Professional Photographer 2011 07

JULY 2011 | $4.95 $4.95

©Elizabeth Etienne

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Not i t ink   je  jet , but t  t t r  r ®ue phot og r  r aphic pr int s on Kodak ® Endur a pr of essional paper . 30 x 9  x 90 siz e, show n her e, only  99 $

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New compositing te®chniques plus impro®ved in-camera and post processing technologies are making panoramic images increasingly popular. po pular. To help showcase these images, Meridian now offers Panoramix™, a new line of photographic prints from 5x15 all the way up to 30x120. That’s right, lab corrected photographic prints on Kodak Endura or Metallic professional paper up to 10 feet long.

Panoramix™ sizes up to 48 inches are  shipped flat and have special mounting mounting options available. *  Sizes longer than than 48 inches are shippecd loosely rolled in c  a long box and, to add   protection, require c  the addition of  All Panoramix™  your choice of  sizes now  glossy or matte available in  laminate at  an additional  Kodak ® charge.

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can make al all the diff differ ereence. Spiral Bound Proofs The way to sell more prints, is to show better proofs. Put 1“lab corrected” professional proof1s in your clients 1hands, instead of just po1sting the images.

 Asse  As semb mble led d Alb Album umss Lab corrected photographic prints on Kodak ® Endura or Metallic professional paper. Easy design and ordering in RO1ES, or use your ow1n designs with our blank pag1e templates. Summit 1and Crystal Summit albu1ms include a beauti1ful leather bound pres1entation box.

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Spiral bind any quantity of prints1, up to 120 max., in any size up to 8x10. Pricing is the cost of the prints + $1.25 for the spiral binding. Frosted plastic front cover, and black back  cover are included1.

Of course you can 1 also get multi-imag1e proof book pages. Design your own covers and pages o1r use our multi-image1 proof book page templates. Available in three sizes: 8x10, 11x11, and 10x13. Photos by Amelia Hilil 

The Summit and Crystal We offer albums in three Summit albums come styles, Superior, Summit, in a leather bound1 and Crystal Summit;1 presentation box in sizes from 4x6 Your choice, with magnetic up to 12x1 12 x12; 2; “Lab Corrected” or with page counts clasp, lifting “No Corrections” from 10 to 40 ribbon, and for the same fabric liner. page sides. low price.

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PROFESSIONAL

EDITORIAL

director of publications

Numbers talk  PLENTY OF SUCCESS TO GO AROUND  Professiona ssionall Photographe Photographer  r  was  We’re happy  We’re happy to annou announce nce that that Profe  was recognized as the best business-to-business/association magazine in  the Southeast Southeast by by the Magaz Magazine ine Associatio Association n of the Southea Southeast st (MAGS) at its 2011 awards ceremony. ceremony. These awards wouldn’t mean much without you, our amazing featured photographers and inspiring readership. We thank you for visiting and sharing with us every month! Turn to page 28 to see a list of the awards. Of special note at the MAGS gala was PP  was  PP ’s ’s first-place win in Service Journalism, awarded for the PPA Business Handbook, the nuts-and bolt  bo ltss guid guidee we we publ publis ishe hed d las lastt Dece Decemb mber er*, *, ba base sed d on on the the la late test st Pr Prof ofes essio siona nall Photographers of America (PPA) Studio Financial Benchmark Survey   Analysis,  Analy sis, the the only study study of its its kind in the photogra photographic phic industry industry.. Every two years or so, PPA’s team of financial experts tabulates and analyzes financial financial data from some 150 to 250 portrait and  wedding photographers, photographers, to arrive at real-world financial  benchmarks photographers photographers can use to measure and adjust their  business performance. performance.  Among other things, things, the the benchmarks benchmarks can tell tell you how how much money you should be spending, and in which areas; if you’re pricing profitably; how many employees you can afford; and the tasks that should be outsourced. Nowhere near enough photographers take advantage of this astonishingly useful resource. After examining how and why their numbers didn’t match up, we’ve seen studios make just a few minor  tweakss to their  tweak their operations operations that that resulted resulted in vast vast increas increases es in their their profitability and that most precious of all resources: time. n Cameron Bishopp Director of Publications [email protected] *The PPA Business Handbook is one of the top benefits of PPA membership, and was only mailed to members. If you’d like to get your  eyeballs on a copy, head over to ppa.com and join today.

CAMERON BISHOPP [email protected] senior editor

art director/production manager

JOAN SHERWOOD

DEBBIE TODD

[email protected]

[email protected]

features editor

sales/strategic sales/ strategic alliances assistant

LESLIE HUNT

CHERYL PEARSON

[email protected]

[email protected]

editor-at-large

circulation

JEFF KENT

MOLLIE O’SHEA

[email protected]

[email protected]

contributing editors

DON CHICK, LORNA GENTRY, ROBYN L. POLLMAN, ELLIS VENER publications sales staff  director of sales & strategic alliances

central region ad manager

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

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

eastern region ad manager

western region ad manager

KARISA GILMER 404-522-8600, X230; [email protected]

AMY WALLS 404-522-8600, X279 [email protected]

editorial offices

Professional Photographer

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

Professional Photographer

P.O. Box 3606, Northbrook, IL 60065-3606; 800-742-7468; FAX 847-291-4816; email: [email protected]; Web site: www.ppmag.com member services

PPA - Professional Photographer PPA 800-786-6277; FAX 404-641-6400; e-mail: [email protected]; www.ppa.com Advertising materials contact:

Debbie Todd at [email protected] 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: $19.95 $19.95 one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International. PPA PP A membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation

Dept., P.O. Box 3606, Northbrook, IL 60065-3606; 800-742-7468; FAX 847-291-4816; 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 3606, Northbrook, IL 60065-3606 Copyright 2011, PPA Publications Publications & Events, Inc. Printed in U.S.A. Article reprints: Contact Professional Photographer reprint coordinator at

Wright’s Reprints; 1-877-652-5295. Microfilm copies: University Microfilms International,

300 North Zeeb Road, Ann Arbor, MI 48106

WANT A FREE FINANCIAL ANALYSIS?

Professional Photograph Photographer er (ISSN 1528-5286) is published monthly for $27 per year by PPA

PPA’s Benchmark Survey team is looking for its next batch of test bunnies.

Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Publications Tower, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices.

All it takes is your demographic business information, your 2010 business tax return, and a few supporting financial files. You don’t have to be a PPA member to participate in the study, and you’ll get a free, personalized financial analysis of your studio out of the deal. Participate by August 31, and you could win prizes. Go to ppa.com/benchmark to see if your studio qualifies.

4 • www.ppmag.com

Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers Photog raphers of America, Inc. Professional Photographer, official journal of the Professional Photographers Photog raphers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating  Abe  Abel’ l’ss Photo Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photo Pho tog grapher, The National Photographer, Professional Photographer, and Profes Professional sional Photographer Storytellers. Circulation audited and verified by BPA Worldwide .

Photography. It’s all about light.

© Matthew Jordan Smith

    ,     ,

Matthew Jordan Smith on controlling light: I love striking imagery. Something that makes you wonder how it was done. In this case, I want the main light to be the hero. I want the spot to overpower everything else to create just the right mood. I metered the main for f/11 and adjusted the fill for f/5.6-two stops under. Then for a pleasing balance, I metered and set the backlight on the model’s hair to achieve the perfect look and right amount of background separation. Being able to measure and control my lights, makes it all work together to make a beautiful shot.

See video at Sekonic.com/Smith

SEKONICCOMs

Distributed by MAC Group

CONTENT PROFESSIONAL PHOTOGRAPHER JULY 2011

Features 96

THE ART OF CANDOR Page Bertelsen follows the light, and her unique artistic vision, to success

 Interview by by Jeff Kent  Kent 

72

SENIORS: MISSION: LONGEVITY

Eric and Shawna Anundi maintain a premier status

 By Jeff Kent  Kent 

78

WEDDINGS: FROM INDIA WITH LOVE

 Amish Thakkar Thakkar taps taps a market market  with bountiful bountiful opportunit opportunity  y 

 By Stephanie Stephanie Boozer  Boozer 

86

LA FEMME ETIENNE

Pure enchantment in any language from Elizabeth Etienne

 By Stephanie Stephanie Boozer  Boozer  IMAGE BY: AMISH THAKKAR

CONTENTS

16

FOLIO

106 10 6

AFFI AF FILI LIA ATE SCHO SCHOOL OLS S

107 10 7

PPA TO TOD DAY

122 12 2

GOOD GO OD WOR ORK KS

PROFESSIONAL PHOTOGRAPHER | JUL JULY Y 2011 | WWW.PPMAG. .PPMAG.COM COM  © E  r  i    c  A  n  u n  d  i  

Departments C O N TA TA C T S H E E T 20 24 24 26 28 28

Daydreamer: Robert Zuckerman Giveaway of the month  PP  Asks:  Asks: Websi Website te videos videos Royal wedding photographer NILMDTS Charity Model Search  wins indu industry stry awa awards rds  PP  wins

PROFIT CENTER

 What I think: Eric Anundi 32  A tale of use most foul foul by Jack Reznicki 36  Winning bids bids with charity charity auctions auctions by Carl Gray Nelms 38  Ask the experts 40 Living the dream:  Are you worth it? by Kimberly Wylie 46 Starting over: Design a   business clients clients crave crave by Kalen Henderson 31

THE GOODS

 What I like: Page Bertelsen 52 Roundup: Products your clients will love by Robyn L. Pollman 60 Pro review: Epson Stylus Photo R3000 by Mark Levesque 64 Pro review: iDC Gearless Follow-Focus by Ron Dawson 66 Pro review: Corel Painter 12 by Melissa Gallo 70 Pro review: Spider Holster by Joan Sherwood  51

72

Eric and Shawna Anundi built their business success with planning

and long-term goal setting, and by creating an exceptional customer experience. It builds return business, and keeps the referrals flowing in.

8 • www.ppmag.com

ON THE COVER: This image by cover artist Elizabeth Etienne was taken at a wedding in the south of France in a village called Mandelieu La Napoule, along the French Riviera. “The couple was very young, very much in love and the wedding was small and private because certain members of their family did not approve,” Etienne says. “The image was shot beneath the rocky caverns off the Mediterranean Sea where the light bounced off the ocean creating a natural reflector. No additional light was necessary. It was just perfect,” she says.

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Our Favorite Products for Senior Sessions White House Custom Colour, Your Your Professional Photographic and Press Printing Partner 

Images for products © George Dean

White House Custom Colour is a full service, professional photographic lab and press printer. In addition to the showcased products on these pages, we offer a full line of products and services to make a positive impact on your goals for continued success in building  your photographic business. For more information visit our website, www.whcc.com

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www.whcc.com

MICHAEL TIMMONS M.Photog.Cr, F-ASP [email protected]

SPEEDOTRON Flash Lighting Systems Professional Photographers of America 229 Peachtree St., NE, Suite 2200 Atlanta, GA 30303-1608 404-522-8600; 800-786-6277 FAX: 404-614-6400 www.ppa.com 2011-2012 PPA board

president *DON DICKSON M.Photog.Cr., CPP [email protected]

Speedotron introduced its flash lighting system to the U.S. photographic market in 1939. From the beginni beginning, ng, Speedotron equipment was designed and built for the real world. Photographers depend upon Brown Line and Photographers Black Line systems to make their products pop, people shine and interiors glow. All Speedotron equipment and systems are made in the U.S.A. from the highest quality components available. See the latest at www.speedotron.com

vice president *TIMOTHY WALDEN M.Photog.Cr., F-ASP [email protected] treasurer *RALPH ROMAGUERA SR. M.Photog.Cr., CPP, API, F-ASP [email protected]

IN THE U.S.A.

12 • www.ppmag.com

PPA staff DAVID DA VID TRUST T RUST,, CAE C AE Chief Executive Officer [email protected] SCOTT KURKIAN, CPA, CAE Chief Financial Officer [email protected] THERESE ALEMAN Director of Marketing and Communications [email protected] CHRISTEL APRIGLIANO Director of Member Value & Experience [email protected] CAMERON BISHOPP Director of Publications [email protected]

chairman of the board *LOUIS F. TONSMEIRE, JR. Cr.Photog.Hon.M.Photog., API [email protected]

BILL KELLY Director of Sales & Strategic Alliances [email protected]

directors SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected]

WILDA OKEN Director of Administration [email protected]

DOUG BOX M.Photog.Cr., API [email protected]

DAWN ROBB Director of Education [email protected]

DON MACGREGOR M.Photog.Cr., API [email protected]

COREY B. SHELTON Director of IT & Online Strategies [email protected]

MICHAEL GAN M.Photog.Cr., CPP [email protected]

MADE

industry advisor KEVIN CASEY [email protected]

LENORE TAFFEL Director of Events [email protected]

CONSTANCE S. RAWLINS M.Photog.Cr., CPP [email protected]

CLAIRE WHITE Director of Allied Associations [email protected]

ROB BEHM CPP [email protected]

SANDRA LANG Executive Assistant [email protected]

LORI CRAFT Cr.Photog. [email protected]

*Executive Committee of the Board

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olio| f olio|

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

©Tiffany Schmitt

TIFFANY SCHMITT

While photographing her cousin’s Morgan breed horses, Tiffany Schmitt, CPP, of Graphic Impressions, LLC in Schofield, Wis., was enamored with this animal’s watchful eye. With a Canon EOS 5D camera and Canon 70-200mm f/2.8 L IS USM EF lens, Schmitt exposed “The Classic” for 1/80 second at f/2.8, ISO 400. “I loved the expression in his eye and quickly took the shot,” she says. picturesattiffanys.com

16 • www.ppmag.com

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RANDY PETERSON ©Cortez Austin

Every year, Countryside Photographers challenges its photo pho tog graphers to create a PPA merit image somewhere near the studio. Randy Peterson, M.Photog.Cr.MEI., of Seymour, Wis., found a winner with “Frostbitten” (above). With a Canon EOS 5D Mark II camera and Canon 24-105mm f/4 L IS USM EF lens, Peterson exposed the tree for 1/250 second at f/10, ISO 100. He performed only minor retouching to remove dirty snow, mailboxes and clutter clu tter.. countrysidephoto.com CORTEZ AUSTIN

“Birds are the major focus of my photography,” says Cortez Austin, of Natural Visions Photography in Marlboro, Md. “Bald eagles are impressive birds just sitting still—in action, they are awe inspiring,” says Austin. With a Canon EOS-1D Mark III camera and Canon 500mm f/4 L IS USM EF lens with 1.4x converter, Austin exposed “Eagle Take Off” for 1/400 second at f/5.6, ISO 800. Austin photographed the eagle at the Blackwater National Wildlife Refuge in Maryland. cortezaustinphot cortezaustinphotography ography.com .com

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CON ONT TACT SHEET What’s New, Cool Events, Interesting People, Great Ideas, Etc.

