THE ARTISTS GONE? Jan.10, 6:00pm

Sponsored by Kodak Find your inner artist with the Simones and see how photography and painting can merge into one art form—to improve your career and renew your passion.

© Joseph & Louise Simone

© Clay Blackmore

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© V Gallery

MAKING IT HAPPEN: THE DIFFERENCE BETWEEN KNOWING & DOING Jan.11, 6:00pm

© David Stoecklein

Sponsored by Kodak Jed & Vicki know that it’s not just about what you LEARN, it’s about what you DO with that knowledge. Find out how they implement ideas and innovations, from marketing to post-production.

PHOTOGRAPHING THE WEST

Jan. 11, 4:00pm Sponsored by Canon Learn—through images, layouts & anecdotes — how this American photographer of the West has juggled diverse projects for 40 years.

© 2008 Reichman Photographic Artists

» 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 & RELAX WITH FRIENDS old and new—the best medicine.

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PPA CHARITIES CELEBRATION

January 9, 8:00pm Free for all full convention registrants Celebrate charity with silent and live auctions, DJ dancing, and a funfilled event called “The Ronald” (think Celebrity Apprentice)!

ROCKIN ‘ NASHVILLE

January 10, 8:00pm - 10:00pm Bring your backstage pass and ROCK the night away after your first full day of Imaging USA! Sponsored by

PHOTOGRAPHERS IN THE WHITE HOUSE

January 11 Get the inside scoop from photojournalists who chronicle the lives of American presidents. Sponsored by

NEW PRE-CONVENTION CLASS! ALL-STAR CHARITABLE MARKETING January 9, 9:00am

Help PPA Charities as you help your business by learning to make charitable marketing work for you. Learn successful photographer’s best ideas for doing just that, including how they incorporate it into their overall strategies. $129: Benefiting PPA Charities

IMAGING…OLÉ!

January 12, 8:30pm - 11:30pm Drink in the southwestern flair of Imaging USA’s next stop, San Antonio, as you unwind and celebrate another great convention. Sponsored by

SHARE YOUR IMAGING USA LOVE! Join the conversation on Facebook, Twitter and LinkedIn by visiting www.ImagingUSA.org.

© Sara France

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r., AP I

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. YOUR INSPIRATION ONLY GROWS the longer you walk the Imaging EXPO floor!

images

© S ara

F rance

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o tog .C

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© Davide China

INTERNATIONAL PRINT EXHIBIT Free and open to the public

Welcome to the world’s largest annual photography exhibit, 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.

GRAPHISTUDIO THEATER

© Rachel Gracie

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

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-onone consultations (exclusively for PPA members, 2 merits, $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.

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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.

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.

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

9:00am - 10:30am

7:00am - 8:30am

WEDDING

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

LEARN FROM ANOTHER PHOTOGRAPHIC ROCKSTAR Details coming soon

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

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: EVENING EVENT

sponsored by

White House Custom Colour

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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

LEARN FROM ANOTHER PHOTOGRAPHIC ROCKSTAR Details coming soon

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.

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 - 8:30pm

IMAGING OLe

Imaging USA Closing Night Party | 8:30pm - 11:30pm

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 sponsored by

Canon

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

Read y to

rock?

PHOTOGRAPHERS IN THE WHITE HOUSE: EVENING EVENT sponsored by

White House Custom Colour

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

LEARN FROM ANOTHER PHOTOGRAPHIC ROCKSTAR Details coming soon

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 - 8:30pm

IMAGING OLe Imaging USA Closing Night Party 8:30pm - 11:30pm sponsored by

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—www.ImagingUSA.org

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)

NOT A PPA MEMBER?

Registration prices at www.ImagingUSA.org.

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When Ross Oscar Knight left engineering to become a full-time photographer, he did so with great forethought, waiting five long years to save enough money and complete his education. WEDDINGS

By Jeff Kent

Road to happiness

says Knight. “In 2003, I took a long look

How Ross Oscar Knight evolved from engineer to photographer

steps it would take to get to where I wanted

W

my life and my career, and I defined the to be. I wasn’t just thinking of being my

hen Ross Knight

to make his new career long and prosperous.

decided to leave a

Knight always loved photography. He was

I wanted to create a new business that

Georgia utility com-

comfortable as an engineer, but it wasn’t chal-

would be fulfilling both personally and

pany and his engineer-

lenging creatively, and didn’t satisfy his desire

professionally.”

ing career to become a

wedding photographer, he

resolved to do it right.

Trained in business and with

an engineer’s eye for detail, he was determined

All images ©Ross Oscar Knight

“I wanted to find my true happiness,”

to interact with people on a deeper level.

own boss and having a flexible schedule,

It took Knight about five years to enact

After years of shooting personal projects on

his plan. He saved his money and studied

weekends, Knight began to pick up a few

small business management and the

wedding jobs in 2002. He came to realize he

photographic workflow. He built a clientele

was living for the weekend photography.

and a referral network. Perhaps most signif-

WEDDINGS across Africa began e-mailing him the very first day of the post. Knight sent the prospective clients a questionnaire about their personality and background, which he used to choose four weddings, ranging from a traditional ceremony in Ghana, complete with a dowry exchange, to an extravaganza with 1,000 guests, a full orchestra and an opera singer. “I wanted to be inspired by the different people, different cultures, religions and landscapes,” says Knight. “An unfamiliar environment invigorates me. I feel like I’m shooting through the eyes of a young child, fascinated by the scenes around me and the experience of learning.” As it’s progressed, “Weddings Around the World” has taken on a life of its own. Knight now adds a couple of weeks to photograph in the area of the wedding, and documents

icant, he made a series of lateral career moves

and he landed evermore high-profile weddings.

at the utility company to gain the requisite

He added a full-time studio manager and

business management skills. He spent time

two contract photographers, one of them his

in the ethics department, then real estate,

wife, Brandi.

then tactical marketing, and finally small

Knight wanted to make sure his artistic

business development, earning a high-level

ability was developing alongside his busi-

certification in process management and

ness. He began to pursue projects that

improvement.

would open him to new cultures and

“Working as a small business consultant

challenge him artistically. Notable among

was the best education I could have had

them is “Weddings Around the World,” an

prior to opening my own studio,” says

ambitious project documenting wedding

Knight. “I learned to evaluate a variety of

practices in various countries. Knight’s

criteria to determine how well a business is

ultimate plan is to publish a photographic

functioning. Whenever I started working

book on his findings.

with a new business, I’d examine its financials,

Reconnecting with his family’s roots,

its processes, its marketing and its technol-

Knight focused on the African continent for

ogy. I’d also look at its differentiating factors

the first three years of the project. To get

to determine its competitive advantage.

the ball rolling, he used his blog to promote

Thinking about all these things helped me

his desire to shoot weddings in Africa. He

tremendously as I opened my own business.”

offered to travel to the location and

In 2005, Knight was ready to open his

photograph the wedding for a nominal fee,

studio in Atlanta. The business grew quickly,

just enough to help offset the cost. Couples

78 • www.ppmag.com

R

MA KET ING Is yours falling apart?

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.

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www.MarathonPress.com

“Working as a small business consultant was the best education I could have had prior to opening my own studio.”

the daily life of the residents and unique

—are a particularly fast-growing market for

work with fascinating people from different

cultural elements. He plans to continue

him. “People visit my website, see that I

backgrounds and unique cultures is so

through 2012, doing two or three trips a

appreciate different cultures, and it gives

rewarding. It’s what I’ve envisioned all these

year. He also has trips planned to Southern

them confidence that I will treat their

years, and now those efforts are paying off.

