JANUARY 2008 | WWW.PPMAG.COM | $4.95
Faithful color. Incredible latitude. An effortless workflow. Even the photographers will be throwing bouquets. Jose Villa
©2007 Jose Villa
©2007 FUJIFILM U.S.A., Inc.
Fujifilm Pro 400H 220 Format
In a digital age, is it possible to have a renaissance in film? After using Fujicolor Pro 400H for the shot above, Jose Villa emphatically says, yes. “I love the soft tones that this film provides. Even though the lighting is flat in this image, Pro 400H allowed me to capture smooth, soft gradations from highlight to shadow and keep the skin tones natural as well." What’s more, since Fujicolor Pro 400H is designed for ultimate compatibility in today's digital workflow, it offers ease of use after the shoot. For a wedding photographer as busy as Jose, that’s a proposal that’s difficult to resist.
CONTENT PROFESSIONAL PHOTOGRAPHER PHOTOGRAPHER | JANUAR JANUARY Y 2008
Features 112
SENSE & SENSIBILITY For Kevin Kubota success came by listening to listening to both head head and and heart heart by Jeff Kent
122 12 2
OUT ON THE TABLE John Harrington shares everything he has learned about learned about business business—and —and leave leavess nothing nothing out by Jeff Kent
132 13 2
A MASTER’S MASTER PPA’s 2008 Lifetime Achievement Award Awa rd honors honors Frank Frank E. E. Cricchio Cricchio by Don Dickson
144 14 4
POOLS OF LIGHT Howard Schatz and his remarkable life aquatic by Stephanie Boozer
74
WEDDINGS: RISING STARS
JB & DeEtte Sallee soar into the wedding photography stratosphere by Jeff Kent
80
PORTRAITS: ONE STEP AHEAD
Frank Donnino changes with the times by Jeff Kent
88
WEDDINGS: FRONT PAGE NEWS
Cliff Mautner Mautner is hot on the the trail of blushing brides by Stephanie Boozer
96
NATURE: CHILLING EFFECT
James Balog Balog documents the accelerating accelerating glacial pace by Jeff Kent
104
WEDDINGS: BUILDING BACK
In post-Katrina New Orleans, John-Michael Hannan builds anew by Lorna Gentry IMAGE BY HOWARD SCHATZ
CONTENTS JANUARY 2008 | WWW.PPMAG.COM .PPMAG.COM PROFESSIONAL PHOTOGRAPHER | JANUARY © C l i f f M a u n t e r
14 FOLI FOLIO O 156
CALEND CAL ENDAR AR
163
PPA PP A TOD TODA AY
186
GOOD WO WORKS RKS
Departments CONTACT SHEET 18 PIX Digital Imaging Contest 22 PPA & SEP sweepstakes winner 27 Candid camera 29 New photo books
What make makess a phot photog ograp raphy hy 32 What Web Web site site grea great? t?
PROFIT CENTER Frank Cricchio 37 What I think: Frank 38 The joy of marketing
by Sarah Petty 42 Finding the boutique client
by Sara Frances 46 Raising the bar: Blake Discher
by Jeff Kent
THE GOODS Frank Donnino 51 What I like: Frank 52 Pro review: Olympus E-3
by Joe Farace 58 Work Workflo flow: w: Free Freesty style le shoo shootin ting g
by David Jay
finishing: Grand finale 66 Print finishing: by Bryan Linden 70 Tutorial: Time-saving
88
Lightroom presets by Kevin Kubota
During his tenure with the Philadelphia Inquirer , Cliff Mautner learned
to judge the moment and find the light. He captures the essence of who the couple is,
allowing it to come out naturally, but rendered through his artistic interpretation. interpretation.
6 • www.ppmag.com
ON THE COVER: Taken in a pool custom designed for underwater photography, photography, in crystal clear water regulated for chemistry and temperature, temperature, Howard Schatz's images mesmerize the viewer with dancers' ethereal expression in a weightless world. Fashion designer Betsey Johnson loaned this fanciful dress for “Underwater Study 2615,” one of the images from Schatz's newest book, “H2O.” Exposure: 1/125 second at f/4.0, ISO 50.
Mind. Body.
Photography. A Picture Picture-Perfect -Perfect Rela Re lations tionship hip
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PROFESSIONAL
EDITORIAL
director of publications
CAMERON BISHOPP
The master
[email protected] senior editor
EARNING THE ULTIMATE MERIT BADGE We’re We ’re honored honored this this month month to feature feature in our pages pages the “master’ “master’s master,” Frank E. Cricchio, M.Photog.Cr., Hon.M.Photog., CPP, F-ASP, F-ASP, Hon.F-ASP, Hon.F-ASP, a member of the Cameracraftsmen of America.
art director/production manager
JOAN SHERWOOD
DEBBIE TODD
[email protected]
[email protected]
features editor
manager, publications and sales/strategic alliances
LESLIE HUNT
KARISA GILMER
[email protected]
[email protected]
Cricchio, a past president of Professional Photographers of America
editor-at-large
sales and marketing assistant
JEFF KENT
CHERYL PEARSON
(PPA) as well as the American Society of Photographers, took his
[email protected]
first image in 1944 with a Sparta box camera, and opened his first
ANDREW RODNEY, ELLIS VENER
studio of photography in i n Port Arthur, Texas, in 1958. Cricchio also holds a record that many have tried, but so far
director of sales and strategic alliances
SCOTT SCOTT HERSH, 610-966-2466,
[email protected]
failed, to top. Through the PPA Merit and Degree Program, launched in 1937, member photographers earn merits toward PPA degrees for
[email protected] technical editors
western region ad manager
BART ENGELS, 847-854-8182, 847-854-8182,
[email protected] eastern region ad manager
their their profess profession ional al achie achievem vement entss and and their their contr contribut ibution ionss to furtheri furthering ng
SHELLIE JOHNSON, 404-522-8600, x279,
[email protected]
the photogra photographic phic educatio education n of others. others. Merits Merits are are awarded awarded when a
MOLLIE O’SHEA,
[email protected] [email protected]
circulation consultant
member takes PPA-sanctioned classes to advance his skills and business business acumen, acumen, creates creates images images that that become become part of the the PPA PPA Loan Professional Collection, has images and/or articles published in Professional Photographer Photographer magazine, and educates other photographers through
editorial offices
Professional Photographer
229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A. 404-522-8600; FAX: 404-614-6406 Professional Photographer (ISSN 1528-5286) is published monthly subscriptions
speaking and presenting seminars at PP PPA A and affiliated events. In 1998, Cricchio became the first person to earn more than
Professional Photographer
P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email:
[email protected]; Web site: www.ppmag.com
1,000 merits—1,192 of them to date—and he continues to make tremendous tremendous contribut contributions ions not not only only to the associ association ation,, but the whole whole of the photographic industry. This year, the PPA Board of Directors confers the 2008 Lifetime Achieveme Achievement nt Award Award on on Fran Frank k Cricchio Cricchio,, honorin honoring g a career career of of creative creative image-making, his professionalism and tireless contribution to educating and enriching fellow photographers. Turn to p. 132 for our interview with Cricchio.
BIG TIME Finally, a nod to this issue, our Imaging USA show special, and our biggest biggest magazine magazine ever . We hope you enjoy it, and please pass it on to anyone anyone you you know who’ who’s just starting starting out in professi professional onal photography. We hope it will serve as a useful introduction for the photographers coming into our ever-growing industry.
Cameron Bishopp, Director of Publication Publicationss
[email protected]
member services
PPA - Professional Photographer 800-786-6277; 800-786-6277; FAX 301-953-2838; e-mail:
[email protected];
[email protected]; www.ppa.com Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: FAX: 480-807-4509 Subscription rates/information: 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, $39.95, one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA 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 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, 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 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’ Abel’s Photogra Photographic phic Weekly, eekly, St. Louis Louis & Canadian Canadian Photog Photographe rapher, r, The Commerc Commercial ial Photo Photograp grapher her,, The National Photographer, Professional Photographer, and Professional Photographer Storytellers. Circulation audited and
verified by BPA Worldwide
10 • www.ppmag.com
CAROL ANDREWS M.Photog.Cr., ABI
[email protected]
Professional Photographers of America 229 Peachtree St., NE, Suite 2200 Atlanta, GA 30303-1608 404-522-8600; 800-786-6277 FAX: 404-614-6400 www.ppa.com
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]
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 PPA staff DAVID DAVID TRUST Chief Executive Officer
[email protected]
We bring the
h i g h s c h o o l market into focus
vice-president/treasurer *RONALD NICHOLS M.Photog.Cr., API
SCOTT KURKIAN Chief Financial Officer
[email protected]
[email protected]
chairman of the board *MICHAEL GLEN TAYLOR M.Photog.Cr.Hon.M.Photog., API, F-ASP
CAMERON BISHOPP Director of Publications
[email protected]
DANA GROVES Director of Marketing & Communications
directors RONNIE NORTON ABI, Qualified European Photographer, Associate of the Irish PPA
[email protected]
LOUIS TONSMEIRE Cr.Photog., API
[email protected]
[email protected]
[email protected]
SCOTT HERSH Director of Sales & Strategic Alliances
[email protected]
J. ALEXANDER HOPPER Director of Membership, Copyright and Government Affairs
DON DICKSON M.Photog.Cr., CPP
[email protected]
hundreds of satisfied portrait photographers photographers since 1971. High School Seniors and Juniors Juniors are available on pressure-sensitive pressure-sen sitive labels, diskette
[email protected]
WILDA OKEN Director of Administration
SANDY PUC’ M.Photog.Cr., CPP, ABI
[email protected]
American Student List has been providing High School Student lists to
or via electronic delivery.Additionally,our delivery.Ad ditionally,our list of Families with Children is ideal for marketing family and holiday portraits. See us at the Imaging USA Convention (Booth 1404) for a chance to win a $100 AMEX Gift Card.
[email protected]
RALPH ROMAGUERA, SR. M.Photog.Cr., CPP, API, F-ASP N
12 • www.ppmag.com www.ppmag.com
[email protected]
LENORE TAFFEL Director of Events/Education
[email protected]
*Executive Committee of the Board
Proof Books
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Collages.net Collages .net press printed books are made from the highest quality materials and provide the
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Check out Collages.net’s comprehensive product line at www.collages.net/products. ©2008 Collages.net Inc. All rights reserved. Photo ©2008 More Than An Image Photography.
olio| f olio|
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.
©Stan Jones
STAN JONES While visiting Babcock State Park in West Virginia, Stan Jones, M.Photog., of S&N Photography in Cave City, Ky., fulfilled a longtime wish to photograph this unique spot. Taking advantage of the early morning light, Jones exposed “Glade Creek Falls” for 4 seconds at f/16, ISO 100, with a Canon EOS-1Ds Mark II digital SLR and 24-70mm Canon f/2.8 L EF lens with a circular polarizer. polarizer. He u sed Adobe Photoshop to perform minor color correction.
14 • www.ppmag.com www.ppmag.com
BOB HAWKINS “Anyone who knows my work knows I love character studies,” says Bob Hawkins, M.Photog.MEI.Cr., CPP, of Bob Hawkins Studio in Newton, Iowa. “I like to get their story, where the journey of life has taken them.” them.” Using nothing but a Larson 4x6-foot silver reflector to bounce light from a window, Hawkins captured “Etched by Time” with a Canon EOS-1Ds digital SLR and 70200mm Canon f/2.8 L USM EF lens. lens. He converted the image to black and white in Adobe Photoshop, adjusted the contrast and density, and applied a weathered wood overlay to add texture.
TIM MA MATHIESEN THIESEN Tim Mathiesen, M.Photog.Cr., A-ASP, F-ASP, of Panoscenes.com in Laguna Niguel, Calif., couldn’t resist the urge to capture this breathtaking sunset over Moloki Island in Hawaii. Shooting with a Fujifilm Panorama GX617 Professional camera and 105mm Fujinon SW f/8 lens with a center filter, Mathiesen exposed Fujichrome Astia 100F film for 1/15 second at f/16 to create “Just Another Sunset in Paradise.” “Sunsets in Hawaii are legendary,” says Mathiesen. “This one looked like nothing would happen, then turned spectacular in just a few minutes.” ©Tim Mathiesen
©Bob Hawkins
Three new cameras designed to inspire. Starting with the totally new EOS-1Ds Mark III. With a 21.1-megapixel full-frame CMOS sensor, dual “DiG!C III” Image Processors, and a 3-inch LCD monitor, it’s far and away the most remarkable camera Canon has ever created. The newly redesigned 10.1-megapixel
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To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc Enter the “Why Do You Love Football” Football” Photo Contest at www.usa.canon.c www.usa.canon.com/nfl om/nfl for a chance to win a trip to Super Super Bowl XLII. Contest ends 12/2/07. ©2007 Canon U.S.A., Inc. Canon, EOS and DiG!C are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE is a trademark of Canon. All rights reserved.
CONTA NTACT SHEET What’s New, Events, Hot Products, Great Ideas, Etc. ©Greg Sims
Let’s get
digital PIX Digital Imaging Contest Thirteen highlights 2007’s best ©Michel Tcherevkoff Tcherevkoff
18 • www.ppmag.com
©Sean Teegarden Teegarden
District News News magazine, Sponsored by Photo District
the annua annuall PIX PIX Digita Digitall Ima Imagi ging ng Conte Contest st recog recog-nizes special achievement in digital photography in several categories. Winning images are determined not only by the technical proficiency they reflect, but also by such universal photographic principles as imagination, vision and collaborative effort. The PIX contest is an opportunity to acknowledge the digital techs, CGI CGI artists, artists, retouchers retouchers and and other other digital artists who labor behind the scenes. The first place winners of PIX Digital Imaging Contest Thirteen are, by category: Advertising Advertising Campaig Campaign: n: Hasnain Hasnain Dattu Dattu and Stephen Cribben for their collaboration on “We See What Most Don’t,” a campaign for the Salvation Army. Army. Portraits/Celebs/Music: Portraits/Celebs/Music: Michael O’Brien for the “Tom Waits Waits Series,” depicting the musician in a variety of scenes for his new album, “Orphans.” Travel/Lifestyle: Tony Gale for “Night,” nightscapes of public recreation spaces shot on film then scanned for digital editing. Fashion/Beauty: Michel Tcherevkoff for “Shoe “Shoe Fleur,” a collection of shoes and accessories made entirely from botanical elements. Personal Work: Jim McHugh for the “Hotel Series,” a project inspired by the preservation of Los Angeles buildings. New Talent: Sean Teegarden for “True Character,” a portrait series in which Teegarden made the distinguishing characteristics—what some would call flaws—of his subjects vividly apparent. The PIX contest contest judges judges were Brian Storm of MediaStorm; Dave Lewis of Fallon Surface ace magazine; Wor World ldwi wide de;; Mar Marin in Pres Preske ke of Surf
Katrin Eismann, digital photography author and instructor at the School of Visual Arts; and Martin Bols of [zerone] Photo Retouching.
For For mor moree inf infor orma matio tion n on on the the awar awards ds,, vis visit it www.pdngallery.com/contests/pixdigital/2007.
Opposite page, top and left: Greg Sims' "Lemonade Stand," was merited in the Advertising category. Michel Tcherevkoff's "Shoe Fleur," was First in Fashion/Beauty. Above: Sean Teegarden's "True Character" series was first in New Talent.
January 2008 • Professional Photographer • 19
CONT CONTACT ACT SHEET SHEET
Sweepstakes winner
equivalent of a 2007 Jeep Wrangler Sahara.
PPA and SEP members-only Sweepstakes Marketing Co-op pays off
stakes Marketing Cooperative member
Hicks Studio participated in the national sweepstakes by joining the PPA/SEP PPA/SEP Sweepprogram. Along with the Graduate in the
Roman Cooper from Saginaw, Mich., is the first
Society of Sport & Event Event Photographers Photographers (SEP). (SEP ).
Driver’s Seat Sweepstakes, PPA and SEP
winner winner of the 2007 2007 Graduate Graduate in the the Driver’ Driver’s
Cooper entered the sweepstakes at Hicks
also sponsored two more give-aways, the
Seat Sweepstakes, sponsored by Professional
Studio of Saginaw, Saginaw, owned by Randall
Family Destination: Disney Sweepstakes and
Photographers of America (PPA) and the
Tucker, CPP. He chose to take home the cash
Escape to Paradise Cruise Sweepstakes. The winne winners rs of both both will will be anno announc unced ed this this mon month. th. This exclusive new member-only benefit enables photographers to participate in a profit-building profit-building sweepstakes promotion with high-value prizes that they couldn’t offer on their own. own. PPA and SEP members can still join the 2008 Sweepstakes Marketing co-op and give their own clients the chance to win fabulous prizes. Find out more at Imaging USA in Tampa, Fla., January 6-8, or online at www.ImageSweepstakes.com. www.ImageSweepstakes.com.
22 • www.ppmag.com
2007
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©2007 Nikon Inc.
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CONT CONTACT ACT SHEET SHEET
©Gruber Photographers
Candid camera Capturing the moment she says, “Yes.”
BY LORNA GENTRY
Nearly every aspect of the digital generation’s
reaction. In a trend that’s picking up traction,
lives is online online,, in photo photograp graphs, hs, and and fair fair game game
photographers are documenting couples’
—even the typically private moment between
lives from from “Will you you marry me?” me?” to “I do.”
couples when marriage is proposed. Would-be
New York wedding photographer Terry
grooms are hiring professional photographers
deRoy Gruber, who photographed the wedding
to secretly secretly photogra photograph ph them on on bended bended knee
of Michael Douglas and Catherine Zeta-Jones,
popping the question to their unsuspecting girl-
is in the vanguard of pre-engagement photographotogra-
friends, who also have no idea a lens is trained
phy. Since 1999 Gruber has been all over
on their priceless (and, hopefully, positive)
Manhattan covertly photographing proposals from Central Park to rooftops and the Brooklyn
Photo by Casey Fatchett
Bridge. “Public places are often best, but there is always the chance that someone will walk in front of the camera at ‘the moment’ and obscure the the view view.. We We do do the the best best we we can can,, but but when when we’r we’ree in a public spot we can’t control everything.” It’s a bit easier to pull off paparazzi photography in a restaurant, he says. For outdoor proposals, Casey Fatchett, also a New York wedding photographer, recommends daylight or at least a well-lit area. “I once had a client who took his girlfriend to Columbus Circle to propose,” he says. “I text messaged him to move her
uses Rolleiflexes, 35mm film and digital
closer to the fountain where the light was
cameras with 200-400mm lenses, and
better. better. As we messaged messaged back and and forth, he he
Widelux Widelux panoramic panoramic camera camerass “in order order to
told her her he was he he was messagin messaging g for work, work,
give a sense of setting,” he says. If Casey
but afterward afterward she said said she was was beginning beginning to
Fatchett is trying to blend into a crowd, he
wonder wonder if there was was another another woman. woman.”
uses either a 70-200mm f/2.8 lens or a 28-
Price depends on the arrangements, which
105mm f/2.8 lens on his digital camera.
can range from a photographer simply dressed
One of Fatchett’s ruses is pretending to be a
as a tourist with a camera to elaborately con-
street photographer at a predetermined loca-
cocted pretexts. Terry Gruber has hired people
tion. “It “It helps helps that I came came to New New York York to be be
to pretend pretend to pose pose with their their dogs in in Central Central
an actor,” actor,” he says. “ This type of photography
Park for a photographer who is actually
let’s you you live live out a spy spy fan fantas tasyy, follo followin wing g peopl peoplee
shooting over their shoulder to capture the
around paparazzi-esque, shooting out windows
proposal-in-progress behind them. “It’s a bit
and taxis. It’s fun and it’s always different.”
like like a duck duck blind blind,,” he he says. says. For For about about an hour’ hour’s time, Gruber Gruber charges charges $750 $750 and and up, and and Casey Fatchett’s prices begin at $295. Each photographer books about a dozen a year. Equipment depends on the job. Gruber
To see more of Terry deRoy Gruber’s photogra phy, visit visit www.gruberpho www.gruberphotogra tographers.co phers.com. m. To To see more of Casey Fatchett’s photography visit www.fatchett.com. Lorna Lorna Gentry Gentry is a freelance freelance writer writer in in Atlanta. Atlanta.
January 2008 • Professional Photographer • 27
Pages A survey of of photo photo books books Rob Gardiner, editor of the online PhotoBook Guide (www.photobookguide.com), cites five noteworthy books on photography rolling
an enormou enormously sly influential photographer and
1947 1947, Magnu Magnum m Photos has chronicl c hronicled ed the
teacher, teacher, capture capturess the jingoism jingoism of of America in
major events and personalities that shape
the 1970s 1970s through through a wide-ang wide-angle le lens. lens.
our time. This massive tome of more than
Crowds of spectators at sporting events form
400 photographs marks Magnum’s Magnum’s sixtieth
eerie evidence of a nation embroiled in war.
anniversary. anniversary. True to its cooperative heart,
“Magnum Magnum,” edited by Brigitte Lardinois (Thames and Hudson, $225). Since
each Magnum photographer has featured the work work of another another of its its 69 members. members.
off the presses this month. “The Brown Sisters: Thirty-three Years,” by Nicholas Nicholas Nixon Nixon (The (The Museum Museum of Modern Modern Art, $34.95). $34.95). For For each of of the last last 33 years years
Diver rescues laptop from Amazon.
Nicholas Nixon has photographed a group por trait trait of of his his wife wife and and her three three sister sisters. s. This This boo book k presents all 33 portraits, including eight taken
DriveSavers rescues data from laptop. Piranhas go hungry hungr y.
since the out-of-print 1999 edition. To witness the progressio progression n of these these portraits, portraits, through through marriages and pregnancies, is to encounter the courage and dedication of family experience. “Vinter,” by Lars Tunbjörk (Steidl/ Swedish Books, $50). Lars Tunbjörk's Tunbjörk's latest fascinating exploits find him traveling through the cold, dark aura of a northern Scandinavian winter. These bittersweet scenes will echo with readers everywhere. “This is War!: Robert Capa Photographs 1936–1945 (Steidl, $74). Robert Capa captured photos of destruction and liberation that have becom becomee icon iconss of of war war. This This book book takes takes a deta detaile iled d look look at many many of thos thosee fam famou ouss ima image ges, s, incl includ udin ing g the “Fallin “Falling g Soldier” Soldier” and and D-Day D-Day invasio invasion, n, using historical documents to illustrate the stories behind both Capa and his photographs. “American Sports, 1970: Or How We Spent the War in Vietnam,” by Tod Papageorge (Aperture). This photo book by Tod Papageorge,
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January 2008 • Professional Photographer • 29
Listening. Creating. Albums
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©2008 Collages.net Inc. All rights reserved. Photos are ©2008 of their respective photographers.
