Professional Photographer UK February 2008

FEBRUARY 2008 | WWW.PPMAG.COM | $4.95

©Louise Botticelli

g p a l b u m s i nt r o d u c e s ou r n e w

OPTIMUS SELF-MOUNT ALBUM & FOLIO COLLECTION

OPTIMUS SELF-MOUNT ALBUM FEATURES: • High-end style • Repositionable adhesive (creates permanent bond within 2-3 days) • Thick mounting pages • 40 different cover material options • 10 album sizes & 7 folio sizes • Inset cover designs available on most sizes

Your Photos. Your Life.™

A Division of General Products, L.L.C.

800.888.1934 e-mail: [email protected] www.gpalbums.com

CONTENTS PROFESSIONAL PHOTOGRAPHER | FEBRUARY 2008

Features 74

DOUBLE VISION Louise Botticelli’s booming bicameral business model by Jeff Kent

82

SHOT THROUGH THE HEART Marcus Bell throws heart and soul into his photography, whether documenting a wedding or creating fine art by Stephanie Boozer

90

9TH ANNUAL HOT ONE AWARDS Technology that works for you by Jeff Kent

68

COMMERCIAL: FLIP SIDE

Jason Lindsey forges a commercial career with a dual perspective by Jeff Kent IMAGE BY MARCUS BELL

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

14

FOLIO

112

CALENDAR

119

PPA TODAY

138

GOOD WORKS

©Jason Lindsey

Departments C O N TA C T S H E E T 20 Inspiration Sundance style 22 Irving Penn exhibition 24 Dutchess of Carnegie Hall:

Editta Sherman 28 Public lands and permits

PROFIT CENTER 33 What I think: Louise Botticelli 36 The joy of marketing

by Sarah Petty 40 Buying into books

by Kalen Henderson 42 Do more in less time and prosper

by Charles J. Lewis

THE GOODS 45 What I like: Kerry Brett Hurley 46 Pro review: Nikon D300

by Ellis Vener 54 Pro review:

Canon EOS-1Ds Mark III by Ron Eggers 60 Lighting: In the studio

by Ed Pierce 64 Lighting: The Zeus System

by Ellis Vener

68

Commercial photographer Jason Lindsey of Champaign, Ill.,

is living proof of the value of having a dual perspective. His experience as an art director

and designer enhance every shoot, and his clients appreciate the difference.

6 • www.ppmag.com

ON THE COVER: Louise Botticelli photographed Cameron, age 3, at her Setauket studio. The image was captured using a Kodak DCS Pro Back 645 on a Contax body with a 140mm Zeiss lens, exposed for 1/125 second at f/8. The image was retouched in Photoshop, finished with Corel Painter, and titled “Sailing the Seas of Imagination.”

P ROF E S S I ONA L

EDITORIAL

director of publications

CAMERON BISHOPP [email protected]

To market, two markets

senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

CATERING TO DISPARATE CUSTOMERS THE SMART WAY

features editor

manager, publications and sales/strategic alliances

Thanks to the hospitality of family friends who own a beach home

LESLIE HUNT [email protected]

there, for the last 10 years I’ve been fortunate enough to vacation on

editor-at-large

sales and marketing assistant

JEFF KENT [email protected]

CHERYL PEARSON [email protected]

a very lovely and luxurious little island near Charleston. The exclusive summer enclave is brimming with million-dollar houses and the wealthy vacationers who enjoy them.

KARISA GILMER [email protected]

technical editors

ANDREW RODNEY, ELLIS VENER

For years, the only place to buy groceries in the area was a mid-

director of sales and strategic alliances

range, practical sort of chain store right off the island, where both

SCOTT HERSH, 610-966-2466, [email protected]

year-round residents and wealthy summer vacationers bought their

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

milk—the kind of place where I normally shop, with a discount aisle and half-price specials.

western region ad manager eastern region ad manager

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

One summer we returned to find that a gourmet grocery had

MOLLIE O’SHEA, [email protected]

been built right on the island. It’s the kind of “shoppe” that sells $45

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

imported olive oil. I couldn’t help but notice how the disposable income went flying when we visited the store for our freshly ground

subscriptions

dark-roast coffee. After check out, I glanced at my receipt. At the very bottom in tiny print was the name of none other than the mid-range grocery store down the road. How clever. The owners had opened a luxury store directly targeting those monied vacationers, wisely choosing to keep the two brands separate. Louise Botticelli, whom we feature this issue, has also embraced this separate but equal concept. After years at the helm of an upscale portrait business catering to customers happy to fork over big dollars for art, Botticelli opened a second, more accessible studio that targets customers looking for more affordable portraits and other photographic services as well. She gave it a moniker of its own. The way she and her team executed the expansion reinforces a fundamental concept in professional photography: Your brand is sacred. Botticelli’s savvy in opening a wholly separate storefront protects the desires and comfort of both clientele. Turn to her story on p. 74 to learn more. I Cameron Bishopp Director of publications [email protected]

10 • www.ppmag.com

editorial offices

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

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

9

Thank you for helping us win our ninth Hot1 award! How did Collages.net win Professional Photographer’s Hot1 Award nine times? By listening to you, our customers, for the past eight years. You told us how we could help increase your business and simplify your workflow, and we have listened. Now over 10,000 professional photographers are using Collages.net and reporting revenue boosts from our high-quality products and time-saving workflow.

Are your products hot? Sign up free at www.collages.net/signup and learn how your studio can start benefiting from the hottest products and services in the industry.

7

Gallery Wraps

8

collagesColorTM + collagesDesktopTM

9

Build Your Brand

Albums | High-End Cards | Press Printed Books | Gallery Wraps | Professional Printing | Online Presentation Check out Collages.net’s comprehensive product line at www.collages.net/products. ©2008 Collages.net Inc. All rights reserved. Photos ©2008 Brett Chisholm Photography and TriCoast Photography.

chairman of the board *MICHAEL GLEN TAYLOR M.Photog.Cr.Hon.M.Photog., API, F-ASP [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

2007-2008 PPA board president *JACK REZNICKI Cr.Photog., API [email protected] president-elect *DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP [email protected] vice-president/treasurer *RONALD NICHOLS M.Photog.Cr., API [email protected]

12 • www.ppmag.com

directors RONNIE NORTON ABI, Qualified European Photographer, Associate of the Irish PPA [email protected] LOUIS TONSMEIRE Cr.Photog., API [email protected] DON DICKSON M.Photog.Cr., CPP [email protected]

CAROL ANDREWS M.Photog.Cr., ABI [email protected] SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected] TIMOTHY WALDEN M.Photog.Cr., F-ASP [email protected] industry advisor MICHAEL GREEN [email protected] legal counsel Howe and Hutton, Chicago

SANDY PUC’ M.Photog.Cr., CPP, ABI [email protected]

PPA staff DAVID TRUST Chief Executive Officer [email protected]

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

SCOTT KURKIAN Chief Financial Officer [email protected]

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

Expect More Beautiful Color

At Miller’s, consistent, beautiful color is just as important to us as it is to you. That’s why we offer color correction on our photographic prints and press products. Every step of our process guarantees the color of your printed images. We don’t simply press “print”. When you look good we look good. Don’t settle for less.

www.millerslab.com

folio|

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

©Tim Ostermeyer

TIM OSTERMEYER “The entertainment value of this image is that there are four long telephoto lenses with minimum focal length of more than 10 feet to photograph polar bears in the distance, but this bear was less than 3 feet away,” says Tim Ostermeyer, M.Photog.Cr., CPP, of Ostermeyer Photography in Allen, Texas. With a Canon EOS A2E 35mm camera and 100-400mm Canon f/4.5-5.6L IS USM EF lens, Ostermeyer exposed “Polar Paparazzi” for 1/125 second at f/8, ISO 400, on Fujicolor NPH 400 Professional film. Though the image didn’t originally merit, “The late, great photographer and wonderful person Buddy Stewart asked the judges to reconsider,” says Ostermeyer. “He saw the humor and challenges of getting this photograph.”

14 • www.ppmag.com

METALLIC PRINTS!

Image courtesy of The

Velvet Trunk, Franklin,

TN.

Looking for a unique way to show off that beautifully saturated photo? Consider having it printed on metallic paper from Mpix. Fine art, special events, greeting cards and special images all look stunning when printed on metallic.

Visit www.mpix.com to see our full line of photographic and press products.

©Mollie Isaacs

MOLLIE ISAACS Hired by an architect to photograph a series of model homes in the Outer Banks of North Carolina, Mollie Isaacs, M.Photog.MEI.Cr., of F2 Photographic Design in Kill Devil Hills, N.C., created “Simple Sophistication” for the client’s Web site. Shooting with a Canon EOS 20D digital SLR and 20-35mm Canon f/3.5 USM EF lens, Isaacs exposed the frame for about 1 second at f/22, ISO 400. Isaacs performed minor retouching, tinting the back window soft pink and removing distortion caused by the wide-angle lens.

©Don Monteaux

DON MONTEAUX “Contrary to popular belief, this image was not a composite made in Photoshop,” says Don Monteaux, M.Photog., CPP, of Virginia Beach, Va. While driving toward Hatteras, N.C., Monteaux saw this gaggle of geese walking single file along the dunes. He captured “Grounded” with a Canon EOS-1D Mark II digital SLR and 24-105mm Canon f/3.5 II USM EF lens, exposing the frame for 1/250 second at f/8. The only digital retouching Monteaux performed was minor enhancement of the sky in Adobe Photoshop.

16 • www.ppmag.com

8,762 miles to the South China Sea. 179 feet up a limestone cliff. 4 NIKKOR lenses. ®

0 chances to re-shoot.

©2007 Nikon Inc.

See Beth Wald’s killer shots at stunningnikon.com/challenge Shooting in punishing conditions, Nikon® Pro Beth Wald asked a lot of her lenses: “Everything comes down, in any shoot, to the glass of the lens. Everything is dependent on the sharpness, the clarity, the intensity of colors, the saturation…it’s the glass that makes it all happen.” Every NIKKOR lens in the Nikon Pro System comes from glass we make ourselves for people like Beth, who said,“It’s going to be hard to get back to Vietnam to re-shoot this.”

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

Inspiration Five-star accommodations meet top flight talent at the 2008 Sundance Photographic Workshops

©Eddie Soloway

Sundance style

©Brenda Tharp

The popular Sundance Photographic Workshop kicks off the year with a series of travel, landscape, nature and portrait photography classes in three seasonal sessions. Set amid the breathtaking scenery of Utah’s Sundance Resort, the Workshops are headlined by award-winning photographers Nevada Wier, Eddie Soloway, Bobbi Lane, Tony Sweet, Brenda Tharp and Tom Bol. Founded by actor and environmentalist Robert Redford in 1969, the Sundance Resort lies in a canyon in the shadow of scenic Mt. Timpanogos, about an hour’s drive south of Salt Lake City. With classes sizes capped at 15 students, there’s plenty of opportunity for one-on-one instruction. Between sessions, students are free to roam the grounds of the five-star resort, one of Forbes magazine’s Top 10 Coolest Resorts. The spring Workshops, May 7-11, emphasize travel and landscape photography. The courses are: “Photographing on the Move” with Nevada Wier, and “A Natural Eye” with Eddie Soloway. The summer Workshops, August 25-29, offer tutorial-style training in nature and portrait

©Eddie Soloway

photography. The Workshops are: “Exploring Your Personal Vision” with jazz performer turned nature photographer Tony Sweet, and “Portraits on Location” with commercial photographer Bobbi Lane. The fall Workshops, November 5-9, focus on travel and adventure sports photography. Outdoor and travel photographer Brenda Tharp presents “The Art of Travel Photography: Capturing the Essence,” and Tom Bol shares his sports and environmental portrait skills in “People in the Landscape.” Evenings include a reception and dinner with presentations by the instructors. Tuition is $1,100 with one scholarship available per workshop. Meals and lodging are not included. For more information, visit www.sundanceworkshop.com. February 2008 • Professional Photographer • 21

CONTACT SHEET

Close encounters

to the world, then Penn has succeeded

Six decades of Irving Penn’s work at the Morgan Library & Museum

with every personality that stops in front of

admirably. He enters into hard negotiation his camera and, very often, he wins.”

New York City’s Morgan Library & Museum

His compositions not only helped define the

presents an exhibition of modern photography,

look of the magazine, but established a ground-

prises works from the 1940s, images that por-

showcasing its first major acquisitions in this

breaking aesthetic for modernist photography.

tray the evolution and maturation of Penn’s

field, through April 13. “Close Encounters:

“Irving Penn’s incisive portraits illustrate

More than one-third of the exhibition com-

style. In 1947, he began photographing subjects

Irving Penn Portraits of Artists and Writers”

a rich and defining period in this city’s

seated on or before a draped rug, subjects such

features 67 portraits of influential artists,

cultural history,” says Charles E. Pierce Jr.,

as Salvador Dalí, whose persona generally

authors, and performers of the 20th century.

director of The Morgan Library & Museum.

dominated whatever milieu he appeared in.

“Many of Penn’s subjects are artistic and

Yet on Penn’s rug, Dalí, if still stylish and

tin silver prints is an extraordinary visual record

literary icons whose own drawings, musical

defiant, looks caught.

of some of the greatest creative minds of the

scores, manuscripts, and books are

period, including T.S. Eliot, Truman Capote,

represented in the Morgan’s growing

with movable walls, and directed sitters to

Arthur Miller, Tennessee Williams, Aaron

twentieth-century collections.”

inhabit the restricted space. Among these

Acquired in 2007, this rare collection of gela-

Copland, Richard Rodgers, and Oscar

In 1948, Penn defined a corner of his studio

“Each of these works is a vivid record of

portraits is one of Marcel Duchamp, svelte

the encounter between Penn and his subject,”

and elegantly posed, who becomes a tall line

A resident of New York City for more than

says guest curator Peter Barberie. “If a funda-

that echoes the lines of the corner itself; and

50 years, Penn (b. 1917) began his career as a

mental task of portraiture is to capture sub-

Georgia O’Keeffe, who as Alfred Stieglitz’s

photographer in the 1940s at Vogue magazine.

jects differently than they present themselves

wife and model was acclimated to being

Hammerstein II.

photographed, looking wary standing unposed. © Irving Penn, gelatin silver print from an edition of 14, 1984

In the 1950s, Penn begin to capture subjects up close, sometimes cropping their forms to accentuate the two-dimensional design of the composition or filling a large frame solely with a bust or head. In Penn’s iconic 1957 image of Picasso, the artist’s face is cloaked in the shadow of his wide-brimmed hat, his body by a dark overcoat, leaving only the piercing stare of a single illuminated eye to glare from the center of the photograph. Penn is also known for his celebrated group portraits, such as the 1967 photograph “Rock Groups,” picturing Janis Joplin and Big Brother and the Holding Company alongside the Grateful Dead in San Francisco, both groups on the brink of frenzied stardom. If you go to just one exhibition this year, make it “Close Encounters” at the Morgan. For more information, go to www.themorgan.org

Arthur Miller, New York, 1983

22 • www.ppmag.com

$6,999

Mamiya ZD Digital Back

22 megapixel. Medium Format Quality. •

Designed for the Mamiya 645AF/AFD/AFD II and the RZ67 Pro IID medium format cameras

•

Large 48mm x 36mm Dalsa CCD Sensor produces medium format results

•

FREE Adobe® Photoshop® Lightroom™ software included

•

FREE firmware upgrade for Mamiya 645AF cameras with purchase of the ZD digital back

Compatible with Mamiya 645AF/AFD/AFD II and RZ67 PRO llD cameras.

T: 9 1 4 . 3 4 7 . 3 3 0 0 · W W W. M A M I YA . C O M

CONTACT SHEET

The Duchess of Carnegie Hall Photographer Editta Sherman is legendary

Recently, 95-year-old portrait photographer Editta Sherman had little time to talk with a reporter on the phone. She was busy saving Carnegie Hall of New York, her home of 61 years. At an upcoming gathering, she plans to auction some of her famous photographs and sell copies of the book “Facades,” a 1978 collaboration of Sherman and New York Times photographer Bill Cunningham, and donate the proceeds to the hall’s legal defense team. ©Editta Sherman

This isn’t a struggle to save Carnegie Hall

Today the youthful faces of Golden Age

from demolition, which she helped fight in

celebrities gaze from frames covering the

the 1960s when the city bought the 117-year-

walls of Sherman’s studio, where the decades-

old property. This time it’s Carnegie Hall vs.

old sign, “Celebrity Camera Portraits,” still

Carnegie Hall. The venue’s management

hangs on the door. “Most of the people I

intends to evict tenants who live above the

photographed are dead now,” she laments.

concert hall, many of whom, like Sherman,

The dramatic lighting in those portraits is

have been there for decades. They refuse to

due in part to the graceful north light flooding

go quietly. Tenants in some 50 studios have

in through a skylight 40 feet overhead. “I

filed a lawsuit.

used to rent out my studio to Vogue magazine,”

Carnegie Hall studio apartments have been

she says. “It was in demand at that time,

home to such arts luminaries as Isadora

thanks to the skylight. It was annoying,

Duncan, Marlon Brando, Leonard Bernstein

because I had to stop my photography, but it

and Martha Graham. In 1947 Sherman moved

paid well and I had these five children to

in with her ailing husband (who died in 1954)

raise so I needed the income.” Some of the

five children and an already antique 8x10

photographers turned the camera on her

camera, with which she made portraits.

(above), as evidenced in numerous pictures

Back then the studios were advertised as

displayed in the studio, often wearing

places where artists could live and work for

vintage clothes once worn by Gloria

a philanthropically motivated low rent. In

Vanderbilt’s mother. Andy Warhol both

her five decades above the rapping of tap

photographed her and made a short film of

shoes and the discord of orchestral tuning,

her at work in her studio.

Sherman photographed inventors, poets and

24 • www.ppmag.com

Photo of Editta Sherman by Roberta Ciacci

Sherman had learned photography from

writers, including Carl Sandberg and Pearl

her father, Italian-born portraitist Nunzio

S. Buck, and Broadway and Hollywood

Rinalo, who had immigrated to New

stars, among them Yul Brynner (left), Tyrone

Jersey. By age 10 in 1922, Sherman was

Power, Boris Karloff and Henry Fonda.

working with her father in the darkroom,

In her five decades above the rapping of tap shoes and the discord of orchestra tuning, Sherman photographed inventors, poets and writers. and by 16 was helping him photograph

moved in, he dubbed her the “Duchess of

weddings. “I didn’t have much of a

Carnegie Hall.” The nickname is so apt

childhood because I was so involved in his

that it stuck.

photography,” she says. Photography remained a hobby until

Sherman still does portraits occasionally, these days mostly of non-celebrities. “Back

her husband’s illness made her the family’s

in the day I was pretty well known, but

sole breadwinner. She set up a studio in

now the young ones are coming up and the

Martha’s Vineyard to attract the wealthy

older ones are dying off.” Nevertheless, she

crowd who vacationed there. She earned

continues to get calls. “You know, there’s no

enough referrals to relocate to the Carnegie

difference between a celebrity and non-

Hall studio, where she converted the

celebrity as long as they pay the price!”

kitchen into a darkroom. Many years later when photographer Bill Cunningham

Lorna Gentry is a freelance writer in Atlanta.

©Editta Sherman

World’s first full-frame ultrawide angle medium format lens for film and digital backs

28mm AF Digital lens Aspherical lens element and low dispersion glass produce unsurpassed sharpness and color accuracy on today’s high resolution digital backs. • Rectilinear design produces ultrawide images with virtually no distortion. • All Mamiya Sekor Digital lenses are designed with large image circles and can be used with film and digital backs. • Ideal for architecture, landscapes, interiors, group shots, etc.

T: 914.347.3300 WWW.MAMIYA.COM

Mamiya Sekor AF 28mm f4.5 D Aspherical for Mamiya 645AFD/AFD II

8IJUF )PVTF $VTUPN $PMPVS :PVS 1SPGFTTJPOBM 1IPUPHSBQIJD BOE 1SFTT 1SJOUJOH 1BSUOFS

30&4XIDD 0VS
DSPTTQMBUGPSN
30&4
TPGUXBSF
NBLFT
JU
RVJDL
BOE
FBTZ
UP
PSEFS
1IPUPHSBQIJD
BOE
1SFTT
1SJOUFE
1SPEVDUT
GSPN
8)$$

30&4XIDD

1SPPGJOH 8F
PGGFS
MPX
DPTU
QSPPGT
JO
Y
Y
Y
Y
BOE Y
TJ[FT
TUBSUJOH
BU
‚
"EE
CJOEJOH
UP
DSFBUF
B
NJOJCPPL
GPS
B
TFOJPS
GBNJMZ
PS
CBCZ
TFTTJPO

1SPPGCPPLT "O
JOFYQFOTJWF
BOE
DPOWFOJFOU
XBZ
UP
EJTQMBZ
QSPPGT
B
1SPPGCPPL
XJUI
ZPVS
MPHP
PO
UIF
DPWFS
JT
BMTP
B
NBSLFUJOH
QJFDF
ZPVS
DMJFOUT
TIPX
BSPVOE
GPS
ZPV

(BMMFSZ
8SBQQFE
$BOWBT 1SPGFTTJPOBMMZ
QSJOUFE
EJSFDUMZ
POUP
DBOWBT
BOE
XSBQQFE
PWFS
B
XPPEFO
TUSFUDIFS
GSBNF
PVS
(BMMFSZ
8SBQT
BSF
BWBJMBCMF
JO
UXP
EFQUIT
BOE

EJGGFSFOU
TJ[FT

7JTJU QSPXIDDDPNHP4UBSU UPEBZ UP PQFO ZPVS 8)$$ BDDPVOU

8IJUF )PVTF $VTUPN $PMPVS JT B GVMM TFSWJDF QSPGFTTJPOBM QIPUPHSBQIJD BOE QSFTT QSJOUFS *O BEEJUJPO UP UIF TIPXDBTFE QSPEVDUT PO UIFTF QBHFT XF PGGFS B GVMM MJOF PG QIPUPHSBQIJD QSJOUT QSJOUFE PO ,PEBL 1SPGFTTJPOBM 1BQFST 'PS B DPNQMFUF WJFX PG PVS QSPEVDUT BOE TFSWJDFT WJTJU PVS XFCTJUF XXXXIDDDPN

1SFTT
1SJOUFE
#PPLT #PPLT
BSF
BWBJMBCMF
JO
UISFF
EJGGFSFOU
TJ[FT
XJUI
GJWF
EJGGFSFOU
DPWFS
NBUFSJBMT
BOE
UIFZ
TIJQ
GBTU
°
NPTU
CPPLT
TIJQ
UIF
OFYU
EBZ

1SFTT
1SJOUFE
(SFFUJOH
$BSET 5XP
ZFBST
JOUP
PVS
1SFTT
1SJOUFE
(SFFUJOH
$BSE
MJOF
XF
PGGFS
GPVS
EJGGFSFOU
QBQFST
BOE
OJOF
EJGGFSFOU
DBSE
TJ[FT
"MM
DBSET
JODMVEF
FOWFMPQFT
BOE
TIJQ
JO



EBZT

1SFTT
1SJOUFE
1SPEVDUT %JGGFSFOUJBUF
ZPVSTFMG
XJUI
UIFTF
BEEJUJPOBM
1SFTT
1SJOUFE
1SPEVDUT
#VTJOFTT
DBSET
3FQ
DBSET
4UJDLFST
#PPLNBSLT
BOE
1PTUFST
BSF
BWBJMBCMF
JO
EJGGFSFOU
QBQFST
BOE
BSF
QSPEVDFE
JO


EBZT

'JOJTIJOH
4FSWJDFT 8F
PGGFS
B
GVMM
SBOHF
PG
QSPGFTTJPOBM
MBC
GJOJTIJOH
BOE
NPVOUJOH
TFSWJDFT
JODMVEJOH
NBUCPBSE
TUZSFOF
GPBNCPBSE
NBTPOJUF
BOE
USBEJUJPOBM
DBOWBT

XXXXIDDDPN

CONTACT SHEET

ments for the second time. MOTFB wants

Public places

to include Chapter 9, an ordinance requiring

Photography permit rules need monitoring

photographers, filmmakers and others to obtain a permit on a first-come, first-served basis before photographing, filming or

How many photographers have made photographs at a national park or anywhere

terms that remain in the proposed change. For instance, photographers pay a location

otherwise broadcasting on city property. MOTFB released a revised draft on

that requires a Special Use or Filming

fee of $50 to $250, plus a varying cost recovery

October 29 that’s more favorable to the

Permit from the government? With high a

fee for application processing and operating

photographers. The ordinance now applies

price tag, unclear definitions, and narrow

expenses associated with the photo session.

to causing “obstruction of daily activities”

application windows, seeking a permit can

Having to pay the cost recovery component—

rather than the number of people and kind

be stressful. Several photographic associations

whether or not a permit is granted—is likely to

of equipment that will be used.

are collaborating to redress the process.

be a financial burden to many photographers.

