APRIL 2008
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CONTENT PROFESSIONAL PHOTOGRAPHER PHOTOGRAPHER | APRIL 2008
Features 86
DESIGNING DUO Allison & Jeff Allison Jeff Rodgers Rodgers bring ad agency service to studio clients
by Jeff Kent
94
BRILLIANT A glittering glittering gallery gallery by the the Diamond Photographers of the Year
by Jeff Kent
66
PORTRAITS: JOY RIDE
Michael Gan & Leslie Artis-Gan: It’s a pleasure to be creative for a living
by Stephanie Boozer
72
PORTRAITS: BOLD BLACK AND WHITE
Portraitist Kerry Brett brands Portraitist her distinctive style
by Lorna Gentry
82
PORTRAITS: CLASSIC BEAUTY
Portraitist Tim Kelly shares the Portraitist secrets of his success
by Lorna Gentry IMAGE BY ALLISON RODGERS PHOTOGRAPHY
CONTENTS
14
FOLI FO LIO O
106
CALEND CAL ENDAR AR
111
PPA PP A TOD TODA AY
130
GOOD WO WORKS RKS
PROFESSIONAL PHOTOGRAPHER | APRIL 2008 | WWW.PPMAG.C WWW.PPMAG.COM OM © K e r r y B r e t t
Departments C O N TA TA C T S H E E T 20
Eye of the storm: Jim Reed
22
Chris Lommel’s Greenspace
26
Copyright help is a click away by Maureen Cogan
28
Led by passion by David McKay
PROFIT CENTER 33
What I think: Allison Rodgers
36
Web sites: Online & on your mind by Angela Wijesinghe
40
Web sites: Tap Tap the power by Kammy Thurman
44
The joy of marketing: Stay true by Sarah Petty
THE GOODS 49 52
Pro review: Canon imagePROGRAF iPF6100 by Ellis Vener
56
Labs: Spring tryouts by Joan Sherwood
62
72
Portrait artist and Improper Bostonian photographer Kerry Brett loves
a challenge. Whether it’s time restraints with celebrity clients or having too little space to work in, creative problem solving heightens her delight in photography.
6 • www.ppmag.com
What I like: Julia Gerace
Photoshop and Lightroom: What’s the difference? Part II by Andrew Rodney
ON THE COVER: Kit and Alicia Teeter instructed Allison Rodgers to capture the true nature of their 5-year-old twins Cassie and Kinsey and their 3-yearold sister, Kyleigh. Our cover image, captured with the Canon EOS 5D and a 24-70mm 2.8L lens, was one of nine images that Allison and Jeff Rodgers designed to go in the Teeter’s home as a grouping. Rodgers recalls, “So many expressions, so many moods. This image captures just one second in the life of the Teeter girls.” Read more about Allison Rodgers Photography Photography in our feature on page 86.
Our Product Development Team…
is Your Product Development Team! _ Product What happens when whe n you ask a group of nine fun, creative, and innovative women to design a comprehensive product line for professional photographers? They develop a beautiful, elegant, elegant, high-quality high-quality product collection that fits the product needs of every wedding and portrait studio. Learn more about the products and how these women used the highest quality materials, the hottest colors, and the most innovative design to create five best-in-class product lines at www. collages.net/creative.
Albums | High-End Cards | Press Printed Books | Gallery Wraps | Professional Printing | Online Presentation
Check out Collages.net’s comprehensive product line at www.collages.net/products. ©2008 Collages.net Inc. All rights reserved. Photo ©2008 Erik Matey.
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] senior editor
art director/production manager
JOAN SHERWOOD
DEBBIE TODD
[email protected]
[email protected]
Investigative In vestigative reporting
features editor
manager, manager, publications and sales/strategic alliances
THE VALUE OF A GOOD Q&A SESSION
[email protected]
What a client client wants and what a client client says says she wants wants can be two two
LESLIE HUNT
KARISA GILMER
[email protected]
editor-at-large
sales and marketing assistant
JEFF KENT
CHERYL PEARSON
[email protected]
different things. In journalism, there are fundamental questions every story is supposed to answer: who, what, when, where, why and how. If the reporter can elicit the answers to these six questions, he’s armed
[email protected] technical editors
ANDREW RODNEY, ELLIS VENER director of sales and strategic alliances
SCOTT SCOTT HERSH, 610-966-2466,
[email protected] western region ad manager
with the facts facts he needs needs to write the the full story. story. The idea of a thorough question-and-answer session applies to portrait photographers as well, at least those interested in
BART ENGELS, 847-854-8182, 847-854-8182,
[email protected] eastern region ad manager
SHELLIE JOHNSON, 404-522-8600, x279,
[email protected] circulation consultant
maximizing every sale.
MOLLIE O’SHEA,
[email protected] [email protected] editorial offices
Most clients aren’t familiar with the dramatic strides in por trait-making trait-making in the last few years, years, and the the plethora plethora of new media media and photo products now available. They need the photographer’s expertise to walk them through the selections. To provide true counsel, you have to know not only what the client wants, but what he he really needs. needs. You You have to to put on your reporter’ reporter’s cap
Professional Photographer
229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A. 404-522-8600; FAX: 404-614-6406 Professional Photographer (ISSN 1528-5286) is published monthly subscriptions
Professional Photographer
P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email:
[email protected]; Web site: www.ppmag.com member services
and find out. “When clients come in, I ask a thousand questions about who
PPA - Professional Photographer 800-786-6277; 800-786-6277; FAX 301-953-2838; e-mail:
[email protected];
[email protected]; www.ppa.com
they are and what what they’re they’re looking looking for, for,” says Allison Allison Rodgers, Rodgers, who, who,
Send all advertising materials materials to: Debbie Todd, Professional Photographer,
along with her husband, Jeff, runs a successful studio in Olive, Miss. “I want to see the color palette of their house, the layout, the style. We look look into all of of these elements elements so that we can can provide provide a solution solution that fits fits them.” The Rodgers, profiled on p. 86, are both former art directors, and accustomed to demanding corporate clients. Their experience in the rough-and-tumble advertising world taught them how to anticipate their clients’ requirements. In the end, says Allison, “It’s about helping people understand what they they need.” need.” And isn’t isn’t that the the most effective effective sales sales strategy strategy there is? is?
�
5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: FAX: 480-807-4509 Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years. International: $39.95, $39.95, one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email:
[email protected]; Web site: www.ppmag.com. Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine, P.O. Box 2035, Skokie, IL 60076 Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at Wrights’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International, 300 North Zeeb Road, Ann Arbor, MI 48106 Professional Photographer Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA
Cameron Bishopp
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.
[email protected]
Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Professional Photographer Photographer or any of its authors do not necessarily reflect positions of Professional Photographers of America, Inc. Professional Photographer, official journal of the Professional Photographers Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating
Director Director of Publication Publicationss
Abel’ Abel’s Photogra Photographic phic Weekly, St. Louis Louis & Canadian Canadian Photo Photograp grapher her,, The Comme Commercial rcial Photogra Photographer pher,, 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 Process ors, and a 3-inch LCD monitor , it ’s f ar a nd 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 shooting and 10.1-m egapix el 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., Cr.Photog., Hon.M.Photog., API
DOUG BOX M.Photog.Cr., API
[email protected]
[email protected]
Professional Photographers Photographers of America 229 Peachtree St., NE, Suite 2200 Atlanta, GA 30303-1608 404-522-8600; 800-786-6277 FAX: 404-614-6400 www.ppa.com
*DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP
[email protected]
DON MACGREGOR M.Photog.Cr., API
DON DICKSON M.Photog.Cr., CPP
[email protected]
SCOTT HERSH Director of Sales & Strategic Alliances
[email protected]
industry advisor
[email protected]
SANDY (SAM) PUC’ M.Photog.Cr., CPP, ABI
[email protected]
[email protected]
legal counsel
directors
KEVIN CASEY
2008-2009 PPA board
president
RALPH ROMAGUERA, SR. M.Photog.Cr., CPP, API, F-ASP
Howe and Hutton, Chicago
[email protected] PPA staff
[email protected]
CAROL ANDREWS M.Photog.Cr., ABI
DAVID TRUST Chief Executive Officer
vice president
[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]
*RON NICHOLS M.Photog.Cr., API
[email protected] treasurer
*LOUIS TONSMEIRE Cr.Photog., API
[email protected]
DANA GROVES Director of Marketing & Communications
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
“Melancoly” by Joseph and Louise Simone
12 • www.ppmag.com
olio| f olio| JIM CARPENTER
Jim Carpenter, CPP, of Gitchells Studio, Inc. in Charlottesville, Va., captured “Crayola Cafe” as a self-assignment after noticing the colorful umbrellas from the highway. He got permission from the University of Virginia to climb onto a roof, where he snapped the image with a Fujifilm FinePix S2 Pro digital SLR and 17-35mm Nikkor f/2.8 D IF-ED AF-S Zoom lens, exposing the frame for 1/250 second at f/8, ISO 400. He used Adobe Photoshop only to remove a crack in the concrete. “The umbrellas are really that color,” he says. This Loan Collection image won a Fujifilm Masterpiece Award.
14 • www.ppmag.com www.ppmag.com
Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sample of award-winning photography by PPA members. The Loan Collection is a select group of some 500 photographs chosen annually by the PPA print judges from more than 5,000 entries.
©Jim Carpenter
Introducing Introducin g New Square Albums and Books to the Miller’ Mill er’s s Line
With Innovative LayFlat Functionality and 18 Different Colorful Cover Options
ww w.m il le rs l ab .c om
80 0. 83 5. 06 03
©Rich Newell
RICH NEWELL
While out photographing Italian architecture one afternoon, Rich Newell, M.Photog.Cr., of Photography by Eicher’s in Springboro, Ohio, noticed these three gentlemen with a baby carriage. “What were they talking about so intently, and why was there a baby carriage?” Newell wondered. With an answer in mind, Newell captured “I Told Told You You to Use Protection” with a Fujifilm FinePix S2 Pro digital SLR and 80-200mm Nikkor f/2.8D AF ED lens, exposing the frame for 1/250 second at f/4.5, ISO 100. “This was one of those real-life moments that you just couldn’t make up,” says Newell.
TINA TIMMONS
While showing a client some fine-art pieces, Tina Timmons, M.Photog.Cr., M.Photog.Cr., of The Portrait Gallery in Frankenmuth, Mich., came up with the idea for “It’s a Girl Thing” when the client expressed interest in a photo of purses. “My mom was making photographic purses and totes for gallery resale,” says Timmons. With her Fujifilm FinePix S3 Pro digital SLR and 18-200mm Nikkor f/2.8 G IF-ED AF-S DX VR lens, Timmons ran down to the purse shop and exposed the image for 1/125 second at f/5.6, ISO 800. She used her own special combination of Adobe Photoshop, LucisArt, BuZZ, and Nik Color Efex Pro software to achieve the final image. ©Tina Timmons
16 • www.ppmag.com
© Clay Blackmore
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CONT ONTACT SHEET What’s New, Events, Hot Products, Great Ideas, Etc.
Eye storm of the
BY JEFF KENT
For the better part of two decades, Jim Reed
orologically it’s a battleground for atmos-
has lived on the edge of a tempest. That’s
pheric conflict. conflic t.””
not a metaphor. Reed is a world-renowned
From a photographic perspective, Reed
storm chaser and award-winning weather
relishes the opportunity to interact with
photographer who has witnessed the fury of
nature and produce jaw-dropping
countless floods, blizzards, tornadoes, and
“atmospheric portraits.” From a social and
hurricanes. His work has appeared in
environmental perspective, he enjoys
National National Geograph Geographic ic, Nikon World World , The
knowing his work can affect our perception
New York York Times Times, Reader’s Reader’s Digest Digest , and Time,
of nature. “I am convinced that we’re
and the Web sites of the National Oceanic
moving into a period of increased frequency
and Atmospheric Administration and the
of harsh weather challenges. I’ve learned
World World Meteorological Meteorological Organizati Organization. on. Reed
that if you are are not prepared, prepared, not engaged engaged
is also the author of “Storm Chaser: A Pho-
with nature, nature, there there will be traumatic traumatic results. results.
tographer’s tographer’s Journey Journey,,” winner of widespre widespread ad
Photography plays a critical role in helping
critical acclaim.
people realize what’s going on around them,
Reed’s career began in Los Angeles as a
and motivating them to learn to adapt.”
filmmaker and writer, working on a variety of commercial projects. But his childhood fascination with weather began to reassert its pull, as televised coverage of severe weather weather became more more immediate, immediate, and he began shadowing shadowing weather weather research researchers. ers. Well Well before the the movie Twister thrilled thrilled audiences with the tumultuous life of storm chasing, Reed had secured a niche documenting extreme weather. In the early ’90s, with a spate of severe weather lashing across the country, Reed turned his focus to the skies skies full time. time. While everyone everyone else else was running running for shelter, shelter, he he stepped into the maelstrom. maelstrom. Reed moved from Los Angeles to Wichita, Wichita, Kan., in 1992 1992 and set set up a weather weather photography operation. He chases storms, journeys to to major weather weather events, events, and sells sells his images to the media and stock and fine art houses. “Kansas is amazing because of how energized people are in terms of talking about these life-changing storms,” says Reed. “And Kansas is at the geographic center of the United States, and as the crossroads of weather patterns, mete-
To see more of Jim Reed’s weather photography, and for information on his book, “Storm Chaser,” visit www.jimreedphoto.com.
CONT CONTACT ACT SH SHEET EET
cabin on the property, and to partially restore All images ©Chris Lommel
Greenspace
Portraiture thriv th rives es in Ch Chri riss Lommel’s garden BY STEPHANIE BOOZER
a fieldstone farmhouse in another section. And
there’s there’s always always the the ongoing work work of planting, planting, weeding, weeding, mulching mulching and maintenance maintenance.. The cycle begins in winter, when Lommel seeds some 40 flats with annuals, leaving leaving them to sprout sprout under under the grow lights lights in his basement. When the frigid Minnesota winter eases eases into early early spring, spring, Lommel Lommel moves the flats to a greenhouse. Memorial Day marks prime planting time, and friends and family come to help with the task. “There’s always something to do in a garden,” says Lommel, whose mother, too, tends to the the gardens gardens in the growing growing season, season, putting in more than 30 hours a week. “It really is a labor of love, designing and creating things outdoors. outdoors. I’m fortunate fortunate that that I can work in both both areas that that I love so so much.”
See See more more of the the Lomm Lommel els’ s’ land landsc scap apee and and port portra rait it work at www.chrislommelphotography.com.
For Chris Lommel, M.Photog., CPP, of Chris
circle the ponds. “The kids have a great time
Lommel Photography in Big Lake, Minn.,
feeding the fish and playing in the yard. I can
“going green” is more than a buzz word. His
capture kids just being themselves.”
4,000 square-foot home and studio sits on
Caring for a sizeable garden takes much
two-and-a-half two-and-a-half acres acres landscaped landscaped into into idyllic
time and manual manual labor, labor, which Lommel Lommel was
settings for portraits, the culmination of his
feeling acutely in 2001, when he learned he
love love of of bot both h pho photog tograp raphy hy and lands landscap capee des design ign..
had multiple myeloma. myeloma. Lommel immediately i mmediately
“I love being in tune with nature and the
began an aggressive campaign campaign of treatment,
evolution of things,” says Lommel, who works
including intense chemotherapy and,
alongside his wife and high school sweetheart,
eventually, a stem cell transplant. Recovery
Kim. “My photography reflects that, too,
meant a year-long hiatus from the studio
becaus becausee I’m alw always ays trying trying to grow grow and chang change. e.”
and his beloved garden, and another two
The Lommels planted the garden’s first seeds in 1995, and it’s been sprouting in new
years of working part time. His family, members of the Rotary Club and
directions ever since. In 1999, they installed
others in the Lommel’s community tended
water features, features, a pond pond 50-feet in in diameter, diameter,
the grounds, grounds, while while photographers photographers in the the
and a smaller pond that runs into a rocky
area volunteered time in the studio to keep
creek bed with a series of waterfalls.
his business going.
“It’s a great place to capture candid photog-
“Last summer, the doctor said I’m cured
raphy with the kids,” says Lommel. Conditioned
until proven otherwise, so we’re back to
by Lommel’s hand-feeding, hand-feeding, the Koi and
adding to the landscape,” says Lommel. He
goldfish follow alongside visitors as they
plans to add a rustic floor and roof to the log
22 • www.ppmag.com www.ppmag.com www.ppmag. com
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CONT CONTACT ACT SHEET SHEET
Copyright help is a click away How photographers are using the PPA PPA Copyright Kit to protect their intellectual property proper ty BY MAUREEN COGAN, CPP If you want to protect your copyrights, PPA’s
we stamp stamp a copyright copyright notice on our our images,
Copyright Kit will show you how. Prepared
and what constitutes copyright violation. The
by the PPA PPA Copyright Copyright and Government Government
brochure brochure accompan accompanies ies every every order order we delive deliver. r.
Affairs Department, Department, the kit kit is an exclusive exclusive
It’s not difficult for consumers to scan,
service for PPA members. Formatted as a
copy and enlarge prints, but if we educate
40-page downloadable PDF file, the kit
our clients, we can stem unintentional
includes clear explanations of copyright
copyright violation.
laws; steps steps to take take to protect your rights; rights;
At DeMartini DeMartini Photograph Photography, y, in in San
filing how-tos; interactive, printable U.S.
Diego, Calif., Christie DeMartini goes over
Copyright Office forms; sample usage
contracts with each client, highlighting key
licenses; licenses; model model release release forms; copyright copyright
points, including her copyright to the
transfer transfer contracts; contracts; and more. more.
images, and asks the client to initial each
Our company, MoCoPhoto, incorporated
point. She also inserts a PPA-supplied
the information information and forms forms in the kit kit into a
copyright notice in each order. Further, she
brochure brochure for clients clients that explains explains our our legal
embeds her copyright in the metadata of
copyright over the images we create, how copy-
each digital image file, and clearly marks it
right protection is vital to our business, why
on every image on her Web site. “I market to a clientele who appreciate fine art,” says Vanessa Ard, of Vanessa’s
©Maureen Cogan
Photography in Ellicott City, Md. She screens clients and educates them during
The back of every print that leaves MoCoPhoto is stamped with a copyright notice (left). Cogan encloses brochures on copyright info with every order (above).
their initial initial consultatio consultation. n. She uses uses projection projection rather than paper proofs, and only rarely agrees to post a lo-res Web gallery online,
register images of celebrities or singular
and then for a limited time. Her final prints
events that might be widely used.
are textured and mounted, which both
“My advice is to be as careful as you can
raises their perceived value as fine art and
with your images,” says Mecey. Mecey. “But I think
makes copying them virtually impossible.
losing sleep over thinking someone may be
At Mecey Mecey Enterprises, Enterprises, Inc. Inc. of Beverly Beverly
copying or using one of your images
Hills, Calif., most of David Mecey’s images
without permission is a no-win situation.
are made for limited use in catalogs or
Restrict the use of your images, and always
brochures, brochures, so he doesn’t doesn’t usually usually register register
get it in writing."
them with with the U.S. U.S. Copyright Copyright Office. Office. Instead, Mecey writes the terms of the client’s usage of his images into every job proposal, and reiterates the terms in every invoice. He clearly states that the client is buying usage usage rights for a limited limited time and purpose only, and that ownership of the photographs remains his. He does formally
26 • www.ppmag.com www.ppmag.com
Maureen Maureen Cogan, Cogan, CPP, CPP, owns MoCoPhot MoCoPhotoo in Columbia, Md. (www.mocophoto.com). To obtain a free Copyright Kit, PPA members can visit www.ppa.com, click on the Copyright tab on the left, and select Copyright Downloads.
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CONT CONTACT ACT SHEET SHEET
ESSAY
Led by passion “When you’re truly excited about your work, your clients will see it … and believe in it, too.” BY DAVID MCKAY, CPP
Pricing wars, retail giants, and a shaky economy are only a few of the reasons why niche marketing your art is crucial to your studio’s success. To attract clients who want art rather than cookie-cutt cookie-cutter er mediocrity mediocrity,, your work needs to be fresh and unique, and capture
28 • www.ppmag.com www.ppmag.com
©David McKay
the imagination. imagination. The The market is ripe ripe for
is uniquely yours, your competition isn’t with
we took on every every kind of photograph photography, y, we’d we’d
innovation that’s driven by artistic passion.
other photographers, photographers, it’s with a value system.
devalue our work.
