MARCH 2008 | WWW.PPMAG.COM | $4.95
Stunningly advanced 12.1 megapixel FX-format CMOS sensor. Stunningly fast 9 fps at full FX resolution. Stunningly low noise even at ISO 6400. Stunningly sharp edgeto-edge image performance. The revolutionary new Nikon® D3™ will change the way you shoot sports or action of any kind. Never again will you have to choose between blazing speed or brilliant image quality, particularly in low light situations. To learn more about how the stunningnikon.com/challen on.com/challenge. ge. Nikon D3 captures what other pro-digital SLRs cannot, go to stunningnik
The Nikon D3 is here. Do the undoable.
CONTENT PROFESSIONAL PHOTOGRAPHER PHOTOGRAPHER | MARCH 2008
Features 94
MAKING THE MAGIC HAPPEN Lauded Australian photographer Jerry Ghionis finds beauty and prosperity in reinvention by Lorna Gentry
104
ONE OF A KIND Park Pfister’s special knack for turning the ordinary ordinary into the the extraordin extraordinary ary by Stephanie Boozer
116 11 6
ENGINEERING A NICHE The tale of Mike Colón and the spiraling wedding market by Jeff Kent
82
WEDDINGS: DESTINATION SUCCESS
Business insights for destination wedding photography by Jeff Kent IMAGE BY JERRY GHIONIS
CONTENTS
14
FOLI FO LIO O
126
CALEND CAL ENDAR AR
133
PPA PP A TOD TODA AY
154
GOOD WO WORKS RKS
.PPMAG.CO .COM M PROFESSIONAL PHOTOGRAPHER | MARCH 2008 | WWW.PPMAG © J e s s i c a C l a i r e
Departments CONTACT SHEET 20 Party time for Kathy Malaspina 22 Essay: Vive la digital!
by Laurie Klein 26 Professional Photographer
cover contest announced 28 Sacred to sensational:
Cliff Mautner’s studio
PROFIT CENTER 33 What I think: David Schwartz 36 Married to marketing
by Lorna Gentry 42 Because you’re worth it
by Charles J. Lewis 44 The joy of marketing:
Attractive pricing by Sarah Petty
THE GOODS 49 What I like: Gene Higa 52 Pro review: Nikon D3
by Ellis Vener 58 Archiving: Safe and for sale
by Audrey Gray 66 Substrates: Extraordinary prints
by Laurence Chen 70 Photoshop and Lightroom:
82
What’s the the difference? difference? by Andrew Rodney 76 Tutorial: Photoshop Actions
by Rick Ralston
Being paid to do beautiful wedding photography in exotic destinations
sounds like a dream come true. Yes, it can be enjoyable and rewarding, as long as you know that being there on someone else's dime is hardly the time to relax. Take some tips on making it work from destination photographers Garrett Nudd, Nudd, Gene Higa and Jessica Claire. Claire.
6 • www.ppmag.com
ON THE COVER: After his first wedding, says this month’s cover artist, Parker Pfister, “I swore I’d never shoot another wedding.” We’re glad he reconsidered. Pfister has been shooting weddings and portraits exclusively since 1999. Read more about Pfister in our feature on p. 104.
Mind. Body.
Photo tog gra rap phy. A Picture Picture-Perfect -Perfect Rela R elationshi tionship p
PROFESSIONAL
EDITORIAL
director of publications
CAMERON BISHOPP
[email protected]
Show us what you’ve got
senior editor
art director/production manager
JOAN SHERWOOD
DEBBIE TODD
[email protected]
[email protected]
2008 COVER PHOTO CONTEST
features editor
manager, publications and sales/strategic alliances
Here at the magazine, we consider ourselves pretty fortunate when
[email protected]
LESLIE HUNT
it comes to the industry we cover. While other trade magazines
KARISA GILMER
[email protected]
editor-at-large
sales and marketing assistant
might struggle to find photography to grace both the cover and the
JEFF KENT
CHERYL PEARSON
inside pages, we need only look to the inspired images our readers
[email protected]
are creating ever y day. There’s a catch though. In an industry comprised of independent business busine ss owners, owners, it’s sometimes sometimes challen challenging ging (quite (quite often, often, actually) actually) to to
ANDREW RODNEY, ELLIS VENER director of sales and strategic alliances
SCOTT SCO TT HERSH, 610-966-2466,
[email protected]
hear about all the top talent we know is out there. We comb the forums and online galleries,
All entri entries es must must be upl uploa oade ded d at www.pp www .ppmag. mag.com com
[email protected] technical editors
pore over the PPA Loan
western region ad manager
BART ENGELS, 847-8 847-854-8182, 54-8182,
[email protected] eastern region ad manager
SHELLIE JOHNSON, 404-522-8600, x279,
[email protected] circulation consultant
Collection, read all the
MOLLIE O’SHEA, moshea@ppa.
[email protected] com
industry publications, keep an
editorial offices
open eye at events, scour regional newsletters, and take welcome welco me recommend recommendation ationss
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
from photographers who have made it to the radar screen. To broaden the search, we thought of a new tactic to help you Professional sional Photogr Photographer apher Cover Photo find us: The first-ever Profes
Contest. We liken it to a nationwide talent search, and we hope we’ll be introduced introduced to a spate spate of gifted artists artists whose whose work work we’ve never never seen, but will fill our magazine far into the future. So we invite you to submit your entries to us before the May 31 deadline, and take a shot at creating the image that nearly 50,000 PP readers will see when they open their mailboxes in late fall. And
there’s more—not more—not only only do you you have a chan chance ce at the cover cover,, but to win win valuable valua ble prizes prizes as well. well. The first first place place winner, winner, runner runnerss up and those those who win hono honorable rable mention mention will be awarde awarded d first-rate first-rate gear gear from our contest’s generous sponsors, Microsoft, Bogen, Canon, Kodak and Miller’s Professional Imaging. Head over to www.ppmag.com to learn all about the prizes, contest rules and submission guidelines. (A word to the wise: Entries may be submitted only as uploads to www.ppmag.com. no print or e-mailed submissions will be accepted.) We’re W e’re lookin looking g forward forward to meeting meeting you! you!
Professional Photographer
P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email:
[email protected]; Web site: www.ppmag.com member services
PPA - Professional Photographer 800-786-6277;; FAX 301-953-2838; e-mail:
[email protected] 800-786-6277
[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/informat rates/information: ion: 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 PP A 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 Photograp Photographer her (ISSN 1528-5286) is published monthly for $27 per year by PPA
Cameron Bishopp Director of Publication Publicationss
[email protected]
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 Photograp Photographer her, official journal of the Professional Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photogra Abel’ Photographic phic Weekly eekly,, St. Louis Louis & Canad Canadian ian 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
Three amazing cameras designed to inspire. Starting with the powerful EOS-1Ds Mark III . With a 21.1-megapixel full- frame CMOS sensor, dual DiG!C III Image Processo rs, and a 3-inch LCD monitor , i t’s far and aw ay th e most remark able camera Canon has ever created. The innovative, feature-filled 10.1-megapixel EOS 40D lets photographers photographe rs take the next leap forward, with its DiG!C III Image Processor and 6.5 framesper-second shooting. Along with the exceptional EOS-1D Mark III with its blazingly fast 10.5 frames- per-sec ond shootin g a nd 1 0.1-me gapixe l CMOS sensor, Canon makes the creati ve process easy, rewarding and, most important, inspiring. To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc ©2008 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.
chairman of the board *JACK REZNICKI Cr.Photog., Hon.M.Photog., API
DOUG BOX M.Photog.Cr., API
[email protected]
[email protected]
Professional Photograph Photographers ers 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
2008-2009 PPA board president *DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP
directors DON DICKSON M.Photog.Cr., CPP
[email protected]
DON MACGREGOR M.Photog.Cr., API
[email protected]
[email protected]
industry advisor KEVIN CASEY
SANDY (SAM) PUC’ M.Photog.Cr., CPP, ABI
[email protected]
[email protected]
legal counsel Howe and Hutton, Chicago
RALPH ROMAGUERA, SR. M.Photog.Cr., CPP, API, F-ASP
[email protected]
[email protected]
CAROL ANDREWS M.Photog.Cr., ABI
PPA staff DAVID TRUST Chief Executive Officer
vice president *RON NICHOLS M.Photog.Cr., API
[email protected]
[email protected]
SUSAN MICHAL M.Photog.Cr., CPP, ABI
SCOTT KURKIAN Chief Financial Officer
[email protected]
[email protected]
TIMOTHY WALDEN M.Photog.Cr., F-ASP
CAMERON BISHOPP Director of Publications
[email protected]
[email protected]
[email protected]
treasurer *LOUIS TONSMEIRE Cr.Photog., API
[email protected]
12 • www.ppmag. www.ppmag.com com
DANA GROVES Director of Marketing & Communications SCOTT HERSH Director of Sales & Strategic Alliances
[email protected]
J. ALEXANDER HOPPER Director of Membership, Copyright and Government Affairs
[email protected]
WILDA OKEN Director of Administration
[email protected]
LENORE TAFFEL Director of Events/Education
[email protected]
SANDRA LANG Executive Assistant
[email protected]
*Executive Committee of the Board
Expect More Beautiful Color At Miller’s, consistent, beautiful color is just as important to us as it is to you. That’ That ’s why we offer color correction on our photographic photogr aphic prints print s and press products. Every step of our process guarantees guarantees the color of your printed images. We We don’t simply si mply press “print”. When you look good we look good. Don’t D on’t settle for less.
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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.
©Thom Rouse
THOM ROUSE “It has been greatly entertaining for me to watch viewers scrutinize this image,” says Thom Rouse, M.Photog.MEI.Cr., CPP, of Rouse Imaging in Dekalb, Ill. Rouse combined several images taken with his Fujifilm FinePix S2 Pro digital SLR and 28-105mm Tamron f/2.8 SP AF LD IF lens. Images in the mix include a weathered sidewalk for the background, a tree under an overcast sky, and a portrait captured in mixed incandescent and window light. Rouse used Adobe Photoshop to create the final image, which won a Fujifilm Masterpiece Award, ASP Regional Medallion, and ASP Gold Medallion.
14 • www.ppmag. www.ppmag.com com
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. A A C C , o o g g e e i i D D n n a a S S , s s re r e i i o o m m e e M M t t o o o o f f er er a a B B f f o o y s ys er er t t u u o o c c e e g g a a m m I I
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©Barry Rankin
BARRY RANKIN With a Fujifilm FinePix S3 Pro digital SLR and Nikkor 80-200mm f/2.8D AF ED lens, Barry Rankin, M.Photog.Cr., of Dirla Studio in Bay City, Mich., captured “Bewitched” for a Nashville singer’s CD cover. A 300WS Photogenic PowerLight 1250 behind a 4x6-foot Larson Soff Box provided the main lighting, with a second 300WS PowerLight 1250 and a 2x3-foot Larson Soff Box for fill. A 200WS Photogenic PowerLight 1250 and a 14x48-inch Larson Soff Strip hung above the subject, while a 200WS PowerLight and 14x48-inch Larson Soff Strip illuminated the left side of the frame.
CHRIS BELTRAMI “Perkin’s Cove” is a favorite spot for Chris Beltrami, M.Photog.Cr., F-ASP, of Beltrami Studios in Barre, Vt., and his wife, who regularly visit Maine’s Ogunquit Beach in the summertime. Waiting for the late afternoon light to fully grace these returning boats, Beltrami aimed his Canon EOS 20D digital SLR and 50mm Canon f/2.8 EF lens from the deck of his rental house and exposed the image for 1/125 second at f/8, ISO 200. He digitally enhanced the saturation and sharpness, and embellished the reflections in the water for the final image.
©Chris Beltrami
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4 hours of darkness. 8 miles of glacial ice. 12 Nikon SB-800 Speedlights. ®
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©2007 Nikon Inc.
See James Balog’s brilliant shots at stunningnikon.com/challenge Shooting icebergs at night in Alaska under fast-changing conditions would have been infinitely harder for Nikon Pro James Balog without the power and versatility of Nikon SB-800 Speedlights. “We really had to maximize our productivity and the system had a huge impact on enabling me to do as many shots as possible.” The critical edge was Balog’s ability to control all 12 Speedlights from his camera’ss position. “Once I learned the incredible strengths of the Nikon Speedlight system—portability camera’ sys tem—portability and an d ease—I said, ‘Wow…magic.’” ‘Wow…magic.’”
CON ONT TACT SHEET What’s New, Events, Hot Products, Great Ideas, Etc.
BY STEPHANIE BOOZER
Looking to boost your children’s portrait business? Consider portrait parties and watch wat ch the the leads leads com comee in If the thought of a sales party with a hostess sends you running for the door, reconsider. In-home sales gatherings have been working for some pretty big companies. “Some of my best clients come from portrait parties,” says Kathy Malaspina, of Precious Moments Photography in Tyner, N.C., who has been reaping rewards from these events for the last three years. “People have a great time, and and the parties parties are so so easy to to do.” Here’s how it works: The hostess supplies the guest guest list, mails mails the the invitations invitations,, makes the shooting shooting schedu schedule, le, and handl handles es all the the hostess duties in her home or the photographer's studio. Malaspina shoots a series of mini sessions with each child. Then she
“Some of my best clients come from portrait parties. People have a great time, and the parties are so easy to do.”
packs up and leaves. The hostess directs the guests to the studio's
Web W eb site site to view pro proofs, ofs, and enc encoura ourages ges them to plac placee their their orders orders with within in a spe specified cified time— time— simple as pie you don't even have to bake. As an incentiv incentive, e, Malaspi Malaspina na grants grants the hostess a maximum of 15 percent commission, which is credited towar toward d the hostess’ hostess’s own purchase. She requires a minimum of 10 sessions for each event, which must be
money as the exposure. Word of mouth is
light, a table, table, a small small backdrop, backdrop, and and maybe maybe a
booked booke d back-to-bac back-to-back k to maximize maximize her time. time.
the best advertis advertisement ement you you can get. get.””
few props, depending on the theme of the
Malaspina also offers a $35 credit for each
Averaging Avera ging about about 10 parties parties a year year,,
party. Shooting each mini-session outdoors
party the hostess books in a day, and an
enough to generate a healthy number of
is the best way to minimize your equipment
additional $25 credit for subsequent bookings.
standard portrait sessions, Malaspina says
needs. In her experience, it’s best to set up
her portrait parties have become popular for
the portrait portrait area area away away from the the rest of the the
children’s birthday parties and sleepovers.
guests, so each session is semi-private.
“This really pushes the hostess to urge her friends to schedule parties,” she says. Malaspina provides the invitations, which
You Y ou don’t don’t have have to to limit limit yoursel yourselff to kids. kids. “A “A
“You’ve definitely got to work it just like
include her images and studio info, and tips
lot of people people do pet parties, parties,”” says Mal Malaspin aspina, a,
everything else,” says Malaspina. “But these
about preparing for the session. The hostess
who als also o sugges suggests ts mark marketin eting g partie partiess for for wedwed-
are a great way to go out and do something
will pick pick up and deliver deliver the the print orders. orders.
dings, family reunions, and other milestone
quick and out of the norm, and they set you
events. “They make great fundraisers, too. I
apart from everyone e veryone else.”
did one last year for the local animal shelter.” shelter.”
For more about about Kathy Kathy Malaspina Malaspina and her studio, visit www.preciousm www.preciousmomentsphotos omentsphotos.com. .com.
“It’s not bad for an afternoon’s work,” says Malaspina, who pulls in orders of $1,200 to $2,500 per party. “It’s not so much the
Malaspina’s setup is light, usually one
March 2008 • Professional Photographer • 21
CONT CO NTACT ACT SH SHEET EET
Nine months ago I was still fighting digital and
ESSAY dragging around a boatload of negativity. I went
Vive la Vive la digital! Photography wasn’t broken. How come we needed digital tech te chno nolo logy gy to fix it it?? On Onee ho hold ldou outt found a very good answer. BY LAURIE KLEIN
Nine months ago I was still fighting digital and dragging around a boatload of negativity.
©Laurie Klein Klein
the spontan spontaneity eity of the the shoot shoot to plunge plunge into
For example, for some time, I’ve been
total darkne darkness ss for a chang changee of film, film, while
trying to to reorient reorient my busines businesss from prepre-
praying the exposures were on the money.
dominately wedding photography to mostly
With digital digital IR, most most of the the time they they are.
portraiture. From shooting 70 weddings a
I’m thinking about doing all my commer-
year,, I’m down year down to about about 10. I used used to take take in
I went through the usual throes of resistance
cial work digitally. I still like the results I get
$1,800 per wedding, now my billing starts
and the arduous period of adjustment. There I
from black-and-white film better. I’m not
at $15,000. My brides come back time and
was, spendin spending g 75 percent percent of of my time behind behind
selling out, I think I’m becoming a smarter
again for maternity, family and generational
a computer, no time to plan, no no time to market,
businesswom busine sswoman. an. My My personal personal fine-art fine-art work work
portraits. I had a gala to celebrate my 25
no time to grow creatively, no time to relearn
will continu continuee to be a mix of of film and and digital. digital.
years in in business business and and more than than 125 client clientss
infrared photography—a passion of mine—sans
I hired a a recent college graduate to
attended. They bought my fine-art prints,
film, working harder on less work and making
handle my digital workflow, and I have my
and I generated portrait bookings. To be
less money money.. Some boon, boon, digital digital technol technology ogy..
life bac back k again again.. I actu actuall allyy have the the time to
mindful of these successes is to feel grateful.
But in addition to changing my workflow in
work on a new book book and a huge project project that that
I’m still passionate about photography.
the las lastt year year,, I’ve ve work worked ed on on chan changin ging g my my atti atti--
I feel will take my photographic business in
My recent work is some of the best I’ve done
tude.. You tude You kno know w what? what? Life is wond wonderfu erfull agai again. n.
a new direction.
in years. My clients don’t care if I’m digital
Wee are a healthy W healthy hybrid hybrid studio studio today today. I
With the the help of Michael Michael J. Losier’ Losier’s “Law
or not, as long as my passion is there and
have a digital camera converted for infrared
of Attraction,” which I highly recommend,
photography and I love it. It’s different, and
I’ve stopped dwelling on how tough things
that’s the point. point. It gives gives clients clients anothe anotherr
are. I need to embrace all that’s happening
personally, feeling like the industry was out
option, and it frees me from having to kill
in my life right now, and be grateful for it.
to make make my life diffic difficult. ult. Now Now I see what what it’s
my photographs are brilliant. I had taken the digital movement
actually been doing—giving me this huge
WINNER REDUX The sole winner of the 2008 2008 Hot One Award Award for Telephoto Zoom Lens is the smc Pentax-DA* 50-135mm f/2.8 ED AL[IF]SDM (right). In February’s Professional Photographer , we called a tie between the Pentax lens and the Tamron SP AF70-200mm f/2.8 Di LD (IF) Macro lens, which failed to meet all eligibility requirements.
22 • www.ppmag.com
opportunity to grow, to look at things differently, to get out of my box and the way I’ve done things for years and years. The most important thing for me, besides supporting my family, is to grow as an artist. Laurie vs. the digital revolution? Doesn’t work for for me anymore. anymore. Laurie Klein Klein’s ’s studio studio is in Brookf Brookfield, ield, Conn. Conn. (www.laurieklein. com).
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CONT CO NTACT ACT SH SHEET EET
Cover contest announced Professiona Profe ssionall Photograp Photographer her ’s ’s cover photo contest kicks off March 1
Microsoft and Miller’s Professional Imaging. Prizes will be awarded to 2nd-, 3rd-, 4th- and 5th-place winners, and as many as 25 entrants will receive prizes for honorable mention.
Have you always dreamed of getting your work on the cover cover of of a magazine magazine?? Well Well,, here’ here’s your chan chance! ce! This month you’re invited to submit photographs for a chance to have your image featured on our cover. Just one talented photographer will see his or her image published on the cover of a 2008 issue of Professional Photographer (mailing to almost 50,000 readers monthly). Images will be judged on technical, artistic
Helping Professional Photographer
HOW TO ENTER Go to www.ppmag.com to enter. Only digital files uploaded at www.ppmag.com www.ppmag.com will be accepted. Mailed print images and e-mailed digital images will not be be accepted. Format/Specifications: Format/Specifications: Submit low-resolution images only only,, in standard digital formats (.jpg, .pdf, etc.). Images should be 525x700 pixels; file size should be no more than 250k. A high-resolution, print-quality version (300ppi at 9x12
and compositional merit. You may submit as
magazine editors choose the best entries
inches) must be available for each image.
many images as you wish, provided they are
will be guest judge Helen K. Yancy, Yancy,
The submission deadline is Saturday,
representative of the work you sell to your
M.Photog.M.Artist.MEI.Cr.Hon.M.Photog.,
May 31.
clients. What we’re seeking are real-world
CPP, F-ASP, Hon. F-ASP, currently serving
examples of portrait, wedding, commercial
as the chairman of PPA’s Print Exhibition
your talent talent!! Head over over to www. www.ppmag ppmag.com .com
and event photography photography..
Committee.
to learn learn more.
All work submitted must be previously
In addition to landing the cover of a 2008
unpublished and original, with written
edition of Professional Photographer , the
releases on file from any subjects pictured
winnerr will receive winne receive generous generous prizes prizes from from our
in the image.
contest sponsors, Bogen, Canon, Kodak,
26 • www.ppmag. www.ppmag.com com
Don’t miss your chance to show the world
Go to www.ppmag.com to enter.
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CONT CO NTACT ACT SH SHEET EET
Cliff Mautner turned a 1920s church into a studio with SoHo soul BY LORNA GENTRY
From sacred to sensational The front door of Cliff Mautner’s photography studio opens to an elegant foyer, but it's the allure of the 2,000-square-foot space
walk in and think, think, ‘This guy guy is credible, credible, he
and I mean everything —is —is new.” The
beyond beyon d that draws draws visitors visitors to his his studio studio in
has style, he’s expensive, and he has good
$225,000 renovation took about a year to
downtown Haddonfield, N.J. The large room
taste.’ It’s all about about the client client experienc experience. e.””
complete, but the results are spectacular. A
is harmoniously divided among handsome
Upstairs is a 1,300-square-foot. office he
Philadelphia lphia photojournalist with the Philade
viewing,, meeting viewing meeting and shootin shooting g areas. areas. Light
shares with studio manager Anne Vasquez,
Inquirer Inquir er for 15 years, Mautner had been a
fills the area between the 13-foot ceiling,
and downstairs is a three-bedroom apart-
home-based wedding, portrait and
wood floor floor and and wainscoted wainscoted walls. walls. A 30x13-
ment where he lives with his children. Built as
commercial photographer for a decade
foot exposed brick wall spans the back of the
a Baptist church in the 1920s, the building later
before openin opening g this studio studio in 2006. 2006.
studio, its faded and worn bricks seeming
became beca me a dan dance ce studi studio o run run by one of the the orig-
original to the building, but they were
inal Rockettes, which turned out to be a bless-
installed as part of Mautner’s master plan.
ing. For years, the main foot traffic here was
area is so large. How did you design a
the soft soft steps steps of baref barefoot oot dan dancers cers.. so th thee
lighting system with enough flexibility to
it to look like a SoHo art gallery to display
nearly 90-year-old beech wood floors needed
accommodate it?
my work,” says Mautner, a New York native,
very ve ry lit littl tlee work. work. “The floor floor guy guy was floored, floored,”
Cliff Mautner : I have the option of stepping
who worked worked with interio interiorr designer designer Michelle Michelle
Mautner laughs.
back more more than 50 50 feet to photogr photograph aph my
“Beyond being a place to shoot, I wanted
Cheutin. “The exposed brick gives it a distinct look. My goal was to have clients
That was about the extent of a financial break for for him, though. though. “Every “Everything thing else— else—
Your Yo ur shooting shootin g
subjects. I have two zones of rails for the lighting lighti ng system system that that allow me to position position the the lights howeve howeverr I want them. them. On the rails rails are
All images ©Cliff Mautner
four Profoto ComPact 600 monolights attached to scissor scissor mechani mechanisms sms that that can extend extend all the way way from the the ceiling ceiling to the floor floor.. That gives me plenty of range—from the back to the front front third of studio. studio. I can can easily easily highhighkey or drop them out altogether and use natural light. I had four 10x14-foot windows installed, which gives me northwest light, a beautiful beauti ful Rembrandt Rembrandt light light not not easy to to produce artificially. I have a Bogen backdrop, backdr op, but I also also use the the brick wall wall as background backg round,, shooting shooting at a shal shallow low depth depth of field so it drops out of focus. Since you were going going for a galler gallery y look, why isn’t your work hung traditionally?