©Rita A. Bales

Professional Photographers of America

PPA maintains that professional photogra-

MOTFB also intends to offer an optional permit that would allow photographers to

(PPA), Commercial Photographers Interna-

phers covering a school class or family portrait,

apply for a permit, even if the project doesn’t

tional, the Society of Sport & Event Photogra-

working with only a tripod and a reflector,

warrant what’s now termed a “required

phers, the Student Photographic Society and

make less impact on a site than moviemakers

permit.” The optional permit should enable

Evidence Photographers International Council

or commercial shooters, and should not have

photographers to complete outdoor assign-

are speaking with two entities, the Department

to pay as much. PPA asked for clarification of

ments on city property.

of Interior and the New York City Mayor’s Office

the department’s definition of “commercial

of Film, Theatre and Broadcasting (MOTFB).

photography,” “model,” “sets” and “props,” to

issued by either the Department of Interior

The Department of the Interior proposed

While no final rule decisions have been

stem confusion over how photographers are to

or the MOTFB, PPA and its allied organiza-

streamlining the permits that apply to land

classify the work they plan to do, which influ-

tions are vigilantly monitoring these and

managed by the National Park Service, Bureau

ences their decision to apply for a costly permit.

other issues related to film and still pho-

of Land Management and Fish and Wildlife

In regard to the MOTFB proposal to

service. Laudable, yes, although the associations

amend Title 43 of the Rules of the City of

also want to address the high fees and loose

New York, the associations submitted com-

28 • www.ppmag.com

tography permits. For more information, visit www.ppa.com.

Introducing the NEW Epson Stylus Pro 4880 Portrait Edition. ®

© Bambi Cantrell

More control. More profit.

Printing in-house has never been easier, or more profitable. Gain greater control over your work while increasing your profitability and your competitive edge. Epson Stylus Pro Portrait Edition printers give you the most complete portrait printing solutions available today. Our latest Epson UltraChrome K3™ ink technologies deliver exhibition-quality black & white prints. And when combined with the wide range of Epson media — including canvas, fine art, glossy and matte papers — you get the highest quality black & white and color prints in the industry. Flower bouquets will be brilliant; skin tones will be flawlessly neutral. The results will astonish both you and your customers. And that’s just for starters. With the included ExpressDigital® workflow software, you can create print packages in a staggering array of sizes and configurations. You even get built-in e-commerce capabilities, so you can sell your prints on the Internet with your own online storefront. Greater control over your work. The highest possible print quality. More satisfied customers. Increased profitability. With Epson Stylus Pro Portrait Edition printers, your possibilities are unlimited.

© Bambi Cantrell

© Fred Marcus Photography

Epson Stylus Pro 3800 Portrait Edition

NEW Epson Stylus Pro 4880 Portrait Edition

Only $1,495*

Only $2,195* With NEW Vivid Magenta Ink!

For a FREE print sample, call 1-800-241-5373 or visit www.epson.com/1123 * Suggested MSRP Epson and Epson Stylus are registered trademarks and Epson Exceed Your Vision and Epson UltraChrome K3 are trademarks of Seiko Epson Corporation. All other product and brand names are trademarks and/or registered trademarks of their respective companies. Epson disclaims any and all rights to these marks. Copyright 2007 Epson America, Inc.

Listening. Creating. Albums

High-End Cards

“Collages.net albums have superior print quality, the ordering process is effortless, and the customer service is above exceptional. However, the basis of my choice doesn’t do the product justice until seeing it first-hand. Plus, the feedback from my studios’ clients is phenomenal! With an abundance of attractive and vibrant leather color choices available for covers, my clients always find the perfect fit for their album. As the owner of three busy studios, I’d like to thank Collages.net albums for taking yet another product to the next level. ” Julie Madison Artistic Imaging Las Vegas

“Uniquely beautiful, high-class, and extremely professional are all phrases my clients use to describe Collages.net’s high-end cards. Adding this product to my studio’s line couldn’t have been a more profitable choice. Not only has it greatly increased my bookings, but it has increased the appreciation and the quality of my work. There isn’t another card product that comes close to this innovative, personal product line.” DeeDee Dallas D2 Photography Riverside, CA

Gallery Wraps “Extraordinary is the best way I can describe Collages.net’s gallery wrap line. I have several gallery wraps displayed at my studio, and my clients love them. Not only do these products sell themselves, but Collages.net’s lab turns them around quickly, their specialists go above and beyond to help you, and Collages.net’s print quality is first class. Collages.net has exceeded my clients and my expectations once again!” Dan Doke Daniel Doke Photography Boston

30% OFF

STUDIO SAMPLES

Innovating. Press Printed Books “Collages.net’s press printed book collection is a key part of our studio’s high-end product line. The hard cover, handsewn books are very popular with both our wedding and portrait clients. The variety of sizes, colors, and templates allow us to create everything from proof books to customized books. Brittany and Eric Hanson BLR Life Photography Las Vegas

Collages.net is the proud partner of over 10,000 studios across the U.S.

Professional Printing “Competition is intense. I am always looking for tools to keep me one step ahead of the game, and collagesColorTM provides me with a total workflow solution that does just that. My clients are beyond pleased with the simple viewing and ordering process, and I know I can place total trust with Collages.net to handle my clients’ needs. collagesColorTM delivers unsurpassed results, freeing up my studio time to be more focused on the creative aspect of my business.”

Check out Collages.net’s comprehensive product line at www.collages.net/products. Contact Customer Service at (877) 638-7468 or [email protected].

Brett Chisholm Brett Chisholm Photography Houston

©2008 Collages.net Inc. All rights reserved. Photos are ©2008 of their respective photographers.

Professional Photographer

P R E S E N T S

Business, Marketing and Sales Strategies

What I think Louise Botticelli stays ahead of the game What’s the biggest business risk you’ve ever taken? About three years ago, I decided to expand the business to accommodate the clientele who were looking for more of a modestly priced, less elaborate photography experience. It was risky, setting up my own competition within the same area. What’s the secret to running a successful photography business? Continuously evaluate and reevaluate what the market is looking for and figure out how to make it work for your business. Choose a lab that cares about the success of your business and gives you the support you need to grow. What’s your deal breaker? A long time ago, I had a client who kept negotiating and bargaining with me about the price of his portrait, and I felt uncomfortable. After the portrait was delivered, the client apologized, and said he and his family loved it so much that I couldn’t buy it back from him for any amount. Now I tell people, if you do not love your portrait, I will buy them back from you. Well, I don’t have a gallery of other people’s portraits in my house! What’s your motto? Look for the good in people, and it will show in your portraits and in your business. IMAGE BY LOUISE BOTTICELLI WWW.BOTTICELLIPORTRAITS.COM

February 2008 • Professional Photographer • 33

Photography by Gregory Heisler.

Beautiful.

Introducing the all new Epson Stylus® Pro Series. Redefining the perfect print. Your image is a thing of beauty. With an Epson Stylus Pro printer, that’s exactly how the world will see it. Especially since Stylus Pro printers from 17 to 64 inches now feature Epson UltraChrome K3™ with Vivid Magenta ink for a wider color gamut, plus new, advanced MicroPiezo® print heads that dramatically improve image quality. Not to mention AccuPhoto™ HD Screening Technology for even sharper images. The result: extraordinary prints. That’s the beauty of it. To learn more about Epson Stylus Pro Series printers, visit www.proimaging.epson.com.

Epson Stylus Pro 4880, 7880, 9880 and 11880

Epson, Epson Stylus, Epson Exceed Your Vision, Epson UltraChrome K3 and MicroPiezo are trademarks/registered trademarks of Seiko Epson Corporation. AccuPhoto is a registered trademark of Epson America, Inc. Copyright 2007 Epson America, Inc.

THE JOY OF MARKETING

TM

S A R A H P E T T Y, C P P

With a strong visual identity, you give your business a face. Repetition and consistency turn your logo and branding into a familiar face that your clients will grow to love.

Identity crisis

CREATING A LOGO AND BRAND Before you can think about generating desire for your brand, you have to create a

your business forms, even your photography. Think of your logo as your face. A logo

consistent identity. There must be a con-

can be letters, symbols, graphic elements,

sistent look to everything about your

pictures or a combination of any and all of

business that the public sees, including

them. The key is to create a unique logo and

your logo, the colors you use, your signage,

stick with it. My best advice is to hire a pro-

fessional graphic designer to help you create an identity package you can use for years. It is an investment in the future of your brand. Last February, after years of working in the family’s photography studio in Indiana, Jeff and Michelle Richardson decided to branch out and open a studio of their own in another Hoosier town, Bloomington. They agreed to spare no cost in creating a new identity for Richardson Studio Ltd., including engaging just the right graphic artist and brand manager. The Richardsons understand that the power of a brand depends on having a strong identity from the beginning, and braced themselves for the process to take as long as necessary.

Building a brand identity takes consistency, not just in the usage of your logo, but in colors, style and the message of your marketing material. All photos ©Richardson Studio

36 • www.ppmag.com

Partnering with a local graphic designer,

been consistently used from the start. If

must exist early on to get people emotionally

they started with nothing more than a few

you choose to use a symbol or your initials

attached to your brand.

words they liked and some sketches, and the

in a shorthand version of your identity, it

identity began to evolve. In addition to a

must be done the same way each time. To

designer, the more information you can pass

logo and color palette, the Richardsons

tie the two versions together, look for

along about your vision, the better job the

wanted to include sketches of people in their

opportunities to use both versions in places

designer will do. Show examples of your

brand identity, but not in the logo itself.

like your blog.

photographic style and the style you want

They’ll use the sketches in their marketing,

When you meet with your graphic

Your logo must withstand the test of

for your studio. If your photography style

and eventually people will automatically

time. Coca-Cola has retained its logo for

and your studio are both traditional, then

associate any arty renderings of people with

more than 100 years—I’m sure that over the

your logo and identity should have a

the studio. When creating wallets for high

years graphic designers were clamoring for a

traditional flavor. If you want to reposition

school seniors, they might print a sketch of a

crack at creating a new logo for this high-

your business as more contemporary, then

girl in the corner. For a promotional piece

profile company. The company’s executives

display contemporary images and style your

about family photography, they could use

had enough faith in the brand to resist. I’ve

studio accordingly. Contrasting elements in

sketches of an entire family.

heard small business owners say they’re

your identity will only cause confusion.

Another part of their identity includes a

bored with their logo, but it isn’t until you’re

Never let anyone who is reproducing

shortened, initials-only version of the

about sick of it that others actually start to

something for you try to recreate your logo.

company’s name, RS, which is imprinted

notice it. Repetition and consistency are the

Always give the printer a vector file of your

on all of their images. It works because it’s

keys to creating a successful identity. They

logo, even if it’s in a standard font. It will

The Future of Radio Slave Technology is Here.

Skyport

Other Radio Slave

Skyport Mini Wireless Triggering System

To locate a Elinchrom Premier dealer with products on display and in stock

go2 www.bogenimaging.us

Studio & Portable Lighting Systems. World renowned for superb quality of light. Swiss made. Elinchrom distributed by: Bogen Imaging Inc. 201 818 9500 www.bogenimaging.us [email protected]

February 2008 • Professional Photographer • 37

THE JOY OF MARKETING

TM

Richardson Studio imprints an abbreviated version of its company name, the initials RS, and a sketched figure on all of its images.

guarantee the scale and the spacing between the letters is accurate. It makes me wince to see the names of prominent businesses set in a style other than their logo. Once you have your logo and detailed specifications figured out, put a copy of them in a folder on your desktop so they’re always readily available. To stay fresh in your business, you can use trendy fonts, colors and designs in your marketing and promotional materials. The key is to stay true to the face of your business, your logo. If you feel your logo is dated or needs to be changed to reposition your business, make a 100-percent commitment—including financial—and follow through with everything you use. If it’s

TIPS FOR FINDING A GRAPHIC DESIGNER • As with selecting a photographer, price isn’t necessarily a primary factor in choosing a graphic designer. Because it’s such a major part of your business plan, the goal is finding a designer who gets you. • When interviewing candidates, ask tons of questions about their portfolios, about the kind of direction the clients gave them, about problems they might have encountered and how they resolved them. • Ask to see the first round of logos that have been presented to a past client so you know what to expect when it is your turn. Are they rough pencil sketches or are they detailed computer-generated files? • Ask how many proposed logos they’ll show you and what happens if you don’t feel the designs represent you. • Ask for references and call them to see how they liked working with the designer.

38 • www.ppmag.com

• Ask if he met deadlines, and if he missed the mark, how he handle the situation. • Offer to trade professional services in-kind. • Start a design file for your designer. The more direction you give regarding your likes and dislikes, the more efficiently the designer can pick up on your style. • Stress that your logo needs to be strong in black and white as well as color. Ask your designer to show you both ways. • Discuss font choices. Because you should plan on keeping the logo for at least 10 years, don’t choose a highly stylized, trendy font. • There must be some chemistry between you and the graphic designer. You need to be able to bounce ideas off each other and come up with better ideas together.

handled well, it can create buzz that your business is growing and evolving. Replace the old logo on everything, from signage, to business cards, to mailing labels. Even if you have a huge pile of letterhead remaining, be strong and take it to the recycling bin. Having your old logo anyplace will weaken your brand in the mind of the consumer. Once you have a new identity, define the usage parameters so you know how it will look in color, black and white, on your prints, in ads, everywhere it will be used. Finally, protect your identity as if it’s your child. I

Sarah Petty Photography is in Springfield, Ill. (www.sarahpetty.com).

PROFIT CENTER

K A L E N H E N D E R S O N , M . P H O T O G . M E I .C R . , C P P, A P I

Labs now offer gorgeous book lines hot off the digital offset press. How do you decide if this product is right for you?

Buying into books

One photographer offers a “Baby’s Life: Volume 1” book as part of a package clients purchase before the birth of the child. The package includes sittings at 1, 3 and 9 months old, and age 1, and the book can include sonogram images. Clients can also

Labs throughout the industry are offering

flattened JPEG files, and some require page

opt to have photographs made on the day of

high-quality, reasonably priced book lines,

numbers and elaborate layout specifications.

the birth at the hospital. The finished book

printed on digital offset presses, with a

If the lab has a ROES software ordering

will feature images from every session. Of

menu of binding and cover options. Would

system for books, you don’t have to hassle

course, this arrangement provides ample

offering such books be profitable for your

with tracking page numbers, and you can

opportunities to make additional sales of

studio? Considers these factors:

adjust the layout without remaking the entire

portraits and add-ons from each session.

TIME. In a one-person studio, you can’t

book. Once the images or pages are loaded

afford to invest countless hours designing a

into the ROES software, you can check the

coupon toward a Volume 2 package, a book

book that may never sell. You can design the

layout, and even render a printed image for

with images from two sessions over the next

individual pages in Adobe Photoshop and

client approval. When the layout and design

year, in addition to other images the parents

many other programs, some of which provide

are approved, uploading the book is easy.

want to include.

templates. You don’t have to compromise

WILL IT SELL? Consumers know they

The delivery of the Volume 1 includes a

High school seniors can be tempted into

your creativity. Some of the applications have

can have photographs printed on pillows,

having a personal yearbook made with images

stylish, attractive templates with ample choices

mugs, cards, practically anything. Professional

from the senior session and others they’d like

for each page. You could do a complete book

photographers should select only the

to include. Printed just before graduation,

design in as little as 30 minutes.

products that will reflect the value of your

the book can include pages for friends and

work. You can develop and market high-

family to write in personal messages.

Whether you use templates or custom Photoshop layouts, the image file preparation

quality books in many ways, from children’s

is crucial to the finished look. Most labs want

portraiture to seniors to weddings.

Wedding albums produced as coffee table books are already popular. In most cases, clients can order a large-format book

©Kalen Henderson

with a designer cover, as well as smaller, less richly bound versions with the same layout. MARKETING VALUE. Though often considered an add-on, a press-printed book can have value for your studio beyond a onetime sale. Parents and newlyweds proudly show these books to everyone, giving you word-ofmouth endorsements from happy customers. A 20-page soft-cover book generally costs the studio less than $25, and a survey of studios shows it retailing for $49 to $69. There are volumes of stories out there just waiting for your creative touch to tell them. I Kalen Henderson is a photographer, studio consultant, and teacher (www.kalenhenderson.com and www.hendphoto.com). Her lab is American Color Imaging, a provider of press-printed books and free software to create and upload your own design (www.acilab.com).

40 • www.ppmag.com

PROFIT CENTER

C H A R L E S J . L E W I S , M . P H O T O G .C R .

Time is more valuable than money. Everyone has the same amount of time in a day, it’s a question of how you organize, prioritize and invest it in growing.

home and work on your things-to-do list. Devote about 20 minutes to it every morning, and you’ll save yourself hours of wasted time. It keeps you focused on what’s

Do more in less time and prosper

most important, and helps organize your day, week and month to keep you on the path to success. To be begin, on a sheet of paper, draw a

French novelist Victor Hugo wisely said, “He

last 30-some years, and it’s truly one of my

line drawn down the middle. On the left

who every morning plans the transactions of

secrets for success. More than a list, it’s a

side, write everything that needs to be

the day and follows out that plan carries a

plan, and that’s why it is so effective.

done; the order of the items doesn’t matter.

thread that will guide him through the labyrinth

If you use this tool every day, you will

Keep the list with you throughout the day

of the most busy life. …But where no plan is

accomplish more than you dreamed

and add tasks as they arise. The following

laid, where the disposal of time is surrendered

possible, and you’ll do it in less time and

morning, review the list, then copy it onto a

merely to the chance of incident, chaos will

with less effort. You’ll also earn more

new piece of paper, updating it and

soon reign.”

money with your photography. First thing

reorganizing it, writing what you consider

in the morning, sit in a quiet place in your

the most important things at the top of the

I’ve been using a things-to-do list for the

42 • www.ppmag.com

new list. Delete tasks accomplished the day before and add new items that have arisen. As you review the list, write an “A” next to items that are important to the accomplishment of your long-term goals, a “B” next to items moderately important to your

“I’ve been using a things-to-do list for the last 30-some years, and it’s truly one of my secrets for success. More than a list, it’s a plan, and that’s why it is so effective.”

long-term goals, and a “C” next to tasks that have little to do with achieving your longterm goals. You know how important it is to write down key goals for your life and your business, and prioritizing daily tasks this way keeps you aware of what you’re

!RTIX3CAN - š

4HE!LL IN /NE3CANNERFOR 0ROFESSIONAL0HOTOGRAPHERS

working so hard for. Look at the A items on the list, and consider if there’s anyone you could delegate

3UGGESTED2ETAIL0RICE  



these tasks to. Look at the remaining A items and prioritize them from 1 to 6. That’s all you’re going to worry about today. Just the top six. Now copy those top six

0ROFESSIONALSCANSWITHDPIOPTICALRESOLUTIONAND BITCOLOR

items onto the right side of the paper, in

'LASSLESSlLMSCANNINGWITH-ICROTEKSPATENTED%$)44-DESIGN

order of priority.

/PTIMUMSHARPNESSWITHAUTO FOCUSTECHNOLOGYWHENSCANNINGlLM

When you get to work, begin with the top item on the list. If the phone rings, and if you’re the one responsible for answering the phone, answer it. When you’ve taken care of the caller, go right back to working

%XTENSIVElLMSUPPORTWITH3NAP4RANS lLMTEMPLATESFORMMSLIDES MMlLM CMlLM 4-

ANDX INCHlLM 2EmECTIVESCANNINGWITHANXSCANBED &ASTSCANNINGWITH(I 3PEED53"CONNECTIVITY

on the task. If you have an appointment,

0ATENTED%$)44-$ESIGNFOR'LASSLESS&ILM3CANNING

keep it, then return to working on the task.

-ICROTEKS %MULSION $IRECT )MAGING 4ECHNOLOGY %$)4 IS A PATENTED hGLASSLESSv SCANNING SYSTEM

When you finish it, proudly scratch it off

BUILT INTO THE LOWER BAY OF THE !RTIX3CAN - 4HE %$)4 DESIGN ENABLES lLM SCANNING WITHOUT SUPPORTING

the list, and begin work on the second most important task.

THE lLM ON GLASS 4HIS EMULSION DIRECT APPROACH IS SIMILAR TO DEDICATED lLM SCANNERS AND AVOIDS ALL THE ISSUES THAT ARE RELATED TO SCANNING lLM THROUGH A GLASS SUPPORT )NCLUDED WITH THE !RTIX3CAN - ARE -ICROTEKS EXCLUSIVE 3NAP4RANS4- lLM HOLDERS WHICH

Perhaps this sounds too easy, but if you

ACCOMMODATE MM SLIDES MM lLMSTRIPS  X  INCH lLM AND MEDIUM FORMAT lLM UP TO  X CM

adopt and use this simple system, you’ll be

PANORAMIC 4HE  X  INCH AND MEDIUM FORMAT CM lLM HOLDERS ARE SPECIALLY DESIGNED WITH SPRING

amazed at how organized and focused you

ACTUATED TENSION GRIPS THAT HOLD THE lLM PERFECTLY mAT ENSURING CONSISTENT SCAN RESULTS AND YIELDING SHARPER IMAGE QUALITY

become. The first few days or weeks will feel strange, but you’ll soon see exciting improvement in your productivity and profits. I

For more information from Charles J. Lewis, visit www.cjlewis.com.