India, Guatemala and Australia.

wedding with the sensitivity and dedication

It’s been a wonderful experience and I’m

it deserves,” he says.

excited to see what happens next.” �

The effect of the project on Knight’s business is profound. As a result of the images

The growing diversity of his work is

he’s posted on his website, he’s getting

exactly in line with Knight’s plans for the

inquiries from a diverse mix of people and

future. Photography is more than a job for

cultures. Fusion weddings—a combination

this former engineer. It’s a lifestyle and a

of two distinct cultures into one ceremony

road to creative fulfillment. “To be able to

80 • www.ppmag.com

For more on Ross Oscar Knight, visit www.rossoscarknight.com, and for wedding projects and workshop information, www.rossoscarknightphotography.net.

“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

SUCCESSWARE.NET | 800.593.3767

All kinds of challenges face photographers who work with small children. The fake smile, the rebellious glare, the hovering mom anxiety— overcome them with the right attitude and a few tricks of the trade. CHILDREN All images ©Renee Gardner-Dubins

A

By Renee Gardner-Dubins

darling little girl in a fancy dress and sparkly shoes arrives at your studio to be photographed on her fourth birthday. She feels like a star—and every time you train your camera on her, she breaks out the

toothy, say cheese smile, just like Mom has been telling her to do since she was old enough to pose for a snapshot. Many shots later, you have just one expression, and nothing that will thrill Mom. It’s the curse of the phototrained child. After a decade of photographing young children, I’ve learned to see with a child’s perspective. From there, I’ve developed 12 techniques for putting a child at ease and eliciting priceless expressions in images mothers can’t resist. 1. SEA OF CALM. A studio with a fun ambiance, bright lights, loud music and high-energy staff will almost always get those cheesy smiles from outgoing kids and totally overwhelm a timid one. Try some mellow music. Ask your staff to approach children calmly. Use soft, warm lighting, and perhaps mild air fresheners with the aroma of comfort foods like cookies or apple pie. If you want a lively ambiance for the portrait, ease into that mood during the session. 2. LOVE THE PARENT. Children feel more comfortable around people who are friendly toward their parents. They’re more likely to trust a person whom their parents

Anything but “cheese!” 12 techniques for photographing children

82 • www.ppmag.com

trust. Don’t act overly excited. 3. CHILD-SPEAK. When you introduce yourself, kneel or bend down so your face is level with the child’s, and speak in a non-

authoritative, calm tone. Most children respond well to simple questions about themselves: How old are you? Is today a special occasion, your birthday? I see you brought a book with you. Can you show it to me? Do you like stories? Are you happy to have your picture taken today? Even the answer “no” can provide a helpful insight. Get to know the child, draw him out, help him get comfortable for the session. The more interest you show, the better he’ll cooperate. 4. THE KID’S KIT. Let the child choose the first outfit for the session. Adults all too often disregard children’s feelings and opinions. She’ll be more interested in the session if she has a say in it. Ask what she likes about wearing the outfit to get her talking. After the first few shots, the child is likely to be more willing to compromise on the next outfit. 5. A CHILD’S STORY. If you visualize a portrait of a cheerful, animated munchkin, get the child wound-up and energized. If you picture the kind of thoughtful expression that moves parents and grandparents to tears (and orders of large portraits), it doesn’t help to tell or ask a child to give you the look you want. Instead, create an environment that elicits the mood. Props and background sets play a significant role.

when you show impatience if he doesn’t

lady! Were you born with them or did you

Rather than instructing the child to “sit

understand the look you’re after or how to

find them? What a great fishing pole, young

here” or act in a certain way, give her

give it to you. Remain kind and patient. The

man! How many fish will you catch today?

something to do to involve her in the set’s

effect is calming, and it serves as validation

Encourage the child to be in the story. The

story. If it’s a little girl in a princess dress,

of his efforts to please you. As the session

expressions you are seeking will appear

you might give her some storybook objects

progresses, listen to the child with an open

naturally as you create a storybook fantasy.

to hold, such as an ornamental bird or frog

heart and mind.

prince. Have a boy spin a toy airplane’s

7. SPEAK SOFTLY. Use a softer voice

9. STAY CONNECTED. Carry on a conversation with the child as you take the images,

propeller or give him a seashell to listen to

than you would with an adult, and without

whether you’re using a remote or a hand-

as he sits in the dunes of your beach set.

sounding condescending. Use voice

held camera. If lighting or props need

6. LISTEN ACTIVELY. A toddler gets

inflections; if you sound almost like you’re

adjusting, tell the child what you’re doing

frustrated when he tries with all his might to

telling a bedtime story, a child is more likely

and why. Continually engage the child’s

tell you what he wants, and you just don’t

to listen to your instructions.

curiosity, and the child will remain interested.

understand him. For that matter, grownups

8. IMAGINE, PLAY. A child in costume

often feel that way, too, when we’re trying to

becomes the character. Interact with the pre-

EVERYWHERE. Positive reinforcement is

instruct a child. Imagine how a child feels

tend persona: I love your fairy wings, young

crucial. Compliment the child, even when

10. FLATTERY WILL GET YOU

October 2009 • Professional Photographer • 83

CHILDREN he’s not behaving well. Tell the little girl who

the parent: I can see you are feeling

your overalls, and I think Grandma will

doesn’t like the dress how beautiful she looks.

frustrated. Why don’t you relax in our

love them! Be enthusiastic when you tell the

Tell the little boy doing the opposite of what

lobby? Sometimes, during a session,

child how well he did.

you asked how handsome he is and what a

children respond better to a new person

Photographing young children can be

good job he’s doing. If you refuse to draw

than to a parent. Would you mind if I

challenging, but it’s one of the most fun and

attention to negative behavior, the child’s

talked to Susie alone? She might like the

rewarding kinds of photography. I’ll never

actions are likely to improve. You might also

idea of surprising you with a perfect

forget photographing a certain little girl for

be able to make the bad behavior work for

picture. A stressed parent will probably

her fifth birthday. During the session, she

you. Images of a stubborn little boy, arms

appreciate the opportunity for a break.

told me all about our session for her third

crossed with a defiant look or a pouting

12. CELEBRATE SUCCESS. The child

birthday, remembering every last detail,

toddler with a broken prop nearby add depth

and parent will talk about this experience

including the “pretend birdie” that perched

and variety to a session and are great additions

for a long time, and you want the memory

on her finger. A portrait session is an

to portfolios or multi-image products.

to be positive. When the session is over,

important event in a child’s life. An

reinforce the praise: Grace, you did such a

enjoyable experience will create a long-

be helpful assistants, but they can also

great job! I can’t wait for you to come back to

lasting relationship with the child’s family

become stressed when the child doesn’t do

see your beautiful princess portraits. You

and create loyal, appreciative customers. �

exactly as she’s told. When a parent orders

looked just like Cinderella! If the session was

the child to behave in a certain way, it can

especially challenging: Oliver, it’s okay you

destroy the atmosphere you’ve worked so

decided not to wear the suit Grandma gave

hard to create. Offer the waiting room to

you. We got some great pictures of you in

11. PARENTS OPTIONAL. Parents can

84 • www.ppmag.com

Renee Gardner-Dubins is the director of studio photography at Prestige Portrait Studio in Citrus Heights, Calif.