28 • www.ppmag.com
I added chair rails to wainscoting that was already there so I could prop up my photos on it. I did that so clients can pick them up and inspect them. I didn’t want them to be untouchable. It also makes it easy to change the images. images. Cable Cable lighting lighting enables enables me me to direct the lights in any direction, and they add to the studio’s gallery look. What’s the most impressive feature of your studio?
The DWIN TransVision 4 projector, with a separate video processor and high-definition capabilities. It projects to a 92-inch hi-def Da-Lite Neutral Gray screen, which enriches the blacks blacks in my images images.. This system system is used used in home theatres and has film-like quality, and yes, I do watch some sporting events on it!
It took quite a bit of vision to see what this derelict old building could become, and Cliff Mautner supplied it.
Lorna Gentr Gentry y is a freela freelance nce writer writer in Atlan Atlanta. ta.
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Have you always dreamed of seeing your work on the cover of a national magazine? Here’ss your chance! Beginning March 1, 2008, submit your photographs for an Here’ opportunity to be featured on the cover of Professional Photographer . Contest Rules & Judging: Images will be judged on technical and artistic merit. Helping Professional Photograph Photographer er magazine magazine editors choose the best entries will be guest judge Helen K. Yancy, M.Photog.M.Artist.MEI.Cr.Hon. M.Photog., CPP, F-ASP, Hon. F-ASP, the chairman of PPA’s Print Exhibition Committee. You may submit You submit as many many images images as you wish, wish, provided they are representative of the work you sell to your clients. What we’re seeking are real-world examples of portrait, wedding, commercial and event photography. All work
submitted must be original and previously unpublished, and you must have written releases on file from any subjects pictured in the image. Prizes: In addition to landing the cover of a Prizes: In 2008 edition of Professional Photographer , the winner will be awarded a selection of prizes from among our cover photo contest sponsors, Bogen, Canon, Kodak, Microsoft and Miller’s Professional Imaging. Prizes will also be awarded to 2nd-, 3rd-, 4th- and 5th-place winners, and as many as 25 entrants will receive prizes for honorable mention.
How to enter: Go to www.ppmag.com to enter.. Only digital files will be accepted. Print enter images and e-mailed images will NOT be accepted. Upload your electronic images to www.ppmag.com. Format/Specifications: Submit low-resolution images only, in standard digital formats (.jpg, .pdf, etc.). Images should be 525x700 pixels; file size can’t be more than 250k. A high-resolution, print-quality version (300ppi at 9x12 inches) must be available for each image.
GO TO PPMAG.COM TO ENTER Submission deadline: Saturday Saturday,, May 31, 2008
Prof Pr ofess ession ional al Phot Photog ograp rapher her
PRESENTS
Business, Marketing and Sales Strategies
What I think Pricing for profit leads David Schwartz to long-term success What do you wish you knew when you you were first first starting out? That it takes time to develop a look. I spent so much time attempting to emulate others. I should have spent the time soulsearching and stretching myself to come up with new ideas and techniques that felt right to me. Reaching an affluent client requires having a look he can only get from you. What’s the bigg biggest est business business risk you’v you’vee ever take taken? n? I walked away from a nice salary to pursue something I’ve always loved. Making the leap to full-time photography was a tremendous risk. What’s your deal deal breaker? breaker? I pre-qualify my clients before we meet. I make sure they completely understand my pricing and that my photography fits within their budget. I don’t negotiate on price when they visit, and if they attempt to do so, I will cut the meeting short. What is the biggest biggest business business mistake mistake pro photogphotographersmake? At make? Atte temp mpti ting ng to ru run n ev every ery as aspe pect ct of th thei eirr business. busine ss. I believe believe in farming farming things things out to spend spend more time behind the camera. We need to remember that we make make our money money taking taking pictures pictures.. What is the the most most impo importan rtantt element element in a succe successfu ssfull photography photog raphy business? business? Pricing. Ensure that your pricing strategy brings you the income you need to live .
IMAGE BY DAVID SCHWARTZ WWW.DAVIDSCHWARTZPHOTOGRAPHY.COM
March 2008 • Professional Photographer • 33
Photography by Gregory Heisler.
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PROFIT CENTER
Recognized with the 2007 PPA AN-NE Marketing Award, these three marketing campaigns share a focus on the importance of targeted targ eted promo promotion tion,, atten attention tion to detail detail,, and maintaining effective Web sites and blogs.
“Every year there are 22 percent more photographers in the marketplace,” says an animated Christa Hoffarth of South Lake Tahoe, Calif. “That number scares me.” A healthy healthy fear of of competition competition may may propel propel Hoffarth to work harder, but what distances her from the pack is smart marketing for
BY LORNA GENTRY
her eponymous wedding photography
Married to t o marketing INNOVATIVE MARKETING STRATEGIES
business. busine ss. Her Her deft techniques techniques were were recently recently recognized with the 2007 PPA AN-NE Marketing Award for her outstanding wedding weddin g marketing marketing campaig campaign. n. The annual annual award, which honors member photographers’ photographers’ creativity and effectiveness in marketing, also wentt to wen to finali finalists sts Peter Peter Holcomb Holcombe, e, API, CPP CPP,
All images ©Cheryl Pearson
Christa Hoffarth designed her AN-NE award winning-wedding marketing campaign to make a big first impression on upscale clients.
36 • www.ppmag. www.ppmag.com com
of Holcombe Photography in Lafayette, Colo., and Albert Lewis of Mulberry Photography in Truckee, Calif. These three photographers agree on the importance of focused promotion, paying attention to detail, and maintaining effective Web We b sites and and blogs. blogs. They differ differ in approa approach ch when it comes comes to brochu brochures, res, due in in part to their differing differing markets markets,, business business strategies strategies and targeted audiences. The three promotions are a study in contrasts, but the effect is the same: greater profits. Christa Hoffarth is a natural at marketing. Last year she designed a new brochure and other promotional material for her wedding photography business. Because most of her clients are out-of-towners, Hoffarth says her Web We b site and and brochure brochure are the the only sellin selling g tools she she has. And because because competitio competition n in her marketing area—San Francisco, San Jose,
Albert Lewis targets his brochure to event planners. The quality of every component communicates communicates the sophisticated aesthetic that he will bring to a wedding.
Sacramento and Lake Tahoe—is fierce, she has to make a lasting first impression in print. Targeted at upscale u pscale wedding clients, her
press information page, and a page with an
and aesthetically pleasing. She figured her
brochure brochu re denotes denotes sophistic sophistication ation.. “My client clientss
explanation of her philosophy of wedding
clients would feel the same way about high-
spend anywhere from $200,000 to $1
photography. A DVD of her work—an
quality promotional items, and apparently
million on their weddings, with the average
“indispensable portable marketing tool,” she
she was right. “My brides keep these
being $300,000 $300,000,,” says says Hoffarth. Hoffarth. “Mos “Mostt of
says—is seated in a sleeve affixed to the
brochures broch ures and and give them them to their their friends, friends, so
my brides are MBA grads. In fact, a lot of
back. A clear clear plastic plastic routed routed business business card card
they continu continuee to market market for me for for years. years.”
my brides were together in the same MBA
foil-stamped with her contact information
program, like at Stanford, for example.”
goes on the front cover. For mailing, she
the contract contract and and payment payment informat information ion with with
slips the brochure into a transparent self-
thank-you than k-you cards cards and a compliment complimentary ary
sealing envelope.
bride’s emergency emergency survival survival kit kit in a clear clear
CHAIN REACTION. To appeal to these
monied professionals, Hoffarth’s brochure
“These brochures have texture appeal
Once a couple hires Hoffarth, she mails
acrylic box. Inside are dress chalk, safety
design is eye-catching, sleek, contemporary
and sound to them,” says Hoffarth. “They
pins, hairpins, deodorant, stain remover,
and fun. The six pages of the 6x6-inch, matte-
have a feeling of immediacy, and the clear
sewing kit, breath mints and pain reliever.
finish brochure are bound with an elegant
plastic envelope makes the brochure even
silver chain. Her printer, Blossom Publishing
more apparent. appare nt.””
in Winona, Minn., drills holes in the card-
Each brochure costs $3.50 to produce, so
Ever mindful of branding, all her packaging and marketing materials are color and logo coordinated. Hoffarth’s colors are a con-
stock pages, and Hoffarth finishes each hole
Hoffarth pre-qualifies brides who request
centrated light blue and white, which appear
with a silver silver grommet grommet befor beforee thre threadi ading ng the
one. She got the idea for the piece from her
as solid colors and in a loose floral pattern.
balll cha bal chain in th throu rough gh the pa pages ges.. Fol Follo lowin wing g the the
enjoyment of saving shopping bags from
“I still print proofs, so I package them in a
photo-im phot o-imprin printed ted cover page are two pages on
expensive boutiques. “I use them again and
beautiful beauti ful black-and black-and-white -white box box and use use my
pricing, a page about reprints and albums, a
again,” she admits, because they’re well made
brand colors colors as accents— accents—aa blue silk silk ribbon ribbon
March 2008 • Professional Photographer • 37
PROFIT CENTER
Naturally, he’s selective about whom he markets to, and and he screens screens the recipien recipients ts carefully carefully.. With a backgr background ound in graph graphic ic design, design, fashion photography and art direction (he was an art director director for Nordstr Nordstrom om and Neiman Marcus), Lewis knows good visual marketing. “My degree is in graphic design so it’s in my blood, blood,”” he chuckles. “It’s hard to design for yourself, so I work with a design firm. With the brochure, we tried to integrate the photogra photography phy and and guts of of the piece piece with the overall overall design. design. The The design catch catches es the eye of the type of client we’re going for. This is not in-your-face marketing. We wanted to create a mood and drive business on the sophistication of the piece. This brochure says, ‘If we can do this, then we can apply these same aesthetics to photographing your wedding. wedding.’” ’” Lewis’ 2007 ad campaign also included five No. 10 envelope-size cards mailed periodically throughout the year. Each card feaPeter and Kathy Holcombe garnered the favor of wedding planners by sending them four-packs of custom-labeled Jones Soda.
tured images images from from a wedding wedding the studio studio photographed, along with one-word head line li ness (su (such ch as “L “Lum umin inou ous, s,” “Bl “Blis iss, s,” “Ca “Capt ptiv ivating ating”) ”)
and custom tag that I write a personal note
wedding weddin g coordinat coordinators ors have have been very very
and a heartfelt account of how he and his
on. With the package I send a gift, a 3x3-
complimentary. Many tell me they keep it
wife and and fellow photo photograph grapher, er, Tari, felt felt
inch bride book. We also send a first-year
on their desks, and some call after they
about the wedding. There is no sales language.
wedding weddin g anniversa anniversary ry gift, an acco accordion rdion
receive it. Because our clients come from all
Reading like a wedding photographer’s blog,
photo book in our colors with graphics and
over the country, countr y, we mail it nationwide.”
thes th esee car cards ds ar aree int inten ende ded d to to gen gener erat atee ent enthu husi sias asm, m,
black-and-w blackand-white hite images. images. The The outside outside of the
Clean and elegant, the gate-folded bro-
box is a floral floral black-a black-and-wh nd-white ite print print that
chure opens to an impressive 26 inches long.
matches our marketing motif.”
Inside is a mini portfolio of the studio’s work,
showcase Mulberry’s work, and keep the studio’s name in the eye of their target audience.
which is showc showcased ased on on individual individual sheets sheets of
MAILBOX WOW. Peter and Kathy
NATIONAL FOCUS. Like Hoffarth, AN-
heavy matte card stock held in place by
Holcombe’s printed brochure wasn’t taking
NE finalist Albert Lewis of Truckee, Calif.,
small rivets. The outside cover is fine-ribbed,
their busines businesss in the directio direction n they wanted wanted
caters to affluent wedding clients in the
grayish-green paper embossed with the
to go. go. “In 2005 2005 we were were avera averaging ging $3,5 $3,500 00
Lake Tahoe area, as well as in i n Palm Springs.
studio’s logo, a stylized mulberry mulberr y tree. Inside, Inside,
on wedding packages,” says Peter. “We
Lewis, too, relies on a sophisticated brochure
the colo colors rs are are cream cream and a serene serene green green,, with with
wanted want ed to break break out of that that mold mold and go go
to sell sell his serv service ices. s. Unli Unlike ke Hof Hoffar farth th’s ’s,, howev however er,,
the excepti exception on of the contac contactt page, page, which which is
after high-end clientele. So in 2006 we did
Lewis’ targets wedding coordinators and
standout mauve, the color of mulberries.
something different from the tri-fold, printed
event planners. “Eight-five percent of my
Hand assembled, each brochure costs Lewis
brochures brochu res go to event planne planners, rs,” he says. says.
a whopping $32, but he maintains that these
“The piece communicates quality and the
head-turners are generating high-end business.
38 • www.ppmag.com
piece we had been doing.” “We feel a brochure is limiting,” Kathy adds. “It doesn’t show off our images or demon-
strate the quality of our work. We decided to
four wedding photographs was printed on
On the bottlenecks they hung custom-made
produce a DVD that shows how we’re different.”
each bottle, along with catchy messages on
tags with fun fun wedding wedding imag images, es, like like a close close-up -up
the labels, labels, such such as, “Holcom “Holcombe be Photogra Photography: phy:
of a bride putting on mascara, along with such
they pac packag kaged ed it it in a stri strikin king g way way.. “Our “Our
refreshingly unique,” “Don’t trust your
pithy tag lines as “Keep an eye out for us.”
materials arrive in a padded silver envelope,
wedding weddin g photograp photography hy to the the bland, bland,”” and
which whic h gives gives it the the ‘wow’ ‘wow’ fact factor or right right out of of the
“Call us for full-flavored images and service.”
Once the Holcombes created the DVD,
The Holcombes shipped the bottles by UPS and FedEx so they could track delivery.
mailbox. The DVD is wrapped in a rectangular aluminum tin with a custom sticker, ribbons and tissue paper. Fitted inside the tin is a brochure with rounded corners.” Brides feel that opening the tin first gives them the feeling of opening a gift. "It has really given us a leg up.” Right away the results were dramatic. Within a year booking bookingss increased increased and and the
Holcombes averaged $7,800 $7,800 per wedding, which handso handsomely mely offset offset the $10-per $10-per cost cost of the mailing. mailing. (They (They also screen brides brides before before
going to the expense of mailing to them.) Now Holcombe Photography attracts a clientele that’s in the 27 to 32 age range, who, says says Kathy Kathy, are professio professionals nals with at
least a B.A. degree. degree. Peter Peter adds, adds, “We “We do get
the young younger er clients clients too, too, usual usually ly from from families families
who can can afford afford [an upscale upscale] ] wedding. wedding.””
JONESING FOR ATTENTION. In 2007,
the Holcomb Holcombes es decided decided to continue continue with with the
tins,, and go out tins out a little little furth further er on the the creativ creativee limb with a dynam dynamic ic new new campa campaign ign inv involv olving ing Jones Soda. This time the target wasn’t brides but event plann planners ers at upscale upscale venues venues in the area. The Holcombes had been knocking on their doors doors for five five years years with little little success success.. Peter likes to research marketing ideas on Photojojoo, an the Web, Web, and and he learned learned from Photojoj
online photo newsletter (photojojo.com), that
the makers makers of the the popular popular soft drink drink Jones Jones Soda will print personal photos on its bottles for a fee. “We thought it would be a clever way
to make make a first impress impression ion on peopl peoplee we’ve been trying trying to get get to know know,” says says Kathy. Kathy. They ordered 16 sets of four-bottle packages in four Jones Soda flavors. One of
March 2008 • Professional Photographer • 39
PROFIT CENTER
now display their wall portraits and books.
MARKETING ON THE ROAD
The cost of the campaign was high, about
Christa Hoffarth shares her marketing knowledge this month alongside another savvy
$70 per venue, but the return on the invest-
marketer, Laura Novak (www.novakphotography.com), in a workshop at Novak’s
ment more than paid for it, they say. The
Wilmington, Del., studio, March 4-5.
Holcombes now average $12,000 per wedding.
Hoffarth creates templates that photographers can use in their promotions to
Says Peter, “I think marketing is one of
ensure their brand is uniformly reinforced in their brochures, business cards,
the most most exciting exciting aspects aspects of this this business. business.
letterhead, tags and more. Checkout Hoffarth’s marketing site for photographers,
It’s all problem-solving and thinking
Jellyfingers.wordpress.com.
through. throug h.”” “We’re “We’re passio passionate nate about about marketin marketing g
Kathy and Peter Holcombe share their know-how in increasing wedding sales at the Imaging Workshops of Colorado, (www.coloradow (www.coloradoworkshops.com) orkshops.com) May 19-21.
and our business,” adds Kathy. “We calculate carefully. At the beginning of each year we figure out how much we want to work, how much we need to make, and then design our
A day day after after del delive ivery ry,, they they call called ed each recip recipient ient,,
the follow-up follow-up phone phone call call was was to set up up a
and they were blown away by the response.
meeting to show our book and get to know
“The amazing thing is that we got thank-you thank-you
them.. We them We got got a meeti meeting ng with with every everyone one..”
notes from these coordinators,” says Kathy. “I
This imaginative campaign put Holcombe
don’t think anyone gets thank-you notes for
Photography on 12 of the 16 venues’ preferred
promo materials,” Peter marvels. “Our goal of
photographer list, and five of the venues
40 • www.ppmag. www.ppmag.com com
[marketing] materials according to that.” For the Holcombes, provocative marketing fuels a business that underwrites the good life.
Lorna Lorn a Gentry Gentry is a freel freelance ance writer writer in Atlanta. Atlanta.
PROFIT CENTER
C H A R L E S J . L E W I S , M . P H O T O G .C .C R .
It’s not the price, it’s the way you present it. Train yoursel your selff to be comfo comfortab rtable le talking talking abou aboutt your fees fees..
Because you’re worth it
understand how she feels—“I know exactly how you feel, and I understand.” You want to continue continue working working with with this prospe prospect, ct, so don’t argue, confront or correct. KNOW YOUR LINES. How many
times have have you you thought thought of the the perfect The better you become at presenting your
anyone. You can make a great living by
comeback too late? Write down and
fees, the higher those fees can be. Here are
being honest!
memorize good replies to typical questions
five keys to successful presentation.
You Y ou want want to sound sound as if the studio studio is
and likely objections in all phases of the
SELF-CONFIDENCE. Y You ou need to to
busy.. You busy You want want clients clients to see that that you you have
sales process. For example, early on you
practice—no kidding, practice—presenting
to pore over over your bookin booking g calendar calendar to find find
might take control of the conversation like
your fees fees in a self-ass self-assured ured way way that says says cuscus-
an opening for them.
this: “Before “Before we we go any any further, further, let me give give
tomers are already already gladly gladly payin paying g those those fees.
GENTLE DISARMAMENT. When a
you an ide ideaa of of what what you you can can pla plan n on on inves investin ting. g.
You Yo u need to look, act and sound self-
prospect says something negative, such as,
Is that okay? For a portrait of the kind you
confident and successful, even before you
“Your fees are high,” be ready with a cush-
described, most folks invest between [your
are. I’m not suggesting that you lie to
ioned response. First, acknowledge that you
figures here] and get a large framed portrait
42 • www.ppmag.com
for themselves, plus a few smaller prints for friends, family and the workplace. Does that fit into your budget?” Notice that no exact print sizes have been mentioned.
Keep mentioning that if the caller isn’t thrilled wi with th yo your ur work wo rk,, yo you’l u’lll do wh whaate teve ver’ r’s ne nece cess ssaary to de deli ligh ghtt he herr, or yo you u wil w illl ret etur urn n her mon oney ey in fu fulll, no ha hass sslles, no ha harrd feelin ing gs.
You Y ou want want the ballpark ballpark figure figure you’re you’re quoting to be an honest representation. Add up the sitting fee, an 8x10 print (the prospect probably considers that “large”) and a couple of 4x5s. That’s the starting figure. For the high figure, add about 20 percent to cover a few more of the small prints.
The owner of this RAID storage device heard some really good news
Closer to closing the sale or ending the conversation,, ask a well-worded question conversation to see how close the prospect is to making a decision. My favorite is, “How do you feel about that?” I use it all the time, in all sales situations, including the presenta tion of the fees. YOU DON’T NEED HER MONEY.
You Y ou want want to get the the decision decision today today,, but you
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don’t want to sound anxious. Always talk in terms of of how she will will benefit benefit by working working with you you over any any other other photograph photographer. er. Memorize the unique qualities you specified in your business plan, and always open with your guaran guarantee tee of satisfac satisfaction. tion. GUARANTEE SATISFACTION AND GET A PAYMENT TODAY. Keep men-
tioning tionin g that if the the caller caller isn’t isn’t thrilled with your work, work, you’ll you’ll do whatever’ whatever’s necessary necessary to delight her, or you will return her money in full, no hassles, no hard feelings. If you will take action in these ways, you’ll be able able to charge charge more more for your your photography,, and see dramatic improvephotography ment in your profits and cashflow.
For more tips tips from Charles J. Lewis, Lewis, visit www.cjlewis.com.
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March 2008 • Professional Photographer • 43
THE JOY OF MARKETING
TM
SARAH PETTY, CPP
competitor offers a certain item, you don’t have to if it doesn’t go with your brand or if you simply don’t like it.
In a clever marketing strategy, pricing can actually enhance your studio’s image. Pricing can even make people do what you want them to do!
Party like it’s $1,999 TIPS FOR CREATING ATTRACTIVE PRICING
Boutique items such as photo jewelry, purses and personalized greeting cards make fine add-ons and incentives, but aren’t necessarily high-profit items. You don’t want to undermine your more profitable portrait sales, so it’s a good idea to make a separate rate card for them, or even require a minimum purchase before clients can order them. Use prices to make people do what you want them to do. Take Take the session fee, for example. If it’s better for you not to photograph on location, set your location
Remember that “silly little millimeter”? When you you buy somethin something g for $1,999, $1,999, you say say you’ve you’ve spent less less than than $2,000. $2,000. Well, Well, you have, have, by $1. $1. That little little bit less less than than two grand makes a big difference psychologically.
The more you have to explain, the more
session fees twice as high as studio
they have to employ logic to make the
sessions. If the fee doesn’t discourage the
decision.
client, it will be worth your while to do it.
If you have more than one target market,
If you notice that your in-studio sessions
you can have more than one set of prod-
average three times more sales than
ucts, and certainly more than one rate
location sessions sessions and take half the time to
tographers, I like to start by determining if
card. For example, you might offer albums
do, you might lower the studio session fee.
their expenses are in line, including the
to high school seniors, but not to buyers
If you want to limit your Saturday or
cost of sales, employee wages, administra-
of child and family photography. You need
evening hours, it’s amazing how higher
tive expenses, and general overhead. If
separate, exclusive lists of your products
session fees or minimum purchase
those are in line, I like to evaluate their
and prices.
requirements will encourage people to find
When I consult on marketing with pho-
pricing. Sometimes studio owners ask what
And you don’t have to offer every great
their pricing has to do with marketing.
product you saw at Imaging USA, especially
Believe it or not, pricing is a key ingredient
in a boutique business. Just because a
of the marketing mix. I’ve seen photographers struggle with pricing and creating a rate card, and I’d like to share some tips to make it easier. One of the largest problems with pho tographer rate cards is that they’re confusing, often overwhelming. Simplify! If you present too many choices, it’s it’s going to take way too long to explain it all to your clients. You You want to keep clients interpreting information through the emotional side of their brain, not totting up the facts.
44 • www.ppmag.com
‘‘
time to come in during the week. I’m a big believer in using business management software that helps you
I’m a big believer in using business management software that helps you identify your most profitable sessions. It can help you decide if you you should charge more for large groups, additional clothing changes, all manner of extras.