 AYD YDREAMER D A Robert G. Zuckerman/© FX

Photographer Robert Zuckerman  lives  liv es a life life ric rich h in in cre creati ative ve peo peopl plee and volunteer work, helping others see the beauty around them. BY LORNA GENTRY Film director Jon Turteltaub calls photographer Robert Zuckerman “irreplaceable,” while actor

such movies as “The Sorcerer’s Apprentice,”

it the rest of my life.” He has inter viewe  viewed d and

“Transformers,” “Terminator 3,” “National

photographed plumbers, cab drivers, volunvolun-

Treasure,” “The “T he Pursuit of Happyness” and

 teers, and and waitresses waitresses,, to retell retell their their uni unique que

“The Crow.” Crow.” He lives a bicoastal lifestyle in

stories. He established established a nonprofit nonprofit foun foundation dation

L.A. and Miami, where he has family. In 2003

 based on on the Kindsight Kindsight princip principal al of 

he was diagnosed with neuropathy neuropathy,, which

encouraging encouragin g people, especially children, to notice

has weakened his legs and causes him to limp.

 the good good in others others and and the richness richness of of life.

It hasn’t slowed him down much, though. Recently on a Miami afternoon, Zuckerman

 A grad graduat uatee of of the the Ameri American can Fil Film m Inst Institu itute, te, Zuckerman always wanted to be a filmmaker.

Jeff Goldblum strings together adjectives adjectives to

 took a break break from from shooting shooting stills stills for the the TV 

He spent a decade working in film in New 

describe him: “Striking, smart, kind, generous,

series “Burn Notice” to reflect on his life in

 York  Y ork before before moving moving to L.A. and and becoming becoming a 

sweet, sensitive.” But it’s actress Annabeth

 the movies. movies. “I love love photogra photography phy,,” he says. says. “I

movie still photographer. His first big break 

Gish who seems to know what makes

get to meet famous people and people who

came when Oliver Stone hired him to shoot

Zuckerman tick. “His heart is behind his

are not famous but interesting. Photography is

 the poster poster for his his 1991 film, film, “The Doors. Doors.””

intentions,” she says. You can watch these

a vehicle for professionalism, respect for others

heartfelt recommendations yourself in a 

and myself, and for being a good person. per son.””

dreamer, and even now he often finds himself 

Six years ago Zuckerman published

in a kind of fog. “It enables me to be open to

 video testimo testimonial nial at at robertzuckerm robertzuckerman.co an.com. m.

 When  Wh en Zuck Zuckerm erman an was a kid kid he was a day  day -

For more than two decades Zuckerman has

“Kindsight,” a book of photographs and stories

 whatev  wha tever er come comess up. up. That’ That’s my my M.O M.O.: .: be be awa aware re

 been a film film and TV still photog photographer rapher whose whose

about extraordinary ordinary people. “To me,

and focused, but stay in a [creative] fog.”

images have been used for movie posters,

everything and everyone is interesting,” he says.

advertisements and publicity campaigns for

“Kindsight is an ongoing project. I’ll be doing

To see more of Robert Zuckerman’s work visit robertzuckerman.com.

20 • www.ppmag. www.ppmag.com com

R   o  b   e r   t   G   . Z   u  c  k   e r  m  a n /   ©  C   o l    u m  b  i    a P  i    c   t   u r   e  s  C   o r   p  .

R   o  b   e r   t   G   . Z   u  c  k   e r  m  a n /   © T   w  e n  t  i    e  t  h 

R   o  b   e r   t   G   . Z   u  c  k   e r  m  a n /   ©  C   o l    u m  b  i    a P  i    c   t   u r   e  s

 C   e n  t   u r   y F   o x F  i   l   m  C   o r   p  .

July 2011 • Professional Photographer Photographer • 21

     O      I      D      U      T      S      R      U      O      Y      W      O      R      G

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CONT CON TACT SHEET

 PP   P P ’s Giveaway of the Month

PP  ASKS … We love hearing from all of you on our Facebook page. We ask the questions, you provide the answers. This month, we’re talking about video intros for websites—those brief video clips that introduce you and your style to your prospective clients. Do you have one? Do you want one? How does it work for your business? These are just a few of the responses we got. Click the Like button to join the conversation at facebook.com/ppmagazine.

HAVE YOU MADE A VIDEO FOR YOUR WEBSITE THAT INTROINTRODUCES YOU TO YOUR CLIENTS? HAS IT MADE A DIFFERENCE IN YOUR INQUIRIES AND BOOKINGS? I made a video and it was very successful. It also included client testimonials, which have been very powerful for drawing in new clients. —Joanne Lee  An introduction video is a fantastic idea. Cross publish it on your site, blog and YouTube to increase exposure. It will add a personal element to your business that people will relate to, and then feel more comfortable booking your services. —Crafty Eye Mike  I’ve been working on ideas to put a video on my site of a typical shoot so that people know what to expect. I also want to embrace the fact that I am what makes my business unique. Why not capitalize on the fact that I’m the only me? —Jessica at CaptureLife 

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24 • www.ppmag.com

Yes. I’ve made the leap to video. I’m using a test trial with Animoto and loving it. The video shows an added dimension to my photography. I see the senior and wedding markets heading in this direction. —Kristin Schmit  I have indeed made an introduct introductory ory video for  jefffoley  jefffo ley.c .com. om. Whe Whenev never er I get an e-ma e-mail il inqui inquiry ry,, the video is one of the things I drive the prospect to, so he or she can see that we laugh a lot during my shoots. It has been quite helpful. —Jeff Foley  To see our next question and be eligible for future giveaways, connect at: facebook.com/ppmagazine

CONT CO NTACT ACT SH SHEET EET

All images ©Getty Images/Hugo Burnand

It took 32 hours preparation for the 28minute shoot. “We rehearsed everything, including what to do if things didn’t go according to plan. I said my prayers beforebefore hand and every single prayer was answered.” The Throne Room is cavernous and dark, so a great deal of work went into the  lighting.  lightin g. The bride bride wanted the the pictures to to  look as if they they were bathed bathed in bright bright spring sunlight. To To achieve it, Burnand used a Profoto  lighting  lightin g system overseen overseen by a team member member  who is a lighting lighting specialist. specialist. His favorite photo is the one of the bride and groom surrounded by children. “Every  individual in that picture shows their real character. I knew what I wanted so there was photographic direction, but you can’t direct  that kind of spontaneity spontaneity and naturalnes naturalness. s.””  Asked  Ask ed how how he he can can possib possibly ly top top this this acc accom om-plishment, Burnand said he sympathizes  with Colin Colin Firth when when he won the the Oscar. Oscar. “He said, ‘I’ve got this feeling my career just peaked.’” peaked. ’” He added, a dded, “Actually, “Actually, I’d like to photograph Colin Firth.”

Stuff of fairytales Once upon a time there was a prince who needed a photographer for his  wedding.  weddin g. He found found Hugo Hugo Burnand Burnand,, a portraitist portraitist with with royal royal experience experience.. BY LORNA GENTRY

Sitting astride a bicycle in a fine suit on the

couple’s official and personal wedding photos.

morning of April 29, London photographer

“We had backup equipment for our backups,”

Hugo Burnand led his crackerjack team of 

he said. Even though he had royal wedding

seven assistants—all on bicycles—through

experience—Burnand photographed the

Hyde Park to Buckingham Palace. Along the

2005 wedding of HRH Prince Charles and

 way they weaved weaved through through thousands thousands of royal

Camilla Parker Bowles—the pressure was

 watchers  watche rs who had gathered gathered to to witness HRH HRH

great. He had exactly 28 minutes to shoot

Prince William marry Kate Middleton. “Cycling

 before the bridal couple couple made their their balcony  balcony 

over was exhilarating,” Burnand recalled on the

appearance. He swears he wasn’t stressed. “I

phone from his Notting Hill studio in London.

 was very well prepared prepared,,” he said, thanks thanks to

Days before, Burnand and his team had

strict adherence to the military adage of the

set up the equipment in the Throne Room in

seven Ps (“Proper planning and preparation

Buckingham Palace, where Burnand took the

prevents piss-poor performance”).

26 • www.ppmag.com

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CONT CO NTACT ACT SH SHEET EET

Cute kids, captured

 © P   o r   t  r   a i    t   S   t   o r  i    e  s  b   y  G  i   n  g  e r 

NILMDTS holds its Charity Model Search The Now I Lay Me Down to Sleep Foundation

points.” Then a panel of photo industry 

(NILMDTS) announced the winners of its

experts assessed the images of the finalists.

annual Charity Model Search, chosen from

First place went to “Crawford” by Portrait

 thou  tho usands of entries from the United States

Stories by Ginger, second to “Badger” by Bella 

and Canada. The contest raises funds for the

Photography and third to “Cox” by Island Style

non-profit, whose mission is to provide

Images. The first place child’s family won a travel

professional portraits to families mourning

package valued at $2,500, a $2,500 savings

 the loss of an an infant infant..

 bond, a Nikon Nikon camera camera and a $100 Tar Target get gif giftt

NILMDTS named 50 finalists, based on

card. Second and third place winners went

 the numbe numberr of publi publicc votes votes (made (made with with finan finan--

home with a $500 savings bond, a Nikon

cial contributions) and voters’ free “favorite

camera and a $100 Target gift card. The pho -

 © B   e l   l    a P  h   o  t   o  g r   a  p h   y

 © I    s l    a n  d   S   t   y l    e I   m  a  g  e  s

First place winner “Crawford” by Portrait Stories by Ginger (above). Second place “Badger” by Bella Photography (far left). Third place “Cox” by Island Style Images (left).

 tograp  tog rapher herss who who subm submit itted ted the win winnin ning g image imagess  took home home prize packages packages with with items fro from m Kubota Image Tools, Pexagon Technology,  Wicker  Wick er By Desi Design, gn, Asuka Asukabook book,, ExpoIm ExpoImaging aging,, Color Inc., Alien Skin Software, Photoflex, Full Color, Lensbaby, LumiQuest and Miller’s Professional Imaging. The contest raised more than $44,000 for NILMDTS.

Visit nowilaymedowntosleep.org.

PROFESSIONAL PHOTOGRAPHER WINS PHOTOGRAPHER  WINS INDUSTRY AWARDS

Professional Photographer was named

2011 GOLD GAMMA AWARDS

best business-to-business/ business-to-business/association association

General Excellence – Best overall packpack -

magazine in the Southeast at the Magazine

aging, content selection, writing, reportreport-

Association of the Southeast’s GAMMA

ing, design and illustration.

Awards, held in May in Atlanta. PP was

Best Single Issue – May 2010

also awarded first place in six additional

Best Single Cover –

categories: single issue, service journalism, design, cover, photography and feature. PP’s nod for service journalism was for PP’ “The PPA Business Handbook,” a practical

July 2010 Best Feature – January 2010 Best Photography – June 2010

guide for photographers based on the PPA

Best Design

Financial Benchmark Survey, the only survey

Best Service Journalism –

of its kind in the industry, industry, conducted by

January 2010 / “The PPA

PPA’s Studio Financial Services arm.

Business Handbook”

28 • www.ppmag.com

Imag e ©K elle Ima ley  y R Ry den

& T racy  y R Rav er

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Speed toward greater knowledge and skills skills with a monthly series of online courses centered on the topics you want to learn about most. Every Tuesday Tuesday at 2:00 2:0 0 pm, we’ll focus on something different, from artistic style and technique technique to the latest sales and marketing tips. Of course, all sessions are also available live or on-demand with an Online Learning $ 99, which gives you full access for 6 months. Pass for only $99, Learn more or register now: PPA.com/education

2011 WEBINAR SERIES 07 July 08 August 09 September 10 October 11 November 12 December

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 Profess  Pro fessional ional Photo Photograp grapher her

PRESENTS

Business, Marketing and Sales Strategies

 What I think   Eric Anun Anundi di engend engenders ers loyal loyalty ty through service and quality  Whatt advi  Wha advice ce woul would d you you give give som someon eonee new new to to  thephotography  thephotogra phy business business? ? One word: Education. Most beginners don’t understand how a camera camera works, let alone how to run a   business.  busin ess. It takes takes years of education education and practice to get good at lighting, posing and  building  buildin g relationships relationships with with clients, clients, let alone alone making profits. How do you think the business of professional profes sional  photography  photog raphy will will evolve? evolve? We  We’ll ’ll go back to  the basics. basics. I’ve already already started started to use less less digital manipulation. Nothing beats the  look of true skin skin tones, tones, old school school poses and and quality lighting.  What issu issues es will will profes profession sional al photog  photog raphers  face over the the next few years? years? Our society  seems to be becoming less and less loyal to one specific business, so we’ve worked diligently to provide exceptional customer service to keep clients coming back.  What are your your secrets to to running a  successful business? Don’t disappoint. Do  what you say. say. Be honest. Provide Provide exceptional customer service. My clients pay  for the entire experience. In the  background,  backgrou nd, I’m setting setting goals, goals, crunching crunching numbers and investing in education. IMAGE BY ERIC ANUNDI ERICJOHN.COM

July 2011 • Professional Photographer Photographer • 31

PROFIT CENTER

BY JACK REZNICKI, CR.PHOTOG.HON.M.PHOTOG., API

Use most foul

   8    0    0    2    ”   n   o    i    t   a   u    d   a   r    G    “  ,   e   c   n    i   r    P    d   r   a    h   c    i    R

 A tale tale of fair fair use abu abuse se and rede redempti mption on Here’s a tale that will shock you, scare you,

practice. Artists like Prince have tried not to

and then delight you. Imagine if you can,

make the line between influence and outright

someone taking one of your photographs,

copying fuzzy, but to erase that line altogether.

copying it, blowing it up very large, and then

The first works Richard Prince created in

selling it for a six-figure sum. Wait, that’s six

 the lat latee ’70s ’70s did sell sell for hundreds of thousands,

figures without the decimal point! Yes,

and Christie’s did auction a print for $1.3 milmil-

hundreds of thousands of real dollars. And

 lion  li on,, and and ag agai ain n a fe few w yea years rs la late terr for for $3 $3.4 .4 mi mill llion ion..

 then a prestigious prestigious auction auction house, Christie Christie’s, ’s,

They were all images of Marlboro ads. Prince

auctions off another one of those copies of 

 took ads he liked liked and blew blew them up. up. That’s

 your photo for for $1.3 million. million. Just when when you

it—cut them out, copied them, and made

 think it’s as horrible horrible as can be, you find find out

 large prints. prints. By his own admis admission, sion, he never

 that 41 of your your images have have been copied copied and

even went into a darkroom; he just took 

put into a big gallery show, and subsequently 

 them to to a cheap cheap lab and and had them blown up.

sold and traded for a sum of more than $16

 And here we we are, struggling struggling trying to

million! That’s Lotto money in most states.

create original, creative works of our own.