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Newly engaged and starting over in a new city, wedding shooters Eric Sartoris and Laura Elskan used their live photo booth, complete with backdrop and professional lighting, to set themselves apart. WEDDINGS All images ©Eric Sartoris & Laura Elskan

By Jeff Kent

S

ometimes things just click. Maybe that’s nothing new in a story about photographers, but you’d be hard pressed to sum it up better than the tale of

Eric Sartoris and Laura Elskan.

While as yet unknown to each other,

both were successful independent wedding photographers in Seattle. One day Sartoris was sipping coffee in Starbucks with his friends Ken and Tania Shepard, owners of Azzura Photography. They’d both been professional photographers when they met, and went into business together when they married. Joking with Sartoris, they said the key to his happiness was to fall in love with another photographer and settle down. “Just then, this tall, gorgeous woman walks in,” recalls Sartoris. “I elbowed Ken and said, ‘Why can’t she be a photographer?’” The “she” was Elskan and she was. They hit it off right away. As their relationship blossomed, they found it more and more difficult to be apart every Saturday while each shot a wedding alone. They started to work together when their schedules allowed. “When we looked at the images from our first couple of weddings together, we were blown away,” says Elskan. “The coverage was amazing. The combination of shots was great. Everything was so much richer.” Sartoris and Elskan decided to go into business together. They quickly developed a collaborative style, capitalizing on each other’s

Two starting anew Eric Sartoris and Laura Elskan show success can strike twice 86 • www.ppmag.com

strengths. Sartoris had always focused on album images, photographing with an acute sense of what the couple would buy. Elskan had concentrated on telling the story of the

wedding rather than going for the marquis

reopened business as Anthology Photography.

images. Combined, they brought clients the

Sartoris and Elskan took care to reinvent

best of both worlds. “That led us to the biggest piece of puzzle,

themselves in the right way. It was crucial to quickly establish a referral network, no easy

which I wish I’d known years ago—album pre-

task in a new locale. From the beginning—

designs,” says Sartoris. “Now we shoot weddings

the new beginning—Sartoris put his efforts

with a design in mind, creating a storytelling

primarily into vendor relationships. “When I

album with a variety of great images from dif-

started in Seattle, I was too focused on mar-

ferent angles and perspectives. Working this

keting to the bride,” he says. “I spent thousands

way has doubled or maybe tripled our sales.”

on bridal shows and ads to convince brides

About a year and a half after merging,

to book me. Later, I realized I got much more

the couple wanted to relocate to a warmer

business from wedding vendor referrals.

clime with abundant year-round sunshine.

Coming to Austin, I decided to focus on

Though they were well established in Seattle,

building those vital relationships as quickly

they were confident they could replicate their

as possible.”

success in their new home, Austin, Texas. They shipped everything to Texas, and

To avoid looking like desperate newbies beating on the door to the market, Sartoris

“The best part is that the live photo booth generates so much excitement that guests go home and say, ‘I want Anthology to shoot my wedding!’” —LAURA ELSKAN

October 2009 • Professional Photographer • 87

WEDDINGS and Elskan called in some favors from their

offering this feature as an upgrade from the

Seattle network. They lined up testimonials,

usual automated photo booths couples rent

referrals and glowing references from Seattle’s

for the wedding reception. While one

top-tier wedding market. They assembled

photographer roams the reception capturing

testimonials from both clients and vendors

candids, the other sets up an on-location

into a book to hand out to key contacts in

studio, complete with backdrop and pro-

Austin, along with branded carrying bags,

fessional lighting. “It’s a great way for our

soda bottles customized with their logo, and

clients to remember every guest at the

packets of discount cards for their services.

wedding,” says Elskan. “We encourage

To get to know the vendors personally, the

people to have fun, and we interact with

couple invited them to lunch, coffee, even a

them. As the night goes on, everyone wants

day at the spa.

to one-up the person before him. There’s

Despite these efforts and their networking, Sartoris and Elskan faced an uphill climb. “There are so many new wedding

always a great amount of energy surrounding the live photo booth.” Instead of sending guests home with tiny

photographers out there, and coordinators

prints, Sartoris and Elskan invite everyone to

get hit by them week after week. We really

view all of photo booth images on the studio’s

had to differentiate ourselves,” says Sartoris.

website. Print orders from these postings

“Our message was that we already have the

augment the sales from the wedding. With

experience. We’ve already worked at the upper

the set-up fee that’s added to the wedding

level. We’ve won awards. We were at the top

package, the live photo booth typically adds

of our game in Seattle and now we’re here.”

15 to 20 percent in sales per wedding.

One appealing differentiator is Anthology’s live photo booth. Sartoris and Elskan started

“The best part is that the live photo booth generates so much excitement that

guests go home and say, ‘I want Anthology to shoot my wedding!’” says Elskan. Less than a year after the move, Sartoris and Elskan are approaching the revenue they’d achieved in Seattle. With tireless networking, story-telling albums and innovative services like the live photo booth, they’re beginning to rise to the top of the market in their new home. “It gets back to differentiating yourself,” says Sartoris. “All these little pieces that make us different have helped us stand out. If you can back that up with great service and consistent quality, then you have a good recipe for success.” �

To see more from Eric Sartoris and Laura Elskan, visit Anthology Photography online at www.weddingphotos.com.

Chenin Boutwell took on the challenge of re-branding her wedding photography business to fly solo. She was just getting it all figured out when along came another major change in her life—motherhood. WEDDINGS

By Stephanie Boozer

A totally new year

T

Know thyself, know thy studio brand

list. “Because I really wanted to be true to my personal style, I listed random things I like,” she says. “Colors, textures, clothing stores, anything that inspired me. For example, I’ve picked up this huge collection of paint chips

wo-and-a-half years ago,

studio, and pulling in another partner seemed

and tea cups, and I sat down to figure out what

Chenin Boutwell stood at a

unlikely. Instead, Boutwell chose to fly solo and

it was about all of them that appealed to me.”

crossroad. Her husband and business

completely rebrand the studio. Having built a

partner in Boutwell Studios had left the

reputation in Southern California as husband-

in a new direction, and she hired a Web

studio to run the couple’s other business,

and-wife wedding photographers, that

designer to help her translate those ideas

Totally Rad Actions, which had grown

meant a total overhaul of the brand identity.

into a Web identity. The result was the new

exponentially and now demanded his full-time attention. Boutwell wasn’t ready to close down the

All images ©Chenin Boutwell

“I basically had to reinvent myself,” says Boutwell, “and that was a challenge.” She began, simply enough, by making a

That got Boutwell’s thoughts aimed

www.boutwellstudio.com, featuring a mix of vintage patterns and organic styling that visually sums up Boutwell’s tastes and style.

“It was a risk, because it was 360 degrees different from the brand the studio had when my husband was shooting with me,” she says. “The new style doesn’t appeal to everyone, just enough people to keep me busy every year.” Located in Mission Viejo, Boutwell Studios is about midway between San Diego and Los Angeles, an area saturated with wedding and event photographers. Boutwell knew she’d have to stand out among the competition, and that the best way to do that was to stay true to her own personal style. “If you look at my website versus my competitors’ sites, you’ll see I have a totally different take,” she says. “This was calculated on my part. I knew there were a lot of high-end photographers with elegant black-and-white websites with scrolling script. That’s not me, and I couldn’t really compete on that level; plenty of photographers were already fulfilling that niche. So I really stand out, and I think that’s why I’m still doing pretty well, even with the economic slow down.”