THE JOY OF MARKETING
TM
identify your most profitable sessions. It can
simple and clearly worded. I don’t have a
effective to produce full-color rate cards in
help you decide if you you should charge
problem with a rate card leaving the studio,
small quantities. We order ours from White
more for large groups, additional clothing
but only only if it’s part of your your sales sales plan. plan. I don’t don’t
House Custom Colour in quantities of 25 or
changes, all manner of extras. You might
believe in posti posting ng prices prices on the the Web. Web. I want want
50, so if we need to adjust our prices, it’s not
find that the large orders that result from
prospects to call the studio so we can chat.
a huge expense. We like to print them on
group portraits make it unnecessary to charge higher session fees.
Rate cards can also help illustrate the value
small, elegant folded cards—it makes such a
of your photography. They must be
difference in how people perceive your work.
beautiful! beautif ul! One of of my favorite favorite guideboo guidebooks ks is
Always Alwa ys include include a very high-p high-priced riced item on
packages against a la carte pricing. There
“The Non-Designer’s Design Book, Book,”” by
your price price cards. cards. You You may never sell sell the
really isn’t a right or wrong answer. Looking
Robin Williams (Peachpit Press). It presents
item, but it will lend value to your other
at your sales averages will help you choose a
the principles principles of of using type type and and graphics graphics
products and will allow you to keep raising
method. If you do offer packages, make sure
effectively. Use photography to illustrate the
the prices. prices. Now Now we all dread dread presentin presenting g
they contain contain enoug enough h value for for the price price to
products wherever possible. It is much
price increases, but the increase is less
encourage people to invest in more than
easier to sell a collection of six images if
glaring when you use odd numbers: $1,999
they would would otherwise. otherwise.
people can see how they look together. The
is less than than $2,000! $2,000!
You Y ou also also need to weigh the the benefits benefits of
Rate cards are not a marketing brochure for your company, but a vehicle for stating yourr price you prices. s. Stil Still, l, they they sho should uld be well well des design igned, ed,
46 • www.ppmag. www.ppmag.com com
look and and colors colors of the the design must also also be consistent with your brand identity. With the the ease of of digital digital printing, printing, it’s cost
Sarah Petty Petty Photograph Photography y is in Springfield Springfield,, Ill. (www.sara (www.sarahpetty.co hpetty.com). m).
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PRESENTS
Products, Technology and Services
What I like Gene Higa is always on the move, and so is his gear What makes your workflow flow? The Bay Photo Lab ROES system. We can upload every thing thin g from reprin reprints ts to albu album m pages pages to greetin greeting g cards. Orders magically show up at our door days later. We can do it from anywhere in the world wor ld as lon long g as as we we hav havee an an Int Intern ernet et con conne necti ction on.. What’s the the best equipment equipment investment you’ve you’ve ever made? My Canon EOS 5D. The fullframe image sensor brought me back to the 35mm days. Little thing, big difference ... My 12-inch Mac laptop has traveled the world with me. I use it to back up image files, create slideshows, conduct workshop presentations and keep in touch on the road. What hot new product are you going out of your way to use? My iPhone. Just for fun, I’ll have my assistant grab an image of my clients and me at their wedding. I immediately email it to them along with a thank-you note. Has a piece of equipment ever changed the way you approach your your photography? photography? The Canon 50mm f/1.0 lens. It keeps me moving on the job. What is the most valuable piece of gear for shooting on-location? I have this custom Tamrac belt pack with four pouches for holding gear. It helps me stay mobile and have every essential ready for action. IMAGE BY GENE HIGA WWW.GENEHIGA.COM
March 2008 • Professional Photographer • 49
THE TH E GO GOOD ODS: S: PRO REVIEW
Nikon’s first full-frame DSLR tops previous models and blows the competition out of the water. BY ELLIS VENER
Completely right NIKON D3
A l l i m a g e s © E l l i s V e n e r
To say that Nikon users have waited a long time for a full-fr full-frame ame DSLR DSLR is an underunderstatement. Under this kind of pressure, Nikon needed to get it right the first time. With the the D3 they have. have. Wedding W edding,, event and and studio studio shooters, shooters, you you now have a high-resolution DSLR that’s superb at high ISO, has an extended dynamic range, especially in the highlights, and excellent color accuracy under a variety of lighting situations. I exposed thousands of frames, ranging from snapshots to architectural to portrait photography, under ambient light, carefully controlled lighting and lit studioon-location portraits, at ISO settings from 100 (L-1.0) to 6400. The results pleased not only me, but notably picky clients as well. I even tried the H +2.0 setting (ISO equivalent 25600). It works, although you’ll want to to reserve it as a fallback fallback when when using using flash would be disruptive or dangerous, or when your your flash flash batteries batteries have have died. It’s It’s also also worth sayin saying g that even even with frequen frequentt image viewing viewin g on the the camera’s camera’s large large highhighresolution LCD, the D3 consumes minimal battery batt ery power. power. The D3 exhibits a reduction in the chromatic aberrations common to other full-frame 35mm-based DSLRs. Nikon’s
The quality of high ISO images from the D3 may lead you to shoot with less light than you have been. Exposure: 1/60 second at f/2.8, ISO 6400.
Expeed digital imaging concept—optimized
paired with on the D2 series. The AF sensor
last DSLR DSLR I saw saw with two two CompactFla CompactFlash sh
in-camera image processing technologies
field choices have narrowed from four to
card slots was the $8,000, 6-megapixel
that speed speed capture capture rate, rate, refine refine image image quality quality
three. And And in the lower lower right right corner, corner, the AF
Kodak DCS 760 of 2001. Having two CF
and handle images in 16-bit color—deserves
on button and the main command wheel for
cards is useful in a couple of ways: You can
much of the credit for this.
verticall shooting vertica shooting have have been been reversed. reversed. The
set the camera to record to both cards for in-
media compartment door is wider to
camera backup, or to overflow from one card
accommodate two CompactFlash cards. The
to the next next and seamle seamlessly ssly continu continuee writing
You Y ou can see the benefit benefitss of Expeed Expeed technology by comparing images captured with a D3 and D300 to those captured with earlier Nikon DSLRs with the same lenses, and fac toring in other other technolog technological ical advanc advances, es, as in sensor design. This is true with both in-cameraproduced JPEGS and NEF (raw) photos. Nikon and many of the brand’s users assert that it takes Nikon’s Capture NX soft ware to get get the most most out of your your D3 NEF NEF files, but I do most raw processing in Adobe Photoshop Lightroom 1.3.1. because it’s faster and I prefer its interface. Qualitatively, Capture NX can do a better job of NEF processing (especially with the implementa tion of Nik Nik Softwa Software re U Poin Pointt techno technolog logy), y), but but the differe difference nce isn’t isn’t great great enoug enough h with gene general ral work to sacrif sacrifice ice the speed speed of Lightro Lightroom. om. The D3 handles like an evolved version of
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previous top-end Nikon DSLRs. The topside LCD and top deck controls are the same, save for the addition of an optional live view mode. The crisp, bright, 3-inch, 920,000-dot (VGA) LCD monitor monitor dominates the camera’s back. The The new LCD is is not only only better better for previewing, but also makes menu navigation and setup more efficient. Protected by a pane of tempered glass, the LCD no longer has a plastic cover. Some of the control buttons have been modified or moved. The changes are important if you’re a D2 shooter accustomed to operating the body by feel. The The control control buttons buttons to the left of the LCD are much much the same, same, but the the zoom function is now the second button from the top. To the right of the LCD there are a few notable changes: the combined AE/AF AE/ AF lock button button moved down down and and to the left, away away from the AF on butto button n it was
Call 631-656-7400, visit www.qtm.com or your professional photo dealer for more information.
March 2008 • Professional Photographer • 53
THE TH E GO GOOD ODS: S: PRO REVIEW
or you can shoot NEFs and JPEGs simultaneously,, dedicating a card to each format. I neously used the first option more, with either a 2- or 4GB SanDisk Extreme IV card or a Kingston 266X card in slot 1, and a 16GB Sandisk Extreme III card in slot 2 to backup the less
specs: Nikon D3
capacious cards. The Canon 1Ds (Mark II and II) and 1D (Mark II and III) also have two
SENSOR: 3:2 aspect ratio, 23.9 x
media slots, but the second is for an SD card.
36.0 mm; CMOS
Like earlier Nikon models and the com-
RESOLUTION: FX format (full
peting Canon 1D series, the D3 is a large, heavy
frame) 12.1 effective megapixels
camera, especially with a large aperture zoom
(4,256 x2,832 pixels);
or prime lens attached. A D3 with AF-S Nikkor 24-70mm f/2.8G ED lens adds up
DX format (APS-C crop) 5.14 megapixels (2,784 x 1,848 pixels); 5:4
to about about 5 pounds pounds (body (body, battery battery,, and lens) lens)
format (30x24mm) 10 megapixels
to ca carry rry ar aroun ound. d. Tha That’ t’s not not a plea pleasa sant nt wo worko rkout, ut,
(3552 x 2832 pixels)
and adding adding a flash or, worse, worse, a flash on a
METERING: TTL full-aperture
brackett makes it even rougher bracke rougher.. Please, Please, Niko Nikon n
exposure metering, using 1,005-pix 1,005-pixel el
and Canon, work on lightening your high-end high-end
RGB sensor: 3D Color Matrix Metering
cameras while retaining the capabilities.
II (type (type G and and D lenses lenses); ); Color Matrix Metering II (other CPU lenses); Color Matrix
Skin tones looked great under television studio lighting. Exposure: 1/640 second at f/2.8, ISO 3200 with a Nikon 70-200mm f/2.8G AF-S Nikkor.
sider the D3. Like the D300, it’s a 12-mega-
Metering (non-CPU lenses if user provides lens data); center-weighted (weight of 75 percent given to 8-, 15- or 20mm circle in center of frame, or weighting based on average
pixel (12.1 officially) camera, but we know
of entir entiree frame); frame); spot, mete meters rs 4mm circle circ le (about (abou t 1.5 percent of o f frame) centered ce ntered on
pixels are not all equal. With a total sensor
selected focus area (on center focus area when non-CPU lens is used)
area slightly more than 100 percent larger
ISO EQUIVALENTS: ISO 200 to 6400 in steps of 1/3, 1/2, or 1 EV; with additional
than the the D300, the the D3 has larger larger individ individual ual
0.3, 0.5, 0.7, or 1 (ISO 100 equivalent) EV below ISO 200, and 0.3, 0.5, 0.7, 1 (ISO
photoreceptors on the CMOS chip, which parlays into lower noise at high ISO
12800 equiv.), or 2 (ISO 25600 equiv.) EV over ISO 6400 WHITE BALANCE: Auto (TTL white balance with 1,005-pixel RGB sensor), seven
equivalents, as well as a greater dynamic
manual modes with fine-tuning, color temperature temperature setting, white balance bracketing bracketing
response range at all ISO settings, a premium
possible (2 to 9 frames in 1/3 increments)
for photographers who shoot in low-light
SHUTTER: 1/8,000 second to 30 second in steps of 1/3, 1/2 or 1 EV; Bulb
and sometimes high-contrast situations,
VIEWFINDER: SLR-type with fixed eye-level pentaprism; built-in diopter adjustment
such as photojournalists, sports photographers
(-3.0 (-3. 0 to +1.0); +1.0); 100% coverage coverage (vertical (vertical and horizontal); about 0.7X magnification magnification with
and wedding and event photographers.
50mm lens at infinity
Image quality is the real reason to con-
Also top-not top-notch ch is the senso sensor’s r’s renderin rendering g
LCD MONITOR: 3-in., approx. 920,000-dot (VGA), 170-degree wide viewing angle, 100%
lifelikee flesh tones, lifelik tones, even even under under a variety variety of lighting. lighti ng. The D3 D3 got it right right in my my test shots shots
frame coverage, low-temperature low-temperature polysilicon TFT LCD with brightness adjustment. LIVE VIEW: Tripod shooting mode, contrast-detect AF anywhere in frame; hand-held
under lighting conditions ranging from
shooting mode, TTL Phase-difference AF with 51 focus areas (including15 cross-type sensors).
electronic flash with a soft box; tungsten
LENS COMPA COMPATIBILIT TIBILITY: Y: DX AF Nikkor all functions; other Nikkor lenses with limited
television televis ion studio studio spotlight spotlights; s; and mixes of
function; IX Nikkor lenses not supported
existing light, including all sorts of daylight,
FLASH: NIKON i-TTL i-TTL Speedlight flash units and Nikon CLS
candle light, both standard straight and
MEDIA: 2 slots: CompactFlash(TM) (Type (Type I/II, compliant with UDMA); Microdrives
compact fluorescent tubes, and some really
MSRP: $4,999
nasty and badly ballasted mercury vapor
54 • www.ppmag.com
fixtures. The ISO equivalent ranged from 100 (L -1.0) to 25600 (H+2.0).
When the subject subject and the camera camera are
also capable of shooting 8-bits per channel
not moving, using the Live View Tripod
in the TIFF file format. Why TIFF? I
mode in conjunction with that big LCD
suspect it’s at the request of some
dynamic predictive autofocus. Nikon’s
makes a large difference. You can zoom the
government entities.
Multi-CAM 3500FX autofocus module uses
display to an area of any size anywhere in
51 focus points in a rough oval pattern,
the frame and, and, with the camera or or lens set
tucked into into the D3’s D3’s firmw firmware. are. Every Every phopho-
including 15 cross-type sensors and TTL
to manual focus, focus, carefully carefully focus on the
tographer togra pher will will have have personal personal favorites favorites,, but
phase detection, and operatives in light
exact area you want, just as you can with a
aside from the Live View Tripod mode, I
levels rangin ranging g from -1 -1 to +19 +19 EV EV (as (as
view camera, camera, ground glass glass and a magnifier magnifier,,
particularly like these:
measured meas ured at IS0 100, 68 degrees Farenheit).
but in many ways ways better. better.
The D3 also shines in 3D-tracking
Color information from 1,005-pixel 3D
The D3 is capable of shooting 9 frames
There are some real operational goodies
• The two ways of using the camera’s orienta tion sensors sensors as a virtual virtual horizon horizon tool. tool. The
Color Matrix Metering II enhances
per second in the FX or 4:5 aspect mode,
most obvious way is through the large virtual
autofocus performance by helping the AF
up to 11fps in DX mode. With a fast CF
horizon display on the rear LCD, accessed
module predict the motion of a subject not
card, you can capture a large number of
through thro ugh the the camera camera setup setup menu— menu—very very useful useful
only as it moves across the frame, but also as
frames before the buffer fills. The official
when the the camera’ camera’s mounted mounted on a tripod. tripod. If If
it gets larger or smaller, and moving toward
buffer capacity capacity ranges ranges from 108 small, small, basic
you nee need d to see the the tilt tilt angl anglee in the viewf viewfind inder er
or away from the camera. You have a choice
JPEGs (0.4 MB on average) to about 16
or on the top deck LCD, you can set the custom
of single point, dynamic area area AF, or
uncompressed, 14-bit-per-channel NEF
function menu to activate the virtual horizon
automatic area AF sensor patterns. The
files (24.7MB on average), giving you lots of
with the Fn button button near near to the lowe lowerr right right of
most useful of these is the dynamic mode.
options for sequential shooting. The D3 is
the lens lens moun mount. t. The The degree degree of of tilt is is indicat indicated ed
March 2008 • Professional Photographer • 55
THE TH E GO GOOD ODS: S: PRO REVIEW
by what would otherwise otherwise be the overover- and underexposure scale. • The programmable intervalometer.. • The ability to program the camera for up to nine different non-AF lenses (which comes with every Nikon in the D2 series). • And a really big deal: a tool to measure the sharpness of your lenses. You can use the autofocus fine-tuning tool with up to 20 CPU-equipped AF Nikkor lenses, including multiple lenses of the same type used on one D3 body (in other words, if your studio has multiple 24-70mm f/2.8G, f/2.8G, 70-200mm f/2.8G, 80-200mm f/2.8 D AF, or 300mm f/2.8 AF-S Nikkor lenses). This tool isn’t needed to correct any slop at the Nikon factory, factory, but to optimize individual camera bodies with individual lenses, which cinematographers cinematographers have done for decades.
Using the camera's built-in intervalometer, I shot a sequence of 240 frames at 1fps of the Ocean Voyager tank at the Georgia Aquarium, and later made an 8- second movie using Apple QuickTime Pro software. Exposure: 1/100 second at f/2.8, ISO 3200, with 14-24mm f/2.8G Nikkor at 14mm.
PROFESSIONAL
Promote your photographic products and services with targeted and affordable classified advertising. For maximum exposure, each ad insertion runs in both the printed issue and on ppmag.com. • $1.50 per word (rates are net and non-commissionable. • $2.00 per word/words 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. • Ad copy must be sent by mail, fax, or e-mail. Copy and changes are not accepted by phone. • Remittance must be received with order. Check and credit cards accepted. Remittance to: Attn: Monique Martin Professional Photographer Classified Ads 229 Peachtree NE, Ste. 2200, Atlanta, GA 30303 800-339-5451,, ext. 221 800-339-5451 FAX 404-614-6405 56 • www.ppmag. www.ppmag.com com
THE TH E GO GOOD ODS: S: ARCHIVING
Two photographers discuss their experiences with Photo PhotoShe Shelter lter,, an onli online ne archiv archiving ing servic servicee and stock agency.
property, MIT scientist Mr. Enby. “I don’t love re-shooting re -shooting subjects,” subjects,” says Fasten. “I sent the editor a link to my [Enby archive] gallery. He downloaded a low-res file from the PhotoShelter Personal Archive,
BY AUDREY GRAY
showed it to his editor, and within a day, he
Sa S afe and for sale ONLINE ARCHIVING AND SALES
had the image he needed. It was just so easy!” Easy and profitable. Fasten Fasten’s ’s business acumen and navigable archive system allowed her to shoot once and score twice. You never know when an image will suddenly be in demand again—just ask photojournalist
Photographer Leah Fasten of Boston recently
Make ke editors a link to her Enby gallery sent the Ma
Dirck Halstead, whose archive happened to
experienced a workflow best-case scenario.
on PhotoShelter, they chose a winner, and
include a shot of President Bill Clinton
Editors at Make magazine asked her to shoot
paid Fasten. She still owned long-term copy-
embracing a young intern named Monica—
a portrait of an MIT scientist named Drew
rights to the image, and everyone was happy.
so many photographers are asking how to
Enby. Fasten had a great day with Enby, return-
Flash forward a year-and-a-half.
make their image collections key-worded,
ing from the shoot with a number of strong
Esquiree Fasten gets a call from Esquir
searchable, and above all, stored securely.
images, which she edited and and uploaded to her
magazine’s photo editor, who wants to hire
online archiving service, PhotoShelter. She
her to photograph—guess who? That hot-
One option, of course, is a do-it-yourself indexed archive on DVDs, but disks can fail over time. Another solution involves multiple hard drives, deciphering deciphering RAID specs, and housing housing servers in i n the basement, headache inducers all, and then you’ve got to think think about how how you’ll transf transfer er or even access your archives as your hardware hardware becomes beco mes obso obsolete lete.. Anoth Another er option option is to outsource the task to an online archiving service. There are several outfits to choose from, which offer varying services and presentation styles at varying costs. Philadelphia photographer Scott Lewis looked look ed at a couple couple of firms, firms, then then chose chose PhotoShelter, a company offering a solution for archiving, image protection, distribution and sales, based in New York. A significant portion of Lewis’ work is wedding photography, so he needed a service that would allow him to upload upload 500 or or more images images in one sitting, sitting,
The Personal Archive gallery user interface allows the photographer to choose and edit file data for browsers and potential clients to see. Image ©Grover Sanschagrin/PhotoShelter Inc.
58 • www.ppmag.com
and quickly sort them into a half-dozen galleries for his clients’ viewing. Lewis says he’s noticed over the past year that PhotoShelter’s online presentation is evolving to accommodate the needs of wedding photographers, and he’s been bee n happy happy wit with h its its geog geograp raphic hical ally ly redu redunda ndant nt data storage system from the start. “You always want backups of the backups,” says Lewis. “For $500, I can take two to three years’ years’ worth of weddings weddings and store them somewhere somewhere safe. My house house could blow blow up and I’m still covered. … If someone calls me in five years because their grandmother died and they want to have a nice, beautiful print made [from one of the wedding shots], I need to have that picture! That’s just good business. business. I’ve safeguarded safeguarded it for that moment. moment.”” PhotoShelter was founded in 2005 by Allen Murabaya Murabayashi, shi, an Eddie Adams Adams
©Leah Fasten/PhotoShelter Fasten/PhotoShelter Inc.
Leah Fasten uses her online archive to post a private gallery of images after an assignment. The client can select, purchase and download high-res files.
THE TH E GO GOOD ODS: S: ARCHIVING
Image ©Allen Murabayashi/PhotoShelter Inc.
it became available to them last September. Leah Fasten, a PhotoShelter user since its early days, says it’s worth the $800 to $1,000 a year she pays for the Personal Archive service. “I worked with them to create a custom archive that works seamlessly with my Web site (www.leahfasten.com).” Fasten has about 5,000 images in her personal archive, 1,000 of which which she’s made searchable to the public. That’s one of a number of PhotoShelter security measures, from watermarking to privacy settings, that Fasten uses regularly. PhotoShelter does not provide visitor tracking per se, but it does track the number number of times times each image is is viewed. “I have all sorts of choices about whether I want someone to download an image, the file size, how many times, and the length of time an image image will be available, available,” she says. “There’s a record of who’s downloading and when, plus, plus, you can’t can’t right-click on an an image. Realistically, I know that when an image is online, someone can find a way to steal it, but PhotoShelter makes it very hard to do that.” PhotoShelter’s e-commerce back-end allows photographers’ clients to buy an image online with a credit card, then Watermarking options allow you to apply information from your IPTC copyright field to the image or Watermarking to overlay an uploaded file of your own.
download it directly. The company also offers printing and shipping through partner lab EZprints. Neither Fasten nor Lewis uses EZprints often, preferring instead to take a hands-on role in the
workshop works hop gradu graduate ate and and a found founding ing employ employee ee
of high-res files to controlling controlling usage rights, he
and senior VP of engineering at hotjobs.com,
adds. “We see ourselves as a soup-to-nuts solu-
“It’s clear to me that with 5,000 images
and a handful of technological innovators
tion ti on fo forr eve every ryth thin ing g tha thatt hap happe pens ns af afte terr the the sh shoo oot. t.”
sitting in my archives, a few of them could
and professional photographers, including
PhotoShelter offers photographers two
have another life as stock,” says Fasten.
Grover Sanschagrin, executive producer of
primary products, the Personal Archive and a
“I like the idea that I don’t even have to
SportsShooter.com.
stock photo sales and pricing and copyrights
market the work myself. They can do it
management service, The PhotoShelter
for me.”
“The other founders were interested in
production and delivery of prints.
what I’d done in in technology technology,,” recalls recalls
Collection. The archive currently holds
Murabayashi, now CEO of PhotoShelter. It
work of 19,000 photographers; more
make a significant investment this year in
becam bec amee clea clearr that that pho photo togra graph phers ers wer weree runn running ing
than 10,000 photographers have have
promoting promotin g the Collection nationally nationally to ad
into workflow problems, from the distribution
submitted images for The Collection since
agencies, designers and editors. “We’re re not
60 • www.pp www.ppmag.com mag.com
Murabayashii says PhotoShelter plans to Murabayash
When they ask if you make prints pri nts on locat location, ion, say “I do. do.”” The SnapLab™ system. The compact, compact, transportable digital photo photo lab. Whether at a wedding or other impor tant event, you could be earning additional money making gorgeous, long-lasting prints on location with the Sony SnapLab ™ digital photo system. The SnapLab system lets you offer enhanced pictures with borders and captions and print them out right on the spot—no PC required! Real prints at 3.5x5, 4x6, or 5x7s with the speed of Sony dye sublimation. Make a happy day even happier—with the Sony SnapLab on-location digital photo lab, the destiny of printing. sony.com/snaplab
© 2007 Sony Electronics Inc. All rights reserved. Features and specifications are subject to change without notice. Reproduction in whole or in part without wr itten permission is prohibited. Sony and SnapLab are trademarks of Sony.