CONT CONTACT ACT SHEET SHEET
Wh W hat makes a photography Web site great? 5 important content and design basics
Your Web site is often a client's first impression. You need a distinct brand identity, as John Sibiliski's site illustrates (left).
BY TRICIA GELLMAN HOLMES
A great Web site is one that gets you the quality and quantity of work that you want. In the current age of technology, technology, a high-quality portfolio Web site is essential for a professional photographer because in many cases, your Web site is also your potential clients’ first impression of you and your work. The first and arguably most important aspect of your site are the images—make sure they load quickly and are displayed large. Beyond your imagery, imagery, here are five key components: unique and consistent branding, easy to use navigation, navigation, updated content, search engine optimization and clear, easy to find contact information. All of these contribute to ensuring your Web site is working to market your business. 1. A distinct and consistent brand identity. identity. Your Your Web site is a primary means to establish your brand and distinguish yourself. Through the selection of your images, use of color, typography, logos and graphics, and even music, you have the opportunity to create your own unique brand. Consistent branding branding throughout your site shows the attention to detail and the level of professionalism you bring to your business. In the worlds of portrait and wedding photography, your personality—and that of your brand—may be as important as your images to your potential client’s client’s decision. Customers often look for a brand and images that they connect with on an emotional level. 2. Intuitive navigation. Navigating your site shouldn’t be a challenge. An intuitive navigation scheme helps visitors explore your site without experiencing frustration. With a glance they should understand how to navigate your site and access the content content
32 • www.ppmag.com www.ppmag.com
they want to see. Your choice of readable
e-mail or a request for more information, so
the amount of business you generate while
fonts is also key to ease of navigation.
it’s easy for potential clients to get in touch
giving you more time and energy to spend
Ornate or highly stylized fonts should be
with you.
on your work.
used very selectively. Clearly identified menu
Features such as these add value to your
items enable visitors to quickly find the
site and make it a resource for clients and
pages they are most interested in. Easy-to-
potential clients. A well-designed and easy-
navigate portfolios make visitors want to
to-use Web site will dramatically dramatically increase
Tricia Gellman Holmes is vice president of marketing for liveBooks, a provider of customized portfolio Web sites and marketing software for professional photographers.
explore them fully. The right navigation makes your Web site inviting and will increase the amount of content potential clients view. 3. Updated content. Keep it fresh. A Web site that changes regularly provides an incentive for visitors to come back again. A site that is frequently refreshed tells prospective clients that you are actively working and also technically technically astute. And having a Web site solution that allows for easy updating without complicated programming is key to keeping your Web site current without taking away from your time to shoot. 4. Image size and download speed. Yo speed. Your ur Web site should showcase showcase your work first and foremost, not distract people from it.
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Let your images take up most of the viewing area so the rest of your Web site design isn’t competing for attention. Faster download speed helps visitors have a better experience overall. Finding the right balance between high quality and low file size is essential. Too far in one direction and your photos will appear slowly on a visitors’ screen, and too far in the other gets you fast-loading photos that don’t reflect the quality of your work. 5. Clear contact information. A information. A clear contact page is one of the easiest ways to increase business. Make sure that after visitors have explored your Web Web site they have an easy way to become your clients. Have a page where visitors can find out where you are located and access your contact information, including your address, phone number, and e-mail address. Make the page clickable with hot links to your Call 631-656-7400, visit www.qtm.com or your professional photo dealer for more information.
January 2008 • Professional Photographer • 33
Photography by Gregory Heisler.
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Prof Pr ofess ession ional al Phot Photog ograp rapher her
PRESENTS
Business, Marketing and Sales Strategies
What I think Frank Cricchio prioritized professionalism for 50 years What advice advice would would you you give give to someon someonee who who is just beginning beginning in in the photograp photography hy business business? ? Know the techn technica icall skil skills ls that that ena enable ble you you to to give give your your clie client nt the best best produ product ct in in the the indus industry try.. Havin Having g techn technica icall skil skills ls enables you to go further with your artistic vision. What’s the biggest biggest business business risk risk you’ve you’ve ever taken? My biggest risk was embracing color photography when we had only black and white. Families Families wanted matching images of their children, and black and white mixed with color images was not acceptable. What do you you consider consider your your big big break—t break—the he turning turning point? The introduction of color photography in 1958. Before color photography, the old masters kept their quality processes secret and did not share with with othe others rs.. Whe When n col color or phot photog ogra raph phyy was was intr introd oduc uced ed,, everyone was on a level playing field. All of us had to start start from step step one to learn color color,, from processing to the art of using color in an image. What’ What’s the the secret secret to runni running ng a successfu successfull photog photograra phy business? business? The secret to any personal service business business is to care care more more about your your customers’ customers’ needs than your profits. You must become involved in your community. Your professional image should be impeccable. impeccable. You should should always always dress dress profesprofessionally and behave professionally. When the phone rings, always answer it with a smile in your voice. IMAGE BY FRANK CRICCHIO WWW.FRANKCRICCHIO.COM
January 2008 • Professional Photographer • 37
THE JOY OF MARKETING
TM
SARAH PETTY, CPP
To be successful in business, you must do things things that give give you visibili visibility ty and and build your your brand all all year long. long. To To be a leader leader in your your
Successful studio events can generate buzz, heighten visibility and build brand for your business. Here are 12 tips for a great party. party.
Host with th t he most
12 IDEAS FOR THROWING AN ANNUAL EVENT
market requires doing even more, things that that knock knock the socks socks off off clien clients ts and and pros prospect pects. s. Once a year, every business should throw an event that creates massive buzz. Think of it as a party to celebrate your clients. The event must be exciting, enticing and inspiring. People don’t want to come to your business business to hear hear a sales sales pitch, pitch, they want want to be stimulated. stimulated. Now’ Now’s your opportun opportunity ity to wow them them with your your creativity creativity.. One of the best reasons to host an event is to bring in people during a slow time, which often often for photo photograph graphyy studios studios is the first quarter of the year. You can use an event
A l l p h o t o s © V i c k i T a u f e r
not only to create buzz, but also to book sessions during typical lulls. When it comes to having successful events, Vicki Taufer, M.Photog., CPP, and husband Jed Taufer, owners of VGallery VGallery in Morton Morton,, Ill., are are some of of the best. VGallery VGallery has has had had a Girls Night Night Out Out event every winter for eight years. They invite vendors who appeal to women or who have a unique product to set up in their studio during the event. They give each attendee a gift bag stuffed full of goodies from these companies—really great goodies like product product samples, samples, not not just coupon coupons. s. Known for putting on events worth going to, the Taufers Taufers launch launched ed another another successful successful event, Dog (and Cat) Days of Summer. Promoted solely with an e-mail blast, the event was fully booked in 24 hours. The 30 to 40 animals animals they’d they’d plann planned ed to photogra photograph ph grew to 120. The event’s sales were fantastic, and as part of the promotion, raised enough money to contribute 125 bags of pet food to
Vicki and Jed Taufer's Dog (and Cat) Days of Summer event generated a fantastic response and great press for Vgallery and animal charities.
38 • www.ppmag.com
animal charities. Three newspapers covered
time you you can go crazy with fresh fresh looks, looks, but
the event, event, and one one quoted quoted Vicki Taufer: Taufer: “We “We
the theme theme should should be consisten consistentt with your your
have run specials for children over the years
identity. Whatever the look, do not tamper
and have never seen a response like this.
with your your logo. logo.
People love their children, but they must
POLISH YOUR STUDIO like never never before before..
really love their pets. pets.” The event event generated generated
Repair any nicks and get rid of anything
both buzz buzz and revenue, revenue, and and positione positioned d
unattractive or dated. Give the place a fresh
VGallery VGallery in a segment segment of of the market market they
coat of paint. When I worked at an advertising
had not yet tapped, pet photography.
agency, a client company rebuilt the front
Hosting an event can be stressful when
room displays in its hair salon and day spa
you’re re new at it. it. I hope these these tips tips from my my
every six to eight weeks. Our clients knew it
own experience will help you create a
would increas increasee sales of of add-on add-on products products
smashing success.
because because it was timed timed with with the the visiting visiting cycle cycle of
SELECT A THEME. Whether Whether it’ it’s a play playful ful
the typical typical customer customer,, so she’d she’d see somethi something ng
tagline tagline or an extravagan extravagantt design, design, your event event
new every time she came, yet would still feel at
needs consistency. Use the same theme and
home there. Photographers should reenergize
design elements on the invitations, signage, nametags, packaging, ads and anything else you use to to promote promote this event. event. This This is one
A great goodie bag goes a long way in creating buzz.
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[email protected]
January 2008 • Professional Photographer • 39
THE JOY OF MARKETING
TM
their studio studio at least least once once a year, year, and and having having
It’s a wonderful feeling to help others and it
an event with lots of “guests” is a great
creates goodwill in the community.
motivator to do it.
INTRODUCE SOMETHING NEW. People
PROVIDE A GUESTBOOK. Your Your databa database se
is one of your most important assets. Make sure you captu capture re the names names of everyo everyone ne atte attendi nding ng
TIE-IN WITH A CHARITABLE CAUSE.
look look to you you as as a leader leader in style style and and desi design gn.. They They
your your event event and and add add the the newcomers newcomers to to your
We alway alwayss find a way to generate generate funds funds for a
want to to see what’ what’s fabulous fabulous and and new. new. Maybe Maybe
database. You can also collect new names
charity we believe in. For example, we can con-
it’s a canvas gallery wrap framed with stirring
and updates with register-to-win studio gift
tribute the the event’s session session fees to the charity charity
words, words, or a line line of custom custom art books, books, or a
certificates. You could have people register
and say so in our promotions. Clients get both
new metallic media or a unique frame. New
to win a television television set or or other unrelate unrelated d
a tangible product and emotional satisfaction.
products plant seeds for future session sales.
prizes, but you gain an opportunity for additional sales if the reward is a sitting. OFFER BEVERAGES AND ENTICING SNACKS. Pastries, hors d’oeuvres, soda and
even adult beverages for evening events can stimulate conversations and make people comfortable in your setting. Make sure the time of your your event event accommoda accommodates tes different different lifestyles. lifestyles. Stay-a Stay-at-home t-home moms are are usually usually
Color scheme and design should be fresh and suit the theme, but still consistent with your studio's brand and identity.
THERE’S ALWAYS A REASON TO HAVE A PARTY If you’ve recently changed the name or logo of your business, an event is an
framing and in-home design and more. Events bring traffic during slow times.
see how to decorate with artful portraits of one’s family. Right before Christmas, I
opportunity to keep people attached to
Planning an event allows you to be
hosted a holiday open house at my home.
your brand. When you make major
proactive and boosts the cash flow.
Welcoming my best clients into my home
changes to your business, people want to know that they are positive changes.
Generating money for a favorite charity not only feels good, but also makes people
strengthened the bond between us. If you are expanding your services,
If you just opened your first retail
feel good about you. It would be hard for
an event can be a catalyst for growth.
studio space, have expanded or changed
many of us to donate $2,500 to a charity
For example, if you are starting to offer
location, everybody is curious to see your
out of our own pocket, but if we can do it
senior photography, photography, plan something
new space. Make every detail perfect and
through our business, how wonderful is that!
exciting to get seniors to come see
celebrate with everyone you know. If you transition from proofs to projec-
When you want to overcome objections, an event can be the solution. Have you ever
your cool space. Even if you don’t have a specific
tion, an event can help educate clients on how it benefits them. Set up a projector
heard, “We don’t want our home to be a shrine to our kids. kids.”? ”? Because my clients
reason to stage an event, throw a fun party and hang out with the people who
and show large images with music. It will
purchase large wall portraits, they sometimes
love your photography the most. Make
give you a chance to explain how you can
have concerns that they’ll run out of space.
hosting an event a goal for your business
shoot more, how you can help them with
I want them to come to my own home and
in the new year.
40 • www.ppmag.com www.ppmag.com
available until the kids get home from
but on the the day of the the event, event, take the the time to
that might might be taking taking place place at the the same time time
school, and working parents like to come
make phone calls to the targeted reporters
as yours. Remember that events typically
right after work. Yes, 10 a.m. until 7 p.m. is
at the newspaper and television stations.
grow each year, so don’t get frustrated if you
a long time, but heck, you’ve done all the
One thing about events: there are no
don’t have a huge turnout for your first. On
work, the the more the the merrier. merrier.
guarantees, warns Vicki Taufer. “You can’t
the the oth other er hand hand,, we we kno know w pho photo togr grap aphe hers rs who’ve who’ve
control things like weather or other events
had 400 people at their first event.”
FREE GIFT FOR EVERYONE. I strongly
advise studios to invest in an impressive promotional item. Coffee mugs and pens just don’t cut it anymore. I have given offsetprinted custom calendars housed in CD jewel cases. cases. Twelve Twelve sheets sheets of paper paper fit fit nicely; nicely; turn over over the calenda calendarr and there’ there’s a second second year. year. Our art will will be sitting sitting in front front of the the client for two years after the event. At the Dog Days of Summer, VGallery gave visitors gift bags donated by a local bakery holding custom-made VGallery dog biscuits. BE GENEROUS. We produce produce hundred hundredss
more calendars than we’ll need for the event. I give several copies to everyone whose child was featured featured in it—we it—we like like to use some some of our best clients as models—and they delight in passing them along to friends. PROSPECT FOR NEW CLIENTS. Target
ads and announcements at select neighborhoods, groups or organizations to stir up new business. CONSIDER CO-MARKETING CO-MARKETING.. For example,
if you specialize in children’s photography photography,, you you cou could ld phot photog ogra raph ph selec selectt cli clien ents ts of chil childre dren’ n’s clothing shops in town and display them in a unique way during your event. Build goodwill with the store by inviting everyone on the clothing store’s mailing list. INVITE FRIENDS AND FAMILY. FAMILY. It’s smart
to invit invitee the the peop people le who who car caree abo about ut you. you. It help helpss fill your studio, which makes it seem more exciting, and because they want to see you succeed, they’re some of your best salespeople. GENERATE GENERA TE PUBLICITY AND MAXIMIZE EXPOSURE. Because you’re generating
money for chairty, your event is newsworthy. Not only should you send a press release,
January 2008 • Professional Photographer • 41
PROFIT CENTER
SARA FRANCES, M.PHOTOG.CR.
The boutique photographer, a franchise of one
Finding the boutique client ©Eddie Tapp Tapp
The clients we desire want to know the spirit of the people they work with, so we post photos of ourselves on our Web site doing all kinds of jobs. The boutique model is an appearance business, and everything about us is critical as a sales tool.
This is the first in a year-long
for a valuable commercial relationship. The
series about the boutique studio business
budget budget was small, small, but the reques requestt for for “noth “nothing ing
model. The series will appear in the Web
special, just photos” looked easy and profitable.
Exclusives Exclusives section section at www.ppm www.ppmag.co ag.com. m.
But it took 60 days to close the deal, the retainer check bounced, as did the final payment, and
Where can can you find find the clients clients for fine fine com-
a huge snowstorm almost doubled the time we
missioned photography who won’t be
spent on the job. Group photos for 20 disinte-
stricken with sticker shock? Demographic
grated into chaos, as some 50 people milled
information alone won’t help you. We’ve We’ve all
around with pre-dinner drinks, getting in the
experienced the low-income wedding client
way way and and distr distrac acti ting ng the the sub subje ject cts. s. Thes Thesee were were
who pays pays cash cash for for the the most most expens expensive ive packag packagee
not the clients for my studio. The boutique
and the Lexus-driving bride who values
photographer deals with relatively few clients
status more than high-quality photography.
a year, so he has to recognize and turn down
As for party party consulta consultants, nts, an an obvious obvious referral referral
the uncomm uncommitte itted d client. client.
source, they often expect a sizable commission and listing fees as well. A boutique boutique cann cannot ot afford afford to to work work with
42 • www.ppmag.com
We We recently recently had the the privileg privilegee of photophotographing a couple at their country club wedding. All the decision-making parties came
unprofitable, unprofitable, time-consuming time-consuming clients. The
to the the studio studio for for the first first cons consulta ultation tion.. They
wrong wrong client client can can even damage damage your your busines businesss
judged judged the quality quality of of our produ product ct based based on
reputation. Last year, to fill a post-Christmas
their their apprec appreciat iation ion of fine fine arts arts and and our our willin willingg-
lull lull,, I took took on a bat bat mitz mitzva vah h hos hoste ted d by by the the owne ownerr
ness to brainstorm special ways to approach
of a public relations firm. I saw the potential
their their needs needs.. It It was was unne unnece cess ssary ary to educa educate te them them
on the fine points that make our studio differ-
and a word-for-word script to close the sale.
state who you are, what services and products
ent. They booked a $20,000 still and video
After After the first first few few meetin meetings, gs, I began began to to get get
you offer offer and and how how you want to limit limit jobs jobs and and
package on the spot. It’s been a joy to work
it. Within a structured guideline for building
services in the future, your goals in regard to
with them them as as the job job progres progresses. ses. It’s worth worth
a client relationship, there’s plenty of room to
your age and and experien experience, ce, your your family family life, life, and and
the the ext extra ra effo effort rt to find find a han handf dful ul of such such clien clients ts!!
be creativ creativee yet make make high high sales sales.. It’s all about about
whether whether you’re you’re a long-tim long-timee pro like like me, me, or an
One way to simplify your search for the right
trust. trust. Recen Recently tly four four dif differ ferent ent clien clients ts voice voiced d tha thatt
eager newcomer. A startup boutique owner
client is to hire a professional coach or advisor,
exact word; they trusted me to design photo-
might have an easier time self-profiling
who can help help you you formu formulat latee a step-b step-by-s y-step tep
graphs and albums for them, for more than
because because you you can can begin begin fresh. fresh. The The demodemo-
playbook, a guide that defines the desired
$15,000 each. With that I knew my invest-
graphics of your area have a lot to do with
client, helps you find her, leads you through
ment in a professional coach had paid off.
the feasib feasibility ility of your your plan. plan. Your Your coach coach
selling and contracts, and helps you close at
There’s a subtle difference between a busi-
should make sure you’re in the right arena.
least least seven seven out of 10 prosp prospects. ects. A proficie proficient nt
ness consultant, who helps to define a market,
Profile your client. Y client. Your our “fran “franchis chisee of one” one”
coach is worth far more than the investment.
suggest operation and sales strategies, and a
needs to know the buying habits of the desired
After After more more than than thre threee decade decadess in busines business, s,
busines businesss coach coach,, who focuses focuses on the the princi principals pals
client, where she lives, her social pursuits, her
I didn’t think I needed a professional business
of the company and their personal goals and
family involvement. Analyze your best clients
consultant, even though I wasn’t reaching
strategies. I’m using the term “coach” to signify
and note what they have in common. When
enough of the right boutique clients. Then I
either one, but ask the professional you’re
you know know what what led led them them to select select you, you
met Rick Skurla. He was the right person to
interviewing which one he considers himself
have a treasure map to lucrative clients. The
analyze my business from the outside, help
to be. be. When When choo choosin sing, g, cons consider ider these these facto factors: rs:
more detailed the map, the better.
me develop a consistent sales presentation
Profile you and your market. First, honestly
Attract Attract and and book prospects. prospects. For boutique
January 2008 • Professional Photographer • 43
PROFIT CENTER
photographers, the right client is almost always
for a commitment and closing the deal are
measure your success with her answers to
a referral from a planner, a friend, a past client,
the last last of the the “offen “offense” se” play playss in your your book. book.
your question questionss about about how how and why she she
or anyone in a position to trust you enough to
Service after the sale. Score big when you
booked booked you, you, what what she liked best, what what could could
refer others to you. You must consistently ask
demonstrate demonstrate your superior technique, unique
have been done differently? You’re in a great
particular questions to ascertain that the
presentation and timely delivery. When you
position to ask for referrals, because the
prospect wants the top-tier product you
like your your client clientss and and there there are are but a select select few
boutique boutique photog photograph rapher’ er’s reward reward comes comes from from
provide, is in position to finalize the decision,
of them, it’s easy to invent artistic new products,
exceeding expectations.
and has the funds allocated. You can’t afford
keep in touch with progress reports on the
to invest invest time in prospects prospects who don don’t ’t meet
job and and write thank-y thank-you ou notes. notes. Never Never
all three criteria. Your coach should help you
discount the importance of careful, trans-
script word-for-word qualifying questions
parent billing. I was amazed at clients’
phrased accurately and sensitively.
positive response when presented with a
Next, you get to show off your talent with
computerized, detailed invoice explaining
extravagant samples and offer creative ideas
every charge and the inevitable add-ons that
for the prospect’s particular needs. Your play-
come with any job. You will probably spend
book should should include include anecdote anecdotess of how how you
serious time over a number of months to
solved similar problems in the past. If your
complete each job. Your billing can make a
prospect lives elsewhere and cannot meet in
lasting lasting impression impression and and fulfill fulfill the meanin meaningful gful
person, your Web site becomes your credentials;
experience the boutique client desires.
the site site in in itself itself isn’t isn’t a direc directt sales sales tool. tool. Askin Asking g
44 • www.ppmag.com
Now why not take a client to lunch, and
Sara Frances and her business partner and husband, cinematographer Karl Arndt, own Photo Mirage in Denver, Colo. (www.photomirage.com). For more info on Rick Skurla, professional business and sales coach of Skurla and Associates, e-mail
[email protected]. Download a free copy of “The Business Owner’s Playbook,” Playbook,” a publication of The Hartford, at www.thehartford.com/businessowner www.thehartford.com/businessowner.. Sign up for a one-time consultation with Professional Photographers of America Studio Management Services, get info on upcoming business workshop at www.ppa.com.
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PROFIT CENTER
Blake Discher thinks new photographers shouldn't have to learn the business the hard way,, like he did. He's way He's happy to share share what he's he's learned learn ed about being being a success.