3CAN-AKERI DPIOPTICALRESOLUTION X INCHSCANAREA

3CAN-AKER8,0RO DPIOPTICALRESOLUTION X INCHSCANAREA

¥  -ICROTEK -ICROTEK !RTIX3CAN 3CAN-AKER %$)4 AND 3NAP4RANS ARE TRADEMARKS OR REGISTERED TRADEMARKSOF-ICROTEK)NTERNATIONAL )NC!LLOTHERTRADEMARKSORREGISTEREDTRADEMARKSARETHEPROPERTYOFTHEIR RESPECTIVEHOLDERS3PECIlCATIONSANDSOFTWAREANDHARDWAREBUNDLESARESUBJECTTOCHANGEWITHOUTNOTICE

WWWMICROTEKUSACOM WWW!RTIX3CAN-COM

February 2008 • Professional Photographer • 43

Professional Photographer

P R E S E N T S

Products, Technology and Services

What I like Kerry Brett Hurley fell hard for digital What makes your workflow flow? Adobe Lightroom. When working with tight deadlines for my magazine I feel that I can edit super fast. What's the best equipment investment you've ever made? My first digital camera. I bought the Canon EOS-1DS Mark II and was blown away with what I could do. What hot new product are you going to go out of your way to use? Larson's halfand-half reflector and BellaGrafica's marketing materials. Has a piece of equipment ever changed the way you approach your photography? I love the Canon EOS-1D Mark III. I can do back to back beach sessions at night and I don't have to worry about the light falling because I can push the ISO and basically shoot in the dark. What's the one piece of gear they'd have to pry from your cold, dead fingers? My 70-200mm lens. IMAGE BY KERRY BRETT HURLEY WWW.BRETTPHOTOGRAPHY.COM

February 2008 • Professional Photographer • 45

THE GOODS: PRO REVIEW

Nikon incorporates the design and function improvements working photographers have been asking for in its new ASP-C class DSLRs. BY ELLIS VENER

Amazing

NIKON D300 Front view, Nikon D300

All images ©Ellis Vener

Rear view, Nikon D300

This image and the detail above show the impressive amount of detail and low noise level even in a long exposure in low light. Exposure: .4 seconds at f/8, ISO 200, -1 EV.

Smart Transceiver

NEW PocketWizard PLUS II Triggers your flash, camera or both wirelessly from up to 1,600 feet away. Auto-Sensing Transceiver Technology Automatically Transmits or Receives for faster, easier, carefree wireless triggering. Auto-Relay mode Wirelessly triggers a remote camera and a remote flash at the same time. Fast Triggering Speed Triggers cameras and/or flash units up to 12 frames per second. Digital Wireless Radio Technology Four 16-bit digitally coded channels provide the world’s best triggering performance.

The Plus II joins the growing system of photographic products with built-in PocketWizard Wireless Freedom. Ask for these brands.

Profoto, Dyna-Lite, Norman Packs and Battery Packs A built-in radio receiver provides wireless triggering from a PocketWizard Transmitter and wireless metering.

Profoto, Norman, and Photogenic Monoblocs A built-in radio receiver provides wireless triggering from a PocketWizard Transmitter and wireless metering.

PocketWizard Plus II MultiMax Trigger your flash, cameras or both without wires from the palm of your hand.

Sekonic L-758DR L-358 Choose which flash unit to trigger and measure simultaneously and even fire your camera.

Wireless Radio Triggering

9 1 4 - 3 4 7 - 3 3 0 0

PocketWizard.com

THE GOODS: PRO REVIEW

The theme of the advertisements for Nikon’s new ASP-C class DSLR is “The new Nikon D300 vs. compromise.” That’s a bold challenge. Since I’m both as hopeful for great things and as wary of hype as the next guy, I had to test the D300 for myself, not in a lab but the real world. After a modicum of testing under controlled circumstances, most of this review is informed by simply going out and shooting photographs. These days, the criteria for choosing a DSLR camera go beyond resolution; now you have to weigh the whole package: the accuracy and speed of the auto-focus system, the ISO sensitivity range, the dynamic range of the signal, the TTL flash control, the range of compatible lenses, the ergonomics, and above all, the quality of straight-fromthe-camera color to speed the workflow. Clearly, Nikon has been listening to working photographers, and put that information into the design and functionality of this camera and its much larger sister, the D3. Built around a 15.8x23.6mm, 12.3-effectivemegapixel sensor array, the D300 weighs 1.82 pounds and is slightly larger than the D200. The APS-C format (in contrast to the 24x36mm format) is a boon for telephoto fans, but a slight bane for ultra-wide-angle fans. As for the angle of view, a 200mm f/2.8 lens used with APS-C format equals a 300mm f/2.8 on the larger format, while a 20mm lens covers the angle of only a 30mm lens. The

specs: Nikon D300 SENSOR: 3:2 aspect ratio, 23.6x15.8mm APS-C format CMOS RESOLUTION: 12.3 effective megapixels (4,288x2,828 pixels) METERING: TTL full-aperture exposure metering, using 1,005-pixel RGB sensor: 3D Color Matrix Metering II (type G and D lenses); Color Matrix Metering II (other CPU lenses); center-weighted; spot metering SHOOTING SPEED: Continuous shooting up to 6 fps ISO SENSITIVITY: ISO 200 to 3200 in steps of 1/3, 1/2 or 1 EV, with additional 0.3, 0.5, 0.7 and 1 EV (ISO 100 equivalent) under ISO 200 and 0.3, 0.5, 0.7 and 1 EV (ISO 6400 equivalent) over ISO 3200 SHUTTER SPEED: 1/8,000 second to 30 seconds in steps of 1/3, 1/2 or 1 EV, bulb WHITE BALANCE: Auto (TTL white balance with 1,005-pixel RGB sensor), seven manual modes with fine-tuning, color temperature setting, white-balance bracketing possible (2 to 9 frames in 1/3 increments) VIEWFINDER: SLR-type with fixed eye-level pentaprism; built-in diopter adjustment (-2.0 to +1.0 m-1); approx. 100 percent coverage; about 0.94X magnification with a 50mm lens at infinity LCD MONITOR: 3-inch, about 920,000-dot (VGA), 170-degree wide viewing angle, 100 percent frame coverage LIVE VIEW: handheld shooting mode—TTL phase-difference AF with 51 focus areas (15 cross-type sensors); tripod shooting mode—focal-plane contrast AF on a desired point within a specific area LENS MOUNT: Nikon F Mount with AF coupling and AF contacts LENS COMPATIBILITY: DX AF Nikkor all functions; other Nikkor lenses with limited function FLASH: Nikon i-TTL Speedlight flash units; built-in Speedlight—manual pop-up with button release; ISO 200 guide number (meters) about 17. X sync 1/250 second; flash sync up to 1/320 second STORAGE: CompactFlash PRICE: $1,799 body only

viewfinder magnification is a respectable .94X with 100-percent coverage of the frame,

than full view, one tap of the OK button

rarely used bracket button, located on the

in contrast to about 95 percent with the D200.

takes you back to the full view. A second tap

far left of the viewfinder, becomes the image

opens a limited set of in-camera, post-

review button on the D300, and the D200’s

LCD display; 3 inches on the diagonal, it’s a

capture manipulation options: D-lighting,

review button at the top left of the LCD

920,000-dot (VGA) screen with a 170-degree

trim (cropping), monochrome conversion,

display is now the menu button. In the

viewing angle, which translates into a full-

filter effects, and color balance.

location of the D200’s menu button, the

Even better is the larger new high-resolution

screen 2.25x1.5-inch, full-format image display.

Other improved handling characteristics

D300 sports a control for three items:

A tap of the zoom button gets you a full-

include the relocation of the control buttons,

image lock when you’re reviewing images, a

screen, 2.375x1.8125-inch view. When

now on the back of the camera, reflecting a

large display of the camera settings when

reviewing an image at any magnification other

more natural set of options. The D200’s

you aren’t, and info about the highlighted

48 • www.ppmag.com

THE GOODS: PRO REVIEW

menu choice. When you’re reviewing

Then, instead of broadening the dynamic

images, navigating between a grid of

range to show shadow detail, Active

thumbnails or a magnified section of the

D-Lighting applies contrast adjustments.

frame is much simpler. The former Enter

It takes some playing with to figure out

button is now the OK button. With the

when to use it and with which setting, but

exception of the autofocus area switch, the

the intention behind Active D-Lighting is to

other controls remain the same.

speed your workflow by handling a commonly

The change in AF mode reflects a definite

used processing step, exposure, before it

upgrade in the autofocus mechanics of the

needs to be addressed. Active D-Lighting is

earlier Nikons, including the D2Xs. The

no substitute for real HDR processing, but

new Multi-CAM 3500DX autofocus module

combined with the larger dynamic capture

incorporates many of the advances in the

range, it does seem to help. (Active D-Lighting

3500FX AF of the D3: 15 cross-type sensors

differs from the standard Nikon D-lighting

and 36 horizontal sensors, compared to 11

compensation that’s applied post capture in-

in the D200 and D2Xs. By incorporating

camera or in Capture NX.)

color and brightness info from the 1,005-

There are several post-capture processing

pixel 3D Matrix metering system (as filtered

options built into the D300 that I didn’t

on the fly through Nikon’s Scene Recognition

fully explore, but it’s fair to say there’s a mini

System algorithms), the D300 does a better

version of Capture NX onboard. Applying

job predicting focus on moving subjects.

these options creates a JPEG copy of the

According to a technical analysis by kammagamma.com, in 14-bit per channel NEF mode, the D300 has an overall dynamic

original NEF, TIFF or JPEG. (Yes, you can shoot 24-bit TIFFs if you like.) Live view on a DSLR is sometimes derided

range of 8.6EV, a full stop greater than the

as being like turning a DSLR into your great-

D200. At a Sendai, Japan, press briefing I

aunt’s point-and-shoot, but don’t be hasty to

attended last August, Nikon engineers stated

judge. The D300 offers both handheld and

that depending on the lighting and the subject

tripod-mounted modes. You can live-preview

matter, photographers could expect a 50- to

a frame on the camera’s LCD rather than in

150-percent increase in highlight dynamic

the viewfinder. The handheld mode is useful

range. Translation for wedding photographers:

when you can’t hold the camera to your eye.

Greater dynamic range means more fine detail

The tripod mode is designed to help you

in white-on-white wedding dresses and tux

determine focus accuracy when shooting

shirts and in black tuxedo jackets as well.

still life, landscapes and architecture. It’s not

If you’re shooting subjects with a large

quite as good as shooting tethered with a

dynamic range, like a man in a black tux

20-inch monitor, but it works surprisingly

dancing with a woman in a white dress, you

well with the high resolution LCD.

can speed up your processing workflow by

If you already own a D200, the big improve-

activating the Active D-Lighting option (low,

ments for you in the D300 are its increased

normal, high or off) under the shooting menu.

resolution of fine detail and far better per-

Active D-Lighting works on both ends of the

formance at high ISO. I photographed a simple

exposure scale, lowering overall exposure to

target in constant daylight with a D200, a

retain highlight detail, boosting shadow values

D300 and a D3, using the same 24-70mm

to bring out detail separation by applying a

f/2.8G ED Nikkor lens at the same aperture,

digital simulation of a partial dodge effect.

to make a series of exposures covering the

50 • www.ppmag.com

The portrait at right was exposed with the Nikon D300 for 1/200 second at f/18, ISO 800, using a 15-55mm Nikkor f/2.8G ED lens and AlienBees and Zeus studio lighting. Above are details pulled from the image.

THE GOODS: PRO REVIEW

full range of ISO settings for each camera.

ratio is noticeable on a good monitor, but

quality has big implications for the way we

The D300 noticeably out-resolved the D200.

nowhere near as much as with the D200 or

work—not only can we work in dimmer

From the L1 setting (about ISO 100) to

D2X. If you must go to ISO 1600 and higher

ambient light, but we also get broader

ISO 800, the D300 resolution remains near

(top end is 6400), the resulting images will

lighting tool options.

constant and virtually unaffected by noise. With

be usable, but softer and more noise-freckled

the onboard high ISO noise reduction function

than with the D3. The ability to easily go up

updated, and finally comes with the camera

turned off, at ISO 800 the noise-to-signal

to ISO 800 with only marginal loss of image

at no additional cost. I usually use Adobe

Nikon Capture NX has also been

Photoshop Lightroom for raw processing and archiving, but I thought it only fair to give Capture NX a spin. It’s a lot slower than Lightroom, but it did a markedly better job of processing D300 and D3 images, before I started using the targeted U-point controls. In files processed with Lightroom and Adobe Photoshop Camera Raw-processed NEFS, I saw strange artifacts in the high ISO images, mostly in large areas of reddish colors. These simply weren’t there in the same images processed through Capture NX. The difference is great enough for me to change the way I archive my NEF files in Lightroom. I’ve started to embed my original NEFs in the Lightroom-created DNG folder to use when I need to process them in Capture NX or a future version of Lightroom, ACR or other raw processor. Despite all its improvements, the D300 still has room for future innovation: greater noise reduction at ISO 800 and above— presently you have to step up to the D3 for that, at three times the price; another EV or two of dynamic range, this time extending into the low values; and a built-in viewfinder blind to block meter-foiling stray light when your eye is away from the camera. While we’re at it, let’s make Capture NX run as fast as Adobe Photoshop Lightroom and also be able to export Capture NX-edited NEF files as DNGs. If you don’t need a DSLR with a socalled full-frame sensor (about 24x36mm sensor), or you don’t have the budget for it, with an MSRP of $1,799, the Nikon D300 is the king of APS-C class cameras. I Go to Web Exclusives on www.ppmag.com to see high ISO GretagMacbeth’s chart shots.

52 • www.ppmag.com

THE GOODS: PRO REVIEW

More than 21 megapixels in a 36x24mm sensor supported by dual image processors make the EOS-1Ds Mark III the big dog in its league. BY RON EGGERS

Big time

CANON EOS-1DS MARK III

All images ©Ron Eggers

Canon repeatedly denied the rumor that they were developing a 22-megapixel camera. The new Canon EOS-1Ds Mark III has a 21.1-megapixel, full-frame CMOS sensor, so technically the denials were legitimate. Still, Canon succeeded in keeping the competition guessing. With this 21-megapixel DSLR on the market, the competition has something to strive for. The EOS-1Ds Mark III has the highest resolution 36x24mm sensor in a DSLR. That resolution is a significant increase over the 16-megapixel ESO-1Ds Mark II, the previous holder of that distinguished position. With maximum resolution of 5,616x3,744 pixels, that’s packing a lot of pixels into the space of a 35mm frame. In fact, it’s closer in resolution to medium-format digital backs than to conventional 35mm-type digital SLRs, but with the advantages in size, weight and ease of use of those SLRs. The 1Ds Mark III comes equipped with dual DIGIC III processors. Without tandem processing engines, analog to digital (A/D) conversion and other image processing and transfer tasks could easily be choke points with such high-resolution images. With it,

The 1Ds Mark III’s dual DIGIC III processors and 14bit-per-channel A/D conversion ensure smooth gradients and exceptional skin tone. Model: Natalia Stella.

At this speed, there are no second chances.

Chucke Walkden, Chief Photographer at Infineon Raceway, using a Nikon D2x and a Lexar Professional UDMA 300x CompactFlash® memory card.

©2007. Lexar and the Lexar logo are trademarks of Lexar Media, Inc. All rights reserved. All other trademarks are property of their respective owners. Actual usable memory capacity may vary. IMB equals 1 million bytes; 1GB equals 1 billion bytes. The Lexar “x” speed rating describes minimum write speed capability where x=150KB/sec sustained write speed

Professional photographers know high speed performance and reliability when they see it. And at Lexar, so do we. With blazing speeds of 300x, Lexar Professional UDMA memory cards accelerate to the head of the pack, delivering optimal burst mode performance and industry leading transfer rate speed. You’re focused on catching the action. We’re focused on you. Lexar. Focused on photographers.

Learn more about the Lexar Professional UDMA line of memory cards at lexar.com/ppmag

THE GOODS: PRO REVIEW

specs:

Canon EOS-1Ds Mark III

This photo was taken using custom white balance. Taking a custom white balance measurement, which can be stored for future use, is a simple process.

the EOS-1Ds Mark III achieves exceptional

eye from the viewfinder. The viewfinder displays

speed. It can capture up to 5 frames per second

all the pertinent information, including

in bursts of 56 JPEG frames or 12 RAW frames.

shooting mode, exposure settings, frame

To come close to achieving that speed, it’s

count, and ISO. You can set the two navigation

important to use high-speed cards. The

wheels on the front and back of the body for

Mark III comes with both CompactFlash

different functions, such as shutter speed and

(CF) and SecureData (SD) slots, so with

aperture or shutter speed and ISO. Changing

current card capacity, it’s possible to have up

exposure by adjusting the ISO, without

to 20GB of internal storage, although that’s

affecting the shutter speed or aperture, simplifies

not as roomy as it sounds. If you capture

action photography and depth-of-field control.

maximum-resolution JPEG + RAW files,

For a camera of this caliber, the ISO

about 350 shots will fill a 16GB CF card.

range is somewhat limited. The standard

The camera’s 14-bit A/D converter

ISO range that can be used without image

produces an exponential increase over a

degradation is 100 to 1600. Even when

12-bit A/D converter, yielding 16,384 tonal

extended through a custom function setting,

variations per channel, as opposed to the

the ISO range is still only 50 to 3200.

customary 4,096, resulting in smoother skin

Electronic noise was noticeable at 3200, but

tones and gradations. Once raw images have

tolerable at 1600.

been processed internally, they can be opened in the 16-bit Photoshop color space. I shot extensively with the EOS-1Ds Mark

I experimented with most of the scene modes, including Portrait, Landscape, Neutral and Monochrome. Monochrome was inter-

III in manual mode, where most creative

esting because its lens-type filtration effects

controls can be made without taking your

will simulate yellow, orange, red and green

56 • www.ppmag.com

SENSOR: 3:2 aspect ratio, 36x24mm fullframe CMOS RESOLUTION: 21.1 megapixel (5,616x3,744 pixels) IMAGE PROCESSOR: Dual DIGIC III Processor METERING: 63-zone TTL full-aperture metering, evaluative (linked to all AF points), partial (approx. 8.5% of viewfinder), spot (approx. 2.4% of viewfinder) with three variables (center spot, AF point-linked spot, multi-spot), and center-weighted averaging. SHOOTING SPEED: Rated at 5 fps, up to 56 JPEG frames per burst or 12 RAW frames per bursts ISO: 100 to 1600; to 50-3200 via custom function EXPOSURE SETTINGS: Program AE (shiftable), shutter -priority AE, aperturepriority AE, E-TTL II program AE (evaluative flash metering, averaged flash metering), manual, bulb SHUTTER: Vertical-travel, mechanical, focal-plane shutter with electronically controlled speed of 1/8,000 second to 30 seconds. X-sync up to 1/250 second WHITE BALANCE: Auto, daylight, shade, cloudy, tungsten, white fluorescent light, flash, custom WB, user-set color temperature (2,500-10,000K) VIEWFINDER: Eye-level SLR with solid glass pentaprism; about 100 percent horizontal and vertical LENS MOUNT: Canon EF FLASH: Accepts Canon Speedlite flash units STORAGE: CompactFlash and SecureData PRICE: $7,999

THE GOODS: PRO REVIEW

filters for dramatic black-and-white photos. Most of these model shots were taken in the Manual/Portrait mode, with off-camera flash providing fill light. The EOS-1Ds Mark III accepts most Canon Speedlite flash units. Using a non-Speedlite flash, I had to experiment a little to balance daylight and fill flash, but once I had the settings down, the results were good. The camera has 45 autofocus points. When shooting with f/2.8 or faster lenses, there are 19 cross-type focusing points, and the 26 assist-focusing points are sensitive only horizontally. Cross-type focusing points are more accurate than assist-focusing points. The cross-type focusing points drop as the lens speed drops. With an f/4 lens, only the center AF point works as a cross type; with f/5.6 lenses, all AF points have horizontal sensitivity only; and with f/8 lenses, only the center AF is active, so it makes sense to shoot with fast lenses whenever possible. With the full-frame sensor, there’s no lens conversion factor. It’s compatible with more than 50 Canon professional EF lenses. In low-light, shooting in the predictive AI Servo focusing mode, the camera had difficulty initially locking in on the subject. Theoretically, when the shutter release is pressed down half-way in the AI Servo mode, the camera will continuously focus on

Shooting in the Monochrome Scene mode, it's possible to simulate various lens filter effects, including a red filter for dramatic sky effects.

the primary subject, but that didn’t work particularly well in limited available light. If the camera didn’t lock on right away, it

ports evaluative, partial, spot and center-

as custom color temperatures. Setting up a

tended to take considerably longer to focus

weighted averaging modes. I prefer shooting

custom white balance is simply a matter of

than expected, often making me miss the

in the center-weighted averaging metering

registering an image taken specifically for

shot I wanted entirely. Rather than making

mode, and I had no problems there. But the

that purpose, or an image stored on a card.

only fine-focusing adjustments, it would run

evaluative mode, which should be the most

It’s important that that image is correctly

through the entire focusing sequence, some-

intelligent assessment, as it takes into account

exposed, as significant under- or over-

times repeatedly, before locking on. I haven’t

the largest number of readings within a

exposure will throw off the process.

encountered that in previous high-end

frame, at times yielded underexposed images.

Canon DSLRs. The EOS-1Ds Mark III uses a 63-zone TTL full aperture metering system that sup-

58 • www.ppmag.com

You can set the camera to various standard

First you select Custom WB registration in the menu and indicate which WB (1-5)

defined color temperatures and specific

the reading will occupy. Then you set the

Kelvin values from 2,500 to 10,000, as well

lens to manual focus and make an image of

a pure white card, exposed to produce a

The camera’s My Menu option lets you

light gray (18 percent) image. For some

group all of the most common commands

on location and in studio. However, when I

reason, in both sunlight and shade, the first

and settings onto one screen, greatly speeding

was shooting tethered to a computer, the

few times I tried it, the image of the card

up access to frequently used items. It’s also

USB cable tended to pull out. Disconnecting

had a blue cast. Thereafter they recorded

possible to write the camera settings to a

cables plagued photographers when studio

correctly. Once the camera finishes the

memory card so you can revert to favorite

flash systems were generally triggered by PC

computations, the results are stored in one

settings, and have available various sets of

cords. Wireless triggering devices eliminated

of the five personal white balance slots for

preferred camera settings for different

that problem, but the problem returns with

later recall. There’s a faster method of taking

shooting situations. It also simplifies loading

the USB cable. To be fair, it’s an inconvenience

a custom white balance, using the function

the settings of one camera onto another.

with any DSLR used in USB-tethered mode.

button and dials to skip the menu navigation, all explained in the manual. The Mark III’s extra-large 3-inch LCD

The Mark III has a rugged body and the shutter is rated to 300,000 frames—high, even for a professional camera. Its integrated cleaning

ideal for high-end commercial work, both

Still, Canon could have come up with some sort of USB cable locking mechanism. The camera comes with Version 16 of

screen is highly readable under almost all

system activates each time the camera is

the EOS Digital Solution Disk, which

lighting conditions except very bright sunlight.

turned on or off, shaking dust particles from

includes Digital Photo Professional 3.2. for

I could still see the overall image on the screen,

the sensor. There’s also a software dust removal

professional grade image transfer,

but the details were barely distinguishable.

method for artifacts on captured images

organization and conversion, and a

In most viewing conditions, you could see well

once they’ve been transferred to a computer.

number of other applications and utilities.

enough for framing, even shooting in the Live View mode and framing using the LCD.