‘‘

WEDDINGS

Now there’s this whole crazy blog world, and you’re able to see what people are shooting every weekend. That tends to homogenize wedding photography. So don’t second guess how you shoot.

’’

Boutwell Studio's website reflects an eclectic taste. The gallery pages have the appeal of an artful and highly personal scrapbook.

92 • www.ppmag.com

More than “pretty well.” Boutwell’s rebranding has been so successful that she’s

AND BABY MAKES THREE How a busy studio owner handled her pregnancy

become a sought-out mentor, and is frequently asked to speak on the subject. “To begin with, I usually have people try to describe their style in five words or less,” says Boutwell. Then she leads them through a series of targeted exercises to help them hone in on what it is they truly want to photograph, and what they want to communicate about themselves to their clients. That gives the participants the start of a foundation to build their brand around. “Stop looking at what your competitors are doing and focus on your own photography,” she says. “Now there’s this whole crazy blog world, and you’re able to see what people are out shooting every weekend. That tends to homogenize wedding photography. So don’t second guess how you shoot. We all do our best work when we’re being true to who we are as photographers.” Boutwell takes time to step away from the genre of wedding photography to see what’s happening in other kinds, such as fashion and fine art. She also devotes time each week to sending her images to bridal blogs and magazines. The exposure to potential clients through blogs and editorial content in lieu of traditional advertising qualifies her work and solidifies awareness of her brand. “It’s essentially free advertising,” says Boutwell. “Most of the time, clients come to me having already decided that I’m the photographer for them. I’m lucky in the sense that the clients I do work with really get me. I put out a cohesive image, and for the people who my images appeal to, well, it’s usually a slam dunk for me.” �

For more from Boutwell, go to www.boutwellstudio.com.

Now that Boutwell has successfully transitioned into a new brand identity, the last year has brought another huge upheaval —the birth of her son. She continued to shoot late into her pregnancy, and is working out the challenges of folding her new role of motherhood into the running of a business. She frequently blogs on the subject, discussing everything from child care to the coolest, most functional highchairs, and finds herself in the position of online advice-giver to a multitude of pregnant photographers. “The first thing I tell them is that they need to figure out what their comfort zone is, such as how late into the pregnancy they want to shoot and for how long afterward,” she says. “I was very active throughout my pregnancy.” Boutwell let her own clients know early on about her situation, and affirming her intention to be there at their wedding. “I explained that I’d still shoot the engagement session, do all the postproduction

and album design, and that circumstances could forbid my shooting the wedding itself. If they weren’t comfortable with that, I was fine giving them a refund on their retainer and helping them find another photographer.” Only two clients opted out of their commitment with Boutwell. “I tell women that whether or not you feel like crap, it’s important to put on a strong front,” she says. “Your clients have paid you to be there. If you can’t give 100 percent, you have no business being there.” Boutwell decided to cut back on the number of weddings she’d do this year, from an average of 40 to just 25. “I think I made the right move in deciding ahead of time not to take as many weddings,” she says. “Try to explain things to your clients in the most positive way possible. If you start to act scared, then they’ll flip out. My goal for my clients was that on their wedding day, they would completely forget about the fact that I was pregnant.”

October 2009 • Professional Photographer • 93

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Flash System FL-36R Flash..........................................................................................$206.95 FL-50R Flash..........................................................................................$399.95 Zuiko 4/3 System Digital Lenses 35/3.5 Macro ED (52ø) ...................................................................$206.95 50/2.0 Macro ED (77ø) ...................................................................$449.95 7-14/4.0 ED (72ø) ......................................................................... $1,749.95 11-22/2.8-3.5 ED (72ø) ...................................................................$719.95 12-60/2.8-4 ED SWD (72ø)...........................................................$899.95 14-42/3.5-5.6 ED (58ø) ...................................................................$205.95 18-180/3.5-6.3 ED (62ø) ................................................................$449.95 EC-14 1.4x Teleconverter ..............................................................$375.95

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262' ......... $875.00

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

Minimum Shipping USA (Except AK & HI) $7.95, up to 1 lb. Add 95¢ for each additional lb. For insurance add 50¢ per $100. © 2009 B & H Foto & Electronics Corp. Prices subject to change. Not responsible for typographical errors.

Jarvis has just launched a trio of revolutionary works that include Best Camera, an iPhone app for enhancing, sharing and posting images.

All images ©Chase Jarvis

Chase Jarvis expands the boundaries of communication with imagery BY JEFF KENT

What moves you

hase Jarvis is a busy guy. With offices in Seattle and Paris, the photographer covers

musicians for an ongoing documentary. Jarvis jumped into commercial photog-

ments, he had a portfolio of images that had been used in major ad campaigns. Editors

some 150,000 miles a year on assignment

raphy in 1997. He’d been in graduate school,

for some of the world’s premier companies,

and realized he’d been spending way too

You don’t turn the established career

including Pepsi, Nike, Volvo, Apple and

much time studying dead artists, and too

development paradigm on its head unless

Reebok. He studies film and video and

little time creating art. Jarvis took what

you’ve got the chops to pull it off. Jarvis broke

multimedia storytelling, and he talks with

could be seen as a backward approach to the

into commercial photography with dedica-

the media. He tests new cameras. When he

commercial market. Rather than starting

tion, innovation and hard work. “Ultimately,

has a spare moment, he works on ambitious

with editorial assignments and building a

it’s about the pictures, but the mechanism

personal projects, such as photographing

name for himself, he went directly into

for landing clients is really through the cul-

Seattle’s 100 most influential citizens and

licensing images to commercial clients.

ture of your subject matter,” Jarvis explains.

arranging gatherings of world-class

When he later sought magazine assign-

“My first jobs were in sports. I immersed

found that surprising.

“Now as I work, my mind goes to motion, audio, movement in time. As I consider these elements, the method of capture becomes less and less consequential. The capture tool is just that, a tool. I want to use the format that can best tell the story.”

‘‘ ’’ Jarvis takes anywhere from one to one thousand iPhone photos a day, and shares them through online social sites.

myself in the culture of what I was photographing. I learned everything about it. I got in with the athletes and interacted with the people in that world. Those people have connections with the companies and the agencies, and that was my in. You might think that’s a unique way of looking at things, but I’d argue that it’s so obvious that it’s often overlooked. Let’s say you want to shoot car racing. Then you need to learn everything about car racing—the people, the vehicles, the parts, the fans, the lifestyle, everything. And not just read about it—you have to live it. Then you’re ready. It’s like that saying, ‘Luck is where preparedness and opportunity meet.’” A self-proclaimed “format agnostic,” Jarvis has always been interested in a convergence of photography and video. As the boundaries of his commercial work expand, he’s asked to tell stories with greater dimension, so that multimedia becomes the norm rather than the exception. “As a still photographer originally, my whole world was about creating an image that pulled everything into one, beautiful frame,” he says. “Now as I work, my mind goes to motion, audio, movement in time. As I consider these elements, the method of capture becomes less and less consequential. The capture tool is just that, a tool. I want to use the format that can best tell the story. “I used to get creative briefs that exactly outlined the project and how we were supposed to do it. Now the best ad agencies are thinking what’s the best way to tell the story? It could be anything from a static billboard to live capture of an event to video online or television. We once had this creative story in a box, and the box has been blown to pieces.” The expansion of format has affected Jarvis’s personal work as well. Art is something that moves people. The media is almost

100 • www.ppmag.com

beside the point. In fact, Jarvis has embraced

To that end, Jarvis has just launched a

and comment on the imagers. The site is a

the iPhone as a modern-day visual journal,

trio of revolutionary works, beginning with

constantly updated, user-generated gallery

an instant capture device that’s always avail-

a book of his iPhone photographs, the first

of pictures from around the world.

able. He takes anywhere from one to one

mass-published book of its kind, titled “The

thousand iPhone photos a day, chronicling

Best Camera is the One That’s With You.”

his travels, his visions, the life around him,

The second is Best Camera, an iPhone

“It’s my hope that this inspires a whole new

and shares them through online social sites.