Blake Discher pursued professional development, reinvention and specialization. Starting out as an Associated Press stringer, he cut his teeth shooting sports and spot assignments. As his career
BY JEFF KENT
matured, Discher got into P.R. and corpor-
Raising the bar 7 VALUABLE LESSONS
For the last 18 years, Detroit photographer
FROM BLAKE DISCHER DISCHE R
ate photography. These days, he specializes in people-centered images, shooting for annual reports, brochures and editorial features. He’s one of the biggest names in corporate photography in Detroit. Discher is a strong believer in open
©Blake Discher
information sharing. He enthusiastically talks about his business to fellow professionals, going so far as to post a pricing structure on his Web site. He wants photographers everywhere to raise the bar so that everyone profits. We asked asked Discher to share some of the lessons he learned in running a successful photography business. SPECIALIZE. Everyone wants a spe-
cialist. If you do all types of photography, you’re a general practitioner. practitioner. If you needed an operation on your brain, you’d go to a brain surgeon, not a general practitioner. practitioner. Being in Detroit, my clientele is in the automotive industry. I’m a specialist in that field. I talk their lingo. I know their concerns. I have the relevant experience. That’s what clients like to hear. It’s what differentiates me from the competition. DIFFERENTIATE. One of the keys in this
business is to stand out from the crowd. You You need to express why the client should work with you and no other. If you can’t, can’t, it becomes a price game, and you’ll lose. One way to differentiate yourself is to be know ledgeable about your clients’ business, be
46 • www.ppmag.com
able to talk intelligently about it, ask
ideas we discuss. I create a partnership. If
BUDGET. Early in my conversation with a
pertinent questions. It instills confidence
you do this well, the client feels like you’re
prospective client, I ask, “Have you set a
that you’ve put time into the project, project, and
on the same team—his team. You want to
budget for for this project?” project?” I say I won’t won’t be the
that makes makes you you valuable. valuable.
build on the sense that you’re working
cheapest photographer around. In fact, I
together toward a common goal. goal.
may be at the top end. But there’s a reason
PERSONALIZE. A large part part of this this busi-
for that. Never quote a price in the first
ness is people skills. If you call me from a
VIRTUALIZE. Photographers need to pay
phone call. Instead, take down all the
referral, the first thing I say is that I’d like
attention to Web marketing. The majority
specifics, ask plenty of questions, and then
to collaborate with you. Then I ask how
have a Web site, but don’t take full advantage
tell the client you’ll you’ll call him back. back. Then go go
creative we can get on the project. Can we
of the Internet. Update your site often.
research the client’s business. Look at the
be a little different, or do we need to be
Add content. content. Make Make your your site a dynam dynamic ic
specifics of the job. When you call back with
conservative? You need to really engage the
experience for the visitor. About 65 percent
the price, price, you can can drop in some talk talk about about
client. Try to determine why this person
of my new clients come from Internet.
his company, company, show you know what you’re
called you. What did he see on your Web
The Internet is especially important for
doing when it comes to this job. Get him
site that he liked? What makes him think
emerging photographers without big
talking talking and engage engage him. him.
you might be the right person for the job? I
budgets. budgets. You You can gain gain a real real advantag advantagee with
also zero in on what makes this client click,
search engine optimizations, new content,
high, it’s equally bad to come in too low. I’m
find out exactly what he’s looking for up
updated material and other steps to keep
convinced that photographers who under-
front. I give him some ownership ownership of the
your site site fresh and and interestin interesting. g.
charge do so because, for the most part, they
In pricing, as bad as it is to come in too
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PROFIT CENTER
don’t know how much they could charge.
the survivors survivors will will be those those who, at at the end of of
$1,500 and take pictures that are good
Take the time to not only research the client
the day, day, can say say “I did everythin everything g I could could to
enough. As a professional, if you take
but to research research what what other other people people are
market my business today.” Part of the
pictures that are only good enough, then
charging in your market.
challenge for professional photographers
that $1,500 $1,500 camera camera just just replaced replaced you. you.
today today is that the cost cost of entry is is so low. low. MAXIMIZE. In today’s business climate,
Clients can buy high-end cameras for
REINVENT. It can be dangerous not to
reinvent yourself every four or five years. Part of developing a style is looking at images, adapting to new tastes, and staying current. If you shoot long enough, you start to repeat repeat certain elements. elements. I’ve noticed noticed my my images have a lot of strong diagonal and vertical vertical lines. lines. The images images are structure structured. d. The danger is that if I do it too much, it becomes becomes standard, standard, boring. boring. The same goes for marketing. Examine what you are doing and don’t let your look get stale. Reinvent your marketing. I know I need to be more aggressive in my marketing. I’ve put my Web site out there, and it’s worked for the last five years. But I think that wave will start to settle down. It can’t be just about a Web site anymore. I need to get back to some traditional methods of getting clients. The way to make more money in this business business is to get get better clients clients.. Once you you have an established client, you’ll never be able to raise your prices dramatically with that client, client, so so it’s important important to keep getting getting better clients clients.. That’s the way way to progress progress in business.
To see more from Blake Discher, check out www.fireflystudios.com.
Blake Discher presents “Web Marketing” in the pre-convention program (January 3-5) at Imaging USA in Tampa, Fla., January 6-8.
48 • www.ppmag.com
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PRESENTS
Products, Technology and Services
What I like For For Fran Frank k Donni Donnino, no, toys are toys What makes your workflow flow? I have this dumb envelope system. We move the client envelope and order form from one area to another. It works well. Plus, I get exercise! What’s the best equipment investment you’ve you’ve ever made? made? My new GPS. Oh, you meant meant for photography? photography? Hands Hands down, our iMacs. Great, stable system. What hot new product are you going out of your way to use? Those plastic credit card type gift cards are getting our phone to ring off the hook. Has a piece of equipment ever changed the the way way you you appr approa oach ch your your phot photog ogra raph phy? y? Yes. Yes. I love my 75-200mm Canon f/2.8 zoom lens. I photograph wide open outdoors and love the look I get. What’s the one piece piece of gear they’d have have to pry from your cold, dead fingers? My iPhone, of course. Also, my Canon 5D with my zoom lens. Hey, toys are toys! IMAGE BY FRANK DONNINO WWW.FRANKTHEARTIST.COM
January 2008 • Professional Photographer • 51
THE TH E GOOD GOODS: S: PRO REVIEW
The recently released Olympus E-3 digital SLR includes Live View, dust reduction, in-camera image stabilization and 10-megapixel image sensor. B Y J O E F A R AC AC E
Four-thirds for proo the pr OLYMPUS E-3
All images ©Joe Farace
In 2003, Olympus introduced the E-1, a professional digital SLR based on the four-thirds system; Leica, Panasonic, and Sigma followed suit (www.fourthirds.org). Olympus launched launched the Olympu Olympuss E-3, its flagship, flagship, in Puerto Rico, which provided opportunities to test the the camera’ camera’s capabilities capabilities under realreal world pro pro shooter shooter condition conditions. s. The E-2 E-2 got knocked off the design board when Olympus teamed with Panasonic Panasonic for production of the Live MOS sensor. The E-3 includes live view and dust reduction, along with fast autofocus, incamera image stabilization, and a 10megapixel image sensor, all housed in a rugged dust and splash-proof magnesium alloy body. The 17.3x13mm Live MOS sensor yields a picture angle equivalent to a 2X focal length in 135mm format. Olympus says the E-3 has the fastest AF speed in the world. I couldn’t put a stopwatch
I made a series of photographs of Old San Juan’s Christ Chapel with the E-3 in Auto White Balance mode and got the kind of golden church photographs so beloved of wedding photographers in the days of film, but I wanted more. I shifted the E-3 into Live View mode so I could see color balance options and how they affected the image in real time. I captured this image using the Tungsten white balance preset that represented the chapel’s true colors. Exposure: 0.3 second, handheld at f/4.5, ISO 1600, 7-14mm Zuiko Digital ED f/4.0 lens at 7mm.
I used the 12-60mm lens along with the new EC20 2X Teleconverter at Castillo de Serralles to photograph these tiny—smaller than a dime— flowers. While the 2X teleconverter does not decrease the camera to subject distance, it does double the image size, producing superb macro results. Exposure: 1/200 second at f/11, ISO 100.
on the AF, but with the camera’s 11-point, biaxial biaxial cross type AF system system,, five framesframesper-second continuous shooting, and 1/8,000second top shutter speed, it was ready when I was to capture a decisive moment. The shutter has a life rating of 150,000 exposures, likely underrated, which should meet the demands of professional photographers. Olympus also announced three new Supersonic Wave Drive (SWD) lenses, including the Zuiko Zuiko ED 12-60m 12-60mm m f/2. f/2.8-4 8-4.0 .0 (24 (24-1 -120m 20mm m equivalent), my go-to lens in Puerto Rico. The E-3’s optical viewfinder provides a 100-percent view, and a 1.15X magnification for precise composition. The only cameras close to matching this big, beautiful view have full-frame sensors. The 2.5-inch swivel
DIGITAL ZUIKO
Live View LCD screen affords a 100-percent
Along with the E-3, Olympus announced three new Zuiko Digital ED lenses that use
view and and 170-degree 170-degree viewing viewing angle. angle. The The
Supersonic Wave Wave Drive (SWD) autofocus motors: the 12-60mm f/2.8-4.0 SWD, 50-
screen can be rotated freely so you can take Hail Mary shots with the camera held
200mm f/2.8-3.5 SWD, and a 14-35mm f/2.0 SWD that will probably be available at PMA 2008. The lens’ two compact, high-powered Supersonic Wave Wave Drives autofocus
overhead, down low, or from unusual
at high speed using elliptical oscillations, while an optical encoder
angles.
detects and controls the lens drive position with direct rotation
Live View’s real advantage to pros is its real-time monitoring of white balance and exposure. When I was permitted to shoot
detection. What this means to you is quiet, fast autofocus lenses that accurately focus to 5 microns in 0.17 seconds. The 12-60mm f/2.8-4.0 SWD covers a zoom range
inside Old San Juan’s Christ Chapel, I could
equivalent to 24 to 120mm on a 35mm camera. It has special
confirm proper color balance through the live view image. image. Being Being quiet quiet was essentia essential, l,
optical glass elements to correct aberrations, while its digital design ensures crisp edge-to-edge images even when shooting
and the SWD lens focused quietly and
wide-open. This lens boasts impressive close-up capability,
accurately. Wedding Wedding photographers will find
allowing you to shoot as close as 9.8 inches throughout the zoom
these features features especia especially lly useful. useful.
range. At Castillo de Serralles in Ponce, I was able to shoot the
The E-3’s built-in dust reduction system
12-60mm lens along with the new EC-20 2X Teleconverter Teleconverter and it
uses a supersonic wave filter to eliminate
produced superb results in “normal” or macro shots. On the other end of the focal
specks in captures. It can even remove spots that usually usually canno cannott be removed removed through through
length spectrum, I used the same combination to double the focal length of the 60mm maximum focal length while photographing a model next to a waterfall in the El Yunque
vibrati vibration on or or discha dischargin rging g with with stati staticc electri electricity city..
rain forest. Both close-up and fashion images were tack-sharp.
January 2008 • Professional Photographer • 53
THE TH E GOOD GOODS: S: PRO REVIEW
specs: Olympus E-3
I was walking past these boats and wondered what the E-3 could do—handheld—in the moonlight. Even handholding the shot is remarkably sharp due to the E-3’s mechanical image stabilization. Exposure: 0.4 second at f/3.5, ISO 2000, captured in Live View mode, 12-60mm f/2.8-4.0 lens at 27mm.
The system really works. After three days
tion. If If you know know the general general direction direction of
shooting on the beach and streets of San
the moving moving subject, subject, the the AF area will will be
Juan and Ponce, where I was constantly
determined by the anticipated motion—a
changing lenses, my image files are squeaky
modern implementation of the pre-focusing
clean. The E-3’s sealed splash-proof, dust-
techniques techniques used used in the manual manual-focus -focus days. days.
proof chassis proved itself during a rainstorm
Mechanical focusing is available, and there’s
in the El Yunque Yunque rainforest, even after I
a custom function to let you choose the
slipped on a wet rock and bloodied my
direction of the focus (clockwise or counter-
elbow, proving it’s more rugged than I am.
clockwise) that you find more natural.
The E-3 has a twin cross-type (biaxial),
The camera is fast from start-up to first
11-point AF sensor that responds on both
capture, but exposure compensation and
vertical vertical and horizont horizontal al axis. axis. Unlike Unlike systems systems
some other button controls seem stiff; you
that react react at lower lower f-stops f-stops by boostin boosting g sensisensi-
have to really poke them to make them work.
tivity, tivity, the E-3’s sensor sensor has a houndstoot houndstooth h
It’s easy to freeze sports action with the
pattern phase detection layout with micro-
E-3’s continuous frame rate of 5 frames per
lamination lamination technology technology for for fast, fast, real-world real-world
second (fps) and shutter speed up to 1/8,000
performance. The 11 AF target points can be
second. You don’t have to worry about blur
chosen individually or dynamically in combina-
caused by camera shake because the body’s
54 • www.ppmag.com
IMAGE PROCESSOR: TruePic III SENSOR: 4:3 aspect ratio, 17.3 x 13.0mm Live MOS sensor RESOLUTION: 10.1 effective megapixels (3,648 x 2,736) VIEWFINDER: 100% field of view, 1.15 magnification METERING: TTL open-aperture metering system, digital ESP metering (49-point multi pattern metering), centre weighted average, spot (about 2% of viewfinder); highlight/shadow highlight/ shadow bases are available SHOOTING SHOOTIN G SPEED: 5 frames per second up to 16 frames in RAW, up to card capacity in large/normal JPEG mode with SanDisk Extreme II or faster CF card ISO: 100-3200 EXPOSURE SETTINGS: Program AE (shiftable), aperture priority AE, shutter priority AE, manual SHUTTER SPEED: 1/8,000 second to 60 seconds (1/3, 1/2 or 1EV steps), bulb WHITE BALANCE: Hybrid detection system with high-speed Live MOS sensor and dedicated external sensor, 7 settings, custom from 2000 K - 14,000 K, white balance compensation available FOCUS MODES: Single AF (S-AF), continuous AF (C-AF), manual (MF), S-AF + MF, C-AF + MF LENSES: FourFour-Thirds Thirds mount Zuiko Digital lenses FLASH: Built-in retractable flash, GN=13 (ISO 100.m); compatible external flash FL-50R, FL-36R, FL-50, FL-36, FL-20, STF-22, SR-11; X-synch at 1/250 second or less, Super FP up to 1/8,000 second STORAGE: CompactFlash, xD PRICE: $1,699 (body only)
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THE TH E GOOD GOODS: S: PRO REVIEW
built-in image stabili stabilization zation compensat compensates es for camera movement up to five stops. The stabi lizing Supersonic Supersonic Wave Wave Drive Drive motors motors collect collect information about movement from a gyro, which detects detects and and analyzes analyzes vibratio vibrations, ns, and and moves the imaging sensor with a piezoelec tric element. element. I predict predict in-body in-body image image stabilistabilization will become standard in digital SLRs. The camera’s TruePic III Image Processor uses all of the pixel information in each image, to yield yield accurate accurate color, color, natura naturall flesh tones, tones, and true blue skies. It also lowers noise in images shot at high ISO—surprisingly low, even at ISO 1600. Noise becomes noticeable at ISO 2000 and higher, and if that bothers you, you, bette betterr reach reach for noise noise-re -reduct duction ion softwa software. re. The synergy between the mechanical image stabilization and TruePic III processing gave me remarkably sharp and colorful captures under pure moonlight at the Ponce Yacht & Fishing Club, hand-holding the camera and
The E-3’s E-3’s fast AF and nimble response enabled me to get off a series of shots of this guy coming up a narrow street in Old San Juan on a scooter. I didn’t have time to put the camera in Continuous mode; I heard the scooter, scooter, turned around and just started snapping the shutter. All of the shots were sharp and well exposed. Exposure: 1/640 second at f/4.0, ISO 200, 12-60mm f/2.8-4.0 lens at the 12mm setting.
at a shutter speed of 0.4 second. Image quality in both RAW and JPEG modes was high, but is 10 megapixels enough?
to switch switch between between capture card types, you
For most studio, portrait and wedding pho-
still have to dive into Olympus’
be useful for wedding wedding and and senior senior photographotogra-
tographers, tographers, yes. yes. If you you disagree, disagree, remember remember
“kitchen–sink” menus, in which every
phers to add snap to available-light photo-
not so long ago when you happily delivered
possible combination of customization is
graphs without the flat flash-on-camera
images made with 6-megapixel cameras. If
listed. That will will be intimidatin intimidating g for the new new
look. look. The flash flash syncs syncs with either either the camer camera’ a’s
clients liked those image files, they’re going
Olympus shooter, but once you’ve
pop-up flash or another FL-50R in the hot
to love the the 3,648x2, 3,648x2,736-pi 736-pixel xel captures captures of the the
customized the E-3, changes and menu
shoe. I used the pop-up flash to trigger two
E-3, especially captured in Olympus ORF
dives will be fewer and simpler.
FL-50Rs to photograph models on the streets
(RAW) format. Adobe Photoshop Lightroom
I tested the E-3 with the optional HLD-4
The FL-50Rwireless flash accessory will
of Old San Juan and they always fired. (Price:
and Adobe Photoshop Camera Raw already
Power Battery Holder, which holds two
$499.99.) Olympus includes a Sto-Fen-like
support this format.
rechargeable BLM-1 lithium-ion batteries,
bounce bounce adapter adapter that works works quite quite well but but
and had power enough to shoot all day. The
doesn’t seem as sturdy as the real thing.
The E-3 accepts CompactFlash, CompactFlash, including the fast Lexar UDMA UDMA cards cards and not-so not-so-fast -fast
HLD-4 has a vertical grip and shutter release
(they lack a built-in controller) xD Picture
with control controls, s, including including a programmabl programmablee
infinitely customizable to any specialty. A
Cards, which I’ve called “mostly useless”
function ( Fn) button. button. If you prefer prefer big
clever combination of live view, mechanical
because because they’re re non-stand non-standard ard and and so tiny tiny
cameras, you’ll like it. If you need the
image stabilization, and dust reduction let
they’re re easy to to lose. lose. Olympus Olympus makes makes this
additional power, you might use the grip
you deliver deliver clean, clean, publisha publishable ble image image files
annoying little format more palatable by
despite its bulk. My wife, Mary, who has
with little little or no tweaking. tweaking.
letting letting you copy copy files files from one one memory memory card
small hands, found the HLD-4 grip
to another another with with a single single push of of the added added
comfortable, although she didn’t like the
button button next to the pentapris pentaprism. m. If you want want
similar grip for the E-1. (Price: $199.99.)
56 • www.ppmag.com www.ppmag.com
The E-3 is a tough pro camera that’s
Joe Farace Farace is the author author of “Getting “Getting Started Started in Digital Imaging” (Focal Press), available where books are sold and at www.joefarace.com.
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THE TH E GOOD GOODS S
It’s a radical theory—trust your equipment, automate your post-capture workflow, and spend your energy on your clients.
DAVID JAY’S WEDDING WORKFLOW
BY DAVID JAY
Freestyle shooting
BREAK FREE OF YOUR TECHNICAL BAGGAGE
I believe the photographer’s workflow should be streamlined to include only the tasks we need to do every week. Here’s how my workflow goes: 1. Download images using four Lexar Professional CompactFlash readers— I can download four CF cards in the same amount of time as one. 2. Import images into the Lightroom Library.
Imagine you’re out celebrating with friends and
of ourselves, even if those photos weren’t badly
you want want to remembe rememberr this this happy happy experien experience. ce.
taken. taken. We We dislike dislike seeing seeing that frozen frozen aspect aspect of
custom adjustments to each file with
You You hand hand off your your point-andpoint-and-shoo shoott to a
ourselves and we feel awkward all over again.
my Default Develop preset. I use my
stranger, he counts off 1-2-3, and nothing
Now put yourself in your clients’ shoes.
3. Watch as Lightroom makes unique
happens. How long can you keep smiling for
Imagine how they’d feel on their wedding
own Brilliant setting. 4. Correct with Find and Fix editing,
the camera camera before before you begin begin to feel feel
day if they had to keep smiling while the
finding the files that need extra
awkward, like your smile has become forced
photographer fiddled with the white balance
adjusting and fixing them with presets
and cheesy? About half a second!
to ensure ensure getting getting spot-on spot-on color color,, setting setting and
to make batch adjustments.
We’v We’vee all all felt felt it and and then then hated hated the the picture picturess
resetting the exposure, and readjusting the
5. Pick the keepers by pressing the P key (Flag as Pick).
A l l i m a g e s © D a v i d J a y
6. Show only picked files. 7. Sort by date created, putting files in chronological order. 8. Export full-resolution JPEGs in the sRGB color space, naming them 00001_Filename.jpg, 00002_Filename.jpg, 00003_Filename.jpg 9. Organize into categories (Preparation, Ceremony, Formals, Reception, etc.) 10. Upload to Pictage and release to client.
By using his Brilliant preset as the default Develop preset (applied to images as they're imported), David Jay has most of his photos looking exactly the way he wants when he sees them for the first time in the Photoshop Lightroom Library.
58 • www.ppmag.com
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THE TH E GOOD GOODS S
rest of the technology. How would they like seeing themselves like that in your images? Our first job as wedding photographers is to provide a positive emotional experience to our clients clients even even decades decades down down the road. road. Step one is to make absolutely certain we do not cause them to feel awkward, posed or stiff on their wedding day. The second step is to preserve their joy in a way that invites them to relive relive it ever ever after. after. Business Week Week pointed A recent recent article in in Business
out that businesspeople should avoid confusing the business they’re in with how they conduct business. Photographers might confuse their business with being a lab or selling prints and albums, when in reality, that’s simply simply the way way they’ve ve been
Four views of the Really Right Stuff flashrotating flash bracket.
conducting their their business business.. Successful Successful
photographers realize that the intangible element of the service they provide and the environment they create on the wedding day is a huge part of what they sell. In the past year, some amazing tools have become availa available, ble, tools tools that can can free us us from the technolo technology gy of shooting shooting and and postpostprocessing so we can focus on engendering that emotion emotional al experience. experience. I call it “freest “freestyle yle shooting.” shooting.” We can be free of the technical t echnical baggage baggage that’s that’s weighed weighed down photogr photographer apherss for generations. My freestyle shooting tools include a Canon EOS-1D Mark III camera and its Safety Shift feature, which allows me to set a minimum shutter speed to prevent motion blur, blur, set the camera camera on AV mode mode with Auto Auto White Balan Balance, ce, then open up the aperture. aperture. Then the camera can adjust the shutter speed and the ISO for near-perfect exposure and color every time. As an artist, I sometimes struggle with near-perfect , so I need a tool to make a few global adjustments to nail it. The tool is Adobe Photoshop Lightroom. The day after the wedding, I import all
60 • www.ppmag.com www.ppmag.com
David Jay's Brilliant preset (above) applies a certain signature look to his images. In cases where that preset isn't quite right, or he wants another look, he has a full selection of alternate presets (below) that he can apply for certain lighting situations or to create different image styles, all with one click.