If your business is known for doing a certain
We don’t don’t do portraits portraits in the the park like like
Be who you were created to be, a true
type type of of portr portrait aiture ure (ours (ours is is wall wall decor decor in brow brown n
some photographers in our area, and, yes,
artist who lives with passion and purpose,
tones), and and nobody can match match your your quality, quality,
we lose a few clients clients when when we say no. The The
and you will succeed in your chosen career.
your your mar market keting ing shoul should d att attrac ractt cli client entss who who want want
clients we do attract know what we’re going
your work and expect expect to pay pay a premium for
to do for them and how much much it will cost. cost. If
McKay McKay Photography Photography is is in El Dorado Dorado Hills, Calif. (www.mckayphotography.com).
it—we have wealthy clients, but we also have clients who save up to purchase a McKay. Start by following your passion and listen to your inner voice. voice. When When you’re truly truly excited about your work, and you know it’s valuable valuable artistically artistically,, your clients clients will see it in in your body language language and believe believe it it, too. too. Others may try to imitate your style, but
nobody can duplicate the passion you put into your images. images. Other Otherss are trying trying to imitate imitate our our brown-tone brown-tone style, style, but but clients clients tell tell us that that their their
work just doesn’t doesn’t have have the depth depth and emotion emotion of our portraits. When you create art that
©David McKay
April 2008 • Professional Photographer Photographer • 29
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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 Pho Photog tograp rapher her
PRESENTS
Business, Marketing and Sales Strategies
What I think Allison Rodgers raises raises a family of loyal clients Whatt do Wha do you you wish wish you kne knew w when when you wer weree firs firstt sta start rt- ing out out? ? I wish I had invested in studio management software to manage the mass of information I gathered. Once you develop a client base, one of the most important things you can do is nurture that list. You Y ou can’t do do it with sticky sticky notes. notes.
What’s the bigge biggest st business business risk you’ve ever take taken? n? In Novemb November er 2005 we moved into a 3,000-s 3,000-squarequarefoot building with triple the rent of our previous two-location two-lo cation setup. setup. I wanted wanted to get all of of us into one place so we could work as a unit with room to grow.. And guess grow guess what—we what—we grew! grew! We added framing and three more employees. It was a big risk, but it’s been so worth it. parents try to run What’s your deal deal breaker? breaker? When parents my child portrait sessions.
What’s the secret secret to running running a successful successful photogphotogalwayss say that that things things change change raphy business? We alway every six month months. s. We are constan constantly tly re-evaluat re-evaluating ing and putting new things in place to make the experience of Allison Rodgers Photography better. You Y ou have to to figure out out what your your clients’ clients’ needs are are and meet them. Go above and beyond. Create an environment for your clients where they feel like they’ree the most important they’r important client client you have. have. And, And, most important, be generous with your time and your talent. talent. Being generous generous will will help you you create a family of clients that will be forever loyal. IMAGE BY ALLISON RODGERS PHOTOGRAPHY WWW.ALLISONRODGERS.COM
April 2008 • Professional Photographer • 33
PROFIT CENTER: WEB SITES
AN-NE Award AN-NE Award winner winnerss use smart smart Web Web design design to show show off off their unique unique styl stylee and person personalit alityy.
Braniff’s original site was elegant enough with its featured featured black-an black-and-wh d-white ite image imagess and traditional traditional style, style, “But it wasn’t wasn’t all of me, me,”” she says. “My work had changed enough that I
BY ANGELA WIJESINGHE
Online &
needed a fresh look, a more complete portfolio, and more information about A LOOK AT TWO GREAT STUDIO WEB SITES
on your mind
myself in a new blog.” Braniff arranged her online galleries to spotlight bright, fun photos, caught-in-theact poses and location shots. People find a wealth of of portrait ideas ideas on the site, site, and often come in with requests for specific poses and styles they’ve seen there.
“Your Web site is terrific!” That’s what Farrah
about www about www.portra .portraitsbywe itsbywendy ndy.com .com,, the
Braniff heard when her recently overhauled
second AN-NE Web winner. “I looked at lots
designed the entire Web site in Photoshop,
Web site, site, www www.farrah .farrahbraniff braniff.com .com,, landed
of photography sites and saw the same stuff.
adding swatches of various colors and
one of this year’s two PPA AN-NE Marketing
I wanted to be different,” says Rouleau.
textures, textures, then dropping dropping in images images and text. text.
Building on a gray background, Braniff
Awards Awards for Best Web Web Site. Braniff Braniff is the the
The AN-NE awards recognize creative and
On her Portfolio page, this background sets
owner of Farrah Braniff Photographs in
effective marketing strategies and campaigns.
off the filmstrips of images showing various
Farrah Braniff recalls a saying she once
styles and categories. An image mouseover
Houston. The goal of the site redesign, she says, was to “mirror what we do, our
heard, “The only thing that nobody has but
personalities, our studios, and our work.”
you … is you.” She wanted wanted her site site to convey convey
Wendy Wendy Rouleau, Rouleau, owner of Portraits Portraits by by Wendy Wendy in Bufo Buford, rd, Ga., Ga., also also hear heard d rave rave revi reviews ews © F a r r a h B r a n i f f
36 • www.ppmag.com www.ppmag.com
her unique style and personality through both words words and images. images.
Farrah Braniff needed a fresh look to reflect the changes in her work. She designed the site herself and hired a programmer to make it work as she envisioned.
PROFIT CENTER
draws a circle around the frame and brings
clients, which they in turn can send to
“We believe our studio space helps define
up the image category, such as family. A
friends. “It’s just one more avenue to reach
who we are, are, that it’s part of the experience, experience,”
click takes you to that gallery. The look is
people,” she says.
she says. The studio is located at the top of a
reminiscent of a modern scrapbook. Big and bold, Braniff’s images explode
Braniff was able to design the site herself,
staircase in an old brick building in historic
but she did hire hire a programmer programmer to do the
Buford, Ga. First-time visitors don’t know
onto the screen throughout the site. Wanting
coding for all the interactions. Web sites with
what to expect expect as they climb climb the stairs, stairs, but
the images images to make an impact impact from the the
unworkable links and unsophisticated features
their their first first word word upon upon enter entering ing is usuall usuallyy, “W “Wow. ow.”
opening slideshow, she conceals most of the
are worse than not having a site. After all,
Images of the space capturing its archi-
site’s navigation tools until you roll over them.
Braniff says, “Your first impression needs to
tectural features appear appear throughout throughout the the site.
A small link link takes you to pricing pricing and packpack-
be outstanding outstanding to get clients clients to call. call.””
aging information at the bottom of each gallery.
Wendy Wendy Rouleau hired a talented talented firm firm to
The tabs are images in slide mounts, and a postage stamp leads to the contact us page.
Braniff believes you should tell people what
transfer her her ideas to her her Web site. site. She
The site has short movies geared to elicit
they want to know know up front, front, which in this this
wanted to control control the the design, yet she she knew
parental emotions, and a studio blog. Rouleau
case also helps screen out price shoppers.
the firm would add the the polish to to inspire
expanded her online marketing to include
clients’ trust in her abilities. Rouleau wanted
handsomely designed e-mail promotional
looks handwritte handwritten. n. Headers Headers include “Rave “Rave
her site to be her main marketing tool.
campaigns with links to the complimentary
Reviews” (testimonials), “True Love” (wedding
“I don’t want to imply that I’m something
pages on the Web site. It’s such a fluid
gallery), and “Me, Myself, and I” (Braniff’s
I’m not. I want clients to want my style of
transition transition that Rouleau Rouleau also won won a PPA PPA
bio). “I wanted wanted the site site to not only only look
photography and not to be surprised when
AN-NE Marketing Marketing Award Award for Best Best E-mail
personable, but sound personable,” she says.
they come, come,” says Rouleau. Rouleau.
Marketing Campaign.
Throughout the site, the vibrant text
Braniff’s Braniff ’s frequently updated blog contains
Rouleau looked at sites in several industries.
both both perso persona nall and and profe profess ssio iona nall inf inform ormat atio ion. n. She
“I saw what I liked and what was possible …
transitions, transitions, polished polished graphics, graphics, and personperson-
also uses it to display post-session images for
I didn’t have to stay with a template,” she
alized text, yet they reflect the unique
explains. And it helped her define the qualities
qualities of each studio.
Both sites illustrate the power of smooth
�
that make make people people remem remember ber and return return to it. The Portraits By Wendy site incorporates wowinducing images of the studio itself, creative navigation tabs, and short movies to elicit emotions. © W e n d y R o u l e a u
38 • www.ppmag.com
Opening Rouleau’s home page is like peeking at her studio through a keyhole.
Angela Angela Wijesingh Wijesinghee is a PP PPA staff staff marketing marketing specialist.
PROFIT CENTER
Having a Web site is no longer an option in business busi ness.. Besides Besides showin showing g off off your beaut beautiful iful images, you can make your site pay off big time.
E-MAIL MARKETING BEST PRACTICES E-mail marketing these days isn’t as simple as putting together a list and
BY KAMMY THURMAN
sending e-mails. Internet service providers
po ower Tap the p YOUR WEB SITE CAN BE AN AUTOMATED MARKETING MACHINE
and spam filters use sophisticated techniques to to protect protect users from spam. If you don’t follow the rules or know what to include in your text—like an opt-out option and your contact information— your mail might never find the inbox, or worse, you could be blacklisted as a spammer.. Asking your readers to add spammer
With some some 77 percent percent of America American n adults adults on
beautifu beautifull images images;; now it’s time time to fully fully tap the the
your e-mail address or domain to their
the Inter Internet, net, it’ it’s more more than than import important ant to to have have
power of the Web as a marketing machine.
address book or allowed-sender list will
an effective Web site. It’s necessary. “If you’re
Statistics show that fewer than 1 percent
also help you avoid their spam filter. You
not on the ’Net, it’s as if you don’t exist,”
of Web surfers ever return to a site unless
want e-mail recipients to see you as a
says marketing expert Ilise Benun. “It’s not
they have have a special special reason. reason. How can you you give
welcome visitor to their inbox, not a
just the tech-savvy who expect you to have
them a reason reason to return? return?
nuisance. Reputable automatic responder
a Web site, these days it’s almost everyone.” Professional photographers have risen to the challenge with sophisticated sophisticated sites sites and
Here are five pointers on boosting the
services can guide you in adhering to
marketing power of your site by as much
Internet requirements for responsible e-
as 72 percent:
mail practices. If you prefer to try it on your own, enter “e-mail marketing best practices” in your preferred search engine and do your homework first. —Joan Sherwood, Senior Editor
• Use your site to begin a relationship. On average, a mere 2 percent of the prospects who visit visit a studio’s studio’s site site will decide decide to book book a session right then and there. Most visitors are researching, trying to get a feel for the g photographer behind the site and lookin and looking for a good reason to call you—or not. Once they leave, you have no way to continue the relationship with 98 percent of your your visi visitor tors, s, who could could be perfec perfectly tly wonder wonderful ful clients. Since most people need to hear from a marketer seven to 10 times before buying, you need to find find a way to keep keep in touch. touch. On every page of your site, put an e-mail capture form “above the fold” where people are sure to see it.
40 • www.ppmag.com
• Give potential clients a good reason to
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PROFIT CENTER
sign up for your newsletter, invite her to
seven to 10 messages over a 30-day period
request a specific article, report, photography
after the first visit, followed by regular
and posing tips or a free premium, and say
contact at least once a month.
you’ll give her your your monthly monthly newsletter newsletter,, too. That’s two valuable items in exchange for
auto-responders—to talk about how the cus-
her name and address.
tomer tomer will will bene benefi fitt from from your your service services, s, to to deliv deliver er
You’ll You’ll want want to have have an e-mail e-mail manage manageme ment nt
a short e-course or your e-newsletter, and
program on your Web site, where visitors can
seasonal promotions. Just don’t make them
leav leavee the their ir contac contactt inf info o and and ask questi questions ons.. Don Don’t ’t
all sales messages—remember the content
have her just send you an e-mail to request
needs to be high-value (80 percent high-
the premium premium,, or you’ll waste gargant gargantuan uan
value to 20 percent selling selling is a healthy mix).
amounts of time sending out premiums to
Offer something of value to the prospect in exchange for their contact information. It’s It’s a good idea to do this for each product line, as you’ll have a different target market for each.
You You can use these messages—also called
• Put your message-writing self on
one person at a time. I suggest subscribing to
autopilot. Schedule the time to sit down and
an e-mail capture system like Constant
write your messages messages once once a month, or even even
Contact (www.constantcontact.com) or AWeber
once a year, choose how often you want
(www.aweber.com). I find AWeber easy to use,
them sent, sent, then forget forget about them and
and it has effective effective safeguards against spam.
concentrate on your photography.
You You can create create a form for for your site site to capcapreturn to your site. I’ve seen many top-notch
ture prospec prospects’ ts’ contact contact info, which which is then then
sites with absolutely gorgeous images that show
housed on the capture provider’s server.
the photo photograp grapher’ her’s best best work. work. But But what what about about
(AWeber (AWeber has tutorials that show you how to
the poten potential tial client? client?
create the forms.) A few minutes after your visi-
Put yourself yourself in her her shoes. She’s been
tor fills fills out out the e-mail e-mail form, she receive receivess your
checking out the sites of studios in her area
premium and a thank-you note automatically.
to see which which best best fits fits her needs. needs. After looking looking
• Stay in touch with prospects and cus-
at a dozen or two other sites, what will
tomers. tomers. It’ It’s one of the the most most importa important nt aspect aspectss
motivate her to call you instead of another
of marketing, and also one of the hardest. A
studio with a beautiful site? You have to
program like AWeber can simplify the task.
offer something that will elevate your value
You You can write write multiple multiple messages and and store
over the others. As non-artistic as it sounds,
them in the the program until until you want them
the something needs to be information ,
sent. A good timeline seems to be sending
When someone gives their e-mail address, you receive a notice with all the info you ask for in the e-mail capture form. This is the info we capture on our contact page. You now also have their snail mail info so you can send direct mail promos, too.
Statistics show that continued contact
enough useful information to make the viewer
with site visitors visitors brings brings them back back again
comfortable with deciding to call you.
and again, increasing sales by as much as 72
Our studio Web site routinely lands new
percent. At that rate, isn’t it worth taking
clients who tell us they chose us because of all
another look at the marketing opportunities
the inform informati ation on we we prov provide ided. d. They They feel feel they they
lurking within within your your Web site? site?
�
know us by the time they call, and that gives us the opportunity to differentiate ourselves from our competitors in a number of ways. • Give high-value information in exchange for the potential client’s contact information; this this is a mark marketi eting ng tech techniq nique ue calle called d reciprocity. Instead of asking your potential client to merely
42 • www.ppmag.com
We send premiums (free gifts) of interest to the specific target market for each of our product lines. These should all be created before before offering them online, or you’ll spend spend a lot of time trying to catch up when people start requesting them.
Kammy Kammy Thurman Thurman is a direct-mark direct-marketing eting copywriter and consultant, and co-owner of Anchor Photography Photography in in Laurel, Laurel, Mont. Mont. For For more marketing strategies, read her free “Photography Marketing Report: 15 Ways to Boost Your Your Marketi Marketing ng Return—W Return—Without ithout Increasing Increasing Your Your Market Marketing ing Budget, Budget,” at www.anchorcreative.com
THE JOY OF MARKETING
TM
SARAH PETTY, CPP
Branding is more than design and decoration; it’s communicating your style to the kind of clients you want to attract.
Stay true
WHY BRAND CONSISTENCY IS CRITICAL
Your Your brand is conveyed conveyed in the unity unity of every thing that that identifies identifies you, from from your logo to to
A l l i m a g e s © W a l d e n ’ s P h o t o g r a p h y
but your your brand brand must must stay stay true true to your your identit identityy. Tim Walden, M.Photog.Cr. M.Photog .Cr.,, F-ASP, and
your photography photography to the the look of your your studio. studio.
Beverly Walden, M.Photog.Cr., of Walden’s of
In the years to come, you’ll update your studio
Photography in Lexington, Ky., are experts
décor, see your photography evolve, and infuse
in brand building. In their seminars they
your your mar market keting ing campai campaigns gns with with fres fresh h elem element ents, s,
present proven strategies for branding and mar-
The Waldens are known for their elegant style of family portraiture in black and white. Every element of their marketing reflects this style.
keting that are applicable to studios of any size and specialty. Let’s take a look at a few of them.
“I am less concerned that everyone likes what I do do as that that they know what what I do, do,”” says Tim Walden. Walden. When a studio has a well-defined style, the Waldens say, and when people love it, they’ll they’ll trave travell any distanc distancee and invest invest whatev whatever er sum it takes to get it. The people who don’t like their their style will go elsewhere, elsewhere, and and that’s just fine fine with with them. them. “The cust customer omer is alway alwayss right, but not everyone is our customer,” he says. Narrowing your focus to a few specialties and well-defined products helps your business grow quickly. It doesn’t mean you have to do do just just one kind kind of photo photogra graphy phy for the the rest of your life, just define what you do early on, communicate it clearly, and be consistent.
“Every decision is a style decision,” says Tim. The Waldens’ chosen style dictates how they decorate decorate their their studio, what equipment equipment they purchase, purchase, and how how they promote promote their business. business. No fad will will sway them them from being being
NEW WEBINARS (online seminars) PPA and SMS are bringing education to you, and PPA all you need is a computer and the Internet. Keep watching your inboxes for information on live business webinars about: Marketing Financial Planning Managerial Accounting Top Performing Performing Studios Starting a Photography Business Business Basics Sales And more…
Plus, you can watch the archived versions at your convenience. Just visit the Events section of PPA.com PPA.com and click on Webinars to reach: Income Tax Strategies Pricing for Prot The Art of Pricelists QuickBooks: Getting Started And more…
3�DAY 3�DA Y BUSINESS PLAN P LAN WORKSHOP
NEW BOOKKEEPING SERVICES
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Behind on your bookkeeping? Our Bookkeeping Program Program can help! With competitive pricing and programs tailored to meet your studio’s individual needs, SMS can help ease your headaches and get your studio o to a great start. Call Eric Hathaway 800.339.5451, ext. 240 for more information.
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Now’s your chance to increase protability and receive instruction on essential elements for business success (in both group settings an d one-on-one consultations). June 9-11 ß
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www.ppa.com | 800.786.6277
Prof Pr ofess ession ional al Pho Photog tograp rapher her
PRESENTS
Products, Technology and Services
What I like Julia Ge Julia Gera race ce co conn nnect ectss wit with h digital technology Adobe be Ligh Lightt Whatt makes Wha makes you yourr work workflo flow w flow? flow? Ado room. I wasn’t sure shooting raw was worth the hassle until I tried Lightroom. Now I love it.
What’s the best best equipment equipment investment investment you’ve you’ve ever made? Photoshop. Until I went digital, I outsourced tasks as simple as retouching a few pimples. Now I feel like I can create, explore new concepts, and learn to my heart’s content. ExpoDi Disc sc.. It’s Little thing, big difference … My Expo been great great for getting getting accurate accurate white balance balance in some very odd lighting.
Has a piece of equipment ever changed the way you approach approach photograp photography? hy? My Canon EOS 5D camera. camera. The files files are huge, huge, and I’m not not as concerned about ab out cropping into an image and losing los ing info informa rmatio tion. n.
Is there a non-photographic item that you’ve adapted to your work? Makeup. I knew becoming a certified makeup artist would be a great service for my clients. A useful item for your studio is a basic skin skin mattifier— mattifier—a a clear gel you you apply if a client’s face is too shiny.
What’s the one piece of of gear they’ they’d d have to to pry reflector. from your your cold, dead dead finge fingers? rs? A reflector. There is not one lighting situation where I don’t use a reflector. IMAGE BY JULIA GERACE WWW. JULIAGERACE.COM
April 2008 • Professional Professional Photographer • 49
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THE TH E GOOD GOODS: S: PRO REVIEW
Canon improves the user interface, fills the size gap and introduces a color calibration system with wit h its its nextnext-gen genera eratio tion n widewide-for format mat pri printe nters. rs. BY ELLIS VENER
Mu M uch improved CANON IMAGEPROGRAF iPF6100
Canon’s first serious salvo in the wide-format printer market came in 2006 with the imagePROGRAF iPF5000, the iPF8000 and
A l l i m a g e s © E l l i s V e n e r
the iPF9000 iPF9000 pigmen pigmentt ink ink printe printers. rs. In my test testss with the iPF5000, iPF5000, print print quality quality was was excel excellent, lent, and despite the environs—a relatively dry and pet-infested house—it never suffered paper jams, clogged heads or ink dropouts. But there were problems. The two-part user interface was confusing; Canon’s generic profiles for Canon brand papers were sub par; there were problems with the roll feed mechanism on many iPF5100 printers; and the 17-inch 17-inch iPF5000 iPF5000 and 44-inch 44-inch iPF8000 iPF8000 models left a huge gap in output size. Canon announced replacements for the first iPF printers in early summer 2007, the imagePROGRAF 100-series (iPF5100, iPF6100, iPF8100 and iPF9100), which would not have these these problems problems and would would have new features as well. I tested the new 24-inch iPF6100 and found several welcome changes. Topmost are the greatly improved user interfaces and generic profiles, and the addition of the GAROS plug-in for Adobe Photoshop CS3 to enable 12-bit-per 12-bit-per-channel -channel printing. Like Like HP, Canon has also started to build in color management features with the iPF printers. The 100-series printers still use 12 Lucia pigment inks: yellow, photo cyan, cyan,
The Canon GAROS plug-in for Photoshop CS3 enables 12-bit-per-channel printing and somewhat simplifies color management in the output stage.