THE TH E GO GOOD ODS: S: ARCHIVING
Provided by PhotoShelter
PhotoShelter uses fotoQuote price guides, which makes it easy to set standard or customized prices and rights management for your images.
trying to to be microstock microstock at at all. We We have reservations about an image for a dollar,” says Murabayashi. “In The PhotoShelter Collection, the minimum minimum you you can price price a photo photo is $50. $50.”” In late 2006, PhotoShelter struck an exclusive agreement with fotoQuote, a pricing standard for stock photography, to help photographers set their own prices for each image in the Collection, as well as in their Person Personal al Archive. Archive. The PhotoS PhotoShelter helter Collection gives photographers at least 70 percent of the purchase/usage price, which is more than many stock agencies. “We have a much more Web 2.0 ethos,” says Murabayashi, referring to how the Web is transf tra nsform orming ing in regar regard d to usa usage ge and and purpo purpose. se. Lewis and Fasten both view The PhotoShelter Collection as impetus to give themselvess more creative themselve creative and personally personally fulfilling assignments and, potentially, to make cash on stored images, if they take the time to keyword keyword each image image to make it searchable. “This technology is making the fun stuff easier to do,” says Fasten. “I do think you have have to be somewhat somewhat of a digital expert to be a photographer these days, but luckily, luckily, you don’t don’t have to create create your own archive. archiv e.”” Billed monthly, the PhotoShelter Personal Person al Archive service is priced on the client’s use of storage space. Accounts range from the free Starter account that includes 50MB of space, to the PhotoShelter Pro account for $49.99 monthly with 100GB of storage. With a Pro or Standard account, photographers can purchase an additional terabyte of storage for $1,000 per year. The PhotoShelter Collection is free to join.
62 • www.ppmag. www.ppmag.com com
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1 3 4
2
THE TH E GO GOOD ODS: S: SUBSTRATES
You can print on more than photographic You paper—and in your own studio.
easy to print on. He’s been wanting to brighten up the studio’s high ceiling by hanging images from the rafters, and Polypropylene proved to be the best material for the job
BY LAURENCE CHEN
y Ex E xtraordinar prints MATERIAL DIVERSITY
becausee it doesn’t becaus doesn’t stretch and and sag over over time like other other materials materials he’ he’s tried. He He says says ink adheres well, and the almost matte finish of the print print minimizes minimizes reflection reflections. s. Banners can accentuate as well as dominate. Smaller banners in the form of tapestries or flags can add character and elegance to a space. Artist Holly Alderman did just that with interpretiv interpretivee photograph photographss hung as as tapestries on the grounds and buildings at Saint-
With the the availabili availability ty of varied varied substrates substrates for
The banners were printed on versatile
Gaudens National Historic Site in Cornish,
professional inkjet printers, photographers
LexJet Water-Resistant Satin Cloth, a light-
N.H., where they remained for several months.
can present their work in a way that was
weight and and resilient resilient material material.. You You can roll it,
For weather resistance, she and her print-
once the sole province of expensive
unroll it, even spill water on it. LexJet provides
maker chose LexJet Wa Water-Resistant ter-Resistant Satin
commercial printers. Here’s a look at some
free profiles for most major makes of printers,
Cloth. Alderman also liked this material
of the substrates that are getting
making color management a straight-
aesthetically for its slight translucence.
photography off the wall.
forward process. Perry recommends placing
With highly highly transl translucent ucent materia materials ls like 3P
clips or other weights on the material as it
Polyvoile, viewers on both sides of the banner
INDOOR/OUTDOOR BANNER MATERIAL
feeds to keep the fabric from bunching.
can see the image, as well as see through the
Large banners command your attention.
Polypropylene, which is strong, resilient and
Perry also uses LexJet Le xJet Water-Resistant
Mounted on banner stands, they become more versatile than billboards because you can place them wherever you like. They can announce your image as they simultaneously define a space. Jamie Perry of Excess Studios in Rochester, N.Y., N.Y., used banners bann ers to advertise advertise the the studio’ studio’s presence presence at a big cheerleading event. “We didn’t really think of of selling selling the banners banners until until we saw saw that the the girls loved loved them them and wanted wanted them them for themselves. When their friends saw them, they they wanted wanted them, them, too.” Two Two hundred hundred cheerleaders went home happy happy,, and Perry had discovered another way to keep the studio’s printer busy.
Highly translucent 3P Polyvoile lets light through and makes an ideal material for locations where viewers can see the image from either side.
66 • www.ppmag. www.ppmag.com com
©Gary Box
image to what lies beyond. This soft, elegant touch can can have have a dramatic dramatic effect. effect. Portrai Portraitt
photographer Gary Box of Sapulpa, Okla.,
She uses thermal glue to secure the
uses Polyvoile to separate his studio’s
Water-R W ater-Resista esistant nt Polypr Polypropyle opylene ne to the the lamp
window windo w display display from the the gallery gallery inside. inside.
frame; Polypropylene’s rigidity holds its
Polyvoile is so porous that it should be
shape. Lovett says the lamps can sustain six
printed at 720dpi rather than 1,440dpi.
to eight eight “really “really good” good” months months outdoors outdoors in
After 24 hours hours of of dry-down, dry-down, it’s safe to
the shade shade before before noticeable noticeable fading fading occurs. occurs.
remove the backing material and hang or
Southern exposure reduces the longevity to
mount the banner.
about three months. She offers economical
Tracy Tra cy Lovett took t ook advantage of LexJet’s
replacement prints to encourage her
Water-Res Wa ter-Resistan istantt Polyprop Polypropylene ylene banne bannerr
customers to keep returning. For indoor
material to create photo-lamps that she
lamps,, she uses lamps uses LexJet LexJet Water-R Water-Resista esistant nt
calls Photo-Luminaria. Made in a process
Satin Cloth.
that Lovett and her husband developed,
©Chris Conrad
Any printing printing begs the the question question of longevlongev-
these indoor/outdoor indoor/outdoor lamps feature photos
ity. While the answer ultimately depends on
of her clients. “The inkjet printing was the
numerous factors, Tom Hauenstein of LexJet
easiest part,” she says. “If you u se profiles and soft proof in Photoshop, you’re fine. When printing for backlight situations, situations, I like to increase the saturation, but that’s a personal preference.”
Fibrous fine-art papers like Moab's Moenkopi paper Unryu provide a tactile experience and stand out in presentations where backlighting is possible.
March 2008 • Professional Photographer • 67
THE TH E GO GOOD ODS: S: SUBSTRATES
©Tracy Lovett
generally estimates that for the Polypropy-
Bizan 300 sheets are handmade
lene and and the Satin Satin Cloth Cloth materials, materials, you you can
individually in Japan. Kozo has a relatively
expect two to three years of indoor use
smooth surface, while Unryu grabs your
before there's there's noticea noticeable ble fading. fading. Outdoors Outdoors,,
attention with the coarse texture of the
he says six to 12 months is typical. He
thick and thin fibers fibers running running through it
believes most customers customers actuall actuallyy observe observe
(“unryu” means “cloud dragon paper”).
greater longevity. Is there an advantage to
Slightly translucent, Unryu is ideal for
having to replace your art periodically? For
backlighting. backligh ting. Bizan has has the most textured textured
situations where seasonality seasonality,, custom
surface, both dimpled and wavy, and it has
signage, or staying fresh is desirable, change
hand-torn deckled edges. Bizan is sold
will likely likely keep keep your audienc audience’ e’s attention attention..
exclusively on the Moab Web site. Chris Conrad, among the first to print on
FINE-ART PRINTS
the new materia material, l, says says the Moenko Moenkopi pi papers papers
Most everyone admires the texture of
are comparable to any high-quality fine-art
Japanese papers and wants to handle them.
paper. Printing is straightforward with Moab-
It’s a shame to trap them behind glass. Moab
supplied profiles; Conrad uses the Epson
by Legion Legion Paper Paper recently recently introduced introduced a line
Enhanced Matte profile with equal success.
of Japanese Washi paper, called Moenkopi
Paper of character requires imagery to
(moe-in-koe-pee), coated for both dye- and
match. Conrad likes Unryu for his black-
pigment-ink sets . The name is actually Native-
and-white work. For color, he suggests
American Ameri can in in reference reference to the the paper’ paper’s environ environ--
using muted tones to suit the paper’s
mentally sensitive qualities; its distinctive
“dreamy texture.” Jim Graham, another fan
fibers come from mulberry plants, which
of Moab papers, says the Moenkopis are
remain unharmed by harvesting.
best suited to images that will be enhanced
The three archival varieties reflect their
by the paper’s “gentle nuances. nuances.”” For
respective weight and character. The Unryu
presentation, both Conrad and Graham
55 and the Kozo 110 varieties, available in
recommend taking non-traditiona non-traditionall
44-inch rolls, are machine-made, while
approa app roache ches. s. “I woul would d try to show show the the entir entiree
Tracy Lovett makes indoor/outdoor luminaries from images printed on water-resistant polypropelyne.
piece pie ce of pap paper er,, mounti mounting ng it some someho how w so it stands off its backing,” says Conrad, “it is a true tactile experience.” experience.”
©Gary Box
WALLPAPER If your photography dominates a wall so much as to be the wall, wall, then phot photo o wallpap wallpaper er is the obvious answer. When a children’s oncology clinic wanted to soften the mood of an examination room, photographer Jack Puryear in Austin, Texas, found a solution in printing his image on LexJet WallPro, an inkjet-
Think big. Murals printed on wallpaper can bring character and new dimensions to dull office and exam areas.
68 • www.ppmag. www.ppmag.com com
compatible wallpaper that installs with standard wallpaper paste. Puryear used profiles, made test prints, and applied two coats of protective coating to bring out the full image quality on the wallpaper wallpaper.. The image so inspired one child that he added
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a creative contribution in Crayon. With the coating, it cleaned up fine without harming the image. For the treatment room, Puryear printed five sections on 36-inch rolls at 100dpi. “If you get really really close, close, it it looks grain grainyy, but at a normal viewing distance it i t looks fine.” (He allowed 1.5 inches for overlap.) The professional installation of Puryear’s -because you & your clients demand the best!
photo wallpaper took about an hour-and-ahalf. Although it’s a simple job, he recommends hiring an experienced wallpaper hanger to
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AVAILABILITY Many of these materials are available in rolls intended for professional wide-format inkjet printers; most start at 24 inches wide. Check with the supplier supplier for for details, details, and if you you don’t don’t have an appropriate printer in-house, ask the supplier supplier for referral referralss to studios studios in your your area that will do the printing for you. Photographers interested in fabrics with even greater longevity and durability should investigate dye-sublimation printing on such materials as poly-silk, which is washable. New display and substrate ideas are in development and help is available from manufacturers and distributors who are becoming more aware of the photographic end-user’s needs and the importance of client support. Here are some Web sources to explore: www.breath www .breathingco ingcolor lor.com .com • www www.dryta .drytac.com c.com • www.exhibitors-handbook.com • www.hahn www .hahnemuehl emuehle.com e.com • www www.ivey .ivey.com .com • www.LexJ www .LexJet.com et.com • www www.mo .moabp abpap aper er.co .com m• www.pa www .pacif cificm icmoun ount.c t.com. om.
March 2008 • Professional Photographer • 69
THE TH E GO GOOD ODS S
SOLUTIONS BY ANDREW RODNEY
Nearly every modern photographer knows what Photoshop can do. What does Lightroom bring to the table?
What’ Wha t’ss the the dif differ ferenc encee?
impossible to achieve on rendered pixels. For example, you can’t correct highlight data where none none exists exists as a result result of how how the initial pixels were originally rendered. Severe whitee balan whit balance ce adjus adjustmen tments ts are extremely extremely difficult to correct on rendered images.
I spend far too much time online reading variouss photo-cent variou photo-centric ric Web Web sites, where the the
your processor and slow your workflow. workflow. Photoshop has to work with rendered pixels.
Altering Alter ing an an image image that that appear appearss dark, dark, has a severe colorcast, or needs saturation
same questions are often asked, such as, “I
Rendered means that the color values, color
adjustment requires changing pixel values, a
have Adobe Photoshop and Bridge, why
space and gamma are baked in. Like a cake
slow process that causes data loss.
would I need need Adobe Adobe Lightroom?” Lightroom?” It’s a
recipe gone awry, it’s nearly impossible to
However, in presenting you each and every
logical logic al question. question. There There are signif significant icant
remove the individual ingredients, remix
pixel, Photoshop has the ultimate set of tools
differences between the two.
them properly properly and and re-bake re-bake the cake. cake. With
to precisely precisely select select and and edit only only some some of
Photoshop, you can make a good show of it,
these pixels. pixels. Conseq Consequently uently,, Photoshop Photoshop works
To do so, Photoshop needs access to every
but it takes takes effort, effort, and it’s just not not as good good as
primarily with one image at a time. Droplets
pixel, even if you’ll be editing only 22 out
it might have been.
and batch commands provide a limited
Photoshop was designed to edit pixels.
of the 22 million in the file. That can tax
Some image corrections are difficult or
means of working with multiple images; still, each image has to be opened and every pixel has to be loaded into RAM before you can view and manipulate multiple images. Lightroom at its core is a raw processor. Though you can import existing rendered images, Lightroom is most powerful working workin g with raw raw, non-rendere non-rendered, d, essential essentially ly grayscale data to produce new colored pixels that represen representt how you you want to render the the image. A raw file is like having individual ingredients that you can remix and re-bake at any time. Rendering isn’t color correction, it’s image creation. You should minimize, if not eliminate, the need to globally color correct or “fix” pixel-based images. Lightroom uses instructions (metadata) to describe describe how a raw image image should be be processed into pixels. It doesn’t open a fullresolution, pixel-based image; it shows a series of previews based on how the final image will appear if you tell it to build those pixels. This process has a number of features that Photosh Photoshop op doesn’t. doesn’t. First, First, it’s fast and and
Figure 1: Exporting one or more images selected in Lightroom brings up this dialog, where I can specify how I want my pixels built from the metadata instructions. I asked for full-resoluti full-resolution, on, 16-bit ProPhoto RGB rendering. I could ask for smaller resolution images in differing ways and these new pixel-based documents could be built as specified.
70 • www.ppmag.com
flexible. You view either a low-resolution preview of the entire image or a screen-size, full-resolution preview (1:1 or greater). The
THE TH E GO GOOD ODS S
computer doesn’t alter the pixels, it just shows you yo u wha whatt the the cur curren rentt meta metada data ta wo would uld pro produc duce. e. You Y ou can chang changee your mind mind at any any time, since since all you’re doing is rewriting the metadata. Once you want to actually produce a pixel based bas ed docu documen ment, t, Ligh Lightro troom om perf perform ormss a sin single gle computation of the metadata to produce a new set of pixels from the raw data, which which is truly non-dest non-destructive ructive editing editing.. Metadata editing in Lightroom also allows you to quickly quickly apply apply a set set of rendering rendering instructions to multiple images—just copy and paste the metadata instructions from one raw file to others. The computer doesn’t need to do the heavy lifting of generating pixels until you tell Lightroom to export the data (or print it from the Print module or upload a Web gallery) based on these 1). instructions (Figure (Figure 1). Lightroom has some simple clone-like tools that that produce produce what what appear appear to be pixelpixel based edits, edits, but are are merely an additiona additionall set of instructions. Suppose you have 300 raw captures and notice that there was a dust spot on the camera sensor. You You can clone out the single spot, and that instruction will be applied applied when the the rendered rendered pixels pixels are built from from the raw raw. Better, Better, you can can copy and and
Figure 2: If you have 1,000 images that need the same global correction, it takes only seconds to complete in Lightroom. I copied settings from the image in the upper left, then used the Sync Settings command to bring up this dialog, where I can specify which instructions onto paste to all of the highlighted images.
paste this single set of instructions to all the other images (Figure (Figure 2). 2). Lightroom will automatically select a clone source and apply the dust removal on all the other images, even if the orie orienta ntatio tion n of of the the image imagess vari varies. es. In Pho Phototoshop you’d have to open each image, use the clone tool, then save the image to disk. Furthermore, if for some reason you don’t like how how you edited edited the dust dust spot (or (or any instruction-based edit) in one of the 300 images, you can always go back to Lightroom and remove or update that one edit. Unlike Photoshop, the edit list (history states) remains with each each imag image, e, even if you you quit Light Lightroom room.. The metadata instructions are either stored
72 • www.ppmag.com
Figure 3. XMP metadata is seen here, opened using a text editor. editor. It describes all the edits of one image, in plain English. Once I convert my images into DNG, this data exists within the DNG, no sidecar files necessary.
THE TH E GO GOOD ODS S
as small sidecar files or embedded into a DNG
images. This saves time and disk space. One
Photoshop becomes a necessity for
(see www.ppmag www.ppmag.com/reviews/200709_ .com/reviews/200709_
version versio n could could show the the desired color color and and
selective editing, compositing, and complex
adobedng.pdf).
tone instructi instructions, ons, others others could could show show black black
blending blendi ng of multiple multiple images. images. In In Lightroom Lightroom,,
You Y ou can make virtual virtual copies copies of one one raw
and white, with and without a split tone, one
all instructions for color and tone are global;
file and produce multiple sets of instructions
a different crop. Each of them can be rendered
there are are no provision provisionss (yet) for for altering altering
without witho ut having having to create create multip multiple le pixel-ba pixel-based sed
out to a pixel-based image at any time.
only a part of an image. For precise pixel editing, true retouching and compositing, you need need to render render the images images as pixels pixels and and work on the data data in Photosho Photoshop. p. Try to conduct all the global tone and color rendering work in Lightroom, then hand off the rest of the work to Photoshop, with the the goal of of not going going back back into Lightroom for further global work—possible but somewhat somewhat counte counterproduc rproductive. tive. I’ve concentrated only on Lightroom’s rendering abilities, but it has much more functionality. While Bridge is just a file browser, Lightroom is a database that can be the heart of your digital asset management. There’s a module for making Web galleries and a print module that takes printing multiple images to a new level. Too many people, some Photoshop gurus included, have failed to recognize that they should render the best possible data from the start start of the process process,, at the raw raw rendering rendering stage. Lightroom gives us the tools to properly render image data and go far beyond beyon d what Photos Photoshop hop can can “fix” “fix” on an existing pixel-based document. Investigate this exciting exciting new new process process and think think about about editing instructions first, then pixels.
Andrew Rodney Rodney owns owns The Digital Digital Dog, Dog, a digital imaging training and consulting business in Santa Fe, N.M. The author of “Color Management for Photographers” (Focal Press), he lectures around the country. Rodney is an alpha tester for for Adobe Adobe Systems, Systems, was placed among the “Top 40 Photoshop Experts” Expert s” by Wacom Wacom Technolo Technologies, gies, and inducted into the NAPP Photoshop Hall of Famee in 2007. Fam 2007. Learn more more at www.digitaldog.net.
74 • www.ppmag.com
Images by Michael Ayers and Patrick Rice
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THE TH E GO GOOD ODS: S: TUTORIAL
This tutorial shows you how to create an action that performs a set of general workflo work flow w tasks. tasks. It also also shows shows you how how to use Photoshop actions if Adobe Lightroom is your ma main in image editing editing program. program.
Figure 1: Begin by setting up folders for the new files you’ll create.
BY RICK RALSTON
Photoshop
Ac A ctions
Figure 2: To access the Actions palette menu, click on the button in the upper right corner.
THE EASY WAY TO AUTOMATE REPETITIVE TASKS Adobe Photoshop records a series of tasks you do individually to create an action that you apply at once to a single file or a whole Figure 1
folder of files. Photoshop records each task separately as a command that appears in its own block, which you can edit later.
Figure 3: This is the copyright section of the File Info window.
A set of commands (represented by a stack of these blocks) make an action. They’re fast to record, easy to edit and portable between Windows and Mac Mac platforms.
THE TUTORIAL 1. Create a main folder named Project 01, then create a folder inside it named Print and another named Web (Figure (Figure 1). 1 ). It doesn’t matter where you put the Project 01 folder, as long as you know where to find it. These folders will store the new image files we create in this tutorial. 2. In Photoshop, open the Actions palette (Window > Actions) if it’s not already visible. Go to the Actions palette menu and select New Action (Figure (Figure 2). 2). Type in Action 1 for the name and click the Record button. Photoshop will now record what you’re doing.
76 • www.ppmag.com
Figure 4: The buttons at the bottom of the Actions palette are VCR-like. The square is Stop, the circle is Record and the right-facing arrow is Play.
3. Open a raw image file, make whatever adjustments you choose in Camera Raw (or use a preset) and click the Open Image button. In the Actions palette you’ll see that the first command has been recorded. You can click the right-facing arrow on the command to see all the recorded settings. Photoshop is still recording. 4. Select Filter > Sharpen > Unsharp Mask and apply this filter. Later we’ll see how to exclude this command, delete it entirely, or record another filter. 5. Resize the image to 6 inches on the longest side at 300ppi. To make sure this works for both landscape and portrait images, go to File > Automate > Fit Image and type in 1,800 pixels for both width and height (6 x 300 = 1,800) to reduce the image appropriately for its orientation. 6. Go to File > File Info to enter some metadata. I’ve selected Copyrighted in the Copyright Status pull-down menu and entered information in both the Copyright Notice and Copyright Info URL 3). fields (Figure (Figure 3). 7. Convert the color space by selecting Edit > Convert to Profile and selecting ProPhoto RGB from the Profile pull-down menu. 8. Save the image (File > Save As), navigate to the Project 01 folder, and select the Print folder. Select TIFF from the Format pulldown menu and click the Save button.
Figure 5: To exclude a command click on the check box to the left of the command to deselect it.
9. With the image still open, resize it to 2.5 inches on the longest side at 72ppi (File > Automate > Fit Image) and type in 180 pixels for both width and height (2.5 X 72 = 180). 10. Convert the color space by selecting Edit > Convert to Profile and selecting sRGB from the Profile pull-down menu. 11. Save the image (File > Save As), navigate to the Project 01 folder, and this time select the Web folder. Select JPEG from the Format pull-down menu and click the Save button. 12. Close the file. 13. To stop recording, go to the Actions palette menu and select Stop Recording (or click the Stop button at the bottom of the Actionss palette Action palette as shown shown in Figure 4). 4). You Y ou can run this action action on on a single single image image by first first clicking clicking on the 5). check mark to the left of the Open command to uncheck it (Figure (Figure 5). The recorded command specifies the particular image you opened when you you recorded recorded the action. action. You’ll You’ll see why why you recorded recorded this this step when we get get to the Batch Batch feature. feature. Single Single-click -click Action Action 1 to highl highlight ight it, then click the right-facing arrow at the bottom of the Actions palette to run it. You Y ou can edit an individua individuall command command by double-cl double-clicking icking on it and changing the settings. You can exclude a command by deselecting the check mark next to it in the Actions palette. For
78 • www.ppmag.com
Figure 6: You can run an action on a folder of images using the Batch settings above.
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instance, if you don’t want to include the Unsharp Mask filter, you can exclude it before running the action. You can also delete a command by selecting it and clicking the Delete key. To add another command, highlight the command you want it to follow and click the Begin Begin Recording Recording button button at the bottom bottom of of the Actions Actions palette, palette, record a command and click the Stop Recording button. You can also rearrange commands by dragging and dropping them. This works from from one one action to another another as well. well. To run this action on a folder of images, select File > Automate 6. Make > Batch and make the selections as shown in Figure 6. sure to include the Open command before proceeding or the Batch process will not work. Note that we are overriding the Open commands, which bypasses the particular image recorded in the command, but keeps the Camera Raw settings. Also, by checking Suppress File Open Options Dialogs, the action won’t stop and wait for you to click the Open Image button when opening raw files. We’re not overriding the Save As commands because the action specifies two different folders, and the Batch command can specify only one.