THE TH E GOOD GOODS S
2,000 images to Lightroom, and then the
Sometimes I want to adjust the color. I
should be be done. done. Adobe Photos Photoshop hop LightLight-
software makes a unique, custom adjustment
like my pictures a bit warm, warm, so I’ve I’ve made a
room helps you stay on track so you can
on every single file without my doing any-
preset that allows me to select and warm-up
process 2,000 wedding photos in a couple
thing thing furthe further. r. I use use my my “Bri “Brilli llian ant” t” pres preset, et, which which
the cooler cooler images images with one click. click. Not Not long
of hours.
I’ve set as Lightroom’s Adobe Default Preset
ago we had to correct each file, but now we
(Develop > Set Default Settings). The magic
can color-correct in batches by lighting
of the Adobe Default Preset is that it analyzes
condition.
each file and custom corrects for exposure,
To create and save a preset in Lightroom,
brightness, brightness, contras contrastt and other other density density
go to the Develop tab, make the necessary
settings. It will brighten some files a bit and
adjustments, select the AUTO settings, and
darken others, all while I’m out having
click the create-new-preset button (the +
lunch or or serving a client. client.
icon at the top right corner of the Presets
Next, all I have to do is find-and-fix editing.
its effect on a selected image simply by
ones where people were blinking, and fix the
hovering over it. by their workflo workflow w for one one reason: reason: They
images, so I’ve created and saved another
spend too much time thinking about what
preset to apply to them with one easy click.
could be be done to the image image rather rather than than what
62 • www.ppmag.com www.ppmag.com
You You can find find the presets presets that that I use as as well as free videos demonstrating the power of these presets presets at at www.show www.showitfast itfast.com. .com.
Learn Learn more more abo about ut photog photograp rapher her and entrepreneur David Jay at www.davidjay.com.
I believe photographers get overwhelmed
on. The computer has trouble with backlit
To preview a preset, you can apply the preset and set the Develop window to a comparison mode with duplicate or split screens in a variety of configurations. For a quicker preview, move your cursor over a preset name and the Navigator window at the top left corner of the screen will show a preview.
to enjoy enjoy the wedding wedding day day..
panel). Preset saved, I can instantly preview
I skim through the images and delete the ones that the computer didn’t do a super job
These tools have freed my clients and me
David Jay presents "Creating Freedom" in the Wedding & Portrait track at Imaging USA in Tampa, Fla., January 6-8.
THE TH E GOOD GOODS: S: PRINTS
You make You make fla flawle wless ss inkjet inkjet print printss on top-qu top-qualit ality y media, so go one step further to protect your work.
storage, mounting and display, not necessarily your your clien clients’ ts’ envir environ onmen ments. ts. Coat Coating ing print printss with with lacquer-base lacquer-based d aerosol aerosol sprays sprays is often often recomrecommended by manufacturers to protect and ensure
BY BRYAN LINDEN
fin inal alee Grand f
PRINT FINISHING
print longevity. Sprays also eliminate gloss differential on exceptionally high-gloss media. I protect prints on resin-coated (RC) or fine-art paper with Print Shield by Premier Imaging Products. It works on any surface without without yellowing yellowing or or influencing influencing the natural natural characteristics of the paper, increasing
Many photographers with excellent pigment
oils on your hands, lint particles or scratches.
display life by as much as 100 percent, and
inkjet printers are uncompromising on print
The best advice: Look but don’t touch for 24
making prints scuff- and water-resistant.
quality, yet not when it comes to print finishing.
hours if possible. When the print has cured
Print Shield is available in aerosol cans or by
Perhaps they don’t know the available
(dried completely) and the glycerol in the
the gallon gallon for use use with high-vo high-volume, lume, lowlow-
options for protecting their prints.
inks has evaporated, it’s safe to handle and
pressure (HVLP) spray guns.
Prints emerge from the printer dry to the touch, but they’re re not actually actually completely completely
you can can add coating coatingss to further further protect protect it. If you’re making several prints, do not stack
There are also newer, more eco-friendly products with different finish characteristics,
dry. You may not get ink on your hands, but
them until until you place place blank blank matte matte paper paper
such as PremierArt Eco Print Shield. Water-
it’s easy to permanently mar the print with the
between them to allow allow for for proper proper glycerol glycerol
based rather rather than than lacquer-ba lacquer-based, sed, they’re they’re less less
absorption. A telltale sign that the curing is
caustic. Available in gloss, satin and matte
complete is the wavy appearance of the interleaf
finishes, they can give a matte surface a gloss
papers, indicating that they have absorbed the
finish or a satin protective layer, and vice
glycerol. Always let prints fully cure before
versa. versa. Eco Eco Print Print Shield Shield comes comes in in quart quart bottl bottles es
framing or otherwise finishing, because the
or by the gallon, and can be rolled on or
glycerol gas released can fog the print.
sprayed on with an HVLP gun, and is com-
FOR BEST RESULTS Whether you use an aerosol spray or an HVLP spray gun, coating prints is quick and easy. For consistent results, follow these steps: • Make sure prints and working
Manufacturers’ print longevity specifications are typically based on the ideal conditions for
patible with canvas and fine-art or RC papers. Eco products work well for gallery wraps
environment are free of dust and debris. • Before spraying, mount prints vertically so the spray doesn’t pool. • Before finishing your print, spray an empty area of the mounting surface from a distance of 6 to 10 inches, so you can see the diameter and pattern of the spray and adjust as necessary. • Spray at a consistent distance, using a back-and-forth motion, overlapping each pass by 50 percent. Allow prints to dry 20 to 40 minutes, depending on the requirements of the particular spray spray,, then rotate the prints 90 degrees degrees and dry another 20 to 40 minutes.
©Premier Imaging Products
66 • www.ppmag.com www.ppmag.com
CODY AND MIKE ARE READY FOR 2008. ARE YOU? CODY CLINTON AND MIKE FULTON FULTON | TRICOAST PHOTOGRAPHY | LAKE JACKSON, TEXAS COLLAGES.NET CUSTOMERS SINCE 2005
Make 2008 the best year in your studio’s history. Close every client you meet by letting them touch and see studio samples of your entire product line – albums, press printed books, books, gallery wraps, and and high-end high-end cards.
Make Collages.net your business partner in 2008, and you’ll be ready ready.. Albums | High-End Cards | Press Printed Books | Gallery Wraps | Professional Printing | Online Presentation Check out Collages.net’s comprehensive comprehensive product line at www.collages.net/products. ©2008 Collages.net Inc. All rights reserved. Photos ©2008 Tracy Hicks Photography and TriCoast Photography. Photography.
THE TH E GOOD GOODS: S: PRINTS
©Premier Imaging Products Products
because because the water-bas water-based ed formula formula won’t won’t crack due to stretching and won’t become brittle brittle with time. time. Water-b Water-based ased formulas formulas protect prints from moisture, light, humidity, atmospheric contaminants, scuffs and fingerprints. The brand new embellishing gel Eco Elegance can add impasto and brush strokes strokes to to your prints. prints. Spraying prints is not difficult. It can be done in a spray room or, if you wear a good painter’s respirator (about $30 at hardware stores), in well-ventilated areas. Ventilation is critical; there are ventilation fans and commercial spray booths available if you don’t have a space with adequate air flow. Hang plastic tarps to catch the overspray. To prepare to spray, I mount my prints vertically vertically on a piece of of black foam foam board. board. If the print print has a border border that that will be be trimmed, trimmed, I mount it with clips, especially good with prints made on roll paper, which curls. To mount cut-sheet full-bleed prints, I use loops of large large strips of of low-tack low-tack masking masking tape on the back back of the print. print. Delicate, fine-art surfaces like velvet and watercolor watercolor paper paper are easy easy to flake flake or scuff. scuff. Always Always spray spray art surfaces surfaces and and canvas canvas prints prints to protect protect them. them. It’s a good good idea to spray spray prints in albums as well. Many labs offer this service, service, but doing doing it yourself yourself is easy easy enough with a little practice.
Tips for using Eco Print Shield at www.ecoprintshield.com. Epson, HP and other other manufactur manufacturers ers recommend PremierArt Coatings for their media (performance certified by Wilhelm Imaging Imaging Research Research). ). For For specs specs and and purchase purchase info on Premier Print Shield, Eco Print Shield and and the HVLP spray gun, gun, visit www.premierimagingproducts.com. Bryan Linden Linden is a photogr photographer apher and and digital digital imaging expert, who presents workshops on a variety of subjects (www.lindenphoto.net). Linden is the vice president president of of Marketing Marketing and Sales for Album DS album design software (www.albumds.com).
68 • www.ppmag.com www.ppmag.com
Premier Imaging Products uses this photo to show how a print can benefit from spray coatings. The image was halved, then mirrored. The right half was sprayed with three light coats of PremierArt Print Shield. The image was cured for 24 hours before water testing. The image shows the effects of the following water resistance tests: (top) three drops of water placed on the print for 45 seconds, then wiped away with a sponge; (center) three three passes with a moist sponge; and (bottom) three drops of water placed on the print for four minutes and then blotted with a paper towel.
PURE PROFESSIONAL
THE POWER POWER IS IN YOUR YO UR HA HAN NDS The Nikon Digital System Digital System at Booth 1027
IMAGING USA January 6th-8th 2008
THE TH E GOOD GOODS: S: TUTORIAL
All images ©Kevin Kubota
Time-saving prresets p
LIGHTROOM PRESETS MAKE YOUR LOOK PART OF YOUR AUTOMATED WORKFLOW BY KEVIN KUBOTA, CR.PHOTOG.
Editor Editor’s ’s note: note: Don Don’t ’t miss miss Jeff Jeff Kent Kent’s ’s profil profilee of Kevin Kevin Kubot Kubota a on on p. 112. 112.
If you’re familiar with Photoshop actions, you know what a
Figure 1
valuable time-saver Adobe Photoshop Photoshop Lightroom presets can be. You You can’t do everything you can do with an action, but presets are still ultra-handy. To create a preset in Lightroom, switch to Develop mode. 1. Adjust an image using any combination of settings from the adjustment panels on the right ( Figure 1 ). ). 2. On the Presets panel at the left, click the + button to create a preset. You can select a folder first to save the preset into, or open a new folder on the fly as you save the preset ( Figure 2 ). ). 3. Check off only the settings that you used to create the look, so you can combine the preset with presets with different settings. Otherwise, when you apply a new preset that Figure 1
contains the same adjustments, it will overwrite the previously
applied settings. 4. Apply the preset to another image by selecting the image and clicking on the preset (Figure 3 ). ). You can preview the effect by simply passing your mouse over the name of the preset. The result appears in the navigator window. If you like it, simply click the preset name to apply it to the image.
PRESETS POWER TIPS Now let’s see how to put presets to use by creating a My Look preset for import. It’s a good idea to fine-tune settings to get a look you like, then apply them automatically automatically when you import images. It saves time and gives you a starting point before doing any fine-tuning. The following are settings we use for our basic look, which is applied to all imported images by default; you can modify them to your liking.
70 • www.ppmag.com
Figure 2 Figure 3
1. Add some Clarity, Clarity, Vibrance, and Saturation (Figure 4 ). ). 2. Set the tone curve to Linear to Figure 4
have a predictable starting point for
future presets with a curve adjustment (Figure 5 ). ). 3. We love the look of a vignette on every image. If you do too, apply it here. Remember, you can easily remove or adjust it later (Figure 6 ). ). 4. When you’ve finished modifying the settings, save the preset
Figure 6
as My Look, and click Check All to save all the settings. This gives you a consistent starting point. We We prefer to use Auto Tone as a starting point, as it automatically sets the appropriate exposure, recovery, fill light, black point, brightness, and contrast for each image individually (Figure 7 ). ). 5. Use your My Look preset when you import images ( Figure 8 ). ). Figure 5
TURN ON AUTOSYNC MODE IN DEVELOP. Here’s a secret trick. You can apply the same preset to multiple images simultaneously in Develop mode by turning on the AutoSync feature. 1. Switch to Develop and select two or more images. 2. Hold down the cmd/ctrl key. The Sync… button changes to AutoSync AutoSync (Figure 9 ). ). Click once on AutoSync and it locks into AutoSync mode. Now, when multiple images are selected, applying any preset will affect every selected image at once, helpful if you want to, for example, adjust the Figure 9
color on several images at a time.
EXPORT AND SHARE
Figure 8 Figure 7
Once you’ve created all these cool presets, you’ll probably want to reuse them on your other computers with Lightroom. 1. Select the preset in your list, right-click on it and hold to ). bring up the contextual menu. Select Export… (Figure 10 ). 2. Save the preset to your desktop, copy it to the other computer, and then use Import... on the other computer to bring it in. Easy! There are many more great features that make Lightroom the program of choice for a slick and sassy workflow. workflow. The more you explore, the better it gets!
Kevin Kevin Kubo Kubota ta of of Bend, Bend, Ore., Ore., internationally internationally recognized speaker and educator, educator, is the author of the popular “Digital Photography Bootcamp.” Bootcamp.” The Lightroom tips printed here are from his latest tutorial DVD, “RAW Workflow Workflow for Lightroom,” available online at www.kubotaimagetools.com.
Figure 10
January 2008 • Professional Photographer • 71
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framing option option for your clients who who like the three dimensional dimensional look of gallery-wrapped canvas, but want the added style of a custom, solid wood frame. Our frames leave a 1/2” space between the canvas and the edge of the frame to preserve the three dimensional look of the canvas. Each hand made frame is available for prints from 8x10 to 40x100, and any size in between at no extra charge. Available in different styles and colors. Starting at $39.00 Visit
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Visit us at Imaging USA booth #216
Sensing their Texas clients were looking askance at their young ages, the Salle Sallees es create created d a sophist sophisticat icated ed and and elegant elegant stud studio io enviro environme nment nt for for selling their high-quality wedding images. Sales soared. WEDDINGS All images ©JB and DeEtte Sallee
By Jeff Kent
W
hen they started dating in
college, JB and DeEtte Sallee
never anticipated opening a
studio of their own, much less
becomin becoming g near near-ov -overn ernigh ightt sensa sensatio tions ns
on the Dallas wedding photography
scene, or speaking in lecture halls packed with eager eager pro photog photographer raphers. s. Yet Yet four years years after diving diving in head first, first, the Sallees Sallees are are among among the brightest brightest rising rising stars in the pro-photo galaxy. They’re still a bit baffled baffled over over how they they got there. there. Armed with with a degree degree in photogr photography aphy,, JB started out as an assistant for Dallas wedding photographer Fran Reisner. DeEtte, a psych major with a photo minor, worked at David’s Bridal. Toting a portfolio of images JB shot while shadow shadowing ing Reisner Reisner,, the couple couple literally literally went door-to door-to-door -door calling calling on on referred referred prospects. Eager for experience, they said yes to all all manner manner of events, events, and and soon soon had nearly two-dozen weddings booked. That first year, says JB, they weren’t yet working working with their their ideal clients. clients. “We “We were just happy happy to be be in business, business,” he says. says. After strugglin struggling g through through the first first year year of so-so wedding gigs, the Sallees began asserting themselves about what they could provide and showing their more innovative work. The The results results were fantastic fantastic,, almost almost instantly bringing in higher-end wedding bookings. bookings. They set up a home home studio studio and sought to attract sophisticated brides. A cou coupl plee of of yea years rs later later,, the the Sall Sallees ees move moved d the the
Rising stars JB & DeEtte Sallee soar into the wedding photography stratosphere 74 • www.ppmag.com
busines businesss into into a storefr storefront ont studio. studio. They had perceived that that mothers mothers of the bride looked askance askance at paying paying a premium for such young
WEDDINGS
photographers—JB was 25, DeEtte just 22
Of course, fancy trappings only work when
“Personality is most important to the clients
when they began—w began—who ho were working working out of
the product product is excellent excellent.. From From the first, first, both both
we’re re dealing dealing with. with. We’re We’re targeti targeting ng people people
their living living room. room. In the stylis stylish h Las Las Coli Colina nass
photographers focused on creating images
our age, people like us, who go for an upbeat
area of Irving, Texas, they created an elegant
bursting bursting with exuberan exuberance. ce. The Sallees Sallees have have
personality. They want someone who will be
environment with a gallery, galler y, chandelier and
been able able to invest invest in better better equipment, equipment, and and
fun at the wedding, who will try different
marble fireplace.
thei theirr sho shoot otin ing g tec techn hniq ique uess have have natu natura rall llyy evo evolv lved ed..
things things and give give them someth something ing extra— extra—
Within 18 months, months, booking bookingss increased increased
They still create the kinds of images that speak
actually add something to the day.”
dramatically and overall sales skyrocketed.
to them and and to their their clients, clients, and and that’s about
Bridal and engagement portrait sales
as far as they ponder the issue. “Clients have
to their their advantage. advantage. A few few stuffy stuffy parents parents may
jumped by more more than 500 500 percent. percent. In Texas,
always told us that what we do stands out
waver waver,, but but mos mostt brid brides es and and gro groom omss fit fit squa squarel rely y
pre-wedding formal portraits are a big deal.
from other photographers,” photographers,” says JB. “We
into their peer group. They understand one
The Sallees’ elegant retail space was a
always listen to the client, especially when
another and form immediate connections.
critical component in booking the full
she tells us she loves our style!”
The rest follows naturally.
package of portrait and wedding coverage.
76 • www.ppmag.com
In wedding photography, says JB,
These days the Sallees’ youth is working
After only only four years, years, the the couple has has
WEDDINGS
become nation nationally ally known known for for their awardaward-
It’s no real secret, though. It’s the talent,
winning winning albums albums and and progressive progressive shooti shooting ng
the personal personality ity and and the stringen stringentt commitcommit-
style. JB attributes those awards to their
ment to the work. “We put a lot of hours
focus on delighting their clients. “Everything
and money back into i nto the business,” says JB.
we enter enter in compe competitio titions ns was was origina originally lly done done
“We’re re constantly buying new equipment,
for clients. We don’t make things specifically
advertising in magazines, learning new
for competition. Judges like that.” that.”
techniques, techniques, and and thinking thinking of of ways to to improve improve
Indeed. After scoring a perfect 100 on an
our work. Honestly, when we started, we
album in their first year of regional competi-
never had any desire to compete. We just
tion, tion, the Sallee Salleess hav havee been been receiv receiving ing invit invitat ation ionss
want to to get better better and better better and and better. better. We We
to spea speak k at at indus industry try events events,, inclu includin ding g Ima Imagin ging g
never want to stop learning, and that has
USA in Tampa, Fla., January 6-8. At their
made an enormous difference.”
first presentation, JB and DeEtte looked out over a standing-room-only audience. Every appearance has followed suit.
To see more from the Sallees, visit www.salleephotography.com.
Be sure to attend JB and DeEtte Sallee's presentation "Weddings: Sallee Style" at Imaging USA in Tampa, Fla., January 6-8.
78 • www.ppmag.com
Frank Donnino’s studio has faced a number of challenges the past few years, but regardless of the roadblocks in his path, Donnino continues to adapt and improve his business—and increase his profits each year. year. PORTRAITS
By Jeff Kent
All images ©Frank Donnino
W
hen we last checked in with
photographer Frank Donnino
of Boynton Beach, Fla., he was
reaping a windfall with his first-
year baby portrait plan. His gross
sales had ramped up by more than 500 percent in five years, profit margins were higher, and cash flow was healthy, thanks to the plan’s 3-, 6-, 9- and 12-month-old sessions. Life has a way of challenging success. Since then, then, January January 2004, 2004, Donnin Donnino o was forced forced out of his studio by difficult landlords. He worked through through Hurri Hurrican canes es Fran Francis cis and and Jean Jeanne ne while while operating a temporary studio in his living room. Then he built a new studio, moved his entire business, and asked his clients to follow. They did. Business is still booming. Part of Donnino’s enduring success owes to the relation relationships ships he he builds with with clients, clients, and part to his commitment to continuously upgrade the business. After 28 years, Donnino knows how to ride the highs and lows, how to adapt adapt to circumsta circumstances, nces, like like the current current economic downturn in South Florida. “Right now in South Florida, as in other parts of the country country,, we’re re going going through through a terrible terrible time with with the mortgage mortgage situatio situation, n,”” says Donnino. “People are losing money in real estate and it’s hurting the overall economy.” With everyone everyone feeling feeling the the crunch, crunch, he adopted a new direct mail sales piece, created by a member member of Donnino Donnino’s ’s person personal al MasterMastermind online forum. The piece includes a gift
One step ahead Business success means changing with the times 80 • www.ppmag.com
card with an assigned cash value of $250, equal to the price of one portrait session and one 5x7 gallery print. Clients can apply the
{6
}
1 2
3
5 4
6
PORTRAITS
gift card toward a collection of images, a baby plan or any of Donnino’s other packages. So far, the response rate has been 11 percent. When we we spoke, spoke, Donnino’ Donnino’s schedule schedule was full for the next two months. “The cards have been very successful,” successful,” says Donnino. “Because of the perceived value of the cards, people don’t simply throw them away. We are getting more people in the door, which gives us an opportunity to sell them something. It’s a play off the old free sample thing; thing; get them in the door door and then then sell. sell.”” Donnino embraces the growing trend in the boutiq boutique ue studio studio experi experien ence. ce. “It’ “It’s the the bigge biggest st change I’ve seen in the portrait industry in recent years,” he says. “Women are our target market. market. They They are typical typically ly the ones ones making the buying decisions on child and family portraits, so it makes sense to create an experience that caters to women. It can be done on on any budget. You You just have to to sit down and think about it.”