 And throughout throughout all this, this, not only only do you

    )   s    k   o   o    B   e   s   u  ,   o    0   h    0  r   e    0  w    2   o   u   P     (   o    i   r    ”   a   !   a    C   t    k   s   c   a    i   r    R    t   a   s   e    P   Y    ©    “

“Appropriation art” in the ar t world, but “I call “Appropriation it stealing,” says Reznicki. An image from Richard Prince’s “Graduation” top, and Cariou’s “Yes Rasta!” above.

 Who knew? Through all all that, the the photog photog -

not see a dollar or even one thin dime from

raphers of those Marlboro cowboy ads could

published 2,000 copies of a book titled “Yes,

 the sale of what what are cop copies ies of  your   your photos, you

not do a thing. The Phillip Morris Company,

Rasta!” (Powerhouse). Prince used 41

don’t even get a thank you from the “artist”

 which owns owns the Marlboro Marlboro brand, brand, always

images from that book for a show titled

 who  wh o sto stole le,, exc excus usee me, me, “a “app ppro ropr pria iate ted” d” you yourr wor work. k.

negotiated for copyright transfers. That’s

“Canal Zone” at the famous Gagosian Gallery.

I can hear a chorus of readers screaming, “Sue

 why for years years I’ve advocated advocated that, that, if they’re they’re

(For what it’s worth, Prince was born in the

 the bum!” Not so fast. Some Some of the photog photog--

paying you enough, license as much as you

Panama Canal Canal Zone.) Cariou Cariou sued for the

raphers in this tale sold their copyright, which

need to, including exclusive use licenses and

copyright infringement infringement of his work. The art

gave them exactly no rights at all to their

forever rights, but maintain the copyright

pundits all said, “What a waste of time.” No

photos. To make matters worse, the copyright

 yourself.. In the Prince  yourself Prince case, I’m making making the

 way could could Prince lose lose the case, as as

holders, who also didn’t get a penny from

assumption that Phillip Morris decided that

appropriation art was “fair use,” an overused

 the copied copied work, have have no intention intention of suing.

 the ads were were no longer running, running, and and that

defense made by those who steal the work of 

made it free advertising. There was no upside

others, with all sorts of rationalizations.

Think this is a fairy tale? One to scare  you and get you to to maintain your your copy -

P.R.-wise for Phillip Morris to sue. So Prince

rights? Nope. It’s all sadly true. Artist

 just continued continued cranking cranking out blowups blowups of the

over the case, Judge Deborah Batts, didn’t

Richard Prince has made a successful and

ads. It was easier than printing money.

see it that way. She gave her ruling (see box,

extremely profitable career doing all of the

In 2008, Richard Prince had a show, and

 Well  W ell,, turns turns out the Fe Feder deral al judge judge pre presidi siding ng

p. 35) in late March of this year. Judge Batts

above. And it’s no secret that the work he

 this time he he appropriated appropriated the work work of not

knocked out all the fair use defenses Princes

creates is copied from others. It’s called “appro“appro-

ads, but of fine-art French photographer photographer

 threw up and and ruled for Cariou. Cariou.

priation art” in the art world. In my humble

Patrick Cariou.

opinion as a photographer, I call it simply 

In 2000, after many years of living with,

Prince’s show did sell $10.5 million-worth of work, and the gallery traded some of the

stealing. In the fine-art world “appropria -

getting to know, and gaining the hard earned

pieces for other artwork, valued between $6

 tion art” has slowly slowly become become an accepted accepted

 trust of a group of Rastafarians, Rastafarians, Cariou had had

million and $8 million. To top it off, the

32 • www.ppmag.com

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FAIR USE, IN PLAIN ENGLISH 4 factors that determine fair use I

BY ED GREENBERG

“Fair use” is a category of works that are,

commercial. Is the work “transformative,”

taking, stealing, appropriating from the

in effect, exempted from the regular rules

or merely a substitute for an existing and

original that marks the legal boundary

of copyright. In plain English, the courts

presumably registered registered original. A book or

line. It is not like a breathalyzer test

permit a work that fulfills the requirements require ments

movie review that quotes original

where you are either under or over the

set by the law to be classified as a fair

dialogue is likely to be determined more

limit. That such a percentage exists is a

use, and thus it can be used without

fair and transformative than a mere copy

myth that simply will not die. Courts look

infringing upon the rights of the copyright

of the original that’s claimed to be fair

to whether the “heart of the original

holder (creator) under the Copyright Act.

use simply to avoid paying for a license

work” was appropriated by the work

If the work is classified as a fair use, it means

to use the original.

seeking the fair use exception. The

that the persons using it need not pay a

2. NATURE OF ORIGINAL WORK.

amount taken is indeed relevant, but it is

licensing fee to anyone, or pay a judgment

One cannot protect an idea or fact, only

not the Holy Grail of the fair use test as

for losing a case of copyright infringement.

an expression of an idea. Simple sample:

some people wrongly assume.

Big bucks are frequently at stake. Some claim that fair use simply legitlegit-

Ed can’t protect—register—the idea of Lady Gaga in modern football gear running

USE ON THE COMMERCIAL

imizes a special category of stealing. Others

over Madonna in an old fashioned leather

MARKET OR UPON THE VALUE

assert that fair use is sensible and allows

helmet and holding a football merely by

OF THE ORIGINAL. Does the new

for freer discourse. There are attorneys

thinking it up. Jack can with his camera

work serve to reduce the demand for the

on each side, and many who switch sides

create an expression of the above—a

original in the commercial marketplace?

from case to case. The concept and the

photograph—and that expression can be

Does the new work serve to devalue or

term are frequently, in fact almost always,

registered. A painter can create an oil

dilute the price of the original in the

misunderstood by attorneys who do not

painting of the idea, and that expression

commercial marketplace?

practice copyright law, law, as well as by

—the painting—can be register registered. ed.

photographers. While most lawyers will

4. THE EFFECT OF THE “NEW”

Courts will also look at things like the

The more “facts” in the original, the

behavior of the parties, the motive of the

admit their uncertainty when pressed, by

greater the chance that the work seeking

lawsuit (e.g., to squelch criticism or kill a

and large, photographers do not.

protection will qualify as fair use. A mere

competing movie or book), and whether

compilation of only facts and statistics

one party is simply attempting to

test to any work where a claim for a fair

might not qualify for copyright registraregistra-

outspend the other to force the party in

use exception to the Copyright Act is made. This test is not employed with the

tion at all. Think of a compendium of weather data for Las Vegas. If the layout,

the right to simply give up the good fight or risk bankruptcy. A successful claim is

simplicity of a mileage chart or the

organization, design and so forth are unique

not dependent upon satisfying any one

precision of a light meter. meter.

and original, then the “original” might

or more of the above factors.

The courts have applied a four-part

Here are the four factors the courts

qualify. However, if the “new” work is a

need to consider on a case-by-case basis

photograph strikingly similar to the

to determine whether a specific use falls

original, like those of the famous, unique

under this exception to the copyright laws.

photos of say, Richard Avedon, a claim of

As you read each factor, keep in mind that

fair use is more likely to be classified as

no one criterion alone clinches anything.

we lawyers like to say, as mucho lame.

1. PURPOSE/CHARACTER OF

3. HOW SUBSTANTIAL, HOW

USE. The court looks to whether the

MUCH OF THE ORIGINAL WAS

use is nonprofit, educational or flat-out

TAKEN. There is no percentage of

34 • www.ppmag.com

Ed Greenberg has been a litigator practicing in New York City for over 30 years and has represented some of the top photographers in the industry industry.. He has been on the faculty and a guest lecturer in the Masters Program in Digital Photography at The School of Visual Arts in New York and has lectured nationwide on photographers’ photograp hers’,, artists’ and models’ mod els’ rights on behalf of PPA as well as other industry associations.

Gagosian Gallery sold over $6,000-worth of 

opinion, all we’ll ever hear of it, as is in

redemption in this story would delight you

 thee show  th show brochur brochure. e.

most of these cases, is that the matter was

in the end. n  Jack  Ja ck Rez Reznic nicki ki is a ren renown owned ed co comm mmer ercia ciall peop people le and child photographer based in New York City and has served as president of PPA,  presiden  pres identt of the New New York York chap chapter ter of of Adver  Adver tistising Photographers of America (APA), sat on the JEC (Joint Ethics Committee) in New York, and served as a board member of the  American  America n Society of Media Media Photographer Photographers. s.

Judge Batts ruled that any unsold

settled to the satisfaction satisfaction of both parties.

pieces, any prints, catalogs, negatives, files,

That translates from legalese into the fact

anything that Prince or the gallery had that

 that one party was a lot happier than the

might con tain any of Cariou’s images had

other party, who wrote a very large check 

 to be turned over to Cariou. And any 

and got a non-disclosure agreement as

 buyers of the work (you really have to

 their part of the settlement. See, I knew the

 wonder who pays that kind of money for  this type of work) must be informed that  the work is in viola  tion of the U.S. copy right law, and cannot be publicly displayed  without the permission permis sion of Patrick Cariou. The good guys win a big one, one that establishes case law and will put fear into  the hearts of those who think stealing work  is “fair use” and an OK thing to do. There will be a settlement hearing  before this article goes to press. In my 

JUDGE BATT’S RULING That Defendants shall within ten days of the date of this Order deliver up for impounding, destruction, or other disposition, as Plaintiff determines, all infringing copies of the Photographs, Photographs, including the Paintings and unsold copies of the Canal Zone exhibition book, in their possession, custody, or control and all transparencies, plates, masters, tapes, film negatives, discs, and other articles for making such infringing copies. That Defendants shall notify in writing any current or future owners of the Paintings of whom they are or become aware that the Paintings infringe the copyright in the Photographs, that the Paintings were not lawfully made under the Copyright Act of 1976, and that the Paintings cannot lawfully be displayed under 17 U.S.C. § 109(c)

July 2011 • Professional Photographer • 35

PROFIT CENTER

BY CARLA GRAY NELMS, M.PHOTOG.CR.

©Getty Images

 Winning bids Charity auction donations boost your image Many community groups, schools and nonnon -

charity are obvious. The benefits for the

profit organizations hold fundraising events

 buyers can can go beyond feeling feeling good about about

 that featur featuree an auction auction of donated donated goods and

making a contribution. Sometimes they’ll

services, such as luxury vacations, sports tickets,

get something they desire at a bargain. If 

personal services and artwork. Auctions can

 they pay the the full price price or more, they they get the

generate significant financial support for a 

 thrill of winning winning out over over their peers, peers, not to to

cause, and usually both the donor and

mention hearty cheers.

purchaser can use the price of the item as an income tax deduction.  Auctions can take several forms. In an

For photographers who donate their

 tainmentt can afford  tainmen afford your work. Ask Ask how 

ser vices, the publicity and good will can

many patrons are expected to attend—

have lasting benefits. Auctions can bring

several hundred would be great!

online auction, photographs and descripdescrip-

in any number of new clients, and spread

 tions of the goods are posted on an inter inter--

 your name into ne w neighborhoods and

supports women’s heart health; six schools;

active website where people register to browse

friendship friend ship circles. Besides the winning

 two Rotary Rotary clubs; The The Children’ Children’s Museum; Museum;

and enter their bids. Though online auc tions auc tions

 bidders, many qualified potential clients

Camp Comfort Zone for grieving children,

can reach a vast audience, participants partici pants may 

 will be exposed to your work during

and others. We never donate to charity 

not necessarily be in your target market.

 the event and take home your promo-

raffles because there’s no way to qualify the

 tional materials.

prospects and no guarantee that the winner

Silent auctions are held at a fundraising gala or other event. The donated goods are

 Your  Y our reputation reputation as an artist artist and as

 We donate donate to Go Red Red for Women, Women, which which

 will even be be interested interested in your services. services.

displayed around the venue, each with a 

someone who cares about the community 

People who bid on your services are

sheet of paper on which attendees write

can only be enhanced.

definitely interested.

 their bids. Throughout the event, guests

Charity auctions have been highly 

ENRICH THE SOIL. Write a letter to

check on the latest bids on the items

profitable profit able for our studio. Over time,

 the auction committee, explaining in detail

 they’re interested in, and can make a 

 we’ve picked up some strategies to maxi -

how you want your donation or sample

higher bid if they choose. As the bidding

mize our efforts.

displayed. Provide the exact wording to be

deadline approaches, the compe tition compe tition for

CHOOSE A FIELD. Target an auction

used to describe your business and your

 the most popular items heats up and

event likely to attract people in your target

donation in the event promos and auction

excitement builds. This kind of event can

market. Call charities and schools in affluent

program or catalog. Our short version

get a lot of the right eyes on your display of 

areas of your community to inquire about

reads, “A custom portrait session and

products. Traditional live auctions with an

upcoming events. Ask about the price of tickets

20x24-inch unframed portrait will be

auctioneer at the helm can build excited

 to the event. event. At $75 and and more, the the attendees attendees

created for you by Master Photographer

 buzz, too.

 will be qualified qualified prospect prospects; s; people people who will

Carla Nelms of Nelms Photographic

pay $150 per couple for an evening’s enterenter -

 Artistry.”” If there’s space, provide more  Artistry.

The benefits of auctions to the selected

detail. Don’t leave this all-important description to the event planners.

“Charity auctions have been highly  profitable for our studio.” 36 • www.ppmag.com

Make the look of your certificate of  award reflect your branding. Don’t take  the easy route with a generic certificate. Imprint a redemption deadline, such as,

“Redeem prize within seven days. Please

event, the attendees and my perception of 

 while to meet people and be seen at comcom-

call [studio’s phone number] to activate

 the nonprofit cause. For For expensive private

munity events.

 today..” That gives you the opportunity to  today

schools, I donate a 20x24 gallery wrap and

collect the new client’s contact informa -

a portrait session for a live auction, and

if the charity will release it. Call to congrat congrat--

 tion. Ideally, Ideally, you will book the client

four sessions and 8x10 certificates for a 

ulate them, and thank them for supporting

during that first call. If not, be sure to call

silent auction. The first time with a group,

 the charity. charity. Send follow up information

 later with a reminder.

I might donate one session and an 8x10

and make a personal connection. Enter

and see how it goes. You don’t want to give

 them into your client database.

PLANT HIGH-GRADE SEEDS.

I

HARVEST.