ADOBE LIGHTROOM If most of your workflow is done in Adobe Lightroom rather than Photoshop, Photoshop, you can do everything in the action above except run the Unsharp Mask Mask filter. Lightroom is not a pixel editing program, so you’ll need to enlist Photoshop to do the tasks it can’t. In an automated workflow there’s only one way to do that. Save a Photoshop action action as a droplet (converts an action into an application) in Lightroom’s Export Actions folder and specify that it’s to run when exporting fr om Lightroom. Lightroom’s Export command works first, then Photoshop opens the files, runs the filter and re-exports them. You’ll need to run this once for the Print images and again for the Web Web images. Let’s see what that looks like: 1. Record an action in Photoshop with only three commands: Unsharp Mask, Save As to the Web folder as a JPEG, and Close. 2. Select File > Automate > Create Droplet. This window is similar to the Batch window. First make sure None is selected in the Destination pull-down menu. The droplet has to be named (Unsharp Mask) and saved into a particular folder (Save Droplet In at the top of the window)—finding it isn’t easy. Click Choose. On a Mac, the location is Users > yourname > Library > Application Support > Adobe > Lightroom > Export Actions. On Windows it’s C: > Documents and Settings > yourname > Application Data > Adobe > Lightro Lightroom om > Export Export Actions. Actions.
80 • www.ppmag.com
Note: On On Windows Windows some folders folders may be hidden. hidden. If you don’t don’t see the
Photoshop tutorial and the Web folder as the Export Location. You
Application Applicat ion Data folder folder,, highlight highlight your user user folder folder (in Documents Documents
can use the original raw images if you wish, but it’s faster to use
and Settings) and select View > Customize This Folder > General tab
the exported TIFFs in the Print folder. They are smaller and
and click in the Hidden box until it is completely clear.
have already had the Unsharp Mask filter applied. Import the
For this droplet, confirm that the Override Action Open
images in the Print folder and export them as JPEGs and skip
Commands box in the Play section is unchecked. The other three boxes don’t don’t matter matter in this tutorial. tutorial. Name Name the droplet droplet Unsha Unsharp rp Mask Mask so you can identify it in Lightroom’s Export window. Click OK. 3. In Lightroom import your raw files. Add the metadata
the Photoshop droplet. This action gives you one example of actions’ potential. Observe what you do during a given day. day. Does your workday contain repetitive tasks that don’t really require anything more of you
(copyright info) using the Metadata panel. You can also do this
than remembering all the steps and punching the buttons? buttons?
during the import process.
Your Yo ur time is much more valuable than that. Think of the
4. In the Export window (File > Export) select the Print folder as
Photoshop and Lightroom automation features as your assis-
the Export Export Location, Location, TIFF TIFF as the format format,, ProPhoto ProPhoto RGB RGB as the the color color
tants. They don’t ask for a salary, salary, never call in sick and actually
space and Resize to Fit at 1,800 pixels for width and height (same as
do what you tell them.
Photoshop’s Fit Image). To To run the Photoshop droplet, select Unsharp Mask from the After Export drop-down menu at the bottom. botto m. If you’ve you’ve placed placed the droplet droplet in the the correct correct folder, folder, it will appear in this menu. 5. Click the Export button. 6. Do this again for the Web images using the settings from the
Rick Ralston Ralston works works in the graphics graphics group group at The Coca-Cola Coca-Cola Company Company in Atlanta. He is the author of “The Designer’s Apprentice: Automating Automa ting Photoshop, Photoshop, Illust Illustrator rator and and InDesign InDesign”” (Adobe (Adobe Press). Press). He also writes a graphics automation blog at www.theAutomatist.com.
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Do you catch yourself daydreaming over your work, imagining romantic faraway places? If wanderlust is forever distracting you, there might be a profitable way to give in to it. WEDDINGS
By Jeff Kent
A
©Garrett Nudd
s mainstream wedding photography becomes beco mes more more creative, creative, more more couples couples are attracted to the idea of importing a photographer to cap ture their their destination destination weddin wedding. g. Such weddings typically include
25 to 80 guests, cost thousands to produce, and require the same care and forethought—if not more—as traditional weddings. And couples are willing to pay a premium for the service. Destination wedding clients want to document the destination experience as much as the actual actual nuptials, nuptials, so so the wedding wedding photog photog-rapher must also be a travel photographer. He must know how to capture the soul of the location location,, as well as as the spirit spirit of the people who’ve chosen it. He must be flexible and adventuresome, yet bring order and expertise to the experience. The key to success in destination wedding photography is to view it as a business endeavor rather than a paid vacation. That means being completely prepared for every conceivable circumstance, and having the professionalism to deal with with the unexpecte unexpected. d. We We talked talked to three in-deman in-demand d pros about about how how they’ve they’ve becomee successful becom successful in this this dynamic dynamic busines business. s.
GARRETT NUDD FAVORITE FA VORITE DESTINATION: PARIS PARIS,, FRANCE.
“Photographing in Paris was pretty amazing, being that that it’s one of the the most most romantic romantic and Destination: Aspen, Colorado
artistic cities in the world. Just being there was an inspir inspiring ing experience experience..”
Destination: Success Business insights for destination wedding photography
82 • www.ppmag.com
Two years ago, Garrett Nudd Photography did zero destination weddings. This year,
destination weddings will account for about 30 percent of the studio’s wedding business. The Chattanooga, Chattanooga, Tenn., Tenn., operation has accomplished this impressive business growth in two ways: One, the husband-wife team of Garrett and Joy Nudd actively promotes destination work in all the media; and two, they know how to inspire their clients’ confidence in them. “When a bride hires a photographer, it’s not just about the images; her primary need is a feeling of security,” explains Garrett. “She wants a photographer who’s familiar with travel, who knows how to handle an event, who knows what he’s doing and makes her comfortable in knowing he’ll do the job right.” The Nudds opened their first studio in Orlando, Fla., one of the world’s most popular destination wedding locations. Though they weren’t traveling for weddings, they got plenty of experience dealing with wedding parties that were. When they moved to Chattanooga, the Nudds got involved with a local university that attracts an affluent, international student
©Garrett Nudd
body.. They began moving in a circle of body
Destination: Scotland Destination: Paris
people who travel extensively. They talked up their penchant for destination work, and their experience with destination weddings in Florida. They started landing gigs in Aspen, Santa Barbara, Savannah, St. Augustine, Key West, and as far away as Norway, Scotland, France and Italy. The Nudds customize a package for each destination wedding. These weddings tend to cost cost abo about ut 25 25 perc percent ent mo more re than than loc local al ones ones,, with packa packages ges avera averaging ging $8,0 $8,000 00 to $10,00 $10,000 0 per wedding. If they’re working with a wedding coordinator who has referred the couple, the Nudds Nudds char charge ge a flat flat fee fee for their their service servicess and add travel expenses. If the bride contacts them directl directlyy, the fee fee is all-in all-inclusi clusive. ve.
©Garrett Nudd
March 2008 • Professional Photographer • 83
WEDDINGS
A key element element in the the Nudds’ Nudds’ pricing pricing is
being bein g away away from the busi busines nesss for for severa severall days. days.
Beyond the profit and prestige of
the number number of days days they’ll they’ll be away away from the the
Wee have W have a you young ng daug daughte hterr for who whom m we need
destination photography, photography, the Nudds see
studio. “That’s a cost people often overlook,”
to ma make ke ar arra rang ngem emen ents ts as we well ll,, so so tha that’ t’s ano another ther
traveling as a way to expand their creative
Garrett says. “Flight and hotel are obvious,
factor. We look at each destination event indi-
horizons and revitalize their photography.
but lost incom incomee is very importan important—like t—like
vidually vidual ly and decide decide if it makes makes sense sense for for us.”
“Being able to photograph in a different place is a great way to stay fresh and
GARRETT NUDD’S LESSONS FROM THE ROAD • Schedule plenty of time for travel on the front end. Planes can be late, connections missed. Things can happen to prevent your being somewhere on time. • Carry the necessary electrical current adapters for your equipment on international trips. • Foreign cuisine may not agree with you, so do some research ahead of time to locate places that will accommodate your special diet or preferred cuisine. • Figure out the best time to shoot outside—daylight hours are different in every destination.
artistic,” says Garrett. “If we’re in the Caribbean, I often get up before sunrise for a walk on the beach to think and reflect. That, as an artist, is so valuable—to be far from home, to clear your mind. To me, that’s the biggest benefit of destina tion weddings for a busy wedding photographer.”
• Sometimes when you’re staying at the same venue as the clients, you end up working for them all weekend. If that’s not in your contract, consider how you can work in time for your own needs.
To learn more about Garrett Nudd Photography, check out www.garrettnudd.com.
©Garrett Nudd
Destination: Italy
84 • www.ppmag.com
WEDDINGS ©Gene Higa
GENE HIGA FAVORITE DESTINATION: THE PHILIPPINES.
“We shot seven locations in six days. It was the most most exotic weddin wedding g I’ve ever done. done.” Like the others, Gene Higa kick-started his destination wedding business through wordof-mouth marketing. Beginning with his existing client base, in 2004, the San Francisco-based Francisco-bas ed wedding wed ding photographer began spread spreading ing the the word. He He promoted promoted his desire to work destination weddings to brides, then then asked asked them them to mention mention him him to their bridal bridal parties, parties, their their friends friends and their their families. The more pleased the local clients, the more more willing willing they were were to talk talk him up in their social social circles. circles. Now Now Higa Higa books books events events from Hawaii to Hong Kong, Tuscany to Thailand. Higa’s non-local bookings account for about 25 percent of his total workload, or roughly 10 destination events out of 40 weddings weddin gs a year year.. In 2006, 2006, Higa hit nine nine countries and every ever y major U.S. city. In 2007, he scaled back the travel by about 50 percent and began courting more high-end locall clients. loca clients. “There aren’t aren’t a lot of photog photog-raphers in the Bay Area who really focus on destination weddings,” weddings,” says Higa. “That “T hat sets me apart. I show exotic destination images to everyone, everyone, even peopl peoplee who are are planning planning to get married married in San San Franc Francisco. isco. You You walk into my studio and see large photos of Greece, Peru, The Philippines. It gives clients the impression that I’m trusted enough to do these big destination events, so I can definitely handle their local event. My perceived value goes up significantly significantly..” For Higa, destination weddings provide the additiona additionall benefit benefit of filling filling traditio traditionally nally slow periods. Many of his destination couples get married in warm-weather locations Destination: Thailand
86 • www.ppmag. www.ppmag.com com
during San Francisco Francisco’s ’s winter months.
TIPS FROM GENE HIGA Things people don’t always think about when planning a destination wedding job SAFETY AND STABILITY. Keep up with the news about the area you’ll be working in. It’s important to insure your equipment and take plenty of precautions. Before leaving for a trip, I photograph all my gear and write down the serial numbers. I make backup copies of my passport and travel documents. I carry one copy with me and leave another with someone back home. GETTING IN AND OUT. Research visa
©Gene Higa
Destination: Barbados
regulations, entry documents and exit documents for your destination. Sometimes these documents need to be arranged far in advance. If you show up without them, you’re out of luck. STAY IN TOUCH. We carry a World Phone so we always have cell phone access. Or you can buy a SIM card that works in that country for your mobile phone. Phone access is useful for keeping in touch with the bride and groom, as well as the business back home. GET ACCLIMA ACCLIMATED. TED. The hardest part of any destination wedding is getting there. I like to arrive a couple days before the event so I can get acclimated, recharge and get in the groove.
©Gene Higa
Destination: Peru
March 2008 • Professional Photographer • 87
WEDDINGS
When Higa Higa would would otherwise otherwise be tidying tidying up
to be be include included d in the the group group lod lodgin ging g and and travel travel
world, and getting getting paid paid to do it! it! The best
the studio studio and filing filing his his income income taxes, taxes, he’s
rates that clients negotiate for their guests.
part is coming home with all those beautiful,
off in the tropics generating income.
His fees include an associate photographer,
exotic images. From a photographer’s
Ann Hamilt Hamilton, on, who who accompan accompanies ies him on on all
standpoint, it’s pretty amazing.”
Higa’s destination packages begin in the $20,000 to $25,000 range. Like Claire and
destination jobs. Their commissions range
the Nudds, Nudds, his custom custom quotes quotes include include his his
from one-day wedding coverage to week-
services plus travel expenses. Higa makes his
long shoot shootss to document document every every adventure. adventure.
own travel arrangements, accumulating frequent flier miles and hotel points, but he asks
Destination: Philippines
88 • www.ppmag.com
“The experiences are second to none,” says Higa. “I’m going out there, seeing the
For more from from Gene Higa, Higa, including including information on his Image X destination wedding workshop, visit www.genehiga.com and www.imagexworkshop.com.
WEDDINGS Destination: Cabo San Lucas
“When I started the destination work, I was ea eager ger for the exp experi erienc ence, e, and and I tre treate ated d each trip like a little vacation. That changed over time. The more you travel, the less glamorous it is. If you want to run a serious busine bus iness, ss, you you can can’t ’t foreg forego o your your prof profits its taking tak ing vac vacati ations ons on some someone one els else’ e’s dime. dime.”
©Jessica Claire
JESSICA CLAIRE FAVORITE FA VORITE DESTINATION: SANTORINI,
JESSICA CLAIRE’S DESTINATION WEDDING TIPS
GREECE. “It was so beautiful, such an idyllic
TRY IT BEFORE YOU BUY IT. Shoot a destination wedding before you invest heavily
place to photograph a wedding. wedding.””
in that market. Even if you lose money on that first job, the experience can be worth it. You’ll get a more realistic idea of what it’s like to work in that area.
Orange County, Calif., wedding photographer Jessica Claire began doing destination wed-
GET CONNECTED. Network with travel agents, local coordinators and vendors. Let
dings with a 2004 assignment in Cabo San
them know you love love shooting at their venues venues or destinations and that you want to do it
Lucas, Mexico. The bride, a referral from a
again. Send them images. Don’t make it hard for them to refer someone from far away.
local weddin wedding g coordinato coordinator, r, was was active in destination wedding message boards. Blown
DON’T BE A STRANGER. Respond to calls and e-mails quickly, especially when
away by Claire’s work, the bride posted
you’re dealing with a client who doesn’t live near you. Be totally available to non-local
kudos up and down the boards.
prospects, because it’s easier for them to work with someone closer to home.
Before long Claire was getting five to 10 inquiries a day about doing destination
DO IT YOURSELF. It pays to make your own travel and lodging arrangements. Include
weddings. She snapped up the gigs that
the costs in your total package price.
interested her, in such places as Greece,
90 • www.pp www.ppmag.com mag.com
WEDDINGS
Hawaii, St. John and British Columbia. It was fun. It was exciting. But profitable,
forego your profits taking vacations on someone else’s dime. I took a hard look at my
sell for about double the price of a local wedding. “Making money on destination weddings
not so much. “When I started the destination
costs and started raising my prices to make
involves so much more than adding on the
work, I was was eager eager for the experien experience, ce, and and I
it really worth it to do destination events.”
cost of the flight and the room,” says Claire.
treated treate d each trip trip like a little little vacati vacation, on,” Claire
Claire’s customized price quotes include her
“There are also costs like parking at the
remembers. “That changed over time. The
travel trav el expense expensess and and commute commute time, time, even even revrev-
airport, meals, shipping wedding albums to
more you travel, the less glamorous it is. If
enue she could have generated had she not been
out-of-town clients, having equipment sent
you want want to run a serious serious business, business, you you can’t can’t
travel tra veling ing.. In gen genera eral, l, her her destin destinatio ation n packa packages ges
to you, you, paying paying extra to to travel travel with gear gear,,
Destination: Greece
Internet access fees at the hotel and all the incidentals that come with traveling.” And then there’ there’s the cost cost of opportunit opportunityy lost. “If “If you travel travel for a weddin wedding g on Memoria Memoriall Day weekend, weeken d, you can can shoot shoot only one wedding. wedding. At home you you could could have shot shot two or three. three. You Y ou have have to charge charge accordin accordingly gly,,” she adds. adds. Word-of W ord-of-mouth -mouth market marketing ing and and vendor vendor referrals have been critical. As Claire’s prices increase, so do her clients’ expectations of personal service. With destination packages starting at $10,000, clients aren’t finding her in the Yellow Pages. They want someone referred by others of the inner circle. Claire works wo rks ext extra ra ha hard rd to es esta tabl blish ish rela relation tionship shipss with all all her her clients, clients, their frien friends ds and families, and naturally, the resort managers, wedding weddin g coordinat coordinators ors and and travel travel agents agents who specialize in destination events. Claire includes destination event info on her Web site and writes about the weddings on her blog. “If I post about a particular destination, it will come up in search engines,”” she explains. engines, ex plains. “Brides searching for info about those locations may come across my blog, where they can look at my recent work and and learn more more about about me. There’ There’s no one magic bullet for finding destination brides. They They live all all over, over, and they they don’t don’t hear about photographers from just one source. The challenge is to make as many connections as possible and let all those people know you do destination wedding photography.” For more on Jess Jessica ica Claire, Claire, visit www.jessicaclaire.net.
a en Making the magic
All images ©Jerry Ghionis
Lauded Australian photographer Je Jerry rry Ghio Ghionis nis finds beauty and prosperity in reinvention. BY LORNA GENTRY
hat a year 2007 waas for Australian w photographer Jerry Ghionis. Ameri erican can Ph Photo oto In March Am Maga Ma gazin zinee named him one
of the top 10 wedding photographers in the world. In July, July, Microsoft anointed him an “Icon of Imaging.” Never one to rest on his laurels, Ghionis celebrated his success by reconfiguring his business model. This month Ghionis opened an eponymous boutique photography studio in the Dockland Docklandss area of of Victoria Harb Harbour our in Melbourne. His present studio, XSiGHT Photography and Video, in Melbourne, con tinues to to be run by his brother brother and and business business partner, Nick, an accomplished photographer as well. The new studio, run by Ghionis and his wife, Georgina, and his personal assistant Sally-Ann Sargood, will cater to an elite clientele, and have more individualized services and higher prices than XSiGHT. This month Ghionis also publishes his first coffee table book, and launches an online
as well. Over the years Ghionis has given
Professional Photographer: You’re at the pin-
classroom called The I.C.E.Society I.C.E.Society..
seminars and workshops worldwide and
nacle of your career, so why change your studio?
won wo n nume numerou rouss int intern ernat ation ional al aw award ards, s, inc includ ludin ing g
Jerry Ghionis Ghionis: W We’ve e’ve all all heard the the saying, saying,
enough for Ghionis. Even though his first
four of the last five International Wedding
“If it works, don’t fix it.” I prefer, “If it works,
studio was successful, several years ago
Album of of the Year Year awards awards from from Wedding Wedding &
make it better. be tter.” There is always a better
Ghionis changed the name to XSiGHT,
Portrait Photographers International.
way—aa more efficien way— efficient, t, less expensiv expensivee and
added a state-of-the-art theater, and doubled
Professional Profes sional Photogr Photographer apher caught up with
more effective way. I would rather risk and
his fees. He doubled the number of clients
Ghionis between seminars in Melbourne.
fail than be safe and boring. Rather than
Maintaining the status quo was never
96 • www.ppmag. www.ppmag.com com
concentrating on being the best, I concentrate
years since since I started started my my own busines business, s, and I
I grew tired of waiting for magic to happen
on being better than last week and being dif-
can’t wait for what the next 10 years will bring.
on its own. An artist’s paintings say as much
ferent. feren t. I encourage new photographers to be
about the artist as the subject. Why should
as passionate about their business as they
Your approach to photographing weddings is
photography be any different? Aren’t we
are about their photography. My biggest rein-
different from the popular photojournalism style.
artists? I love beauty, glamour and fashion.
vention ven tion yet is is the introducti introduction on of my my new
What is your technique and why is it successful?
In fact, those who inspire me most are fashion
studio. I am ready for the next phase in my
When I started, started, I was told told that a weddin wedding g
photographers—Herb Ritts, David LaChapelle,
career. I’m starting from scratch. It’s been 10
isn’t about me, it’s about the bride and groom.
Patrick Demarchelier, Sante D´Orazio,
March 2008 • Professional Photographer • 97
Mario Testino, Horst P. Horst, Helmut Newton,
my images appear as if I happened to be in
emotions and demands attention. I never shoot
Richard Avedon, among many others.
the right right place at at the right right time.
in black in white, but I do convert images to
If I waited for moments on a wedding
black and and white. white. Black Black and white white and sepia sepia
day rather than create them, my albums
What gives your images that touch of drama?
represent about 10 to 20 percent of the images
wouldn’t wouldn ’t look as as dynamic dynamic as they they do. My My
Through lighting—video light, candlelight,
in my wedding albums.
albums feature images that I captured as
ambient light. I also use shadows and
well as those those I created created.. When viewing viewing her her
reflections. I vary angles, cropping and
How many weddi weddings ngs do do you shoo shoott in a year? year?
photographs, a bride first looks to see how
perspective. Mainly it’s the last-minute
People often have the perception that I don’t
beautifu beau tifull she she is and and then then look lookss for for express expression ion,,
finesse, the last direction. It could be a slight
shoot much anymore because I’m away teach-
emotion and storytelling. Ironically, the bride
parting of the lips or tilt of the head.
ing. In 2006 I was away from home for about
who wants wants to look look beautiful beautiful doesn doesn’t ’t want to
three months, months, collect collectively ively,, but I still still shot 65
be posed, posed, which tells tells me brides brides want want to look look
You seem to love saturated color. Why?
weddings. weddin gs. The same same for 2007 2007.. But from this
glamorous and natural. Emotion often beats
Because it’s exciting and stands out from what
yearr on I’ll be yea be photog photograp raphing hing fewe fewerr wedding weddings, s,
perfection, but why not have both? I make
other photographers do. Color evokes certain
(continued on p. 102)
MARKETING, THE GHIONIS WAY Five key things photographers should remember in planning marketing and advertising for the year: 1. Work on marketing that costs you nothing—ask clients and vendors for referrals referr als and maximize relationships with people who can help you. 2. Try a same-day slide show at the reception. It’s It’s the best direct marketing you will ever do and you can charge good money for it. 3. Don’t be a tightwad! Don’t think about the advertising dollars you’re spending; think instead about the return. 4. When presented with an advertising opportunity,, ask yourself, Is there a opportunity better way I can spend this money? 5. Don’t forget to consider yourself a brand. Build it and they will come.
JERRY GHIONIS’ CAMERA BAG CAMERAS: Canon EOS 5D (x2) Canon EOS 20D LENSES: Canon 70-200mm f/2.8L IS USM Canon 17-40mm f/4L USM Canon 24-105 f/4 L USM Canon EF 100mm f/2.8 Macro USM Canon EF 50mm f/1.4 USM Canon EF 85mm f/1.8 USM SanDisk CompactFlash cards LIGHTING: Canon Speedlite 580EX Canon Speedlite Transmitter ST-E2 Lowel id-Light video light Sunpak ringlight flash
“Rather than concentrating on being bei ng the the best, best, I concentrate on being better than tha n last last week. week.””
(continued from p. 98)
made by Seldex Artistic Albums in Australia.
setting up pose number 23 in location
doubling my prices, and offering a more bou-
In my new studio, every album will be cus-
number 57. Comfort zones have never been
tique tiq ue serv service ice.. Port Portra rait it and and fas fashio hion n pho photo togra graph phy y
tomized tom ized and tai tailore lored d to suit indi individu vidual al clien clients. ts.
synonymous with artistic expression. Learn
make up about 20 percent of my business.
to observe observe and list listen en to pe peop ople le.. Bec Becom omee a go good od What is the number one way a professional
communicator. My images are solid …
What makes your wedding albums award
photog pho tograp rapher her can imp impro rove ve his or her bus busine iness ss? ?
becausee of how I commun becaus communicate icate with with my
winning?
Surround yourself with great people. Without
clients.
I believe it is the simplicity of design, which
a good staff, your studio is only four walls. Stop
allows the photography to speak for itself. A
bein be ing g a con contr trol ol fr frea eak k and and ge gett som somee hel help. p. Ed Educ ucat atee
good design goes unnoticed. It’s all about the
yourse you rself. lf. Sem Semina inars rs and and work worksho shops ps can can lit litera erally lly
images. It’s harder to be simple than it is to add
change your life. After all, knowledge is power.
a lot of bells and whistles. Wedding albums
Don’t be too precious about the work.
shouldn’t be too fashionable. I want my albums
Consider yourself first a businessperson who
to look look great 50 50 years from now now. Most Most of our
happens to be a photographer. Artistically,
albums are a mix of matted and magazine styles,
don’t be safe or stay in your comfort zone by
See more of Jerry Jerry Ghionis’ Ghionis’ work work and get get info about his seminars, workshops, DVDs, and Picpockets educational tools at www.jerryghionis.com. A freelance freelance writer based in Atlanta, Lorna Gentry has covered the professional photography photog raphy industry industry for 15 years. years.