Donnino hired a design consultant to “boutique” his studio, including an investment of about $6,000 in new paint, furniture and finishings. He’s also using marketing materials created by Sarah Petty, Petty, CPP, herself a successful boutique studio owner (and PP marketing columnist, see p. 38), and updating and coordinating his packaging. He’s planning a high-end mailer to target target upper-income upper-income families, families, and raisin raising g prices to rev up sales averages on children’s sessions from about $600 to $1,000 per. He anticipates making more top-end package sales ($3,000 to $4,000), and getting an ample return on his boutique investment. “You have to up the prices when you undertake a project like this,” says Donnino. “The specific pricing will depend on your market and your clientele. You have to price
PORTRAITS
where you you feel comfortab comfortable, le, but you you have to to know how to sell the big-ticket item. If it looks expens expensive, ive, it should should be expensiv expensive. e.”” Such an upward shift in pricing needs to be made in increments, increments, says says Donnin Donnino, o, if you want to maintain maintain your your current client base base while while cour courtin ting g high higher-e er-end nd buyers buyers.. “It “It does doesn’t n’t have to happen overnight. As you gain more high-end clients, you can control your business business volume volume by raising raising prices. prices. You You will lose some some clients clients who’ve who’ve been with with you for the longest longest time, time, and that that hurts. hurts. But the the returns will ultimately make up for those losses. losses. You You need to be careful careful not to push away your base too quickly. You can’t drop what’s making making you money money until until the new product line is entrenched,” says Donnino. One way he’s eased the transition for estab lished lished clients clients is by offer offering ing yearyear-long long package package pricing. Donnino sells his four-part baby plan on a monthly payment plan with certain photographic products available at different times
84 • www.ppmag.com
At this speed, there are no no second chances. Profession Profess ional al phot photogra ographer pherss kno know w hig highh spee speedd perf perform ormance ance and rel reliabi iabilit lityy whe whenn 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 perfo performa rmance nce and indu industry stry lead leading ing tran transfer sfer rat ratee spee speed. d. You’ ou’re re focu focused sed on catching the action. We’re focused on you. Lexar. Fo Focu cuse sed d on ph phot otog ogra raph pher ers. s.
. s r e n w o e v i t c e p s e r r i e h t f o y t r e p o r p e r a d e s e k p r a s e m t e i d r w a r d t r . e n e s i h t e a t t y o l b s u l s A n c o e . i l s d l e i v b / B r e 1 K s 0 s l e r a 5 s u 1 t = h q g e x i r B e r l e l G 1 h A w . ; c s y e i t n t I l y , b i a b i a d n o p e i l a l i c M r m d a 1 e x e e s L l p s f a e t o u i q s e r k r B w a m M m I u e . m d y i n a r r a i t v m e r y s a a e b i o m g t y r c i o l c s e r a d a p x a g n e c i L t e y r a r h t o d e d m n e e a m p s r l e ” a b x x “ e a L s r . u a x 7 l e 0 a u L 0 t c e 2 h A T ©
Learn more about the Lexar Professional UDMA line of memory cards at lexar.com/ppmag
C h uc k e W al k d e ,n C h i ef P h ot gor pah er at I nf i ne on R ac e w a y , us i gn a N i k on D 2 x an d a L ex ar P r of es s i on al U D M A 3 0 0 x C om pa ct F l as h ® m em o yr ca r d .
PORTRAITS
of the year. Clients get the multiple sessions,
continues to adapt, increasing his business
do that, you’ll always be busy. You’ll always
a choice of prints and photo products, and
each year regardless of the situation. He
be successful.” successful.”
the option option to pay pay the charge chargess monthly monthly.. It
gives tremendous credit to the mentors he’s
makes expensive products affordable, says
found in other PPA member photogra-
To see more from Frank Donnino, visit him online at www.frandtheartist.com.
Donnino. “The plan is something people are
phers and his webmasters Shirley Lund
used to, like paying off credit card balances
and Stephen Denas.
in installments. Sure, some people default,
“One of the most important lessons
but the benefits benefits far far outweigh outweigh the risks. risks. The
I’ve learned from these pros is to act like
system has improved our cash flow because
every client who comes through the door
we have have payments payments coming coming in every month, month,
is the last client I’ll ever have,” have,” says
even during slow times.”
Donnino. “Treat “Treat everyone right. Give
As the economy fluctuates, Donnino Donnino
86 • www.ppmag.com www.ppmag.com
them the best product you can. If you
Frank Donnino presents "Diapers to Dollars, Profit in Baby Photography," at Imaging USA 2008 in Tampa, Fla., January 6-8.
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Cliff Mautner spent the first part of his photographic career shooting news assignments for the Phila Philadelph delphia ia Inquirer Inquirer.. Ten years ago, he branched into wedding photography and he never looked back. WEDDINGS
By Stephanie Boozer
All images ©Cliff Mautner
A
fter a 15-year career as a photojournalist Philadelphia Inquirer Inquirer , Cliff for the Philadelphia
Mautner, of Cliff Mautner Photography in Hagenfield, N.J., found himself in a role he thought he’d never play, that of of wedding wedding photograp photographer her..
“I used to joke about shooting weddings,” laughs laughs Mautne Mautner, r, who shot shot over over 6,000 6,000 assi assigngn Philadelphia Inquirer Inquirer in just ments for the Philadelphia
about any location you can name. “Back in the day, day, wedding wedding photograp photography hy was a very stodgy form of the craft.” Turned off by formal poses and forced smiles of brides and grooms, Mautner preferred the excitement and spontaneity of photo assignments. No matter how terrible the lighting or location, Mautner had to nail the image. “My job was to go and make really good environmental portraits,” Mautner says of his early assignments. “Eventually I got to where I could could assess assess a situatio situation n in about about 30 seconds and compose the image in my head. It took hundreds of these to get my feet under me, but I did develop a skill set that enabled me to see things quickly.” Beginning at the paper as a stringer, Mautner got the assignments no one else wanted, wanted, like photogr photographin aphing g six newswort newsworthy hy Philadelphians a week for the “Neighbors in the News News”” col column umn.. He He ear earned ned $25 $25 per per pictur picture, e, plus mileage, but this was exactly the training he needed to develop his eye for light. “The only natural gift I have is my ability to see and and utilize utilize light, light,” says says Mautner Mautner..
Front page news Cliff Mautner is hot on the trail of blushing brides 88 • www.ppmag.com
“Photographers don’t get to choose the time of day, the couples, the weather, none of the conditions we perform under. I learned to
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WEDDINGS
make bad light into good light to create a texture, a dimension dimension and and a mood. mood.”” As a full-time Inquirer photographer, Mautner’s first big assignments were a) a meeting of the German American Police Association, Association, and b) a gathering gathering of breastbreastfeeding La Leche League mothers. “My editor had a great sense of humor,” he laughs. He He moved on to cover cover everything from presidential campaign stops to spelunking to heart-wrenching images for the charity Operation Operation Smile, Smile, whose volunteer doctors doctors perform corrective corrective surgery on underprivileged children with facial defects (www.operationsmile.org). He considers that assignment, which took him to Liberia, one of the most meaningful in his career.
“Photographers don’t get to choose choose the time time of day, the couples, the weather weat her,, none of of the conditions we perform under. I learned to make bad light into good light to create a texture, textu re, a dimensio dimension n and a mood.”
WEDDINGS
Philadelphia Inquirer Inquirer “My career at the Philadelphia
enabled me to meet people and see places and things things that the the average average person person wouldn’t wouldn’t see see in a lifetime,” he says. “The social awareness I gained through some of the brightest minds in journali journalism sm helped helped me me become become well-rou well-rounded nded..” After much much coaxing, coaxing, Mautne Mautnerr agreed to photograph a wedding and was surprised at how much he enjoyed it. “The moments were there there to be made, made, and that’s what I do. do. Capturing moments is at the root of it all,” he says. Realizing he had an edge with his photojournalist’s eye, Mautner started shoot-
92 • www.ppmag.com www.ppmag.com
WEDDINGS
ing weddings for an area photographer, and eventually he went solo. “I don’t pawn myself off as a photojournalistic-style photographer,” says Mautner. “I think it’s a silly silly buzzword, buzzword, except except for those those that truly truly do beautiful beautiful wedding wedding photoj photojourournalism. If I had to describe my work, I’d say it’s an artistic interpretation of the day, with the best of of some tradition traditional al aspects aspects mixed mixed in. I try to capture the essence of who the couple is and allow that to come through naturally.” Ten years into his second career, Mautner’s covered about 600 weddings, averaging 55 to 60 yearly. yearly. In February 2006, 200 6, he bought a 90-year-old church and con verted it into into a dream dream studio. studio. The 2,0002,000square-foot space has 14-foot ceilings, the original beech hardwood flooring, and lots of old brick. It boasts a 13x15-foot bay window window that bathes bathes the studio studio in beautifu beautifull natural light. Mautner added a two-zone lighting lighting system system on rails rails and and state-of-the state-of-the-art -art sound and projection systems. He was the first wedding photographer to test test the the Nikon Nikon D3 D3 digita digitall SLR, SLR, and and his blog blog commentary generated an impressive response, getting 250,000 page views the first week it was poste posted. d. In addition addition to to shootin shooting, g, Mautn Mautner er devotes time to speaking and teaching for Nikon, and helping fellow photographers’ lighting lighting and style develop development. ment. “With all the teaching and speaking and representing,” representing,” says Mautner, “I’m still a photographer who shoots each and every weekend. weekend. I love what what I do. do. It’s not just just what what I do for a living, it’s in me.” Despite his initial reluctance, Mautner says now he’s exactly where he wants to be.
continue creating beautiful images. “After
His photojournalism experience was the
all,” he says, “you’re only as good as your
perfect training for wedding photography, photography,
last wedding.
and his style and demeanor attract brides
Visit Cliff Mautner online at www.cmphotography.com.
from all over. Above all, he wants to
94 • www.ppmag.com www.ppmag.com
Cliff Mautner presents “Standing Out From the Crowd” at Imaging USA 2008 in Tampa, Fla., January 6-8.
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The Extreme Ice Survey team is capturing changes on a global scale. "I want to help people understand the reality of the moment we're in," says James Balog. "Photographers are like the antennae of civilization." NATURE
By Jeff Kent
Chilling effect James Balog documents the accelerating glacial pace
G
during the climbing trips he took in the White Mounta Mountains ins of New New Hampshir Hampshire, e, while he was studying at Boston College. He would go on to scale peaks in the Alps, the Himalaya and the Rockies, all the while building his
lobal lobal warmi warming ng is the envir environon-
ignore the problem. His career began in
skills in nature photography. photography. When he
mental issue of our lifetime.
geomorphology, geomorphology, the study of landforms and
abandoned his career in science, Balog
The skeptics have conceded, the naysayers
the processes processes that that shape shape them, but but he
began taking taking magazine magazine assignm assignments ents to
quieted. The earth is heating up, dramatic
realized his future would hold endless
shoot documentary photographs. He moved
changes coming.
statistical analysis, computer modeling and
on to large-scale book projects on such
For James Balog, scientist
number crunching, and that he’d rather
topics as big-game big-game hunting hunting,, endangered endangered
turned profess professiona ionall pho-
experience nature than tabulate it.
species and the rapidly disappearing old-
tographer tographer,, it’s impossible impossible to
All images ©James Balog
96 • www.ppmag.com www.ppmag.com
Balog’s affinity for photography began
growth forests of North America.
NATURE
Balog sees his career as a braided river, its channels crossing and re-crossing like the waters of the shifting flood plains of Alaska. The
conception of how to photograph climate
things things get difficult difficult.. Balog Balog and a team of
change,” says Balog.
other professionals, including researchers
“I suddenly realized how you could photo-
and volunteers, set out to place 25 elaborate
constants have been the disparate influences influences
graph [so as] to animate these glaciers. The
camera setups in glacial regions of
of science, nature, mountain climbing and
key was the termini of the glaciers. … In Iceland,
Greenland, Iceland, Alaska, the U.S. Rocky
photography. When they converged,
you you get get thes thesee hug hugee tong tongues ues of ice, ice, with with intri intrica cate te
Mountains and the Alps. They would
everything made sense. “Looking back, my
shapes, and you can really feel the depth of
capture one image per camera, per every
career has been one one big organic outgrowth outgrowth of
the ice, ice,” he says. says. “Look “Looking ing at the the glac glaciers iers from
hour of daylight, over this vast territory.
all these elements coming together.”
the bottom bottom turned turned the paradigm paradigm around around for
“Nobody who’s not working with satellites
me. I went from the typical approach of photo-
has ever been so ridiculous as trying to
Survey (EIS), a project that began with a
graphing glaciers in their upper sections,
capture something of this scope,” says Balog.
couple of assignments to photograph glaciers.
where they they are scenic scenic and and beautiful, beautiful, to
In setting up the cameras, Balog and his
He’d been studying the effects of retreating
shooting at the bottom, where they are
team have have flown, flown, trekked, trekked, dog sledded and
glaciers for several years, and thinking about
changing, moving, melting and disappearing.
climbed into some of the most remote, forbid-
how to cover the topic photographically. The
To me, this was a revolutionary change of view.”
ding environments on the planet. Powered by
Balog’s current pursuit is the Extreme Ice
New Yorker Yorker asked him to ship out to Iceland
Balog realized that the best way to
solar panels, the camera contraptions weigh
to capture capture glacier glacier images, images, and and he jumped jumped at
document the glaciers’ fading story was
more than 70 pounds and require meticulous
the chance. chance. “It “It completely completely transf transformed ormed my my
through through time-lapse time-lapse photog photography raphy.. Here,
(continued on p. 102)
98 • www.ppmag.com www.ppmag.com
NATURE ©Extreme Ice Survey
PROJECT TALK WITH JASON BALOG Professional Photographer : From a photographic perspective, what have you
through the forced concentration of the photographic process.
tographers work that way, but to me that’s one of the central elements of photography.. I would like to think that photography
learned from your experiences working on the Extreme Ice Survey?
How do you see this project, and your
passionate, involved photographers
James Balog: I’ve come to appreciate the
images, within the broader context of the
would be looking at the world and trying
camera like I never have before. Sure, we
movement to reverse climate change?
their hardest to speak about the
all know that cameras are a great way to
We’re going to play a substantial role in
important things that are going on today.
preserve memories. But this project has
helping people understand the reality of
given me a new appreciation. When I pull out a flash card from one of the cameras,
global warming. So much of the global warming story has been told through
What would be your message to other pho-
I think this landscape is gone. The only
computer models and when hurricanes
There’s no easy path. You have to take
place it’s preserved is on that flash card.
hit or in miniscule changes to the sea
tremendous risks. You have to wake up
That’s an amazing thing. They will never
level. But when you see the changes in
in the morning and say, “I’m going to do
be the same—at least not in our lifetime.
front of you in pictures, it’s alive. The
what needs to be done.” There are so
That is not hyperbole, it’s truth. Looking
camera makes all the difference.
many environmental projects out there
through the camera has forced me to under-
tographers who want to make a difference?
today and no one is doing them. There
stand that truth. For two years, I just shot
What is the potential of photography to
could be at least five major projects on
ice in cool shapes. Not until this summer
influence decisions about the future of
coal. There are lots of stories about climate
did I finally understand what I was seeing.
our planet?
change. These can be portfolio stories.
One of the most wonderful things
I’ve believed for a long time that photogra-
Even if you can’t find a client who is
about photography is that it makes you
phers are like the antennae of civilization.
willing to pay for it, sometimes you just
stop, be there, look, look some more, see
We are an integral part of the sensing
have to do it anyway. I have never been
the thing, and feel it. Looking at blocks
mechanism of the human animal. We’re
able to describe in advance to prospective
of ice would be the last experience you’d
out there feeling in the darkness, trying
clients why they should fund these
think would evoke some sort of feeling.
to see what’s around us and reveal what
things. You just have to say I’m going to
But they have really come alive for me
hasn’t been revealed before. Not all pho-
shoot the picture and get on with it.
100 • www.ppmag.com www.ppmag.com
. d d o T k o o r B d n a a h s i l A © o t o h P . y n a p m o C k a d o K n a m t s a E f o s k r a m e d a r t e r a l a n o i s s e f o r P k a d o K d n a k a d o K . 7 0 0 2 , y n a p m o C k a d o K n a m t s a E ©
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NATURE
(continued from p. 98)
setup. Inside protective Pelican hard cases, Nikon D200 digital SLRs on Bogen tripod heads are mounted to a configuration of aluminum and steel anchors that are secured by stainless steel aircraft cable guy wires. Electro Electronic nic timers timers trigger trigger the shutters shutters every daylight hour, factoring in the seasonal changes. The images are recorded on flash cards that are retrieved at certain intervals. The camera rigs must endure extreme cold—temperatures below minus40 degrees Fahrenheit in some locations— brutal winds winds up to to 170mph, 170mph, tremendo tremendous us snowfall and frequent avalanches. If every thing works, works, Balog Balog will will collect collect more more than 300,000 images, to be presented in a variety of media that will vividly illustrate the constant and irreparable retreat of the ice.
thrilled thrilled with the the results. results. “The cams are
changed, but your brain doesn’t really hold
The first rigs were placed in March
capturing incredible things,” things,” he says. “You
the memory memory.. The time-lapse time-lapse recordi recordings ngs
2006. For the mostpart, the complicated
could look at the landscapes day after day
show the changes in vivid detail, in a way
engineering has held up, and Balog is
and have a sense that something has
that the the human mind can’t can’t preserve. preserve.” Funded by philanthropic and research organizations, the Extreme Ice Survey is one-half documentary of the globe’s disappearing ice, one-half public outreach. Balog has planned television shows, media coverage, traveling museum exhibitions and a lecture series. “One of the biggest tragedies of this generation will come when our children look back and ask, ‘What were you thinking?’” thinking?’” says says Balog Balog.. “So with with the EIS pictures, I would like to create the forensic evidence that will let them know that somebody at least was paying attention. I want to to help people people understa understand nd the reality reality of the moment we’re in, not stick their heads in the sand and say they didn’t know.”
To see more from James Balog, visit www.jamesbalog.com. Learn more about the Extreme Extreme Ice Survey Survey at www.extremeicesurvey.org.
102 • www.ppmag.com
After Hurrica After Hurricane ne Katrin Katrina, a, nearl nearlyy all of John John-Mi -Michae chaell Hann Hannan an’’s contact contactss in the New Orleans wedding industry were gone. He considered moving, then thought again. This is the place where he belongs. WEDDINGS
By Lorna Gentry
All images ©John-Michael Hannan
I
t’s all all about about relationsh relationships ips for wedding wedding and portrait photographer John-Michael John-Michael Hannan of Metairie, La. In Hurricane Katrina’s horrific wake, his house was destroyed and his business ravaged. Colleagues and friends beseeched the New
Orleans native to relocate to Texas, where the photo industry hums with prosperity. Facing the stark stark reality reality that that nearly nearly all his his contacts contacts in the New Orleans wedding industry were gone, Hannan considered moving, then focused on his priorities: first, his family. He chose to apply his boundless energy, fierce determination and deep affection to rebuild his house, his business and his community. Two-and-a-half years after one of the worst natural natural disasters disasters to hit hit the nation, nation, Hannon’s Hannon’s business is picking up. It’s far from normal, but then, these days in New Orleans, normal is relative. Hannan has a new house, with a 24x36-square-foot camera room illuminated by a north-facing 7-foot window. window. Using the carpentry skills he learned learned as a teenag teenager, er, he he rebuilt not not only only his own house and studio, but the homes of family and friends as well. It was carpentry that got Hannan into photography in the first place. In high school, he’d help build a studio for a wedding wedding photograp photographer her.. He peppered peppered the the photographer with questions about the equipment until he taught him lab work. Before he was 18 years old, Hannan was running the lab and shooting weddings.
Building back In post-Katrina New Orleans, John-Michael Hannan builds anew 104 • www.ppmag.com
Later, working in a professional photo lab in New Orleans, Hannan realized he was at leas leastt as as good good at phot photog ogra raph phyy as as the the pro profe fess ssio iona nals ls
WEDDINGS
whose whose film he was was process processing. ing. He joine joined d PPA PPA and gained enough confidence to open a studio of his own, John-Michael Photography. “I surrounded myself with mentors from PPA,” he says. “I went to all the meetings and attended the Texas School of Professional Photography. Photography. They taught me ever ything, from basic to advanced photography. Without PPA I would have had to learn on my own through through books, books, and I can can’t ’t learn that that way way.” The business grew through referrals and relationship marketing, and getting to know everyone in the wedding industry in New Orleans, one of the most popular destina tion wedding wedding locati locations ons in the the country country.. For For 15 years, years, Hann Hannan an avera averaged ged about about 120 weddin weddings gs annually, annually, shooting with two other photographers. Now he books about 40 weddings a
WEDDINGS
year, year, in part because because of of Katrina, Katrina, but also also because because it’s more managea manageable. ble. “I scaled scaled back back by steadily steadily raising raising my my prices. prices.” Abou Aboutt 30 30 perc percen entt of of his his clien clients ts find find Hann Hannan an on the Web. “The phone does not ring a fraction as much as it once did,” he says. “We used to get 10 calls a day requesting bridal consultations. Now it’s five to 10 a week. Brides are doing their homework on the Web Web now now. Photogr Photographe aphers rs all all over over the count country ry tell me they’re they’re upset because because they they can’t can’t get brides in their doors. doors. Last Last year I got got 30 leads from from two bridal shows shows I did, did, and was was lucky to to get four four of them in in the door door..” Still honing his Internet skills, Hannan admits his Web site could be stronger. But he’s confident that solid photography trumps Web We b wizardry wizardry in clinching clinching contra contracts. cts. “My “My Web We b site guides guides brides brides to my online online gallery gallery.. I’m known for taking normal everyday locations locations and and situation situationss and making making them them
extraordinary. Photographers with a couple
workshops, workshops, students students don’t don’t even even open PhotoPhoto-
of years of experience tell me they think they
shop on their laptops. “Today’s photogra-
need to move to places like Hawaii, New
phers shoot first and fix it later. But you
Orleans or big cities to get exceptional shots,
have to light, shoot and crop it properly
and that’s not true. They can do it in their
first,” Hannan instructs. “In my classes, we
hometowns. It’s all technique. They need to
meter properly and learn to do custom
learn the the skills skills to do it. it.”
white balance instead of relying on the
Hannan teaches about a dozen wedding and portrait photography classes a year at
you can’t fix in-camera, like erasing under-
PP PPA A events and affiliated schools. He also
eye bags, he says. The difference in the
teaches teaches photograp photographers hers how how to do what what he
final prints is what separates the amateurs
does best: build relationships. He has a knack
from the professionals.
for holding onto bridal clients as their families
Hannan Hannan went digital five years ago.
grow. After 27 years of wedding photography
After using medium-format Bronica
in New Orleans, he’s now photographing his
cameras for 20 years, he made the leap to
clients’ children’s weddings, a new
digital with the Canon EOS 5D and Canon
generation of photo customers.