Considering its resolution, image quality and speed, the Canon EOS-1Ds Mark III is

The Canon EOS 1Ds Mark III has a suggested retail price of $7,999. I

February 2008 • Professional Photographer • 59

THE GOODS: LIGHTING

Flash isn’t the only way to light in studio. New lower heat sources can illuminate like north light or be easily configured into setups that flood the space with light.

Manufacturers are responding to the trend with new technology, such as the Westcott Spiderlite constant light series, which can be attached to any Westcott soft box or strip bank. Spiderlites work with either tungsten or cool-running,

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

Constancy

daylight-balanced fluorescents. Switches on the units control the light output by turning on or off individual or multiple

STUDIO LIGHTING

There’s a quiet revolution taking place in

fired away. Before flash, constant light

studio lighting. For almost 50 years, the

sources ruled. Today, photographers are

studio experience included a pop and flash

rediscovering the beauty, simplicity and

with each exposure, while powerful strobes

intimacy of constant light. Figure 1

All images ©Ed Pierce

60 • www.ppmag.com

Figure 2

have northern exposure window light in the camera room. But as beautiful as window light is, it can be challenging to maintain proper exposure and color balance on sunny days when the sun darts in and out of the clouds, and nearly impossible on rainy days. When Westcott introduced the 8x8-foot Scrim Jim frame a year ago, I got the idea to build myself the perfect window. I combined two frames, 18 inches apart, with bulbs, without changing color temperature. I shot all of the images shown here with a Canon EOS 5D, using a PhotoVision One-

second at f/3.2, ISO 200, with an 85mm

a one-stop translucent fabric in one and

Canon EF f/1.2 II USM lens.

silver reflective material in the other.

I’ve always been envious of studios that

Between them I suspended five 8-foot

Shot Digital Calibration Target to achieve proper exposure and custom white balance. For the high-key image of Melissa (Figure 1), I used a basic two-light setup with Westcott daylight-balanced fluorescent bulbs. The butterfly-positioned key light had five bulbs in a 31x42-inch soft box boomed above and in front of the subject. I placed a 12x50-inch strip bank with three bulbs on the floor in front of the subject for fill. Exposure: 1/30

Figure 3

February 2008 • Professional Photographer • 61

THE GOODS: LIGHTING

sections of track lighting holding 25

reflector for fill. I added two Spiderlites in

Westcott fluorescent bulbs. Voila! Perfect

strip banks, one as a hair light, the other as

window light that can be moved and

an accent to add a second catch light at the

feathered, is consistent in intensity and

bottom of the eye. Photographers with

color balance, and can be used day or night.

window-lit camera rooms will be excited

I used “Ed’s Big Box” in Figures 2 and

to learn they can now add accents and

3. The first image of Ashleigh began with

supplemental lighting to backgrounds and

a fairly traditional approach to window

hair in this way. Exposure: 1/160 second at

light, with a 72x42-inch white Scrim Jim

f/1.4, ISO 100, with an 85mm Canon EF f/1.2 II USM lens. The second image of Melissa was taken from a high angle. In

Figure 4

addition to the big box, I used a single eyelighter fill strip bank on a boom arm. Exposure: 1/100 second at f/2.0, ISO 100. Another welcome use of the Spiderlite with fluorescents is adding flash when needed for depth-of-field or action-stopping shots. You can add strobes by either replacing several of the fluorescent bulbs

62 • www.ppmag.com

Figure 5

fixed Canon EF f/1.8L USM lens for 1/30 second at f/1.8, ISO 100. Not one of these takes was handheld. The camera was mounted on my Bogen camera stand. I could have bumped up the ISO, as all but one were shot at ISO 100, but I learned to do it this way 25 years ago and I still prefer it today. You can always make a sharp image soft, but it doesn’t work in reverse. Call me old school. I

instead of a soft-source main light, I used a

Pierce is teaching a 68-city educational tour in 2008. Go to www.edpierceseminars.com for dates and locations.

4-inch theatrical Fresnel (purchased online for about $150). The accent lights are

Figure 6

Photogenic mini-spots I bought some 20 years ago for the purpose of simulating print competition lighting. Surprisingly, I still find several sources for them online. I shot this homage to the glory days of Hollywood black and white for 1/40 second at f/2.2, ISO 100, with the 85mm lens. I shot the alleyway grunge image with my 200mm

with the Westcott screw-in strobe units or, as I prefer, simply inserting Quantum Qflashes through the soft box vents, as in the portrait of Michael on the gold couch (Figure 4). The Qflash with 150 watt-seconds of output, which can be AC- or batterypowered, is more than powerful enough for portraits. Here, I shot at f/7.1, ISO 100. All Qflashes were set below half-power. One strip bank provided hair light, another eye-lighter fill. Again, the main light was a 31x42-inch soft box boomed into a butterfly position. The final two images of Melissa (Figures 5 and 6) look almost like opposites, yet were created with identical light sources. I switched to tungsten in my Spiderlites, a simple switch-out of the screw-in bulbs. I used strip banks for hair light and fill, but

February 2008 • Professional Photographer • 63

THE GOODS: LIGHTING

From Tennessee comes a versatile lighting system with smart design features. It’s consistent, reliable and priced right. BY ELLIS VENER

THE ZEUS SYSTEM

All-star combo The new Zeus system from Paul C. Buff has

ZRM1 RINGMASTER

a combination of desirable features that

Perhaps the least obvious strength of the

similar systems lack, starting with the price.

Zeus system is the ZRM1 RingMaster flash

The system is compatible with select Dyna-

head. Yes, it’s a ringlight, and poking your

Lite M2000 heads, and Zeus heads work

lens through the donut hole makes it easy

with Dyna-Lite packs. Users can remotely

to make shadowless portraits with the hard,

trigger and control output, or simply trigger a

near-clinical feel you’d expect, but it’s much

pack via various optional Paul C. Buff wired

more versatile than ringflash heads that

of Moon Unit soft boxes, either the original

and wireless remote control units. The system’s

cost a bundle more.

with a 30-inch diameter or the new 56-inch

version of Balcar’s reflector and light

Like most standard heads, and unlike

Zeus ZRM1 RingMaster Flash Head

For a softer look, add one of the two sizes

diameter version. Shoot through the center

modifier attachment design is very secure.

virtually all current ringflash heads, the

or change the diffusion screen and use it as a

The packs and all of the heads are fan cooled.

ZRM1 is the platform for a system of light

standalone soft box.

The Zeus System may lack the looks and

modifiers. With the inner and outer edges

For something even more exotic, try a set

the sleek interfaces of more expensive systems

of the ring used as attachment points, it’s

of the optional heavyweight black paper masks

from Broncolor, Elinchrom, Hensel and Profoto,

the Swiss Army knife of lighting. It’s also

precut in various shapes and patterns, pack-

but it does the job it’s supposed to do:

light enough to handhold longer than

aged with four blanks for your own signature

consistently produce the light

other ringflash units with the same output

patterns. None of them really changes the

capacity. Like its ABR800 monolight

overall quality of the light, but they create

you need and lots of it.

sibling, its functional modeling lights let you see what you’re doing. And Zeus Z2500SH Standard Flash Head

like the ABR800, the head can be used as an off-camera light, mounted on a tripod or light stand, or handheld. Start by working with

interesting catch-lights in the subject’s eyes and subtly alter the shape of the shadows. The masks tend to block a fair amount of light, which isn’t a problem given the power and efficiency of the Zeus system. Try removing the internal diffusers to get a large light with a brighter center hot spot. Go back to the

the basic bare ZRM1

bare tube configuration and add the center

head with or without the

deflector in conjunction with the 10-inch

included diffuser. Add

reflector, or some strategically placed bounce

the removable 10-inch

cards for shadowless macro work light.

reflector, then try those combinations with the optional 20-inch grid spot attachment.

There’s also an included umbrella adapter. Two more terrific things about the ZRM1 and 56-inch Moon Unit soft box—the com-

bined shallow depth and a weight of just 1

color temperature stability throughout their

shutter speed, and the more commonly

pound, 14 ounces for the fully assembled

range—Profoto and Broncolor in

used (at least in marketing literature) t0.5

soft box and speedring. The ZRM1 and 56-

particular—but they cost much more.

standard, which is about 3 times shorter

inch Moon Unit are only 5.5 inches deep,

There are two standards for measuring

than t0.1 flash duration. If stopping

great news if you have to get a large light

flash duration. The t0.1 standard is equiv-

motion is important to you, the t0.1

over a set in a low-ceilinged room. Compared

alent to the motion-stopping ability of a

standard is the one to bear in mind.

to standard head and soft box combinations, this combo requires less ballast when the light is mounted on a boom. Despite the shallow design, using the internal diffusers evenly and smoothly illuminates a wide area.

Hurricane, flooding, torrential rains... POWER PACKS Zeus packs come in two strengths, the 1,250 watt-second (WS) Z1250 and the 2,500WS Z2500. These are the actual output specs, not “effective” watt-seconds. Paul C. Buff designed the Zeus packs with only two head connection ports, Channels A and B. A single slider controls total pack output over a continuous 5-stop range, and power can either be distributed symmetrically between the two channels or

DriveSavers to the rescue!

split into a fixed 3:1 ratio between channels A and B. By combining the asymmetric setting and the slider, you gain two more stops of low-power output if you use just the B channel. With the Z2500, which we used for this evaluation, this means the total power range is 7 stops, or from 2,500WS to about 20WS. Of course, how raw watt-seconds translate into the quantity of illumination on your subject depends on the modifier or reflector on the head and its distance from the subject. In a large space, at a diffusion screen-to-subject distance of 8 feet, meter and camera set to ISO 100, a Z2500 + Z2500SH + Medium Chimera Super Pro soft box combination produced f/16.5 at full power and a little less than f/2 at minimum power. Bare tube color temperature, as measured with a Broncolor FCC meter, ranged from 5,850 Kelvin to 5,500 Kelvin at 1/8 power. There are pack and head systems with better

We can save it! What’s the number one fear of professional photographers around the world? The unexpected, sudden loss of irreplaceable images due to a crashed or damaged camera, computer or other digital device. DriveSavers understands, and we know how to help. We’ve recovered more data for photographers and other creative professionals than any other company in the world. We offer special benefits to PPA members plus free return shipping and direct access to our data recovery engineers. And, if we don’t retrieve the data, you don’t pay. So, what’s our advice for getting rid of that fear? Easy. Back up today...or call us tomorrow.

800.440.1904 drivesavers.com ©2007 DriveSavers, Inc. DriveSavers Data Recovery, We can save it! and the life-ring logo are registered trademarks of DriveSavers, Inc.

February 2008 • Professional Photographer • 65

THE GOODS: LIGHTING

With the head plugged into the B channel, at full power in symmetric mode, the t0.1 flash duration of the Z2500 and Z2500SH respectable 1/230 second (1/690

lever to open the reflector/speedring attach-

second at t0.5). Using the variator and

ment clamps were on the side and not the

With the variator at full power but

ZEUS Z1250 POWER PACK MAXIMUM POWER OUTPUT: 1,250WS FULL-POWER RECYCLE TIME: 1.2 seconds QUARTER-POWER RECYCLE TIME: 0.35 seconds SIZE (h x w x d): 10.5x7.5x4.25 inches WEIGHT: 7.4 pounds PRICE: $599.95 ZEUS Z2500 POWER PACK MAXIMUM POWER OUTPUT: 2,500WS FULL-POWER RECYCLE TIME: 2.4 seconds QUARTER-POWER RECYCLE TIME: 0.7 seconds SIZE (h x w x d) : 10.5x7.5x4.25 inches WEIGHT: 11.2 pounds PRICE: $799.95

66 • www.ppmag.com

bottom of the head. I’d like the heads to have a short pigtail connection so the 12-foot cable could be disconnected for easier

switched to asymmetric mode, in which the

storage. And I’d like a pencil-light type head

B channel has only 1/4 power at maximum,

like the Dyna-Lite Enertec pencil light,

the t0.1 flash duration dramatically shortened

which won’t work with the Zeus because of its

to 1/655 second (about 1/2,000 second at

lower power capacity.

t0.5). These measurements are slightly

The Zeus System

side-mount a hook to the pack so that I could hang it from a stand as ballast. I wish the

ened flash duration to 1/175 second.

specs:

clamshell lid design. I’d like the option to

combination measured a very

cutting power by 2 stops slightly length-

Zeus Z2500 Power Pack

lower center of gravity. I’m not crazy about the

In the big picture, these are minor matters

longer than the company states, but their

of design, and adding these features would

measuring tools are different.

likely add to the price. Bottom line, if you’re

There are some things I wish were

looking for new studio lighting and you want

different about the Zeus. For one, I’d like

a lot of versatility for your money, the Zeus

the pack to have a more squat shape with a

is definitely a serious contender. I

ZEUS Z2500SH FLASH HEAD INCLUDES: 7-inch 80-degree reflector, 250-watt quartz-halogen modeling light MOUNT: standard swivel stand, hardwired 12-foot cable MAXIMUM POWER INPUT: 2,500WS for maximum continuous usage up to 30,000WS per minute SIZE (h x w x l): 5.25x4x7 inches WEIGHT: 3 pounds (without cable) PRICE: $299.95 ZEUS ZRM1 RING MASTER FLASH HEAD INCLUDES: 10-inch reflector, eight 20watt lights, flash tube cover/diffuser MOUNT: universal camera platform, tripod and light stand mounting bracket, 12-foot head-to-pack cable MAXIMUM POWER INPUT: 2,500WS for maximum continuous usage up to 20,000WS per minute

SIZE: 8-inch diameter, 2.75-inch depth, 4inch center port for lens WEIGHT: 1.5 pounds (excluding cable, camera, mounting bracket) PRICE: $299.95 ZEUS Z5000BTH BI-TUBE FAN COOLED FLASH HEAD INCLUDES: 7-inch, 80-degree reflector, two flash tubes, 250-watt quartz halogen modeling light MOUNT: standard swivel stand, and two 12-foot head-to-pack cables MAXIMUM POWER INPUT: 5,000WS for maximum continuous usage up to 30,000WS per minute SIZE (h x w x l): 5.25x4x7 inches WEIGHT: 3 pounds (without cables) PRICE: $399.95

Commercial photographer Jason Lindsey of Champaign, Ill., has a dual perspective. He learned about the business of image creation during his years in commercial design and art direction. COMMERCIAL

By Jeff Kent

I

n business, it often helps to see things from the perspective of your customers. For a public relations agent, it’s useful to spend some time working in the media. For a real estate broker, it would pay to go through the home-buying process. For a

commercial photographer, it certainly helps to have been an agency art director. Commercial photographer Jason Lindsey of Champaign, Ill., is living proof of the value of having a dual perspective. Lindsey had always been interested in photography, but his education and early career experience were in graphic design. Over five years of commercial design and art direction, Lindsey learned about the business of image creation from the perspective of an ad agency. He learned how to deal with clients, figure out the logistics of commercial projects, and how to turn a concept into a fully realized campaign. Meanwhile, photography kept pulling at Lindsey’s heartstrings. He started shooting tourism and travel images, first for fun and then for a fledgling list of clients. Lindsey found an increasingly receptive market for his images. Clients liked his style. Art directors liked his knowledge of the industry. When Lindsey felt the time had arrived, he dove headfirst into the business of commercial photography. He bought a

All images ©Jason Lindsey

lighting kit the night before his first big commercial shoot, but had to hire someone

Flip side Jason Lindsey forges a commercial career with a dual perspective 68 • www.ppmag.com

who knew how to work the lights. The technical skills came soon enough, but have never been a focus of Lindsey’s. Instead, he

sells his particular vision of the world, with an emphasis on emotion, innovation and a clear sense of commercial artistry. A decade later, Lindsey’s business is going like gangbusters. His clients include Anheuser-Busch, Fujifilm, the U.S. Postal Service, Geico Direct, Amazon.com and dozens of others. He’s done editorial shoots for National Geographic Books, Smithsonian Magazine, The Wall Street Journal and U.S. News and World Report, to name just a few. We sat down with Lindsey to get some details about the approach that’s made him so successful.

Professional Photographer: How has your experience in art directing affected your work as a photographer? Jason Lindsey: Not only was I working as a designer, but my degree from college was in

February 2008 • Professional Photographer • 69

COMMERCIAL

‘‘

When I started

shooting professionally,

my portfolio and promo materials were what I thought

clients wanted to see. Later, I put

together materials that were much more personal. My

business almost doubled.

’’

Tell us about your approach to lighting, particularly the difference between your environmental lighting and your thematic, communicative lighting. Back when I started, I asked an established photographer friend if I should take a lighting class. He told me no. “I think it’s a good thing that you don’t light by rules,” he said. He had a good point. I don’t light certain things certain ways because of some lesson I learned in a class. I developed my

design. In school, we learned about trying to

Tell us about your working style. Do you do

communicate something for a specific purpose

a lot of planning before a shoot, or do you

or need. It’s more a commercial way of

work more intuitively?

first is based on emotion, on what I’m trying

thinking than a purely artistic approach.

In general, I try to make the images feel

to communicate in the image. For example,

Much of the photography training I’ve seen

natural or intuitive, but much of my work is

I did a portrait of an author whose book

is more about art. My design training is

consciously produced, even if it’s an

opened with a nighttime car wreck on a

valuable for my work because it was all

intuitive consciousness. I try to do as much

rural stretch of road, so we did the shoot

about being creative on demand, or creating

preparation as possible before going on

before sunrise and replicated the look of

something for a very specific purpose. That

location. Once there, I can work more

truck headlights illuminating a scene at

background helps me talk to art directors

intuitively. The more prepared I am going

night. I set up a battery-powered light kit

and get on board very quickly with what

into a shoot, the more reactive I can be to

and lit the author with strong directional

they are trying to accomplish.

the changing situations on location.

light from the side to create a connection to

70 • www.ppmag.com

lighting style more naturally. I light with one of two approaches. The

the scene in the book. If my light is very

brainstorm with a photographer down the

have confidence in my approach from a

noticeable, as in this case, you can be sure

street named Christopher Rory. He does

business standpoint. I still have to remind

there’s a reason.

children, seniors, families and pets. We look

myself to push out there further, to pursue

at each other’s work and draw inspiration

my photographic vision.

My other approach to light is based on how the subject would appear in a natural

from each other. People often put the

environment. In natural environments, light

[commercial and retail portrait] markets in

What would you recommend to those

comes from everywhere, not just a window

separate categories. It’s strange that those

interested in establishing a stronger career in

or single light. It reflects and bounces

two worlds don’t usually meet. Maybe they

commercial and editorial photography?

around from all sides. I visualize how

should. My interactions with Rory have

Make sure you’re listening to yourself in

something would look in a natural

broadened my visual reference significantly.

terms of how you see the world. What I sell

environment and use that as my guide.

is my vision of the world, how I interpret a How has your work developed from your

scene or a setting. I don’t sell my equipment

also make a lot of images shooting directly

first days of pro shooting?

or my technical expertise. These days, because

into the sun, intentionally creating lens flare.

When I started shooting professionally, my

there are more and more high-quality

In general, I don’t worry about photographic

portfolio and promo materials were what I

digital cameras out there, it’s easier for

rules. If there’s lens flare, but the shot has

thought clients wanted to see. About two

clients to shoot certain things on their own.

more emotion, more impact, that’s fine.

years later, I put together promos and a new

When they hire a professional photographer,

I like shooting outdoors after sundown. I

portfolio that were much more personal.

they want that photographer to bring a

From where do you draw your inspiration?

The new materials were focused on how I

unique vision to the project. That’s how you

A broad variety of sources. The Web has

see the world, how I like to shoot things. My

find a market for your work in this field. I

been an amazing source of inspiration. I look

business almost doubled after I started

at online magazines, photo news groups and

showing my vision. It was encouraging that

other photographers’ portfolios. I also often

my outlook had such value. It helped me to

To see more from Jason Lindsey, visit him online at www.perceptivevisions.com.

February 2008 • Professional Photographer • 71

“THERE IS NO END. THERE IS NO BEGINNING. THERE IS ONLY THE PASSION OF LIFE.” – Federico Fellini

COMING IN FEBRUARY EXCLUSIVELY FROM...

1.800.662.1000 • www.albumsinc.com

BE THE REVELATION

THROUGH WHICH THE NEXT GENERATION SEES.

You’re not just taking a picture when you push that button. You’re laying bare the revelation through which the next generation sees. Capturing the truth that will grow more telling with each passing year. And every new set of enlightened eyes. That’s the power of photography. Every shot you take adds a branch to a family tree. Creating memories that, years from now, will connect families to their roots in often unexpected and meaningful ways. That’s your gift. You immortalize moments. And when you print them and preserve them in family albums, you make the understanding of those who come after immeasurably deeper.

1.800.662.1000 • www.albumsinc.com

Jorgensen Album

Everything after the photography

All images ©Louise Botticelli

DOUBLE

Louise Botticelli’s booming bicameral business model BY JEFF KENT

VISION

“You can never let your guard down. If you get busy and stop promoting your business, you’ll eventually feel it. It could take a year, but you’ll see a downturn.” It’s a common conundrum in photography

Botticelli got into professional photography

her photography and learned how to

—should you follow a high-end, low-volume

about 15 years ago, after a long break from

establish a market for it. Botticelli joined

business model or a moderately priced, higher

the workforce while her children were

PPA and took dozens more workshops

volume model? There are big differences

growing up. She was taking classes in art

presented by well known portrait masters.

between the two, including the areas of

and photography at Stony Brook University

marketing approach and workflow.

in New York when she was drawn to a mall

home in Setauket on New York’s Long

Louise Botticelli, M.Photog., decided to

She opened a portrait business in her

display of portraits on canvas by Jeff Lubin,

Island. A natural with kids, Botticelli con-

follow both models. A former teacher with a

M.Photog.Cr. Fascinated, she signed up for

centrated on child and family portraiture,

master’s degree in early childhood education,

Lubin’s seminars. She found a direction for

and within a year or so, the business had

outgrown the confines of her home. She

in West Hampton to display her work to a

rented a small space in West Hampton on

wider audience, and hired a studio manager

Long Island, which the business again

so she could concentrate on making artful

outgrew in about a year, and she moved

portraits, most of them rendered on canvas.

one more time before adding a 3,000-

About four years ago, the studio’s sales

square-foot studio on the side of her home.