52 • www.ppmag.com
photo magenta, magenta, black, matte black, photo gray gray,, gray, gray, red, green green and and blue.
papers. And the iPF6100 uses ink sparingly. Print speed remains fast: a 16x24-inch,
But calibration is not the same as having a built-in profiling system, such as the
With the exception exception of the the blacks and two two
high-resolution, 16-pass, 12-bit per channel
X-Rite X-Rite i1 Color Color Spectrophoto Spectrophotometer meter system system
grays, the eight-color formulation remains
print takes less than 10 minutes.
in HP Z3100 printers. If you decide to use
unchanged. The gray, photo gray, black and
One of the biggest headaches of printing
papers other than Canon-brands, you’ll
matte black inks were reformulated to
in-house is color management. The iPF 100
reduce bronzing type metamerism, lessen
series incorporates a color calibration system
The Kyuanos color management system
the appearan appearance ce of “grain “grain”” in the deep deep
designed to keep them working to factory spec-
introduced in the 100 series is compatible solely
shadows and blacks (I never saw it in
ifications. Normally, Normally, the calibration needs to
with the Microso Microsoft ft Vista operati operating ng system. system. I
iPF5000 prints), and make the prints more
be done only only once, once, at setup, setup, but if you you move move
don’t use Vista, so I can’t comment on it.
resistant to scuffing and scratching.
the printer printer or change change heads, heads, it’s a good idea
As in the the fir first st iPFs iPFs,, the there re’’s an active active system system
need to make your own profiles.
Ease-of-use is a critical factor in color man-
to recalibrat recalibratee the printer printer back to factory factory
agement. As it now stands, the best way in
that automa automaticall ticallyy detects clogg clogged ed and nonnon-
specs. There’s an added benefit for studios
Photoshop to print is to make a dupe of the
firing nozzles. If it detects a problem mid-
with multiple multiple printers, printers, even even in differen differentt
master image, convert the dupe to the destina-
print, it remaps the ink flow to another
sizes: with all of the printers working at
tion tion pro profil file, e, sharpe sharpen n for for outpu outputt size size and and medi media, a,
nozzle and clears the offender when the
factory tolerance, they can share profiles for
then go go through through the Photos Photoshop hop print print dialog, dialog,
print is complete, minimizing waste in time
the same same media and and the prints prints will will match. match.
where where you you hav havee to to ins instru truct ct both both the the Photo Photosh shop op
and materials. With both matte and photo
Canon rebuilt its generic profiles for Canon-
printer dialog and the print driver not to apply
grays and blacks onboard, there’s no
bran brand d pap paper ers, s, whic which h now now incl includ udee som somee fin finee
additional color management steps. The process
downtime or expensive ink waste when you
Hahnemu Hahnemuhle hle papers. Compared to my own
is a distracting, time consuming, and somewhat
switch between matte and gloss/semi-gloss
custom profiles, these new profiles are first rate.
arcane art until you’ve mastered it.
THE TH E GOOD GOODS: S: PRO REVIEW
two ways: ways: it allows allows you you to print print 12-bit-per12-bit-per-
specs: Canon imagePROGRAF iPF6100
channel color, color, and only once requires you to
PRINTER TYPE: 12-color pigment inkjet
specify that you you want no further color
MEDIA WIDTH: 8- to 24-inches (cut sheets and rolls)
management. You still have to make sure to
MEDIA THICKNESS: Top-loading manual feed 0.08-0.8 mm (3.2-19.6 mil), front-
The Canon GAROS Photoshop Export plug-in for Photoshop CS3 improves this in
specify the correct correct size and media type, which Canon certainly certainly could make make clearer (see www.usa.c www .usa.canon anon.com/ .com/dlc dlc to find find Canon’ Canon’s profiles and media type selections). How good are the prints made with the Canon iPF6100? With high-end papers—my current favorites are Canon 300gsm Polished Rag for both color and black and white, Canon/ Hahnemuhle 188gsm Photo Rag for monochrome “toned” prints, and Moab by Legion 190gsm Entrada Rag Natural—print quality
loading manual feed 0.5-1.5 mm (19.6-59.0 mil), roll 0.08-0.8mm (3.1-31.4 mil) BORDERLESS PRINTING WIDTH: Roll media only—10-inches, B4, A3+, 14-inch, 16-inches, A2, A2+/17-inches, B2, A1, 24-inches PRINT HEAD: PF-03, user replaceable, six colors per print head, two print heads (12 colors total), 2,560 nozzles per color (30,720 nozzles total) NOZZLE PITCH: 1,200dpi, non-firing nozzle detection and compensation INK DROPLET SIZE: 4 picoliters INK CAPA CAPACITY: CITY: 130ml per color, starter ink tanks packaged with the printer have less capacity than the replacement ink tanks specified here INK TYPE: Pigment-based LUCIA ink DIMENSIONS: 46.3x33.9x39.1 inches WEIGHT: About 150 pounds with stand PRICE: $3,495
is state of the art. Colors are clean and exhibit no magenta contamination in the light blues
One thing keeps the iPF6100 from being
time. For For multiple multiple printmakin printmaking, g, you’ll you’ll
(due to the use of an actual blue ink), the
perfect: When I use sheet rather than roll
appreciate the savings in using rolls, but it’s
blacks are inky inky, and the the highlights highlights are are clean. clean.
paper, I have to feed in each sheet one at a
a hassle if you’re making portfolios.
54 • www.ppmag.com
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THE TH E GOOD GOODS: S: LABS
You don’t You don’t know what what you’ you’ ll get until until you’ve you’ve got got it in your hands, so it’s wise to take time to preview a supplier for service and quality. BY JOAN SHERWOOD, SENIOR EDITOR
Spring tryouts HOLD YOUR OWN PRODUCT AUDITIONS
Adding a new item item or two to to your product product lineup lineup can freshe freshen n up your sales sales prese presenta ntatio tions ns and boost your profits. But before you make the investment investment to to incorporate incorporate a new product product in your Web site, marketing materials, promotions and price lists, you need to know that it’s right for your your brand and that the lab lab will deliver deliver what’s what’s promised. promised. With such such a bounty of eye-catch eye-catching ing specialty products available from professional photo labs, you need a strategy for choosing both the products and the provider.
A l l i m a g e s © J o a n T . S h e r w o o d
First, go window shopping to find products that excite excite you—if it doesn’t doesn’t excite excite you, you can’t sell it. Then narrow the list to the products that will sell in your target market. Once you’ve settled on a product, you’re ready to hold your tryouts. A big part of working working with a professiona professionall photo lab goes beyond prices and products, to customer customer service, prompt prompt delivery delivery and the ease of integrating the ordering system with your workfl workflow ow.. With this in mind I set out to to order several print products from selected labs. (I chose labs advertising specialty products that I’d noticed attracti attracting ng interest interest at trade shows and, while not exclusive to a single lab, were were not saturating saturating the market market yet.) yet.)
Profes Without identifying identifying myself as as a Professional Photographer editor, I signed on as a new client with three labs. I researched the products, went through the ordering process, and contacted customer service. For comparison, I ordered similar products from two of the labs, metallic prints on Kodak Professional papers from MPix and prints on Fujicolor Crystal Archive Pearl Paper from BWC. I ordered a product sampler from
Dalmatian Black & White Custom Lab offers a Digital B&W Sample Packet that features seven print types using your own image for $110. It’s a great way to sample the line and see how your photos work with different print methods.
56 • www.ppmag.com
Dalmat Dalmatian ian,, specialists s pecialists in black-and-white printing. As you would probably probably do, I made a list of the product qualities and lab services that are most important to me, and kept notes througho throughout ut the the orderin ordering g and delivery delivery proce process. ss. It’s easy to get fuzzy about the details, and such notes help you make a sound decision. DALMATIAN BLACK & WHITE CUSTOM LAB
By partnering with Ilford and Durst, Dalmatian’s product line includes digital black-and black-and-white white silver silver gelatin gelatin fiber-b fiber-based ased 400dpi prints on True True Ilford Multigrade Fiber Base Paper processed through True B&W Chemistry. Dalmatian gives you a choice of three sample packs under the Customer Service tab on its Web site. site. One is a free sample sample pack pack of six different print types, including silver gelatin fiber, and silver gelatin RC and black-and white giclée. giclée. On request, request, they’ll add add samples of canvas and traditional fiber. The two Studio Sample Packets contain 8x10-inch prints of a user-provided image. The Traditional B&W pack includes five types of prints and costs $70. I ordered the Digital B&W Sample Packet, which includ includes es a borde borderl rless ess digit digital al mach machin inee print; a full-frame black border digital machine print; a custom digital RC print with your
Mpix prints on Kodak Professional Metallic Endura paper with pearlescent finish (top) made colors more vibrant and shadows darker than in BWC Photo Imaging prints on Fujicolor Chrystal Archive Pearl paper (above).
choice of border; a custom digital fiber print with a border border of your your choic choice; e; a B&W B&W giclé gicléee on photo photo rag paper; paper; a giclée on photo rag paper with your choice choice of of col color or or sepi sepia a ink ink;; and and a
sentative will call you and answer any questions. Ordering. The online order form has fields
answers to most of them in the FAQ under the Resources Resources tab. If not, not, call.
giclée on canvas with your choice of B&W,
to type in your your own file names, names, order order specs
color, or sepia ink. This sample packet packet costs costs
(size, quantity, etc.), and room for additional
fill out the order form to request a sample
$110. Other Other kinds kinds of print samples are
instructions—no pull-down menus. A lab
pack. I also asked about my choice of borders
available for an additional fee.
rep calls you if an item on the form needs
in the sampler; they weren’t on the Web site
clarification, such as when I inadvertently
as of press time. Within minutes of my call,
fill out an online form with a field for you to
combined the names of two borders when
Dalmatian e-mailed me a PDF showing the
describe the kind of photography you do. Fill
requesting just one. If you have questions
choices. I got prompt response, straight-
out a payment and shipping information form
about such things as supported file formats,
forward answers and excellent personal service.
and fax or mail it to the lab. A Dalmatian repre-
resolution, color space or dpi, you’ll find
Account Setup. Setup. Call customer service or
Customer service. I called to ask how to
A 3,008x2,000-pix 3,008x2,000-pixel el My original original image. image. A
April 2008 • Professional Photographer • 57
THE TH E GOOD GOODS: S: LABS
paper and the Ultrachrome Inks. Shadows and midtones were a bit richer than the original. The machine prints looked fairly standard and true to the original. The sepia canvas print (about 12.75x11 inches with a 7.5x5-inch image area) held surprising detail in the trees and water reflections, and even in the subtle ripples in the water. The Ilford fiber-based silver gelatin print looked and felt as you might expect, with rich, deep blacks, sharp sharp detail and and definitely definitely darker darker in the sky and shadows than than the original. original. The custom digital RC print was the most impressive of the lot. The printmaster had noticeably improved the file, bringing out fine detail in trees and shadows, better defining muddy areas and bringing up the tone of the building building on the right right to make it it pop. MPIX
A division of Miller’ Miller’s Professional Professional Imaging, Imaging, Mpix provides easy online ordering for pros, and requires no credit application as Miller’s does. Mpix offers a range of specialty and press products and papers, papers, in addition to forums and photo-sharing photo-sharing galleries. galleries. I ordered 8x12 prints with a pearlescent pearlescent finish finish on Kodak Kodak Professional Endura Metallic paper. Acco Accoun untt setup setup.. Easy as joining any consumer Mpix prints on Kodak Professional Endura Metallic paper (left) punch up the yellow and make shadows rich. The Fujicolor Chrystal Archive Pearl prints (right) from BWC Photo Imaging portray skin tones more realistically and retain more detail in the shadows.
online photo sharing site, requiring only your name, e-mail e-mail address address and a password. password. Ordering. A Ordering. A simple create-a create-an-album n-album setup. Create an album of your images, then
color file converted to grayscale in Adobe
box padded padded with bubble bubble wrap, wrap, prints placed placed
order prints of selected images. You can
Photoshop Lightroom, unsharpened. Saved
in glassine envelopes. The 8x10s were in an
request only one kind of paper per order, but
as a TIFF at 400ppi, and zipped for upload.
order envelope, and the canvas print
with with a varie variety ty of of optio optional nal frames frames and finish finishing ing
Dalmatian encourages clients to send RAW
sandwiched between corrugated cardboard
services. You can crop images directly in the
files along with unsharpened TIFFs for
flats. All well protected.
ordering interface and request color color correction
certain print types.
Quality . Sample prints are identified by
services. services. Go to Help > FAQs FAQs for info on file
Costs. Sample pack $110; shipping $8.50
type, paper paper and ink on the the backside backside in clear
formatting and technical answers or to request
Turnarou Turnaround. nd. Order placed February 22,
handwriting. The giclée prints on
an ICC profile. Under Tips for great images,
shipped UPS ground service February February 29,
Hahnemühle Photo Rag had a velvety feel,
you can download download some questionabl questionablee advice
arrived March 4.
and the B&W version was still slightly warm
in a document called “Simple Color Manage-
toned, likely likely due to to the combination combination of the the
ment Techniques,” which suggests you adjust
Packaging. Sturdy corrugated cardboard
58 • www.ppmag.com
THE TH E GOOD GOODS: S: LABS
your monitor monitor to match your print order order.. Customer service. service. E-mail contact only. There’s no phone number for personal service.
list of products, products, just just e-mail links to a
received a response within 15 minutes. There’s
specialist in the department.
no customer service or help tab. I found phone
Account setup. I could order without
numbers and a customer service description
I e-mailed a question about color correction
setting up an account. To get an account,
under the About Us tab. I called the 1-800
and got a response within 5 minutes.
you fill out out an application. application. I called called to have have
number, asked a question about metallic
mine e-mailed to me. The Customer Access
and pearl prints and got a clear answer.
My originals originals.. An album of of 3,872x2,592 3,872x2,592-pixel color JPEG files at 300ppi. The album
account tracking feature was being re vamped
upload interface was a little quirky with
at press time and was not available.
Firefox, better with the File Browse option.
Ordering. I should have used the simple
Costs. 8x12 prints at $3.99 each,
browser-int browser-interfac erfacee E-ZPics E-ZPics option, option, but I went went
shipping $4.95. Turnaroun Turnaround. d. Order placed February 25,
Costs. 8x12 prints $5.57 each, pearl adds 16 percent to the base price of $4.80; no shipping charge. Turnarou Turnaround: nd: Order placed February 25,
directly to Send Us A File and tried to use the
shipped UPS ground commercial on the
ROES ordering system that many pros use.
27 th, arrived on the 29 th.
shipped priority mail on the 26 th, arrived on
ROES populated my desktop with many
the 28th. 28th.
windows, windows, some convoluted convoluted with the text text
sleeve with thin cardboard backing tucked
overlapping until I enlarged them. I found
into another plastic sleeve, wrapped in
glassine envelopes, sealed with plastic to a
the Welcome Welcome to to ROES window window at the
brown craft craft paper. paper. Well Well protected. protected.
corrugated cardboard sheet and cushioned
bottom of of the stack, stack, and from there there I could
with packing packing foam. foam. Very Very well protected. protected.
figure out the ordering.
Packaging. Flat cardboard box, prints in
Quality. The pearlescent metallic prints
As an individual individual making making a first-time first-time
Packaging . UPS box, prints in a glassine
Quality. The color in the Fujicolor prints was much much truer to the the original than than were the Kodak pearles pearlescent cent metallics. metallics. The The colors
brought out out a vivid color color that practical practically ly
order of a few prints, this interface seemed
were vivid vivid but more natural, and without without
radiated like an RGB display. Blacks were
overly complex; a studio that orders specific
the punch punch of a boost in yellow yellow.. The shadows shadows
super rich. Yellows were particularly
sets of print types and sizes would benefit
were not as dark dark as in the the Mpix metallics, metallics,
pumped up. Medium-brown skin tone
more. Unlike the Mpix album setup, your
and showed more detail. As the BWC rep
became a warm warm coppery coppery brown, and and a pale
files don’t go through the upload process
explained when I called, the Fujicolor Pearl
pink complexion gained color as well but was
until you’ve placed the order. I liked that you
finish is recommended for portraits because
not overly yellow. yellow. Specular highlights and
could have your logo added to the image,
it’s truer to skin tones, while Kodak’s
metallic subjects gleamed. In some areas the
but I didn’t didn’t try this option. option. I ordered ordered a set of
metallic paper, which they also offer, is recom-
shadows went dark enough to obscure some
Signature Portraits on Fujicolor Crystal
mended for landscapes and edgier images.
color and detail.
Archive Archive Pearl Pearl Paper Paper with the the same images images from my Mpix order.
BWC PHOTO IMAGING
Customer service. service. My e-mail to digital-
It only takes a modest budget and a little time to be sure sure that a new new product and its provider will complement the rest of your
This full-service digital lab also provides
[email protected] was bounced back to my
offerings and be an asset to your studio. Take
visual communic communication ation and marketing marketing
Yahoo Yahoo account account.. I e-mail e-mailed ed info@b
[email protected] wc.net et and and
a look at the field and make your pick.
products. BWC offers creative services and products that most labs don’t, like trade show exhibits, design services, and store merchandising decor. Of the three lab Web sites I tried, BWC’s was the least intuitive. Customer service indicated that site revamping was going on. Some tabs were still in development, including Price Book. There’s a host of products and services under Photo Lab Services, where I found Photo Digital Printing. But there is no one
60 • www.ppmag.com
‘‘
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With such such a bounty of eye-catching specialty products available from professional photo labs, you need a strategy for choosing both the products and the provider.
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THE GOODS
SOLUTIONS BY ANDREW RODNEY
Save time and space by knowing when to use Adobe Lightroom, when to use Photoshop, and how to transport files between the two.
Once you have a single black-and-white conversion you like, you can copy and paste the metadata metadata instructions instructions onto onto the other other 299 images (Figure 2). 2). It’s a lot faster than
What’ Wh at’ss the the differ differenc ence? e?
PART II
doing it in Photoshop, and you can still alter individual images as desired. The original full-color TIFF files containing the retouch
Last month I suggested that to produce opti-
the files files for your client. client. They love love the work, work,
work remain remain untouched. untouched. When When you export
mum image data in the shortest time you
but decide decide they want one one album in splitsplit-
the toned toned variations, variations, you’ll create create new TIFFs TIFFs
should render images from raw data in
toned grayscale grayscale and one one in full color color..
with with the the black black-and -and-wh -white ite instru instructi ctions ons applie applied. d.
Lightroom, then use Photoshop’s powerful
Because you did so much localized pixel
selective tools to do the necessary retouching,
work in Photoshop Photoshop,, you’ll have to to work with
the raw files files with with less data data loss, loss, but because because
compositing and other non-global corrections.
the rendered rendered images images to accomplish accomplish that. that.
you’d worked worked on the original color color files files in
Lightroom can also work with rendered
If you use Photoshop’s black-and-white
You You could have have done the convers conversion ion with
Photoshop, that wouldn’t be the best solution.
JPEGs, TIFFs and PSDs. There are both
conversion tools, you have to open each image,
advantages and disadvantages in applying
apply a color tint and save a new copy to
the images images back into into Lightroom Lightroom than to
corrections to such files in Lightroom.
disk. Instead, you could import all the TIFFs
manipulate the existing pixels in Photoshop,
Suppose you processed 300 raw files from a
into Lightroom, make virtual copies of the
then save save new new versions. versions. In fact, fact, if you you plan to
wedding in Lightroom Lightroom,, then worked worked hours
files, and convert just one color image to
print the images from Lightroom, you’d be
on the rendered images in Photoshop, doing
black black and white white usin using g the the Spli Splitt Toni Toning ng cont control rolss
storing only the original pixel-based TIFFs;
retouching, local corrections and perfecting
to apply the the effect you you desire (Figure 1). 1).
the black-and-wh black-and-white ite versions versions would only only be
For efficient workflow, it’s better to bring
generated as the data is being sent to a local
A l l i m a g e s © A n d r e w R o d n e y
printer. You wouldn’t need to store two sets of rendered image data, only the metadata instructions for the black-and-white print work. If you crop 100 of the 300 images in Photoshop, the data you crop away is gone forever after you save the document. If you did the cropping in Lightroom, you’d only build a set of crop crop instructions, instructions, not not actually actually cropping out data. You can print the image, export the image, or change your mind about the crop anytime you wish. Making round trips between Lightroom and Photoshop has advantages in speed, flexibility and storage. Yet it’s important to recognize the difference in image quality that results results from from rendering rendering data directly directly from raw files, as opposed to applying edits via metadata metadata on rendered rendered images. images. Figure 1: You can build a better black-and-white than the grayscale button delivers and save time. In Lightroom’s Develop module, move the all the saturation sliders to -100 (make a preset). Use the HSL controls to alter the tonal relationships of the actual color data by sliding over the image using the direct select tool. Apply a split tone. (See http://lightroom-news.com/2007 http://lightroom-news.com/2007/08/24/tips-for-bette /08/24/tips-for-better-black-and-white-conversions/) r-black-and-white-conversions/)
62 • www.ppmag.com www.ppmag.com
When you edit edit a rendered rendered image and and export it to Photoshop as a pixel-based document, Lightroom makes a copy of the
Figure 2: You can synchronize one B&W rendering to every image selected (above, grid view). Copy and paste only the grayscale and split toning editing instructions made in Figure 1.