“This whole project is about communicating in new ways with images,” says Jarvis.

app for enhancing, sharing and posting images,

way of thinking about the value of images.

A dedicated blogger with a huge online

which he partnered with the Seattle soft-

It’s not about pixels and file sizes; it’s about

following, Jarvis has seen his i-galleries get 2

ware company Übermind to create. The

what moves you.” �

million hits in a weekend. Last month’s com-

application simplifies iPhone photography

ments on his galleries included correspon-

in a three-click process: Click to capture,

dence from 190 countries. The popularity of

click to apply a range of filters, click to

his image sharing brought an inspiration:

share the images on social websites and

Why not enhance the iPhone photo and

online forums.

share the process? Why not create a new

The third piece is the online community,

ecosystem for people around the world to

TheBestCamera.com, providing a live feed

share images and express themselves visually?

for the app shooters to upload their pictures

To see more from Chase Jarvis, visit www.chasejarvis.com and www.chasejarvis.com/blog. Become a follower or fan at www.twitter.com/ chasejarvis and www.facebook.com/ chasejarvis. The new book is available at major booksellers, including Amazon.com. The app will be available at www.chasejarvis.com/bestcamera and at www.thebestcamera.com.

All images ©Timothy Greenfield-Sanders

“… I’m interested in what others have to say. Portrait photographers get to meet interesting people all the time.” —TIMOTHY GREENFIELD-SANDERS

BY LORNA GENTRY

MOVING P O R T R A I T S Timothy Greenfield-Sanders continues to forge ahead

y work has always been about serial obsessions,” says portrait photographer Timothy Greenfield-Sanders. When he was in his “artist” period, he photographed more than 700 luminaries of the art world over a 20-year span. Then it was musicians— he photographed them by the hundreds. Later he turned his lens on more than 100 fashion designers, and then he fixated on stars of pornography. His latest image obsession is prominent African-Americans. Greenfield-Sanders’ obsession extends to collecting as well. His impressive photography collection is dwarfed only by his collection of paintings. Yet more than anything else, Greenfield-Sanders collects people. As much scientist as artist, he scrutinizes his subjects and records them on film, video and digital media, and catalogs the images in a vast archive, whole sections of which have been exhibited and published. For three decades, he has coaxed the most successful people in a variety of fields to pose before his 11x14 and 8x10 view cameras. In essence, Greenfield-Sanders’ bare-bones approach to portraiture ropes off the subject museum-style for close, aesthetic observation. All subjects are treated equally—celebrities, politicians, even the porn stars. Each steps in front of a plain background illuminated by a single light to go one-on-one with that enormous camera. If you stand back and take a long view of his considerable body of work—thousands of color and black-and-white portraits ranging in size from large to very large—you’ll see a theme emerge: Common to the images is the subject’s unmasked, unflinching stare. Greenfield-Sanders’ credits some of his finesse with people to his time in film school in the 1970s, where he picked up some acting techniques at the American Film Institute in L.A. “There are wonderful little ways to help people relax or be fresh in a scene,” he says. For example, if a shot is “looking stale,” he has the subject walk away and return, even if it’s to the same spot. “It gives you a different feeling.” He credits his huge camera as well. “The 8x10 camera is such an anachronism that people are amused by it, [it’s] almost like a circus prop. People are used to being photographed with a little 35mm camera with someone taking hundreds of images very quickly. I take a half-dozen Image appearance p. 102: Toni Morrison; p. 103: Bill T. Jones; p. 105 (clockwise, top left): Angela Davis, Al Sharpton, Suzan-Lori Parks, Chris Rock; p. 106: Sean Combs, Bishop Barbara Harris, Vernon Jordan; p. 107: Lorna Simpson, Colin Powell, Zane; p. 108: Tyler Perry.

104 • www.ppmag.com

very thought-out images in a space of 5 to 10 minutes, and the subject is collaborative. I stand next to the camera, not behind it, and I see every gesture. At the last second I say, ‘Look at the camera now, look into the lens,’ and boom I take the picture.” Beyond technique is Greenfield-Sanders’ powerful persona—smooth, cool alpha male. He

wears his self-confidence close as a wetsuit,

called on friends Gore Vidal, John Waters,

portraits and transcripts of the subjects’

repelling doubt in his dives beneath the

and Salman Rushdie, among others, to

responses to Mitchell’s probing questions.

surface of his subjects. “The best way to

write essays. Some of his friendships with

Greenfield-Sanders wanted the Black

approach a portrait is to listen to your

the rich and famous began in film school,

List films (Black List: Vol. 3 is his fifth film)

subject and sense what it is that they’re

but most have evolved through private,

to be animated versions of his portraiture.

afraid of,” he says. “I try to create a mood of

commercial and commissioned portraiture.

Subjects look straight into the camera and talk

trust in the studio. Sometimes I have to show

“I’ve stayed true to myself,” he says, noting

frankly about their experiences as African-

them that I’m trustworthy by sending signals,

that stylistically his commissioned portraits

Americans. “My idea was to take my unique

consciously and unconsciously. That’s what a

are no different from his personal work. “I

style—the direct portrait—and bring it to

good portrait photographer does. I usually

never felt I could do lots of different types of

life in film,” says Greenfield-Sanders. “In a

know something about a person beforehand,

photography. I was interested in people. It was

way it’s radical filmmaking because there are

but mostly I intuit. I’m a lightening-quick

natural for me to become a portrait photog-

no cutaways.” Just as he crafts portraits that

study and I’m interested in what others have

rapher because it’s a good way to meet people.”

engage without gimmick, in his films, he

to say. Portrait photographers get to meet interesting people all the time. At least, I do.”

Friendship helped forge a creative part-

relies on beautifully lit people in unadorned

nership in 2006 with film critic Elvis Mitchell,

settings speaking directly to the camera to

his East Village neighbor in Manhattan. The

make for compelling viewing.

FAMOUS FRIENDS

two are at work on their third HBO film, The

Yes, Greenfield-Sanders has met many

Black List: Vol. 3, tentatively scheduled to air

camera, as an influence on his portrait and

noteworthy people over the years. He makes

early in 2010. The series features prominent

film styles. He’s captivated by Warhol’s

friends easily and keeps in touch. So for his

African-Americans talking about being black

minimalist black-and-white film series Screen

2004 “XXX: 30 Porn Star Portraits” book

in America. The first film was also made into

Tests, made in the ’60s. The subjects simply

(Bullfinch), exhibition and HBO film, he

a book (Atria) featuring Greenfield-Sanders’

stood in front of a tripod-mounted camera

He cites Andy Warhol, who sat for his

“My idea was to take my unique style—the direct portrait—and bring it to life

as he recorded them. “I like the fact that

Goya’s paintings “La Maja Vestida” and “La

there was almost no direction, just a person

Maja Desnuda.” “My work has always been

of his famous father-in-law, Abstract

being himself,” says Greenfield-Sanders. “I

filled with historical art references.”