78 • www.ppmag.com

averages started to drop. The storefront

Then Botticelli Portraits really took off. She

gallery, promotions and mall displays were

bought a small gallery space on Main Street

bringing in clients, but they were ordering

smaller prints and lesser packages. Botticelli’s son Brian graduated from college about then, and he wanted to join the business. Taking both matters into consideration, she and her manager brainstormed about revising the original business plan. To the high-end, labor-intensive portrait line, Botticelli decided to add a venture to cater to a different market, one that would offer more products and services and go for higher volume sales. The West Hampton gallery was revamped into a separate division of Botticelli’s business, Uniquely You Express Photography. Under Brian’s management, the new business included wedding and event photography. Sales averages rebounded and the Uniquely You brand was building a reputation in the area. Botticelli purchased another space, this one in the commercial district of Huntington, Long Island, a town closer to New York City with year-round traffic. Brian Botticelli moved into the new space, and the West Hampton business was placed under the management of a recent photo school graduate. “It was a hard decision to change the business structure, but when we saw the numbers going down it was obvious that something was holding people back,” says Botticelli. “It was the pricing. When my son joined the business, I said ‘We need to offer a good product at a different price.’ I knew it couldn’t be out of the main studio that I work in, because that was identified with high-end canvas portraits. So we started Uniquely You. Once the people came in for the smaller-scale products, there was a percentage that would still opt for canvas portraits. It worked really well.” Using StudioPlus studio management software, Botticelli’s studio manager coordinates the business of all three locations from her office in the home studio. The West Hampton and Huntington studios use Phase One digital camera backs linked directly into the StudioPlus system for ordering and image

management. All phone calls go directly to the

will be acceptable to you,” she says.

manager’s office, freeing up the three photogra-

Because of Botticelli’s successful business

phers to work with clients without distractions.

model, other photographers are seeking her

“If you’re going to advertise and put

advice. The former teacher will once again

money into getting your phone to ring,

be tutoring pupils in one-on-one, weeklong

someone needs to be there to answer it,” says

workshops that go behind the scenes at her

Botticelli. “It’s also important to train the

three studios. Her Photography for Life work-

people you work with, whoever answers the

shops focus on sharing the lessons that she’s

phone, because that’s where you form the

learned—or, as she puts it: “Everything you

first connection with a potential client.

need to know to turn your passion into a career.”

Clients want that connection. It’s so important.” To manage the growth of the business

“I find that no matter what level you’ve reached, what your experience is, you can

and maintain a healthy volume, Botticelli

always learn,” says Botticelli. “I yearn to go

uses a marketing plan that’s “a little bit of

to PPA conventions, to attend workshops,

everything.” She has image displays in five

and to look at Loan Collection prints. You

malls, which generate most of the studios’

can discover so much by looking at good

calls. She hangs prints in libraries, physicians’

work. And the whole PPA community is so

offices, clothing stores and other local busi-

eager to share. Learning is the clearest path

nesses. For one clothing store, she designed

to success in this business.” I

business cards that feature one of her images and her studio name. She’s bought print ads

To learn more about Louise Botticelli, visit her online at www.botticelliportraits.com.

and worked with Marathon Press on direct mailings, even partnered with car dealerships that give studio coupons with the purchase of a new car. “You can never let your guard down,” she says. “If you get busy and stop promoting your business, you’ll eventually feel it. It could take a year, but you’ll see a downturn.” Besides marketing, Botticelli credits much of her success to good customer service and consistency once she gets people in the door. “Always have time for people while they’re there. Be consistent with pricing and turnaround. If you make promises or promote a particular system, stick to it.” Another key is workflow. Botticelli manages the multi-location business by doing what she does well—photographing children and families—and delegating the rest. Part of it is working closely with trusted partners and vendors. “There will always be problems when you establish a new partnership, but as long as you solve them in the beginning, you can establish a level of consistency so that everything coming out of your studio

February 2008 • Professional Photographer • 81

Al images ©Marcus Bell

Shot through the heart

Marcus Bell throws heart and soul into his photography whether documenting a wedding or creating fine-art. BY STEPHANIE BOOZER

appily situated in Queensland, Australia, Marcus Bell is the head of Studio Impressions, a choice photography studio popular with globetrotting brides. Specializing in what he calls a “global approach,” Bell travels anywhere to photograph weddings.

one of the greatest finds in my life. My

Clients around the world seek him out for the

father was a photographer, and my grand-

quality of his work and the emotion it evokes.

father before him. I never imagined I’d do what my forefathers did, but when I picked

Professional Photographer: How did you

up the camera, it was like being hit by a bus.

get started in photography? Marcus Bell: Believe it or not, I was a banker,

What sets Studio Impressions apart?

struggling to escape and find my passion.

One major factor is our print presentation.

What was always under my nose became

Early on, we incorporated our fine-art

‘‘

My father was a photographer, and my grandfather before him. I never imagined I’d do what my forefathers did, but when I picked up the camera, it was like being hit by a bus.

’’

training into everything we do. Every image goes through a comprehensive process to draw out the emotion. I think of it as communicating my vision into the final print while enhancing the viewing experience through composition and light and drawing out the center of interest. What’s your philosophy? Shoot from the heart. Build relationships with your clients. Communicate your vision into print. Be remarkable in everything you do. Studio Impressions was founded on a few basic, yet powerful philosophies. First, passion. From day one, my passion ensured I’d create a studio for all the right reasons. I also emphasized high quality, fine-art images and a complement of outstanding products. The most important ingredient of our success is creating a strong relationship with each of our clients. Emotion and real moments are the essence of Studio Impressions’ photography. I use

the camera to tell true stories of real people.

weddings, I was hooked and always will be.

Being invited to share clients’ most precious

Every wedding is unique to me.

moments is a privilege.

I’m a strong believer that the major events in our lives shape who we are, and in turn, shape the photographers we are.

Where does your fine-artwork fit in?

A number of major events have shaped

Is there any location you wouldn’t travel to?

It’s the largest inspiration of all for my

my photography: the death of my father

I would say Antarctica could be too far

wedding photography. Being taught about

when I was 16, meeting my wife, the birth

away. Not to contradict myself, but it

the art of photography instilled so much of

of my son Jackson, and the premature

would be great if you could fly there, yet

what my images represent today. I’ve

birth of my twins.

[its remoteness] is part of its beauty. The

incorporated a number of new tools that

most interesting location I’ve photographed

let the creative side run wild. Principles

handed my camera to the anesthesiologist,

is due more to the people than the place—

that painters use enable a photographer

a keen photographer. He captured one of

Ireland. I always come away with the most

look at images on a whole new level, and in

the dearest moments in my life. For the

amazing experiences and images. Paris is

turn produce standout works of art in their

first time, I saw for myself the gift that

the most problematic location, only

own right, even in wedding images.

photography gives others. With a single

because so many photographers have

At the birth of my son Jackson, I

image you can encapsulate a moment that At the end of the day, who are you—

will be relived over and over again. That’s

a photographer or a businessman?

an amazing gift to give to our clients. I

Tell me what you love most about weddings.

A photographer for sure, though a pho-

can’t remember ever seeing a bank state-

I would travel the world to capture candid

tographer who’s had to learn to be out-

ment that gave anyone this kind of joy. I

emotional images in street-scene environ-

standing in every single way to compete

ments, but as soon as I saw that these

alongside the businessman. My whole

captured it from every angle.

‘‘

moments happen week-in and week-out at

I use the camera to tell true stories of real people. Being invited to share clients’ most precious moments is a privilege.

88 • www.ppmag.com

business was based on this.

Visit Marcus Bells’ Web site at www.studioimpressions.com.au.

CAMERAS DIGITAL SLR (35MM STYLE) LESS THAN $1,000 IT’S A TIE!

The Hot One Awards showcase the most advanced, useful tools on the market

A high-tech state of mind There are two schools of thought on technology. The first prescribes using existing technology as long as possible: Save money, wait until the system is obsolete. The second declares that technology is a tool, and new tools should replace old ones the minute they’re available: The cost will pay off in greater

Pentax K100D Super In the K100D Super, Pentax provides a fullfeatured, technologically advanced SLR at an affordable price. The K100D Super is compatible with all Pentax lenses and can be adapted to screw mount and 645/67 lenses (adapter sold separately). It features shake reduction technology, a 2.5-inch LCD with 210,000pixel resolution and a dust removal system to keep the CCD surface clean. The K100D Super has a 6.1-megapixel APS-C size CCD, an 11-point autofocus mechanism and 16segment multi-pattern metering. The pentamirror viewfinder provides a 96-percent field of view with 0.85X magnification. Price: $519.95, body only; $599.95 with 18-55mm lens. www.pentaxslr.com

efficiency, broader functionality, and staying ahead of the competition. Professional photographers have largely belonged to the second school, embracing and mastering new technology, and never at the expense of artistry. The Hot One Awards reflect not only the technology in the photographic industry, but the spirit of the photographers as well. The Hot One judges, professional photographers themselves, evaluated myriad entries in this ninth annual event to vote on the best of the year’s new and upgraded products and services. We hope you’ll be as eager to see what they chose as we were. Here’s to putting these wondrous tools to the most artistic of uses! Jeff Kent Hot One Editor [email protected]

90 • www.ppmag.com

Olympus Evolt E-510 The Olympus Evolt E-510 portable digital SLR has a 10-megapixel Live-MOS sensor. The camera’s mechanical image stabilization with Supersonic Wave Drive technology provides blur-free images, while the Live View LCD allows you to compose shots from a variety of angles. The E-510 is compatible with more than 30

It has a 3-inch LCD monitor with a Live View function, plus a 45-point autofocus system. Price: $7,999, body-only. www.usa.canon.com

digital-specific lenses. Its dust reduction system keeps the sensor spot free. Lightweight and portable, the E-510 has an ergonomic grip for ease of use in a variety of quick-shooting situations. Price: $549.99, body only; $749.99 with 14-42mm and 40-150mm lenses. www.olympusamerica.com

MEDIUM-FORMAT DIGITAL CAMERA SYSTEM

DIGITAL SLR (35MM STYLE) $1,000 TO $3,000 Canon EOS 40D The Canon EOS 40D brings digital SLR users a host of cutting-edge features at a mid-range price. Housing a 10.1-megapixel CMOS sensor, the camera comes with the EOS Integrated Cleaning System, Canon Live View, 3-inch LCD monitor and a DIGIC III Image Processor. Canon’s noise reduction technology provides clean images, and 14-bit conversion provides excellent color tones and gradations. Wellconfigured for fast-moving applications such as sports, wedding or event photography, the EOS 40D can capture 6.5 frames per second with a burst rate of up to 75 consecutive JPEGs. Price: $1,299, body only. www.usa.canon.com www.fujifilmusa.com

Canon EOS Integrated Cleaning System, the EOS-1D Mark III impressed our judges as a robust, tech-loaded DSLR. It shoots at a staggering 10 frames per second in bursts of up to 110 JPEGs or 30 RAW files. Dual DIGIC III Image Processors speed up camera processes while refining image quality. Price: $4,499, body only. www.usa.canon.com

DIGITAL SLR (35MM STYLE)

Mamiya 645ZD Digital System Mamiya won this growing and hotly contested category with the 645ZD Digital System, the first 22-megapixel digital camera system priced under $10,000. The system brings plenty of bang for the buck, including the Mamiya 645AFD II mediumformat camera, an 80mm f/2.8 AF lens and the newly introduced Mamiya ZD 22megapixel digital back. The 645ZD Digital System features the Mamiya communication protocol (Mamiya Serial Communication for External) for optimized two-way communication between the 645AFD II camera and the ZD digital back. The system

OVER $7,000 Canon EOS-1Ds Mark III The eagerly anticipated Canon EOS-1Ds Mark III was a unanimous winner in this category. An engineering marvel, the camera boasts an entirely new 21.1-megapixel, full-frame Canon CMOS sensor. It features Highlight Tone Priority and 14-bit A/D conversion for excellent color tones. Dual DIGIC III Image Processors work together to accelerate data handling and speed up the operation of camera features. The EOS-1Ds Mark III is durable, with a tough body, rugged shutter design and EOS Integrated Cleaning System to ensure pro-grade reliability.

handles shooting at 1.2 frames per second, has an optional low-pass filter to reduce moiré and aliasing, and comes with custom white balance features. It even includes Adobe Lightroom software. Price: $9,999. www.mamiya.com

DIGITAL SLR (35MM STYLE) $3,000 TO $7,000 Canon EOS-1D Mark III When Canon released the EOS-1D Mark III, it was heralded as a technological breakthrough. The EOS-1Ds Mark III has since assumed top place in a EOS line, but the 1D Mark III is far from a forgotten stepchild. With a 10.1megapixel CMOS sensor (APS-H size), a new 45-point autofocus system, a 3-inch LCD monitor with Live View technology, and the

February 2008 • Professional Photographer • 91

9 TH ANNUAL HOT ONE AWARDS

LENSES MACRO LENS Zeiss Makro-Planar T* 2/100 ZF Offering a dash of Hollywood to today’s photographers, the Zeiss Makro-Planar T* 2/100 ZF is the first stillcamera lens with ARRI/ Zeiss Master Prime optics straight from the movie industry. The lens exhibits superior optical performance, even at wideopen aperture, from infinity to the close focus limit at half life-size. Configured for an F-bayonet mount, the Zeiss lens features all-metal construction and nine-blade aperture from f/2.0f/22 in 1/2-step increments. Price: $1,507. www.zeiss.com

MEDIUM-FORMAT LENS Medium Format Lensbaby 3G Lensbaby widens its popularity with the mediumformat Lensbaby 3G. Compatible with Mamiya 645 and Pentax 67 camera bodies, the Lensbaby 3G brings the unique features of the previous Lensbabies to the mediumformat world. The Mamiya 645 configuration has an 80mm fixed focal length and an aperture range of f/3.4 to f/39. The Pentax 67 configuration has a 100mm fixed focal length and an aperture range of f/4 to f/45. The Lensbaby 3G can be locked into a bent

92 • www.ppmag.com

position with a press of a button. Working with a traditional barrel focus mechanism, photographers can then fine-tune the focus. Price: $390. www.lensbabies.com

STANDARD ZOOM LENS AF-S Nikkor 24-70mm f/2.8G ED Lens New from Nikon, the AF-S Nikkor 24-70mm f/2.8G ED lens is designed to be a universal lens for a range of applications, including

M-bayonet mount, the lens delivers sharp images over the entire focusing range, even at wide-open aperture. Judges loved that the Sonnar T* 2/85 ZM is the first M-mount telephoto lens with floating elements that incorporate a nonlinear rangefinder coupling mechanism. Price: $2,774. www.zeiss.com AF-S Nikkor 400mm f/2.8G ED VR Judges also loved Nikon’s new Nikkor 400mm, the 400mm AF-S Nikkor f/2.8G EF VR. The lens features vibration reduction (VR II) image stabilization, which allows photographers to shoot up to four shutter stops slower than without VRII. The Nikon Silent Wave motor delivers quick, quiet autofocus. Three extra-low dispersion elements reduce ghosting and flaring while enhancing sharpness and contrast, even at

weddings, photojournalism and outdoor photography. It features Nikon’s Nano-Crystal Coat to reduce ghosting and flaring, and internal focusing to ensure fast focusing. The Nikon Silent Wave motor contributes to even faster, quieter focusing. The AF-S Nikkor 24-70mm f/2.8G ED is compatible with Nikon FX- and DX-format image sensors. Price: $1,699. www.nikonusa.com

TELEPHOTO LENS IT’S A TIE! Zeiss Sonnar T* 2/85 ZM Carl Zeiss takes a share of the telephoto lens category with the Zeiss Sonnar T* 2/85 ZM. Configured for rangefinder cameras using an

the widest apertures. Nikon Nano Crystal Coat further reduces ghosting and flaring. The 400mm f/2.8 lens is made of a lightweight magnesium alloy that withstands dust and moisture. Price: $8,799.95. www.nikonusa.com

TELEPHOTO ZOOM LENS IT’S A TIE! Tamron SP AF70-200mm F/2.8 Di LD (IF) Macro Capturing its share of the telephoto zoom lens category, Tamron wowed judges with the new SP AF70-200mm F/2.8 Di LD (IF) MACRO, a lightweight (39.3-ounce) telephoto zoom designed for DSLRs with full-size image sensors. The lens has a minimum focusing distance of just 37.4 inches over the entire zoom range,

for a maximum magnification ratio of 1:3.1; both specs are the best available in this lens class. The lens has three low-dispersion elements to compensate for the lateral and on-axis chromatic aberrations typical of telephoto shooting, which can mar image quality. The lens also features internal surface and multiple-layer coating to help prevent ghosting, flaring and reflections from lens surfaces. Price: $699. www.tamron.com smc Pentax-DA* 50-135mm f/2.8 ED AL[IF]SDM telephoto zoom Sharing the prize for telephoto zoom lens is the 50-135mm smc Pentax-DA* f/2.8 ED AL[IF]SDM. This new telephoto zoom delivers excellent optical quality, and includes SDM technology for fast, accurate and quiet focusing. The lens’s advanced optical technology includes aspherical elements, special optical-glass elements and original lens coating. Our judges particularly liked how the lens delivered image contrast, clarity and edgeto-edge sharpness. Price: $999.95. www.pentaxslr.com/lenses

WIDE ZOOM LENS AF-S Nikkor 14-24mm f/2.8G ED Lens Nikon’s impressive showing in the lens category continues with the 14-24mm AF-S Nikkor f/2.8G ED. One of the fastest 14mm

wide-angle zoom lenses on the market, this versatile lens has attractive features for photojournalism, interior and landscape photography and a variety of wedding and portrait applications. The f/2.8 aperture

handles an array of lighting conditions, while the overall clarity and sharpness approaches that of prime lenses. Price: $1,799.95. www.nikonusa.com

WIDE-ANGLE LENS Zeiss Distagon T* 4/18 ZM Carl Zeiss certainly gave Nikon a run for its money in the lens categories, tying the Japanese manufacturer with three awards. This year’s Zeiss collection is rounded out by the Distagon T* 4/18 ZM, a super-wideangle lens configured for rangefinder cameras with an M-bayonet mount. The lens provides excellent image quality over the full 24x36 frame, through the entire focus range, and even at wide open aperture. The Distagon T* 4/18 ZM comes in a compact package with impressively high resolving power. Price: $1,055. www.zeiss.com

FILM BLACK-AND-WHITE Kodak Professional T-MAX 400 No, film is not dead. Kodak hammers home the point with the improved T-MAX 400, a continuous-tone, panchromatic, black-andwhite negative film. T-MAX 400 is particularly effective for dimly lit subjects, fastmoving action, and captures that require both good depth of field and fast shutter speed. T-MAX 400 has Kodak-patented T-GRAIN emulsions for finer grain and greater sharpness than previous 400-speed black-andwhite films. In fact, film experts compare the clarity provided by this film to that of 100-speed films. Price: about $3 per roll in 35mm format. www.kodak.com

COLOR TRANSPARENCY Fujichrome Velvia 50 for Professionals (RVP 50) Winning the Color Transparency category is Fujichrome Velvia 50 for Professionals (RVP 50), a high-color saturation, high-contrast transparency film. Velvia 50 made its name in landscape and nature photography with its image depth and color fidelity. After discontinuing it in 2005, Fujifilm reintroduced the widely popular Velvia 50 with a new process. The updated version features an RMS granularity of 9, and uniform gray reproduction from highlight to deep shadow. Price: $6.20 per roll in 35mm format. www.fujifilmusa.com

February 2008 • Professional Photographer • 93

9 TH ANNUAL HOT ONE AWARDS

LIGHTING EQUIPMENT

for Nikon-compatible version; $375 for Canon, Olympus, Pentax, Samsung and Panasonic compatibility. www.metz.de/en/

CAMERA FLASH Metz Mecablitz 58 AF-1 digital Metz won the camera flash category with the new Mecablitz 58 AF-1 digital, with USBupgradeable wireless flash. The unique USB upgrade feature allows easy software updates via any Internet-enabled PC. The flash connects with the Canon E-TTL and Nikon i-TTL remote systems via wireless infrared. The 58 AF-1 yields a max guide number of 58 meters/190 feet at ISO 100, 105mm focal length. Other features include an integrated fold-away reflector card for the vertical and horizontal

LIGHT MODIFIER

swivel-and-tilt reflector; a built-in wide-angle diffuser for illuminating at an 18mm focal length; a large LCD; and new multi-zone autofocus metering technology. Price: $350

DIGITAL STORAGE MEDIA IN-CAMERA MEMORY CARD Lexar Professional UDMA 300x CompactFlash Card The Lexar Professional UDMA 300x CompactFlash card wowed the judges with its fast transfer speed, reliable data storage and its compatibility with the newest generation of UDMA-enabled digital SLRs. Available with 2-, 4- and 8GB capacity, the card delivers industry-leading read-write speed, with a minimum sustained write speed of 300x, or 45MB per second. The UDMA CF card comes with Lexar Image Rescue 3, Lexar Backup n Sync and Corel Paint Shop Pro X software. The card has a limited lifetime warranty and free dedicated technical support. Price: $79.99 for 2GB; $129.99 for 4GB; $219.99 for 8GB. www.lexar.com

PORTABLE HARD DRIVE AND DISPLAY JOBO Spectator The new JOBO Spectator mobile storage device features a highresolution, 2.5-inch, TFT color LCD display with a 16-million color spectrum. With built-in card slots supporting all popular memory cards, the Spectator ensures secured copying from card to hard drive with an integrated auto-verify function. Additional features include image zoom, thumbnail and slideshow modes with adjustable display duration; a power-saving function; and free firmware updates. With a high-speed USB 2.0 interface and TV-out hookup, the Spectator can function as a Mac- or PC-compatible external hard disk. The Spectator is available with storage capacity of 40-, 80- and 120GB.Price: $249 for 40GB; $299 for 80GB; $379 for 120GB. www.jobo-usa.com

94 • www.ppmag.com

Paul C. Buff Foldable soft boxes and octaboxes Paul C. Buff scored with a new series of foldable soft boxes. Designed for use with all AlienBees, White Lightning and Zeus standard flashes, and all Zeus bi-tube flash heads, Paul C. Buff foldable soft boxes and octaboxes have an opaque black exterior shell and a recessed front lip, where a translucent white diffusion panel attaches. This recessed lip helps control lens flare, and will hold a 40-degree honeycomb grid (sold separately) to control light spread. The inside walls have a reflective silver lining to bounce light before it’s diffused through the front panel. The boxes have a second internal baffle for double-diffusion. Price: $119.95 for 10x36 and 24x36 inches; $129.95 for 32x40; $159.95 for 30x 60; $149.95 for 35-inch diameter; $169.95 for 47-inch diameter. www.alienbees.com and www.white-lightning.com

PORTABLE LIGHT UNIT Profoto AcuteB 600/600R Profoto scored high marks by condensing the performance features of its Acute2 pack into a small, battery-operated version for location shoots. The Profoto AcuteB 600 produces up to 160 full-power flashes from a single charge. In addition to its 600-watt-seconds of flash power, the AcuteB comes with a

sync cord, built-in slave tripper or remote control. Zeus Power Packs are designed for use with Paul C. Buff Zeus Flash Heads (standard, bi-tube and ringflash), and are also pin-for-pin- and voltage-for-voltagecompatible with the Dyna-Lite 2040, 4040 and 4080 series of flash heads. Price: $599.95 for Z1250; $799.95 for Z2500. www.alienbees.com/zeus.html or www.white-lightning.com/zeus.html

600-watt-second lamp head that uses a high-efficiency 65-watt halogen modeling light, which produces output equivalent to a 90-watt bulb. In the studio, the modeling light can be powered from a wall outlet. The AcuteB 600R model comes with a built-in 32-channel PocketWizard receiver for wireless flash triggering. Price: $1,899. www.profoto-usa.com