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THE GOODS
Lightroom also allows you to build any
with layered layered documents documents and maintain maintain them them
number of iterations in different sizes without
after being edited in its environment. Lightroom
having to resize the full-resolution file and
builds a flattene flattened d copy, copy, so keep this this in mind
save another version. You can determine the
if you plan round trips between Photoshop and
size you need when you export or print
Lightroom and you have to maintain layers.
though Lightroom Lightroom’s ’s Print, Print, Slideshow Slideshow or Web Web modules. When you want to make an 8x10,
Color documents. I have little use for Lab
11x14 or 3x5 print in-house, you simply
because Lightroom Lightroom tools tools often provide provide all
define the size in a print template, and let
the necessary necessary functionality functionality to render render RGB
Lightroom send the resizing instructions to
images, and CMYK documents are output-
your printer printer from the Print Print module. module.
ready (or they should be). By the time the
Whether Whether you’ you’re re workin working g with with a retouc retouched, hed, high-res rendered image or the original raw data, you can build any iteration from a single
Figure 3: These options appear when you instruct Lightroom to allow you to edit an existing rendered image in Photoshop CS3 (Photo > Edit in Adobe Photoshop CS3). If you want to edit an image that has Lightroom adjustments, select the top radio button, which builds a copy of the original first, and if the file has layers, flattens it.
Lightroom will not edit CYMK or Lab
document is in CMYK, it should should no longer need editing in Lightroom. Lightroom can’t import images with more
data source. This saves tremendous hard drive
than 10,000 10,000 pixels in either either dimension. dimension.
space and greatly simplifies image management.
Hopefully future versions will allow users to
As for for its its limi limitat tations ions,, Light Lightroo room m can’t can’t work work
edit panoramas and other large images.
�
original, converts the 16-bit data into its internal color space (ProPhoto RGB), and applies the edits. Then you have to choose the resolution resolution and color color space you you want on the back-end back-end (Figures 3 and 4). 4). Lightroom supports sRGB, Adobe RGB (1998) and ProPhoto RGB. Keep this in mind because it’s possible to end up in a different color space than you started with, depending on what you select select in the export export dialog. dialog. Also note that that camera-gener camera-generated ated JPEGs differ from other JPEGs in initial image quality. Before any Photoshop editing, camera JPEGs are just one generation from the raw data. data. They They gener generall allyy show show less less dama damage ge than a JPEG JPEG from from another another source source that’ that’s been edited before it hits Lightroom. Global correc tions tions on camera camera JPEGs JPEGs cause cause less less damag damagee and and process faster in Lightroom. If selective editing is required, required, use Photoshop Photoshop and save the document as a TIFF rather than a JPEG. (More on the the bene benefi fits ts of doing doing so in an upcom upcoming ing artic article le.) .)
64 • www.ppmag.com www.ppmag.com
Figure 4: In the Export dialog, you can build a rendered image in one of three color spaces and select the bit depth and file size. Notice on the left in the dialog that I was able to create my own settings and save them as user presets.
Feeling stuck, bored, burned out? Michael Gan and Leslie Artis-Gan rediscovered the joy of portraiture, and their workshops and programs aim to help you find the path to your artistic inspiration, too. PORTRAITS ©Leslie Artis-Gan
By Stephanie Boozer
F
rom excited newbie 30 years ago,
to-burned-out businessman businessman and now re-energized veteran, propro-
fessional photographer Michael Gan, M.Photog.Cr., has cycled through enough ups and downs to have gained a comfortable
wisdom. wisdom. If his his name name sound soundss familia familiar, r, perhaps perhaps
you’ve seen seen it on the OurPP OurPPA A online forum, forum,
where Gan Gan regularly regularly comments comments and advises. advises. “A lot of people get into photography because because it’s a creative creative endeavor, endeavor, then then they turn off that that creativity creativity,,” says Gan Gan who with with his wife, Leslie Artis-Gan, M.Photog.Cr., CPP, owns Meritage House of Photography in Pleasanton, Calif. The disconnect, says Gan, happens when photographers “spend more time copying copying what other other photograph photographers ers do instead of creating a style all their own.” It’s understandable, he says, that they’d try to do something they know will sell in order to make a living. Both Gans are teaching photographers how to recover their creativity. First, they say, photographers need to grasp that they’re artists, creative thinkers and inventors, not simply picture takers. Inspired by Santa Barbara photographer Joyce Wilson, M.Photog.Cr., API, F-ASP, F-ASP, who teaches tea ches at the Brooks Brooks Institute Institute of Photograph Photography, y, the the Gans have begun to take a historical perspec tive of portraiture. portraiture. “Somewhere “Somewhere along along the line, the the art of portraiture portraiture disappeare disappeared, d,”” says Gan. “We’re trying to bring it back so that
the art and the the client client are one.”
Joy Ride It's a pleasure to be creative for a living
66 • www.ppmag.com
Back in 1995, Gan realized that while he was busy busy photo photograp graphin hing g weddi weddings ngs,, babies babies,, seniors and other kinds of portraits, he was
PORTRAITS
©Michael Gan
merely going through the motions. He was
House of Photography Photography,, with the mission of
seemed natural to me, but I realized I’d
concentrating on volume sales rather than
merging their talents in a perfect blend of
spent years getting people’s hearts and
nurturing his self-expression. Conflicted and
photographic acumen and creativity.
spirits into their paintings, and I had these
feeling burned out, he took a break to refocus.
Not long after the opening, Artis-Gan’s
skills under my belt.” belt.”
The following year he met Artis-Gan, then a
repetitive stress injuries from painting
painter, who helped him rediscover his
dictated a switch from brush to camera. In
workshops workshops and and speaking speaking program programss to help help
creativity and find a new direction.
her first year of entering print competitions,
photographers grapple with the basic
the Nor North ther ern n Cali Califo forn rnia ia Prof Profes essi sion onal al PhoPho-
question of how to keep the joy alive. “We’re
photographic art history, Gan returned to
togr tograp aphe hers rs asso associati ciation on named named her her a 2004 2004
not teaching f/stops and shutter speeds, or
the studio studio hoping hoping to revive revive the spirit spirit of the
Photographer of the Year, Year, and she received
Photoshop actions,” says Gan. “You really
masters of black and white from the early
an offer to teach in a night school program.
need to go beyond what I call ‘the actions
“I e-mailed enrolled students to find out
mentality,’ which pigeonholes you. Take a
Drawing on his collegiate background in
days, and rediscover the romance of platinum-
Seeing a need, the Gans developed
palladium printmaking. With Artis-Gan’s
what they they really really wanted wanted to learn, learn,” she says. says.
painter’s approach, where you see something
experience in painting and his photographic
“They all came back with the same question
and draw it.”
experience, the Gans opened Meritage
—‘how do you get your inspiration?’ It had
68 • www.ppmag.com
The Gans find fulfillment in teaching,
"SuccessWare helped me
“Succe “Suc cess ss de depe pend nds s on ho how w you yo u re reac act t to adv adver ersi sity ty.” .”
become very profitable and create a wonderful debt-free life for my family through a business that I dearly love. But in any business, adversity can appear at any time. The focus SuccessWare provides gives me the insight to keep my studio on track - even through back-to-back hurricanes." Frank Donnino Donnino Galleria Portraits | Boynton Beach, FL
Read Frank’s story at successware.net/success_stories.. successware.net/success_stories
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Frank teaching The Baby Plan at a workshop.
succes successfu sfull photog photograp rapher hers s have have a lot lot in commo common. n. creativity. creativity . passion. successw successware. are.
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PORTRAITS
and it stimulates their portrait business. Averaging Averaging around $10,000 for for a portrait session, the Gans involve clients in the creative process, finding out what’s important to them, what feeli feelings ngs they they want want to conv convey ey to to viewer viewerss thr throug ough h the the portrait. portrait. “The higher higher you raise the the bar on your own own work, the the more you don’t have to worry about the competition. If you create from your soul, you will excel, excel,” says Gan. Gan. In classes, the Gans show photographers how to tap into their background and interests in developing a personal style of their own, own, which will will be the deciding deciding factor factor that sets them apart apart from everyone else. “My best advice is to stay true to yourself, yourself,”” says Artis-Gan. Artis-Gan. “Turn “Turn off your your brain and listen listen for the the whispers, whispers, because because nothing is obvious. Like Michelangelo, who said he was simply setting the figure of David free from the stone, you have to allow your creativity creativity to happen. happen.”
�
To view the Gans’ portfolio and find details about their teaching schedule, visit www.meritageonmain.com. ©Michael Gan
©Leslie Artis-Gan
© 2 0 0 7 C h e r i e S t e i n b e r g C o t e
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Celebrity or not, every subject gets the special star treatment from Kerry Brett. From babies to adults, her portraits have a fresh, in-the-minute appeal, whether taken on the beach or in the studio. PORTRAITS
By Lorna Gentry
All images ©Kerry Brett
K
erry Brett, M.Photog., CPP, giggles recalling the first picture that made her money and launched her career in photography. It’s her moxie she laughs about.
Globe Her father, award-winning Boston Globe
photojournalist Bill Brett, was out on assignment one night, when Brett, then 17 years old, heard on his police scanner that a car had just crashed into a house. She grabbed her dad’s 35mm Nikon F3 camera, loaded a roll of Tri-X black-and-white film, and headed
to the the crash crash site. site. “I went went under under the polic policee tape tape and told the fire chief I was covering the story. I got up on the fire truck, found a good angle and fired away. Then I went home and called the newspaper newspaper to tell tell them that I had Page One.” To To her father’s utter surprise, Kerry’s picture did indeed land on the front page of the next mornin morning’ g’s paper paper,, and and earne earned d her her $50. $50. Brett trailed her dad into the darkroom and on his newspaper newspaper assignments assignments from the time she she was 3 years old, breezily breezily switching switching between her her Fisher-Price Fisher-Price camera and and her dad’s Nikon. The senior Brett fostered a passion in his daughter that drove her first to photojournalis photojournalism—she m—she,, too, worked worked for a time at the the Boston Globe—then into portrai ture. ture. In 1997 1997 she she opened opened a stud studio io in in Hingh Hingham, am, Mass., an affluent bedroom community on the coast coast 15 miles southeas southeastt of Boston, and and specialized in black-and-white portraits. “I created a recognizable style and then
Bold black and white Portraitist Kerry Brett brands her distinctive style
72 • www.ppmag.com www.ppmag.com
branded it, it,” says Brett. Brett. “I felt felt strongly strongly and passionately about the look I created, but it was kind of of a gutsy move move at the time time becaus becausee
PORTRAITS
I was afraid I would pigeonhole myself as a
and white tones makes the subjects pop from
the public public and brings brings in wardrobe, wardrobe, hair and
black-and-white black-and-white speciali specialist, st,”” thus scaring scaring
the backg background round with an almos almostt 3-D effect. effect. At
makeup technicians, who set up stations
away those who wanted color portraits. “The
first, Brett shot all her work on film and hand-
near the camera room. Brett works directly
flip side is that I have such a recognizable
printed it. The diehard film fan didn’t convert
with the magazine magazine’s ’s editor editor,, art director director and
style that people know my work.”
to digital digital until until 2004, 2004, and and it was a tough tough trantran-
photo editor, who watch the shoot progress
sition, she confesses. But now, says Brett, “I love
on monitors in an upstairs room.
IN THE MOMENT
Brett is perhaps best known for beach portraits,
digital because of the instantaneous feedback.” That’s especially helpful during celebrity
The work is always exciting and challenging, she says, which is why she loves it. “It’s
which which began began with with a space space dile dilemma mma in her her first first
shoots for Improper Improper Bostonian Bostonian magazine,
so much pressure—I have less than 5 minutes
studio. Subjects in tow, she bounded onto the
where she’ she’s been the staff staff photograph photographer er for
with some some celebrities, celebrities, and it it gives me such such
beach beach to phot photogr ograp aph h the them m with with long long lens lenses es and and
14 years. “I have such limited time with them,
an adrenaline rush—there’s nothing like it.
reflectors. “On the beach, I work like a photo-
and I have to respect their schedules,” says
The hardest thing is dealing with celebrities’
journalist journalist,,” Brett Brett explains. explains. “I “I shoot shoot fast and and in
Brett. Digital enables her to “know that I
handlers or entourage, who are protective
the moment moment so porta portable ble lights lights wouldn wouldn’t ’t work. work.”
have the money shot for the cover so that I
and don’t trust anyone. I have to zone all
can then do something artistic for the
that out to to create a good good portrait. portrait.”
All Brett’s Brett’s portraits portraits have have that in-themoment, fresh look. From babies to adults,
inside” photos. Digital has given her more
she connects with people in a way that opens
confidence, she confides.
up their faces. Her creamy lighting gives a
When Brett Brett photographs photographs actors, actors, athletes, athletes,
ATTRACTING TYPE A
Brett’s bread-and-butter customers are well-
richness to her portraits, and the contrast
musicians and trendsetters for the monthly
educated working professionals who “tend
betwee between n razor razor-sh -sharp arp focus focus and and soft soft black black,, gray gray
magazine’s covers, she closes her studio to
to be Type-A Type-A personalit personalities, ies,” she says. says. “They
“On the beach, I work like a photojournalist. I shoot fast and in the moment so portable lights wouldn’t work.” work.”
PORTRAITS
want someon someonee who has has a good good reputation reputation and they want perfection. For them it’s about quality not quantity.” To attract this clientele, Brett positions her studio in the public eye as much as possible through advertising, charity work and displays. “I love marketing as much as I love photography. I don’t sit around waiting for the phone to ring.” She felt it was important as well to invest in creating a studio that bespeaks professionalism and success. In a prime location near Hingham Square, Brett bought a dilapidated, historic 1890 mercantile building in 2004 and turned it into a contemporary essional al studio (see “Urbane Antique,” Prof Antique,” Profession Photog Photograp rapher her , October 2007). The renovation took more more than a year, year, a slew of of contractor contractors, s, and patient compliance with the Hingham Historical Society’s exacting specs. Brett’s investment in both the studio and marketing has paid off handsomely. Her por traiture traiture is highly highly sought sought after, after, as as evidenced evidenced by her calenda calendar, r, which which is continu continually ally booked booked three months months in advance. advance. Brett Brett shoots shoots more than 300 300 portraits portraits a year, year, 120 120 of which which are taken on the beach. beach. She She relies on two DSLR cameras to handle the workload, a Canon EOS-1D Mark III and a Canon EOS-1Ds Mark II. The lenses she most often uses are a 70-200mm f/2.8, a 28-70mm f/2.8, a 300mm f/2.8, and a 20-35mm f/3.5. Her memory card of choice is a high-speed SanDisk. For studio lighting Brett uses Photogenic PowerLight 1250s with Larson Soff Boxes. She uses Adobe Photoshop CS3 for photo editing, and Adobe Lightroom for image management, both running on four Power Mac G5 computers. Two employees help her run the studio, studio, while while Brett does does all the the shooting. shooting. Brett would like to do a book on her celebrity photography one day, but for now she’s enjoying shooting portraits and watching history repeat itself: her 4-year-old, Morgan, follows behind
76 • www.ppmag.com
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PORTRAITS
her camera, just as Brett followed her dad. “I used to go with my dad and sit on the sidelines of the Celtics games when I was little, where he would photograph Larry Bird and all the greats. Just recently I shot shot Celtics stars Kevin Garnett, Ray Allen and Paul Pierce, the new
Improper Bostonian Bostonian Celtics dream team, for Improper magazine. I walked into the gym just moments after they were photographed for the cover
Illustrated d . I said, ‘I’m Kerry Brett of Sports Illustrate and I’m here here to photograph photograph Kevin Garnett.
Brett’s daughter?’ they asked. I ‘Are you Bill Brett’s was so proud. proud. It’s been amazing amazing to mimic mimic his career. Dad and I have a bond because we are both so passionate about photography.”
�
To see more of Kerry Brett’s photography, visit www.brettphotography.com. Lorna Lorna Gentry Gentry is is a freel freelance ance writer writer in Atlanta. Atlanta.
78 • www.ppmag.com
April 2008 • Professional Photographer Photographer • 79
Starting out with a multi-faceted business gave Tim Kelly experience and insight that enhance his portraiture. Always growing artistically, he’s added digital painting to his lineup, and clients love it. PORTRAITS
By Lorna Gentry
Classic beauty
work. It’s It’s what suits Kelly’s Kelly’s sensibility sensibility best.
Portraitist Tim Kelly shares the secrets of his success
commercial work earned him an impres-
everything from weddings to commercial In the 1980s, Kelly’s handsomely lit sive $175 an hour. Orlandoans with fam-
hile on the
the candidate for a magazine and less
ilies began asking for portraits, too. His
than 1 minute of direct eye contact, thanks
competition charged $75 sitting fees, an
to the phalanx of reporters squeezed squeezed into
untenable amount to a man earning
this this year year,, Rep Repub ubli lica can n
the camera room, peppering peppering Huckabee
commercial rates. Kelly asked $250 per
presidential candidate
with questions. Kelly Kelly got the cover shot,
session, unsure anyone would be willing to
no sweat.
pay that much. But the high price boosted
campaign trail in Florida early
Mike Huckabee stopped by the studio of Tim Kelly, M.Photog.Cr., in
The name Tim Kelly has become
the perceived value value of his work, and clients
synonymous with portraiture. That’s the
multiplied. By the early 1990s, he was a
Lake Mary, a northern suburb of Orlando.
only kind of photography he’s done for the
full-time portraitist.
Kelly had only 10 minutes to photograph
last 18 years, after 20 years of shooting shooting
All images ©Tim Kelly
Now Kelly’s creation fees range from $500
to $1,500 $1,500,, which which covers covers only only his his time time behind behind the camera. camera. Finished Finished portrait portraitss run $8,000 $8,000 to $15,000. $15,000. A custom-d custom-designe esigned, d, perfectperfect bound, bound, leather leather photo photo album with 24 to 30 pages from a single session sells for $4,000 to $8,000. In 2007 Kelly did about 175 sittings, nearly half the number of previous years. He attributes the decline to the weak economy. But his clientele is affluent enough to stave off cutbacks on essentials, like pictures of their children. “Our clients are established families with two to three children ranging in age from 4 or 5 all the way to college age,” Kelly says in a soft, relaxed tone. Though many of his clients live near the studio, some live to the south and southwest of Orlando and will drive 45 minutes to get there and and not think think twice twice about it. it. Such customer loyalty comes from an appreciation of Kelly’s classic approach to portraiture. The poses look natural, yet the subjects are sculpted by luscious lighting; “It’s product lighting ffor or people,” he laughs. When he he was doing doing commercia commerciall work, Kelly Kelly devised a way to wrap light around the sub ject to delinea delineate te it from the the background. background. “I use two to three boxes on one side and reflec tors on the other, other, which which gives gives the effect effect of north light coming through a window,” he says. “Multiple light sources enable me to correct skin, hair or background tone to be exactly the value I want.” In the studio Kelly uses Photogenic monolights on a rail system with Larson Larson Soff Soff Boxes. Boxes. His favorite camera is the Canon EOS 5D with Canon L-series lenses, most often a 70-200mm EF f/2.8. Kelly also has a medium-format camera with a 33megapixel Leaf Aptus digital back in the camera room “just to impress clients,” he says. “If I do a big group, I’ll definitely use it because because the fidelity fidelity is awesome. awesome. For For routine routine portraits it’s overkill. I’ll probably get the
“We stress quality. To keep perceived valuee high, valu high, we tell tell our our custome customers rs delivery takes four to six weeks. They come back in a week to see the images, which whic h gives gives me an oppo opportun rtunity ity to edit and retouch my favorites. ” April 2008 • Professional Professional Photographer • 83
PORTRAITS
new Canon EOS-1Ds Mark III, but I don’t know,” he says, his voice trailing off. “The 5D was such a homerun. homerun. Everything Everything I shoot with it I love. love. And I can make make any size size print from it that I want, so what else do I need?” Kelly feels digital photography gives him a greater range of artistic expression than film did. “I used to paint oil on canvas years ago, but it took many weeks. About six years ago I started working with Corel Painter, taking classes classes every every year, but but not selling selling anything. Two years ago, after my fifth class on Painter, I decided I was going to make it work. I began began to create a painting painting every every week, even even if no one bought bought it. I did two two paintings during that class on my customers’ portraits. I invited my clients to come see them. They They didn’t ask ask when they could come, they asked if they could buy them,
sight unseen. Within 24 hours, I sold them both for a lot of money. money.” Now Kelly does one painting a week for his Modern Masterpiece series, and nearly every one sells. Although it’s time-consuming —three to 10 hours—he says he loves the process. Last year he was inducted to the International Society of Portrait Painters. He outputs the digital paintings on canvas and adds form-following brushwork. “The heavy hand-brushed lacquer gives the brush strokes a 3D look, further deceiving the eye.” Tim Kelly portraits are also available in unpainted color and black and white. About 60 percent percent of his his portraits portraits are of children, 20 percent families. The remainder is divided among seniors, business, commercial and illustrated portraits. “When I do a family, I do a complete study with all the breakouts breakouts of various various poses, poses, lighting lighting and interpretations. They will always have more choices than they can afford to buy. I know
84 • www.ppmag.com www.ppmag.com
I’m not going to see them again for a couple
my favorites. Instead of seeing the 200
of years, so I do as much as I can as quickly
frames I shot, they see the 30 polished
as I can,” says Kelly.
ones I love.” love.”