EOS-1D Mark II cameras. “Once I
Hannan is a stickler for “old school” pho-
108 • www.ppmag.com
auto mode.” Photoshop is for fixing what
understood that the same basic principles
tograp tography hy,, bas basic ic techn techniqu iques es seemi seeming ngly ly unkno unknown wn
applied it wasn’t hard. I was a precise
to the the digita digitall gener generati ation, on, he says says.. In Hanna Hannan’ n’s
shooter with film, and it was second nature
WEDDINGS
to me. It took a year before I was able to achieve as good or better results with digital. I got comfortable once I learned how to make a one-step custom white balance that gives me consistent results.” Three Canon lenses—the 16-35mm f/2.8L, EF 24-70mm f/2.8L, and EF 70200 f/4L—are indispensable, he says, adding flatly, “I couldn’t live without them.” them.” As for lighting lighting,, Hannan Hannan uses uses Larson Larson Soff Soff Boxes on Photogenic lights. And when when he does need Photoshop, he launches CS3 on his Apple iMac with a 24-inch monitor. When the the New Orlean Orleanss levee broke broke after after Katrina hit, Hannan’s home, located just a mile away, took in 6 inches of water, destroying much of the equipment in his studio. The PPA Charities Katrina Relief Fund was a lifesaver lifesaver while while he waited waited for woefully woefully inadequate insurance compensation. Hannan is optimistic about the city, city, although he knows it will take years for New Orleans to be going strong. “I’m a firm believer believer in not gettin getting g stuck in in ruts. The The only difference between a rut and a grave are the dimension dimensions. s. Change Change is good. good.”
See John-Michael John-Michael Hannan’s Hannan’s gallery gallery at www.john-michaelphotography.com. A freelance freelance writer based in Atlanta, Lorna Gentry has covered the professional photography photography industry industry for for 15 years. years.
John-Michael Hannan presents “Kick It Up a Notch,” a program in the Essentials track, at Imaging USA in Tampa, Fla., January 6-8.
110 • www.ppmag.com www.ppmag.com
SENSE & SENSIBILITY
For K Kev evin in Kub ubot ota a, success came by list li sten enin ing g to bo both th head and heart BY JEFF KENT
All images ©Kevin Kubota
very veryth thiing in my car caree eerr ha hass bee been n guid guided ed by li litttle tle intuitive bursts. I just think, ‘This is going to be the the futu future, re,’’ and and I go for for it. it.”” So says says Kevi Kevin n Kubo Kubota ta,, Cr.Ph Cr.Photo otog. g.,, the the well well-known wedding photographer, marketing expert, educator, and digital imaging tools developer. He’s nearly ubiquitous at industry events, and is the U.S. rep for the popular AsukaBook
the time, time, he shot actor and and model model portfolios portfolios
After that that one gig, gig, Kubota Kubota went went solo,
album company. company. You might assume Kubota’s Kub ota’s
for about three years before moving into wed-
developing his style as he went. He wasn’t
motivation is financial, but a closer look
dings. The switch was instinctive, as so many
aware of PPA or any other trade t rade organiza-
reveals that he follows a path of inspiration.
decisions would be over the years. Kubota
tions, tions, and and hadn hadn’t ’t taken taken any any class classes es in in wedd wedding ing
liked liked the the phot photog ograp rapher her who shot shot his his weddi wedding, ng,
photography. photography. Without anyone to guide him,
so he asked if he could follow him on a job.
Kubota created a style of his own. It caught
Kubota entered professional photography about 18 years ago. Living in Los Angeles at
on. Kubota’s bookings increased and he acquired more upscale clients. About 11 years years ago, ago, again again trusting trusting his his instincts, Kubota moved to Bend, Ore. Going from the showbiz capital of the world to a town of of 35,000 was was an enormo enormous us transition transition.. Would Would he have have a great great enough enough client base locally locally to support support his his business? business? He concentrated on marketing and designing a dynamic Web site. He built an online image sales system with a shopping cart feature. He promoted to clients’ wedding guests and out-of-town visitors. Instead of shrinking in the smaller environment, environment, his business prospered. Gaining recognition in the industry, Kubota began teaching seminars, and Nikon asked him to become a Nikon-sponsored convention speaker. Students began asking for further information, take-home lessons, readymade tools. Kubota produced an Adobe Photosh Photoshop op training training CD CD and began began to release a series of his own Photoshop actions. Sold as Artistic Tools and Production Tools, the actions actions are are runaway runaway best best sellers. sellers. These days, Kubota shoots about 15 to 20 weddings weddings a year, year, and and a few portrait portrait session sessionss and commercial jobs. The rest of the time he’s on the lecture circuit or presenting his products and AsukaBook at tradeshows. The key, he says, is his ongoing love affair with his work, deep respect for fellow professionals, and the drive to continue to improve. We We caught caught up with Kubota Kubota to to ask his his opinions on the creative and business sides of professional photography today. today’s Professional Photographer: In today’s market, how can photographers innovate in ways that separate them from the masses?
Kevin Kubota: I think photographers tend to find find other photogr photographers aphers whose work work they admire, admire, and then emulate emulate their their style. style. If you want want to have have a unique unique style, style, you need need to step out of this model. It’s better to be inspired by others others than to emulate emulate them. them.
116 • www.ppmag.com www.ppmag.com
‘
It takes a general honesty about who you yo u are are as a pho hoto togr graaph pher er.. Onc ncee you’ yo u’ve ve de deve velo lop ped yo your ur bu busi sine ness ss to a certain point, you need to identify thee cl th cliien ents ts th thaat ar aree ri rig ght for yo you. u.
’
When I give give workshop workshops, s, I discourag discouragee people from standing over my shoulder and copying what I’m doing. I encourage them to push themse themselves lves to develop develop their their own own styles. Look at the big picture of what the instructor is saying. Look at concepts. Go beyond beyond writing writing down the the f/stops f/stops and and shutter shutter speeds the instructor uses. How do you step out of your box and follow your passion passion?? Listen to your intuitio intuition n when you’re re photograp photographing. hing. That That has worked worked well well for me from day one. If an idea pops into my head, I suggest it to the client. I don’t think about it too much; I just try it. Your true creativity comes from your intuitive side. Once you find that unique style, how do you market market it?
I like to do an exercise in my classes called key wording. Print seven images that best represent what comes from your intuitive, creative space. These are the kinds of images you would would always always make make if you could. could. Look Look at them and come up with three key words, then have have others others look at at them and and give you you three key words. words. See what what the common common denominators are. People are often surprised at what they learn. A light bulb goes off, and they reali realize ze that that they never never thought thought of of themthemselves in a certain way. Maybe that’s the photographer they’ve really been all this time. Use those key words in your marketing. Everything you produce should support those word words, s, from from the the mus music ic you you pla playy duri during ng a sess sessio ion n to the studio studio décor décor to your your marketing marketing pieces. pieces. Get those thoughts out there and then start drawing the right kinds of clients to you. What other ways can photographers accom plish that that objective? objective?
It takes a general honesty about who you are as a photographer. Once you’ve developed your business to a cer tain point, you need to identify the clients that are right for you. You need to be able to tell
people that maybe they’re not the right fit. Have the guts to display the images that support your key words, not just the images you think think will sell. sell. The images images you you love
should be the images on your walls. If an
photographer and every type of style. The
image is powerful to you, you shouldn’t
challenge is convincing those clients that
make excuses for it.
you’re re true to that that style style and and a good good match
There’s a client out there for every
for what they want. What’s your prediction for the next major issue pro photographers will face?
It’s going to come back to the core: customer service. It’s going to come back to good business business practices. practices. Good Good business business and and good good service will distinguish those who will be successful and stay in the game. Photographers who have have gotten gotten into into this line line of work work for the wrong wrong reasons reasons will will fall off. I believe we need to keep educating ourselves on the creative side. How will we push ourselves and expand our perspectives? Overall, I think our focus will move increasingly to the non-te non-technica chnicall side of photog photography raphy.. What keeps you inspired day in and day out?
Doing what I absolutely love and nothing else. I love teaching. I love getting feedback from photographers who say they used my actions and they’re making better images and more money. I love getting out there and shooting. I love being able to give some body somethin something g valuable. valuable. I wish wish everyone everyone could derive the same kind of joy from their work. I wouldn wouldn’t ’t trade it for for anything anything else else in the world.
To see more from Kevin Kubota, visit www.kkphoto-design.com or www.kubotaimagetools.com.
Don't miss the presentation from Kevin Kubota and Doug Gordon, "See It Happen, Make It Happen: Two Approaches to Wedding Photography," at Imaging USA in Tampa, Fla., January 6-8. For more info on the premier conference and expo, visit www.imagingusa.org. www.imagingusa.org.
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OUT ON THE TABLE
John Harri John Harring ngton ton shares everything he has learned about business— and leaves nothing out BY JEFF KENT
All images ©John Harrington
“If you are not proud of your prices, and you don't stand behind them, people will question them.” When John John Harring Harrington ton started started out out in
job as a staff staff photograph photographer er for The World
The most disconcerting part of the mystery
freelance photography in the early 1990s, he
and I magazine. When the magazine went
was that that no one one would would help him. him.
was lost lost in a sea sea of confusing confusing busines businesss
through through cost-cuttin cost-cutting g measures measures and and
issues. The T he Washington, D.C.-based
downgraded Harrington to part time, he
would talk talk about about it,” it,” says says Harringt Harrington. on.
photographer had launched into editorial
decided to start a freelance business doing
“Everyone told me I should figure it out on
shooting straight out of college, landing a
editorial and commercial images. But how?
my own. I decided that if I could figure it
“There wasn’t a single photographer who
out, I would tell every person who’d listen. I would share share with with other other photograph photographers. ers. I would be be as transpare transparent nt as possible possible about how I run my business.” business.” Harrington learned the business through trial trial and error, error, and diligent diligent study in the school of hard knocks. He shared what he learned. learned. He talked talked openly about about pricing and licensing and hourly rates. At first, photographers seemed to be taken aback that he was divulging such prized information, but he began to gain a reputation as a business expert. Emerging photographers would seek him out, and before long, long, photographic photographic organization organizationss asked him to give seminars. Harrington’s Harrington’s business has expanded into a full-service outfit offering everything from editorial portraits to event coverage to wedding photography. photography. He continued to share what he he learned, learned, and he he wrote a book, “Best “Best Business Practices for Photographers” (Thomson Course Technology, Technology, 2006). His Web Web site features features a pricing pricing calcula calculator tor so that that both clients clients and and other other photograp photographers hers can can see his pricing structure. Next he entered the blogosphere. Last January, January, Harrington started to record his observations on the Photo Business News & Forum (photobusinessforum.blogspot.com). Several times weekly, he posts comments, videos and other other info about about finding finding success success in professional photography. By the end of the year, year, the the blog was was getting getting about about 40,000 40,000 page views per month and growing at a 10-percent clip. The success of Photo Business prompted Harrington to start a second blog, Assignment Construct (www.assignmentconstruct.com), backfilled backfilled with case studies studies of actual jobs. jobs. He’s uploaded more than 100 of them so far, including images, details on lighting, pre-and post-production, and project assessments. (Continued on p. 130)
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“You shouldn't have to learn all the legalese necessary to put put toget together her a cont contract ract or the intricacies of the tax syst system. em. … Focus Focus on on making pictures.”
6 CRUCIAL BUSINESS TIPS John Harrington keeps the spirit of sharing alive with these lessons
about the job, and then prepare a real
sional counsel when needed. If you don’t
estimate. Put the numbers in writing;
know something, admit it and move forward.
it says you put serious thought into 1) Never underestimate the value you
the project.
5) Be professional in your communications. From e-mails to contracts to
3) Recognize your strengths and
thank-you notes to phone etiquette—
negotiate themselves down. Don’t put
outsource the rest. You shouldn’t have
your clients’ first and lasting perception
your price out there and then say, “If that’s
to learn all the legalese necessary to put
of you is based almost exclusively on
too high, let me know.” If you are not
together a contract or the intricacies of the tax system. Hire a lawyer to create a
how well you communicate. 6) Recognize the critical component
behind them, people will question them. 2) Never quote a price over the
basic contract that you can adapt, and
of family. It’s easy to put off domestic
outsource your accounting as well. Focus
relationships when making pictures is
phone. Verbal quotes sound so und negotiable.
on making pictures, interacting with
what you love to do. Find the time to be
If you tell someone that you’ll work up a
clients and growing your business.
with your family and don’t let resentment
bring to the project. Far too many people
proud of your prices, and you don’t stand
quote and send it on, the price seems more legitimate. Get off the phone, think
128 • www.ppmag. www.ppmag.com com
4) Don’t act like a know-it-all. Even Tiger Woods gets coaching. Seek profes-
build. A successful business means nothing if it destroys your home life.
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(Continued from p. 126)
“All of this has grown out of a desire to help other photographers,” says Harrington. “I enjoy doing the blogs, and I get a great deal of feedback privately thanking me. That is rewarding in itself. I am glad to know that I’m helping. helpi ng.”” Even so, Harrington feels there are many photographers in need of business proficiency. “Many photographers don’t take into considerati consideration on all the costs costs associated with their business, and as a result, are doomed to fail,” he says. “It’s not just that they aren’t aren’t deducting deducting enough expenses on their taxes; they are basing their rates on something something that’s that’s not not a real calculation. They are not factoring in such costs as professional professional dues, insurance, insurance, utilities, subscriptions and other things they
purchase to operate the studio. They don’t charge enough, and they don’t save enough. When tax time rolls rolls around, around, they owe the IRS more than they should, money that they don’t don’t have.” have.” Harrington is optimistic about the future of professional photography, largely because of the environment of sharing and collabora tion that that exists exists today today. “The Internet Internet has has pro vided a broaden broadening ing of commun communicatio ication, n,”” says says Harrington. “Plus, people are starting to understand that for the long-term profitability of the industry, it’s important to talk about these issues. issues. That That bodes bodes well for for the future future of the profession. I only wish I had those resources available when I started!”
For For more more info inform rmat atio ion n on on Joh John n Harr Harrin inggton, ton, visi visit t him online at www.johnharrington.com.
John Harrington presents ”The Business of Photography“ in a pre-convention program (Jan. 5) at Imaging USA in Tampa, Fla., January 6-8.
130 • www.ppmag.com
master’s
All images ©Frank E. Cricchio
master
PPA’s 2008 Lifetime Achievem Achi evement ent Awar A ward d honors honors Frank F rank E. Cricch Cricchio io BY DON DICKSON
“I took my first image with a Sparta box came camera. ra. I was was 11 year yearss old. old. I made my first print in the bathroom of my parent’s small home.” At Imaging Imaging USA USA this month, month, Profess Professiona ionall Photographers of America presents The Lifetime Achievement Award to Frank E. Cricchio, M.Photog.Cr., M.Photog.Cr., Hon.M.Photog., Hon.M.Photog., CPP, F-ASP, Hon.F-ASP, a member of the prestigious Cameracraftsmen of America and recipient of the 2004 Leadership Award, Award, presented presented by by the United United Nations Nations Photographic Council. Cricchio, a past president of PPA as well as the the Ame Americ rican an Soci Society ety of Phot Photog ogra raph phers ers,, ope opene ned d his first studio of photography in Port Arthur, Arthur, Texas, in 1958 (www.frankcricchio.co (www.frankcricchio.com). m). Since then, then, the interna internation tionall allyy lauded lauded portrait portrait artist artist and author has garnered just about every award and citation in professional photography. But dearer to his heart is his reputation as a teacher, mentor and friend to fellow photographers. Cricchio has been a technical consultant and instructor for Fujifilm USA for the last 10 years, and continues to conduct his own seminars and workshops. Recently, Cricchio’s long-time long-time friend friend Don Dickson, Dickson, M.Pho M.Photog. tog.Cr Cr., ., CPP,, of Don Dickson Photography in CPP Plainview, Texas; PPA Board Member and director of the Texas School of Photography, asked him to reflect on his career. Don Dickson: When did your interest in
photography photography begin? begin?
Frank E. Cricchio: It was 1944 when I took my first image with a Sparta box camera. I was 11 years years old. old. With a Kodak ABC ABC develdeveloping kit, I made my first print from this
camera in the bathroom of my parent’s small
conditions. These images have an unspoken
two additio additional nal exposure exposure stops stops to to compens compensate ate
home. The impact of seeing the image appear
emotion attached. Although I do not consider
for reciprocity and the low sensitivity of the
in the developer remains with me today.
myself a figure study photographer, the two
film to the blue light of late day.
I’m proudest of are images of the female form, What was your first studio like?
taken outdoors. outdoors. One was was taken taken in the sand sand
What do you predict in the industry in the
It was 1958 and I can still see my first customer
dunes with the sun setting low in the sky and
next 50 years?
walking walking into the the front door door of my studio. studio.
strong winds blowing the model’s hair back—
Who can can say for for sure? sure? But looking looking back back to
That was an exciting moment. The studio
not ideal conditions to make photographs,
1839, the birth of photography with Louis
was small, small, 15x30 15x30 feet, which which included included the the
but of the three three I was was able to to make, make, one was was
Daguerre’s Daguerreotype process at the
reception area, work area, and camera room.
perfect. She hit a perfect pose and the sun
Academia Academia des Beaux Beaux Arts Arts et Science, Science, Paris, Paris,
Whenever Whenever I had an an appointmen appointment, t, I’d move move
rimmed her body with pencil highlight. highlight. The
we’ll have have the same same excitement excitement for for an image image
thing thingss out out the the back back doo doorr to make make roo room. m. When When
impact of this image stays with you.
in some form of art.
it rained, I had to cancel the appointment.
The second image was taken late in the day.
It wasn’t true back in 1839 when people
We We were were workin working g in the forest forest and and came came across across
said photography would make everyone an
What is the favorite portrait that you’ve
a carved-out log with a golden burnt-orange
instant artist, and it’s not true now. Fifty
created and why?
coloring inside. The model was lying on her
years from from now now the capture capture technique technique will will be
This is going to be the hardest question to
side in the log and the low light was coming
different, but the art will remain the same.
answer. The images I’m partial to are those
from above and highlighted her body to
The one thing we can predict is that the style
taken in in adverse adverse weather weather or low low lighting lighting
accentuate her beauty. This image required
will change change with with each each generatio generation. n.
We shot 10,000 photos at a cheerleading competition, with 12 laptops running and had lines 10 deep the whole day! Jeff G. - Jacksonville, Florida
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p r i in n
t
Who was or is your mentor in photography?
Leo Stern of Kansas City was the teacher who inspired inspired me the the most. I was was a student student at Winona School of Photography in Winona Lake, Ind., where Leo was the lead instructor. He took me under his wing and polished my lighting lighting for classi classical cal portraitur portraiture. e. Paul Linwood Gittings studios would be the the sec secon ond. d. I wou would ld drive drive 100 mile miless to to Hou Houst ston on,, Texas, to look in the display windows of his studio and study the lighting of his dye transfer transfer images. images. Who do you admire and why?
I admire those who are quiet geniuses, those who go go about their everyday everyday life improving our profession and our society. It is those who dare to dream who make a difference in the world. They are everywhere amongst us. Not all of them get recognition for their accomplishments.
‘‘
[My first] studio wass sm wa smal all, l, 15 15x3 x30 0 fe feet et,, which whic h include included d the reception area, work area, and camera room. Whenever I had an appointment, I’d move things out the back back door door to make room. When it rained, I had to cancel the appoin appointme tment. nt.
What advice can you give the new photographer photographer just just starting starting out? out?
A young young photograph photographer er must remember remember that that
Any plans plans to retire? retire?
greatness does not come from living in a
I do not plan to retire. retire. My dream dream is to be able
large city city or havin having g the greatest greatest amoun amountt of
to teach teach someone someone somethin something g the last last day of of
education. It comes from being dedicated to
my life. I admire Frank Christian from Canada.
your dream, dream, making making a plan plan to reach your your
I witnessed him teaching to a full auditorium
goals and never giving up.
the week before before his his death. death. He had had to sit and and
I always tell my students to do three
rest between thoughts. But he was as brilliant
things: things: Give credit credit to those those who who taught taught you;
during his last lecture as he was at his first.
teach someo someone ne else what what you you have learne learned; d; become better than than your your teacher. teacher.
My dream is to follow in his footsteps and thos thosee who who have have take taken n the their ir time time to teach teach me. me.
What projects are you currently working on?
Learning all there is to know about Photoshop. Now, to do it will take me another lifetime. lifetime. I’m pres present ently ly chal challen lenge ged d to teach teach with with my Photoshop mentor, mentor, Don Emmerich [M.Photog.M.Artist.MEI.Cr.,., API, F-ASP] [M.Photog.M.Artist.MEI.Cr at the Texas School of Professional Photog-
140 • www.ppmag.com
raphy, and I want to make him proud of me.
Frank Cricchio will receive the Lifetime Achievement Award at the Awards and Degree Ceremony, Tuesday, Tuesday, January 8, at 6:45 p.m., at Imaging USA. All are welcome to attend.