“I grew tired of waiiti wa ting ng for magic magic to happe happen n on its its own. An artist’s paintings say as much about the artist as the subject. … Aren’t we artists?”
All images ©Parker Pfister
“I want people to know me as a photographer. Not a wedding or a portrait photographer, just a photographer photographer..”
One of a kind Parker Pa rker Pfister Pfister’s ’s special knack for turning the ordin ordinary ary into the extra extraordi ordinary nary BY STEPHANIE BOOZER
“I’m kind of an inventor,” he says, as he describes the inexpensive lighting option he found at a neighborhood Wal-M W al-Mart. art. “Abou “Aboutt five five years ago I unleashed unleashed the deer light on the world, and the response was amazing. amazing.”” A CV boot from from an old old Honda Honda Accord Accord and and a
hunting practice in which “guys drive around
really miss film and large format cameras,”
rechargeable deer light aren’t exactly typical
at night with these huge spotlights hunting
he explains. “I figured out that I could take
gear for a camera bag. But for Parker Pfister, one
deer,” says Pfister. “I thought, Wow! That
the rubber rubber CV boot from from this ’84 84 Honda Honda
man’s trash can be another man’s treasure.
would be the coolest thing to light portraits with .”
Accord, Accor d, put my Canon Canon body cap cap on one one end,
“I’m kind of an inventor,” he says, as he
Pfister rigged a deer light with a soft box,
and a large format lens on the other. Now I
describes the inexpensive lighting option he
and discovered some of the best artificial
found at a neighborhood Wal-Mart. “About
lighting lighti ng he’s he’s seen. seen. “People “People kept kept asking asking me
five years ago I unleashed the deer light on
how I was getting this gorgeous lighting. I
of film led him into developing a set of
the world, world, and the the response response was was amazing. amazing.”
love showing showing up with funky funky stuff stuff like like this at at
Adobe Photos Photoshop hop actions actions that that have have become become
a wedding,” Pfister says.
wildly popula popular. r. The The set is saved saved in layers, layers, so so
The rechargeable “deer light,” about the size of a gallon jug, lasts 40 minutes on a full charge. The lights are used in an unlawful
The CV boot? Pfister turned it into a tiltshift lens for his Canon EOS-1D Mark II. “I
have a truly unique tilt-shift lens.” Pfister’s penchant for the organic quality
photographers can alter them to suit their own style and purposes.
“Digital is way too clean. People have no idea whatt I shoo wha shoot—f t—film ilm or digi digital tal—a —and nd I lov lovee that. that.” Pfister’s unconventional methods and beautiful beauti ful images images have have made him him a popular popular speaker and teacher. “I’m always in awe when I watch watch Parker Parker shoot, shoot,” says says his wife wife and business partner, Melissa. “He has an amazing way of seeing a shot that no one else ever would. And he’s very fast. He never hesitates when he’s shooting.” Pfister was 6 when his grandmother gave him his first camera, and he was hooked. At 11, he won the county and state fairs of Ohio with an image of a toad, and eventually took second second place in the world world at the St. Louis Fair. From then on photography became his calling. calling. He He shot his first wedwedding in 1984 with his father, an ichthyologist, who also happened to photograph weddings on on the side. After that that wedding, wedding, says says Pfister Pfister,, “I swore swore I’d never shoot another wedding.” Later, Pfister headed west to Oregon to pursue landscape lands cape and and large-forma large-formatt photograph photographyy, and he accumulated a portfolio of fine-art work as well. He He reluctantly reluctantly agreed agreed to shoot another wedding, but only on his own terms. “I “I fell in love love with it, it,” he says. says. “I was was able to show my personality and my style, and really take on the wedding day.” Pfister has been shooting weddings and portraits exclusively since 1999. His inventive spirit keeps it fresh because he’s always got some crazy new idea to try. He won’t won ’t divulge divulge his latest latest inventio inventions, ns, but he he will admit admit to rigging rigging up his own ring lights, lights, and says he’s having fun playing with Westcot W estcottt Spiderlites, Spiderlites, which which are “super-d “super-duper uper cool and fit my style perfectly,” perfectly,” he says. “The biggest way I combat burnout is that I never never go in with a plan, plan,” says says Pfister Pfister,, who scoffs scoffs at at the idea of scoping scoping out out the location locat ion ahead ahead of time. time. “It’s all about about the light anywa anywayy, which is alwa always ys changin changing. g. We We run around looking for gorgeous light. It
Situated in the mountain town of Ashevill Ashev ille, e, N. N.C. C.,, the studio is more of a fine-art gallery than a typical studio. There’s no camera room, and no portraits or wedding shots adorn the walls. wall s. The spac spacee is dominated by Pfister’s fine art and landscapes. may be in the ugliest part of the church, but if the light’s perfect, it’s going to sing.” Situated in the mountain town of Asheville, N.C., the Pfisters’ studio is more of a fine-art gallery than a typical studio. There’s no camera room, and no portraits or wedding shots adorn the walls. Instead, the space is dominated by Pfister’s fine art and landscapes, making clients feel they’re taking in an exhibition as well as sizing up a wedding photographer. “I realized that this space is really my marketing tool,” he says. “People walk in and say, ‘Wow, this guy’s a real photographer,’ then sit down and look at the wedding books. When someon someonee spends spends 10 minutes minutes up front front just looking looking at at my pictures, pictures, I know know they’re they’re my kind of client.” The Pfisters limit their wedding bookings
110 • www.ppmag. www.ppmag.com com
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to 20 a year year,, portrait portrait sessions sessions to 30 or so. so. They do everything themselves, from shooting to printing to hand-binding albums. Designated both a Canon PrintMaster and Canon Explorer of Light, Pfister prints all final images with a Canon iPF 8000 printer onto Hahnemuhle paper, though thoug h he’s looking looking forward forward to testing testing a new new “all-green” album printed on bamboo paper, a renewable resource. The Pfisters use a traditional English signature binding method with their albums, which are are popular popular among among both both wedding wedding and portrait clients. Most important, they reserve time to develop strong personal relationships with their clients. “We try to create a one-of-a-kind experience for our clients,” says Melissa. “We want them to be be able to look at at every image image and remember how they felt in that exact moment.” “We actually call our bookings ‘commissions,’” says Pfister, who averages about $12,000 per wedding and $4,000 to $5,000 per portrait sitting. “We meet with our clients as often as we can, have drinks, dinner, whatever, whatev er, so so that we’r we’ree really comfo comfortable rtable at at the wedding. wedding. We We couldn’t couldn’t do that if we were doing 40 weddings a year.” Limiting commissions also provides time for Pfister to continue to explore the world with his camera camera.. “I have have to shoot shoot daily daily,” he says. “I shoot random things just to see how light reacts, reacts, see see different different angles. angles. Once Once you you see something in a different way, you can mold it to whatever look you want to create.” Pfister is content with his present workload, and enjoys a happy balance of teaching, photography and inventing. “I’m always trying to see how I can do thin th ings gs di diff ffer eren entl tlyy,” say sayss Pfi Pfist ster er.. “I “I wan wantt peo peopl plee to to know me as a photographer. Not a wedding or a portrait photographer, just a photographer.”
See more more of Par Parker ker Pfister Pfister’s ’s wedding wedding port portfolio folio at www.parkerjphoto.com, or check out his Adobe Photosho Photoshop p actions at www.pjddr www.pjddr.com. .com.
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All images ©Mike Colón
ENGINEERING A NICHE The tale of Mike Colón and the spiraling wedding market BY JEFF KENT
ith each new price point, there is so much more that’s expected. You’re dealing with a completely different group with different wants and needs. The trick is to understand what’s required and deliver it without being asked,” says Mike Colón.
As an electrical electrical engineering engineering student at
Colón’s skill with wi th a camera opened doors,
Colón began by shooting a mix of action
Cal State Fullerton, Mike Colón spent his
and his business acumen helped him make the
sports and sports portraits, along with an
extracurricular hours working at three photog-
most of his opportunities. Now one of the most
occasional wedding. He hooked up with an
raphy studios. The more he photographed,
recognized names in wedding photography, photography,
established wedding shooter who taught him
the less he wanted wanted a career in engineering. engineering.
Colón runs a studio that averages about $25,000
the ropes, ropes, then sent him him referrals referrals for a fee. fee. In
Deciding his future lay in photography, he
per wedding. He speaks at industry events
the first first year with with the photog photographe rapher, r, Colón Colón
didn’t switch his major to art and photog-
around the country, maintains maintains a quiver of big-
booked book ed some 25 25 weddings, weddings, and and fell in love love
raphy, but to business. “I wanted to learn
name sponsors, and sees his images gracing
with it. “I “I was in a happy happy place every
how to run a business,” says Colón. “I had no
major ad campaigns—all this in about 10 years.
weekend. weeken d. It was good pay pay, consistent consistent work, work,
intention of being a starving artist.”
Working W orking out of Newport Newport Beach, Beach, Calif. Calif.,,
and I got to be my own boss,” he says.
In January January 2000, with wedding referrals flowing in, Colón dropped everything else to focus solely on weddings. He figured that by dedicating his energy to marketing and building a specialty business, he could establish himself as an expert. Expert status draws experts’ pay. Colón’s first investment was a top-notch Web W eb site. He He started started advertising advertising in maga maga-zines and bridal publications, going into debt to buy full-page ads like the major players. He also started building relationships with other wedding photographers, such as fellow SoCal shooters Becker, Jon Barber and Joe Photo. At Becker’s Becker’s instig instigation ation,, the group group organorganized an online calendar to post open dates, so they could refer prospects to one another if they were already booked. The system helped all of them build their businesses in the otherwise otherwise cutthroa cutthroatt competition competition of of the Southern California market. The kick-start in drawing a client base emboldened Colón. “Every time I felt like I was making making progres progress, s, it would would give me me confidence and I would get more aggressive,” he says. “Rather than sitting back, I would actually spend more money. I would max out my credit cards to invest in the business. With each each new investm investment ent in the the business, business, I would raise raise my fees.” At first, he bumped up prices incremen tally to get his packages on par with the A-listt photogr A-lis photographe aphers rs in the the area. area. His His first first big big increase was from $4,000 to $6,000. T hen he upped it to $7,500. Then $10,000. Colón decided to decrease his bookings and really focus on the upper tier market. In one fell swoop, he doubled his rates to $20,000 per wedding. It was an enormous risk, but it if worked it would take Colón to the level he wanted to retain for the rest of his career. He wasn’t being haphazard, but executing a plan, backed by i ncreased ser vice, product quality and personal respon-
COLON’S COLON’ S GEAR CAMERA: Nikon D3 LENSES: 200mm Nikkor f/2G ED-IF AF-S VR; 70-200mm Nikkor f/2.8G ED-IF AF-S VR Zoom; 105mm Nikkor f/2.8G ED-IF AFS VR Micro; 85mm Nikkor f/1.4D AF; 50mm Nikkor f/1.4D AF; 24-70 24-70mm mm Nikkor f/2.8D ED-IF AF-S Zoom; 14-24mm Nikkor f/2.8G ED-IF AF-S Zoom; TC TC-20E -20E II (2X) AF-S, AF-I Teleconverter ON-SITE DISPLAY EQUIPMENT: Epson Powerlitee 1810P Multimedia Projector; Powerlit Epson 80-inch portable pop-up screen; Apple 17-inch MacBook Pro DIGITAL DARKROOM: Apple Mac Pros with Cinema Displays; Epson Stylus Pro 3800, 4800 and 7800 printers; Mitsubishi CP9550DW dye-sub printer; Apple Aperture 1.5; Alien Skin Exposure 2.0 STORAGE DEVICES: Tamrac Big Wheels Rolling StrongBox 692; Epson P5000 Multimedia Storage Viewers; Lexar Pro 8GB 300X CompactFlash cards; SmartDisk 80GB FireLite mini external drives; 7.5TB Sonnet SATA mirrored RAID enclosures
sibility for his clients’ happiness. “With each new price point, there is so much more that’s expected,” says Colón. “At each level, you’re dealing with a completely different group with different wants and needs. The trick is to understand what’s required and deliver it without being asked.” Word Wo rd in the industry spread like juicy gossip. Who was this kid? Competitors, vendors, sponsors and and clients saw him in a new light. “The price increases did more than target the clients who wanted to spend that amount of money, they created buzz. They helped me stand out from the pack,” says Colón. Colón’s success confirmed his instinct about his new target market and helped establish him as a leader in the industry. He began speaki speaking ng and and giving semin seminars, ars, creating a name for himself as a wedding photography expert. In the era of Internet-fueled information exchange, says Colón. “Shoppers for highend products do their research.” “When a bride has has money to spend, spend, she wants wants the best. She She looks in the magazin magazines, es, searches searches the Internet, Internet, and and sees whose whose name name keeps keeps popping up. If I keep to myself and never share my knowledge with anyone, then I don’t have a chance at that bride. But if I build a network network and and a reputatio reputation, n, it translates trans lates into into people people knowing knowing me me and respecting me. me.”” “I’ve worked very hard to create a brand that appeals to the high-end bride. So much of that brand is based on a confidence that I will do a great job no matter how high the stakes,” says Colón. When you have that confidence, confidence, there’s no limit to what you can accomplish.”
To see more from Mike Colón, visit www.mikecolon.com.
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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 April 4-8 S: PP of Washington, Wenatchee, Wash.; Radley Muller, 360-676-92 360 -676-9279; 79;
[email protected]; www.ppw.org
April 13-15 C: Montana PPA, Billings, Montana; Scott Fairbanks, 406-761-2059;
[email protected]; info@montanappa. org; montanappa.org April 14 S: Connecticut PPA, Crowne Plaza Hotel, Cromwell, Conn.; Harvey Goldstein, 203-430-8276;
[email protected]; www.ctppa.com
June 22-23 S: Kentucky PPA; Embassy Suites, Lexington, Ky.; Randy Fraley, 606-928-5333;
[email protected]; www.kyppa.com
April 21 S: PP of Massachusetts; Steve Meier, smphoto @comcast.net, www.ppam.com
June 22-24 S: PP of North Dakota, Northern Light Seminar, Doublewood Inn, Inn, Bismarck, N.D.; Poppy Mills, 701-222-3040;
[email protected]
April 26-29 C: New Hampshire PPA; North Conway, N.H.; Lorraine Bedell, 603-743-5732;
[email protected]; lbedell@worldpath .net; nhppa.com
June 22-25 S: Texas PPA, YO Ranch Resort, Kerrville, Kerrvill e, Texas; Texas; Doug Box; 979-272-52 979-272-5200; 00; dougbox@mac.
[email protected]; com; www.tppa.org
April 27-29 C: PP of New Jersey, Bally’s Hotel & Casino, Altlantic City, N.J.; Leslie Meltzer, 866-985-4300; secretary@ppanj.
[email protected]; com; wwwppanj.com
August 2-5 C: PP of Louisiana, New Orleans, La.; Dayna Dayna Ponthieu, 318-359-6633; www www.ppla.net .ppla.net
May 18-20 S: PP of Louisiana, Marksville, La.; Dayna Ponthieu, Ponthie u, 318-359-6633; www.ppla.net
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
May 18-23 W: Imaging Workshops, Mountain Summit, Breckenridge,, Colo.; Jeff Johnson, 303-921-4454; Breckenridge
[email protected]; www.coloradoworkshops.com
April 12-15 C: Heart of America, Mid America Center, Council Bluffs, Iowa.; Stephen Harvey, 620-624-4102;
[email protected]; www.hoappa.com
June 15-16 C: PP of Oregon, Mt. Bachelor Resort, Bend, Ore.; Arlene Welsh, 800-370-5657;
[email protected]; www.pporegon.com
PPA PP A EV ENTS
January 11-13, 2009 Imaging USA, Phoenix
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 10-12, 2010 Imaging USA, Nashville
June 6 117th Annual International Print Competition Deadline for Entries
April 10 California
July 22-23 Judges Workshop, Workshop, Daytona Beach
For a complete list of exam dates, go to www.ppa.com and click on Certification.
April 7 Super Monday
Image Review
October 9-18 PPA Fall Cruise
Online submission: May 9, 9, August 8, 8, & October 10
126 • www.ppmag. www.ppmag.com com
June 16 S: PP of Massachusetts; Steve Meier,
[email protected]; www.ppam.com
Certification Exam April 6 Washington
August 15 C: Tennessee PPA, Marriott Cool Springs, Frankin, Tenn.; Ernie K. Johnson, 615-509-5737;
[email protected]; photo4u2b@aol. com; tnppa.com September 12-15 C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.; Ted Newlin,
[email protected]; www.ppok.org September 13-16 C: PPA of New England, Radisson Hotel Nashua, N.H.; Roland Laramie, P.O. Box 316, Willimantic, CT 06226;
[email protected] [email protected] om September 13-17 C: Georgia PPA, Athens, Ga.; Tom McCollum; 770-972-8552;;
[email protected] 770-972-8552
[email protected]; t; www.gppa.com October 3-7 C: Southwest PPA, Sheraton Arlington Hotel, Arlington, Texas; Michael Scalf, Sr., Box 1779, Blanchard, OK 73010-1770; 405-485-3838; michael@swppa.
[email protected]; com; www.swppa.com October 5-6 S: Kentucky PPA; Hyatt Regency, Lexington, Ky.; Randy Fraley, 606-928-5333;
[email protected]; www.kyppa.com October 12-13 C: PP of Colorado, Denver, Colo.; Jeff Johnson; 303-921-4454; president@ppcolo president@ppcolorado. rado.com; com; www.ppcolorado.com October 20 S: PP of Massachusetts; Steve Meier,
[email protected]; smphot
[email protected]; www.ppam.com
2008 PPA-AFFILIATED SCHOOLS PPA members receive both merits and the best-published prices.
March 30 - April 2 International Internation al Photographic Arts School, Mariott Hotel & Conference Center, Indianapolis, Ind.; Janell Spencer, 812-384-3203; spencerjanell@
[email protected] yahoo.com;; www.apag.net/ipassch www.a pag.net/ipasschool.html ool.html March 30 – April 4 Triangle Tria ngle Institute, Greentree Radisson, Pittsburgh, Pa.; Samuel Pelaia, 724-869-5455;; trianglephotog 724-869-5455 trianglephotographers@ raphers@ verizon.net; www.trianglepho www.trianglephotographers.org tographers.org March 31 – April 4 California Photographic Workshops, Fisherman’s Wharf, San Francisco, Calif.; James Inks, 888-422-6606;
[email protected]; www.cpwschool.com www.c pwschool.com April 6-11 New England Institute, Ocean Edge Resort, Brewster, Mass.; Sal Genuario, 401-7383797;
[email protected]; www.ppane.com April 27 – May 2 Texas School, Texas A&M University, College Station, Texas; Donald Dickson, 806-296-2276;
[email protected]; www.tppa.org/ www. tppa.org/school.htm school.htm May 4-9 Georgia School, N. Georgia Tech, Clarksville, Ga.; Tom McCollum, 888-272-3711; gppaed@bellso
[email protected]; uth.net; www.gppa.com www.g ppa.com May 4-9 MARS (Mid-Atlantic Regional School), Grand Hotel, Cape May, N.J.; Adele Bastinck, 888-267-627 888-267-6277; 7;
[email protected]; www.marsschool.com May 6-9 and May 11-14 11-14 Wisconsin Professional Professional Photographers Photographers School, UW Stevens Point-Treehaven, Tomahawk, Wis.; Phil Ziesemer, 715-5364540,
[email protected] [email protected]; om; www.wiprophotoschool.org wiprophotoschool.org May 18-22 Florida School of Photography, Daytona Beach Community College, Daytona Beach, Fla.; Teri Crownover;
[email protected] [email protected];; 800-330-0532; Marybeth Jackson Jackson-Hamberger,
[email protected]; www.fppfloridaschool.co www.fpp floridaschool.com m
128 • www.ppmag. www.ppmag.com com
May 18-22 Imaging Workshops of Colorado, Breckenridge, Colo.; Jeff Johnson, 303-921-4454;; luna@origina 303-921-4454
[email protected] limageco.com;; www.coloradoworks www .coloradoworkshops.com hops.com June 1-5 Kansas Professional Photographer School, Bethel College, Newton, Kan.; Ron Clevenger, 785-242-7710,
[email protected];
[email protected] et; www www.kpps.com .kpps.com June 1-5 Mid-America Institute of Professional Photography, University of Northern Iowa, Cedar Falls, Iowa; Charles Lee, 641-799-8957;
[email protected]; www.maipp.com; www .maipp.com; Al DeWild,
[email protected] June 8-12 Illinois Workshops, Grafton, Ill.; Bret Wade, 217-245-5418;
[email protected]; www.ilworkshops.com www .ilworkshops.com June 8-13 Great Lakes Institute of Photography, Northwestern College, Traverse City, Mich.; Greg Ockerman, 313-318-4327;
[email protected]; www www.glip.org .glip.org June 15-20 West Coast Coast School, University of San Diego, San Diego, Calif.; Kip Cothran, 951-696-9706;
[email protected] [email protected]; om; www.prophotoca.co www .prophotoca.com m June 22-25 Golden Gate School of Professional Photography, Mills College, Oakland, Calif.; Julie Olson, 650-548-0889;
[email protected]; www.goldengatesc www .goldengateschool.com hool.com June 22-26 PP Oklahoma School, St. Gregory’s University, Shawnee, Okla.; Glenn Cope, 580-628-6438;
[email protected]; www.ppok.org/ www .ppok.org/school.html school.html July 13-17 Image Explorations, Shawnigan Lake, British Columbia; Don MacGregor, 604-731-7225;
[email protected]; www.imageexploration www .imageexplorations.ca/ s.ca/
July 20-25 PPSNY Photo Workshop, Hobart/William Smith Colleges, Geneva, N.Y.; Linda Hutchings, 607-733-6563;
[email protected]; www.ppsnysworksh www .ppsnysworkshop.com op.com August 4-7 Long Island Photo Workshop, Sheraton Hotel, Smithtown, Long Island, N.Y.; Jerry Small, 516-221-4058;
[email protected]; jerry@jsmallphoto .com; www.liphotoworkshop www .liphotoworkshop.com .com August 10-14 East Coast School, Sheraton Imperial Hotel, Raleigh, N.C.; Janet Boschker, 704-567-0775;
[email protected]; www.eastcoastscho www .eastcoastschool.com ol.com August 24-27 Carolina Art & Photographic School, Randolph Community College, Archdale Campus, Creekside Park, N.C.; Bob Henderson, 336-288-1132;
[email protected]; bhphoto47 @earthlink.net; www.capsartschool. www .capsartschool.com com September 28-October 2 Lamarr Williamson School of South Carolina; Springmaid Resort, Myrtle Beach, S.C.; John Wrightenberry; 803-781-2130;
[email protected];
[email protected] om; www.ppofsc.com www.ppofsc.com
Send all additions or corrections to: Marisa Pitts, Professional Photographers of America, 229 Peachtree Street, N.E., Suite 2200, Atlanta, GA 30303;
[email protected].
PPA-Approved Continuing Education Seminars PPA members receive both merits and the best-published prices.