Get a list of all the winners

display a 20x24-inch framed montage of 

away your most expensive item and see it

my work with my logo and website promi promi--

go for far less than f ace value; that will

our auction clients—in fact, these account

nently placed. I use a high-quality table

only devalue the perceived per ceived value of your

for some of our biggest sales. If you don’t

easel and display my 5x7 info cards in a 

 work. In a slow economy, economy, auctions don’t

get the sales you expect from an auction,

cardholder.. Make sure each of your items is cardholder

draw as many bidders, and the ones who

 try another group. Vary Vary the kinds of 

marked with a sticker on the back display -

do attend could be bargain hunting, so be

charities and plant those seeds again.

ing your contact info. Showing a rotating

choosy about your events.

gallery of your work on a laptop is an eyecatcher, too. DON’T GIVE AWAY THE FARM.

My donation depends on the quality of the

TEND THE CROP.

 We usually make make very nice sales from

n

Go to the auction

 yourself to check your display and see what  the crowd is like—a vibrant young crowd, elderly bargain hunters? It’s always worthworth-

 See more from Carla Gray Nelms, Nelms,  M.Photog.Cr  M.Photog. Cr.,., CPP, CPP, at  nelmsphotography.com.

July 2011 • Profession Professional al Photographer • 37

PROFIT CENTER

STUDIO MANAGEMENT SERVICES

MENTORS FROM PPA STUDIO MANAGEMENT SERVICES ANSWER YOUR BUSINESS, MARKETING AND SALES QUESTIONS. FOR INFO ON WORKSHOPS, GO TO PPA.COM.

 Ask the experts Paying Pay ing for referrals, discouraging rescheduling  ©  G   e  t    t    y I   m  a  g  e  s 

Q: What’s a fair price to pay an event coorcoordinator for a referral? Someone proposed to refer me as a photographer for bat and bar mitzvahs for a 20-percent referral fee. To me that sounded outrageous, but my contact said other businesses are paying them that much for their referrals. A: Each region of the country has its own

customs and acceptable practices. It’s common mostly in metropolitan communities for a photographer to pay a referral fee to a vendor. The photographer has to be comfortable both financially and emotionally with paying someone else for a particular job. We all spend money on marketing, which to some degree is a referral fee. The amount of the referral fee is really the question here. To determine if a campaign is successful, we look at the numbers. Generally, the return on an investment in marketing should be about 10 times the cost. So if we send a direct-mail piece with an out-of-pocket cost of $800 (employee pay, design time, printing and postage), we consider the effort successful if we see gross sales of $8,000 as a result. Of that $8,000, we aim for the cost of goods sold to be 35 percent. If we have to add a cost of 20 percent for a referral fee, then the return on our investment invest ment is below the PPA benchmark for profitability.

38 • www.ppmag.com

By the numbers, at a cost of 20 percent per referral, the vendor will make more profit from the event than you will; after all, the referral cost him nothing. If you’ you’d d like to work with this vendor, I encourage you to have a face-to-face meeting. You You can certainly explain your position, that 20 percent is more than your business can afford to obtain a new client. You might suggest a smaller flat fee that would cover each event, whether they reserve your smallest or largest packages/ collection. Maybe start with an offer of 5 percent of what you charge for your smallest collection, and see where the negotiations go from there. At the very least, you need to evaluate the offer from the viewpoint of whether or not it’s good for your business.

a session a day or two before their appoint ment, that slot goes unfilled and I effectively use two or more slots to get one session completed. That’s unfair to clients who had to take appointments several weeks out, and it reduces my revenue. How can I manage this? A. I’m going to guess that you’re not charging

a significant fee or collecting a minimum purchase amount in advance. When there’s there’s no upfront financial commitment from your clients, your business actually drops down on their list of priorities. The more money you collect when the appointment is made, the higher your priority in their mind. It’s that simple. We implemented implemented a $300 reservation fee; $150 goes toward the session fee, $150 toward the total purchase. Keeping their appointments became a lot more important to our clients when we implemented the policy. Now something else on their schedule gets bumped when there’s a conflict. The chaos of cancellations and rescheduling nightmares are generally out of control in a business that’s not pricing professionally—in other words, too cheaply. Low pricing says, “We are running a highvolume studio like the major discounters.” The business is therefore attracting bargain buyers, who therefore treat you like a discount business. Perhaps in rethinking the type of business you do  want, you will decide to restructure your pricing and upfront fees. You will attract a higher level of clientele, who will respect and respond to your business policies. While it takes courage to grow to this level, that’s what established professional photographers p hotographers do in order to balance their creativity, production and profitability profitability.. n —Carol Andrews Jensen, M.Photog.Cr., ABI

—Jeff Dachowski, M.Photog.Cr., CPP Q. I have a full calendar, and I’m struggling with rescheduling. When people reschedule

Got a question? The SMS team wants to hear from you. E-mail our panel of experts c/o c/o PP editor Cameron Bishopp at [email protected].

collect upfront, the higher your priority in your client’s mind. The more you

O h  S n  na    p  a     p

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PROFIT CENTER

LIVING THE DREAM BY KIMBERLY WYLIE, M.PHOTOG.

 Are you worth it?

subject and setting the same way. When  you have unique visions for your art and

How to increase your perceived value

 business, you create create value that can’t can’t be replicated by anyone else.  You ou have the the power to to take ATTITUDE: Y

 In her monthly monthly column column,, Kimberly Kimberly Wylie discus discusses ses the the business business of photog photography, raphy, how the model  is changing, and how photographers can adapt. Wylie left her career as a successful financial  analyst for her dream job, photography. She joined Professional Photographers of America and  took advantage of the association’s Studio Management Services, and embraced the culture of   learning, mentoring and teaching others. Wylie now has a 3,500-square-foot studio in Dallas, and her business is among the highest grossing in the nation.

 your customer customer to a better better place than than he was  when he entered entered your studio. studio. You You do it by   being  bein g positiv positive, e, helpf helpful, ul, calmi calming ng and aut authen hentic tic.. It’s amazing how how the smallest thing thingss you do to make your cus tomer’s day better better can generate irreplaceable value. Recently, friends excitedly told me how 

©Kimberly Wylie

 they fell fell in love love with with a new rest restaurant aurant.. When asked, the waiter said no, the pasta there  was not gluten–fre gluten–free, e, but he’d he’d be happy happy to hop out and buy some. His whole attitude showed he cared about what was important  to these two diners, diners, that he’d he’d do do what he could to make their experience exceptional. That restaurant has two passionate cuscus  tomers for for life. Attitude Attitude can can carry you while while  you continue continue to learn and and perfect the the other elements of your art. LOYALTY: The key to building a loyal

client base is to turn your clients into friends. Photography is a personal business. Clients must be able to trust us. It’s no small decision deci sion to pick the person who will photophoto graph your wedding or your newborn baby. Embrace the work as an honor rather than a   transaction.  trans action. In other words, demonstrate  your loyalty loyalty to your client, client, and continue continue to do so with each experience with that client.  Why can some some photographers photographers charge charge more more

increase our value? Looking back at our

 After the sale, sale, write write a thank-you thank-you note.

 than twice twice the norm? norm? Why do some some photog photog--

 journey,, I see five  journey five key components: components:

Refer to conversations you’ve had, ask 

raphers book more sessions than others who

ARTISTIC VISION: This defines how 

questions and follow up. At the minimum,

run the same promotion? What do concon-

 you see light, pose your subject, subject, compose

deliver on time. Go above and beyond to

sumers base their decisions on?

 the frame, tell a story or pose a question

solve problems.

Consumers buy based on their perceived

 with the image—every detail the photog photog--

authenUNIQUENESS: Let your style be authen-

 value of a product product rather rather than its its intrinsic intrinsic

rapher makes a decision about, however

 you. It’s essential because it needs to  tically   ticall y  you

 value. That’s That’s why Prada Prada can sell sell a purse for for

small the detail or automatic the decision.

remain consistent to distinguish you in the

10 times the price of a regular purse.

 We are not paid to push a button. button. No two

marketplace. Find ways to show it not only in

photographers photog raphers will photograph a given

 your art, but your your branding branding and marketing marketing

 As photographers photographers,, what can can we do to

40 • www.ppmag.com

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Albums I Books I Profess Professional ional Printing I Cards I Sell Images Online I Gallery Wraps Albums Books I Profess Professional ional Printing I Cardsproduct Images Online I Gallery Wraps I Sell line, For pricingI and information on Collages.net’s complete visit www.collages.net/products For pricing and information on Collages.net’s complete product line, visit www.collages.net/products Photography All rights rights reserved. reserved. ©2011 Collages.net Inc. Photo © Michelle Arlotta Photography

as well. Your unique position in the

Topping the value curve doesn’t

market will boost customers’

happen overnight. overnight. For the next year,

perceived value of your work.

pick one thing to focus on from

EDUCATION:  Although

 the digital age brings numerous

each of these five areas, and I promise that next year

challenges to professional

 you’ll place higher up on

photographers, those who

 the value curve. Your

continue to educate themselves in the techniques of business and art will continue to rise on the  value curve. Education is one of   the best ways to differentiate differ entiate

 work will be more highly valued, and customers  willl pay  wil pay more more for it.

n

 yourself from the newer “profes “profes-sional” photographers in your area. Every year I pick two areas I want to explore more fully—not 10 areas, but  two. I am taking the time to master my  field and that separates me from the studio down the street.

42 • www.ppmag.com

©     K     i     m    b   e    r   l      y    W       y   l     i     e   

Close -Minded Photographers Close-Minded Photographers Are Our Best Customers. “

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“With MpixPro’s amazing knack   for prov providin idingg produc pr oductgs tgs that sell sell,, and an d thgeir thg eir amaz amazing ingly ly fast f ast gtur gturnar naround ound,, I am a m abgle ab gle to get ge t back ba ck tot o mgy mg y most mo st impor i mportant tant rgel rgelatio ationsh nships ips my husband and chilgdren - all while progviding my clients wigth products they wigll have for generatigons.” 7RVHHKRZ&DWKHULQHX 7RVHHK RZ&DWKHULQHXVHV0SL[3URS VHV0SL[3URSURGXFWVSOHDVHYLVLWP URGXFWVSOHDVHYLVLWPSL[SURFRP SL[SURFRP&DWKHULQH&OD\ &DWKHULQH&OD\

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 Where discerning p hotographers belon hotographers   g. PSL[SURFRP

PROFIT CENTER

BY KALEN HENDERSON, M.PHOTOG.MEI.CR., CPP

Starting over

• Who is my market? Who will actually  shop and pay for your services? Example: If you’re doing senior portraits, you’ll need

Step 1: How to design a business clients crave

 to reach both the students and parents. • When do I want to work? If you

 Kalen  Kale n Henderso Henderson n never thought when when she

 A business business plan doesn’t doesn’t need to to read like

 won’t work on Saturdays, you’d better

retired from photography that she would 

a doctoral thesis, but it does need to answer

not be a wedding photographer in the

miss studio life enough to return. Here, and 

 these questions questions::

Midwest. If you can’t work on weekdays

in the next few issues, Henderson shares

•  What  What is is my overall overall objec objective tive?? Examples Examples::

what she's learned starting over in an

 to develop develop into a great photogra photographer pher,, to

industry dramatically different from the one

make a huge profit, to provide a valuable

she first entered more than two decades ago.

service while making a modest profit.

in the fall, don’t plan on being a school photographer. • Where am I going to do the work? Location, location, location. It isn’t always

•  What  What am I going to photograph?

 the most visible location, especially in the

In the grand scheme of things, life wasn’t

Examples: seniors, weddings, children,

 business of photography. Examples: in my 

supposed to be like this. I had sold my 

school groups, families, pets. List everything.

home studio, in my clients’ homes, in a 

photography studio, and less than a year

retail location, outdoors, 45 minutes’ drive

 later,, I was looking  later looking for something something to do.

outside the city.

Only what I really wanted to do was to

• How will I get clients? Get a grip

eat Chick-fil-A. No other chicken sandwich

on your marketing and plan how you’ll

 was going to satisfy my craving for that

drive people to your door. Marketing

 yummy chicken in a soft bun dressed with

includes knowing the demographics of 

only a dill pickle and served by a nice person

 your location, having a finger on the

in a clean restaurant that’s closed on

pulse of your desired clientele, and much,

Sundays. Chick-fil-A was 45 minutes away. One day while making the drive I began to  think   thin k wouldn’t wouldn’t it be wonderful to have a pho -  -  tography business people craved enough to  drive 45 minutes to reach? The reach?  The concept for a new pho tography business business was emerging. I might have retired, but I was more curious than ever about the work ings ings of   the photographic industry, especially with  the current influx of part-time photogphotographers. I began to study successful studios and how they adapted their business plans  to ride the ebb and flow of the economy  econ omy  and ever-changing trends. One thing for sure: If a studio was going to thrive, the owner had to run it like a business. Even if you have more than enough cash for a business start-up, without the founda  tion of a sound business plan, the enterprise will not survive.

46 • www.ppmag.com

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   ®   s   w   o    C    A      l    i    f      k   c    i    h    C   e    h    t    d   n   a

   ®   n    i    k    i    h    C   r   o    M    t   a    E  .   c   n    I  ,   s   e    i    t   r   e   p   o   r    P    A    F    C    1    1    0    2    ©

much more. Then come the really hard questions: • What makes me different? • How can I capitalize on my strengths? • What does the public want and need? • What already exists and what are the  weaknesses of those competitors?  Your plan also needs to include everything you’ll need to purchase to put  this plan into action. W hat actual products  will you sell? Put a price tag on each item, and you’ll begin to understand how you’ll need to price those products to balance  the equation. Remember, though, a new   business usually doesn’t make back the initial investment in the first year. It takes  time, even when you do it the right way  from the start.

n

 Next issue: The New Studio Diet.

 Prof  Pr ofess ession ional al Pho Photog tograp rapher her

PRESENTS

Products, Technology Technology and Services

 Wh  W hat I like  Page Ber  Page Berte telse lsen n build buildss on composition & exposure  What’s the best best equipment equipment invest ment you’ve ever made? I bought a  Hasselblad 501CW camera when I started to fall in love with photogphotog raphy. That camera forced me to be intentional with my composi tion  tion and focus, and to measure light  with an external external light light meter. meter. Now  I also shoot with a DSLR, but the Hasselblad keeps me connected to  the excitement excitement of photogra photography phy..

 When you need to move move fast fast,, what’ what’s  your most most valuable valuable piece of equipequipmemment? My GoBee Hip Clutch memory card belt pack allows me to swap cards on the fly. It looks great, too.

 What one piece of of gear could you simply not live without? Adobe Lightroom. After weddings, I process  thousands  thousa nds of images. images. Lightroom Lightroom is easy to use and allows me to edit the images efficiently. I use the CollecCollec  tions feature feature constantly constantly to manage manage my images files, allocating groups  within jobs jobs for different different outputs outputs and uses. IMAGE BY PAGE BERTELSEN PAGEBERTELSEN.COM

July 2011 • Professional Photographer Photographer • 51

GOODS

PRODUCT ROUNDUP BY ROBYN L. POLLMAN

Innovative products straight from the lab

Latest and greatest

This month photo labs and printers share their newest products. Stay ahead of the curve by  adding these items to your lineup.