“From one visit I typically sell a large por -
Tiger Woods, who lives nearby, and his
trait, secondary secondary and gift gift portraits, portraits, and a
wife, Elin, Elin, welcomed welcomed a baby girl last last
family album.” Kelly designs the albums as
summer. Might Kelly do their family
he likes, without an order, to see if the client
portrait? Kelly chuckles. “I was scheduled to
will like like it. “I use Capri Capri albums albums because because I can
photograph Tiger Woods in 1997 when he
do panoramic layouts spread across 10x20-
won his first first Masters Masters Green Green Jacket. Jacket. I’ve
inch pages, or put one to a dozen pictures
done other Green Jacket portraits for
on a spread. … I take imagination out of the
Augusta National National Golf Golf Club. But But his plane plane
equation by showing them what I can do
was late and and I was young young and impatient impatient
and I sell it.”
so I didn’t wait. I should have, but who
Kelly purposefully elongates delivery
was to know?” know?”
�
time. “We “We stress quality quality,,” he says. says. “To “To keep perceived value high, we tell our customers delivery takes four to six weeks. They come back in a week week to see the images, images, which which gives me an opportunity to edit and retouch
To see more of Tim Kelly’s work, visit his Web site, www.timkellyportraits.com. Lorna Lorna Gentry Gentry is is a freel freelance ance writer writer in Atlant Atlanta. a.
April 2008 • Professional Professional Photographer • 85
Alli Al liso son n & Jef Jefff Rod odge gers rs brin br ing g ad ag agen ency cy service to studio clients
designing BY JEFF KENT
All images ©Allison Rodgers Photography
hen Allison and Jeff Rodgers left their jobs as art directors for a Memphis ad agency, they had a specific goal in mind. For several years, the creatives-on-demand worked wi with a variety ety of clien ients to produce projects cts for print, TV and online media. Now with a portrait and wedding studio of their own, own, Allison Allison Rodgers Photography Photography in
photographer, Jeff as the art director. “We want to offer each client a solution,
ask a thousand questions about who they are and what they’re looking for. Everything
Olive Branch, Miss., they have successfully
as if we’re dealing with a client in an ad
we do is designed designed to make make the process process easy easy
adapted the ad agency model to retail
agency,” says Allison. “When clients come in,
for our clients. From our first consultation, I
photography, with Allison as the
our first conversation is about their needs. I
(continued on p. 91)
CREATING A DESIGNER SESSION BY ALLISON RODGERS
At Allison Rodgers Photography our tagline is “let us tell your story,” because every client that walks through our door is a little different from the next. During my consultation appointments, my goal is to find out what makes my client different. It doesn’t matter whether I’m shooting a newborn or a family. I want to find something someth ing I can focus focus on to make make the session session truly about about them. I ask tons of open questions, such as: How would you define your style as a family—casual, frazzled or sophisticated? What rooms do you spend most of your time in? What What colo colors rs and and textu texture ress are in those those room rooms? s? What do you wear on the weekends? I always love to see images of my client’s home. I ask the client to send a few shots of each room so that we can keep them on file to help in the final size and placement of our images. Once I have a good feel for the client’s style and personalit perso nality y, I explain explain that I always always want to plan plan my image design for rooms that they live in on a daily basis, like the living room, kitchen, hallway, entryway and children’ children’ss bedrooms. I talk about designing something customized for certain spaces, usually for at least two different rooms. I also help them understand that I’m going to create something unique. They are there to make an investment, so I am going going to create something for them to invest in. Before the session ever takes place, I have a good idea of what we’re going to do with the images. We plan session clothing to match the specific rooms in which the clients plan to display the images. I even ask for measurements of walls and furniture so that I can design something for a certain spot in their home. By doing all of this preparation in the first meeting, I’ve already sold the client on my ideas before the session takes place. They get excited about the session. All they have to do is show up and let us do the rest. When it’s time to order, order, the client has a multiple-choice list of tailored options. We use all of their favorite images in our product mock-ups. They know the items will fit their style. They know they will match their home. Even better, better, they know where to hang them and that they’re going to fit the spaces perfectly. Taking the time to get to know the client in the beginning means that we can better tell their story, and give them products that they absolutely need. What more could they ask for?
(continued from p. 88)
For each client, the design process begins
an image for a specific place in their home.”
send them away with homework. I want to
with the initial initial consultation consultation,, during which which
see the color palette of their house, the
Allison and and the client client discuss where where the
when it comes comes to abstract abstract things like like photo-
layout, the the style. We We look into all all of these
images will be displayed and how they are to
graphic art,” adds Jeff. “They need to be
elements so that we can provide a solution
fit into the overall decorating scheme. The
presented those options. We don’t sell a
that fits fits them. Everythin Everything g is tailored. tailored.”
process continues through the session and
vague vague idea idea of an an image image that that will will go go somewhere,
into the sales presentation. It’s a matter of
it’s artwork to fit into a specific place.”
The Rodgers continue to enjoy the collab-
“It’s hard for people to have creative vision
orative structure of the ad agency in their
paring down options to focus on the must-
studio. They oversee two junior designers,
haves, rather than selling every product and
2003, Allison and Jeff have enlarged the
who work work on on product product creation creation,, album album layouts layouts
service to every client.
studio three times, and nearly doubled their
and image processing. “The designers become
“People just get overwhelmed,” says Allison.
Since opening the business in the fall of
gross revenue every year. They’ve accomplished
extensions of us, like extra hands,” says Jeff.
“They come in and think they want to buy
this, in part, part, through through managerial managerial accounting accounting
“I’ll come in and tweak things here and
everything. I’m honest with them and try to
guidance from PPA’s PPA’s Studio Management
there. Collabor Collaboration ation allows allows us to produce produce
focus on certain things they need and will
Services (SMS). With help from SMS account-
more work in a timely manner while
enjoy. That’s so important. It helps me when
ants, the Rodgers have set up a system that
maintaining a consistent artistic direction.”
I shoot to have a plan. I’m shooting to create
allows them to know exactly where they
“When clients come in, our first conversation is about their needs. I ask a thousand questions about who they they are are and what they’re look lo oking ing for for.. Everything we do is designed to make make the the process easy for our clients.”
GO FROM RAGS TO RICHES
PPA Webinar spotlights four realworld financial success stories in April. Learn how to transform your studio’s bottom line not with gimmicks, just know-how. Interested in learning more about how the Rodgers have repeatedly doubled revenues without raising prices? On April 21, from 12 to 1:30 p.m. Eastern Time, Allison and Jeff join the owners of three other high-performing studios for a PPA Webinar on studio business success. “2007 Financial Success Stories” also includes Ryan and Carrie Phillips of Click Portrait Studio/Ryan Phillips Photography, a portrait and wedding outfit in Thousand Oaks, Calif.; wedding, portrait and commercial photographers Jeff and Carolle Dachowski of Dachowski Photography in Manchester, N.H.; and Todd and Jaime Reichman, the stand financially at all times. They are aware
principles. They build relationships with
wedding, portrait and senior
of their cost of sales, session numbers, sales
their client clientss and are are active active in the the communit communityy.
photography specialists of Reichman
averages, total income and net profit.
They give perks to loyal customers. They consult on decorating decisions and offer
Photographic Artists in Dunlap, Ill. The pros will discuss how they’ve
was $686. In In 2007, 2007, 256 sessions sessions yielded yielded an
suggestions for future photographic art. They
managed to accomplish such feats as
average of $1,656. The Rodgers have been
console clients who lose a loved one and
tripling net profits, dramatically
able to dramatically increase revenue without
donate images to the family. Such personal
increasing sales averages, creating
increasing prices by limiting the focus of
touches touches endear the the Rodgers to to their clients. clients.
financial security for their businesses,
each session to concentrate on creating specific
“We want to give something back to our
and regaining their personal lives in the
images. Clients are actually inclined to pur-
clients, our community and to other
chase more because the options are tailored
photographers,” says Jeff. “Sure, we want to
process. PPA chief financial officer and Studio Management Services (SMS)
to thei theirr situa situation tion.. “It’ “It’s all all about about helpin helping g peopl peoplee
make enough money to live comfortably, but
guru Scott Kurkian will moderate the
understand what they need,” says Allison. “If
we’re we’re not in this to be millionaires. millionaires.”
Webinar. “2007 Financial Success
In 2006, the average sale on 310 sessions
you provide provide someone somethin something g specific— specific—
“That’s right,” agrees Allison. “We want to
Stories” is part of the popular online
for example, a custom-designed gallery wrap
tell our clients’ clients’ stories. stories. We We want to offer offer our
educational series sponsored by SMS.
to go in a designated designated space space in a living living
creative vision. This is such an important
Cost for the April 21 Webinar is $49
room—they’re likely to buy it.”
business business to be in. It’s It’s such such a privilege privilege when when
for PPA members and $249 for
you think about about it.” it.”
nonmembers. For more information, visit www.ppa.com and click on the
The Rodgers are always mindful that they’re re running running a family-ow family-owned ned photogr photography aphy business, business, and never never lose sight sight of traditional traditional
�
For more inform information ation on Allison Allison Rodgers Rodgers Photography Photography,, visit www.a www.allison llisonrodge rodgers.co rs.com. m.
Events section.
©Jerry Ghionis
Brilliant A glit glitte teri ring ng gall gallery ery by by the the Diam Di amon ond d Photographers of the Year COMPILED BY JEFF KENT
©Jim Frieze
t’s no small small accomp accomplishm lishment ent to land land multipl multiplee prints prints in the the PPA PPA Loan Collection via the PPA PPA International Print Competition, one of the largest largest,, most stringently stringently judged judged photograp photography hy competiti competitions ons in the world. world. With With some some 5,000 5,000 entries, entries, the Loan Loan Collection Collection comprises comprises only a few hundred photographs, the best of the best. Those who merit multiple Loan inclusions earn a special distinction. With four images in the collection, photographers reach the Diamond level, the highes highest, t, in one one of three three categori categories: es: Artist Artist of of the Year Year,, Electronic Electronic Imager of the Year and Photographer of the Year. On the following pages, we pay tribute to the 2007 Diamond image-makers, and display a selection of the images that put them on the top tier.
JIM FRIEZE Jim Frieze, M.Photog.Cr., of Jim Frieze Photography in Columbus, Neb., has been a professional photographer for more than 45 years. He brings a clean, fresh approach to contemporary wedding photography, as well as family, senior and child portraiture. www.jimfriezephotography.com www.jimfriezephotography.com “HER DADDY’S WORST NIGHTMARE” The subject, Eric, frequently changes his look in the course of a year. He works in Frieze’s studio, so the photographer sees the alterations firsthand. This portrait encapsulates one of the looks in Eric’s diverse repertoire. Frieze desaturated the image in Photoshop, then adjusted the density and contrast before stretching the background. “I always capture my images in color,” says Frieze. “I can change and adjust to whatever I choose, choose, and I find the contrast contrast and density density of the images to be so much more enjoyable.” CAMERA: Fujifilm FinePix S3 Pro LENS: 28-75mm Tamron Tamron SP AF f/2.8 XR Di LD Aspherical LIGHTS: Main—Photogenic PowerLight modified by a 22x28-inch Larson Soff Box; background—Photogenic PowerLight; fill—5-foot Larson silver reflector SHUTTER SPEED: 1/125 second APERTURE: f/9.5 ISO: 100 SOFTWARE: Adobe Photoshop CS “STRONG FOUNDATION” Image on page 95. The father of the child in this photo has been going to Jim Frieze Photography for portraits since he was a young boy. When he adopted a child, Frieze invited him to the studio to do a father-son portrait session. When Frieze captured this image of the sleeping child, he knew “Strong Foundation” summed up the story. “The challenges we encountered during the session included getting the little tyke to go to sleep and stay asleep,” says Frieze. “But the most humorous was the tiny bladder of this youngster. With each new pose he baptized his father—over and over again!” In post-production, Frieze de-saturated the image in Photoshop, adjusted the density and contrast and stretched the background. He applied a stroke line and black canvas for the presentation. CAMERA: Fujifilm FinePix S3 Pro LENS: 28-75mm Tamron SP AF f/2.8 XR Di LD Aspherical LIGHTS: Main—Photogenic PowerLight modified by a 22x28-inch Larson Soff Box; background—Photogenic PowerLight; fill—5-foot Larson silver reflector SHUTTER SPEED: 1/125 second APERTURE: f/9.5 ISO: 100 SOFTWARE: Adobe Photoshop CS
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JERRY GHIONIS Jerry Ghionis operates Jerry Ghionis Photography, a new boutique addition to his 10-year-old company, XSiGHT Photography & Video. The Melbourne, Australia, photographer specializes in weddings, portraits and fashion. He travels three to four months a year pursuing his photographic passions. www.jerryghionis.com
“NATHAN & VANESSA” (ALBUM) Image below. “I set out to create the simplest album I have ever produced,” says Ghionis. “I focused on showcasing the photography and not the design, which I believe is what an effective album should do. There were so many powerful images from this wedding, but I ruthlessly featured one-image page designs among multiple image designs. It’s all about the wow.” When digitally projected, the album displays vertically like a folding calendar. The printed album is 20x13.3 inches, printed on Kodak metallic paper by Edge Photo Imaging, and produced by Seldex Artistic Albums. CAMERA: Canon EOS 5D LENSES: 70-200mm Canon EF f/2.8L IS USM and EF 17-40mm f/4L USM
“HADDEN & REBECCA” (ALBUM) Image on page 94. A mix of flush-mount and matted pages, this album is 11x14 inches with a simple, clean design. “I only had about 15 minutes of location time with the bride and groom, so I concentrated on producing fewer images and making each one count,” remembers Ghionis. “The images of the long, tall grass are among my all-time favorite sequences. This album includes many elements, including storytelling, glamour, candor, emotion and a big measure of soul.” CAMERA: Canon EOS 5D LENSES: 70-200mm Canon EF f/2.8L IS USM and EF 17-40mm 17-40mm f/4L USM
©Jerry Ghionis
April 2008 • Professional Photographer • 97
©Tomas Muñoz
TOMAS MUÑOZ Calling on a rich tradition that began in Cuba in 1909, Muñoz Photography has grown into one of Florida’s Florida’s most popular studios. The emerging generation of Muñoz photographers is led by Tom Muñoz, M.Photog.Cr., M.Photog.Cr., CPP, who does a mix of weddings, portraits and pet photography out of the studio’s studio’s West Palm Beach and Fort Lauderdale locations. www.munozphoto.net
“VINTAGE GRACE” This classically composed bridal portrait comes from a traditional Indian wedding. The bride had worn the Indian sari and lehnga during earlier stages of the event, but she changed into into her white wedding gown for for this photo session at the Biltmore Hotel in Coral Gables, Fla. “I put the bride on a staircase that leads to the main lobby of the hotel,” says Muñoz. “I used the beautiful light coming from a window to light her profile. The bride wanted me to photograph the blend of cultures represented in her wedding day. She was ecstatic over this formal bridal portrait.” CAMERA: Canon EOS 5D LENS: 24-70mm Canon EF f/2.8L USM SHUTTER SPEED: 1/125 second APERTURE: f/5.6 ISO: 200
KASSY & TOBY “The bride and groom are a young, fun couple, who enjoyed every minute of their wedding,” wedding,” says Muñoz. “I started the day with the bride and her family at the Breakers Hotel in Palm Beach. The hair and make-up team ran late with the bridesmaids, and I was pressed for time during the portraits. Once I finished, the girls practically ran toward the limo. I captured this moment as they realized that they were minutes away from the start of the ceremony, as they looked at one other with in an adrenaline rush.” rush.” CAMERA: Canon EOS 5D LENS: 24-70mm Canon EF f/2.8L USM SHUTTER SPEED: 1/125 second APERTURE: f/5.6 ISO: 200 © T o m a s M u ñ o z
©Sam Gray Portraits
SAM GRAY PORTRAITS In business since the late 1960s, Sam Gray Portraits of Raleigh, N.C., focuses on children and families, with an increasing number of women and executive portraits. Proprietor Sam Gray, M.Photog.Cr., provides his longtime clientele traditional fine-art photography in a variety of formats and media. He attained Diamond status this year with his first competition entries in 11 years. www.samgrayportraits.com “THE SHEEP KNOW HIS VOICE”
“I captured the shepherd when I was with some friends on a photographic safari in northern Italy looking into the Swiss Alps,” remembers Gray. “I wanted to compose the image as quickly as possible because I knew the scene would change any minute. The first thing I did was get a wide angle showing the mountains and clouds, with the shepherd talking to his dog.” Gray used Photoshop to make several adjustments, clean up distractions in the background, and enhance the clouds and fog to look like it was morning. He also moved the shepherd to improve the overall composition. CAMERA: Kodak DCS Pro SLR/n LENS: 80-200mm Nikkor f/2.8 ED-IF AF-S VR Zoom and 35-70mm f/2.8D AF Zoom SHUTTER SPEED: 1/180 second APERTURE: f/6.7 ISO: 200 SOFTWARE: Adobe Photoshop
©Sam Gray Portraits
“ROLLING HILLS”
Gray initiated this project for a competition judged by the curator of contemporary art at the North Carolina Museum of Art. Although this [competition] was out of my comfort zone, I wanted to be in front of this judge,” says Gray. Looking over some old travel images, Gray found a photograph that he’d captured in the hill town of Corniglia, Italy. Using the palette knife tool in Corel Painter, he digitally painted the entire image and intensified the colors for impact. Then he cropped it for a 30x70-inch composition before printing the image on canvas. The art piece was one of 20 out of 300 chosen for the show. It now hangs in his studio gallery and is finished with rich impasto oil paints. “