STUDIO LIGHTING SYSTEM Profoto ComPact R Profoto impressed the judges with its nextgeneration ComPact system for controlling modular lighting setups. With the same functionality as its predecessor, the

SLAVE/TRIGGER SYSTEM Elinchrom EL-Skyport Wireless For the hottest new slave/trigger system, the judges selected the Elinchrom EL-Skyport Wireless, a miniaturized secure, high-speed data transmission system for wireless handheld or computer control of all Elinchrom RX power units. There are four modules available in the

POWER PACK Paul C. Buff Zeus Power Packs Designed for use with the Zeus System, Zeus Power Packs come in two models, the Z1250 (1,250 wattseconds, 7.4 pounds) and the Z2500 (2,500-watt-seconds, 11.2 pounds). With two flash head outlets, each pack provides asymmetrical power distribution (1:1 or 3:1) with stepless flash power adjustment over a 5f/stop range. Synchronization is accomplished via

ComPact R also has a built-in PocketWizard. The system’s simple learning mode remembers the first signal received during power-up. It holds the memory until you enter a new channel. Compatible with all 32 PocketWizard channels, the ComPact R can be triggered from more than 300 feet. The Profoto ComPact R ProValue Pack includes two 8-foot light stands, two white umbrellas and a custom carrying case. Price: Starts at $899, increases with modular additions. www.profoto-usa.com

Skyport system: transmitter, RX receiver, transceiver RX USB and universal receiver (used with a sync socket to fire most flashes). The system can sync up to 1/1,000 second. The combined studio operating range is 165 feet— 395 feet in the great outdoors—with interference-free operation in 40-bit security. Our judges loved the speed of the Skyport, 2.4GHz, more than 7 times faster than most competitors. For multiple flash unit control, there are eight frequency channels with four work groups per channel. Price: $206 for Universal Kit. www.elinchrom.com

February 2008 • Professional Photographer • 95

9 TH ANNUAL HOT ONE AWARDS

DYE-SUB PRINTER Mitsubishi CP-9800DW The Mitsubishi CP-9800DW set the standard for this year’s crop of dye-sub printers with its sophisticated adaptive thermal-head management engine and 300dpi high-density thermal head. When combined with new high-grade media, it produces deep blacks, strong color depth and smear-free gradation. The CP-9800DW comes with a high-speed USB 2.0 interface. It prints 4x6 photos in 8 seconds and batch prints at 400 prints per hour. It offers edge-toedge printing in four output sizes. As with all Mitsubishi digital photo printers, the CP9800DW is backed by the Express Replacement Assistance program. Price: $2,595. www.mitsubishi-imaging.com

INKJET PRINTERS

features for improperly exposed photos. This model even prints on inkjet-printable CDs and DVDs. Price: $349.99. www.proimaging.epson.com

Pro 4880 uses Epson UltraChrome K3 inks with the new Epson vivid magenta pigments. The MicroPiezo AMC print head combines with Epson AccuPhoto HD screening technology to place droplets with extreme precision for smooth tonal transitions and fine detail from highlights to shadows. The 4880’s high-capacity paper tray handles cut-sheet media up to 17x22 inches, which can be loaded four different ways, and roll media up to 17 inches wide. Price: $1,995. www.proimaging.epson.com

INKJET PRINTER

INKJET PRINTER

$500 TO $1,000

MORE THAN $5,000

Canon PIXMA Pro9500 Our judges selected the Canon PIXMA Pro9500 in this price category. The printer features Canon 10-color (no swapping) Lucia pigment ink system for high-quality output up to 13x19 inches. Using FINE print head

HP Designjet Z3100ps GP Photo Printer In this category, a winning printer better deliver something above and beyond the norm. The HP Designjet Z3100ps GP Photo Printer does just that, featuring a built-in spectrophotometer for simple, push-button color management. Using a HP Vivera 12-color pigment inkset, this printer produces prints with exceptional water resistance and archival longevity of more than 200 years. The printer comes with a new embedded Adobe PS3/PDF RIP that

technology, it can output images at a maximum resolution of 4,800x2,400dpi. Matte black, photo black and gray inks are included. Price: $849.99. www.usa.canon.com

INKJET PRINTER LESS THAN $500

INKJET PRINTER $1,000 TO $5,000

Epson Stylus Photo 1400 The budget-friendly Epson Stylus Photo 1400 impressed judges with its ability to produce high-quality prints in 11x14-, 12x12- and 13x19inch sizes. A successor to the Stylus Photo 1280, the 1400 comes with a bevy of improvements. The printer delivers Claria Hi-Definition ink in droplets as small as 1.5 picoliters. The new DX5 print head prints nearly three times faster than the head in the 1280, giving you 8x10 photo prints as fast as 108 seconds and 11x14 in 173 seconds. The Stylus Photo 1400 also features Auto Photo Correction technology, which provides an array of auto-fix

96 • www.ppmag.com

Epson Stylus Pro 4880 The Epson Stylus Pro 4880 incorporates a 17-inch-wide printer design with new ink technology and an advanced print head. The Stylus improves productivity by working seamlessly with Photoshop and PDF files. Available in 24- and 44-inch models, the Designjet Z3100ps GP includes the HP Advanced Profiling Solution for building customized RGB and CMYK profiles for a variety of media. Price: $5,095. www.hp.com

9 TH ANNUAL HOT ONE AWARDS

INKJET MEDIA

GLOSSY PAPER

FINE-ART MEDIUM

LexJet Sunset Fibre Elite 285g LexJet developed the Sunset Fibre Elite based on feedback from users of the previous Hot One Award-winning Sunset Fibre Gloss. LexJet’s customers wanted a super-smooth, bright white, glossy surface in a fiber paper, and the company obliged. The result is another Hot One Award winner. Sunset Fibre Elite has a 285g microporous high-glosscoated surface with a special acid-inhibiting layer. Available in standard sheet sizes and roll widths up to 60 inches, it is universally compatible with all dye and pigmented ink sets. Price: $1.80 per square foot. www.lexjet.com

LexJet Sunset Select Gloss Canvas LexJet Sunset Select Gloss Canvas impressed

our judges with its water-resistant, polyblend, gloss canvas surface, which lends itself to an exceptional color gamut and image clarity. The pH-neutral, acid-free inkjet coating and bright white point render bright colors, fine detail and consistency from print to print. Sunset Gloss Canvas can be stretched or mounted, and is compatible with popular dye- and pigment-based inkjet printers. It’s available in 40-foot rolls in standard widths of 17 to 60 inches. Price: $1.96 per square foot. www.lexjet.com

SCANNER

MATTE PAPER Moab Lasal Photo Matte 235 Moab Lasal Photo Matte 235 is a doublesided, professional-grade photo paper that yields excellent image sharpness and color density. The paper features an instant-dry, smooth matte surface that works well in high-speed production. Lasal Photo Matte 235 is universally compatible with a wide range of printers and ink sets. Price: From $10.95 for 50 4x6 sheets to $48.95 for 50 13x19 sheets. www.moabpaper.com

SEMI-GLOSSY PAPER Hawk Mountain Papers Sharpwing Luster New from Hawk Mountain Papers, Sharpwing Luster is an 11 mil. opaque, resin-coated, photorealistic inkjet paper. Its bright white, quick-drying, microporous, low-luster coating allows particularly high-resolution printing. Sharpwing Luster works with all types of inkjet printers and with both dye and

MUTLI-FORMAT SCANNER Epson Perfection V500 Photo Epson takes all the marbles in the scanner category with the Epson Perfection V500 Photo color scanner. It delivers 6,400dpi optical resolution with 48-bit color depth and 3.4 Dmax optical density. The unit works with Epson’s new ReadyScan LED technology, which delivers fast scans with no warm-up. The ReadyScan LED adjusts the color of the light source based on the type of original. The unit includes Digital ICE to remove dust and scratches, and Epson Easy Photo Fix for restoring faded color. The Epson V500 Photo has a built-in transparency unit (TPU) with a moving carriage and a lamp optimized for scanning multiple 35mm negatives, slides and medium-format film. Price: $249.99. www.epson.com

98 • www.ppmag.com

pigmented ink. It comes on 3-inch-core rolls and 17x25-inch sheets. Price: $100 for 24-inch x 100-foot roll. www.hawkmtpaper.com

© 2007 Cherie Steinberg Cote

Set Yourself Apart. Introducing new Color Efex Pro™ 3.0 from Nik Software, the leading digital photographic filters for Adobe® Photoshop® that let you craft a style all your own. Used by today’s top professionals, Color Efex Pro 3.0 offers state of the art image processing, unprecedented selective control with Nik’s patented U Point® technology and a streamlined workflow you have to experience to believe.

New filters like Bleach Bypass, Polaroid™ Transfer, Glamour Glow, and more let you truly take control of color, light and tonality in your images to create unique enhancements with easy yet professional results. The way you see photography will never be the same. Download the free, full-featured trial software at www.niksoftware.com/prophoto

9 TH ANNUAL HOT ONE AWARDS

PRESENTATION CONTEMPORARY/ UNMATTED PHOTO ALBUM AsukaBook Book Bound EX in Varnish AsukaBook continues its popularity in this category with Book Bound EX in Varnish. The regular EX took home the prize last year, and AsukaBook’s addition of a

Collages.net Gallery Wrap Part of a wave of new products introduced by Collages.net in 2007, Gallery Wraps won praise from our judges as a high-quality display option for contemporary images. Each gallery wrap comes on a 1.5-inch wooden stretcher and is finished with a protective coating. Collages.net wraps the image around the sides of the frame for full image display. Photographers can use an online interface to preview

©Brett Chisholm Photography

varnish finish and the new 11x12.5-inch size lands it the award again. The EX line of coffee-table-style books features the same design on the book jacket and the hard cover underneath. Inside laminate pages are available in matte or glossy finish. EX books come in high-gloss red or black cases with personalized hot stamping. Price: $175 to $262, depending on size and design. www.asukabook.com

portfolios from Seldex Artistic Albums. These boxes come completely wrapped in an image from the photographer, printed on either canvas or silk. Every print is treated with a protective coating to increase the longevity of the portfolio. Inside, there are 15 rag mats with bevel-cut openings for image display. Price varies from $16.40 to $162.60. www.finaoonline.com

DISPLAY ITEM IT’S A TIE! Finao Seldex Image Portfolio The judges were impressed by these unique, custom-designed, personally branded image

images in the gallery wrap format. Collages.net technicians take care of the production end. Price: Varies with image size. www.collages.net

FRAME IT’S A TIE! Digital Foci Image Moments IMT-083 We know there are some great traditional frames out there, but the digital displays just

100 • www.ppmag.com

keep winning. This year, we have a tie. The Digital Foci Image Moments IMT-083, a new addition to Image Moments line that won last year, provides digital image display on a selection of interchangeable frames. Memory cards can be inserted directly into the unit, which displays the images on an 8-inch, 800x600pixel LCD screen with a 500:1 contrast ratio. With 256MB of internal memory, the new Image Moments frame stores as many as 1,500 images. An auto slideshow feature automatically scrolls through the images in a set sequence. Price: $199. www.digitalfoci.com JOBO Photo Display PDJ701 JOBO grabbed the judges’ attention with the new Photo Display PDJ701, a digital frame with a 7-inch, 800x480-pixel TFT color LCD with a contrast ratio of 400:1. The Photo Display PDJ701 earns points for its impressive cache

of internal memory—1GB to hold more than 10,000 pictures. Like Image Moments, the JOBO frame can display images directly from memory cards, and has an automatic slideshow feature. Price: $179. www.jobo.com

NOVELTY OR ADD-ON SALES ITEM eMotion Designer Picture Shows Professionally produced eMotion Media Designer Slideshows are broadcast-quality photo presentations with such features as high-end title sequences, 3D animation,

color-matched background layers and all sorts of special effects. The whole thing is timed to music for a pro-grade multi-media experience. EMotion Media offers all this through a simple ordering process at affordable prices. Photographers pick a show, upload their images, and let eMotion Media take care of the rest. Shows are available for the Web or

on DVD, presented in a leather folio and silk-lined gift box. Price: $39.95 to $119.95. www.emotionmedia.com

Your monitor, Your GTI viewer, & You... The basic ingredients for Perfect Color. Only GTI can guarantee tight-tolerance viewer to viewer visual compatibility based on our proprietary Graphiclite® 100 Color Viewing Lamps.

-because you & your clients demand the best! The

GTI Graphic Technology Inc.

Qual ty P:888-562-7066 • F:845-562-2543 of ONLINE PRINTING/ ORDER FULFILLMENT

Li Light

www.gtilite.com • [email protected]

collagesDesktop + collagesColor Collages.net took a big step forward with this year’s introduction of collagesDesktop + collagesColor. CollagesDesktop is a free, downloadable workflow application for Collages.net customers. The software integrates with collagesColor, a professional printing solution. The combination of these elements provides ©TriCoast Photography

seamless image management and ordering in a variety of photographic products, including albums, gallery wraps, magazine-style books, greeting cards and individual prints output on Kodak Endura paper. Price: Desktop software is free for Collages.net customers. Print and product prices vary. www.collages.net/collagescolor

February 2008 • Professional Photographer • 101

9 TH ANNUAL HOT ONE AWARDS

SOFTWARE

non-destructive edits to eliminate sensor dust marks. Lightroom uses Adobe Photoshop Camera Raw technology to support more than 150 native raw file formats, as well as JPEG and TIFF. Price: $299. www.adobe.com

ALBUM DESIGN Art Fotografic Album DS PRO— My Designer Studio Edition Winning the competitive album design category is Art Fotografic Album DS PRO—My Designer Studio Edition. Working with Photoshop, Album DS PRO features over 500 templates that can be used for any size album. The new My Designer Studio Edition features an additional 500 customizable templates created by a professional album design studio, in such categories as children, seniors, sports traders, announcements and stationery. There are also hundreds of borders, edge effects, masks and frames. Layouts can be configured free form in Auto Layout mode or via other options provided by the software. Video tutorials accompany the application, which is available in several languages. Price: $449. www.albumds.org

CAMERA CAPTURE/ PROCESSING Craig’s Actions Production Assistants—Creative Suite Ever dreamed of automating image production from camera to printer with the touch of a button? Our judges certainly have, which is why they tapped Craig’s Actions Production Assistants—Creative Suite as the Hot One winner in the camera capture/processing category. This set of Photoshop Actions is available as a full suite or in three sets: Portrait/Wedding, Jazz for a collection of color

102 • www.ppmag.com

IMAGE EDITING

and duotone effects, and iTones 1, the first in a series of funky image effects. Price: $647 for the full set; $247 per module. www.craigsactions.com

DIGITAL ASSET MANAGEMENT Adobe Photoshop Lightroom 1.3.1 Adobe Photoshop Lightroom, now in version 1.3.1, has taken the industry by storm, serving as the professional photographer’s essential tool for importing, raw processing, managing and presenting volumes of digital photographs. The software is organized into five task-oriented modules: Library, for organizing and selecting; Develop, for tone and color adjustments; Slideshow, for presenting; Print, for output; and Web, for creating and posting Web pages. Other features include a hue, saturation and luminance adjustment tool for intuitive image editing. Clone and Healing features provide

Adobe Photoshop CS3 In one of the most crowded categories of the competition, Adobe Photoshop CS3 was an easy winner, and king of imaging applications. Photoshop CS3 has enhanced color correction, improvements to the interface to maximize workspace, and new image processing and alignment algorithms. Automated features help users create advanced composites and panoramas in a fraction of the time it took with previous versions. The new Nondestructive Smart Filters allow you to freely experiment with image effects without risk of altering the original image file. And that’s just the tip of the iceberg. The entire application has been upgraded, enhanced and optimized for faster operation, more robust functionality and even broader compatibility. Price: $649. www.adobe.com

IMAGE EDITING PLUG-IN IT’S A TIE! Nik Software Color Efex Pro 3.0 Our judges liked the simplified control afforded by Nik Color Efex Pro 3.0. Nik Software’s U Point technology allows users to selectively apply enhancements to color, light and tonality without configuring masks, layers or selections. The plug-in includes more than 50

preset tools, brushes, blending modes and layers management. The system is facilitated from one desktop docking interface that controls all other Ron Nichols palette products. The family of Ron Nichols Palettes includes the latest versions of the Production Retouching Palette, ProSelect Video Tutorial Palette, Helen Yancy’s Artistic Enhancement Palette, Peter Eastway’s Inspired Landscapes Palette and Tim Walden’s Black and White Darkroom Palette. Price: $199 for download; $239 on CD. www.ronnichols.com

DIGITAL PAINTING traditional and stylizing filters, including new effects such as Film Effects to replicate the color, contrast and grain of more than 30 film types; Bleach Bypass to emulate the popular cinematic effect; Glamour Glow; and Tonal Contrast to separately control the contrast in the highlights, mid-tones and shadows. The interface is also newly redesigned. Price: $299.95. www.niksoftware.com Ron Nichols Digital Solutions Palettes Judges also gave kudos to Ron Nichols Digital Solutions Palettes. This collection of digital palettes speeds retouching and enhancement with programmed setups of common tasks,

Corel Painter X With Painter X, Corel takes the next step in digital painting. Judges loved the breakthrough technology of the RealBristle Painting System, which makes the virtual brushes blend and splay, for a feel closer to hand-painting on canvas. The Underpainting Palette is augmented with color schemes based on different styles, including Impressionist, Classical, Modern and Chalk Drawing. The Auto-Painting palette has been updated with the Smart Stroke Painting option, which applies brush strokes along the forms and detail in the original photo. Price: $229 upgrade; $429 full version. www.corel.com/painter

PRESENTATION/SLIDESHOW Photodex ProShow Producer 3.2 After a one-year absence from the winner’s podium, Photodex recaptures the Hot One award for presentation/slideshow software with ProShow Producer 3.2. The application

offers everything from digital proofing to multimedia slideshow production. With ProShow Producer, photographers can create professional shows with artistic effects previously available only through sophisticated photo and video editing software. Features include the Chroma Key Transparency tool to create cinematic green screen effects, the built-in vignette tool, photo and video cropping and rotation tools, enhanced drop shadow control, caption textures and more. Price: $249.95. www.photodex.com

STUDIO MANAGEMENT SuccessWare For the second year in a row, SuccessWare captures the prize for hottest studio management software. SuccessWare manages day-to-day studio operations,

helps you price products for profitability and design plans for increasing revenues. The application is based on proven photography business management practices developed by Charles Haynes, a past PPA president, and other industry experts. The newest version of the software has increased functionality with more complete pricing, accounting and business management features. Price: $1,495 to purchase; $299 plus $49 a month to lease. www.successware.net

February 2008 • Professional Photographer • 103

9 TH ANNUAL HOT ONE AWARDS

STUDIO & LOCATION EQUIPMENT BACKGROUND Denny CP6262 Rusty Metal Judges gave the nod to the Denny CP6262 Rusty Metal background, a computer-painted

categories that we decided to give three awards. The first goes to jill-e, a new line of camera bags and accessories designed specially for women. Our judges—especially the women in the group—loved the combination of fashion and rugged functionality of these bags. Jill-e bags have the padding and protection of traditional bags, but they’re crafted for panache in leather, suede and other stylish materials. Price: Varies by design. www.jill-e.com Lowepro Apex AW Camera Pouches Lowepro Apex AW Camera Pouches are perfectly suited to carry consumer-size cameras. With single-compartment design, the Apex AW Camera Pouches can accommodate a camera, memory card and battery, small accessories and a variety of video devices. Lowepro’s patented All Weather Cover protects against rain, dust and sand, and the interior is lined with soft, brushed-tricot and has dividers to prevent scratches.

background with an industrial chic feel. Rusty Metal is available in a variety of sizes and can be accessorized with the Denny Rusty Metal Senior Numbers. Price: $792 for 8x16foot background. www.dennymfg.com

COLOR MANAGEMENT

CAMERA BAG OR TRAVELING CASE IT’S A TIE! jill-e camera bags We had such a diverse and deserving set of entries in our camera bag and traveling case

Think Tank Photo’s online security for identification in case of loss or theft. The roller holds two DSLRs, accessories and lenses up to a 500mm f/4. The optional Airport International Low Divider reconfigures the lower section of the case to accommodate laptops with no bulge. Price: $319. www.thinktankphoto.com

It features a memory card pocket, reversed zipper with silent zipper pulls and molded bumper. Price: $19.99 to $25.99. www.lowepro.com Tank Photo Airport International For taking your pro gear into the air, the large rolling Think Tank Photo Airport International meets all international carry-on regulations. The bag includes several security features, such as a combination lock for the zipper sliders, a security cable and an ID plate with a unique serial number. Photographers can register their bag with

PANTONE hueyPRO The PANTONE hueyPRO improves color clarity and consistency across multiple CRT, laptop and LCD displays. An upgrade from the original huey, hueyPRO has added functionality for users who frequently print photos and other graphics, share them among workstation monitors or upload them to the Web. About the size of a thick pen, the hueyPRO can continually adjust a monitor as the room lighting changes. New software allows increased control over brightness and contrast through user-selected gamma and white point settings. Price: $129. www.pantone.com

Get a new perspective on studio management software. “SuccessWare has been hands-down one of the best investments I have made for my business. It helps me make critical decisions such as which prices need to be raised, what to pay employees and how much I can afford in rent. I also base our marketing decisions on the client sales information. At only $49 a month, this software can save you time by helping you make better business decisions.”

© 2007 Sarah Petty Photography

Sarah Petty Sarah Petty Photography, Springfield, IL

PURCHASE OR LEASE | WINDOWS & MAC SuccessWare is the only software that will manage the day-to-day operations of your business, price your products for profitability and create a plan to make you more money.

SuccessWare knows that as a professional photographer, your focus is on creativity. That’s why we have a team of specialists ready to help. They’ll solve problems and create solutions to make you more money. So the next time you have a studio management challenge, turn to the place that photographers trust–SuccessWare.