April 21 C/E: Arizona Spring Fling, Phoenix Airport Hilton, Phoenix, Ariz.;
[email protected]; www.arizonappa.com/seminars.html April 28-May 2 C/E: David Ziser’s Digital Master Class; Cincinnati, Ohio; 800-292-2994; www.davidziser.com 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; Yoshinaga; 800-483-6208;
[email protected]; www.suzetteallen.com/copan August 1-4 C/E: Oxford Painter Workshop; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com September 12-17 C/E: Great Gatsby Impressionist Workshop; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com October 20-23 C/E: Painter Creativity; Jeremy Sutton, San Francisco,, Calif.; 415-626-3971; Francisco www.jeremysutton.com November 2-6 C/E: The College! Master Biennale; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com
October 20-21 C: Wisconsin PPA, The Osthoff Resort, Elkhart Lake, Wis.; Donna Swiecichowski, Swiecichowski, 920-822-1200; Paul Tishim, 715-3845454; Deb Wiltsey Wiltsey,, 866-382-9772; wppa-online.com October 26-27 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126;
[email protected] October 26-28 S: Northern Light/Minnesota PPA; Nicole Bugnacki, 763-390-62 763-390-6272; 72;
[email protected] November 2 S: PP of Louisiana, Northern Exposure, Shreveport, La.; Dayna Ponthieu, 318-359-6633; www www.ppla.net .ppla.net November 9-10 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington,
[email protected]
Future Events January 31 - February 3, 2009 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126;
[email protected] February 20-23, 2009 C: PP of Oregon, Mt. Bachelor Resort Bend, Ore.; Arlene Welsh, 800-370-5657;
[email protected]; www.pporegon.com February 20-25, 2009 C: Virginia PPA, Renaissance Hotel, Portsmouth,, Va.; William Garrett, Portsmouth 434-836-2751; bgarrett25x2
[email protected] [email protected] om February 26-March 4, 2009 C: PP of North Carolina; Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-404-7762; 888-404-77 62;
[email protected]; www.ppofnc.com February 27-March 3, 2009 C: Wisconsin PPA, Marriott Conference Center, Madison, Wis.; Donna Swiecichowski, 920-822-1200; Paul Tishim, 715-384-5454; Deb Wiltsey Wiltsey,, 866-382-9772; wppa-online. wppa-online.com com
130 • www.ppmag.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 April 3-8, 2009 C: Minnesota PPA; Joanie Ford, 763-560-7783;
[email protected]; mnppa.com April 4-8, 2009 C: Northern Light, Minnesota, Jeff Fifield, 218-722-377;
[email protected]; Nicole Bugnacki, P.O. Box 567 Ironton, Minn.; 56455; 763-390-627 763-390-6272 2 April 25-28, 2009 C: SEPPA, Athens, Ga.; TomMcCollum; 770-972-8552;;
[email protected] 770-972-8552
[email protected];; www.4seppa.com August 8-12, 2009 C: Tennessee PPA, Marriott Cool Springs, Frankin, Tenn.; Ernie K. Johnson; 615-509-5737; photo4u2b@aol.
[email protected]; com; tnppa.com November 15-16, 2009 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington,
[email protected] February 26-March2, 2010 C: Wisconsin PPA, Radison HOtel, Green Bay,, Wis..; Donna Swiecichowski, Bay 920-822-1200; 920-822-12 00; Paul Tishim, 715-384-5454; Deb Wiltsey Wiltsey,, 866-3829772; wppa-online.com April 10-13, 2010 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102;
[email protected]; www.hoappa.com November 14-15, 2010 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington,
[email protected] March 4-9, 2011 C: PP of North Carolina, Sheraton Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-404-7762;
[email protected]; www.ppofnc.com April 2-5, 2011 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102;
[email protected]; www.hoappa.com
PPA AFFILIATE AFFILIATE SCHOOLS SCHO OLS Bahamas International School of Professional Photography (Bahamas)—www.bispp.com (Bahamas)—www.bispp.com California Photographic Workshops (CA)—www.cpwschool.com (CA)—www.cpwschool.com Carolina Art & Photographic School (NC)—www.capsartschool.com (NC)— www.capsartschool.com Delta School (MS)—www.deltaschool.com (MS)—www.deltaschool.com East Coast School (NC)—www.eastcoastschool.com (NC)— www.eastcoastschool.com Evergreen School of Professional Photography (WA)—www.ppw.org. (WA)— www.ppw.org. Florida School of Photography (FL)—www.fpponline.org (FL)— www.fpponline.org Georgia School (GA)—www.gppa.com (GA)— www.gppa.com Great Lakes Institute of Photography (MI)—www.glip.org (MI)—www.glip.org Golden Gate School of Professional Professional Photography (CA)—www.goldengateschool.com (CA)—www.goldengateschool.com Illinois Workshops (IL)—www.ilworkshops.com (IL)— www.ilworkshops.com Image Explorations (British Columbia)—www.imageexplorations.ca Columbia)—www.imageexplorations.ca Imaging Workshops of Colorado (CO)—www.coloradoworkshops.com (CO)— www.coloradoworkshops.com International Photographic Arts School (IN)—www.ppofi.org (IN)— www.ppofi.org Kansas Professional Photographer School (KS)—www.kpps.com (KS)— www.kpps.com Lamarr Williamson School of SC (SC)—www.ppofsc.com (SC)— www.ppofsc.com Long Island Photo Workshop (NY)—www.liphotoworkshop.com (NY)—www.liphotoworkshop.com MARS (Mid-Atlantic Regional School) (NJ)—www.marsschool.com (NJ)— www.marsschool.com Mid-America Institute of Professional Photography (IA)—www.maipp.com (IA)— www.maipp.com New England Institute (MA)—www.ppane.com (MA)— www.ppane.com PP Oklahoma School (OK)—www.pposchool.com (OK)— www.pposchool.com PPSNY Photo Workshop (NY)—www.ppsnysworkshop.com (NY)—www.ppsnysworkshop.com Texas Te xas School (TX)— (TX) — www.tppa.org/school.htm Triangle Institute (PA)— (PA)—www.trianglephotographers.org www.trianglephotographers.org West Coast School (CA)—www.prophotoca.com (CA)—www.prophotoca.com Wisconsin Professional Photographers School @ Treehaven Treehaven (WI)— ( WI)—www.wiprophotoschool.org www.wiprophotoschool.org
MARCH | 08
TODAY
PRESIDENT’S MESSAGE Dennis Craft, M.Photog.Cr., CPP, API, F-ASP 2008-2009
PPA President
GREETINGS As you read my rst message as the PPA President, I am thrilled to tell you that the orga niz nization ation ha s jus justt surpa ssed the 20,000 memb er ma rk rk.. What a priv privil ileg ege e to be b e Pr Presi eside de nt during during this exciting time for the Professional Photographe rs of A meri meric c a. After all, be ing a PPA memb er (since (since 198 987) 7) is one of the mo st important things I have done for my photographic career and business. I was a membe r for for two years be befor fore e I attended my rst PPA convention in 1989. My wife Lori and I never thought we had time to attend. But as Ron Nichols, now PPA Vice President, was rec eiving his M a sters Deg ree that yea r, we thought we would sac sac rice the time to support our friend (and make our rst trip to Las Vegas). During that rs rstt c onventi onvention, on, we were introd introd uce d to so many new experiences: the overwhelming tradeshow, programs that inspired as they taught, and— most importantly—a new network of friends in the industry. Our PPA experience was just beginning.
Now, every year, we look forward to spending time with old friends…and making new one s a long the wa y. This T his year in in Tamp a we ha d lunc lunc h by the bay with our good friends from Montana, C lark and Rac hel Marten. Not only o nly did we discuss our respe respec c tiv tive e businesses, we also shared stories ab out our c hil hildren dren and e njoy njoyed ed the brief time spe spe nt with old friend friend s. And we again had the opportunity to make new fri friend ends s, David a nd A ll lly y Mc Ka y from from C a li liforni fornia. a. Da vi vid d wa s in a C hri hris sti tia a n Roc Roc k band be befor fore e photog rap hy hy,, and we ac tually met via that connection. As you can see, PPA is more to me than just another trade association. I c an belong b elong to a numbe r of different different orga niz niza a tions that will w ill help me with my photography skills and my business knowledge. But there is only one organization that provides the best lea rni rning ng o pp ortuniti ortunities, es, mentors that truly care, and friends that will go the extra extr a mil mile e a nd la st a li lifetime. fetime. And that brings brings me to what I would like li ke the Pr P resi eside de nt’s Me ssa ge to bec be c ome thi this s year. I have be en so blessed bless ed with my my PPA PPA e xpe ri rienc enc e a nd the people I have met, so I will feature a different pe rs rson on from my journey each month. They might be from my travels this year as president or someone who has mad mad e a n impac impac t on my life in the past. I hope this will give you a glimpse into the wonderful peo ple that make make up PP PPA A a nd help you re ec t on those those you have met during your ow n wa lk through through life. Again, thank you for this incredible op po rtuni rtunity ty to serve serve a s your president president this thi s year. May we all grow a nd prosper…not only in business, but also in our friendships.
FRIENDS MET ALONG AL ONG THE WA WAY Y
Sae Lee, M .Ph .Photo otogg .C r., F-A F-A SP West Hollywood, California In J uly 200 2000 0 I had the o pp ortunity to present present a program to the Professional Photographers of Korea. Sae Lee, a photog ra pher from from C a li lifornia fornia (originally from from Korea), Korea ), organized organiz ed the trip trip and tr traveled aveled with Tyler, my son, and I. It was an experience tha t opened ope ned my eyes and hea rt to a very grac ious group of photog rap hers a nd a c ul ultur ture e that I had never experienced before. My son wa s 10 yea yea rs old at the time, and I thought it would be great for him to ac c omp ompany any me on this this tr trip. ip. Sae Lee introd introd uc uced ed us to M r. Kim Kim and a nd his son Ta e Hung, Hung , who wa s a ls lso o 10 yea rs old. These two bo boys ys fr from om d iff ifferent erent c ountries ountries,, different cultur c ultures, es, and different diff erent lang lang uag uages es bridg bridged ed all those those barriers in about ve minutes. You would ha ve thought they they had known each other forever. Tyler still talks about his spe c ial trip trip with me me a nd the p eo ple he encountered along the way.
P P A N e w s & N o t e s
Sae opened my world (and my son’s) to a c ul ultur ture e a nd pe op le that we ha ve both c ome to love. love. Thes These e kind a nd caring photographers have been in uenc uenced ed by Western Western photographe rs while ma int inta a ini ining ng their own styles tyles.. For the introduction to such creative photog rap hers a nd wond erful friends friend s… Tha hank nk you, yo u, Sae .
Dennis Cr C ra ft, M .Ph oto g .C r., C PP, AP I, F-A SP 2008-2009 2008-2 009 PPA PPA Presi Presid d ent
© Dennis Craft
news from the world’s largest professional professional photography association | Professional Photographers Photographers of America | www.ppa.com
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TODAY BOARD BOAR D MEM MEMBER BER SPOT SPOTLIGH LIGHT T Dennis Craft, M.Photog.Cr., CPP, API, F-ASP PPA Member since: 1987
CHILDREN EN & FAMILY FAMILY PORTRAI PORTRAITS TS Shoots: CHILDR Location: MICHIGAN
Dennis C ra ft, new PPA Preside Preside nt and owne r of C raft Photographic G a ll llery ery,, didn’t understand understand photog rap hy or business busi ness whe when n he bo ught his rst photography studio. “I wouldn’t recommend it,” he says wryly. He’s learned a lot since since then.
s e t o N & s w e N A P P
It start started ed with a vac ation to Ha wa waii ii.. He wa sn’t abo ut to to tak ta ke a tr trip ip to that island paradise with just a point-andshoo hoot, t, so so he b oug ht his rst 35mm “real” c ame ra. But But when he go t off the the plane, p lane, it didn’t work. While a lab xed it it,, Dennis De nnis dec de c ided he b etter lea learn rn to use use wha t he had bo ught ught.. Ba Ba c k in Mic higan, he took some some photog rap hy classes classes at a c ommuni ommunity ty co ll lleg ege, e, started started to lea rn the the int ntri rica ca c ies ies…and …and bec ame ab sorbed.
Afte r three After three c lass lasses, es, his brother—a n accountant—told Dennis of a photog pho togrra phy bus b usines iness s one of o f his c li lients ents wa nted to sell. “Well, “Well, I bo ught it. it. Ba Ba c k then, if you were a photographer, you had ha d b us usines iness—it s—it wa s a muc much h sma small ller er industry, I feel,” comments Dennis. “I survived those rs rstt few yea rs rs.” .” So how did he “s “ surviv urvive” e” so succ ess essfull fully? y? He took took the the a dvi dvice ce a lab rep ga ve—he joined join ed his loc local al and state state photog rap hy a ssoc iati iations. ons. “My “My b est educ ation was from all the people I met in the associations,” Dennis adds. “And once I joined join ed PPA, my my op po rtu rtunit nities ies expand ed ed.. I co ul uld d netwo rk and learn from from photographers all over the country. I absorbed information any time I c ould a sk ques que stions tions.” .”
To him, him, education educ ation and netwo rk rking ing a re the two b iggest ad vantage s. “A lot of o f as a ssoc iations try try to to e mulate PPA, PP A, b ut they they don’t do n’t come c los lose,” e,” he he sa ys emp hatic hatica a ll lly y. In his mind, a lot of PPA’s PP A’s str streng ength th come c ome s from from the A f liate network. “That structure is brilliant, allowing us all to keep in inter terac ac ti ting ng a nd growing under PPA.” With the local, state, and reg egional ional Af li lia a te gr g roup oups s, photographers can retain stronger ties to each other, to education, and to the photog rap hic c ommunit ommunity y. J us ustt as he he relis relishes hes the conne c ti tion on PPA PPA and the Af liates provide provide,, Dennis De nnis a ls lso o cherishes the connection his art allows. “As photographers, we can connect with our ou r c lients in a wa y other othe r industries can’t,” he says. “It’s how I know that I really did nd the right profession.”
PPA PP A QU QUIC ICK K NO NOTE TES… S… CONGRATULATIONS CONGRATULA TIONS TO AW AWARDS ARDS & DE DEGR GREE EE RE RECI CIPI PIEN ENTS TS
People came from all around to congratulate recipients at this year’s Awa rds & Degree C eremony during during Imaging USA. For a complete list of award and degree recipients, please visit vis it the C omp etiti etition on & Awa rds sec sec tion of www.ppa.com. SUPER MONDAY: ONLINE AND NEXT MONTH
It’s bac It’s ba c k in in Ap ri ril…t l…the he event e vent that makes Mo nda y the the trea trea sur ured ed da y of the the week: we ek: Super Mo nda y. On (and a round) Ap ri rill 7, 2008, 2008, photog ra phe rs a round the country will open their intellectual doors to others. See all the courses detailed online onlin e at http://e http://events vents.ppa .co m. Pick your favorite and get ready to learn. P2
NEW PP PPA A WE WEBI BINA NARS RS
Don’t have the time or money to travel to your ed uc uca a tion? Let us bring it to you! With PPA’s new webinars, you can learn in the comfort of your home or studio. Thes T hese e online online seminars seminars—p —p rod uce d by both PPA and Studio Management Servic ervices es (SM (SM S)—fea tur ture e busin business ess and photography experts. Watch your inbox for inf information ormation ab out the upc oming topics and times.
THANKS IMAGING USA VOLUNTEERS!
If you didn’t know already, Imaging USA—our record-blowing educational convention and tradeshow—would never have been the success it was without all a ll the c onvention volunteers. volunteers.
2008 200 8 COUNCIL MEETING ATTENDANCE ATTENDAN CE
The 2008 The 2008 PP PPA A C ounc il meeting was held J anua ry 9 in Tamp a, Flori Florida da . A rec rec ord of attenda nce is a vail vailab ab le in in the the M embe rs O nl nly y sec sec ti tion on of ww w. w.ppa ppa .com.
news from the world’s largest professional professional photography association | Professional Photographers Photographers of America | www.ppa.com
TODAY MEET PPA’ PPA’S S 2008-20 2008-2009 09 NEW BOARD MEMBE MEMBERS RS We ar a re p leased to introd introd uce the three three newest members of your Boa rd o f Direc Direc tors. Chec C hec k out www.pp a.c om for biographies on your entire Board of Directors.
Doug Box, M .Ph oto g .C r., A PI
A professional photographer with many hats (he (he even e ven owned a c hi hilld c are center for 18 years), Doug liv lives es on his hob by, a 11 110-a 0-ac c re c attle ranc h in Ca ldwe ldwell ll,, Texas exas.. A PPA Approv Ap proved ed J ur uror or and C ouncilor ouncilor,, he has been be en a PP PPA A membe me mberr since 1980 1980 a nd has owned a studio for 35 years. He has instru truc c ted a t the Internationa Internationa l Wedding Wedd ing Institute, Insti tute, 18 PPA Af A f li liate ate schools scho ols,, and seminars a nd c onventi onventions ons loc loc a ted throughout the U.S., Canada, Mexico, Scotland, Wales and England. On the publishing side, Doug’s articles and images image s have g ra c ed most profes profess siona ionall photog ra phic pub publi lic c ations. He is the a uthor of The Power Pow er of o f Busi Business ness mark ma rketing eting systems systems and seve everra l books, bo oks, including Professiona l Sec rets of C hil hildren’ dren’ss Photog raphy, Profess Professional ional Sec rets of Pho Photog tog rap hing We dd ing s, and Na tur tural al Lig Lig ht Photog Photog raphy. Along with serving serving on the PPA Boa rd, he is currently the Exec utiv utive e Dir D irec ec tor of Texas Texas Professiona Professiona l Photog ra phe rs of America (TPPA). He has served a s Past President President o f TPPA, TPPA, Executiv Exec utive e Direc Dir ec tor of Ame ri ric c a n Soc Soc iety of Photographers, publisher of ASP Magazine, and chairman/member of many ma ny PPA PPA c ommitt ommittee ees s.
Don MacGregor, M .Ph oto g .C r., A PI
Ma c G reg egor or Studios Studios sta st a rted in 197 1974, growing from humble be ginni ginnings ngs in an a pa rt rtment ment to to a 350 3500 0 sq. sq. ft. building in Vanc Va ncouve ouverr. Don foc us uses es on wa ll po rtr rtra a it a nd wed ding wo rk rk,, and he ha s vi vis sit ited ed the awards podium virtually every year since obtaining membership. Numerrous Best Nume Best of C lass lass,, G a llery llery,, Epco t, Fu Fuji ji a nd a gg reg egate ate a wa rds in in a lmos lmostt every po rt rtrrait and wed ding c lass…he c a n c laim them them a ll ll.. In a dd it ition ion to his a wa rds (which a ls lso o includes the National Awa rd a nd the Ross Sa ndd a l Internationa Internationa l Awar Awa rd), Don ha s spo ken a t many platform a nd convention programs for national, state and provincial conventions over the the yea rs thr througho ougho ut Ca nad a a nd the United States. States. Along with serving as a PPA Board member, he is the Past President of Professional Photog Phot og rap hers of Ca nada and Profess Profes siona l Photog Photog ra phe rs of BC. Don Do n is a ls lso o a memb er of the p resti estigio gious us Cameracraftsmen of America.
Kevin Casey, C asey, (Industry Ad Advisor visor)) President & C EO, President C ol olllag es.net
Kevin Casey founded and built C ollage s.net from from scratch with no previous experience in the photography business. But a fter holding key roles in in two start-up co mpanies (m (med ed ica l and c li lini nica ca l lab lab industri indust ries) es),, Kevin gained ga ined the nec ne c ess essa a ry know-how. His technical sales and marketin mark eting g experience —ranging from produc t development to to buil b uilding ding markets for a wide range of innovative prod uc ucts ts,, service service s, and a nd tests— tests— prepa red Kevin to lea lea d C ollage s.net to success. The idea to scan photos for photographe rs and po pos st them online ha s quic kly evolved int into o a multi multi-milli mil lion on d ollar co rporati rporation. on. C ollage s. net’s lead ing workow, online posting, a nd p ri rinti nting ng solutions solutions now he lp over ove r 10,000 pro photographers increase their c omp ompeti etiti tive ve ad vant vanta a ge. In ad dition, Kevin Kevin has ha s a BA in Ma thematics fr from C ollege o f the the Holy C ross a nd a n MBA from Renss Renssela elaer er Polytec hnic Institute. Institute. He even spent spe nt 6 years in the U.S. Air Force as a B-52 co mbat c rew membe r.
P P A N e w s & N o t e s
2008-2009 20082009 PPA BOAR BOARD D MEMBERS MEMBERS Guiding the world’s largest professional photography association is a tough job, and PPA is fortunate to have the right visionaries at the helm. Our board of directors understands exactly what you face daily and knows the programs, educ ation, bene ts, and services you need to be successful. After all, they are practicing professional photographers jus ju st li lik ke you. We’re We’r e p lea leas sed to introd introd uc uce e this yea r’s PPA Boa Boa rd of o f Direc Direc tors tors:: Dennis D. Craft Craft,, Preside resident nt M .Ph .Photog otog .C r., C PP, A PI, F-A SP
Don Dic Dic kson M .Ph oto otogg .C r., C PP
Susan Michal M .P .Photo hoto g .C r., C PP, A BI
Ron Nic hols, Vice Vice Preside President nt M .Ph otog .C r., A PI
Sandy (Sam) Puc’ M .Ph oto otogg .C r., C PP, ABI A BI
Tim Walden M .P .Photo hoto g .C r, F-ASP
Ralph Romaguera, Sr. M .Ph oto otogg .C r., C PP, A PI, F-A SP
Doug Box M .P .Photo hoto g .C r., API A PI
Carol Andrews M .Ph oto otogg .C r., A BI
Don MacGregor M .P .Photo hoto g .C r., API A PI
Louis Tonsmeire, Treasurer C r. Photog Photog ., API J ack Rez ezni nicki cki,, Chairman of the Board C r.Phot .Photog og .Hon.M.Phot .Hon.M.Photog og ., API
Kevin Casey, C asey, Industry Industry Advisor Advisor Presi Pr esident dent & C EO of C ol olllag es.net
news from the world’s largest professional professional photography association | Professional Photographers Photographers of America | www.ppa.com
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TODAY AFFILIATE SCHOOL SPOTLIGHT SPOTLIGHT FPP FLORIDA SCHO SCHOO OL OF PROFE FESS SSIO IONA NAL L PHOTOGRAPHY May 18 – 22, 2008 2008 | Daytona Bea Beac ch, Florida Daytona Beach Community College rownover; ver; 800-330-0532 800-330-0532 Contact: Teri C rowno Web sit site: e: ww w. w.fpp fpporidaschool.com Tuition: $5 $500 00 FPP FPP// PPA memb e rs rs;; $65 $650 0 no non-me n-me mb mbe e rs C ourse inf information: ormation:
s e t o N & s w e N A P P
V ital Photoshop Skill Skillss - Suzette Suzette A ll llen en Fund ame ntal ntalss of Photoshop - A l Au dlema n Environme Envir onme ntal Portraitur Portraiture e - Do ug Box TurboC harg e Your Work ow - Ma rk C ampb el elll Founda tions of Portraiture Portraiture - Bruce Eve nsen Intro Intr o to Co rel Painter - Ja ne C onne rr-zis ziser er Portrai Port raits ts & Wedd ings - Hanson Hanson Fong Fong & Janice Wendt Power Ma rk rketi eting ng - Mitc Mitc he G raf Hig h Oc tane Wedd ing s - Curt Li Litt ttllec ott Hig h Scho ol Seniors - La rry Peters Lea rn to See See & C ontr ontrol ol Lig Lig ht - Barry Rankin, The Ne xt Leve Leve l with C orel Painter - Je remy Sutton Sutton M a sterin g the Lig ht - J oh n Wood Wo od wa rd M a ster’s C lass - A l G ord on , Tim Tim Kelly & G reg D a nie l
MID- AMERIC MID-A MERICA A IN INST STIT ITUT UTE OF OF PROFESSIO IONA NAL L PHOT HOTO OGRAPHY J une 1 – 5, 2008 | Cedar Fall alls s, IA Contact:
[email protected] Web site: www.maipp.com Tuition: $625 members; $675 non-members (tuition only) C ourse inf information: ormation: Photoshop for Fun & Pro t (ad vanc ed) - Suz Suzett ette e A llen Sen iors, Fa milies & G e ne ra rall Po Portra rtra iture Je J e a n, D a ve ve,, & J . D. W a c ke r Introductory Int roductory Portrait Tec hniques - Doug Box The A BC ’s of Business - A letha Spe aka r & Steve Steve Larson Taking It to to the N ext Level Level - Monica Si Sigg mon & Mic hae l Taylor Portraying Portr aying Famil amilies ies & C hil hildren dren - D ennis C raft Think Inside Inside the Box - G ary & Pamela Box Photoshop Phot oshop (intermediat (intermediate e to ad vanced ) - M ark C ampb el elll The Walden Experience: Experience: A Journey thr throug oug h Imag in ingg Tim & Be verly Walden M a sterin steringg the Te Te c hn hniqu iqu e s: How to be a C omplet omplete e Photog raphe r - Hanson Fong Fong Brand New C ours ourse e for Brand New Photog raphe rs (ba si sicc level, 2-da 2-da y c ourse) - Rob ert Lloyd Lloyd M a sterin g the Lig ht - J oh n Wood Wo od wa rd
JR., CR.PHOTOG. IN ME MEMO MORY RY… … ARTHUR J. REED, JR., A rt Ree Ree d, retired retired fr from om Ea stman Koda k, pa ssed a way on J anuary 16, 2008. Art, who was 82, died from c omp ompli lic c ations while while hos hospitali pitaliz zed for a fall. He is survived by his wife, Marj, two c hil hildren dren and two grandc hil hildren. dren. Art was a honorary life member of SEPPA, G eo rgia and Fl Florida orida Pr Profess ofessional ional Photography Assoc Assoc iati iations ons and a longtime ti me PPA and PMA membe r. He grad uated fr from om the Roc hest hester er Insti Ins titut tute e o f Tec hnology a nd b eg egan an his profes profess sional p hotograp hi hic c c a ree r in Auburn, Aub urn, NY. NY. He wa w a s invi invited ted to join the Eastma Eastman n Kod Kod a k C o. for a 35-yea 35-yea r career—in both the domestic and interna int ernationa tionall markets—a markets—a nd retired retired in Atlanta Atlant a a s Reg ional Ma nag er er.. He is reme mbe red for his pa tri triotis otism m as as a WWII vet veteran eran a nd a c it itiz izen, en, one who
had great pride in being a member of the Koda k co rporate family family. Art understood the value of relationships a nd wa s c ommitt ommitted ed to helping others. others. Art rec rec og ogniz nized ed that the need s of the professional photography market, as well as his staff’s, were constantly c hang hanging. ing. He He is c red it ited ed with coining coining the phrase “we have to remain rigidly exible!” “Find “Find out o ut what wha t kee kee ps your c us ustomer tomer a wa wak ke at a t night night and then go x it” was another ano ther fa fa vorit vorite e that tha t led to improved customer satisfaction. The world and the photog The photog rap hic industry have lost a true gentleman a nd a devoted fri friend end with the the pa p a ssing of Art Ree Reed. d.