CAMERA: Kodak DCS Pro SLR/n LENS: 70-200mm Nikkor f/2.8 ED-IF AF-S VR Zoom and 35-70mm f/2.8D AF Zoom SHUTTER SPEED: 1/750 second APERTURE: f/6.7 ISO: 160 COMPUTER: Mac G4 17-inch notebook with Wacom Intuos3 graphics tablet SOFTWARE: Adobe Photoshop and Corel Painter
April 2008 • Professional Photographer • 99
©Steven Ahrens
STEVEN AHRENS
©Steven Ahrens
A second-generation photographer who has been photographing professionally professionally for 27 years, Steve Ahrens, M.Photog.Cr., M.Photog.Cr., runs Ahrens Photography in Fond du Lac, Wis. Technically adept and traditional minded, Ahrens specializes in classic portraits of seniors, children and families. www.theahrensimage.com “JOE”
“I had owned the hat for years and was looking for just the right background and subject to photograph with it,” says Ahrens. “Then I needed something for the subject to wear. We made an ethnic outfit for him, but it just didn’t look right. At the last minute I visited the local Goodwill store and found this T-shirt for $2.” Again, lighting proved to be a challenge. Ahrens used north light and reflectors to illuminate the subject to appear to be lit by the moon and the spectral highlights on the water. CAMERA: Cannon EOS 5D LENS: 70-200mm Canon f/2.8L IS USM LIGHTS: Natural light and reflectors SHUTTER SPEED: 1/60 second APERTURE: f/5.6 ISO: 100
“A SHOULDER TO LEAN ON”
“Will's parents wanted me to recreate a pose I had done of their older son,” says Ahrens. “After I’d gotten the image they were looking for, for, Will's father picked him up and held him, and that is the moment in this image.” Ahrens appreciates the special feeling that comes through when a child feels secure. “Children feel safe and comforted when held by their parents. Will’s father served as a prop, which led to the perfect title.” This image also received an ASB Regional Medallion Award. CAMERA: Canon EOS 5D LENS: 70-200mm Canon f/2.8L IS USM LIGHTS: Natural light and reflectors SHUTTER SPEED: 1/60 second APERTURE: f/5.6 ISO: 100 100 • www.ppmag.com
©Jo Burkhardt
JO BURKHARDT Jo Burkhardt, M.Artist.MEI, runs Photographic Art by Jo in Sarasota, Fla. She does artistic image enhancements of both new and old images. This is the third consecutive year that she has reached Diamond status as an Electronic Imager of the Year. “GONE FISHIN’” Burkhardt adapted this image from a photograph by Brian Shindle of Creative Moments Photography in Westerville, Ohio. She used Adobe Photoshop to eliminate the house and background before painting in a new scene for aesthetic balance. “The biggest challenge was removing a large home from the original work and envisioning a completely different background in the process,” says Burkhardt. SOFTWARE: Adobe Photoshop and Corel Painter
“HOME FOR THE HOLIDAYS” “The artistic intent was to start with a cluttered image and transform it into a beautiful scene,” says Burkhardt. The original image was especially fun for Burkhardt because the yard required a digital clean-up before she could begin to focus on transforming the house and background. She removed all the clutter in Adobe Photoshop before pulling up Corel Painter to paint the winter scene. CAMERA: Fujifilm QuickSnap Flash 35mm Single Use camera FILM: 35mm Fujifilm 400 speed film SOFTWARE: Adobe Photoshop and Corel Painter
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©Jo Burkhardt
©Juli Cialone
JULI CIALONE Juli Cialone, M.Photog., proprietor of Cialone Photography in Rochester, N.Y., has been in business for 10 years, working primarily with portrait and wedding clients. Her specialties are environmental portraits, portrait albums and photojournalistic images. www.cialonephoto.com
“JENNIFER AND MICHAEL” (ALBUM) Aiming for “urban and sexy,” Cialone created this image on location. Her first challenge was to get the couple comfortable, so she started the session with a few drinks at a bar. Her next challenge was to keep onlookers from interfering, which turned out to be more difficult than anticipated. “An ogling passerby actually walked into a pole because he wasn’t paying attention to where he was going!” she recalls. In post-production, Cialone retouched the image with Nik Color Efex Pro and Kubota Artistic Tools. She designed and laid out the album with Yervant Page Gallery software. CAMERA: Canon EOS 5D LENSES: 85mm Canon f/1.2L II USM and 15mm Canon EF f/2.8 fisheye LIGHTS: Photogenic PowerLights
“PUPPY AND THE BABY BOOK” (ALBUM) “I was going for something fun and silly but also very clean,” clean,” says Cialone. “It w was as a little challenging keeping a puppy and a 1-year-old happy simultaneously—not neousl y—not to mention getting expressions.” Cialone Cialone created created the image with a fisheye lens while shooting the subjects against a seamless white background. Everything went smoothly until both subjects wet the floor. Cialone retouched the images with Nik Color Efex Pro and Kubota Artistic Tools. She designed the album layout freehand. CAMERA: Canon EOS 5D LENSES: 85mm Canon f/1.2L II USM and 15mm Canon EF f/2.8 fisheye LIGHTS: Photogenic PowerLights SOFTWARE: Nik Color Efex Pro and Kubota Artistic Tools ©Juli Cialone
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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 May 18-20 S: PP of Louisiana, Marksville, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net
May 18-23 W: Imaging Workshops, Mountain Summit,
June 15-17 S: PP of Oregon, Mt. Bachelor Resort, Bend,
September 13-17 C: Georgia PPA, Athens, Ga.; Tom McCollum;
Ore.; Arlene Welsh, 800-370-5657;
[email protected]; www.pporegon.com
770-972-8552;
[email protected]; www.gppa.com
June 16 S: PP of Massachusetts; Steve Meier,
October 3-7 C: Southwest PPA, Sheraton Arlington
[email protected]; www.ppam.com
June 22-23 S: Kentucky PPA; Embassy Suites, Lexington, Ky.; Randy Fraley, 606-928-5333;
[email protected]; www.kyppa.com
June 22-24 S: PP of North Dakota, Northern Light Seminar, Doublewood Doublewood Inn, Bismarck, N.D.; Poppy Poppy Mills, 701-222-3040;
[email protected]
June 22-25 S: Texas PPA, YO YO Ranch Resort, Kerrville, Kerrville , Texas; Texas; Doug Box; 979-272-5200;
[email protected]; www.tppa.org
August 2-5 C: PP of Louisiana, New New Orleans, La.; Dayna Dayna Ponthieu, 318-359-6633; www.ppla.net
August 15 C: Tennessee PPA, Marriott Cool Springs, Frankin, Tenn.; Ernie K. Johnson, 615-509-5737;
[email protected]; tnppa.com
Hotel, Arlington, Texas; Michael Scalf, Sr., Box 1779, Blanchard, OK 73010-1770; 405-485-3838;
[email protected]; www.swppa.com
October 5-6 S: Kentucky PPA; Hyatt Regency, Lexington, Ky.; Randy Fraley, 606-928-5333;
[email protected]; www.kyppa.com
October 12-13 C: PP of Colorado, Denver, Colo.; Jeff Johnson; 303-921-4454;
[email protected]; www.ppcolorado.com
October 18-21 C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015;
[email protected]
October 20 S: PP of Massachusetts; Steve Meier,
Breckenridge, Colo.; Jeff Johnson, 303-921-4454;
[email protected]; www.coloradoworkshops.com
September 12-15 C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.;
[email protected]; www.ppam.com
Ted Newlin,
[email protected]; www.ppok.org
June 1-2 S: PP of South Carolina summer mini-seminar,
September 13-16 C: PPA of New England, Radisson Hotel
October 20-21 C: Wisconsin PPA, The Osthoff Resort,
Columbia.S.C.; Jeanne Richardson; 843-527-2071; jfot jfoto9 o911@ 11@aol aol.c .com; om; www www.ppof .ppofsc. sc.co com m
Nashua, N.H.; Roland Laramie, P.O. Box 316, Willimantic, CT 06226;
[email protected]
PPA PP A EV ENTS Professional Photographers of America (PPA) has a proud tradition of providing its members with outstanding educational opportunities through its annual events, PPA-Merited classes and its PPA Affiliate School Network. Don’t miss out on the vital knowledge you’ll gain at these events! For information on PPA events, call 800-786-6277 or visit www.ppa.com.
January 11-13, 2009 Imaging USA, Phoenix January 10-12, 2010 Imaging USA, Nashville
Certification Exam For a complete list of exam dates, go to www.ppa.com and click on Certification.
June 6 117th Annual International Print Competition Deadline for Entries
Image Review
July 22-23 Judges Workshop, Daytona Beach
Online submission: May 9, 9, August 8, 8, & October 10
April 7 Super Monday October 9-18 PPA Fall Cruise
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Elkhart Lake, Wis.; Mary Gueller; 920-753-5302; Jim Buivid; 262-377-5118; Deb Wiltsey, 866-382-9772; wppa-online.com
October 26-27 C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA 50674; 563-578-1126;
[email protected]
October 26-28 S: Northern Light/Minnesota PPA; Nicole Bugnacki, 763-390-6272;
[email protected]
November 2 S: PP of Louisiana, Northern Exposure, Shreveport, La.; Dayna Ponthieu, 318-359-6633; www.ppla.net
November 9-10 C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington,
[email protected]
PPA-Approved Continuing Education Seminars PPA members receive both merits and the best-published prices. May-December C/E: Hands on Photography Classes; Quinn Hancock; 785-883-4166;
[email protected]
Extreme Portraiture: Wedding Edition; Batavia, Ill.; 630-761-2990; 815-436-0422 May 1-2 C/E: Extreme Portraiture: Wedding Edition; Batavia, Ill.; 630-761-2990; 815-436-0422 May 5-9 C/E: From Traditional to Digital; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com May 14 C/E: “The Art of Children” with Mary Mortensen; Rockford, Ill.; Wendy Veugeler; 815-356-1231;
[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 6-10, 2009 C: PP of South Carolina, Myrtle Beach. S.C.; Wilber Jeffcoat; wilber@jeffcoatphotography; www.ppofsc.com February 20-23, 2009 C: PP of Oregon, Embassy Suites Hotel, PDX, Portland, Ore.; Arlene Welsh, 800-370-5657;
[email protected]; www.pporegon.com February 20-23, 2009 C: PP of Massachusetts, Steve Meier; 781-829-4282;
[email protected]; www.ppam.com February 20-25, 2009 C: Virginia PPA, Renaissance Hotel, Portsmouth, Va.; William Garrett, 434-836-2751;
[email protected]
June 9-11 C/E: Camp Howe, North Platte, Neb.; 308534-7909; www.photographicimages1.com
February 26-March 4, 2009 C: PP of North Carolina; Sheraton Imperial Hotel, Durham, N.C.; Loretta Byrd, 888-404-7762;
[email protected]; www.ppofnc.com
July 12-18 C/E: Copan Honduras Study Abroad Excursion with Paul Wingler, Suzette Allen & Jon Yoshinaga; 800-483-6208;
[email protected]; www.suzetteallen.com/copan
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, 866-382-9772; wppa-online.com
August 1-4 C/E: Oxford Painter Workshop; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com
March 15-18, 2009 C: Mid-America Regional, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015;
[email protected]
August 13 C/E: “Making Digital Photography Easy, Predictable & Fun” with Robert D. Lloyd, Malta, Ill.; Wend Weugeler; 815-356-1231;
[email protected]
March 28-31, 2009 C: Heart of America, KCI Expo Center, Kansas City, Mo.; Stephen Harvey, 620-624-4102;
[email protected]; www.hoappa.com
September 12-17 C/E: Great Gatsby Impressionist Workshop; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com
April 3-8, 2009 C: Minnesota PPA; Joanie Ford, 763-560-7783;
[email protected]; mnppa.com
October 20-23 C/E: Painter Creativity; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com
April 4-8, 2009 C: Northern Light, Minnesota, Jeff Fifield, 218-722-377;
[email protected]; Nicole Bugnacki, P.O. Box 567 Ironton, Minn.; 56455; 763-390-6272
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April 25-28, 2009 C: SEPPA, Athens, Ga.; TomMcCollum; 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;
[email protected]; tnppa.com October 18-21 C: APPI, Decatur Conference Center, Decatur, Ill.; Jill Sanders, 309-697-9015;
[email protected] November 1-2, 2009 S: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf; 563-578-1126;
[email protected]; www.ppiowa.com February 6-9, 2010 C: PPof Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126; iowatelecom.net; www.ppiowa.com February 26-March2, 2010 C: Wisconsin PPA, Radison Hotel, Green Bay, Wis.; Donna Swiecichowski, 920-822-1200; Paul Tishim, 715-384-5454; Deb 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 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
Send Send all all Calen Calendar dar of Even Events ts addit addition ionss or corrections to: Sandra Lang, Professional Photogr Photograph apher er,, 229 229 Peac Peachtr htree ee St., St., NE, Suite Suite 2200, 2200, Atlanta Atlanta,, GA 30303; 30303; FAX: FAX: 404-61 404-614-6 4-6404 404;; slang slang@ppa @ppa.co .com m
2008 PPA-AFFILIATED SCHOOLS PPA members receive both merits and the best-published prices. May 4-9 Georgia School, N. Georgia Tech, Clarksville, Ga.; Tom McCollum, 888-2723711;
[email protected]; www.gppa.com www.gppa.com May 4-9 MARS (Mid-Atlantic Regional School), Grand Hotel, Cape May, N.J.; Adele Bastinck, 888-267-6277; 888-267-6277;
[email protected]; www.marsschool.com May 6-9 and May 11-14 11-14 Wiscon Wisconsin sin Profess Profession ional al Phot Photogr ograph aphers ers Scho School, ol, UW Stevens Point-Treehaven, Tomahawk, Wis.; Phil Ziesemer, 715-536-4540, 715-536-4540,
[email protected]; www.wiprophotoschool.org
June 1-5 Kansas Professional Photographer School, Bethel College, Newton, Kan.; Ron Clevenger, 785-2427710,
[email protected];
[email protected]; www www.kpps.com .kpps.com June 1-5 Mid-America Institute of Professional Professional Photography, University of Northern Iowa, Cedar Falls, Iowa; Charles Lee, 641-7998957;
[email protected]; www.maipp.com; Al DeWild,
[email protected] [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
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-Hamberger, Jackson-Hamberger, MHamberger@ comcast.net; www.fppfloridaschool.co www.fppfloridaschool.com m
June 15-20 West Coast Coast School, University of San Diego, Diego, San Diego, Calif.; Kip Cothran, 951-696-9706;
[email protected]; www.prophotoca.com
May 18-22 Imaging Workshops of Colorado, Breckenridge, Colo.; Jeff Johnson, 303-921-4454;
[email protected];
[email protected]; www.coloradoworksho www.coloradoworkshops.com ps.com
June 22-26 PP Oklahoma School, St. Gregory’s University, Shawnee, Okla.; Glenn Cope, 580-628-6438;
[email protected];
[email protected]; www.ppok.org/ www .ppok.org/school.html school.html
June 23-25 Golden Gate School of Professional Photography, Mills College, Oakland, Calif.; Julie Olson, 650-548-0889; goldengateschool goldengateschool @yahoo.com; www.goldengateschool.com 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; ppsnyworkshop @pws1893.com; www.ppsnysworkshop.com August 4-7 Long Island Photo Workshop, Sheraton Hotel, Smithtown, Long Island, N.Y.; Jerry Small, 516-221-4058; 516-221-4058;
[email protected];
[email protected]; 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 Send all additions or corrections to: Marisa Pitts, mpitts@ ppa.com.
April 2008 • Professional Photographer • 109
© Kelvin Leung, Geoff White Photography
PPA gives us THE BUSINESS FOCUS.
Two o t e Many Faces o
When starting out, Geoff was just fine-tuning his personal photography. photography. But when we decide to do something, we put everything every thing we have into it. PPA offered a lot of education—both business and photographic—and we used it all. We researched the best wedding photographers, where they were teaching (most at PPA and affiliate schools), and took 5-6 weeklong classes in the first year year..
Now, we have the financial and creative freedom to expand our photography even more. Geoff & Lara White Professional Photographers PPA PP A Members since 2003
Professional Photographers of America | 800.786.6277 |
[email protected] | www.p www.ppa.com pa.com
APRIL | 08
TODAY
PRESIDENT’S MESSAGE Dennis Craft, M.Photog.Cr., CPP, API, F-ASP
As we c ome in into to spring, spring, I hop hope e that you were able to renew yourself and your studio and prepa re for a nother busy busy photog rap hic season. I alwa ys loo look k forwa forwa rd to this time of yea r after the the c onventi onventions ons and sem emina inars rs tha thatt ren renew ew my pa ss ssion ion for photography…and my friendships. O ne o f my pa ssions is is c omp etiti etition, on, which I have used a s a lea learn rning ing too too l for over twenty years. I still remember the fi rst time I entered four prints in the Professiona Professiona l Photograp hers of Michigan print competition: I was so hap py to to rece iv ive e two red ri ribb bbons ons and two yell yellow ow ri ribb bb ons…wit ons…without hout any throw thr own n out! Ea Ea c h yea r I am inspired inspired
FRIENDS MET ALONG A LONG THE WAY
This month I would lik This like to intr introd od uce you to three people who taught me about photography. When I bought my studio in Ma rs rsha hall ll,, Michig M ichiga a n in 19 1979, I had no rea l tra tra ining in photog ra phy. In In fac t, I had only owned a 35mm camera for a few years. Ta ki king ng the the advice a dvice of a lab rep, I start tarted ed attending o ur loc loc al PPA af fi liate in Michigan (Triangle). After a couple years, I knew I was in over my hea hea d. So So I pa id attention attention to the others who attende d, soon identi identifyi fying ng three photographers I admired for their businesses, friendship, and photog rap hy hy.. O ne you might know: Ron Nichols, current Vice President of PPA. The other two might be new to many outside outside M ichiga ichigan: n: Rod G leason a nd Dua ine Brenne Brenne r. To thes the se three I owe most of my suc ucc c ess ess..
2008-2009 PPA
President
© Dennis Craft
© Dennis Craft
by the c rea tivi tivity ty and q ua uali lity ty of others’ others’ works and am committed to create my own be st imag imag e. At Michiga M ichigan’s n’s c omp ompeti etiti tion on some some new ne w photographe pho tographe rs did very well alongside the “veterans.” One of those veterans was well-known lec tur turer er and a nd me ntor Ba Ba rry Ra nkin. Ba rr rry y rec rec eived the Photog rap her of the Yea Yea r for PPM — c ong ratulations Barry! I hope everyone is pla nning on entering PP PPA’s A’s Internationa Internationa l Print Print C omp etiti etition on (J une 6, 2008). 2008). Let’s Let’s get o ur imag imag es rea rea dy a nd ma ke this International Int ernational J udging the bigge st ever. ever. Speaking of international, I will be representing PPA this month in Korea. This T his is the fifth year that PPA has held
an A sian Pac Pac ific A f fi li liated ated J udging at Profess Pr ofessiona iona l Photogr Photog ra phe rs of Korea’s Korea ’s c onvention (at Seo Seo ul’s C O EX C enter). It has been nice to see see the b enefits of this relationship each year, as we present the Ma ster of Photog Photog rap hy deg ree ees s to PPA members from this region. Thank you Thank you ag a in for a ll llow owing ing me to to sha re this time with w ith yo yo u. And st sta a rt working on those competition prints!
Dennis Cr C ra ft, M .Ph oto g .C r., C PP, A PI, F-A SP 2008-20 200 8-20 09 PPA P resid en t
once a month for breakfast. I lived a bo ut an hour awa y from from them, so so I offered to do most of the driving. I’m sur ure e it did n’t take them long to realiz rea lize e my rea rea l rea rea son fo r the the g roup oup,, as as I brought stac stac ks of p roo oofs fs ea c h month for them to critique…but they were very patient. They introduced me to many photograp hic fundame nt nta a ls over pa nca kes and egg s. Ron, Rod, and Duaine became my fi rst mentors within this profession—a gift I will never be a ble to rep epay. ay. Never did they make ma ke me fee l inferior inferior or stupid stupid for fo r a sking hundred s of q uesti uestions. ons.
P P A N e w s & N o t e s
© Dennis Craft
When you rea rea d this, this, I hope you ca ll or e-mail e- mail the the p ers erson on who w ho wa s your fi rs rstt mentor. Cha nc nces es are, they might not realiz rea lize e the infl uence they had had on your life. life. From From the bo bottom ttom of my hea rt rt,, thanks Ron, Ron, Rod a nd Dua D uaine. ine. Tha Thanks nks for everything you did for me.