GET YOUR FREE DEMO AT

WWW.SUCCESSWARE.NET | 800.593.3767

SuccessWare

9 TH ANNUAL HOT ONE AWARDS

STUDIO & LOCATION EQUIPMENT CONTINUED

DIGITAL PROJECTOR Epson PowerLite 77c The Epson PowerLite 77c multimedia projector features 2,200 lumens with XGA

poses against a white backdrop. The HiLite can be backlit so that subjects can stand as close as 6 inches away without casting a shadow. The HiLite also works as a large rear soft box to illuminate the subject as well as the background. This setup needs just one other flash head to light the subject from the front. The self-supporting, collapsible background sets up in minutes. Price: $456 for 5x7-foot; $537 for 6x7. www.bogenimaging.us

POWER SUPPLY

resolution and high-aperture 3LCD technology. The 3LCD technology is a solid-state optical engine that works without a moving color wheel. Users can adjust each color’s hue and saturation from six different axes. The unit starts up within 5 seconds and can be powered down immediately with Epson Instant Off. The projector includes software for displaying slideshows from portable storage devices or directly from digital cameras. At 6 pounds, the PowerLite 77c is highly portable. Price: $749. www.epson.com

Paul C. Buff Vagabond II Portable Power System Designed to work with all Paul C. Buff flash units and power packs, the Vagabond II Portable Power System is a major upgrade. The Vagabond II offers faster recycle from a single second-generation PSI900GF pure sine wave inverter that converts power from an internal 20AH, 12-volt battery into a current-controlled, pure sine wave power

POSING TOOL Lastolite HiLite The Lastolite HiLite illuminated background is a versatile, evenly lit surface for a variety of

source (120VAC, 60Hz OUT). The system includes a built-in global battery charger with charging cord, and a built-in GFCI that eliminates the need for physical grounding and auxiliary battery cables. The Vagabond II system weighs 18.6 pounds and measures 10.5x8.5x6 inches. Price: $299.95. www.alienbees.com/VIIsystem.html or www.white-lightning.com/ VIIsystem.html

106 • www.ppmag.com

TRIPOD OR CAMERA STAND Manfrotto 055XPROB Manfrotto’s 055XPROB features a fast horizontal center column system for quick and easy horizontal positioning. You can extend the column to its highest vertical position then swing it around to horizontal position without removing the head or disassembling the column. This greatly simplifies switching between framing and positioning setups. The 055XPROB has improved ergonomics in the leg angle release mechanism and better functioning in the quick-action leg locks. Price: $168. www.bogenimaging.us

9 TH ANNUAL HOT ONE AWARDS

EDUCATIONAL RESOURCES

WEB SITE

BOOK “The Adobe Photoshop CS3 Book for Digital Photographers” In a how-to published by Peachpit Press, Scott Kelby, best-selling author on Adobe Photoshop, delves into CS3 to uncover the most important and useful techniques for digital photographers. Our judges liked Kelby’s direct approach with stepby-step instructions. In this new edition, Kelby shares even more secrets from the top pros. Price: $49.99. www.peachpit.com

MISCELLANEOUS NEC MultiSync LCD2690WUXi Display This year we decided to give some love to some worthy items that just don’t have a home in the Hot One categories. No surprise, Miscellaneous

108 • www.ppmag.com

DVD OR CD

Collages.net Build Your Brand New from the expanding educational catalog available at Collages.net, Build Your Brand provides numerous marketing techniques that have proved successful for real studios across the country. The site covers such topics as logo usage and blogging, as well as innovative, free ways to reinforce your brand. The marketing practices are updated regularly and tweaked with constant feedback from Collages.net customers and partners. Price: Free for Collages.net customers. www.collages.net/studiomarketing

Kubota RAW Workflow for Lightroom “Kubota RAW Workflow for Lightroom” is the latest time-saving tutorial from digital workflow master Kevin Kubota. The tutorial provides easy-to-follow instruction for working with raw files in Adobe Lightroom. Kubota covers organization, editing, adjustments, enhancements and presentation. Kubota shares insider tricks and the proven techniques he uses in his own busy studio. Our judges like how the tutorial provides a big-picture look at effective raw workflow. Price: $79. www.kubotaimagetools.com

brought in more than three times the number of entries in any other category. With dozens of great products to choose from, our judges had to compare apples to oranges to pears to tangelos, but what finally stood out in the mixed fruit salad was the MultiSync LCD2690WUXi Display. This model features SpectraViewII Series LCD displays on ultra-thin frames. The monitors come with the SpectraViewII Color Calibration Solution, which combines a color measurement sensor with sophisticated profiling software. Available in screen sizes of 19 to 26 inches, the SpectraviewII Series includes a widescreen version and the MultiSync LCD2180WG-LED, the first LED-backlit desktop LCD display. Price: From $1,900. www.necdisplay.com

HONORABLE MENTION: PhotoShelter Personal Archive A special honorable mention in the miscellaneous category goes to the

PhotoShelter Personal Archive. The Personal Archive organizes image archiving, distribution, pricing and sales in a single online hub. It provides the fotoQuote pricing grid to help photographers manage competitive pricing. New in 2007, PhotoShelter offers one terabyte of redundant storage for $1,000 per year. Price: $9.99 for standard subscription; free starter accounts available. www.photoshelter.com

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

Current Events March 7-11 C: Wisconsin PPA, Marriott Madison West, Madison, Wis.; Donna Swiecichowski, 920-822-1200; Paul Tishim, 715-384-5454; Deb Wiltsey, 866-382-9772; wppa-online.com March 7-12 C: PP of North Carolina, Inc., Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 459 Greenleaf Road, Angier, NC 27501; 888-404-7762; [email protected]; www.ppofnc.com March 16-20 C: Mid America Regional, Decatur Conference Center, Decatur, Ill.; Kathryn Northcott, [email protected]

March 28-30 S: PP of Oklahoma, Quartz Mountain Resort, Lone Wolf, Okla.; Ted Newlin, [email protected]; www.ppok.org April 4-8 S: PP of Washington, Wenatchee, Wash.; Radley Muller, 360-676-9279; [email protected]; www.ppw.org April 6-9 C: PPSNY, Hilton Rye Town, Rye Brook, N.Y.; Barbara Bovat, 518-851-2187; [email protected]; www.ppsnys.com April 12-15 C: Heart of America, Mid America Center, Council Bluffs, Iowa.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com April 13-15 C: Montana PPA, Billings, Montana; Scott Fairbanks, 406-761-2059; [email protected]; montanappa.org April 14 S: Connecticut PPA, Crowne Plaza Hotel, Cromwell, Conn.; Harvey Goldstein, 203-430-8276; [email protected]; www.ctppa.com April 21 S: PP of Massachusetts; Steve Meier, smphoto @comcast.net, www.ppam.com April 26-29 C: New Hampshire PPA; North Conway, N.H.; Lorraine Bedell, 603-743-5732; [email protected]; nhppa.com April 27-29 C: PP of New Jersey, Bally’s Hotel & Casino, Altlantic City, N.J.; Leslie Meltzer, 866-9854300; [email protected]; wwwppanj.com

PPA EVENTS

October 9-18 PPA Fall Cruise

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

January 11-13, 2009 Imaging USA, Phoenix

June 6 117th Annual International Print Competition Deadline for Entries

January 10-12, 2010 Imaging USA, Nashville

Certification Exam April 27 North Conway, N.H.

July 22-23 Judges Workshop, Daytona Beach

Image Review

April 7 Super Monday

Online submission: May 9, August 8, & October 10

112 • www.ppmag.com

May 18-20 S: PP of Louisiana, Marksville, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net May 18-23 W: Imaging Workshops, Mountain Summit, Breckenridge, Colo.; Thomas J. Hissong, 303-933-9461; [email protected]; www.coloradoworkshops.com June 15-16 C: PP of Oregon, Mt. Bachelor Resort, Bend, Ore.; Arlene Welsh, 800-370-5657; [email protected]; www.pporegon.com June 16 S: PP of Massachusetts; Steve Meier, [email protected]; www.ppam.com June 22-23 S: Kentucky PPA; Embassy Suites, Lexington, Ky.; Randy Fraley, 606-928-5333; [email protected]; www.kyppa.com June 22-24 S: PP of North Dakota, Northern Light Seminar, Doublewood Inn, Bismarck, N.D.; Poppy Mills, 701-222-3040; [email protected] August 2-5 C: PP of Louisiana, New Orleans, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net September 12-15 C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.; Ted Newlin, [email protected]; www.ppok.org September 13-16 C: PPA of New England, Radisson Hotel Nashua, N.H.; Roland Laramie, P.O. Box 316, Willimantic, CT 06226; [email protected] October 3-7 C: Southwest PPA, Sheraton Arlington Hotel, Arlington, Texas; Michael Scalf, Sr., Box 1779, Blanchard, OK 73010-1770; 405-485-3838; [email protected]; www.swppa.com October 5-6 S: Kentucky PPA; Hyatt Regency, Lexington, Ky.; Randy Fraley, 606-928-5333; [email protected]; www.kyppa.com October 20 S: PP of Massachusetts; Steve Meier, [email protected]; www.ppam.com October 20-21 C: Wisconsin PPA, The Osthoff Resort, Elkhart Lake, Wis.; Donna Swiecichowski, 920-822-1200; Paul Tishim, 715-384-5454; Deb Wiltsey, 866-382-9772; wppa-online.com October 26-27 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; [email protected]

2008 PPA-AFFILIATED SCHOOLS PPA members receive both merits and the best-published prices. March 30 - April 2 International Photographic Arts School, Mariott Hotel & Conference Center, Indianapolis, Ind.; Janell Spencer, 812-384-3203; [email protected]; www.apag.net/ipasschool.html March 30 – April 4 Triangle Institute, Greentree Radisson, Pittsburgh, Pa.; Samuel Pelaia, 724-869-5455; trianglephotographers@ verizon.net; www.trianglephotographers.org March 31 – April 4 California Photographic Workshops, Fisherman’s Wharf, San Francisco, Calif.; James Inks, 888-422-6606; [email protected]; www.cpwschool.com April 6-11 New England Institute, Ocean Edge Resort, Brewster, Mass.; Sal Genuario, 401-7383797; [email protected]; www.ppane.com April 27 – May 2 Texas School, Texas A&M University, College Station, Texas; Donald Dickson, 806-296-2276; [email protected]; www.tppa.org/school.htm May 4-9 Georgia School, N. Georgia Tech, Clarksville, Ga.; Tom McCollum, 888-272-3711; [email protected]; www.gppa.com May 4-9 MARS (Mid-Atlantic Regional School), Grand Hotel, Cape May, N.J.; Adele Bastinck, 888-267-6277; [email protected]; www.marsschool.com May 6-9 and May 11-14 Wisconsin Professional Photographers School, UW Stevens Point-Treehaven, Tomahawk, Wis.; Phil Ziesemer, 715-5364540, [email protected]; www.wiprophotoschool.org May 18-22 Florida School of Photography, Daytona Beach Community College, Daytona Beach, Fla.; Teri Crownover; [email protected]; 800-330-0532; Marybeth JacksonHamberger, [email protected]; www.fppfloridaschool.com

114 • www.ppmag.com

May 18-23 Imaging Workshops of Colorado, Breckenridge, Colo.; Jeff Johnson, 303-921-4454; [email protected]; www.coloradoworkshops.com June 1-5 Kansas Professional Photographer School, Bethel College, Newton, Kan.; Ron Clevenger, 785-242-7710, [email protected]; www.kpps.com June 1-5 Mid-America Institute of Professional Photography, University of Northern Iowa, Cedar Falls, Iowa; Charles Lee, 641-799-8957; [email protected]; www.maipp.com; Al DeWild, [email protected] June 8-12 Illinois Workshops, Grafton, Ill.; Bret Wade, 217-245-5418; [email protected]; www.ilworkshops.com June 8-13 Great Lakes Institute of Photography, Northwestern College, Traverse City, Mich.; Greg Ockerman, 313-318-4327; [email protected]; www.glip.org June 15-20 West Coast School, University of San Diego, San Diego, Calif.; Kip Cothran, 951-696-9706; [email protected]; www.prophotoca.com June 22-25 Golden Gate School of Professional Photography, Mills College, Oakland, Calif.; Julie Olson, 650-548-0889; [email protected]; www.goldengateschool.com June 22-26 PP Oklahoma School, St. Gregory’s University, Shawnee, Okla.; Glenn Cope, 580-628-6438; [email protected]; www.ppok.org/school.html July 13-17 Image Explorations, Shawnigan Lake, British Columbia; Don MacGregor, 604-731-7225; [email protected]; www.imageexplorations.ca/

July 20-25 PPSNY Photo Workshop, Hobart/William Smith Colleges, Geneva, N.Y.; Linda Hutchings, 607-733-6563; [email protected]; www.ppsnysworkshop.com August 4-7 Long Island Photo Workshop, Sheraton Hotel, Smithtown, Long Island, N.Y.; Jerry Small, 516-221-4058; [email protected]; www.liphotoworkshop.com August 10-14 East Coast School, Sheraton Imperial Hotel, Raleigh, N.C.; Janet Boschker, 704-567-0775; [email protected]; www.eastcoastschool.com August 24-27 Carolina Art & Photographic School, Randolph Community College, Archdale Campus, Creekside Park, N.C.; Bob Henderson, 336-288-1132; [email protected]; www.capsartschool.com September 28-October 2 Lamarr Williamson School of South Carolina; Springmaid Resort, Myrtle Beach, S.C.; John Wrightenberry; 803-781-2130; [email protected]; www.ppofsc.com

Send all additions or corrections to: Marisa Pitts, Professional Photographers of America, 229 Peachtree Street, N.E., Suite 2200, Atlanta, GA 30303; [email protected].

PHOTOSHOP WORLD IS THE OFFICIAL CONVENTION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS

Photoshop World: ®

COMING TO ORLANDO, FL. APRIL 2-4, 2008 Mark Your Calendar! The world’s largest Adobe® Photoshop® educational event, featuring the latest Photoshop CS3 training, and an expanded 3-day tech expo is coming to Orlando, Florida!Photographers, graphic designers, Web developers, educators, art directors, students, and Photoshop fanatics — this is the conference you don’t want to miss in 2008!

REGISTRATION OPTIONS

NON-NAPP MEMBER (before February 29, 2008) includes a full-year NAPP membership $599 (after February 29, 2008) includes a full-year NAPP membership

$

699

NAPP MEMBER (before February 29, 2008)

$

(after February 29, 2008)

$

499 599

1TCPIG%QWPV[%QPXGPVKQP%GPVGT†#RTKN

REGISTER TODAY! CALL 800-738-8513 OR VISIT WWW.PHOTOSHOPWORLD.COM

Adobe and Photoshop are registered trademarks of Adobe Photoshop Incorporated.

November 2 S: PP of Louisiana, Northern Exposure, Shreveport, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net November 9-10 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected]

Future Events January 31 - February 3, 2009 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126; [email protected]

February 27-March 3, 2009 C: Wisconsin PPA, Marriott Conference Center, Madison, Wis.; Donna Swiecichowski, 920-8221200; Paul Tishim, 715-384-5454; Deb Wiltsey, 866-382-9772; wppa-online.com

April 3-8, 2009 C: Minnesota PPA; Joanie Ford, 763-560-7783; [email protected]; mnppa.com

February 26-March 4, 2009 C: PP of North Carolina; Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-4047762; [email protected]; www.ppofnc.com

April 4-8, 2009 C: Northern Light, Minnesota, Jeff Fifield, 218-722-377; [email protected]; Nicole Bugnacki, P.O. Box 567 Ironton, Minn.; 56455; 763-390-6272

March 28-31, 2009 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com

November 15-16, 2009 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected]

February 20-23, 2009 C: PP of Oregon, Mt. Bachelor Resort Bend, Ore.; Arlene Welsh, 800-370-5657; [email protected]; www.pporegon.com

PPA-Approved Continuing Education Seminars PPA members receive both merits and the best-published prices. February-March C/E: New Hampshire PPA Photofestival 2008; 603-627-7563; www.nhppa.com; [email protected] March 3-8 C/E: Painter Panache Master; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com May 5-9 C/E: From Traditional to Digital; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com July 12-18 C/E: Copan Honduras Study Abroad Excursion with Paul Wingler, Suzette Allen & Jon Yoshinaga; 800-483-6208; [email protected]; www.suzetteallen.com/copan August 1-4 C/E: Oxford Painter Workshop; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com September 12-17 C/E: Great Gatsby Impressionist Workshop; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com October 20-23 C/E: Painter Creativity; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com November 2-6 C/E: The College! Master Biennale; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com

February 2008 • Professional Photographer • 117

TODAY

FEBRUARY | 08

PRESIDENT’S MESSAGE

Jack Reznicki, Cr.Photog., API 2007-2008 PPA President

© Lester Miller

© Rachel Gracie

© David Huntsman

SOMETHING TO PONDER…

As a commercial photographer, I rarely sell prints; I only provide tightly licensed Àles to clients. I learned a long time ago to stop selling images and think instead about licensing images. While licensing wouldn’t work exactly the same for wedding/portrait shooters, I do think it is a business model that needs to be looked at seriously. The current business model used by many wedding/portrait photographers will not hold well over time. But that, of course, is just my personal opinion. I personally believe licensing is a concept whose time has come for wedding and portrait photographers. So many industries have changed radically over the last 10 years, and there is no reason to believe that our industry will dodge a shifting marketplace. You can’t continue doing what you did 10 years ago and survive today. The business “kingdom” is just like the animal kingdom: adapt, migrate, or die.

© Bruce Belling

Many industries and individuals who didn’t adapt to changing times—who wouldn’t admit there was a changing paradigm in the marketplace— basically died off. We saw it with Web designers who faced families with computers, small shop printers facing home copiers and printers, and mechanics facing car engines that can only be diagnosed with a computer. The collectible industry has been radically transformed by eBay. And the music industry changed shockingly fast because of iPods and iTunes. Our industry is not immune to changes in the marketplace. I’ve always been a strong advocate of licensing, which, I believe, strengthens your control over your images. It can be as simple as just a few sentences on your invoice, specifying what your client can and can’t do with the images (and, in some cases, for what length of time they can do it). I’ve heard photographers say that licensing is like “giving away” copyright. Balderdash. Licensing gives you more control and lets you give your clients what they want. It’s a win/win situation. You should never “give away” or “sell” your Àles, but you should Àgure out a business model that makes what

© Nathan Beck

you do a win/win situation. And that situation should add more to your bottom line at the end of the year. This is a complex issue, and I’m limited here by space. I’d be happy to talk more about this on the OurPPA.com Forum, where opposing views—if respectful to others—are very welcome. Discussing these issues from several sides enlightens everyone. On a side note, this will be my last column as I’m in the Ànal month of my presidency. As of March 1, I’m leaving this ofÀce and this spot in the magazine to your new president, Dennis Craft, and his wonderful and capable hands. Looking back at the year, I have to say it’s been a fantastic and enlightening experience.

PPA News & Notes

The hardest part of being a professional photographer is not about taking a photograph, deciding which lens to use, knowing what directions to give the model or what props to pick. Nope. The hardest part of photography is deciding what and how to charge for it.

A special thanks to PPA’s staff for keeping me on track, on time, and looking good because of what they did behind the scenes. And thanks to all the volunteers who continually give so much to this association. Thank you and good night.

Jack Reznicki, Cr.Photog., API 2007-2008 PPA President

© Robbin Loomas

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

P1

TODAY 2007 AN-NE MARKETING AWARD SPOTLIGHT: LAURA NOVAK

PPA News & Notes

by Angie Wijesinghe, PPA Marketing Specialist

Laura Novak put together her AN-NE Marketing entry in a day, shipped it overnight, and won the award for Best Family & Children Campaign. How? Let’s just say her campaign itself wasn’t created overnight.

established reputation for weddings, she wasn’t known for family and children portraits. “I knew I needed something full scale to capture people’s attention. That’s what really drove the idea,” she said.

words, marketing is deÀnitely a “process with strategy and execution sections.” These are the steps Laura takes: 1. DeÀne audience. 2. Decide your purpose. 3. Create the message.

Perhaps her business degree helped. More likely, though, it was a combination of her determination to know her customer and her strong awareness that she needed to know her customer. In fact, “know your customer” is one thing she always tells other photographers.

So Laura listened to her customers and potential customers. “I began to see a pattern,” she remembered. “When I talked to people around town, they would say, ‘Oh, I’ve been meaning to call you…I’m going to schedule a session, but I’m waiting for…’ ”

“A lot of photographers skip straight to creating and designing their messages and materials. You just can’t do that,” Laura stressed. “You need to know what you want your customers to believe about you.”

“You have to understand what your customers care about, value, and believe in. They can’t be simple demographical numbers,” Laura commented. “If you know what they value, then you can make them happy. And a happy customer births the elusive referral!” But Laura Àrst had to get customers through her doorway before she could make them happy. While she had an

Those who scheduled family and children portraits needed a reason to do so. “When I sell weddings, there’s already a sense of urgency because there’s a wedding date. But with portraits…there’s no urgency, no ‘reason’ for them to take action now. That was my inspiration for the ‘What’s Your Reason’ campaign. We wanted to give customers reasons to come.” However, she didn’t skip straight to the execution phase of marketing. In her

In order to do that, you have to know your audience (as Laura stressed earlier) and decide your purpose. These Àrst two steps—the strategic part of the marketing plan—are what really make a campaign effective. In fact, when Laura teaches, she often compares such a plan to driving a car: “You want to go to Ohio, so you head east. But if you have a map in hand, you don’t waste time getting there,” she laughed. “That’s why planning our marketing is so important—we don’t have lots of time or money to waste!”

Buddy Stewart, M.Photog.Cr., CPP, API, F-ASP IN MEMORY: PPA member since 1968 Buddy Stewart died November 30, 2007 of cardiac arrest at his son’s home in Hattiesburg, Mississippi. Buddy was an award-winning photographer, a distinguished competition juror, a wonderful educator, and a dedicated volunteer leader in his state organization, the American Society of Photographers, PPA and his

P2

community. His special passion was helping photographers improve their craft through the International Image Competition. As a Juror, Jury Chair, PEC Committee member and PEC Committee Chair, Buddy’s leadership was instrumental in establishing and maintaining the high integrity of the International Image Competition. And

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

TODAY If you can make people laugh in an ad, they will remember you. It forms a connection, relaxing them to the point where they begin to trust you. – Laura Novak

TAKE A PEEK AT HOW IT WORKED FOR LAURA NOVAK AND HER STUDIO: TARGET AUDIENCE: They proÀled their ideal customer, from age range and location to household income and interests in art and design. Not stopping at numbers, Laura also polled the mothers who called to inquire about services, but didn’t book immediately; and she paid attention to conversations, learning what customers wanted. PURPOSE/GOALS: To introduce the area to the studio’s brand and philosophies (which were spelled out) and to encourage purchases throughout the year. MESSAGE: Not only did this involve the humorous, yet provocative “reasons” for portraits, it also involved the color scheme and graphic elements that would entice customers with a strong interest in art/design. An added bonus: Laura used models of wellknown residents. Thus, the overall message was one of inspiration—an inspiration to act. IMPLEMENTATION: The studio’s staff graphic designer created the materials in-house (direct mail postcards, postcard displays, local magazine/newspaper ads, and a Web site Áash introduction). Each piece was placed in a carefully researched location.

Laura and her team reached out to their ideal client, presented them with images, copy, and an overall feeling that they would connect with. That inspires the audience to act…and act they did. “Even though marketing is a process, you can’t be discouraged by it,” admitted Laura. “It simply takes time to learn what will work, to learn what your customers want. You learn about them as you service them, which will reÀne your customer proÀle. Then you take that information and put it into next year’s plan.” Laura Novak – Laura Novak Photography – Wilmington, DE www.NovakPhotography.com www.StrategyAvenue.com (A Business Resources for Photographers Web Site)

PPA News & Notes

RESULTS: The results were every photographer’s dream: 120 portraits from August 2006 to August 2007, with an average sale of $1,650. It even created such a demand that Laura raised her prices several times that year!

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. More information is at the Competition & Awards page on www.ppa.com.

BE A WINNER YOURSELF!

The 2008 AN-NE Marketing Awards are earlier this year, with a deadline of July 1, 2008. Rules will be online in February, but you can start getting ready now. Named in honor of Ann Monteith (AN) and Marvel Nelson (NE), both PPA past presidents and marketing gurus, this competition helps you take a closer look at what your customer sees before they see you: your marketing. See how you stack up against your peers in 2008.

at Imaging USA ‘08, he received the PPA Directors Award posthumously.

passion for our profession in helping thousands of individual photographers.