Expressionist Joop Sanders, included Willem

tried that early on in my portraiture. I wanted to be as unobtrusive as possible.”

The first people he photographed, friends

Greenfield-Sanders made small films

de Kooning and Larry Rivers. Next Greenfield-

while at Columbia, which helped him gain

Sanders turned his lens on rising art stars of

entrée to graduate school at the American

the ’80s, like Julian Schnabel and Robert

FINE ART INSTRUCTION

Film Institute. Once there, he volunteered to

Mapplethorpe. He acquired a reputation for

No doubt Greenfield-Sanders’ DNA carries a

photograph the guest lecturers, using 35mm

his odd large camera and straightforward

double helix of filmmaking and photographic

and medium-format cameras. He didn’t really

style. Soon commercial work paved the way

talent, which remarkably, he didn’t discover until

know what he was doing, and his subjects

to an agent, gallery and museum shows, and

graduate school. After high school in Miami,

forthrightly told him so, some of them harshly,

his first film, the 1999 Grammy Award-

Greenfield-Sanders got his undergraduate

especially Bette Davis. “Alfred Hitchcock, Bette

winning Lou Reed: Rock & Roll Heart.

degree in art history at Columbia University.

Davis and Ingmar Bergman all corrected

“I wanted to be a filmmaker, but my guid-

me,” he says. “By the end of my time making

Kodak quit making black-and-white

ance counselor wanted me to have a proper

films, I had fallen in love with portraiture.”

Ektapan film. “All those years of buying film,

undergraduate education first. He was

Then in 2004, the unthinkable happened.

The purchase of an 11x14 camera just

I never imagined that the tools I used to

right,” he says. “As an artist, having an art

before he left Los Angeles to live in New York

make my iconic images would one day be

history background is invaluable. My work

changed his life, he says. “I went from shooting

gone. Technology has changed my choices.”

is an homage to Rembrandt, and my porn

rolls of film to literally shooting one or two

But the timing was right; he wanted to

series is a direct steal from Goya,” referring

sheets of film, because I couldn’t afford it.

shoot the “XXX” series in color. He switched

to his double portraits of porn stars, whom

Every frame had to count. I had a small studio

to an 8x10 Deardorff camera and, sources

he photographed clothed and nude à la

and invited people I knew to sit for me.”

tell him, he’ll be able to get materials for it

in film. In a way it’s radical filmmaking because there are no cutaways.”

for another 10 years. “It’s the end of an era.

work. “You can’t do with digital what I do

but I’m not locked into it. It’s just the way I

But, you know, if I hadn’t been a large-

on 8x10, but I don’t think it will be long

do what I do.” When the time comes, he

format photographer I would be shooting

until you will be able to shoot a digital file as

says, “I’ll figure out another way to do it.” �

everything digitally now. There’s no reason

large with as high quality. My look is not

not to shoot digital.”

about the technology. It’s about my relation-

Greenfield-Sanders also uses a Canon

ship to the person and the simplicity of my

To see more work by Timothy GreenfieldSanders, visit www.greenfield-sanders.com; www.blacklistproject.com.

EOS D5 digital camera for fun and some

lighting. I’ve always used weird equipment,

Lorna Gentry is a freelance writer in Atlanta.

IN THE STUDIO: TIMOTHY GREENFIELD-SANDERS CAMERAS • Two 8x10 Deardorff cameras, with 450mm lenses, one portable and one mounted on a wooden stand in the studio. • Polaroid 20x24 camera and 809 Polaroid processor • Canon EOS 5D, with various lenses Hasselblad film camera LIGHTING • Elinchrom Octabank (large) • Profoto strobes with dual heads • Minolta color meter • Minolta light meter COMPUTERS & SOFTWARE • Seven Apple G5 towers, iMacs and laptops • Adobe Photoshop CS3 • FileMaker Pro SCANNERS • Epson Expression 10000XL • Epson Perfection V750 Pro OUTPUT • Epson Stylus Pro 9800, wide-format Prints of Greenfield-Sanders’ portraits have been as large as 60x72 inches. The Black List project was printed on a 44-inch wide Stylus Pro 9900 using Hot Press Bright paper. Nash Editions and Primary Photographic have printed Greenfield-Sanders’ most recent shows.

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

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110 • www.ppmag.com

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Success comes to those willing to hang on until they make it. Like runners, you have to go through a little pain to enjoy the euphoria of photography. We’re no economic slouches, but we know we wouldn’t survive in a silo. Everything changes so fast that you just can’t stay on top of it by yourself! That’s part of why we love PPA, PPC, and our local associations—nding them was the equivalent to nding the Internet. They help us know what we need to know. Only together can we be successful in tumultuous times. And the support system in these associations just makes it easier.

Steven & Peggy Roosa | Sandstone Photography | PPA Members since 2008

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

g.Cr., API

recipients, I realized there was more. There was a responsibility to share my knowledge with others, to mentor, to inspire, and to wear my ribbon proudly around my neck at all photographic events. My journey continues today as I still pursue the often evasive print merit. I’ve realized there is no formula, no silver bullet…just excellence that requires me to be on the top of my game nearly 25 years later. Entering competition made me a better photographer, a Master of my craft. Each day, I still study and learn. I look to others I respect (and some I don’t even know) for inspiration. I study art—all in a quest to grow and redefine myself as an artist. Each time I pack my bags for another trip, I unzip the velvet-lined pouch to make sure my ribbons and medals will travel by my side. As I look in the hotel room mirror, I always check and straighten the ribbons. In that blue and yellow I see a journey that has taken many years…something I’m proud of that has made me a better person and photographer.

© Ron Nichols, M.Photo

I remember the first time I entered print competition. It was at the Professional Photographers of Michigan convention around 1984. The convention was held in the beautiful Amway Grand Plaza Hotel in Grand Rapids, Mich. Like most “newbies,” I had butterflies in my stomach about the whole event. After all, I was just twenty-something. At that point in my life, I didn’t have a lot of experience in five-star hotels, let alone print competition. The room was dark and quiet. Spotlights illuminated the prints as they spun on the turntable, and scores were announced with a deep voice. Every once in awhile a judge would call “challenge,” and the pace would slow as the silhouetted figures took turns explaining their scores and pleading their cases. Oneby-one they spoke, as an attentive crowd hung on each word. As I watched, I learned. Each judge brought out a different perspective as they interpreted the story and pointed out the technical deficiencies or gave kudos to the craftsmanship. They saw things I had not noticed before—things that, once pointed out, became a revelation. When the judges took a break, I saw a common thread. Ribbons of blue and yellow hung around their necks. Medals hung from the ribbons, and some had glistening bars encasing the ribbon above the medals. I knew of the Master of Photography degree, but I had never seen so many in one place. During college, I worked in a studio whose two owners often prepared competition prints on the quest for merits, something else I didn’t really understand. They both spoke of strong desires to become “Masters” and separate themselves from the pack. It was there in Grand Rapids that my journey began. It was (and is) a journey of learning and fellowship—all in pursuit of photographic excellence. This was very different than my college years because it was focused, I was educated by the some of the greatest in our industry, and I shared a path with many who have become lifelong friends. I thought my journey had ended in 1990 at Las Vegas when my father hung a yellow ribbon around my neck. But as I stood there while John Howell read the charge to the all the degree