At one Triangle meeting, I suggested that we start start a foc us group a nd meet © Dennis Craft
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TODAY 2007 AN-NE MARKETING AWARD SPOTLIGHT: PAUL OWEN by Angie Wijesinghe, PPA Marketing Specialist
© Anne Radtke of the Milwaukee Art Museum Museum
“It all comes down to customer service.” That was Paul O wen’s de That des sc ri ription ption of his marketing pr p roc ess ess.. Ironica lly, O wen, M .Photog.Cr. .Photog.Cr.,, C PP PP,, winner of the 2007 AN-NE Marketing Award for Best Use of Multimedia (and many other photography awards), does little active marketing himself. But that’s because his commitment to service has transformed into a behind-the-scenes marketin mark eting g a pp roa c h. Simply Simply put, put, he helps the people who know the people.
s e t o N & s w e N A P P
“The majority of my marketing is do ne by high-e high-e nd vendo rs a nd other photog pho togrra phe rs who refer me,” sa sa ys O wen. “After all, all, I love love top-notc h service service (I fi gure my ideal clients would, too), so I try to surround myself with those types of vendors. It’s my biggest success.” Easier sa Easier sa id than d one? Not ac c ording to O wen. Thin Think k of the the different differ ent loc ations you you p hotograp h… for weddings, portraits, and other events. Most could use promotional images image s, a nd O wen rea li liz zed thi this s
starting out. Referred to a wedding by a friend, he photographed the event at the Milwaukee A rt M us useum. eum. Later, he returned returned to the museum with a fully designed album highlighting highlighti ng the b uilding itself itself duri d uring ng the wedding. That album resulted in many museum museum events eve nts bo oking his photographic services. “As photographers, we’re powerful bec aus ause e we ca n provide provide those those promotional images. However, you c an’t just just give a venue photos,” photos,” O wen stresses. “You need to ensure that your presentation presentation is the be st. Give a n album or DVD, something you know they will show show their clients so so you get g et a return. return. You You c a n’t put a p ri rice ce tag o n that kind o f mark ma rketing.” eting.” This need for This fo r pres presti tigious gious pres presentation entation was the basis for Owen’s competitionwinning DVD. He already used DVDs for clients who couldn’t meet with him in person— person— sort of a long-d is istanc tance e po rt rtfoli folio. o. A s the the M il ilwa wauk ukee ee Museum had many out-of-town out-of-town c li lients ents,, Owen Ow en
BOARD MEMBER SPOTLIGHT Doug Do ug Bo Box x, M.Photog.Cr., API PPA Member since: 1979 Location: CALDWELL, TX “Never stop learning.” It’s Doug Box’s motto (really…it’s how he signs his letters), letters ), and he c erta ertainl inly y lives lives up to that tha t stateme statement. nt. Doug was always learning different nuances in photography and business busin ess...even ...even if it it hap pe ned in ways wa ys one might not expec t. As a teena ge r, he hung o ut at the K-ma K-ma rt ca mera depa de pa rt rtment. ment. Then he worked worked
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in the yearbook staff, where he sold his fi rs rstt photo pho to (to the fr frate aterni rnity ty he photog rap hed dres dress sed in old-time old-time c lothe lothes s). “I was wa s rich with w ith that $3.50,” $3.50,” c huckles Doug. He even bo ught a d ayca re ce nt nter er,, and “cleaned up the J ell ell-o -o a nd pe anut butter butter to take photos in the lunchroom,” he rememb ers ers.. “Afte “Afterr a ll ll,, I had a builtin clientele!” It It might sound sound od d, but it wo work rked ed —e nough to g row into a p ro fitable photography business he c ould sell. sell. Despite his own success, he still idoliz ido lizes es one mome nt with Don Bla Bla ir during a Texas Sc hoo l clas cla ss. He had to leave ea rl rly y to shoot shoot a po rt rtrra it it,,
a nd he went up to Don (who wa s teaching a class probably too ad vanc vanced ed for Doug a t the the time). time). “I only have one strobe and an old piece of ca rpet for for a ba ckgr ckground. ound. What ca n I do? ” he asked asked Do n. With a serious serious loo loo k, Don replied , “Son, “S on, keep it c los lose e to the ca c a mera. mera.” ” Why is that so me a ningful? Well, Don c ould have ha ve ea sil ily y disc disc ounted him as not being be ing pr p rofess ofessiona iona l or important enough to answer. Instead, he encouraged the young Doug Box. “He became my mentor,” rememb ers Doug. “I wanted to b e like lik e him as a pe rs rson, on, a n instructor, instructor, and a photogr photograp ap her her..”
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TODAY Always find out what you can do to help others; it will come back to you tenfold. — Paul Owen Owen mad e them a DVD, too. But But he didn’t just just pa ste up a sli slide de show of imag imag es. Thanks Thanks to the the help of c lose lose friend friend a nd photog ra pher phe r J im Buivi uivid d of G rafton, Wis., Wis., Owe n dove do ve into into the Ap ple Motion prog prog ram to c reate a smoother, DVD-quality look. It wasn’t wasn’t just just the tec hnica l quali qua lity ty of the promotional DVD that secured his rst-place spot in the AN-NE Marketing Awa rds. O wen a lso lso knew whic h imag imag es would be most helpful to the museum. “With vend vend ors,” ors,” he sa sa ys, ys, “you need ne ed to highlight their place (their venue)… not just just the roo roo m in which the e vent is held. Find the details that set them apart from other venues and highlight those areas.” For instance, Owen even photog rap hed the museum museum staff—“the staff—“the nice st staff staff I’ve ever e ver worked with, especially at a prestigious venue.”
Only later did that gift to the museum be co me his AN-NE AN -NE co mpetition mpetition entry, entry, mainly bec be c a use use he wa nted nted to see what the judge s had to sa sa y. He wa nted nted to e nsur nsure e that the DVD’s marketing marketing messa ge c a me through through the wa y he he intended intended . And A nd it overwhelmingly overwhelmingly did. O wen’s we n’s DVD symb symbo o lizes lizes his be lief in the necessity of service and presentation in marketing. “Your demeanor is crucial to getting your foot in the door. Be po sitive, itive, not too pushy, pushy, and a nd friend ly…a ly…a friendly approach is the most powerful for vendo rs a nd c lients lients alike,” alike,” he says. “J ust ust nd out what you can do to help others; it will come back to you tenfold.” For example, he onc e too k photographs of his son’s football game. Afterwards, he put 4x6s in a plastic bag with his business business ca rds, rds, lea ving them for the families. He ended up getting
The annual AN -NE Marketing A wards c ompetition reco g niz nizes es outs outstanding tanding ing enuity and e ffectiveness in rea rea l-worl -world d marketing end ea vors. Name d in honor of Ann M onteit onteith h and Ma rvel Nels Nelson, on,
both marketing marketing g urus and p ast PPA PPA Presidents, Presi dents, the c ompetition is open to PPA mem be rs only only..
Doug Do ug still still touts the nee d for fo r all to to kee p learning—a s evidenc ed by his motto above. What he most enjoys is teaching basics to new photographers. “They’re like like spo nge s…it’s fun to he lp them soa k up good, solid education.”
he says, “but it’s like like we a ring blinde blind e rs.” rs.” Where Where c an you rec rec eive such such ha nds-on interaction? Doug strongly believes that PPA and its af liated organizations a re the plac es. “I wa nt our ass assoc iations iations to be strong strong b ec a use use I know know how impo impo rtant rtant they they were were — and a re — to me,” he e mpha sizes. izes.
That That kind kind of educ ation is is what he believes is needed today. After all, with digital it’s easy to use the back of the c ame ra a s your guide, skipping skipping the ba sics of go od p hotography. And w ith ith those those ba sics goe s hands-on interac interac tion. tion. Doug sees that kind of personal touch as necessary to really learning and c onnec ting ting w ith ith the industry industry.. “You c a n learn a lot from blogs and the Internet,”
a substantial family portrait booking from from tha t kind kind a c t. This “help them to help yours yo urself” elf” philosophy philosop hy has ce rta rta inly work wo rked ed for Ow en in his pa st 20-some 20-some years of photography. Sa mple the end e nd result result of that philosophy—his entry—at www.PaulOwenPhotography.com, where you can also see his many a wa rds. But But ab ove a ll, ll, take his ad vic vic e and consider helping businesses around you. Such shadow marketing ca n take you you fa r. Paul O wen Paul O wen Photog rap h, LL LLC New Berlin, Wis. www.PaulOwenPhotography.com
The rules and entry form for the 2008 c ompetition are online online now. More information inf ormation is at the the C ompetition & A wards p a g e o n w w w.p p a .c om . D on’t miss the J une 27,, 2008 p ostm a rk d e a d line. 27
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P P A N e w s & N o t e s
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TODAY AFFILIATE SCHOOL SPOTLIGHT SPOTLIGHT KANSAS PROFE KANS FESS SSIO IONA NAL L PHOTOG HOTOGRAPH RAPHER ERS SC HO HOO OL J une 1 - 5, 2008 Ju Bethel Colle College, ge, Newton, Kansas Contact: R Ron on C levenger;
[email protected]; 785-242-7710 Web site: w www.k ww.kpps. pps.c c om Tuition: A ll-Wee ll-Week k Class C lass - $570 $570 or $495 $495 with early enrollment* (C hoo se one of the a ll ll-wee -week k clas cla sses) Seg me ment nt I or o r II - $370 $370 or $295 with early enrollment* (C hoo se a c lass in Seg Segment ment I or o r II) II) *To qua li lify fy for e a rl rly y dis d isc c ount, regis registr tra a tions mustt be mus b e po stmarked by A pril 30, 30, 200 2008. 8.
s e t o N & s w e N A P P
C ourse inf informat ormation: ion: All Week (J (J une 1 – 5): 5): Maste M aste ring We d din dingg Suc c e ss - Michael & Pam Ayers Senio rs: Artistic Artistic El Ele e me nts of Portrait Port raiture ure - C arl C aylor The Big Bang Theory of Dig it ital al - Je ff Loc kl klea ea r & Bentl Bentley ey Skeie
Segment 1 (J une 1 – 3): GREAT LAKES INSTITUTE OF PHOTOGRAPHY PHOTOG RAPHY 3): G etti etting ng St Started arted with Painter: Painter: J une 8 – 13, 2008 | Northwestern Mich chiiga gan n Painter Ess Essentials entials 4 - Jo hn De rry College, Traverse City, Michigan Basic Studio Portraiture Portraiture - C harli harlie e Re es C ontac ontac t: Gregory Oc ker kerman man Beg inn inning ing Phot Photosh oshop op (Registrar); 313-318-4327 - Fred Fred Taylor & Steve A tti ttigg Web site: www.glip.org Bac kg round Pa int inting ing Pl Plus us - Susan Susan Treft C ourse inf information: ormation: C hil hildren dren ’s Portraitur Portraiture e - Mic hae l & Ka thl thlee ee n Bishop Bishop Join J oin us for fantastic fanta stic instruction instruc tion Basic Bas ic Wedd in ingg Photog raphy (intermediat (int ermediate e to adva nce d) on G rand - Don & Jo yce Br Brent ent Travers raverse e Bay, mixed with a fantastic fantastic theme party p arty and a nd g rea t ca ma rad erie b etw ee n Segment 2 (J une 3 – 5): 5): staff, instruc tors, and stude nts: a fantastic fan tastic Painter X: X: Beyond the learni earning ng and g rowi rowing ng e xperi xperienc enc e. Basicc s - John De rr Basi rryy Instr Ins truc uc tor torss include G reg St Stang ang l, Mic hae l Basicc St Basi Studio udio Portraitur Portraiture e - C harl harlie ie Re es & Tina Timmons, Timmons, Lou Lou Szoke, Brian C ox, Intermed iate Pho toshop - Fred Fred Taylor Taylor A nd re C on onstantini, stantini, C he ri M c C a llum, A dv a nc ed Pho toshop - Stev Steve e A ttig Kalen Henderson, Al A udl udlema ema n, Bac kg round Pa int inting ing Pl Plus us - Susan Susan Treft Betty Huth, Huth, Ed Ed Booth, D avid D eutsch, Introduc Int roduc ti tion on to the the C omplete Jam J am es C hurc hil hilll, and an d Bob Bo b G uliani. Dig it ital al Studio Studio - Stan Stan R eimer Basic Environmenta l Portrait Portraiture ure - T. T. M ic hae l St Stanley anley
IN MEM MEMORY… ORY… HEN HENRY RY FRO FROELI ELICH CH The photog rap hic co mmuni The mmunity ty,, fa fa mil mily y a nd friend s will miss miss Hen Henry ry Froeh Froehlich, lich, one o f the the true true pionee p ioneers rs a nd leade lea de rs of the photographic industry in the 20th 20 th Ce ntur ntury y. He died d ied p ea c efull efully y on J a nuary 24, 20 2008 08,, at the age o f 85 85.. He He is survived by Marian, his wife of 57 years, his two children, grandchildren, and great-granddaughter.
Born in in 192 1922, 2, he expe ri rienc enc ed the dif fic ult li life fe J ew ewis ish h families families had in Nazi Na zi G ermany ermany,, including ha vi ving ng his father ta ta ken to a co nce ntr ntration ation c a mp. Then, Then, in 1940 40,, he entered the United States. His fi rs rstt job in the p hoto business busines s was as an a ssemb ler of “ba nk lights. lights.” ” But But Henry wa s a mong the fi rs rstt to rec rec og niz nize e the po potential tential in J ap ane se photog ra phic pr p rod ucts. He founded foun ded Konica C amera C ompa ny in Philadelphia in 1951, having acquired the sole U.S. distributio distribution n rights for Konica ca meras meras.. His His c omp ompany any then merged me rged with Berkey Photo Pho to (1962 62). ). Next Ne xt,, he founde d the Froe Froe hli hlic c h FotoVideo FotoVideo C orporati orporation, on, pioneering pioneering the c once pt of fi lm-t lm-to-tap o-tap e transfer transfer,, a nd d eveloping equipment systems to perform this service within the retail environme environme nt of camera stores and minilabs. In 1987, when the exclusive distribution rights for Ma miy miya a M ed ium For Format mat ca meras a nd Toyo Toyo Large Format ca meras
bec ame a vail vailab ab le, he and pa rt rtners ners started Mamiya America Corporation (MAC ). They soo soo n mad e these produc ts the market leaders. As the years went by,, their name wa by was s mod mod ified to to MAC G roup, with more more lines a dd ed to the p rod uct offeri offerings. ngs. Henry’s interes interestt in pho tog togrra phy wa s a ls lso o d ee eeply ply persona persona l. He formed formed many ma ny long-term long -term rela relations tionships hips with retailers, photographers and other industry indust ry membe rs rs.. He wa s a n ad voca te of The The International International C enter of Photograp Photo grap hy hy,, str strong ong ly believing in its its princ principles. iples. Above Ab ove a ll ll,, Henry’s vision vis ion never ne ver wavered wa vered:: “Our “O ur missi missio o n is to supply professional photographers and th the e educ ational co mmu mmuni nity ty with the the tools too ls they nee need d to c rea te an an image.” imag e.” That, and his c red o to “under “und er promise, promis e, a nd over o ver deli de liver” ver” serves serves as a mod el for his a ssoc iates to to fo ll llow. ow.
HENRY FROELICH 1922 - 2008 P4
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES
PROFESSIONAL
3D LightMaster (www.3dlightmaster.com) (www.3dlightmaster.com) . . . . . . . 122 Adorama (www.adorama.com). . . . . . . . . 103, 105, 107 Advanced Photographic Solutions (www.advancedphoto.com) (www.advancedphoto.co m) . . . . . . . . . . . . . . . . 116 Albums Inc. (www.albums (www.albums inc.com) inc.com) . . . . . . . . . . 50-51 AlbumX/Renaissance Albums (www.renaissancealbums.com). . . . . . . . . . . . . 126 Allied Photographic & Imaging Lab (www.alliedphoto.com) . . . . . . . . . . . . . . . . . . . 116 AllStar Photo Imaging (www.4allstar.com) (www.4allstar.com) . . . . . . . 117 American Color Imaging (www.acilab.com) . . . . 65, 118 American Photographic Resouces (www.aprprops.com). . . . . . . . . . . . . . . . . . . . . 127 American Student List (www.studentlist.com) . . . . 123 AN-NE Marketing Awards (http://competitions. competitions.ppa.c ppa.com) om) . . . . . . . . . . . . . 43 ARK-LA-TEX Color Lab (www.altcolorlab.com) (www.altcolorlab.com) . . . . 119 Art Hands (www.arthandsinc.com) . . . . . . . . . . . . . 124 B & H Photo-Video (www.bhphotovideo.com) (www.bhphotovideo.com) . . 80-81 BWC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Backdrop Outlet (www.backdropoutlet.com) . . . . . . 122 Backgrounds by David Maheu (www.backg (www.backgrounds roundsbymaheu bymaheu.com) .com) . . . . . . . . . . 124 Bay Photo Lab (www.bayphoto.com) . . . . . . 34-35, 115 Bellies & Babies 2008 Tour (www.bellies (www.bellies-babies -babies.com) .com) . . . . . . . . . . . . . . . . . 39 Big Black Bag (www.bigblackba (www.bigblackbag.com) g.com) . . . . . . . . . . 124 Bogen Imaging Inc. (www.bogeni (www.bogenimaging.us maging.us)) . . . . . . . 3 Brightroom Inc. (www.backprint.com) . . . . . . . . . . . 117 Buckeye Color (www.buckeyecolor.com) (www.buckeyecolor.com) . . . . . . . . . 118 Paul Buff Inc. (www.white-lightning.com) (www.white-lightning.com) . . . . . . . . 47 CPQ (www.cpq.n (www.cpq.net) et) . . . . . . . . . . . . . . . . . . . . . . . . . 41 Candid Color Systems Inc. (www.candid.com) . . . . . 119 Canon (www.usa.canon.com/dlc) (www.usa.canon.com/dlc) . . . . . . . . . . . . . . . . 11 Canvas Artworks.com (www.canvasartworks.com. . 124 Christopher Imaging (www.chrisimaging.com) . . . . . 117 Collages.Net (www.collages.net) . . . . . . . . . . . 7, 7, 30-31 Color Incorporated (www.colorincprolab.com) (www.colorincprolab.com) . . . . . 116 Corporate Color/Prolab Express (www.prolabexpress.com) . . . . . . . . . . . . . . . . . 115
Contemporary Photography/J. Hartman (www.jhartman (www.jhartman.com) .com) . . . . . . . . . . . . . . . . . . . . 123 123 Custom Brackets (www.custombracket.com). . . . . . 125 Custom Color Corporation (www.customcolor.com) (www.customcolor.com) . 115 Dalmatian Lab (www.dalmatianlab.com). . . . . . 79, 120 Denny Manufacturing (www.dennymfg.com). . . . . . 127 Denny Manufacturing (www.photonovelty.com) (www.photonovelty.com) . . . 127 Diversified Lab (www.diversifiedlab.com). . . . . . . . . 117 Draper Imaging (www.draperimaging.com) . . . . . . . 123 Dury’s Dury’s (www.dury (www.durys.com s.com)) . . . . . . . . . . . . . . . . . . . . . 59 Ed Pierce Seminars (www.edpierceseminars.com). . . 13 emotion Media Inc. (www.emotionmedia.com) . . . . 125 Focal Point Studios (www.notecard.info). . . . . . . . . 127 Foto Figures (www.fotofigures.com) . . . . . . . . . . . . 127 Fredericks Photo Lab (www.fredericksphotolab.com)116 Full Color (www.fullcolor.com) (www.fullcolor.com) . . . . . . . . . . . . . . . . . 55 Graphic Authority (www.graphicauthority.com) (www.graphicauthority.com) . . . . 54 Group Photographers Association (www.groupphotographers.com) . . . . . . . . . . . . 115 H&H Color Lab (www.h (www.hhcolor hcolorlab.c lab.com) om) . . . . . . Cover III Hallmark Imaging (www.hallmarklabs.com). . . . . . . 119 Herff Jones (www.h (www.hjpro. jpro.com) com) . . . . . . . . . . . . . . . . . 118 HiTi Digital Digital America Inc. (www.hi-ti. (www.hi-ti.com) com) . . . . . . . . 53 I Shoot People Tour Tour (www.ishootpeopletour.com) (www.ishootpeopletour.com) . . 75 Imaging Spectrum (www.imaging (www.imagingspectrum spectrum.com) .com) . . 126 Jonathan Penney Inc. (www.jonathanpenney.com) (www.jonathanpenney.com) . 127 127 The Levin Company (www.levinframes.com) . . . . . . 122 Lustre Color (www.lustrecolor.com) (www.lustrecolor.com) . . . . . . . . . 109, 119 MPIX (www.mpix.com) . . . . . . . . . . . . . . . . . . . . . . . 23 McKenna Pro (www.mckennapro.com). . . . . . . . . . . 115 Mamiya (www.mamiya.com). . . . . . . . . . . . . . . . 61, 63 Marathon Press (www (www.marathonpress.com) .marathonpress.com) . . . . Insert Meridian Professional Imaging (www.meridianpro.com) . . . . . . . . . . . . . . . Co Cover ver II Michel Company (www.michelcompany.com). . . . . . 125 Michigan Photo (www.michiganphoto.com) . . . . . . . 117 Microtek (www.microtekus (www.microtekusa.com a.com or www.artixsca www.artixscanm1.com) nm1.com) . 29 Midwest Sports (www.midwestsportslab.com) . . . . 118 Miller Professional Imaging (www.millerslab.com) . . 15 More Photos Photos (www.morepho (www.morephotos. tos.com) com) . . . . . . . . . . 109 Morris Group (www.themorriscompany.com) (www.themorriscompany.com) . . . . . 125 MyPhotopipe (www.myphotopipe.com) . . . . . . . . . . 67 NAPP (www.photoshopuser.com). . . . . . . . . . . . . . . 77
National Direct Marketing Services (www.ndmservices.com). . . . . . . . . . . . . . . . . . 126 Neil Enterprises Enterprises (www.neilent (www.neilenterprises erprises.com) .com) . . . . . . 123 Nik Software (www.niksoftware.com/ppadfine (www.niksoftware.com/ppadfine . . . . . 71 Nikon (www.stunningnikon.com/challenge.com) (www.stunningnikon.com/challenge.com) . 18-19 Norman (www.normanlights.com) . . . . . . . . . . . . . . 85 North American Photo (www.naphoto.com) (www.naphoto.com) . . . . . . 118 Onlinephotofix.com (www.onlinephotofix.com). . . . 127 PR Photo Lab (www.prphotolab.com) . . . . . . . . . . . 116 Pacific Mount (www.pacificmount.com). . . . . . . . . . 123 Perfection Distributing Inc. (www.perfectiondistibuting.com) . . . . . . . . . . . 126 Photoprism Color Lab (www.photoprismcolorlab). . 120 Phototech (www.phototechinc.com) . . . . . . . . . . . . 127 Pictobooks (www.pictobooks.com) . . . . . . . . . 124, 124, 126 Pictology (www.go.pictology.com). . . . . . . . . . . . . . 122 Photogenic Professional Lighting (www.photogenic). . . . . . . . . . . . . . . . . . . . . . . . 12 PocketWizard (www.pocketwizard.com) . . . . . . . . . . 27 Printmakers Chicago (www.printmakers.com). . . . . 120 Professional Photographer Cover Contest (www.ppmag.com) . . . . . . . . . . . . . . . . . . . . . . . 32 Profoto (www.profoto-usa.com) (www.profoto-usa.com) . . . . . . . . . . . Cover IV Portrait Weavers Weavers (www.portraitweavers.com) . . . . . 123 Ramsey Resources (www.ramseyresources.com) . . 120 Reedy Photo (www.reedyphoto.com) . . . . . . . . . . . 1221 Simply Canvas (www.simplycanvas.com). . . . . . . . . 121 Student Marketing Group Inc. (www.studen (www.studentmarket tmarketing.net) ing.net) . . . . . . . . . . . . . . 125 Studio Dynamics (www.studiodynamics.com) . . . . . 127 Studio Logic (www.studiologic.com). . . . . . . . . . . . . 37 Studuio Management Services (www.ppa.com) . . . . 48 Studio Pro Group Group (www.studiop (www.studioprogro rogroup.c up.com) om) . . . . 143 Successware (www.successware.net) . . . . . . . . . . . . 69 TAP Professional (www.tap-usa.com). . . . . . . . . . . 127 Unique Photo Supplies (www.uniquephoto.com) . . . . 4 United Promotions Inc. (www.upilab.com) . . . . . . . 120 Used Camera Buyer (www.usedcamerabuyer.com) (www.usedcamerabuyer.com) . . 79 Walker Display (www.walkerdisplay (www.walkerdisplay.com) .com) . . . . . . . . 126 White House Custom Color Color (www.whcc.c (www.whcc.com) om) . 8-9, 24-25 24- 25 White Glove (www.wgbooks.com). . . . . . . . . . . . . . 124 Xrite (www.xrite (www.xritephoto photo.com) .com) . . . . . . . . . . . . . . . . . . . 17 Publisher not responsible for errors & omissions
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Buyer’’s Buyer Gallery THIS SECTION IS THE MONTHLY RESOURCE PHOTOGRAPHERS USE TO FIND THE PRODUCTS THEY NEED. PUT YOUR MESSAGE PROMINENTLY IN FRONT OF INDUSTRY PROS AND START TURNING BROWSERS INTO BUYERS.