CONVERSATIONS ON OURPPA.COM Super Monday is next month, and the Internationa l Print Print Co mpe mpetit tition ion is gea ge a ri ring ng up. So So wha t ca n you you do to get ready? Ask questions, get ideas for the the b est prog prog ra ms ms,, deba de ba te the bes be st co mpetit mpetition ion print print cho ices, and more…all more…a ll on O urPP urPPA A .c .com. om. The The forum fo rum is is P4
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news from the world’s largest professional photography association association | Professional Photographers Photographers of America | www.ppa.com
PHOTOSHOP WORLD IS THE OFFICIAL CONVENTION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS
Photoshop World: ®
COMING TO ORLANDO, FL. APRIL 2-4, 2008 worl w orld’ d’ss larg largest est Ad Adobe obe® Photoshop® educati educational onal event, featuring the t he latest Photoshop CS3 training, and an expanded 3-day tech expo is coming to Orlando, Orlando, Florida! Photogr Photographers, aphers, graphic designers, Web Web developers, educators, art directors, students, and Photoshop fanatics — this is the conference you don’t want to miss in 2008! Mark Your Your Calendar! Calenda r! Th The e
REGISTRATION OPTIONS
NON-NA PP M EMBER
599 699
(before February 29, 2008) includes a full-year NAPP membership
$
(after February 29, 2008) includes a full-year NAPP membership
$
NAP P MEM BER
499 599
(before February 29, 2008)
$
(after February 29, 2008)
$
REGISTER TODAY! CALL 800-738-8513 OR VISIT WWW.PHOTOSHOPWORLD.COM
Adobe and Photoshop are registered trademarks of Adobe Photoshop Incorporated.
Lab L abTab
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
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES
Lab L abTab ad specs: 1 1 Ad size: 3 ⁄ 2” x 2 ⁄2 12x rate: $400.00 gross per month
Sign a 12x contract and receive a double size feature ad twice during your contract year at no extra charge. Contact Bart Engels, Western Regional Manager, 847-854-8182; or Shellie Johnson, Eastern Regional Manager, 404-522-8600, ext. 279; for more information.
PROFESSIONAL
3D LightMaster (www.3dlightmaster.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Adorama (www.adorama.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129, 131 Advanced Photographic Solutions (www.adv (www.advancedphoto.com). ancedphoto.com). . . . . . . . . . . . 140 Album Crafters (www.albumcrafters.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Albums Inc. (www.albums inc.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64-65 AlbumX/Renaissance Albums (www.renaissancealbums.com). . . . . . . . . . . . 45 Allied Photographic & Imaging Lab (www.alliedphoto.com) . . . . . . . . . . . . . 140 AllStar Photo Imaging (www.4allstar.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 141 American Color Imagin g (www.acilab.com) . . . . . . . . . . . . . . . . . . . . . . . 89, 142 American Student List (www.studentlist.com) . . . . . . . . . . . . . . . . . . . . . . . 147 ARK-LA-TEX Color Lab (www.altcolorlab.com). . . . . . . . . . . . . . . . . . . . . . . 139 Asukabook (www.asukabook.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 B & H Photo-Video (www.bhphotovideo.com) . . . . . . . . . . . . . . . . . . . . 124-125 BWC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Backdrop Outlet (www.backdropoutlet.com). . . . . . . . . . . . . . . . . . . . . . . . . 146 Backgrounds by David Maheu (www.backgroundsbymaheu.com). . . . . . . . . . . . 147 Bay Photo Lab (www.bayphoto.com). . . . . . . . . . . . . . . . . . . . . . . . . 50-51, 139 Bellies & Babi es 2008 Tour (www.bellies-babies.com) . . . . . . . . . . . . . . . . . 127 Big Black Bag (www.bigblackbag.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Bogen Imaging Inc. (www.bogenimaging.us) . . . . . . . . . . . . . . . . . . . . . . . . . 47 Brightroom Inc. (www.backprint.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Buckeye Color (www.buckeyecolor.com). . . . . . . . . . . . . . . . . . . . . . . . . . 57, 142 Paul Buff Inc. (www.white-lightning.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 CPQ (www.cpq.net) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Candid Color Systems Inc. (www.candid.com). . . . . . . . . . . . . . . . . . . . . . . . 143 Canon (www.usa.canon.com/dlc) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Canvas Artworks.com (www.canvasartworks.com. . . . . . . . . . . . . . . . . . . . . 147 Chimera (www.chimeralighting.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Christopher Imaging (www.chrisimaging.com). . . . . . . . . . . . . . . . . . . . . . . . 141 Cindy Baxter Studios (www.cindybaxterstudios.com) . . . . . . . . . . . . . . . . . . 149 Collages.Net (www.collages.net). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17, 30-31 Color Incorporated (www.colorincprolab.com) . . . . . . . . . . . . . . . . . . . . CIII, 140
Corporate Color/Prolab Express (www.prolabexpress.com). . . . . . . . . . . . . . 139 Contemporary Photography/J. Photography/J. Hartman Hartman (www.jhartman.com) (www.jhartman.com) . . . . . . . . . . . . 150 Custom Brackets (www.custombracket.com) . . . . . . . . . . . . . . . . . . . . . . . . 146 Custom Color Corporation (www.customcolor.com). . . . . . . . . . . . . . . . . . . . 139 Dalmatian Lab (www.dalmatianlab.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Denny Manufacturing (www.dennymfg.com) . . . . . . . . . . . . . . . . . . . . . . . . . 151 Denny Manufacturing (www.photonovelty.com). . . . . . . . . . . . . . . . . . . . . . . 151 Digineg (www.digineg.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Diversified Lab (www.diversifiedlab.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Draper Imaging (www.draperimaging.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Drive Savers (www.drivesavers.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Dury’s (www.durys.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Dyna-Lite Inc. (www.dynalite.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Ed Pierce Seminars (www.edpierceseminars.com) . . . . . . . . . . . . . . . . . . . . . . 7 emotion Media Inc . (www.emotionmedia.com) . . . . . . . . . . . . . . . . . . . . . . . 147 Epson (www.epson.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34-35 Express Digital (www.expressdigital.com/cheer) . . . . . . . . . . . . . . . . . . . . . . . 77 Filmet (www.profilmet.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 43 Focal Point Studios (www.notecard.info). . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Foto Figures (www.fotofigures.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Fredericks Photo Lab (www.fredericksphotolab.com) . . . . . . . . . . . . . . . . . . 140 GP Albums (www.gpalbums.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Graphic Authority (www.graphicauthority.com) . . . . . . . . . . . . . . . . . . . . . . . 80 Group Photographers Association (www.groupphotographers.com) . . . . . . . . . . . . 139 GTI Graphic Technology Inc. (www.gtilite.com) . . . . . . . . . . . . . . . . . . . . . . . 69 Hallmark Imaging (www.hallmarklabs.com) . . . . . . . . . . . . . . . . . . . . . . . . . 144 Herff Jones (www.hjpro.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 HiTi Digital America In c. (www.hi-ti.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Jerry Ghionis (www.theicesociety.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 114-115 Jonathan Penney In c. (www.jonathanpenney.com) . . . . . . . . . . . . . . . . . . . . 151 Kambara USA Inc. (www.kambara.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 The Levin Company (www.levinframes.com). . . . . . . . . . . . . . . . . . . . . . . . . 146 Lustre Color (www.lustrecolor.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55, 143 MPIX (www.mpix.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 McKenna Pro (www.mckennapro.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Mamiya (www.mamiya.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27, 29 Meridian Professional Imagin g (www.meridianpro.com). . . . . . . . . . . . . Cover II Michel Company (www.michelcompany.com) . . . . . . . . . . . . . . . . . . . . . . . . 149 Michigan Photo (www.michiganphoto.com). . . . . . . . . . . . . . . . . . . . . . . . . . 141 Microtek (www.microtekusa.com or www.artixscanm1.com). . . . . . . . . . . . . . 39 Midwest Sports (www.midwestsportslab.com) . . . . . . . . . . . . . . . . . . . . . . . 142
Miller Professional Imagin g (www.millerslab.com) . . . . . . . . . . . . . . . . . . . . . 13 More Photos (www.morephotos.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Morris Group (www.themorriscompany.com) . . . . . . . . . . . . . . . . . . . . . . . . 147 MyPhotopipe (www.myphotopipe.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 National Direct Marketing Se rvices (www.ndmservices.com) . . . . . . . . . . . . 149 Neil Enterprises (www.neilenterprises.com) . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Nik Software (www.niksoftware.com/ppadfine . . . . . . . . . . . . . . . . . . . . . . . 123 Nikon (www.stunningnikon.com/challenge.com) . . . . . . . . . . . . . . . . . . 3, 18-19 Noritsu (noritsu.com/M300) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 North American Photo (www.naphoto.com) . . . . . . . . . . . . . . . . . . . . . 142, 144 Onlinephotofix.com (www.onlinephotofix.com) . . . . . . . . . . . . . . . . . . . . . . . 151 PR Photo Lab (www.prphotolab.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Pacific Mount (www.pacificmount.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Perfection Distributing Inc. (www.perfectiondistibuting.com). . . . . . . . . . . . 148 Photobook Press (www.photobookpress.com) . . . . . . . . . . . . . . . . . . . . . . . . 69 Photoprism Color Lab (www.photoprismcolorlab) . . . . . . . . . . . . . . . . . . . . 144 Pictobooks (www.pictobooks.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146, 149 Pictology (www.go.pictology.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 PocketWizard (www.pocketwizard.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Printmakers Chicago (www.printmakers.com) . . . . . . . . . . . . . . . . . . . . . . . 144 Profoto (www.profoto-usa.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cover IV Portrait Weavers (www.portraitweavers.com) (www.portraitweavers.com) . . . . . . . . . . . . . . . . . . . . . . . . 150 Sekonic (www.sekonic.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Simply Canvas (www.simplycanvas.com) . . . . . . . . . . . . . . . . . . . . . . . . 79, 145 Sony (www.sony.com/dpf). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Speedotron (www.speedotron.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Sto-fen (www.stofen.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Student Marketing Group Inc. (www.studentmarketing.net) . . . . . . . . . . . . 149 Studio Dynamics (www.studiodynamics.com) . . . . . . . . . . . . . . . . . . . . . . . . 135 Studio Logic (www.studiologic.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Studio Pro Group (www.studioprogroup.com). . . . . . . . . . . . . . . . . . . . . . . . 143 Successware (www.successware.net) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Tamron (www.tamron.com). (www.tamron.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Unique Photo Su pplies (www.uniquephoto.com) . . . . . . . . . . . . . . . . . . . . . . . 4 Used Camera Buyer (www.usedcamerabuyer.com) . . . . . . . . . . . . . . . . . . . . . 57 Veach Co. (www.veachco.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 White House Custom Colo r (www.whcc.com) (www.whcc.com) . . . . . . . . . . . . . . . . . . 8-9, 24-25 White Glove (www.wgbooks.com). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Zookbinders (www.zookbinders.com) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Publisher not responsible for errors & omissions
March 2008 • Professional Photographer • 145
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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Buyer’s Bu Gallery ad specs: 1 3 Ad size: 2 ⁄ 4” x 4 ⁄4
12x rate: $550.00 gross per month 6x rate: $600.00 gross per month Contact your advertising representative: Bart Engels, Western Regional Manager, 847-854-8182; or
Shellie Johnson, Easte Eas tern rn Regional Manager, 404-522-8600, ext. 279; for more information.
150 • www.ppmag.com
Product Mall
SOMETHING HERE YOU NEED...
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. NO ADS ACCEPTED BY PHONE. Remittance to: Professional Photographer
Classified Ads 229 Peachtree NE, Ste. 2200, Atlanta, GA 30303 800-339-5451,, ext. 221 800-339-5451 FAX 404-614-6405
March 2008 • Professional Photographer • 151
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—Confidenti issue—Confidential al Reply Box Ads (Optional)—$30 minimum per ad. Closing date is 20th of the second month proceeding issue date. Remittance must be received with order. NO ADS ACCEPTED BY PHON PH ONE. E. Re Remi mitt ttanc ancee to: to: Professional Photographer Classified Ads, 229 Peachtree NE, Ste. 2200, Atlanta, GA 30303; 800339-5451, ext. 221; FAX 404-614-6405.
ACCOUNTING CPAs FOR PHOTOGRAPHERS. Business set-up, tax planning and preparation, business valuations and consulting. Decades of experience. Darryl Bodnar, CPA, (410) 453-5500, dbodnar@nlgroup
[email protected]. .com. 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, Te Tempus, mpus, 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. www.gpalbums.com 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 relat ed 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. www.studiodynamics. studiodynamics.com com CHICAGO CANVAS & SUPPLY—Wide SUPPLY—Wide Seamless Canvas and Muslin, Duvetyn, Commando Cloth, Theatrical Gauze, Velour, Sharkstooth Scrim, Leno Scrim, Gaffers Tape, Primed Canvas, Gesso, and Deka Fabric Dyes—Fabrication Available. Curtain Track & Hardware for Moveable Curtains and Backdrops—Easily installed. Quick turn around time. Our prices c an’t be beat. Visit our website or call for a free catalog and samples. 773-478-5700; www.chicagocanvas.c www.chic agocanvas.com; om; Email@chicagocanv
[email protected] as.com
CANVAS MOUNTING
HELP WANTED
CANVAS MOUNTING, STRETCHING, FINISH LACQUERING. Original McDonald Method. Considered best AV AVAILABLE. AILABLE. Realistic canvas texture. Large sizes a specialty. WHITMIRE ASSOCIATES, YAKIMA, WA. 509-248-6700. WWW.CANVASMOUNT.COM
HELP WANTED: Assistant photographer for contemporary photojournalisticc wedding coverages in Orange County, CA photojournalisti area. Must have digital equipment. E-mail John at
[email protected]. johnnam1@yahoo. com.
COMPUTER/SOFTWARE
WEDDING PHOTOGRAPHERS: Experienced Digital Photographers in South Florida with back up equipment. Must be creative and consistent consistent.. Email info@creative focusinc .com.
SUCCESSWARE®—Studio Management Software available SUCCESSWARE®—Studio 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.
Well established Studio in CODY WYOMING seeking business partner. Must have a minimum of 10 years experience in running your own studio operation. www.singerphotography.com/partner for details
Learn how you can revolutionize customer and order tracking and ignite your marketing fire with customized software that knows what’s going on in YOUR business— even when you don’t! More professional photographers trust Photo One Software, powered by Granite Bear than all other studio management software combined! 5 Powerful Guarantees: 5 days to customize your Photo One to match your studio; personalized phone training for you and your staff; 75 minute no-hassle guaranteed support call-back time; 365 days of unlimited support and usable upgrades and a 365 day unmatched money back guarantee! Zero-Risk. Only $299.00 deposit gets you started. Call 888-428-2824 now for your free working demo or visit www.photoonesoftware.com. Photo One, Building better businesses, one studio at a time.
DIGITAL DIGITAL PHOTOGRAPHERS—Kessler PHOTOGRAPHERS—Kessler Color produces STUNNING images from digital files. Try our rapid FTP site and get a FREE 16 x 20. New Service—E-Vents from Kessler Color. Get 8x10 units for $.90.
[email protected]. 800-KES-LABS. SCHOOL PHOTOGRAPHERS—Kessler PHOTOGRAPHERS—Kessler Color’s digital units start at $.90 each. Beautiful color and great value! Call 800-KES-LABS.
EDUCATION/WORKSHOPS
PHOTO LAB MANAGER—Responsible MANAGER—Responsible for digital photo processing. Large in house production lab. Must have general knowledge of photography. Candidates will be proficient in producing color correct portrait quality images. Fax cover letter and resume to FCS 315-733-3214. No phone calls please.
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
INCORPORATE OR FORM an LLC today! Your art is a business. Treat it like one. The Company Corporation can help you incorporate or form a limited liability company in as little as ten minutes. We are fast, accurate and affordable. Provide additional credibility to your photography studio or business at the fraction of the cost of using an attorney. Call 1-800-206-7276 or visit www.corporate.com today!
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PORTRAIT PHOTO PHOTOGRAPHER. GRAPHER. Company: Club Services of America. Description: Family portrait photographer with wanderlust. Great earning potential for excellent family photographer with quality portrait experience. Photograph and sell to Country Club members throughout the United States. Many assignments are where the weather is good: south in the winter and north in the summer. OK to travel with spouse. PPA Certified or Masters of Photography are preferred. Requirements: Must have tools of the trade and a dependable automobile. Family portrait photographer. Some sales experience. Excellent knowledge of digital photography. See our website at: www.clubservicesofamerica.com. Email resume and sample portraits to
[email protected].
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PORTRAIT PHOTO PHOTOGRAPHER GRAPHER 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
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CHARMING, well respected NORTHERN CALIFORNIA full service portrait studio in a cute country town which has always supported a photography studio. Originally established in 1996 as strictly a wedding business, expanded based on consumer demand. PHENOMENAL visibility on primary Business Route in the downtown area. No competition for 25 miles. Recent recipient of downtown beautification award from Chamber of Commerce. Growing high school senior, photo restoration and commercial markets. Successware, Successware, Roes and LLC in place. Strong web presence (www.ricecreekphoto.com). Regional and national advertising in place. Selling due to death in family and relocation. Owner will assist transition. 100% turn-key.. $90K negotiable;
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[email protected]. HOME/ STUDIO FOR SALE. Three bedroom Cape Cod with 20 x 30 x 10h addition, with full bath and basement on corner lot. (Perfect for home studio) Busy street, separate office entrance, parking in front and side of house. Five minutes to I-95, fifteen minutes to Philadelphia, Pennsylvania and/or Wilmington Delaware. Retired, asking $ 295,000. Phone 610-859-8596 Cell 610-505-4018.
STUDIOS WANTED COLUMBUS CAMERA GROUP, INC. buys whole studios or any part including cameras, film, darkroom, long roll, lighting, and misc. No quantities too small. Call 800 -3257664. Ask for Eric.
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STUDIO FOR SALE FLORIDA STUDIO: High-End 35-year business in beautiful Tampa Bay available at $460k with owner financing. Nets over $150,000 annually without weddings. Magnificently landscaped real estate is also available. Retiring and ready to sell call VR Business Brokers 727499-6500 or e-mail
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[email protected]. WESTERN COLORADO— just hours from national parks. 40 year-old established studio plus client list. Amazing outdoor photo park. Thriving economy in this sunny college town of 150,000 - a great opportunity. Owner will assist your transition. Call 970-596-1975.
March 2008 • Professional Photographer • 153
go g ood works |
Images wield the power to effect change. In this monthly feature, professional al photographe photographers rs Professional Photographer spotlights profession using their talents to make a differenc differencee through charitable work. ©Allen Stross
several nonprofit associations, pursues personal documentary projects, and works with local art and commun community ity fairs. fairs. His work work with the NBSC began began with with a volunteer volunteer gig gig photographing food for the center’s meal program. “I documented the good and the bad,” he remembers remembers with a laugh. laugh. Afterr giving Afte giving his food food pho photos tos to the the NBSC’ NBSC’s nutritionist for displays and menus, Stross started documenting NBSC field trips, officer elections, on-site programs, parties and other events. “I decided years ago that I wanted to document the senior experience,” he says. “So that is what I’m doing. I’m creating a photo record.” For others interested in volunteering at a senior center, Stross recommends first get ting to know the the staff staff and senior senior denizens. denizens. Familiarize yourself with the programs and
Centered on seniors ALLEN STROSS PURSUES LIFE AS A PHOTO PHILANTHROPIST
the people, people, and and you will will be welcomed, welcomed, he he says. Stross also suggests leading classes for seniors; in particular, many seniors are eager to learn about digital photography. Looking back on more than a half centu-
I
n our youth-obsessed culture, senior citizens
a decade. He serves on the NBSC Advisory
ry in professional photography, photography, Stross is
Hanna nna are often a forgotten population. From Ha
Council, the City of Berkeley Commission
pleased by what he has accomplished, and
Montana Montan a to High School School Musical Musical , it’s all
on Aging, and the Berkeley Historical
excited by what he has yet to contribute.
about the craziness of kids (and big profits
Society. He also volunteers as the NBSC’s de
“I’m a photo philanthropist,” says Stross. “I
for Disney). The focus is on youth, and the
facto photographer, covering events, outings
take photos photos and and I give them them away away.. Forget Forget
message is “Out with the old, in with the new.”
and special programs. He donates all the
the money money.. When you you donate donate your your photophoto-
images to the center and to the senior citi-
graphs, you get the satisfaction of supplying
zens pictured.
something for people that lasts beyond you.
Not so in Berkeley, Calif., where the
North Berkeley Senior Center (NBSC) has created a model for active, involved seniors.
“Not only does Allen take photos, he has
It’s your legacy, and you will be appreciated
One of the most successful centers of its
them develo developed ped within within a few hours hours,, and then
for it. There are not many professions where
kind, the NBSC offers a nonstop smorgas-
passes them out free of charge to the delight
you can can do that. that.””
bord of activiti activities, es, education educational al programs programs and and
of his subjects!” says Suzanne Ryan, recently
community meal services. Allen Stross,
retired director of the center, who continues
To learn more about Berkeley’s senior pro grams,, visit www.ci.berk grams www.ci.berkeley.ca.u eley.ca.us/hhs. s/hhs.
M.Photog., a PPA member since 1955, is one
to express express gratitude gratitude for for Stross’ Stross’ services. services.
of the center’s most active participants. He’s been attendin attending g events at the NBSC NBSC for about about
154 • www.ppmag. www.ppmag.com com
At 84, Stross Stross isn’t isn’t even even thinking thinking of retireretirement. He provides event photography for
Share your good works experience with us by e-mailing Cameron Bishopp at
[email protected]
o s s u R n h o J
©
H T G I L OF N O I P A S S
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