Isn’t it time to start your journey? 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

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

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

2008 AN-NE MARKETING AWARD SPOTLIGHT: by Angie Wijesinghe, PPA Marketing Specialist Online forms of marketing have become increasingly popular. After all, many of your clients are online in various places, often making it ideal for your messages. But that popularity can have its downside, as Wendy Rouleau of Portraits by Wendy admits. “Keeping everything updated is overwhelming!” she notes. “I think having all the options [to use in marketing] starts to dilute the power of any one format.” The key is in understanding what your customers want and where they get their information. That perception helped Rouleau create an e-mail campaign that won her the Best Online Marketing Campaign in the 2008 AN-NE Marketing Awards. “What you can do is not the important thing,” she explains, speaking of all the options for getting the message out to clients. “What’s important is to consider the best tool for reaching your target client.” For example, Rouleau used e-mails to announce a last-minute “Going to the Beach” vacation shoot. The e-mail decision was made because they needed a highly qualified audience for these types of sessions (Facebook wouldn’t have been as targeted). Plus, they had a group of past customers who had e-mailed inquiries about the possibility of their beach trip. That, combined with the quick, simple ease of e-mail (and the ability of the client to

quickly respond back) made it the best choice. Within three hours, she had six calls, 10 replies, and plenty of pass-alongs from that one message (and the sessions were soon filled). Now, e-mail is not always the best choice, as Rouleau would be the first to admit. When she is targeting her senior prospects, she avoids e-mail because they tend not to use it as much. That’s when Facebook comes into play. Basically, you have to pay attention to how your clients reach you. Rouleau knows which of her good clients are Internet-savvy if they e-mail her, book sessions online, etc. But if they like to call, she doesn’t rule out direct mail pieces to stir them up. Still, the effectiveness of Rouleau’s e-mails can’t be ignored. It’s partially due to the thought and research she puts into them. For one thing, she knows that her clients tend to blow right past regular text copy. That’s why she designs her e-mails in HTML format, including lots of images, concise copy, and fluid links to her website (like an online postcard). Yes, HTML means that SPAM filters can be a problem, but she wants to catch clients’ attention. To lower the chances of being flagged as SPAM, Rouleau and her team always work to establish connections with prospects and clients. They often ask, “Are you on our e-mail list?” Or they will get a client/ prospect to e-mail them to enter a contest, establishing that e-mail path.

Board Member Spotlight Carol Andrews, M.Photog.Cr., ABI :: PPA Member since 1986 :: Location: Missouri City, TX You Can’t Buy Customers Struggling to bring in enough clients? Is your wordof-mouth marketing just not working well? Carol Andrews, PPA board member and owner of Andrews Photography, Inc., has some advice for you: “Take your hands off the keyboard and leave your hidey-hole!” As a PPA Studio Management Services mentor, Andrews has given similar advice to many photographers. The

problem is that many (we’re all probably guilty of this) want a solution on a CD—“something you can buy and apply,” she says. “But you can’t buy customers. You earn them.” In fact, Andrews advocates doing your “homework” when it comes to bringing in clients. A powerful way to find referrals is by partnering with different businesses. And that requires research. For example, Andrews visits a store (like a maternity

boutique) to evaluate what she could do to make their business or website stronger through images. This way, she has an arsenal of ways to help them in exchange for what she needs (a store display or a referral program)…before she approaches. Don’t forget about your Chamber of Commerce, either. From them, Andrews has gotten lists of local merchants, which help her choose the businesses to approach. Let’s say she focuses

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

Rouleau also measures every e-mail campaign, just as she does every other marketing effort. She follows through with Campaigner™, her e-mail tool, watching the open rates, where people click on the e-mail, how often it’s passed along to others, etc. She also keeps track of everything in her PhotoOne software. For instance, PhotoOne lets Rouleau tag every promo (they ask every client where he/she heard about the studio). Then, she can determine what marketing effort is worth another try. “I know how much postcards and shipping cost, so I can figure out how many sessions I’d need to complete to pay for it… versus how many it would take for an e-mail and so on.” Another reason Rouleau measures so consistently is to ensure she gets the biggest bang for her buck, which is especially important now. And that requires her to not only know where she wants to focus her marketing, but also what platforms work best for different audiences. At the moment, she focuses on seniors and baby portraits—her highest averaging sessions. And when she does marketing (including online marketing), she is extremely careful. “Marketing doesn’t mean get out to the masses,” Rouleau says. She wants to qualify her clients and reinforce her studio’s image, so defining her target market and how to reach them is essential. Once again, it’s not what you can do—it’s what’s best for the client. It just happens to be what’s best for the studio, too!

What’s important is to consider the best tool for reaching your target client.

on three upscale homebuilders because she wants them to offer their new homeowners a family portrait gift certificate. Before she can make that pitch though, she has to find out who makes the marketing decisions for those builders. A lot of your research involves finding that right decision-maker. Explain (to whomever you first talk) how they can use your photographic services, and ask who you should talk to about it. You can even mention the name of the person who referred you to the decision-maker. After all,

you are more likely to listen if someone drops the name of a person you know and trust. Andrews also suggests building a networking group to save a few referral steps. One of her “mastermind groups,” as she calls them, is made up of just three other business owners. They get together for coffee once a month and bring their address books, sharing both who they know and what they need. Just be careful when you build those connections. “We are guilty by association,” Andrews reminds. “So place yourself with those you want to associate with,

© Cheryl Pearson

Wendy Rouleau Portraits by Wendy – Buford, Ga. www.portraitsbywendy.com The annual AN-NE Marketing Awards competition recognizes outstanding ingenuity and effectiveness in real-world marketing endeavors. Named in honor of Ann Monteith and Marvel Nelson, both marketing gurus and past PPA Presidents, the competition is open to PPA members only. Learn more on the Competitions page at www.ppa.com.

POWER OF VIDEO

Photography is a visual business, and videos are a powerful addition, according to Wendy Rouleau. Try the following: » Put a slideshow of images set to music on your website. Don’t make them random, choose what images will create the right mood. » Upload a video of images or yourself shooting a session on Facebook or a blog. » Make a shareable video for your clients with your logo all over it. They can keep it, share it, post it, etc. » Look into creating a mini website/blog for clients (like new mothers) and post a video of their images, allowing comments.

those who will get you to the right people and who match your own service, quality, and care.” As you can see, there is a lot of work to be done. That’s why this part of your marketing needs to be put in your marketing budget and schedule. Make yourself accountable for it…so you are more likely to follow through! “You can’t do this electronically,” adds Andrews. “Getting referrals and bringing in customers has to be done face to face and, more importantly, heart to heart.”

CAROL’S NETWORKING PROCESS:

1. Research. 2. Meet and greet. 3. Plant specific ideas (explain how you can help). 4. Create an action for that meeting (the next step). 5. Ask who you need to speak to for the specific action you want to complete. 6. Send a personalized, handwritten thank-you note to the person who told you where to go.