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April 2008 • Professional Professional Photographer • 123
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April 2008 • Professional Professional Photographer • 125
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Product Mall SOMETHING HERE YOU NEED...
April 2008 • Professional Photographer Photographer • 127
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,
[email protected]. Visit our website at www.nlgroup.com.
ALBUMS GP ALBUMS (formerly General Products L.L.C.) is focused on flush mount and digital offset albums along with our NEW extensive line of self-mount albums and folios. GP’s Optimus, Quick-Stick, Digital Vision, Tempus, Tempus, and Eclipse albums are the products that will help take your photography business into the future. You will experience the same great quality with a whole n ew look. As a ma nufacturer, nufacturer, GP Albums also has the ability to create custom photo packaging products upon request. GP Albums continues to offer variety and flexibility allowing photographers to design the perfect product that will last a lifetime. For more information, please visit us at www.gpalbums.com www.gpalbums.com or call 1-800-888-1934.
BACKGROUNDS THE DENNY MFG. CO., INC. is the World’s Largest Manufacture of Hand Painted Backgrounds, Computer Painted Backgrounds, Muslin Backgrounds, Studio Sets, Props, Lift Systems, and related related Studio Accessories Accessories.. Contact us today to receive receive our FREE 180 page color catalog filled with exquisite products and ideas to help you succeed in Photography. Write P.O. P.O. Box 7200 Mobile, AL 36670; Call 1-800-844-5616 or visit our Web site at www.dennymfg.com. STUDIO DYNAMICS’ muslin and canvas backdrops offer quality and value at outlet prices! Call 1-800-595-4273 for a catalog or visit www.studiodynamics. www.studiodynamics.com com CHICAGO CANVAS & SUPPLY—Wide SUPPLY—Wide Seamless Canvas and Muslin, Duvetyn, Commando Cloth, Theatrical Gauze, Velour, Velour, Sharkstooth Scrim, Leno Scrim, Gaffers Tape, Primed Canvas, Gesso, and Deka Fabric Dyes—Fabrication Available. Curtain Track & Hardware for Moveable Curtains and Backdrops—Easily installed. Quick turn around time. Our prices ca n’t be beat. Visit our website or call for a free catalog and samples. 773-478-5700; www.chicagocanvas.c www.chicagocanvas.com; om;
[email protected] [email protected] KNOWLEDGE BACKGROUNDS—The BACKGROUNDS—The #1 manufacturer of quality handpainted canvas and muslin backdrops. backdrops. Proudly handcrafted in the U.S.A. Call today toll free: 888-8497352 for your free copy of our 2008 Product Catalog; or visit us on the web at: www.knowledgebackgrounds.com
CAMERA REPAIR HASSELBLAD REPAIRS: David S. Odess is a factory trained technician with 31 years experience servicing the Hasselblad system exclusively. Previously with Hasselblad USA. Free estimates, prompt service, reasonable rates and a 6 month guarantee. Used equipment sales. 28 South Main Street, #104, Randolph, MA 02368, 781-963-1166; www.david-odess.com.
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CANVAS MOUNTING
EQUIPMENT FOR SALE
CANVAS MOUNTING, STRETCHING, FINISH LACQUERING. Original McDonald Method. Considered best AVAILABLE. AVAILABLE. Realistic canvas texture. Large sizes a specialty. WHITMIRE ASSOCIATES, YAKIMA, WA. 509-248-6700. WWW.CANVASMOUNT.COM
DIGITAL PRINTERS; FUJI-NORITSU; MINILABS; NEW & USED, FACTORY AUTHORIZED. INSTALLATION AND TRAINING. FINANCING—$600 UP. DELIVERY— INSURED. WWW.DIRECT-RESOURCES.COM; WWW.DIRECT-RESOURCES.COM; 877-318-3015.
COMPUTER/SOFTWARE SUCCESSWARE®—Studio SUCCESSWARE®—Studio Management Software available for both Windows ® and Macintosh®. Recommended by Ann Monteith, the nation’s foremost studio management consultant. Call today for a FREE SuccessWare ® Tour 800593-3767 or visit our Web site www.SuccessWare.net. Learn how you can revolutionize customer and order tracking and ignite your marketing fire with customized software that knows what’s going on in YOUR business— even when you don’t! More professional photographers trust Photo One Software, powered by Granite Bear than all other studio management software combined! 5 Powerful Guarantees: 5 days to customize your Photo One to match your studio; personalized phone training for you and your staff; 75 minute no-hassle guaranteed support call-back time; 365 days of unlimited support and usable upgrades and a 365 day unmatched money back guarantee! Zero-Risk. Only $299.00 deposit gets you started. Call 888-428-2824 now for your free working demo or visit www.photoonesoftware.com. Photo One, Building better businesses, one studio at a time.
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.
DIGITAL TEMPLATES DIGITAL TEMPLATES AND BACKGROUNDS. Delmiaco.com has fully customizable Photoshop Photoshop templates sold as layered .psd files. Collections include: wedding collages, wedding invitations and thank you cards, birth announcements, birthday invitations and thank you cards, senior portrait collages and more. High quality digital backdrops also available. Visit www.delmiaco.com for further details.
EDUCATION/WORKSHOPS DIGITAL PAINTING FORUM. FORUM. The Digital Painting Forum, hosted by Painter Master Marilyn Sholin has thousands of international members and over 50,000 post about Corel® Painter, Painter, Essentials, and Photoshop.Forums include tutorials, brushes, digital painting, art, and the business of creating, marketing and selling digital art. This forum has a small subscription fee that is well worth the education gained. www.digitalpaintingforum.com WALL PORTRAIT PORTRAIT CONFERENCE. April 20th-25th, 2008. Six day Wall Portraiture concept to completion. The original wall portrait school. Has changed the lives of many! Emphasis on public acceptance, concepts, sales, portrait finishing and more. Yakima, Washington, 509248-6700, www.wallportrait.com AMPED PHOTOGRAPHY WORKSHOP: Orlando, Florida May 7/8 - Intense 2 day training course featuring Damon Tucci and Domenico Castaldo. Get two perspectives, as you learn a systematic method of documenting weddings through multiple live shoots, critique and discussion. Topics include lighting solutions, fashion posing, Lightroom workflow, retouching, business essentials, and branding. 407-835-7879; www.castaldostudio.com/ampedworkshop.
FINANCIAL TIRED OF DEBT? TIRED OF BILLS? NEED CASH FAST? CASH CASH CASH. BUSINESS SMART UP LOANS, DEBT CONSOLIDATION, HOME RENOVATIONS, 2ND MORTGAGES, PERSONAL LOANS, GOOD, BAD CREDIT, NO CREDIT, OR BANKRUPTCY, AVAILABLE AMOUNTS FROM $10K TO $500,000. FREE CONSULTATIONS, NO FEES, QUICK, EASY AND CONFIDENTIAL, FOR FAST RESULTS CALL TOLL FREE. CALL: 877-423-7974
HELP WANTED HELP WANTED: Assistant photographer for contemporary photojournalistic photojournalistic wedding coverages in Orange County, CA area. Must have digital equipment. E-mail John at
[email protected].
[email protected]. 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 PORTRAIT PHOTOGRAPHER. PHOTOGRAPHER. Company: Club Services of America. Description: Family portrait photographer with wanderlust. Great earning potential for excellent family photographer with quality portrait experience. experience. Photograph and sell to 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].
[email protected].
INCORPORATION SERVICES INCORPORATE OR FORM an LLC today! Your art is
a business. Treat it like one. The Company Corporation can help you incorporate or form a limited liability company in as little as ten minutes. We are fast, accurate and affordable. Provide additional credibility to your photography studio or business at the fraction of the cost of using an attorney. Call 1-800-206-7276 or visit www.corporate.com today!
LAB SERVICES SCHOOL & SPORTS PACKAGES “Green Screen”—With Hundreds of Different Backgrounds Galeone Photo Lab 2161 Greenspring Drive Timonium, MD 21093 410-252-5355
[email protected] [email protected] Call for pricing. HAND PAINTED OILS; Transparent, Transparent, Deluxe, and Canvas Stretched up to 40x60. A complete photo art lab serving photographers since 1965. Traditional and Digital printing services. Fiber based B&W up to 30x40. Giclee Fine Art prints. Restoration. Free estimates estimates & pricing guide. 800922-7459 Venetian Arts www.venetianarts.com FREE 20X30 Wallets to 6ftx14ft Goldencolor 9020 W. Olympic Blvd. Beverly Hills, CA 90211 310-274-3445 www.goldencolor.com
ACADEMY PRODUCTIONS INC. INNOVATIVE PRINTING SOLUTION Complete Imaging Service for today’s professional photographer Processing—Proofing—Film—Digital Files
—SOS— Self Ordering System powered by ROES • High Volume Packages—Kodak Packages—Kodak Products • Schools—Daycares—Spor Schools—Daycares—Sports—Proms—Senior ts—Proms—Seniorss • Studios—Store Promotions—Fundraisers—Weddings • Composites—Collages—Other Unique Products • High Tech Printing Equipment—Scanning Services • Free Marketing S eminars—Expert Product Designers • Superior Customer Service—Detailed Technical Technical Support • Competitive Pricing—Quick Turn Around CALL US TODAY: TODAY: 800-421-3523 6100 ORR ROAD • CHARLOTTE, NC 28213 www.PicAcademy.com SCHOOL/WEDDING Photographers. Low package prices starting at 19 images. Wedding 10x10’s, you design we print $2.49. www.PhotoPrintPros.com. PECHMAN PROFESSIONAL IMAGING (DIGITAL OR FILM) Portraits & Units 8x10 16x20 Print-By-Inch $1.45 $5.80 Studio-Color Corrected 1.90 11.99 Lab-Color-Corrected 2.57 13.99 Raw-File-Services 3.15 16.40 •Undergrad-Sport-Event Pkgs. 8x10 @ $.96 •Fully Assembled Albums-10x10 print included-9 to 18 pages from $149.99, (100’s of templates available) •Proofs from $.25 •Proof Books-spiral bound-8x10 page @ $1.60 • 48 Wal Gold Stamp Special-next 48 free •Spray-Mount-Texture •Digital Retouch $2.50, Art-$1.00 per minute ROES®, LABPRINTSTM, FTP OR DISK. 800-777-0221 WWW.PECHMANIMAGING.COM TM
PRESENTATION PRESENTATION BOXES available for immediate shipment; 19 sizes—4 stock colors. For FREE catalog & samples call 800-969-2697 or fax request 800-861-4528. BUY DIRECT AND SAVE. NPD Box Company, 3000 Quigley Road, Cleveland, OH 44113. www.NPDBox.com PRESENTATION BOXES-BOX MANUFACTURER BUY DIRECT AND SAVE. Complete line of Print and Proof boxes. Hinged presentations. Better Quality, Lower Prices. Product mfg in our own plant. Customize with logo, and choose colors with ease. Tissue included! Call 401-7253646 for free samples. H-B Packaging Group 575 Lonsdale Ave. Central Falls, RI 02863 www.h-bphoto.com. RETOUCHING
BOXES—FROM THE ORIGINAL BLACK BOX MANUFACTURE—FREE SAMPLE—Fast SAMPLE—Fast delivery, Finest quality 4”x5”, 5”x5”, 4”x6”, 8”x10”, 11”x14”, 16”x20”, 20”x24”. AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149 (fax); 888-440-1146 (toll free). www.aufengerbox.com www.aufengerbox.com CREATIVE FRAMES…Desi FRAMES…Designed gned frames for the profess professional ional wedding, portrait and school photographers. Our frames are manu manufact factur ured ed here here in the the USA. USA. Visit Visit us at WWW.CREATIVEFRAME.COM to see our full line. 5000 POSTCARDS POSTCARDS $149 UV Coated 5,000 Business cards for $60.00 www.colorphotobusinesscards.com $10 off /with ad
QUAINT PHOTOGRAPHY STUDIO in Sterling, Colorado for lease or sale. This studio is very unique and is located on prime main street property. Sterling, Colorado is located in northeast Colorado approximately 125 miles east of Denver. The community consists of 13,000 people and is a smaller, friendly town. The property sits on 5 lots totaling 15,000 square feet. The large studio has been totally remodeled and is 3,000 square feet with all studio lighting, props, backgrounds, etc. There is an adjoining 2,000 square foot building that is equipped with scenery and props also. The backyard has extensive landscaping including a barn, pier, gazebo, pond, bridge, waterfall, and various settings. This is a great opportunity for the right person and this community is in great need of a talented photographer. Please call 970522-7408 for more information. Serious inquiries only.
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STUDIO ESTABLISHED in the Pittsburgh, Pennsylvania, area for over 20 years, with a great image and a very large client base. Owner is PPA Certified, Master Photographer & Photographic Craftsman. Wants to slow down. Will train and is willing to work for new owner to maintain continuity during transition. For information call 724-789-7371. 724-789-7371.
PRESENTATION PRESENTA TION BOXES
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.
BOXES—FREE SAMPLE PRESENTATION BOX—FROM THE ORIGINAL BLACK BOX MANUFACTURE—Fast MANUFACTURE—Fast delivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10", 11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-440757-440-1149 1149 (fax); 888-440-1146 888-440-1146 (toll free). www.aufengerbox.com
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.
www.hollywoodfotofix.com www.hollywoodfotofix.com or call 888-700-3686. 888-700-3686.
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STUDIO FOR SALE
SPORTS PHOTOGRAPHERS The most versatile sports program available. Digital or film, quality & service is our motto. See www.sportsphoto.com
BUILD KIDS’ Portrait Business Automatically. Unique Birthday Club Program brings in clients 2-4 times yearly and gets referrals. FREE 24/7 Toll Free Recorded Message. 800-301-2062, Ext. 704.
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.
SALES AIDS
FULL SERVICE Studio with Great Reputation in Charming Mid-South Town with Major University and Large Trade Trade Area. 30-Year-Old Business—Only Studio in Town. Great Opportunity—Owners Retiring and Will Assist in Transition. Transition. $125,000 Studio Real Estate Available. To obtain further information, please reply to :
[email protected] and refer to ad #107. #107.
MARKETING
STUDIOS WANTED
WHEN YOUR NAME is on the line, nothing but the best will ever do. Our retouchers know what you need: fast service, a retouch that looks like the photo was never altered and the lowest prices in the industry. industry. If you demand the best log onto www.retouchup.com and your first 10 retouches are free just to prove our claims—the best—the fastest and the least expensive or call 888-700-3686.
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April 2008 • Professional Photographer • 129
go g ood works |
Images wield the power to effect change. In this monthly feature, Professional Photographer spotlights professional photographers using their talents to make a difference through charitable work. ©Jeffrey Sauger
a vehicle for fundraising. Many sponsors are leery of donat donating ing money money direct directly ly to to indivi individua duall photographers, so Blue Earth accepts donations on the projects’ behalf and transfers the funds for specific projects. Blue Earth sponsorship is open to all photographers with the vision and technical expertise to pull off a significant documentary project. At present, the organization is assisting 30 projects, the most it’s ever supported simultaneously. Project photographers have raised more than $1 million through BEA and $4-6 million from outside sources. Projects have addressed such problems as malaria, HIV/AIDS, HIV/AIDS, the aftermath afte rmath of the Bosnian war, environmental injustice in Texas, the plight plight of truck truck farmers farmers in in the Deep South South
From heart to action
and global global warming warming.. So far, far, 11 Blue Blue Earth
HELPING PHOTOGRAPHERS FOLLOW THEIR VISION
Norris Webb’s “The Glass Between Us.”
projects have culminated with books, including Art Wolfe’s “The Living Wild,” and Rebecca
Those interested in getting involved can become become members members of the the Blue Earth Earth Allianc Alliance. e.
P
ursuing meaningful projects isn’t
of project support and education,” education,” explains
Donations are accepted for Blue Earth as a
easy for photographers. Anyone
board of of directors directors president president Larry Larry Ockene. Ockene.
whole or or for specific specific projects projects sponsored sponsored by by
“On the support side, we help photographers
BEA. Blue Earth is also looking for experi-
plan and execute their projects. Among other
enced, well-connected people for its advisory
willing willing publis publishers hers and outlet outletss for promo promotion tion,,
things, things, we help help them find find sources sources of of grant
board, board, as well well as volunteer volunteerss for other other posiposi-
let alone alone the tribulat tribulations ions of of accomplishi accomplishing ng
funding, and we have a grant writer on staff
tions. tions. In particular particular,, the group group needs needs people people
who can help help with with propos proposals als.. We We help help locate locate
with the the skills to help others others facilita facilitate te their
distribution channels and publishers. We also
projects—legal knowledge, project manage-
photographers in realizing their projects.
set up mentorships and connections to help
ment experience, connections with PR out-
Founded in 1996 by photographers Phil Borges
photographers advance their projects. On the
lets, publishe publishers rs and galler galleries. ies.
and Natalie Fobes, Blue Earth is a 501(c)3
education side, we’re putting together a series
nonprofit organization dedicated to educat-
of educational programs that are designed
ing the public through photography. Its mis-
to help photo photograph graphers ers conceive, conceive, organi organize, ze,
sion is to alleviate the problems of endan-
fund and produce documentary projects.”
who’s ever tried knows the the diffidiffi-
culty of attaining funding and finding
the project project itself. itself. The Blue Earth Alliance in Seattle assists
gered cultures and threatened environments by promo promoting ting photog photograp raphic hic storyte storytellin lling. g. “The Blue Earth Alliance has a dual focus
130 • www.ppmag.com
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To learn more about the Blue Earth Alliance, visit www.blueearth.org where you can download “Shooting from the Heart,” BEA’s resource manual designed to help photogra phers develop develop their person personal al projects. projects.
Blue Earth provides one annual grant of $3,000, but no other direct funding. However, the orga organiz nizatio ation n offers offers its 501(c) 501(c)3 3 struct structure ure as as
Share your good works experience with us by e-mailing Cameron Bishopp at
[email protected]
Copyright © Tony L. Corbell, Corbell Productions
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