Overarching his many accomplishments, titles and responsibilities, Buddy was a good friend to all. He freely shared his skills, his knowledge, his creativity and

His friend Barry Rankin said, “[He] was always on the side of what is right and good...always willing to share his knowledge, his last possession, anything that would help a friend.” Helen

Yancy added: “To all of us, Buddy was an example of the highest integrity, a bigger than life personality that represented PPA and photography in the best possible way.”

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

P3

TODAY AFFILIATE SCHOOL SPOTLIGHT CALIFORNIA PHOTOGRAPHIC WORKSHOPS March 31 - April 4, 2008 Scotts Valley, CA

PPA News & Notes

Contact: Jim Inks; 888-422-6606; [email protected] Web site: www.CPWschool.com Tuition: $545 (PPA members); $620 (non-members). Special tuition rates for John Teague’s “Seeing the Light” class: $295 (Members); $325 (Non-Members). Lodging for 5 nights and meals at the conference center are available for students attending the session: $480 (double); $680 (single) Course Information: Choose one photographic expert to study with throughout the week. For details on classes, visit the Web site listed above. Advanced Photoshop – Suzette Allen Artistic Elements of Portraiture! – Carl Caylor, Wedding Photography – Joe Buissink Passion for Portraiture – Paul Tumason Lifestyle Children’s Photography – Tina Wilson Beginning Photoshop – Jon Yoshinaga Lighting and Business Basics – John Teague (with a special tuition rate)

WISCONSIN PROFESSIONAL PHOTOGRAPHERS SCHOOL @ TREEHAVEN May 6-9 & May 11-14, 2008 Tomahawk, WI

IMAGING WORKSHOPS OF COLORADO, INC. May 18 - 23, 2008 | Breckenridge, CO

May 6 – 9, 2008 PhotoshopCS3 ® – Peter Bauer All 5 PPA Business Modules – Steve Larsen & Aletha Speakar Portraits, Weddings, & Children – Louis Tonsmeire Mastering Light – John Woodward

“Take Your Talents to New Heights!” Join us in Breckenridge for professional development workshops, designed for imaging professionals of all skill levels. Our 2008 faculty includes Kevin Kubota, Scott Dupras, Don MacGregor, Kalen Henderson, David Ziser and more. Take your imaging career to new heights atop this Rocky Mountain paradise. Call 303-933-9461 or view our Web site for more details.

Contact: Dennis McGill; dmcgill@ frontiernet.net; 715-369-1226 Web site: www.WiProPhotoSchool.org Tuition: $595-$750 Course Information:

May 11 – 14, 2008 Portraits, Weddings, & General Business – Doug Box Understanding People, Light, & Style– Ken Skulte Sales, Marketing, & Psychology – Clark & Rachel Marten Digital WorkÁow – Dave Johnson

Contact: Jeff Johnson; 303-921-4454; [email protected] Web site: www.ColoradoWorkshops. com Tuition: $925 Member; $975 NonMember Course Information:

AFFILIATE COMMUNICATORS GET RECOGNIZED Chances are, people stay connected to local and regional organizations thanks to a newsletter, magazine, or Web site. But these publications don’t produce themselves! Have you—the editors and Webmasters—been thanked? If you are in charge of these publications, you need to enter the 2008 AfÀliate Communications Competition.

All PPA AfÀliate editors and Webmasters are invited to participate in this competition, designed to encourage excellence in AfÀliate publications and to recognize the individuals who spend their time and energy editing, designing and maintaining these publications in order to keep their members informed. Earn an achievement merit if your entry is accepted into the competition and an additional merit if you win!

Get the recognition you deserve. Entry forms are available at http:// competitions.ppa.com. Entries must be received at PPA no later than Friday, February 22, 2008. If you have additional questions, please contact PPA at (800) 339-5451, ext. 226, or e-mail [email protected].

CONVERSATIONS ON OURPPA.COM Now that Imaging USA ’08 is over, what are you going to do for education? Just check OurPPA.com for topic threads about PPA AfÀliates, News, Events, & Schools; PPA Approved & Merited Education; Super Monday (the one-day

P4

classes held around the country); the new PPA-hosted Webinars and more! After all, you can never have enough education.

http://ourppa.com

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

LabTab

124 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

February 2008 • Professional Photographer • 125

LabTab

126 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

February 2008 • Professional Photographer • 127

LabTab

128 • www.ppmag.com

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

February 2008 • Professional Photographer • 129

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.

130 • www.ppmag.com

February 2008 • Professional Photographer • 131

132 • www.ppmag.com

February 2008 • Professional Photographer • 133

PROFE SSIONAL

3D LightMaster (www.3dlightmaster.com)............................133 Adorama (www.adorama.com) .......................................113, 115 Advanced Photographic Solutions (www.advancedphoto.com)125 Album Crafters (www.albumcrafters.com)............................130 Albums Inc. (www.albums inc.com)..................................72-73 AlbumX/Renaissance Albums (www.renaissancealbums.com)131 Allied Photographic & Imaging Lab (www.alliedphoto.com) ...125 AllStar Photo Imaging (www.4allstar.com)...........................126 American Color Imaging (www.acilab.com) ......................57, 127 American Photographic Resources Inc. (www.aprprops.com) .135 American Student List (www.studentlist.com) ......................131 ARK-LA-TEX Color Lab (www.altcolorlab.com) ....................124 Art Hands (www.arthandsinc.com) ......................................134 B & H Photo-Video (www.bhphotovideo.com).................110-111 Backdrop Outlet (www.backdropoutlet.com) ........................130 Backgrounds by David Maheu (www.backgroundsbymaheu.com) 132 Bay Photo Lab (www.bayphoto.com) .............................49, 124 Big Black Bag (www.bigblackbag.com) .................................132 Bogen Imaging Inc. (www.bogenimaging.us)..........................37 Brightroom Inc. (www.backprint.com) ..................................126 Buckeye Color (www.buckeyecolor.com) ..........................41, 127 Paul Buff Inc. (www.white-lightning.com) .........................17, 77 CPQ (www.cpq.net) ............................................................126 Candid Color Systems Inc. (www.candid.com).......................128 Christopher Imaging (www.chrisimaging.com) ......................128 Cindy Baxter Studios (www.cindybaxterstudios.com)............130 Collages.Net (www.collages.net)..................................11, 30-31 Color Incorporated (www.colorincprolab.com) .......................125 Corporate Color/Prolab Express (www.prolabexpress.com)....124 Contemporary Photography/J. Hartman (www.jhartman.com) .133 Custom Brackets (www.custombracket.com).........................133 Custom Color Corporation (www.customcolor.com)...............124 Denny Manufacturing (www.dennymfg.com) ........................135

134• www.ppmag.com

Denny Manufacturing (www.photonovelty.com) ....................135 Diversified Lab (www.diversifiedlab.com) .............................126 Drive Savers (www.drivesavers.com) .....................................65 Dury’s (www.durys.com).......................................................67 Dyna-Lite Inc. (www.dynalite.com)........................................81 Ed Pierce Seminars (www.edpierceseminars.com) ..................89 emotion Media Inc. (www.emotionmedia.com)......................132 Epson (www.epson.com) ...........................................29, 34-35 Filmet (www.profilmet.com)................................................128 Focal Point Studios (www.notecard.info) ..............................135 Foto Figures (www.fotofigures.com) ....................................135 Fredericks Photo Lab (www.fredericksphotolab.com) ............125 GP Albums (www.gpalbums.com) ...........................................3 Graphic Authority (www.graphicauthority.com) ......................52 Group Photographers Association (www.groupphotographers.com) ..............................124 GTI Graphic Technology Inc. (www.gtilite.com) .....................101 H&H Color Lab (www.hhcolorlab.com) ..........................Cover III Hallmark Imaging (www.hallmarklabs.com)..........................129 Herff Jones (www.hjpro.com)...............................................127 Jonathan Penney Inc. (www.jonathanpenney.com) ................135 The Levin Company (www.levinframes.com) ........................134 Lexar Media (www.lexar.com/ppmag) ....................................55 Lustre Color (www.lustrecolor.com)...............................101, 128 MPIX (www.mpix.com).........................................................57 MWM Dexter Inc. (www.mwmdexter.com) .............................78 McKenna Pro (www.mckennapro.com)..................................125 Mamiya (www.mamiya.com)............................................23, 25 Meridian Professional Imaging (www.meridianpro.com) ..Cover II Michel Company (www.michelcompany.com) ........................133 Michigan Photo (www.michiganphoto.com)..........................126 Microtek (www.microtekusa.com or www.artixscanm1.com)....43 Midwest Sports (www.midwestsportslab.com) .....................127 Miller Professional Imaging (www.millerslab.com) ..................13 Mitsubishi Imaging (www.mitsubishi-imaging.com)...............87 Morris Group (www.themorriscompany.com)........................134 MyPhotopipe (www.myphotopipe.com) .................................97 NAPP (www.photoshopworld.com) ......................................116

National Direct Marketing Services (www.ndmservices.com) .130 Neil Enterprises (www.neilenterprises.com)..........................132 Nik Software (www.niksoftware.com/ppadfine ......................99 Nikon (www.stunningnikon.com/challenge.com)................18-19 North American Photo (www.naphoto.com)..........................127 Onlinephotofix.com (www.onlinephotofix.com).....................135 PR Photo Lab (www.prphotolab.com) ..................................129 Pacific Mount (www.pacificmount.com) ................................131 Perfection Distributing Inc. (www.perfectiondistibuting.com).131 Photo-Tech Inc. (www.phototechnic.com).............................135 Photogenic (www.photogenic.com) ........................................12 Photoprism Color Lab (www.photoprismcolorlab) .................129 Pictobooks (www.pictobooks.com)................................130, 132 Pictology (www.go.pictology.com)........................................133 PocketWizard (www.pocketwizard.com) ................................47 Profoto (www.profoto-usa.com)...................................Cover IV Portrait Weavers (www.portraitweavers.com)........................131 Reedy Photo (www.reedyphoto.com) ...................................129 Sandy Puc’/Bellies & Babies 2008 Tour (www.bellies-babies.com)..............................................53 Sekonic (www.sekonic.com)..................................................39 Simply Canvas (www.simplycanvas.com)..............................129 Sony (www.sony.com/dpf)....................................................79 Speedotron (www.speedotron.com)......................................117 Student Marketing Group Inc. (www.studentmarketing.net)..133 Studio Dynamics (www.studiodynamics.com).......................135 Studio Logic (www.studiologic.com)........................................7 Studio Pro Group (www.studioprogroup.com) .....................1128 Successware (www.successware.net) ....................................117 Superior Specialties Inc. .....................................................135 Tamron (www.tamron.com) .................................................139 Texas School (www.tppa.org/school.htm).............................123 Unique Photo Supplies (www.uniquephoto.com) .....................4 Used Camera Buyer (www.usedcamerabuyer.com) .................59 Walker Display (www.walkerdisplay.com) ..............................131 White House Custom Color (www.whcc.com) ............8-9, 26-27 White Glove (www.wgbooks.com) ........................................132 Publisher not responsible for errors & omissions

ProductMall

SOMETHING HERE YOU NEED...

February 2008 • Professional Photographer • 135

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

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

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

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

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

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

136 • www.ppmag.com

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

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

EDUCATION/WORKSHOPS DIGITAL PAINTING FORUM. The Digital Painting Forum, hosted by Painter Master Marilyn Sholin has thousands of international members and over 50,000 post about Corel® Painter, Essentials, and Photoshop.Forums include tutorials, brushes, digital painting, art, and the business of creating, marketing and selling digital art. This forum has a small subscription fee that is well worth the education gained. www.digitalpaintingforum.com WALL PORTRAIT CONFERENCE. April 20th-25th, 2008. Six day Wall Portraiture concept to completion. The original wall portrait school. Has changed the lives of many! Emphasis on public acceptance, concepts, sales, portrait finishing and more. Yakima, Washington, 509-248-6700, www.wallportrait.com

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

HELP WANTED HELP WANTED: Assistant photographer for contemporary photojournalistic wedding coverages in Orange County, CA area. Must have digital equipment. E-mail John at [email protected]. PORTRAIT PHOTOGRAPHER NORTHEASTERN WISCONSIN Harmann Studios is a progressive portrait company with multiple locations with emphasis in seniors, children, families, sport, and school photography. We have been in business for more than 45 years and have unlimited resources to make our portraits stand out. We are seeking a candidate with 5 years of portrait experience, good organizational skills, exceptional understanding of DSLR cameras, and most of all, a fun and adaptive personality. Health, vacation, and flexible scheduling are just some of the benefits we offer. Please send resumes and sample images and sample images to John Harmann at [email protected].

PORTRAIT PHOTOGRAPHER. Company: Club Services of America. Description: Family portrait photographer with wanderlust. Great earning potential for excellent family photographer with quality portrait experience. Photograph and sell to Country Club members throughout the United States. Many assignments are where the weather is good: south in the winter and north in the summer. OK to travel with spouse. PPA Certified or Masters of Photography are preferred. Requirements: Must have tools of the trade and a dependable automobile. Family portrait photographer. Some sales experience. Excellent knowledge of digital photography. See our website at: www.clubservicesofamerica.com. Email resume and sample portraits to [email protected]. PHOTO LAB MANAGER—Responsible for digital photo processing. Large in house production lab. Must have general knowledge of photography. Candidates will be proficient in producing color correct portrait quality images. Fax cover letter and resume to FCS 315-733-3214. No phone calls please.

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

LAB SERVICES ACADEMY PRODUCTIONS INC. INNOVATIVE PRINTING SOLUTION Complete Imaging Service for today’s professional photographer Processing—Proofing—Film—Digital Files —SOS— Self Ordering System powered by ROES • High Volume Packages—Kodak Products • Schools—Daycares—Sports—Proms—Seniors • Studios—Store Promotions—Fundraisers—Weddings • Composites—Collages—Other Unique Products • High Tech Printing Equipment—Scanning Services • Free Marketing Seminars—Expert Product Designers • Superior Customer Service—Detailed Technical Support • Competitive Pricing—Quick Turn Around CALL US TODAY: 800-421-3523 6100 ORR ROAD • CHARLOTTE, NC 28213 www.PicAcademy.com PECHMAN PROFESSIONAL IMAGING (DIGITAL OR FILM) Portraits & Units 8x10 16x20 Print-By-Inch $1.45 $5.80 Studio-Color Corrected 1.90 11.99 Lab-Color-Corrected 2.57 13.99 Raw-File-Services 3.15 16.40 •Undergrad-Sport-Event Pkgs. 8x10 @ $.96 •Fully Assembled Albums-10x10 print included-9 to 18 pages from $149.99, (100’s of templates available) •Proofs from $.25 •Proof Books-spiral bound-8x10 page @ $1.60 • 48 Wal Gold Stamp Special-next 48 free •Spray-Mount-Texture •Digital Retouch $2.50, Art-$1.00 per minute ROES®, LABPRINTSTM, FTP OR DISK. 800-777-0221 WWW.PECHMANIMAGING.COM PLATINUM GICLEETM FINE ART B&W from your digital file or negative up to 40 x 60. New DuraFiberTM Media provides deep blacks and waterproof, non-scuff surface, great for handcoloring. Also available in sepia, color, split-tone. Call for free sample. Jonathan Penney, Inc., Master Printmakers. 631-874-3409. www.jonathanpenney.com SPORTS PHOTOGRAPHERS The most versatile sports program available. Digital or film, quality & service is our motto. See www.sportsphoto.com

HAND PAINTED OILS; Transparent, Deluxe, and Canvas Stretched up to 40x60. A complete photo art lab serving photographers since 1965. Traditional and Digital printing services. Fiber based B&W up to 30x40. Giclee Fine Art prints. Restoration. Free estimates & pricing guide. 800922-7459 Venetian Arts www.venetianarts.com UNITED PROMOTIONS, INC. • FULL SERVICE DIGITAL & FILM LAB• 10% DISCOUNT from our low List Price for prebuilt orders submitted in ROES (free software), Photolynx, OzE, Workstream or other pre-approved software via our web site, FTP or on CD’s. Fast Delivery. Wallets to 40" wide prints. VOLUME PACKAGE PRINTS - Pre Schools, Day Cares, Underclass, Proms/Dance, Cap & Gown, Store/Malls, Glamour, Church, Fund Raising and Family Packages. SPORTS & EVENT PACKAGE PRINTS WEDDING - SENIORS - CANDID - STUDIO PRINTS ADD ONS TO ORDERS - Retouching, Proofs on Envelopes, School Service Items, CD’s, Fun Packs (laminated & die cut), Plastic ID Cards, Groups, Big Prints, Composites, Trader Cards (2 sides), Magazine Covers, Memorymates, Digital Groupmates, Photo Magnet Cutouts, Statuettes, Buttons, Magnets, Mirrors, Calendars, Locker Prints, Photo Pennants, Mouse Pads, Fun Posters, Admission Tickets, Sticker Prints, Banner Prints, Collages, Gold Foil Stamping Laminating, Mounting, Posting Images Online and many more services for the professional photographer. NEW PRODUCTS - Dye-Sub Photo Plaques and Gallery Wraps on Canvas. UNITED PROMOTIONS, INC. 433 Lawton Road Charlotte, NC 28216-3317 (800) 362-4441 - Toll Free www.upilab.com [email protected] FREE 20X30 Wallets to 6ftx14ft Goldencolor 9020 W. Olympic Blvd. Beverly Hills, CA 90211 310-274-3445 www.goldencolor.com PRINTMAKERS CHICAGO, www.PrintmakersChicago.com, 312-265-5767. Call or visit our web site and find out more about our wide range of photographic support services: • Large format archival inkjet printing • Carbon pigment sepia archival inkjet printing • Digital offset printing (up to 11 x 17) • Printing on almost anything up to 80” wide by any length • Web site image management for easy reordering

MARKETING REVEALED: HOW TO GET MORE REFERRALS AND REPEAT BUSINESS THAN EVER BEFORE! Studies show you can see a 10, 25, EVEN 100% INCREASE in referrals and repeat business by ‘staying in touch’ with a client newsletter. But who has the time? Photographers using my unique, “DONE-FOR-YOU” NEWSLETTER system report spending only around 60 minutes on their newsletter and getting $750-$18,500 back every month! See for yourself… Request your FREE Special Report and Sample Package at www.TheStudioNewsletter.com to learn more.

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

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

PRESENTATION BOXES-BOX MANUFACTURER BUY DIRECT AND SAVE. Complete line of Print and Proof boxes. Hinged presentations. Better Quality, Lower Prices. Product mfg in our own plant. Customize with logo, and choose colors with ease. Tissue included! Call 401-7253646 for free samples. H-B Packaging Group 575 Lonsdale Ave. Central Falls, RI 02863 www.h-bphoto.com.

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

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

STUDIO FOR SALE CHARMING, well respected NORTHERN CALIFORNIA full service portrait studio in a cute country town which has always supported a photography studio. Originally established in 1996 as strictly a wedding business, expanded based on consumer demand. PHENOMENAL visibility on primary Business Route in the downtown area. No competition for 25 miles. Recent recipient of downtown beautification award from Chamber of Commerce. Growing high school senior, photo restoration and commercial markets. Successware, Roes and LLC in place. Strong web presence (www.ricecreekphoto.com). Regional and national advertising in place. Selling due to death in family and relocation. Owner will assist transition. 100% turn-key. $90K negotiable; [email protected]. FLORIDA STUDIO: High-End 35-year business in beautiful Tampa Bay available at $460k with owner financing. Nets over $150,000 annually without weddings. Magnificently landscaped real estate is also available. Retiring and ready to sell call VR Business Brokers 727499-6500 or e-mail [email protected]. WESTERN COLORADO—just hours from national parks. 40 year-old established studio plus client list. Amazing outdoor photo park. Thriving economy in this sunny college town of 150,000 - a great opportunity. Owner will assist your transition. Call 970-596-1975.

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

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

February 2008 • Professional Photographer • 137

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.

©Carol Freeman

Freeman set out to photograph all 487 of the threatened species in her area. She also founded a nonprofit called Team Green Environmental Network to promote education about the plants and animals she documents. This enormous undertaking pits Freeman against the forces of time, development and the inevitable demise of some of the plants and animals. “I am aware that this may be the one and only time I ever see some of these species, and my photograph may be the last picture people see of a particular plant or animal,” she says. Over a little more than three years, Freeman has photographed 66 of the threatened and endangered species in Illinois, and she hopes to document most of the species within the next five years. She plans a school exhibit, an educational Web site and a campaign to promote awareness about how

Silent plight GIVING A FACE—AND A VOICE—TO THREATENED SPECIES

U

human activities are affecting the fragile ecosystem. “I’m hoping that with awareness comes change in our lifestyle,” says Freeman. “The biggest threat to these species is from us, primarily from development and destruc-

p to now, “Good Works” has

surrounding Chicago. A nature photographer

tion of their habitat. I’m hoping that people

focused on charities related to

with clients among environmental organiza-

will begin to think about that. I’m hoping

humans. But what about the

tions, Freeman has visited various natural

people will elect politicians who are commit-

at-risk populations that can’t

sites around Chicago on assignments for

ted to the environment. I’m hoping people

speak for themselves?

clients. Speaking with site stewards on location,

will think twice before they plow over a field

The planet is dotted with

she learned about many endangered plant

of wild grasses, before they clear-cut land for

threatened and endangered

and animal species in Illinois. Their plight

a new development, before they destroy a

species of plants and animals, and we’re

was compelling, yet there weren’t many striking

stream. Most of all, I hope people will opt to

not talking about faraway, exotic locales.

images of these species. If they existed at all,

make a change.” I

There are thousands of at-risk plants and

the images tended to be bland scientific cat-

animals here in the United States, in our

alog shots. “I felt that if we were going to

communities, in our backyards.

save these species, we needed to produce

Three years ago, Carol Freeman decided

jaw-dropping images,” says Freeman. “There is

to do something to help the threatened and

definitely a need for good quality nature

endangered species in her area, the environs

photography in this area.”

138 • www.ppmag.com

To see more of Freeman’s work, check out www.carolfreeman.com.

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

Cantrell © Bambi

F O N O I PA S S

LIGHT

ys my these da t u b , re aitu keep ren. We and por tr d g il h in c d d g e in e ess on w otograph ate on th my busin g fun ph concentr t in il v to u a ’s b e h it m e d t v n s a “I’ w ing a o easy th This allo diversify simple. lighting s g s n e ti k studio is h a the light g m li ts and e sculpt Profoto e m s t. r r o u ts p o le p ls both good ra ping too nd build light sha f o n subject a o ti more c The sele output is e. b t h to g li it intuitive. t an and e way I w t color oncern.” onsisten exactly th c l, ever a c a n it is ig d re e g n th , hooti h Profoto Today, s ever. Wit n a th t n impor ta

CANTRE I B M A B

Profoto new low price ComPact ComPact

Acute2

Acute2R

D4

ProB2/7b

PLUS ComPact Kits now include a FREE custom case, two umbrellas and two light stands.

Pro-7a

F O R M O R E D E TA I L S V I S I T W W W. P R O F O T O - U S A . C O M

914-347-3300 Profoto-USA.com

LL