OFFERED BY: PIXEL2CANVAS Innovation comes to the fore with the new Pixel2Canvas GEOMETRIX line of canvas prints. The hex-shape makes designing a wall grouping fun and easy. Your customers have never seen anything like it. These pieces can be grouped vertically, horizontally, or in organic designs that will fit any wall area; just download the templates.

PRICE: AV AVAILABLE AILABLE WITH REGISTRATION. pixel2canvas.com Images by Jessie Baldwin of speckled bird art (speckledbirdart.com).

OFFERED BY: MILLER’S PROFESSIONAL IMAGING Miller’s FOLDED LUXE CARDS come in 5x5 and 5x7 inches. Paper selection includes smooth, linen, and pearl finish. PRICE: STARTS AT $1.80 PER CARD. New FLAT LUXE

CARDS give you fresh reasons to swoon. Luxe Cards are finished in scalloped, leaf and ornate edges, and in rectangular, square and circle shapes. PRICE: STARTS AT 97 CENTS

PER CARD. New LUXE STICKERS help you spread the word, turning studio packaging into a powerful branding tool. Sizes include 1.375x3.5, 2.5x3.5 and 3x3 with ornate edges. You can order stickers in sets of 50 with a different design for each sticker in the set. PRICE: ST STARTS ARTS

AT $20 FOR A SET OF 50. millerslab.com

OFFERED BY: MOO Moo never cuts corners, but they made an exception for this new line of business cards. They’re printed on thick Moo Classic Stock, which has a smooth satin feel. ROUNDED CORNER BUSINESS CARDS have full color on both sides and the option of Printfinity, a different image on every card front. Dare to be memorable with these stylish rounded corners. Little details can make the biggest impression. PRICE: STARTS AT $23.63. moo.com

52 • www.ppmag.com

P   a  y  a n  g  a n  , B  a l    ,i   I   n  d   o B n  e  s  i    a  |    C A M E  R A :  B  S  I    G M A  S  D 1  4  :  I    S   O 1   0  0 B  , F   6  .  3   , 1   /   6   0  s   e  c  |   B L  E  N  S  :   S  I    G M A A P   O  5   0 B  5   0  0 m m F  4  .  5   6  .  3  D  G B  O  S  H  S  M :  2  2   6  m m  (   5   0  5   0  0  ) 

SIGMA LENS for DIGITAL DIGITAL NEW RELEASE

APO

High ratio ultra tvelephoto zoom lensv covering from standvard range of focal v lengths to telephovto and incorporativng Sigma’s original OS function

50-500

mm

F4.5-6.3 DG OS HSM

This lens is equipped with Sigma’s unique OS (Optical Stabilizer) function. This system enables hand held photography for many types. Four SLD (Special Low Dispersion) glass elements provide excellent correction of color aberration throughout the entire zoom range. Incorporation of HSM (Hyper Sonic Motor) ensures quiet and high speed AF, while allowing full-time manual focus override override.. The addition of the optional APO TELECONVERTER produces a 1000mm ultra telephoto zoom lens.

Lens Hood and Lenst Case supplied

Sigma Corporation Corporation oft America 15 Fleettwood Ct. Ronkonkoma,t NY 11779 11779 (631) t585-1144 USA 3 Yetar Service Protectiotn Protectiotn

www.sigma50th.com

OFFERED BY: WHCC CUSTOM IMAGE BOXES from WHCC hold 4x6 and 5x7 prints and 6x6, 8x8, 10x10 and 12x12 albums—nine sizes in all. A custom photo photo cover cover,, printed on luster luster or metallic photographic paper with a matte laminate, is wrapped around the Image Box, and you can customize the cover, spine, and back. Also available for covers, a variety of fabrics, leathers, and suede, and an optional stretchy black latch. Complete your box with an inside panel in black fabric or a photo print. Risers are available to fit in the bottom of your box when you have fewer than the full capacity of prints. You can also include a riser and CD insert together.. PRICE: $61.50 AS SHOWN. whcc.com

OFFERED BY: MCKENNA PRO New ACCORDION BOOK sizes and papers: 2x3, 3x3, 3x3.75, 4x4, and 4x5 inches, covered in shimmering pearl media with a soft-touch matte surface, and finished with a magnetic clasp. Use the company’s design templates or a custom spread. Matching presentation tins are available for all sizes. PRICE: $7.50 TO $8.50.

METAL TINS come in 10 sizes with your image printed directly on the metal. There’s a tin to accommodate prints of 8x10 inches and smaller, as well as CD and DVDs, and five accordion album sizes. The metal print line extends to large-format aluminum, which can be mounted close to the wall, raised, or suspended. The whites and highlights in your image allow the natural metal finish to show through. PRICE: STARTS AT $5.99. LUNCH BOXES have a printable Mylar sticker with a white base that beautifully reproduces vibrant colors, shadows or highlights. Sizes: snack box, standard lunch box, briefcase, mini-top and side-opening. CHROMALUXE IMAGE BOXES feature black leather binding and back cover, and custom-printed front covers with a scratch-resistant Chromaluxe coating. These elegant yet sturdy boxes close nicely with magnetic clasp. PRICE: TBA. mckennapro.com

54 • www.ppmag.com

OFFERED BY: MPIX PRO ACCORDIAN MINI ALBUMS make big impressions in small packages. The Minis are the perfect presentation for 2.5×3.5 and 3×3 photo pho togra graphs phs,, and are printed p rinted on pearl or linen paper. Art Cloth covers come in black, brown, cream, blue, pink, and red, and custom photo covers covers with a satin finish. Concealed magnet clasp. Frosted Frosted slip cover available. PRICE: STARTS AT $9 FOR 1 OR 2. mpixpro.com

OFFERED BY: PRODPI ProDPI adds BAMBOO PANEL MOUNTING to its lineup. Crafted of carbonized, vertical-grain bamboo, an FSC-certified renewable crop. With a predrilled keyhole on the back, the ¾-inch thick bamboo panels are ready to hang. Available on Fuji luster, pearl and matte papers, as well as Kodak metallic paper. PRICE: STARTS AT $40. Using the latest ECO printing technology ProDPI prints GALLERY WRAPS on white poly-cotton canvas. The canvas is free of optical brighteners and fluorescent whitening agents. The canvas and ink combo is rated for 100+ years of display life. PRICE: STARTS AT $51.50. Books with FUSION COVERS are printed on an HP Indigo press on recycled paper. The single-sided option allows you to design the front of the cover, with the rest covered in beautiful fabric. PRICE: STARTS AT $37 (PAGES SEPARATE). prodpi.com

OFFERED BY: COLLAGES.NET Brand new to Collages.net is the METAL ALBUM with MATTE PAGES. PAGES. The cover image is printed on metal, and the spine, back cover and corners are covered in distressed brown leather. PRICE: $380.75 AS SHOWN. In the Glam Collection, you’ll find the CROCODILE LEATHER ALBUM,, (embossed for the ALBUM

look  of

crocodile). All

Collages.net albums and books can be designed by the photographer with his or her software of choice; by the Collages.net design team; or with free design software by Collages.net, featuring over 150 templates. PRICE: $427 AS SHOWN. collages.net

56 • www.ppmag.com

Dzdz ȈȈȈ ȈȈ ȈȈ Ȉ  Photographed on Genuine FREEDOM CLOTH® by Kay Eskridge.

www.de www .denny nnymfg. mfg.com com

1.800.8 1.8 00.844. 44.561 5616 6

OFFERED BY: COLOR INC. PRO LAB The brushed aluminum 3/4-inch ST STANDOUT ANDOUT MOUNT is a lightweight backing with a thick plastic edge to display unframed images. The board comes with holes on the back, ready to hang. SLIM FLOAT MOUNTS are solid wood and ready to hang with the look of floating from the wall (3/4-inch clearance). clearance). Studio mounts are professionally professional ly finished with a smooth black laminate beveled edge and your choice of four finishing details. PRICE: STARTS AT $14.50. colorincprolab.com

OFFERED BY: MERIDIAN PROFESSIONAL IMAGING Meridian’s CRYSTAL SUMMIT ALBUMS sport clear acrylic covers in which you insert your own image. They have heavyweight heavyweight lie-flat pages, gilded edges, deluxe leatherwrapped presentation box, and your choice of Kodak Endura or Endura Metallic papers. PRICE: FROM $89. MeridianPro.com

OFFERED BY: BLACK RIVER IMAGING Inspired by French flea market mirrors and vintage labels, SPECIALTY SHAPED METAL PRINTS blend the vibrancy of metal prints with the ornament of contoured shapes. With 30 designs, ranging in size from 5x7 to 36x45, photographers and their clients can experiment away from traditional rectangular wall art. Specialty Shaped Metal Prints can be personalized with your own ribbon or hardware using the optional drill holes. PRICE: TBA. blackriverimaging.com

OFFERED BY: H&H COLOR LAB H&H offers a variety of METAL PRINTS in two finishes. Aluminescence has a transparent aluminum base; Brilliant has a bright, c lear glossy white base. PRICE: AVAILABLE WITH REGISTRATION. hhcolorlab.com

See more from Robyn L. Pollman at paperieboutique.com and buttonsandbowsphotography.com.

n

Perfect Layers is the fast and easy way to create layered files in Lightroom and Aperture. With Perfect Layers you can create and edit multi-layered Photoshop files directly within Lightroom or Aperture or use it to combine images from within other applications. application s. Use it to change skies, composite multiple images together and retouch portraits using the fibuilt-in blend modefis and masking brushfi. Try Perfect Layers today and experience how easily you can add layers functionality to your Lightroom or Aperture workflow.

DOWNLOAD PERFECT LAYERS TODAY AT

onOneSoftware.com

© 2011 2011 onOne Software, Inc. All rights reserved. onOne Software is a registered trademark of onOne Soft ware, Inc. The onOne Software logo and Perfect Layers are trademarks of onOne Software. Adobe, Photoshop and Lightroom are either registered trademark s or trademarks for Adobe Systems Incorporated in the United States and/or other countries. Aperture is a trademark of Apple. All other trademarks are the property of their respective owners.

THE TH E GO GOOD ODS: S: PRO REVIEW

Creating art prints just got easier and more economical

higher-end printers, you simply select the media type in the driver interface and let the

BY MARK LEVESQUE, CR.PHOTOG., CPP

device activate the correct cartridge.

 ty fo forr  H igh igh quali ty   ty  l ow ow quanti ty  EPSON STYLUS PHOTO R3000

The R3000 also marks the introduction of both wireless and wired Ethernet conconnectivity, which has a couple of major advanadvan tages  tag es over over the tra tradit dition ional al USB 2.0 connect connection. ion. There’s the flexibility in where you can situate  the device, device, and with the printer printer installed installed directly on your network, you can print from any computer on the network. (Note to

The low-volume professional and photo

used the R2880 extensively, so this development

 those interested interested in wireless wireless installation: installation: the

enthusiast market for 13-inch printers has

—less frequent cartridge changes and the

printer supports only the 802.11n protocol,

seen a number of advancements over the

resultant increase in productivity and

not the older, slower versions.)

 last few years. years. Epson’s latest in this this class

economy—is a most welcome upgrade.

reflects a commitment to respond to user

Rounding out the ink-delivery improvements

ably better, too, especially the paper trays and

feedback with improved operation and

 with the R3000 R3000 is having having both black black inks

guides; more robust, they slide without binding.

output. The new Epson Stylus Photo R3000

available simultaneously—no stopping to

Loading fine-art media in the R2880

proves a worthy successor to the Epson

swap cartridges when you change from

could be tricky, as it was all too easy to skew 

Stylus Photo R2880, with some nice

glossy to matte media and vice versa. As in

a sheet enough to prevent the printer from

The build quality of the R3000 is noticenotice -

upgrades and feature enhancements. Much of the technology of the R3000  was lifted from the R2880, a wonderful printer in its own right. The eight-channel, 180-channel-per ink MicroPiezo AMC print head is derived from the same design, but  the minimum droplet is down by 33 perpercent to 2 picoliters. The inkset is the same, UltraChrome K3 with vivid magenta. Like  the R2880, the R3000’s print head has  Advanced Meniscus Meniscus Control to control droplet placement and an ink-repellent coating to reduce clogging. The result is hassle-free printing and gorgeous prints  with the archi archival val longev longevity ity of of pigmen pigmented ted inks. inks. The R2880 had a tendency to require frequent ink cartridge replacement, especially  during large print runs. The charging sequence draws ink from all of the cartridges, so replacing one color can cause another cartridge to run low. The result is wasted ink  due to repeated charging cycles. The larger (25.9ml) and more economical new ink  cartridges help alleviate the problem. I’ve

60 • www.ppmag.com

New wireless and wired Ethernet connectivity allow for flexibility in networking and printer location.

THE TH E GO GOOD ODS: S: PRO REVIEW

With the Epson Stylus Photo R3000, you won’t have to swap black ink cartridges between glossy and matte media uses.

accepting it. The process is considerably  simpler with the R3000. Now you load fine-art paper from the front, aligning it against a clean edge. Simply open the manual feed tray, slide in the paper up to  the line, snug it up against the right hand guide, click OK, and the printer takes over  the loading, then indicates when y ou can return the manual feed tray to the retracted position. It’s a breeze and a time-saver. Skewing problems are essentially nonexistent. The R3000 has a reasonably wide color gamut. Skin tones are realistic, and the overall accuracy is quite good. This printer is especially adept at producing monochrome prints. With three “shades” of black in the UltraChrome K3 ink set, the printer makes exquisite neutral and toned black-and-white prints. You can do your black-and-white conversions in Photoshop or other applica  tion, or do it in in the print print driver’s Advanced Advanced Black and White Photo Mode. It’s easy to use and produces excellent results. You can control the toning of the print, but it requires some trial and error to dial in a  print, as there’s no preview to guide your  tweaking.  tweakin g. There is a small small thumbnail thumbnail of a  default image that shows the results of your settings in broad strokes, but that’s a far cry  from a color-managed view of the actual image with real-time onscreen updates. Direct printing to inkjet printable CDs and DVDs continues to be supported. The polished look of a custom-designed CD rarely fails to impress. The R3000 stands at the acme of the  line of 13-inch 13-inch printers printers meant for for the advanced amateur and low-volume professional. It not only yields museumquality output, it’s a joy to use.