Pools of
Light
Howard Howar d Schatz Schatz and his remarkable life aquatic BY STEPHANIE BOOZER
All images ©Howard Schatz
ilk gracefull gracefullyy rip rippling pling underwater underwater.. Tiny bu b ubbles clinging to su subm bmer erge ged d che cheek eks, s, lips and eyelashes. Hair curling and winding as water ebbs and flows flows around around it, over it, through through it. These are things that Howard Howard Schatz Schatz is willing willing to get get to the bottom bottom of. To To explore explore and perfect perfect in front front of his lens. To dissect and understand, and above all, to delight both himself and his audience. Schatz has spent years studying how various fabrics, textures and bodies behave behave underwater underwater.. How light light reflects reflects and and refracts. How his camera translates beauty through through that simple simple combina combination tion of elements that is so essential to our being. Over his photographic career, Schatz has published 17 books, each exploring various elements of humanity, from a luminous series on redheads to delicate first images of newborns to his probing underwater work. His latest release, “H20” (Bulfinch Press, 2007), is his third devoted to water, an infatuation which began innocently enough in 1992, while shooting hoops in his pool back in Marin Marin County County,, California California.. “When the ball bounced on the water, it splashed, and I learned I had to wear goggles,” says Schatz. “Having on goggles meant I could open my eyes and see underwater, see a whole new world.” The idea was born. For the next six months, Schatz turned his indoor pool into a lab, experimenting with exposure and lighting, lighting, methodica methodically lly noting noting what what worked, worked, what didn’t, didn’t, and and what what surprised surprised him. Using Using rangefinder cameras, he slowly worked out the subtle subtle details details of composit composition, ion, focus, focus, water clarity clarity,, color, color, film, film, subject, subject, lighting lighting,, and shadows, and how these elements
146 • www.ppmag.com www.ppmag.com
worked with with him or or against against him. “My first pictures were blue, cloudy, out of
ArtBooks, ArtBooks, 1994), 1994), instantly instantly sprang sprang to to mind. “I called her up and asked if she could
chased a home in Connecticut, and immediately set to work on the pool studio. It was
focus, underexposed, and awful,” says Schatz.
swim,” says Schatz. “The first pictures I made
completed in 2002, and Schatz wasted no no
“But I slowly figured it out. I learned about
of Katita underwater literally took my breath
time. He He was in the pool pool at least least one one day day a
making the water look clear, controlling the
away and brought tears to my eyes. I came
week, week, som sometim etimes es two or thre three, e, often often workin working g
light, about about focus focus and compos composition. ition. I began began
up gasping. She could perform and express
late late into into the night. night. His His passion passion and and curiosity curiosity
to make make pictures that I had had control control over, over, the the
motion slowly, beautifully, confidently, with
were insatiabl insatiable. e.
pictures that I had in my mind.”
control, and not be pulled down by gravity. gravity.”
“This pool wasn’t for swimming or
This early work evolved into the book
basketball, basketball, just just pictures, pictures,” says says Schatz. Schatz. “I
From there, Schatz discovered that he needed a special kind of subject. Someone
“Waterdance” “Waterdance” (Graphis Press, 1995). Buoyed
started making all the images that I had in
who could could move move gracefully gracefully underwate underwater, r, and and
by his success success and and consumed consumed with with the idea idea
my mind, images that I couldn’t make at the
handle the challenges that water poses. Models
of an underwater studio, Schatz took on
pool back in Marin.”
had to have more than an interesting look.
beauty and fashion fashion underwater underwater projects, projects,
They had to understand buoyancy and control,
creating enough images for “Pool Light”
began casting. casting. They looked looked at at thousands thousands of of
feel comfortable opening their eyes underwater,
(Graphis Press, 1998), his ninth photography
potential bodies and faces. As part of their
and understand how to gracefully hold or
book. Though Though he was was quickly quickly becoming becoming a
evaluation, each model had to swim the
release air from their lungs. Immediately,
master of his aquatic realm, Schatz increasingly
length length of the pool pool underwate underwater. r.
Schatz thought of dancers.
felt the confines of his pool. He needed a
“The adversary for dancers is gravity, gravity,” says
To find models, Schatz and Ornstein
“That’s easy if you’re comfortable,” says
pool designed not for recreation or parties,
Schatz. “If someone went in and came up
Schatz. “They leap, and gravity pulls them
but one with with a single single purpose purpose as an an underunder-
right away, I knew it wouldn’t work. But
down. But underwater, they’re weightless.”
water studio. studio. One One he could could light light from any any
once I found the ones who were comfortable,
angle, and use any equipment he needed.
I trained them, taught them how to manage
San Francisco Ballet Ballet who had been a
With that that concept concept in mind, mind, he and and his wife wife
their bodies, bodies, breath breathing, ing, and eyes eyes underw underwater ater..
previous subject for “Seeing Red: The
and business partner, Beverly Ornstein,
There was a huge majority of people who
Rapture of Redheads” (Pomegranate (Pomegranate
moved to New York City in 2001, then pur-
were not not able to do this kind kind of work. work.””
Katita Waldo, a prima ballerina with the
‘‘ ’’
I wanted to make the pictures fulfill my fantasy.
After five years, Schatz had made close to
on composition, color, all sorts of things. I
200,000 frames of subjects in the water.
wanted wanted to make make the pictures pictures fulfill fulfill my
He worked with models and dancers,
fantasy, to show what I wanted to say, what
members of the cast of Cirque de Soleil’s
was in my my heart and and mind. mind.”
“O” from Las Vegas, and Olympic
The result is “H20,” a multi-faceted
synchronized swimmers. With his next
collection representing Schatz’s experi-
water-themed book in mind, Schatz edited
mentation. From the contortions of nudes
as he worked, narrowing down his list of
into letters of the alphabet, to playful beach
favorites and eliminating anything that
balls hovering in the water, water, to the pageantry
didn’t completely embody his vision.
of the Cirque de Soleil, each turn of the
“We got it down to about 1,000 pictures and worked on them,” explains Schatz, who enlisted the help of Ornstein and three highly esteemed photo editors. “We worked
page reveals the artistry and ardor of Schatz’s inquisitive mind. “I like chance and the unexpected,” says Schatz. “I photograph to surprise and delight
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myself. That’s why I do what I do. When I
writing, writing, and making making new discoverie discoveries. s. But I
the right right pers person on.. That That help helpss me with with the
can do that, it makes my life rich and happy.
had this other part of me.”
portraiture, knowing how to get the most
I experiment a lot. All of my work has to do with finding finding new new ways ways to see things. things.” Schatz began his professional career as a physician, specializing in retinal re tinal problems. He spent years years helping his patients patients see better,
Realizing his need for creative explora tion, Schatz Schatz took took a sabbat sabbatical ical from from his
from [someone] and get them to relax.” It’s clear that Schatz’s bedside manner sets
practice and moved with Ornstein to New
his subjects at ease. You can see it in his
York York for a year. year. He never never looked looked back.
work. Schatz Schatz’s ’s boundles boundlesss fascinatio fascination n with
“I believe medicine has has given me many many
people feeds his amazing ability to create
writing textbooks, textbooks, teaching teaching and research researching ing
tools, tools,” say Schatz Schatz.. “It’s allowed allowed me to
honest, true, emotional portraits of just
breakthrough breakthroughss in medicine. medicine.
understand methodology and testing, in a
about anyone. The Works In Progress section
scientific way. I also had a care for my
of his Web site shows just how diverse his
it was challenging, interesting, interesti ng, and rich,”
patients and learned to behave in such a way way
subjects are. From pregnant women splattered
says Schatz. “I loved my patients and I loved
that that the the pat patien ientt felt felt better better,, felt felt they they were were with with
in paint to studies in projected light bathing
“I had patients with serious problems, but
nude bodies to showcasing the strange and unusual in American counterculture, Schatz doesn’t shy away from anyone. He follows his curiosity curiosity wherever it leads, whether it’s put ting anti-gr anti-gravity avity boots on gymnasts gymnasts to study motion or setting up a booth for portraits at San Francisco’s Folsom Street Fair. “I think you can get inspiration from every where, where,” says says Scha Schatz, tz, who who never never goes goes anywh anywhere ere without without a pad of of paper and and a pencil. pencil. “When “When something sparks, I write it down. Most of the time, time, things things don’t don’t go anywher anywhere, e, but but some some are are worth worth explor exploring ing.. The The studio studio is a labo labora rator toryy and and anything is worth trying. Opposite of medicine, where it’s important important to behav behavee perfectly perfectly,, in photography I try to make mistakes.” As for the future, future, Schat Schatzz hopes hopes to conti continue nue to surpris surprisee and delight delight himself himself,, whether whether in the water water or elsewhere. elsewhere. “I “I still have have many many ideas I want to try, and so many things to explore,” explore,” he says, not wanting to commit himself to any one idea. “I want to climb this creative tree and try a fruit on each branch.”
To see more work by Howard Schatz, visit www.howardschatz.com.
Don't miss Howard Schatz's dynamic Super Program presentation at Imaging USA in Tampa, Fla., January 6-8.
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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 February 1-5 C: PP of Michigan, Marriott Ann Arbor/Ypsilanti at Eagle Crest Conference Resort; Scott Green, 248-318-5182;
[email protected]; www.ppm.org February 2-5 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Christy Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126;
[email protected]; www.ppiowa.com
PPA EVENTS 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
PPA-Approved Continuing PPA-Approved Conti nuing Education Seminars PPA members receive both merits and the best-published prices.
February 3-10 C/E: A week in Cancun with Bob & Edna Lloyd; Krystal Hotel, Cancun, Mexico; 217-627-3511; 217-627 -3511;
[email protected] February 6 C/E: Extreme Portraiture: The Great Northwest Edition; Tacoma, Wash.; 630-761-2990. February 8 C/E: Extreme Portraiture: The Great Northwest Edition; Portland, Ore.; 630-761-2990. 156 • www.ppmag.com www.ppmag.com
February 8-11 C: Connecticut PPA, Crowne Plaza Hotel, Cromwell, Conn.; Harvey Goldstein, 203-430-8276; 203-430-8276;
[email protected];
[email protected]; www.ctppa.com February 16-20 C: Southwest PPA, Sheraton Hotel, Arlington, Texas; Michael Scalf, Sr., Box 1779, Blanchard, OK 73010-1779; 405-485-3838;
[email protected]; www.swppa.com February 17-18 C: Arizona PPA, Phoenix Airport Hilton, Phoenix, Ariz.; Wendy Newman, 602-908-0359; www.arizonappa.com
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 www.ppofnc.com March 16-20 C: Mid America Regional, Decatur Conference Center, Decatur, Ill.; Kathryn Northcott,
[email protected]
February 22-25 C: Western States Convention, Pasadena Convention Center, Pasadena, Calif.; Michael Gan, 925-462-9364;
[email protected] [email protected]; om; www.prophotoca.com
March 28-30 S: PP of Oklahoma, Quartz Mountain Resort, Lone Wolf, Okla.; Ted Newlin,
[email protected]; www.ppok.org
February 22-25 C: PP of Massachusetts, Crowne Plaza Hotel, Natick, Mass.; Steve Meier, Meier,
[email protected], www.ppam.com
April 4-8 S: PP of Washington, Wenatchee, Wash.; Radley Muller, 360-676-9279;
[email protected]; www.pw.org
February 22-27 C: Virginia PPA, Portsmouth, Va.; Bill Piacesi, 703-406-0664;
[email protected];
[email protected]; www.vppa.org
April 6-9 C: PPSNY, Hilton Rye Town, Town, Rye Brook, N.Y.; N.Y.; Barbara Bovat, 518-851-2187;
[email protected]; www.ppsnys.com
February 11-14 C/E: Painter Panache Master; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com
August 1-4 C/E: Oxford Painter Workshop; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com
February 24-29 C/E: Exploring Composition & Light Mentoring Program, Lincolnton, Ga.; 800-483-6208;
[email protected]
September 12-17 C/E: Great Gatsby Impressionist Workshop; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com
February 28 C/E: Teaching Old Tricks to New Dogs; Bloomington, Ill.; Jackelyn Haggerty; 309-530-9899
October 20-23 C/E: Painter Creativity; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com
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; pwphoto@min
[email protected]; dspring.com; www.suzetteallen.com/copan
November 2-6 C/E: The College! Master Biennale; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com
Certification Exam April 27 North Conway, N.H.
Image Review Online submission: May 9, 9, August 8, 8, & October 10
2008 PPA-AFFILIATED SCHOOLS PPA PPA members members receive receive both both merits merits and the best-published prices.
February 10-14 Evergreen State College, Olympia, Wash.; Sam Gardner; 360-961-2887;
[email protected]; www.ppw www.ppw.org .org February 24-28 Bahamas International School of Professional Photography, Nassau Beach Hotel, Nassau, Bahamas; Kenneth Love, 242-393-5683,
[email protected];
[email protected]; www.bisp www.bispp.com p.com;; Rick English, English, 508-59 508-595-00 5-0075; 75;
[email protected] March March 30 - April April 2 International Photographic Arts School, Mariott Hotel & Conference Center, Indianapolis, Ind.; Janell Spencer, Spencer, 812-384-3203;
[email protected]; www.apag www.apag.net/i .net/ipass passchoo chool.htm l.htmll March March 30 – April April 4 Triangle Institute, Greentree Radisson, Pittsburgh, Pa.; Samuel Pelaia, 724-869-5455; trianglephotographers@ verizon.n verizon.net; et; www. www.tria trianglep nglephoto hotograph graphers.o ers.org rg March March 31 – April April 4 California Photographic Workshops, Fisherman’s Wharf, San Francisco, Calif.; James Inks, 888-422-6606;
[email protected]; www.cpwschool.com April April 6-11 6-11 New England Institute, Ocean Edge Resort, Brewster, Brewster, Mass.; Sal Genuario, 401-738-3797; 401-738-3797;
[email protected]; www.ppane.com www.ppane.com April April 27 – May May 2 Texas School, Texas A&M University, College Station, Texas; Donald Dickson, 806-296-2276;
[email protected]; www.tppa.org/school.htm www.tppa.org/school.htm
158 • www.ppmag.com
May 4-9 Georgia School, N. Georgia Tech, Clarksville, Ga.; Tom McCollum, 888-272-3711;
[email protected];
[email protected]; www.gppa www.gppa.com .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 and May May 11-14 11-14 Wisconsin Wisconsin Profe Profession ssional al Photog Photograph raphers ers School School,, UW Stevens Point-Treehaven, Tomahawk, Wis.; Phil Ziesemer, Ziesemer, 715-536-4540,
[email protected]; www.w www.wiprop iprophoto hotoscho school.o ol.org rg May 18-22 Florida School of Photography, Daytona Beach Community College, Daytona Beach, Fla.; Teri Crownover; teri@fppo teri@fpponline. nline.org; org; 800-33 800-330-05 0-0532; 32; Marybe Marybeth th Jackson-Hamberger,
[email protected]; www.fppf www.fppflorid loridascho aschool.co ol.com m
June 8-12 Illinois Workshops, Grafton, Ill.; Bret Wade, 217-2455418;
[email protected];
[email protected]; www.ilworkshops.co www.ilworkshops.com m June 8-13 Great Lakes Institute of Photography, Northwestern College, Traverse City, Mich.; Greg Ockerman, 313318-4327; g
[email protected];
[email protected]; www.glip.org www.glip.org June 15-20 West West Coast Coast School, School, Univer University sity of of San Diego Diego San Diego, Calif.; Kip Cothran, 951-696-9706; 951-696-9706;
[email protected]; www.prophotoca.com June 22-25 22-25 Golden Gate School of Professional Photography, Photography, Mills College, Oakland, Calif.; Julie Olson, 650-548-0889;
[email protected]; www.goldengateschool.com June 22-26 22-26 PP Oklahoma School, St. Gregory’s University, Shawnee, Okla.; Glenn Cope, 580-628-6438; 580-628-6438;
[email protected]; www.ppok.org/school.html
May 18-23 Imaging Workshops of Colorado, Breckenridge, Colo.; Jeff Johnson; 303-921-4454; luna@orig luna@originalim inalimageco ageco.com .com;; www.colo www.colorado radowork workshop shops.co s.com m
July 13-17 13-17 Image Explorations, Shawnigan Lake, British Columbia; Don MacGregor, 604-731-7225;
[email protected]; www.imag www.imageexpl eexplorat orations. ions.ca/ ca/
June 1-5 Kansas Professional Photographer School, Bethel College, Newton, Kan.; Ron Clevenger, 785-242-7710, 785-242-7710,
[email protected];
[email protected]; www.kpps.com www.kpps.com
July 20-25 PPSNY Photo Workshop, Hobart/William Smith Colleges, Geneva, N.Y.; Linda Hutchings, 607-7336563;
[email protected];
[email protected]; www.ppsn www.ppsnyswo ysworksh rkshop.co op.com m
June 1-5 Mid-America Institute of Professional Photography, University of Northern Iowa, Cedar Falls, Iowa; Charles Lee, 641-799-8957; 641-799-8957;
[email protected]; www.maip www.maipp.com p.com;; Al DeWild DeWild,, amdewild@i amdewild@iowat owateleelecom.net
August 4-7 4-7 Long Island Photo Workshop, Sheraton Hotel, Smithtown, Long Island, N.Y.; Jerry Small, 516-221-40 516-221-4058; 58; jerry@jsmallphoto. jerry@j smallphoto.com; com; www.liph www.liphotow otoworks orkshop.c hop.com om
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 40 6-761-2059; -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];
[email protected]; nppa.com April 27-29 C: PP of New Jersey, Bally’s Hotel & Casino, Altlantic City, N.J., Leslie Meltzer, Meltzer, 866-9854300;
[email protected];
[email protected]; wwwppanj.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, 606-9285333;
[email protected]; www.kyppa.com September 12-15 C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.; Ted Newlin,
[email protected]; www.ppok.org September 13-16 C: PPA PPA of New England, Sturbridge, Mass.; Roland Laramie, P.O. Box 316, Willimantic, Conn. 06226;
[email protected] [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 26-27 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 50674; 563-578-1126;
[email protected] November 9-10 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, orthington, carol@ppofohio.
[email protected] org
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 20-23, 2009 C: PP of Oregon, Mt. Bachelor Resort Bend, Ore.; Arlene Welsh, 800-370-5657;
[email protected]; www.pporegon.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 March 28-31, 2009 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102;
[email protected]; www.hoappa.com
January 2008 • Professional Photographer • 161
TODAY
JANUARY | 08
PRESIDENT’S MESSAGE Jack Reznicki, Cr.Photog., API 2007-2008 PPA
President
© Rod Brown
A PHOTOGRAPHY PHOTOGRAPHY FAMILY was next door to mine and got blank Reading Newsweek to c atc h up with with the week’s we ek’s news, news, I ca me a c ross a short stares of non-recog non-rec ogni niti tion. on. How c a n you not study your own profession’s history obit ob it for for Alexandra Boulat, a 45-year-old 45-year-old French photojournalist contributor to and the giants that went before b efore us…not us…not jus just in your spec ialty or area of inter interes est? t? Newsweek and Time and a founding founding All photography history is worthy of member of the well-regarded photojournalism group “VII.” Suddenly, I study. felt a rea l loss loss—even —even though I c an’t an’ t say say I In the la te ‘ 60s 60s, I followed follow ed Larry Larry Burrow’ Burrow’s s really knew her work. Why the sadness? Our profession lost a talent in her prime. images in Newsweek as he he c overed— She pr p roba ob a bly wouldn’t show show up on o n most and was himself killed in—Vietnam. I PPA PPA members me mbers’’ rad ars, ars, and I feel more more a t lea rned a bout and b ec ame friends friends with the late, great Monte Zucker. I’ll a loss for that because I believe we are be giving an award at Imaging USA in the fra fra ternity ternity a nd sorority of F-stop F-stops s, shutter speeds, and pixels. We are a to Frank Cricchio, who’s contributed greatly greatly to PPA a nd photogr p hotograp ap hy. hy. And c ommunity, ommunity, a fa mily mily of p hotog rap hers. hers. a friend of mine, commercial and ne art photograp photo grapher her Howar Howa rd Sc hatz, will will Too o ften, ften, though, though, we divide divide ourselv ourselves es give the Super Prog Program ram in Ta mpa . up into rigid specialties: “No, I don’t want to go to that lecture—it’s a They They are all differ different ent branches of the the photograp pho tographic hic tree. While While it’s it’s a very wedding lecture. I only shoot portraits.” large a nd divers diverse tree tree,, every e verythi thing ng More’s the pity. (including us) is connected and related. PPA stands stand s for “Profe “Profes ssional iona l Photogr Photog rap hers of A meric meric a ,” not just just I lloo ook k forward forward this J anua ry to one of photog p hotography’s raphy’s grea grea test test events one or two photographic specialties. for gathering gathering a nd sharin sharing g wha t we We a ll do the sa sa me thing—whe thing—whe ther a war photojournalist, a wedding know—PPA’s Imaging USA. While many see it as just a convention, I see it as pho tograp tog rapher her,, an adve a dvert rtis ising ing shoo shoo ter, ter, a c oming tog together ether,, a great ga thering thering a family portrait specialist, a forensic specialist, etc. (Although war and of the c lan. And as Imag Imag ing ing USA USA ha s evolved, it is a true family gathering with wedding wed ding photograp photographer hers s c ould be group ed togethe tog etherr, judg judging ing by the simi similar lar all our various branches represented. mmercial cial stories tories I’ve he ard ab out “shoo “shoo ting ting under und er We have add ed co mmer programs for for the C PI members and enemy re.”) We all capture what we see, making a permanent record of c o-loc ated ate d with SEPCO N for spor po rt and what wha t is a eeting moment. We deal with event photographers. Another trade assoc assoc iation, iation, the Ameri A meric c an Soc iety of emotion, emotion, and we c aptu ap turre that emo tion tion in a xed imag image. e. Me dia Photogr Photog ra phers (ASMP) will will also also be providing speakers. The forensic And a s membe rs of this photograp pho tographic hic photograp pho tographers hers of EPIC w ill ill gather ga ther for for the rst time under Imaging USA and family, we should know o ur his history…our learn about blood splatters. Adobe will “ancestors,” so to speak. I used to tell a ssistants istants that the late Art Kane ’s studio studio have a digital trac trac k; Micr Mic rosoft will will have
a theater; and loads of photographers will be getting their hard-won ribbons and a cc olades at the the awa rds presentation. presentation. There There will be w onder ond erful ful parties and a sold-out tradeshow where photograp pho tograp hers from from a ll c orners of the world will be looking, looking, lea rnin rning, g, a nd sharing. As for me, I’ll be right in the middle of it all, apprec ap prec iating iating the d ifferent ifferent hues hues that that make up this wonderful family. I’ll also say a small prayer for Alexandra Boulat, a distant distant c ousin ousin in a sense, sense, a membe r of this family, a fellow photographer.