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

PPAtoday | October 2009 | news from Professional Photographers of America

GET AN EDGE ON PPA PRINT COMPETITION By Jon Allyn M.Photog.MEI.Cr., CPP

If you were trying to win a bake-off at your state fair, you probably wouldn’t take your chances by submitting your entry without tasting it first (and refining your recipe). In fact, you’d probably try several different recipes and solicit the opinions of family and friends. Likewise, only entering the International Print Competition probably isn’t the most productive approach for winning and improving. There is a much better way to optimize your results. Because print competition is the ultimate photographic education, it makes sense to enter as often as you can. Doing so also allows you to choose your absolute best images to enter at the international level. My state of Wisconsin has long been known for the success of its photographers in print competition. What you possibly don’t know is the process most of them went through to obtain that success. In Wisconsin, we currently have four local photography associations, which host up to six print competitions each year.

Plus, the state competition is in the fall, and the PPA Regional Affiliated competition is in late February. This means that someone entering at just one of the local associations can “test drive” up to 14 images per year. Some of those images might be sent on to the state judging or four new images may be sent. The same holds true for the PPA Regional Affiliated judging. In fact, it’s possible to have 22 images evaluated prior to choosing what you send to the PPA International Print Competition (at least in Wisconsin). This greatly increases your chances of having four merit prints going to the “Big Show.” Clearly, utilizing the resources available to you and putting in the time and effort to refine your images will greatly improve your results at the international level. Look into entering all different levels of print competition…and enjoy the journey. Learn more at www.ppa.com/competitions

IN MEMORY Theodore “Ted’’ Sirlin Ted, M.Photog.Cr.Hon.M.Photog., passed away July 31. He started his business in 1946 and became a leader in the industry and in photographic associations. A past president for both PPA and Professional Photographers of Sacramento Valley, Ted’s award-winning accomplishments can be seen in his degrees and credentials…but mostly in the images and memories he leaves behind. See his obituary on the PPA Today Blog.

Dave Cisco Dave, M.Photog.Cr., CPP, passed away the evening of August 18. A longtime member of PPA and the Fort Worth PPA, he had many friends who will all miss him very much, especially his wife, Jo Rita, and his family. Rest in peace, Dave.

TWO NEW WEBINAR SERIES…FREE AND EXCLUSIVE TO PPA MEMBERS!

If you’re hungering for more instant education gratification, look to this new PPA member benefit: the free, member-exclusive siv ivee webinar series from PPA Education, with generous support from our sponsors. You’ll start gathering ideas and solid advice wi with w th h these two webinar series, sponsored by Adobe and Canon and focused on photography style, technique, and workflow.

PPA EDUCATION AND CANON® PRESENT: EXPLORING …

PPA EDUCATION AND ADOBE® PRESENT: FROM CAMERA TO CLIENT

This monthly series features Canon “Explorers of Light” sharing their imagery, techniques and insights.

This four-part series, sponsored by Adobe, offers tips and tricks for each step of your digital imaging workflow, from dynamic raw processing to flawless retouching.

October 5 / 12-1pm EST Photographing Children, with Michele Celentano, Cr.Photog. November 2 / 12-1pm EST New Ways of Working and Seeing to Win Clients, with Ken Sklute, M.Photog.Cr. November 30 / 12-1pm EST FONG Shui: Harmony with the Art of Posing and Lighting, with Hanson Fong, M.Photog.Cr.

September 21 / 12-1pm EST The Art of Facial Retouching, with Jane Conner-Ziser, Cr.Photog., API October 19 / 12-1pm EST Streamlined Post-Processing with Lightroom, with Nathan Holritz November 16 / 12-1pm EST Dynamic Camera Raw Processing, with Katrin Eismann December 14 / 12-1pm EST Shaping Master Prints Using Photoshop CS4, with Greg Gibson

PRESENTED LIVE ON MONDAYS, THESE WEBINARS WILL ALSO BE ARCHIVED FOR ON-DEMAND VIEWING. See updates at: www.PPA.com/education-events/webinars.php.

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

October 2009 • Professional Photographer • 119

LabTab

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

LabTab ad specs: • AD SIZE: 31⁄2 X 21⁄2 • 12X RATE: $425.00 • 6X RATE: $525 PER MONTH Sign a 12x contract and receive a double size feature ad twice during your contract year at no extra charge.

For more information, contact your advertising representative: BART ENGELS, Western Region Manager, 847-854-8182; [email protected] SHELLIE JOHNSON, Northeast Region Manager, 404-522-8600, x279; [email protected] BILL KELLY, Southeast Region Manager, 404-522-8600, x248; [email protected]

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LabTab

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

Buyer’s Gallery Ad size: 21⁄4” x 43⁄4 12x rate: $575.00 / 6x rate: $625.00 (gross per month) For more information, contact your advertising representative: BART ENGELS, Western Region Manager, 847-854-8182; [email protected] SHELLIE JOHNSON, Northeast Region Manager, 404-522-8600, x279; [email protected] BILL KELLY, Southeast Region Manager, 404-522-8600, x248; [email protected]

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SAVE THE DATE FOR MUSIC CITY Gaylord Resort & Convention Center January 10-12, 2010 • Nashville, TN

Register and book your rooms now www.IMAGINGUSA.org

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

October 2009 • Professional Photographer • 125

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

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PRO FE S S I O NA L

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

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.

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.

INCORPORATION SERVICES

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

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

COMPUTER/SOFTWARE

INSURANCE

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.

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.

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

ARTISTIC ENHANCEMENT

DIGITAL

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

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.

ACCOUNTING

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

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

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CANVAS MOUNTING

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

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October 2009 • Professional Photographer • 129

good works |

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

©Bob Coates Photography

thing about the image really affected me.” Then came the inspiration to use the portrait in a fundraiser for one of his father’s favorite charities, the local chapter of Meals on Wheels. He offered to sell prints of the image, which he titled “Enduring Comfort,” and donate all proceeds to the charity. The Meals on Wheels chapter, run through the Sedona Community Center, embraced the idea. The organization launched a Web page for the sale of the prints, and supports Coates’ program with local promotions. Coates uses his site to sell prints as well, in formats from 5x7 photographic prints up to 32x40-inch giclées. The SCC also arranged print sales at several area art galleries. Coates has raised a modest amount already, and with no end date for the project, is making a big push to raise a substantial amount by the winter holiday season. Moreover, Coates has signed up to drive a Meals on Wheels route once a week. “I don’t know why it is, but at the end of my route, I always come home smiling,” he says. “I wanted

Enduring comfort

I

to do something to honor my father, to follow in his footsteps, and this and the ‘Enduring Comfort’ projects are ways of doing that. As photographers, we have an incredible gift we

FOLLOWING FATHER’S FOOTSTEPS TO BENEFIT MEALS ON WHEELS

can share, and it’s important to give back.” �

always knew my dad was generous,” says

To see the Sedona Community Center “Enduring Comfort” site, go to accsedona.org/Coates/index.html. Visit Bob Coates online at bcphotography.com. To learn how you could contribute to a Meals on Wheels organization near you, go to www.mowaa.org.

When Coates spoke with his father’s 89-year-

Sedona, Ariz., photographer Bob Coates,

old next door neighbor, Genevieve Munson,

M.Photog.Cr., CPP, “But I didn’t know just

he was fascinated by the near-nonagenarian,

how generous until he passed away. I was in

and asked if he could take her portrait. During

Pennsylvania going through his books, and I

the session, he suggested that Munson hold

discovered that he was supporting a big group

something of special meaning. She selected her

of charities with monthly donations, volun-

Bible. “When I got home and started working

teering at church, and delivering Meals on

on the image, it just spoke to me,” Coates recalls.

Wheels until he was almost 87 years old!”

“I’m not a very religious person, but some-

130 • www.ppmag.com

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

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