62 • www.ppmag.com

n

specs: Epson Stylus Photo R3000 PRINTING TECHNOLOGY: Advanced MicroPiezo AMC print head with ink-repelling

coating; 8-channel, drop-on-demand, inkjet print head; pigment-based Epson UltraChrome K3 inkset with Vivid Magenta DROPLET: 2 picoliters, up to three droplet sizes per print line RESOLUTION: 5,760x1,440 dpi PRINT SPEED: 8x10 prints, approximately 1 minute 33 seconds; 13x19 prints,

approximately 2 minutes 30 seconds SUPPORTED OS: Macintosh OS X 10.5.x - 10.6.x; Windows 7 (32- and 64-bit), Vista

(32- and 64-bit), XP and XP Professional x64 Edition INTERFACE: Hi-speed USB 2.0, 100Base-T Ethernet, Wi-Fi Certified (802.11n only) DIMENSIONS: 24.2(W) x 32(D) x 16.7(H); 35 pounds BORDER FREE: from 3.5 x 5 to 13 x 19 inches MEDIA HANDLING: Manual top-loading feeder; front media path to accommodate up

to 1.3mm thick; CD/DVD tray MSRP: $849.99

THE TH E GO GOOD ODS: S: PRO REVIEW

The iDC System Zero Gearless Follow-Focus eases the effort of keeping your subject sharp through the whole shot

camera and adjusts the focus of the lens as  the camera camera moves moves through through the shot. shot. Focus Focus points are set by drawing little marks along

BY RON DAWSON

 the surface surface of the knob. knob. The marks marks are set set

Smooth operator 

 by getting getting the the right focus focus at the the beginning beginning

iDC GEARLESS FOLLOW-FOCUS

slowly adjusts the focus accordingly, evenly 

and end points of the shot, then marking along the knob where those points are. As  the camera camera or the the subject subject moves, moves, the AC  turning  turnin g the knob knob from mark mark A to mark mark B.

 When you you begin DSLR filmmak filmmaking ing from from a 

 A traditiona traditionall follow follow focus has has a round round

It takes skill to be an effective focus

pho togra  tography phy backgroun background, d, you quickly quickly learn learn

knob with grooves that mesh with the

puller. If you don’t have the luxury of having

 that any any movement movement of of the camera camera or subject subject

grooves of a gear that you wrap around the

a dedicated focus puller, you can still

makes it a challenge to stay in focus. You

 lens. The The knob can can move back back and forth forth to

simplify the focusing task by having a follow 

need to keep the subject in focus as you

adjust the focal length of the lens. On set, an

focus, such as the iDC System Zero Gearless

follow it with the camera, thus the product

assistant cameraman (AC) is assigned to

Follow-Focus, Follow-F ocus, on your DSLR. It’s much

 term “follow “follow focus. focus.”

 pull focus focus:: he or she stands to the side of the

simpler than angling your hand under the  lens and and changing changing focus the the regular regular way. way.

iDC offers an accessory mounting bracket for attaching microphones, small monitors and other gear along with the Follow-Focus.

This device was created by award-winning photographer and former Hollywood cinematographer,, Bruce Dorn, who brings cinematographer  years of of experience experience to the the design. design. Two aspects of the iDC Follow-Focus make it unique among such devices. First, it’s gearless —nothing needs to be wrapped around the  lens. The The rubber edges edges of of the device device create create enough friction to turn the lens. It’s quite ingenious. I used it on a Canon EF 28-70mm f/2.8 L lens, and it worked well the entire  time, moving moving the the lens fast fast or slow slow.. There’s no way for me to test how long the friction  willl hold  wil hold up over over tim time, e, but but assu assumin ming g the the kno knob b stays smooth for the life of the device, the gearless operation is pretty terrific (putting gears on a follow focus can be a pain). Many follow focus devices have a white sursurface you can mark on with a grease pen. With  the iDC device, device, if you you need to to make focus focus marks, you have to affix a thin strip of graphic  tape along along the the metal knob knob to write write them on. The other unique feature of iDC’s follow  focus is the camera-specific base plate that holds it to the camera. There’s a base plate for a Canon EOS 5D Mark II, 7D, and 60D

camera, and one for a Nikon D7000; a Canon

 you need. need. Once Once the main pieces are are put

of other name-brand follow focus rigs.

Rebel T3i base plate is in the works. The benefit

 together,  togeth er, you you won’t won’t need to take take them apart apart

Moreover,, this system won this year’s Moreover

of the custom fit is the ease of mounting the

again, so subsequent setups are relatively quick.

coveted DV Magazine coveted DV  Magazine Black Diamond

device to the camera. The downside is that if 

 With a list list price of of just $399, $399, the iDC iDC

 you have have different different models models of HD HD DSLRs, DSLRs,

Follow-Focus costs at least half the amount

 Award  Awar d for excellenc excellence. e.

n

Go to idcphotography.co i dcphotography.com m for more information.

 you’ll need a base plat platee for each each of of them. them. iDC makes an extended follow focus for longer  lenses,  lens es, such such as as 70-200m 70-200mm, m, and and an acces accessory  sory  mounting bracket for attaching microphones,

Gearless operation and a camera-specific base plate make the iDC System Zero Gearless Follow-Focus unique among such devices.

small monitors, and other gear. (See the iDC  video demo demo at vimeo.c vimeo.com/1 om/17579 7579181. 181.)) One frustrating glitch in my tests was that  the sc screw rew for the ha handl ndlee woul would d get get stuc stuck k in the hole, but iDC tells me they’ve fixed this problem. The instructions are IKEA-like—il IKEA-like—illustrations lustrations rather than words. My first assembly took  about an hour, from opening the boxes to having the follow focus up and running with  the acces accessory sory mount mounting ing brack bracket. et. The prod product uct comes with all the screws and Allen wrenches

July 2011 • Professional Photographer • 65

THE TH E GO GOOD ODS: S: PRO REVIEW

“All I can say is wow! This software outshines all others—including Photoshop—in drawing and painting paint ing effects. effects. It works works like butter .” BY MELISSA GALLO

Painter gains speed  COREL PAINTER 12

 © M  e l   i    s  s  a  G   a l   l    o

Having worked for 22 years as an illustrator

select images into digitally mastered oil

 After trying Corel Corel Painter Painter 12, 12, all I can say  say 

for romance novels, I know all about the

paintings and pastels for my photography 

is wow! This software outshines all others—

pressure of hand-painting artwork on

clients. Aiming to achieve the look and feel

including Photoshop—in drawing and

deadline. When I took up photography, I

of real oils and pastels, I could execute the

painting effects. effects. It works like butter . It has

 vowed I’d never paint paint again. Then Then I met

 work in a fraction fraction of the time time it would take take

an extremely intuitive interface, func tions func tions at

Corel Painter 11 software and began turning

 to render it in in traditional traditional media. media.

 lightning  light ning speed, speed, and tackles tackles even the the largest raw files photographers can produce. Painter 12 is a vast program with an astonastonishing array of art techniques, and it offers endless possibilities to the artist. Here, I’ll focus on the features that most interest me as a portrait painter. I was eager to try out  the aspects aspects I was already already familiar familiar with from using Painter 11, and I found several enhanceenhancements that greatly improve my workflow. The toolbox is significantly larger, mak ing it much easier to find the tools you’re  looking for. for. The Navigator Navigator panel panel is fantastic, fantastic,

The Navigator panel enables you to move to dif ferent areas of your work without switching tools.

THE TH E GO GOOD ODS: S: PRO REVIEW

enabling you to move to different areas of   your  yo ur work work wit witho hout ut swi switc tchin hing g too tools ls or ad adjus justin ting g  the zoom zoom.. That’ That’s espec especiall iallyy handy handy for worki working ng on large canvases.

The brushes you’ve used most recently are now displayed at the top of your workspace.

The behavior of panels and palettes has been streamlined. Now you can drag and group panels, and open and close them with ease. I

ring and saturation/value triangle. But now 

oh, the pastels—don’t get me started. The

especially love the new option to place the

 you can can slide the the little color color ring ring over over any 

artist can work with amazing speed. Here’s

palettes anywhere on your workspace, and even

spot on your painting to make minute

 where  whe re the the velocit velocityy of Pa Paint inter er 12 is mani manifest fested. ed.

resize them horizontally rather than vertically.

comparisons between the color you want to

If you want to recall the brushes you were using

apply in that space and the color that’s

most recently, no problem. Now they are concon-

 workfl  wor kflow ow,, so you can qui quickl cklyy acces accesss your your most most

already there. That gives the artist the ability 

 veniently  venien tly display displayed ed at the top top of your your work -

frequently used brushes and papers. For

 to make make precise chang changes es to hues hues and tones. tones.

space along the right side of the Property bar.

 You  Y ou ca can n eas easil ilyy cr crea eate te cus custo tom m pal palet ette tess fo forr you yourr

The high-quality display option is another

This review would not be complete

new feature. Zooming in close on a portion

 withoutt giving  withou giving kudos to to the wonderful wonderful Real Real

of your image in Painter 11 displayed displayed

 Wet  W et Oils Oils feature. feature. These brush brushes es can can simulat simulatee

frightening little stair-step edges. I often

 the mixing mixing of real real oil paints paints with solve solvents, nts,

 wondered  wonde red if my work work would would look look that way  way 

creating surprisingly realistic effects. You

Create custom palettes to access your most frequently used brushes and papers.

 when I printed printed it. it. In Painte Painterr 12, go up up to the

can, for example, create an under-painting

Property bar, click on the high quality 

of pale oil washes before adding layers of 

example, to group all of your oil brushes and

display button, and the jagged, pixilated

 thickerr and thicker  thicke thicker paint, paint, a procedur proceduree used

canvas types together, simply hold down the

edges will be smoothed out.

in traditional oil painting. I wish the Real

shift key and drag a brush or paper/canvas

One of my favorite enhancements in Painter

 Wet  W et Oils would would work work in cloning—p cloning—perhap erhapss

onto the workspace. It automatically forms a 

12 is the happy addition of a tracing paper

nice little palette, which you can name and

slider, located on a small floating clone-

save for future use. In the previous version,

source panel. Cloning photos and using the

is without comparison. You need only jump

it was too easy to accidentally create a 

 tracing  tracin g paper option option is an important important part part of 

in and start painting to be converted. It

custom palette; having to hold down the

my workflow because it saves me precious

affords photographers exciting options for

shift key eliminates such accidents.

 time. It allows allows me me to draw draw out the colors colors

creating masterpieces that will astound and

and shapes in the image rapidly and with

delight clients. I am convinced that

Temporal Colors palette. It’s similar in

ease, while adding the finesse and emotion I

Michelangelo would have abandoned the

appearance to the Color panel, having a hue

convey through my brushstrokes. That’s one

ceiling of the Sistine Chapel and his paints if 

of the best features unique to Painter, saving

he’d had a computer and this software.

 Another  Anoth er pleasant pleasant surprise surprise is the the new 

The Temporal Colors palette lets you make precise color comparisons and changes to hues and tones.

 you time time and money money by avoidin avoiding g weeks of  of 

my only disappointment in Painter 12. I am not complaining. This new version

The full version of Corel Painter 12 sells

rendering. In Painter 11, clicking the tracing

for $429; the upgrade sells for $229.

paper on and off to compare your painting

 Volume  Vo lume commerc commercial ial and and education education licenses licenses

 to the origina originall underneath underneath was was rather rather tricky tricky.

are available. corel.com/painter

n

The designated button might or might not  work. Now Now with the the tracing tracing paper paper slider, slider, you you can easily adjust the opacity of your painting  to see any any percentag percentagee of the image image below below.. Corel has developed wonderful, realistic  brushes.. In v.12,  brushes v.12, they’re they’re more more luscious luscious than than ever. The oil brushes are rich and creamy and,

68 • www.ppmag.com

 Melissa Gallo  Melissa Gallo is a classically classically traine trained  d  illustrator and painter who specializes in  portrait  portr ait and family family photog photography. raphy. See more more at melissagallophotography.com, and visit  inapainterlyfashion.blogspot.com for help with technical aspects of digital painting. Gallo’s webinars on digital oil and pastel   painting  pain ting are avai availab lable le at at marath marathonp onpres ress.c s.com. om.

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THE TH E GO GOOD ODS: S: PRO REVIEW

The holster system spares your neck, frees your hands, and gives you better control over your second camera. BY JOAN T. SHERWOOD

No hands SPIDER HOLSTER BLACK WIDOW AND S PIDERPRO

Earlier this year, Spider Holster introduced

a belt and a holster with a locking mechanism.

cameras ranging in size from the Olympus E-

 the Black Widow Widow Camera Camera Holster Holster,, a smaller, smaller,

Firmly secure the pin or the SpiderPro’s pin

P1 to mid-level DSLRs like the Nikon

 lighte  lig hterr vers version ion of the the Spi Spider der Hol Holste sterr Spide SpiderP rPro, ro,

plate pla te to to the the bottom of the camera body and a nd

D7000, so I love the new smaller, lighter

 this one suitable suitable for for carrying camera  camera 

 the pin slips slips easi easily ly int into o the the ho hols lste terr. The The cam camera  era 

design. With an untucked shirt draped over

systems weighing less than four pounds.

hangs upside-down from the hip, lens pointing

 the belt, belt, it’s unobtrus unobtrusive ive and extraordinar extraordinarily  ily 

 to the the rear rear.. To To unhol unholste sterr the the camer camera, a, you you must must

handy. The camera secured, I don’t have to

release the lock, which prevents the camera 

use my hands to keep it from bouncing

from accidentally accidentally coming loose. The lock is

around as I do when I use a neck or shoulder

released by simply lifting the lever, which requires

strap.. Once you find the position strap position on your

 yourr oth  you other er ha hand. nd. With the pro pro style, style, you can can

hip where the holstered camera feels comcom -

set it in an unlocked position for fast access.

fortable, the bounce issue is resolved.

The Black Widow comes with a thin plate

Photographers who shoot with two bodies

so you can keep a quick-release tripod plate

can take a huge strain off their neck and

attached to the camera and still use the holster.

 back simply simply by keeping keeping the primary primary camera 

The plate also helps keep the orientation of the

on a strap and the secondary camera on their

 lenss rear  len rearwar ward d and and para parall llel el to to the the groun ground, d, com com--

hip. Spider Holster sells a two-camera holster

fortably distributing the weight of the camera.

 belt in the the pro style for for those who’d who’d prefer prefer to

The beauty of the Spider Holsters is their  versat  ver satili ility ty.. For For tra travel vel and eve events nts,, I ten tend d to car carry  ry 

carry a camera on each hip. Our SpiderPro  belt teste tester, r, wed wedding ding phot photogra ographer pher Chery Cheryll Pearson, Pear son, was thrilled with the lightening of 

The Spider Holster SpiderPro can handle the weight and bulk of pro camera systems and lenses.

 the load around around her neck neck when she she could carry her second camera, a Canon EOS 5D

The pro system has all-metal mounts for the

and 70-200 70-200mm mm lens secure securely ly and bounce-

holster and a thick, stiff thigh protection pad

free on her hip, though she likes to keep a 

 that’  th at’s inte integra grall to to the the bel belt. t. Th Thee Bla Black ck Wid Widow ow has has

 long camera camera strap attach attached ed to the body body as a 

a narrower, simpler belt and a smaller, softer

failsafe when she’s shooting.

pad, both of which can be removed and

The basic single-camera Spider Holster

mounted on any belt that’s up to the load

SpiderPro belt system retails for $135. The

 you plan to carry. carry. The The holster holster is made of a 

Black Widow Camera Holster and pin, sold

com bin  bination ation of lightweight resin and

separately, sells for $49.99. The Thin Plate

stainless-steel components. The Black 

and belt sell for $15.99 each, the pad for

 Widow pin attach attaches es with a standard standard wrench wrench

$8.99. spiderholster.com

rather than a hex wrench. The basic design of both models includes

70 • www.ppmag.com

n

The new modular Black Widow holster is made for camera systems weighing under 4 pounds.