P P A N e w s & N o t e s
J ac k Rezni eznic ki, ki, Cr.Ph Cr.Photog., otog., API 2007-20 2007-2008 08 PPA President Preside nt
© Dick Goodan
news from the world’s largest professional photography association association | Professional Photographers of of America | www.ppa.com
P1
TODAY 2007 ANAN-NE NE AWARD AWARDS S WINNER WINNERS S The The res resul ults ts are in…t in…thos hose e who entered entered the 20 2007 AN-NE Ma rketi keting Awards Awards c ompetiti ompetition have duked duked it out to produc produc e winners and nali na lis sts. ts. J udged udg ed on effec e ffec tiveness, tiveness, professiona professionali lis sm, and a host of other quali qua lities ties,, the AN-NE entries entries were tough toug h to score. Sometimes less than a point separated the winners! Listed below are those who fought their way to the top:
BEST E-MAIL MARKETING MARKETING CAMPAIGN CAMPAIGN Winner: Wendy Roulea Roulea u
Portra Portra its by Wendy Buford, uford, G A
Finalists: Sandy Puc’
Express Expressions ions Photo grap hy Littl Littleto eton, n, C O Loreen Libert Libe rty y TLM Studios tudio s Devens, MA
BEST FAMILY & CHILDREN CAMPAIGN Winner: Laura Novak
La ura ura Nova k Photogr Photog ra phy Wilmington, DE
Finalists: Sandy Puc’
Express Expressions ions Photo graphy gra phy Littl Littleton, eton, C O Dan Brod Brody y Dan Brody od y Photograp hy Bryn Bryn Ma M a wr, wr, PA
s e t o N & s w e N A P P
BEST IMAGE MARKETING MARKETING CAMPAIGN Winner: Sa rah Petty
Sarah Petty Photogr Photog rap hy Springeld, eld , IL
Finalists: J uli ulia Woods
Portr Po rtra a it Life Life Washingto Washington, n, IL Ann Ma rkley rkley Ann C hase hase Photograp Photograp hy Woodinvil Woo dinville, le, WA
BEST USE OF MULTIMEDIA MULTIMEDIA Winner: Paul Owen Ow en Paul Owen Ow en Photograp Photography hy New Berlin, WI
Finalists: Mona Mo na Kay Sad Sad ler
Ad rian Henson Henson Photogr Photog rap hy Alliance, Alliance, NC
BEST HIGH SCHO SCHOOL OL SENI SENIOR OR CAMP CAMPAIGN AIGN Winner: Sa rah Petty Finalists: J ulia ulia Wood Wood s Sarah Petty Photogr Photog rap hy Portr Po rtra a it Life Life Spring eld, IL Washingto Washington, n, IL J effrey effrey Ric Ric hardson hardson Ric Ric hards ha rdson on Studio Bloomington, IN
BEST BE ST WE WEB B SI SITE TE Winners: Wend Wendy y Roulea Roulea u (tied) Portra Portra its by Wendy
Buford, uford, G A
Finalist: J effrey effrey Woods
Portr Po rtra a it Life Life Washingto Washington, n, IL
BE A WINNER WINNER YOURS YOURSELF! ELF! The 2008 AN-NE Marketing Marketing Awards Awards are earlier this year, due July 1, 2008. Rules will will be online 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.
Farrah Braniff Farra Farra h Bra Bra niff Photo graphs gra phs Houston, TX
BEST WEDDING CAMPAIGN Winner: C hris hrista Hoffa Hoffa rth rth
[studio] South Lake Ta hoe , C A
Finalists: Albert Lewis
Mulber Mulbe rry Photogr Photog rap hy Truckee, CA Peter Holc Holc ombe Peter Holc Holc ombe Photograp Photograp hy Lafayet afa yette, te, C O
2
news from the world’s largest professional professional photography association | Professional Photographers of of America |
TODAY GRADUATING WITH SMILES AND MONEY OUR FIRST SWEEPSTAKES SWEEPSTAKES WINN WINNER ER
Roma n Coop Co oper er from from Sag Sag inaw, Mich. Mic h. wa s the lucky winner winner of the 2007 2007 G radua rad uate te in the Driver’s Driver’s Sea Sea t Sweepstakes, overcoming about 20,000 other entries. Thanks to entering the swee pstakes with Ra Ra nda ll Tucker uc ker a t Hicks Hicks Studio, Co oper op er rec rec eived the c a sh eq uivalent uivalent o f a 2007 2007 J eep Wrangler Wrangler Saha ra. Hic Hic ks Studio offered the G rad uate in the Driver’s Seat Sweepstakes as a membe r of the Sweeps Sweep stakes Ma rketing keting
C oop erative, erative, a membe r program program produced by PPA and SEP. Along with the Graduate in the Driver’s Seat Swee pstakes, pstakes, members membe rs also also offered a Family Destina Destination: tion: Disney Disney Sweep we ep stakes take s and / or an Es Esc a pe to Pa rad ise C ruis uise Sweepstakes (the winners of these two sweepstakes will be announced in J a nuary nua ry 2008 2008). ). This This e xclusive member-only benet enabled photographers to c onduc t ca mpaigns with prizes and a pro t-building stra tra tegy that they c ouldn’t offer o ffer on
their own. ow n. And it pa id out for Ra Ra ndall nda ll Tucker and Roman Coo per! In fac t, PP PPA A and SEP members c an join the 2008 2008 Sweep we eps stakes take s M a rketing rketing C oop to p ossibly ossibly see see the smiles smiles on their own c lients lients’’ fa c es if if they win, win, too. Visit Visit www.Imag eSweeps eSweep stakes.c takes.c om for more information information and a nd si sign gn up before be fore J anuary 31, 31, 20 2008. 08.
WHY WH Y SH SHOU OULD LD I BE BECO COME ME CE CERT RTIF IFIE IED? D? Mo st questions questions don’t do n’t have a n ea sy answer, but this one does: to make more money. Certic ation is a n excellent marketing tool and a great way to justify your prices. When a consumer opens the phone book or searches online, there are literally hundreds of photographers listed. You You need a one-sentence one-sentence reason reason for that consumer to consider you, and “Certied Professional Photographer” is a n excell exce llent ent rea rea son. It’s true that you must sell your consumer on your prices, portfolio, and personality. But rst, you have to get them in the door…and certication can help. Independent studies indicate that certication is the most widely rec ogniz og nized ed c redential. ed ential. It makes sense, sense, as certic ation programs programs c an be found in many p rofessions rofessions.. If your prospec tive tive
c lient lient is is a tea c her, her, a tec hnology professional, an accountant, etc., they a re intima intimately tely familia familia r with certic ation and wha t it it means ab out the quality of your work. And these are the types of c lients lients you c ovet. Thos Those e that unders understand ce rtication are usua usuall lly y profess p rofessiona ionals ls with dis d ispo po sa ble income! So while not every consumer understands understands the value o f certi c ertication, most of your free-spending clients do. Certic a tion tion c an also also help justi justify fy prices. You have overhead, and you need to c harge a c ertain ertain amount to make the job worthwhile. Explaining to clients that you undertook a rigorous testing testing proc p roc ess, ess, admini ad minis stered b y an independent commission, may be the information information that c onvinces them that you a re more than worth it. it.
David Mithofer
C onsider this: Everyone Everyone knows that CPAs make more money than non-certied a c c ountants ountants, but it wasn’t wasn’t always a lways so. A c c ountants wisely explained the dif c ulty ulty and import importanc anc e o f cert c ertiication until c onsumer onsumers s bec ame c onditioned onditioned to pa y more more for a c erti ertied professional. You You ca n do the the same. same. So if you’re maki ma king ng enough e nough money, mo ney, I don’t rec rec ommend c erti ertication. Why pay the fee? If you want to increase your revenue, though, certic ation is one of the mo st important important step steps s you c a n take.
P P A N e w s & N o t e s
AFFILIATE COMMUNICATORS GET RECOGNIZED Chances are, people stay connected to local and regional organizations thanks to a newsletter, magazine, or Web site. site. But these publi pub lic c a tions do n’t produc e themselves themselves!! Have Have you—the edit ed itors ors and Webmas Webma sters—been —be en thanked? If you you a re in charge c harge o f these these publica tions, tions, you should enter the 2008 Af liate C ommunic ommunic ationsC ations C ompetition. ion.
All PP PPA A Af liate editors and Webmasters are invit invited ed to p artic artic ipate in this this c ompetition, ompetition, design designed ed to enc ourag ourage e excellenc excellenc e in Af lia lia te publica tions tions and to rec ogni og niz ze the indivi individua duals ls who spend their time time a nd energy e nergy edit ed iting, ing, des de signing igning a nd ma inta inta ining ining these these p ublic ublic ations in in order to keep their members informed. You’ll earn an achievement merit if your entry is accepted into the competition and an additional merit if you win!
Get the the recognit rec ognition ion you deser de serve. Entry forms are available at http:/ http:/// c ompe titi titions. ons.pp ppa.c a.c om. Entr 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].
news from from the world’s largest professional photography photography association association | Professional Photographers Photographers of America |
3
TODAY ADD PRIZES TO YOUR PROMOTIONS PROMOTIONS You You have unti untill the the end of J anuary to give give even more more to your your clients…so don’t forget to sign up for the 2008 Sweepstakes Ma rketin keting g C o-op at www.Imag www.ImageS eSweep weep stakes.co takes.com. m. • J oin the 2008 2008 C o-o p for fo r only $10 $100 0 per swe sweep eps stakes take s/ studio location (the only fee paid to PPA and SEP). • Get G et the right right to offer prospe prospec c ts a c ruis uise, a c a r, and/ and / or a Disney vacation (along with other prizes)…without buying the prizes outright. • Presto—you Presto—you have ha ve c rea ted a n event, giving giving you something something to talk about in promotions! J ust ust imagine the the exc exc itement and public public ity ity your studio tudio will receive if one of your clients or prospects wins.
Jo in by Ja nua ry 31, 2008 to be e lig ible. Sig n up at ww w.Ima w. Ima g eSw ee pstake psta kes.c s.c om.
CONVERSATIONS ON OURPPA.COM s e t o N & s w e N A P P
Do you ha ve a ny money left left after all the the holiday holida y presents presents? ? If so, so, how ab out buying buying your studio studio something something nic nic e? C rea te a shopping wish list. Then ask your peers on the Open Forum at OurPPA.com which item is the most important. That should help you nar na rrow down do wn your dec de c isions at a ny time! time! http:/ http:/// www.ourppa www .ourppa .co m/fo rums/ ums/ showthrea howthrea d.php?t= d.php ?t=8975 8975
AFFILIATE SCHOOL SPOTLIGHT SPOTLIGHT TEXAS SC HOO HOOL L April 22 22 – May May 2, 200 2008 8 | C ollege Station, Texas exas Contact: Don Dickson ddicks dd ickson@l on@lone ones starbbs.c tarbbs.c om 806-296-2276 Web site: www.tppa.org/ sc hool.htm hool.htm Tuition: $435 $435 PPA memb ers (mea ls included includ ed)) $520 $520 non-PPA memb ers (mea ls included includ ed ) Course Information: We will have 34 class c lasses—fr es—from om Ha nson nson Fong Fo ng with w ith Wed Wed dings to Helen Yancy with Painter—and over 1,000 photographers a t this this unbeli unbe lieva eva ble schoo sc hoo l. Reg Regis istr tra a tion starts starts J a nuary 3 a t 12:0 12:00am 0am (midnight o n the 2nd). M a ny class c lasses es ll up fast, so register early and come enjoy the fun and education in Texas. exas. C hec k out the Web sit site e lis listed ab ove for c ours ourse deta ils.
M.A.R.S. (Mid Atlantic Atlantic Reg egiona ionall Sc hoo hooll of Professional Photography) May 4 - May May 9, 2008 2008 | The Gr Grand Hotel, Hotel, Cap C ape e May, May, New Jer J ersey Contact: Adele Bastinck
[email protected] 888-267-MARS Web site: www.marsschool.com Tuition: $102 $1025 5 (all (a ll inclusive, inclusive, including hotel accommodations, meals, tradeshow, parties, etc.) C ourse Informati Information: on: uzette Allen & J on Yoshinag oshinag a The Photoshop Photoshop Edg e You Nee d — Suzette Portrait Portraiture ure - See ing the Lig Lig ht —C arl C aylor Painter - Fundame ntals ntals for Photog raphe rs— J ane Co nnor nnor We dding s - Mastering Mastering the Tec Tec hniques hniques — Hanson Hanson Fong Zen Zen a nd the A rt of Portrait Photog rap hy — Ra ndy Mc Neilly Neilly Portrait Portraiture ure and M arketing arketing - A Ma ster ster C lass —Micha el Redford C reative C ompositions ompositions with Nature — Tony on y Swee we e t A dva dv a nc ed Photo shop —Eddie Tap p
SUPE SU PER R MO MOND NDAY AY MA MADE DE EASI EASIER ER It’s It’s eas ea sier to to sea rc h and a nd e asier asier to see up-to-da te c ontent...it’s ontent...it’s Super upe r Monday online! New in 2008, the Super Monda y boo klet klet will will be loc ated in the PPA Education Guide Online (www.ppaEdGuide.com). Now when P4
you want to nd the ne a rby A Apri prill 2008 2008 c lasses, a ll you ha ve to d o is vis visit the Web site ite a nd search searc h vi via a state, c atego ate gory ry,, instructo tructo r, etc . No more page ipping, although you can print it out if you really want to.
Remember: classes are updated often, so keep c hec king king ba c k at the web site ite to see w hat’s new.
news from from the world’s largest professional photography photography association association | Professional Photographers Photographers of America | www.ppa.com
WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES
PROFESSIONAL PHOTOGRAPHER CLASSIFIED ADVERTISING 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 min. per ad • Closing date is 20th of the second month proceeding issue date. • Remittance must be received with order order.. NO ADS ACCEPTED BY PHONE. Remittance to: Professional Photographer Classified Ads 229 Peachtree NE, Ste. 2200, Atlanta, GA 30303
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Buyer’’s Buyer Gallery THIS SECTION IS THE MONTHLY RESOURCE PHOTOGRAPHERS USE TO FIND THE PRODUCTS THEY NEED. PUT YOUR MESSAGE PROMINENTLY IN FRONT OF INDUSTRY PROS AND START TURNING BROWSERS INTO BUYERS.
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Better than ever! Profess Pro fession ional al Phot Photogr ographe apher r Online has exciting new features for you At ppmag.com ppmag.com,, we don’t simply recre recreate ate the magazine online, Professional Photographer Online
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3D LightMaster (www.3dlightmaster.com)............................176 Adobe (www.adobe.com).....................................................119 Adorama (www.adorama.com).......................................157, (www.adorama.com).......................................157,159 159 Advanced Photographic Solutions (www.advancedphoto.com)170 (www.advancedphoto.com)170 Album Crafters (www.albumcrafters.com) (www.albumcrafters.com) ............................177 Albums Inc. (www.albums inc.com).......................................81 Albums Unlimited (www.albumsunlimited.com) ...................178 AlbumX/Renaissance Albums (www.renaissancealbums.com) ..7 Allied Photographic & Imaging Lab (www.alliedphoto.com)...170 All-Star Digital Lab (www.allstardigitallab.com).................. (www.allstardigitallab.com)....................173 ..173 AllStar Photo Imaging (www.4allstar.com)............................171 (www.4allstar.com)............................171 American Color Imaging (www.acilab.com)................64-65, 172 American Photographic Resources Inc. (www.aprprops.com)..181 American Student List (www.studentlist.com).................12, 178 ARK-LA-TEX ARK-LA-TEX Color Lab (www.altcolorlab.com) (www.altcolorlab.com) ....................169 Asukabook (www.asukabook.com)........................................99 (www.asukabook.com)........................................99 B & H Photo-Video (www.bhphotovideo.com)...............154-155 BWC (www.bwc.net)....................................................... (www.bwc.net)............................................................117 .....117 Backdrop Outlet (www.backdropoutlet.com).........................176 (www.backdropoutlet.com).........................176 Backgrounds by David Maheu (www.backgroundsbymaheu.com)176 Bay Photo La b (www.bayphoto.com)..............................77, (www.bayphoto.com)..............................77, 169 Big Black Bag (www.bigblackbag.com).................................179 Bogen Imaging Inc. (www.bogenimaging.us) .........................39 Brightroom Inc. (www.backprint.com) ..................................17 ..................................174 4 Buckeye Color (www.buckeyecolor.com)................................. (www.buckeyecolor.com).................................83 83 Paul Buff Inc. (www.white-lightning.com)..............................79 (www.white-lightning.com)..............................79 CPQ (www.cpq.net).............................................................171 Canon (www.usa.canon.com)..................................................7 Candid Color Systems Inc. (www.candid.com).......................175 Chimera (www.chimeralighting.com) (www.chimeralighting.com) .....................................43 Christopher Imaging (www.chrisimaging.com).......................171 Cindy Baxter Studios (www.cindybaxterstudios.com)............177 Collages.Net (www.collages.net)............................13, 30-31, 67 Color Incorporated (www.colorincprolab.com).......................170 Color Vision / Data Vision (www.spyder3.com) ......................61 Corel (www.corel.com/ppa)...................................................87 (www.corel.com/ppa)...................................................87 Corporate Color/Prolab Express (www.prolabexpress.com)....169 (www.prolabexpress.com)....169 Contemporary Photography/J. Photography/J. Hartman (www.jhartman.com) (www.jhartman.com) .178 Custom Brackets (www.custombracket.com)........................178
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SOMETHING HERE YOU NEED...
January 2008 • Professional Photographer • 183
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 ACCEPTED BY PHONE. Remittance to: Professional Photographer Classified Ads, 229 Peachtree NE, Ste. 2200, Atlanta, GA 30303; 800-339-5451, ext. 221; FAX 404-
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].
[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, 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 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 related Studio Accessorie Accessories. s. Contact us today 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. www.studiodynamics.com com BOSS BACKDROPS-WRINKLE FREE, washable, dryer safe, Diffused, light weight, easy to carry & store. Most under $100. Free clamps. Call 630-254-1253 or visit us at www.bossbackdrops.com CHICAGO CANVAS & SUPPLY—Wide SUPPLY—Wide Seamless Canvas and Muslin, Duvetyn, Commando Cloth, Theatrical Gauze, Velour, 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 c an’t be beat. Visit our website or call for a free catalog and samples. 773-478-5700; www.chicagocanvas.c www.chicagocanvas.com; om;
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CAMERA REPAIR HASSELBLAD OWNERS: David S. Odess is a factory trained technician with 30 years experience servicing the Hasselblad system exclusively. exclusively. Previously with Victor Hasselblad. Free estimates, prompt service, service, reasonable rates and a 6 month guarantee. Used equipment sales. 28 South Main St., #104, Randolph, MA 02368, 781-963-1166; www.david-odess.com.
CANVAS MOUNTING CANVAS MOUNTING, STRETCHING, FINISH LACQUERING. Original McDonald Method. Considered best AVAILABLE. AVAILABLE. Realistic canvas texture. Large sizes a specialty. WHITMIRE ASSOCIATES, YAKIMA, WA. 509-248-6700. WWW.CANVASMOUNT.COM
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COMPUTER/SOFTWARE SUCCESSWARE®—Studio 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.
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EDUCATION/WORKSHOPS . 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 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
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HELP WANTED HELP WANTED: Assistant photographer for contemporary photojournalistic photojournalistic wedding coverages in Orange County, CA area. Must have digital equipment. E-mail John at
[email protected].
[email protected]. PORTRAIT PHOTOGRAPHER 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].
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January 2008 • Professional Photographer • 185
go g ood works |
Images wield the power to effect change. In this monthly feature, Professional Photographer spotlights professional photogr photographers aphers using their talents to make a differenc differencee through charitable work.
©Joan Brady
Brady’s work with foster children led to an association with the Wednesday’s Child program produced by NBC4, the NBC affiliate in Washington. Every Wednesday, local newscaster Barbara Harrison introduces a foster child or group of siblings to the TV audience in hopes that a viewer will step for ward to adopt. adopt. Sponsored by Freddie Mac, Wednesday’s Child also gives the kids dream days with such activities as visiting the National Zoo, taking an ice skating lesson, visiting a theme park, tourin touring g a CSI lab or shooti shooting ng hoops hoops with with NBA NBA players. Brady goes along to photograph the children throughout the day. Her intent to provide keepsake albums soon expanded to providing digital images and photo books to social workers, who show them to adults look lookin ing g to adop adopt. t. “Las “Lastt yea yearr, one one adop adopti tive ve pare parent nt
Fostering love ONE PHOTOGRAPHER’S MISSION TO HELP CHILDREN
told me that that when when she saw saw the photo photo book, book, she knew those were her children,” says Brady. Brady says that getting involved is as easy as offering your services. ser vices. “Anyone “Anyone who has the time and and the heart, heart, I urge urge you to conta contact ct your local local family family services services agency agency and and see if
F
there might might be an opportunity opportunity for for you to to ive years ago, photographer Joan
loving loving parents, parents, these these children children had no no one to
make a child feel valued,” she says. “I have
Brady became a volunteer tutor for
make pictures of the significant moments of
met the most wonderful kids, photographed
foster children in a group home in
their lives. lives. “There is is no photo photo album album that
the most most moving moving adoption adoption ceremon ceremonies, ies, and and
the Washi ashing ngto ton, n, D.C., C., are area. a. Havi Having ng no
captures their first day of school, first lost
been witness witness to some heart-wr heart-wrenchin enching g sto-
children herself, she was surprised at having to
tooth, tooth, first report report card, card,”” says says Brady. Brady. “The
ries. People often ask me how I happened to
persuade the kids to do their homework.
pictures that help them remember mile-
become become the photogra photographer pher for Wednesd Wednesday’ ay’s
One day she brought in a point-and-shoot
stones and reinforce their sense of impor-
Child. My answer is simple: I offered.”
digital camera and dangled the promise of
tance in in the world world simply simply don’t don’t exist.”
taking pictures pictures as an incent incentive. ive. The children children
Brady began producing small photo albums
not only did their homework, but took on
for each child in the group home. She pho-
extra reading as well.
tographed tographed them them doing doing things things they enjoyed enjoyed,,
Brady quickly realized that photography
To see more by Joan Brady, visit www.joanbradyphotography.com. Learn more about the Wednesday’s Child program at www.adopt.org/wednesdayschild.
and included pictures of the people who
was was a nove novell exp exper erien ience ce for for the these se chil childre dren. n. Wh While ile
were important important to them. them. Every time time she
she had grown up being photographed by
added a picture, the kids got excited.
186 • www.ppmag.com www.ppmag.com
Share your good works experience with us by e-mailing Cameron Bishopp at
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ll C antr e B ambi © Ba
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