PACIFIC albums

Eric Anundi says much of what makes Eric John: Fine Photographic Studio the premier studio in town is the customer experience. Today, 90 percent of his business business comes from from repeat clients and referrals. referrals. SENIORS

By Jeff Kent

Mission: longevity 

John: Fine Photographic Studio moved into

Eric and Shawna Anundi maintain a premier status

 to senior portrait portrait clients clients and modern modern

new digs just outside downtown Salem. The couple customized the retail space to appeal families. The Anundis figured they’d arrived. Then something strange happened. The

Eric and Shawna Anundi of Sublimity, Ore.,

dreamed of operating the portrait studio of 

studios in the area began to disappear. One

have watched the landscape of professional

 their dreams dreams in a retail retail location. location.

 by one, Salem Salem’s ’s retail phot photograph ographyy business businesses es

photography photog raphy changing since they opened

“Making the move was part of our long-

fell victim to the economic downturn and closed.

 their busi business ness in the 1990s. Shooting part

 term plan, plan,”” says Eric. Eric. “When I’d I’d go through through

By 2011, only one other retail studio remained.

 time, they they gradually gradually built a clientele clientele until until

Salem, I’d see the retail locations and the studios

 they could afford go full full time in 1998. 1998. They 

in this pleasant town, and I’d think  someday.”

In part, by setting themselves apart—and

 worked out out of an addi tion  tion to their their home and

Someday arrived in 2005, when Eric

above—the competition. “From day one, I

All images ©Eric Anundi

How did the Anundis weather the storm?

SENIORS

 wanted  wan ted to do do it rig right, ht,” says says Eri Eric. c. “I wan wanted ted to be

professional organizations, including PPA, and

 thatt referr  tha referrals als wou would ld be be criti critical cal to thei theirr growth growth..

 the top photograp photographer her in the area, area, not neces neces--

eventually became president of the Professional

“A lot of what makes us the premier

sarily the most expensive, but the one concon -

Photographers of Oregon. Meanwhile, he and

studio in town has been the customer’s

sidered th the e exclusive photographer in our area.”

Shawna were continually thinking of ways to

experience,” says Eric. “Today, 90 percent of 

To get there, Anundi immersed himself in

improve the customer experience at their studio.

our business comes from referrals, and we

photography, soaking up information from

 With a focus on on senior portraits, portraits, a little little less less

credit that to the experience we provide.”

every seminar that he could find. He joined

so on child and family portraiture, they knew 

“Eric does a great job of making clients feel good about themselves,” adds Shawna. “Even the senior guys, who might not want  to do these these sessions sessions at first, first, walk walk out talking talking about how fun it was. He makes the experience all about them and builds them up so they get excited about the images.” The enthusiasm continues through the post-processing and into the image prespresentation. The Anundis are adamant about showing clients only finished, digitally  enhanced images, and no image is posted online until the client has purchased it. “It’s all about the emotional reaction to the phopho  tograph  togr aphs, s,” says says Eric Eric.. “The “The only only way way we’ we’re re goin going g  to get get a sal salee is if the the clie clients nts are exc excite ited d the the first first  timee they  tim they see see the the full fullyy retouc retouched hed pho photo tographs. graphs. Dumping the raw files into a slideshow slideshow isn’t going to do it. I want to ensure they have impact, which means doing every  thin  thing g right right at capture, enhancing it right with Photoshop, and making the slideshow presen presen tatio  tation. n. We  want to control control the whole whole experience. experience.” The Anundis are always looking for ways  to keep things things fresh, fresh, especially especially for the the high school seniors. Recently, Eric has been inteinte grating video with his senior portrait presenta  tions. He He takes video video of certain certain segments segments of   the session, session, capturing capturing the candid candid moments moments  between shots shots and the the casual casual conversations conversations  with the the senior. senior. His goal is is to get subjects subjects to relax, laugh, cut up. After the session, he  weaves short clips clips and music music into the sales sales presentation using Animoto software. The addition helps elicit the emotional reaction Eric  wants  wa nts fro from m both both th thee subj subjec ects ts and th thei eirr pare parents nts.. “I’m trying to capture a little bit of the subject’s personality in motion,” he says. “That’s what

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SENIORS

“Eric does a great job of  making clients feel good about themselves. Even  the sen senior ior gu guys, ys, who mig might ht not want to do these sessions at first, walk out talking about how fun it was. He makes the experience all about them and builds  them up so they get get excited about the images.” —SHAWNA ANUNDI

makess parents make parents laugh—when their teenager

 betwee  bet ween n avera average ge phot photogra ography phy and pro profes fession sion--

goes from acting serious and grown up, like

ally crafted images. They can’t reach everyone,

studio has stayed the course. As far Eric and

a model posing in a fashion shoot, to giggling

and some prospects just aren’t going to see

Shawna Anundi are concerned, that course

and showing the child within. That quick 

 the differ difference, ence, but they they don’t don’t need to impress impress

 will continue, continue, even even if there’s there’s only only one retail retail

 transiti  tran sition, on, that that glim glimpse pse of of the chil child d who’ who’s still still

everyone. “I don’t want to photograph every 

studio left in town.

in the teenager, gets the parents every time.”

senior in town,” says Eric. “If we can reach

Despite their success and resiliency in  this changing changing market, market, the Anundis Anundis face the the same challenges that haunt other pro phopho  tograp  tog raphe hers rs in this this age of week weekend end war warrio riors, rs, Uncle Bobs and moms with cameras. “Everyone is a photographer these days,” says Shawna. “Unfortunately, the public isn’t educated about pro photography. There are a lot of people who don’t know the difference  between Uncle Uncle Bob and a real real pro.” That’s why the Anundis try to educate their audience. They have links to informat information ion about professional photography on their website, and  when  wh en tal talki king ng to cl clien ients ts,, they they exp expla lain in th thee port portra rait it process, the products they offer and the logic  behind their their prices. prices. When they they host parties parties for their senior reps, they put on a multimedia  display that demonstrates demonstrates the difference

76 • www.ppmag.com

 just 150 150 or so every year, year, we’v we’vee done our our job.”

That focus is a big reason the Eric John

n

 See more more from from Eric and Shawna Shawna Anund Anundii at  ericjohn.com.

 Arriving in New York  Arriving York just just two two days days before before 9/11, 9/11, Amis Amish h Thakkar Thakkar  turned  turn ed an unce uncertai rtain n future future into into the begin beginnin nings gs of an an empire, empire, using his determination to work hard and plan years in advance. WEDDINGS

By Stephanie Boozer

All images ©Amish Thakkar

T

he story of Amish Thakkar’s rise to sucsuccess in America begins in his home town of Baroda (also known as Vadoda Vadodara), ra), India, a bustling town of two million people, located about 300 miles north of 

 busy Mumbai Mumbai.. While earnin earning g an electrica electricall

engineering degree, Thakkar was also apprenappren-

 ticing with one one of Baroda’ Baroda’s most respecte respected d photographers, Ramesh Thakkar (no relation). “When I finished college, I was already a  professional photographer,” says Thakkar,  who soon soon gained gained enough enough experien experience ce to shoot independently, independently, while continuing to  work with with his mentor mentor.. He took took out a small  loan to to buy a camera camera setup, a Cosina Cosina 35mm  with a 24-7 24-70mm 0mm lens lens and Vivitar Vivitar flash. flash. “My first wedding covered the cost of my  equipment; there my journey began,” says Thakkar. In 1998, he’d set aside enough money to open a studio of his own. “It was a  one-of-a-kind studio with all professional equipment, one of the best in Baroda at that  time,” says says Thakkar Thakkar.. Thakkar spent time in Mumbai learning cinematography under Bollywood cinematog cinematog-rapher Gopal Shah. He began to produce docudocumentaries for industrial clients, which took  him throughout India and as far away as Germany. With commercial projects, weddings and portraiture, Thakkar’s business was  booming.  boomi ng. “I had had a good good name name in my city city and a lot of confidence in what I was doing,” says Thakkar, who noted an uptick in nonresident Indian wedding clients.

From India with love  An untapped untapped market market offers offers a bountif bountiful ul opportun opportunity  ity 

78 • www.ppmag.com

The Indian population in America was  burgeoning.  burgeo ning. Man Manyy of those those individuals individuals  traveled  trave led to their their homeland homeland to meet and and

WEDDINGS

marry a spouse, but the number of Indian Americans  America ns choosing choosing to marry in the the States

daughter. They arrived on September 9, 2001. “We were still suffering from jet lag. The

 was growing. growing. It was a largely largely untapped untapped

friends we were staying with didn’t have a 

market. Traditional Indian wedding cerecere-

 television,  telev ision,” says says Thakkar Thakkar.. “Early “Early in the the mornmorn-

monies can stretch over 10 days, and the

ing on September 11, a friend called to tell

rituals vary widely with the family’s religious

me what had happened, and the whole

 belief  bel iefs. s. For For Amer America ican n weddi wedding ng phot photogra ographe phers, rs,

 world changed. changed.” It was chaos, chaos, but Thakkar Thakkar

 while capable capable enough, enough, these these ceremonies ceremonies

still needed to work, and work fast.

 were difficult difficult to to fit into the the workflow workflow.. Thakkar knew a niche market awaited

“Nobody was in a position to support me in any way,” he says. “I had only $2,000

him in America. He took an exploratory trip

 with me and we were living day by day. I

 to see friends friends in Iselin, Iselin, N.J., N.J., in 2000, 2000, and

started to get small jobs, a few weddings to

spent a month with a photographer in the

help us survive. survive.””

area learning about the American approach.

The family limped along until February,

The following year, Thakkar left his studio in

 when Thakkar’s wife went into labor. He

 the han hands ds of trus trusted ted ass assist istant antss and and fle flew w to to New  New 

 borrowed  bor rowed a car to get her to a hospital on

 York  Y ork with his his pregnant pregnant wife and 5-year-old 5-year-old

Long Island. There were complications,

We’ve all heard tales about how great those really, really expensive European lights are supposed to be – super accurate, fast, consistent color, digital controls and all that. Fact is, most mono ash units now on the market are outgrowths of Paul Buff’s game-changing 1986 White Lightning™ Ultra design. Digital controls and packaging changes were added, but the core technology is fundamentally fundamentall y the same. Recently, Paul set about to create all new, next generation technology that will surely be the standard against which future mono ash units will be judged. The core of Einstein™ lies in its IGBT ashtube control (in place of more primitive analog methods), true digital control, and tightly integrated radio remote control with full color LCD display system. Einstein™ features plug-and-play global powering, absolutely constant color over an extraordinarily wide nine f-stop power variability range, ultra-fast t.1 ash durations for razor sharp action stopping, fan cooling, and a bright, voltageregulated 250W quartz modeling lamp precisely located in a frosted Pyrex dome for smooth-as-silk  Adjusta ustable ble in exac exactt digita digitall 1/10f 1/10f lighting patterns.  Adj

stops, its accuracy is unsurpassed by any other light on earth. But that’s just the start...the brilliant color LCD display is fully integrated with our 2.4GHz Cyber Commander™ to display and control virtually every aspect of the system - ash durations, color temperatures, Wattseconds, EU Numbers, model-to-ash ratios and more, either from the rear panel or from your camera. With the Cyber Commander™ (CyberSync™ system components meter up to sold separately), you can control  and meter  16 lights, bracket in camera f-stops, create in nite groups and more. No more calculating WS and light ratios – you can do it all in actual camera f-stops and even store complete setups on the supplied Micro SD Card. Of course, you can turn the recycle beeper and slave eye on or off, and meter, control and examine every parameter of each light (up to 16 lights) from the palm of of your hand. Fast 0.08 to 1.7 second recycle and crash proof power supplies allow up to 12 fps shooting and reliable operation from our brand new 3.5lb Vagabond MiniTM Lithium battery supplies. In short, no mono ash on earth even begins to come close to the All American Einstein™ 640. You’ll truly be singing: “What The World Needs Now is Einstein™, Sweet Einstein™” 

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WEDDINGS

Thakkar has taken in a six-digit sum for a single booking, a 10-day, no-holds barred  barr ed event. event. and his new  born son had to stay in the hospital for a few days. “I was on my own with no help,” says Thakkar. “We rented an apartment in New  Jersey, and when we were finally able to bring my son home, my wife said, ‘This is enough.’ That was the toughest time of our lives.” Thakkar saw only one way out. “This was it. From this moment I am not going to stop.” Thakkar registered his company, Fine  Art Productions, Productions, in in 2002. That That year he  booked 25 weddings weddings,, enough to afford afford a  house. A friend loaned him some starter money, and Thakkar set up a studio in a  retail space he shared with an Indian wedwed ding decorator, who sent him a few clients. Thakkar’s bookings doubled in 2003, and in 2005, he opened a second location in nearby  Edison. With 2,000 square feet, the studio could house enough equipment to do everything in-house, from printing to framing, and eventually album assembly. “The bigger space helped me get bigger clients,” says Thakkar. “That took our name nationwide. No Indian photographer had ever done this or had the courage to be this big.” Today, Thakkar owns three more loca  tio  tions, ns, one in Manhattan, one in Lake Mary, Fla., and a small satellite office in Houston. These onestop shops sell both photography and cinecine matography. Production is kept mostly inhouse, and the business is completely completely debt-free. “I believe in investing every dollar back 

82 • www.ppmag.com

PPA’S STUDIO MANAGEMENT SERVICES

“I JUST CAN’T SEEM TO GET AHEAD!”  Ever ye  Ever yell lled ed th that at in a mo mome ment nt of sh shee eer r fr frus ustr trat atio ion n? Th That at’s ’s wh what at dr draw aws s many photographers to PPA’s Studio Management Services (SMS). You’re a good photographer. But if you can’t manage your business, you’ll end up bankrupt or burned out. Or Or both. Let us help you get ahead… and go farther than you may have dreamed.

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business analysis, financial planning and specific recommendations QUALIFY: $20,000 in annual gross sales and attend a 2-Day Workshop COST: $600 GOAL:

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WEDDINGS

into the business,” he says. “Being an Indian, I hate to pay interest—I like to earn it,  though. I plan plan every dollar dollar coming coming into the studio and how it will be spent.” Thakkar shoots wherever clients need him  to, even even back in in India. India. He even books books a  couple of non-Indian weddings a year. “No matter how many weddings I do, they are all so different,” says Thakkar. “Every family   believes  believ es different differently ly,, which which is somethi something ng I just just don’t find with American weddings. They  don’t have the same energy.” Fine Art Productions’ wedding bills range from $8,000 to $25,000, depending on the complexities of the shoot and the inclusion of cinematography. Thakkar has  taken in a six-digit six-digit sum sum for a single single booking, a 10-day, no-holds-barred event. He doesn’t  brag about it, it, though. “Our studio studio policy is honesty, dedication, and commitment,’” says Thakkar. “We are there to give good memories  to everyone, we’re we’re not not just there there to take their their money. It’s not about the dollar value.”

n

 See more more of Thakkar Thakkar’s ’s portfolio portfolio and  cinematography at fineartproductions.net.

84 • www.ppmag. www.ppmag.com com

French-American photographer Elizabeth Etienne proves you can  be a fine fine artist artist and a worki working ng photog photograph rapher er without without compro compromisin mising g artistic integrity. She’s an absolute romantic and it shows. WEDDINGS

By Stephanie Boozer

M

aybe it’s her love of vintage French postcards and Hollywood movie stills. Maybe it’s her self-confessed hopeless romanticism. Maybe it’s her French upbringing. It’s probably all these things. WhatWhat-

ever the source, Elizabeth Etienne’s images are some tim  times es hau haunti nting, ng, oft often en whi whims msiical, and always evocative. She has a way of inviting

 your eyes to ling linger er over over a shadow shadow,, a silh silhouet ouette, te, or the bright curve of a beach umbrella. “A picture could be a quiet whisper, a  shout, a giggle, a tender moment, even just something cute,” says Etienne. “All of these are part of a couple’s relationship. A good portrait needs to capture something truly  authentic and uncontrived.” That principle has remained the driving force behind Etienne’s style, her pho togr  tographi aphicc raison d’être throughout her 20-year career. Like many artists, Etienne discovered it after much experimentation and a few mistakes in her early career. A graduate of the prestigious Brooks Institute of Photography, Class of 1989, Etienne started out shooting stills for the film industry. Retracing her French roots— her father is French—she moved to Paris for a few years, where she shot every  thing from album covers to travel stock to fine art. Back   then, her her work was good, but nothing nothing stood stood out as her signature, her trademark style. “I launched myself into the universe back All images ©Elizabeth Etienne

 wards,  war ds,” says says Etie Etienne nne.. “I was sho shooti oting ng from from the outside in, instead of the inside out. I wasn’t

La femme Etienne Pure enchantment in any language

86 • www.ppmag.com

shooting from my heart, but my head, trying  to land specific kinds kinds of jobs. One week I  wass cro  wa cross ss-p -proc roces essi sing, ng, ano anoth ther er we week ek I was was Ann Annie ie

Leibovitz. My work was all over the map.”  After struggling struggling to identify identify who she she was as an artist, Etienne decided to give up on  being a photograph photographer. er. “That “That was the the day I  became one, one,”” she says. says. “The day I stopped stopped

trying  to  to be a photographer photographer..” Unbound Unbound by  self-doubt, there was no stopping her. Today, based in the Los Angeles area, endorsed by Nikon and Kodak, with three  books to her her credit, Etienne Etienne caters caters to highhighend local and worldly clients, traveling to any  destination in the world to fulfill her commiscommis sions. She continues to shoot a variety of genres, from weddings and portraits to travel, stock  and advertising, fine art and architectural interiors. Having been focused initially on commercial assignments, Etienne was reticent  to shoot weddings weddings until until the art art director at at a  client ad agency asked her to cover his. “I was shocked,” she says. “I had this  vision of what I thought wedding photogphotographers were. I’d seen mostly traditional

(Continued on p. 90)

WEDDINGS

RULES OF ENGAGEMENT Etienne’s words of wisdom on stylized engagement sessions “Engagement shoots are a launching pad for any photographer because they allow you the freedom, time, and space to plan and prepare,” says Elizabeth Etienne. “You get the opportunity to get to know your client better, and you can create some really stylized images that make your portfolio look like more than just a wedding portfolio.” Etienne’ss most recent book, “The Art Etienne’ A rt of Engagement Photography: Creative Techniques for Photographing Couples in Love” (Amphoto Books), hit the shelves last month. It gives step-by-step instrucinstruction on producing stylized engagement photographs, and is illustrated with some 200 images. costs you money. What if it rains? What

often as she can, and prefers to shoot in

over the past 20 years: • Make them want it. Some clients

if your assistant doesn’t show up? If

natural light. Scouting tells her how to

your camera breaks, what will you do?

prepare if the light isn’t adequate.

don’t think of engagement sessions until Etienne shows them sample images

Get clients as enthusiastic about plan B as they were about A. Improvise. Once,

• Don’t rule out seemingly mundane locations. “There are a million cool

during the consultation.

it was raining on a beach shoot, so we

locations in every town,” says Etienne.

found a surf shop and I photographed

“Look around their own neighborhood.

wedding so they have more money for

the couple between two surfboards.

Ask older residents about the history of

photography and an engagement shoot,” shoot,”

They loved it.”

your town; maybe there’s a story there.

A few points she’s found indispensable

“I’ve had clients downsize their

she says. “I always pitch my session as a chance to feel like celebrities, to be totally pampered in every way.” Etienne has two engagement session packages, one of which includes profesprofes-

Etienne arrives on the scene with backback-

Always expand your horizons.”

ups for everything, a stash of umbrellas, and the serenity of knowing that she can

• Recycle. “I use images from my engagement shoots for my ad portfolio,

handle it if something goes awry.

recycle them into stock, and feature them

• Do your homework. Etienne always

in my portfolio of fine art,” art,” says Etienne.

sional hair and makeup styling, two localoca-

scouts the location. “I want shoots to be

“These images can create additional

tions and set styling. When she meets a

about 15 percent spontaneity and the rest

income for you.”

couple, she’s got ready-to-sign contracts to

is planned,” planned,” she says. “I always bring an

close the deal while their excitement is high.

assistant when I scout and do test shots.

locations and props, which can become

• Plan B. “It is absolutely imperative

It takes away the sting and anxiety if you already know you can do it.”

useful as stock and portfolio pieces. It’s an easy way to generate residual income

to have a backup plan,” plan,” says Etienne. “You do not want to re-shoot, because it

88 • www.ppmag.com

Etienne goes for outdoor locations as

Make sure to capture detail shots of

on work you’ve already done.

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WEDDINGS

(Continued from p. 87)  wedding photography that was very cookie cutter. But the art director said that’s why he wanted to hire me, because I was not that.” She approached the shoot just as she  would a large-sca large-scale le ad campaign, campaign, a mindset mindset she adheres to still. “I give the same care,  thought,, preproduction  thought preproduction and research research to to every job I shoot, whether it’s a simple portrait, a million-dollar wedding or a big  budget ad campaign, campaign,” she says. says. “I create create a  shot list of my ideas and scout locations, usually centered around a theme. I'll even create storyboard sketches sometimes.” Determining that theme is a collaborative effort between Etienne and the couple. Etienne takes time just talking with the clients. “If our communication is by e-mail, somesome  times I’ll just just send them them a questionnaire questionnaire..  Where did they they meet? How How did he propose? propose? “People love to talk about themselves and reminisce about how they met. All sorts of   things come come out, like like he’s a classical classical guigui tarist, so so we’ll bring along along a guitar. guitar. These make great props,” says Etienne. “Sometimes I look at a couple and it’s instant, other  times they they have a specifi specificc idea.” For a Francophile couple who appreciated good wine, Etienne set up a picnic in a  California vineyard. She brought along an old European bicycle and two berets, and instructed the bride to wear a bright red dress to pop out against the greenery. She’ll send couples in elegant cocktail attire to the  beach. For For vintage themes themes,, she’ll hit hit local prop shops and secondhand stores. “It’s like prepping for a full-blown ad shoot,” says Etienne. “That’s what’s so great. I can stylize  them  th em to loo look k lik likee vint vintage age po post stcar cards ds,, mov movie ie st stills, ills, or a celebrity editorial spread for a magazine.”  And it doe doesn sn’t ’t wrap wrap wit with h the the sho shoot. ot. Fo Forr the the  vinee yar  vin  yard d coup couple, le, Eti Etienn ennee pack package aged d thei theirr prin prints ts in a suitably old wooden wine crate. One side held a bottle of wine from from the vineyard, vineyard, the

90 • www.pp www.ppmag.com mag.com

WEDDINGS

otherr side othe side the prints. A handsome handsome corkscrew  affixed to the top of the crate became a handle. “Everything is based around the couple,” Etienne says. That and her classic style are a   big part of of her success. success. Coming Coming from from the old old school of film, where you had to get every  thing right right in-camer in-camera, a, gives gives weight weight and con confidence to Etienne’s photography. She concon tinues  tin ues to sho shoot ot in both both fil film m and and dig digita itall forma format. t. “[Film shooters] come from a place where  you had had to be very cautio cautious us about about what you you shot,” she says. “You couldn’t just start pushing  butto  but tons ns,, you you ha had d to to kno know w wha whatt you you wer weree doin doing g and what the results were going to be.” That’s the crux of what Etienne teaches other photographers. A member of the Nikon platform, Etienne is a busy speaker and teacher. “In some ways, technology has made things easier, but people have become lazy,” she says. “They don’t understand understand that the journey is an exploratory one. Slow down, take your time, explore light, explore composition. Light really  is the voice of the photographer. A subtle shift  left or or right, right, in patt pattern, ern, inten intensity sity or directio direction n can change the emotion and mood completely.” Understand Understan d that, and you understand

Inspiring packaging: After photographing a couple at a vineyard, Etienne delivered her images in a vintage wine crate along with something to sip while they looked through their prints.

how Etienne works—deliberately and  emotively.. “I do this for creative expresemotively expression,” she says. “There’s so much behind all of my images and how I create them.”

n

 See mor moree of Etie Etienne' nne's portf portfolio olio at eepho eephoto. to.com. com.

PP readers receive an exclusive 15 percent  discount dis count to a workshop or coaching  session conducted conducted by Etienne. Go to destinationphoto-workshops.com destinationphoto-workshops .com and enter   promo code PPA-007 PPA-007 at check out. GIVEAWAY

Keep an eye on PP ’s ’s FaceFacebook page this month to win one of three copies of Etienne's book, “Profit “Profitable able Wedding Photography” Photography” (Allworth Press). Become a fan at facebook.com/ ppmagazine.

92 • www.ppmag. www.ppmag.com com

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Page 2

072011

All images ©Page Bertelsen

THE ART OF

CANDOR Page Bertelsen follows the  light,, and her  light her unique unique artistic vision, to success INTERVIEW BY JEFF KENT

ith her distinctive style, Page Bertelsen is carving out a  niche of her own in wedding photography. One of San Francisco’ rancisco’ss most most sought-after sought-after photographers, Bertelsen combines fine art inspiration with a distinctive documentary style that’s rooted in her Northern California upbringing. Her images speak to the particular aesthetics of the denizens of the Bay Area. The look is very California, but the images also reflect the influence of her classical training at the International Center of Photography  (ICP) in New York, as well as the Santa  Fe Photographic Workshops. The clients she draws are progressive, artistically  inspired couples, who treasure the outout doors and the timeless cast of natural

Photographer  talked  light. Professional Photographer   talked to Bertelsen about the process of discovering her vision and building her business in  wedding photography.

 How did your your artistic artistic vision vision develop?  develop?  During my time at ICP, I studied the history  of photography, looking at all the great portrait, landscape and photojournalistic icons. I would walk the streets, and still do,  looking at light light and form, form, and then then comcomposing photographs. I’ve also taken work shops with professionals whose photography  and technique I admire, and not necessarily   because they they shoot weddings. weddings. With With this foundation, I come to each wedding with a  focus on light, composition, color and design, and I understand how to lead the  viewer’s eye to tell the the story of the day. day.

 How does does this this come to life for for your your clients?  clients? 

of place, with both wide-angle scenic photos

 Weddings  Wed dings have have become become creations creations by and

and detail shots. I use ambient light whenever

about the couple. I photograph to provide my 

possible, and emphasize composition, light

clients with a visual storyline that represents

and emotion in all my images. Clients appreappre-

 their personalit personalityy and style. style. I include scene-

ciate my ability to unobtrusively capture candid

setting photographs that give the story a sense

moments and emotions.

 Artistically  Artist ically,, what sets sets you you apart from from other  other   photographer  photog rapherss in your your marketplac marketplace?  e? I don’t describe myself as a wedding photographer,  but as a photographe photographerr who shoots shoots primarily  primarily   weddings.  wedding s. That’s a big distinction. distinction. I was was  trained and and educated educated at a fine-art fine-art photog photog-raphy institution. From that base, I grew  into photographing people and events using  the same apprecia appreciation tion for light light and comcomposition and technical proficiency. Images  that are striking striking to me me are always always about  light. I mix mix digital capture capture with with film capture from a medium-format Hasselblad camera. Taking images with that camera is a much more deliberate process. The Hasselblad images tend to be the ones my clients like to print large and hang on their walls.

 How does your your other other work—pe work—persona rsonal  l   projects,  proje cts, travel travel photograp photography, hy, landscap landscapes, es, architectural images—influence your  wedding work?  Photographing subjects other than weddings adds to the sophistication of my wedding images. For example, through a portrait project on

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challenge ge ourselve ourselvess every time we continually challen what’ss pick up a camera , rather than just sticking with what’ comfortable. It’s in that challenge that we we become become better better photogr photographe aphers. rs.

 As ph phot otog ogra raph pher ers, s, we ne need ed to

cancer survivors, I learned not only to slow  down for intentional and meaningful composition, but also the importance of  each area of the frame. I learned to appreciate  the power power of focusing on eyes eyes and hands hands to add an emotional connection. All of that is  very relatable relatable to wedding wedding photography photography..

 How do you feel that that professio professional nal wedding  wedding   photography  photog raphy has evolved evolved in recent years years?  ?   Wedding  Wed ding photography photography used used to consist consist of  static, posed, formal images taken during certain universal moments during the  wedding day day.. Several years ago, the the field moved into more photojournalistic and candid coverage. I think both styles still exist, but there is a new genre emerging that is blurring the boundaries between editorial,  lifestyle  lifest yle and even fashion fashion photograph photographyy to put more of an emphasis on the design and details of the wedding day. Today’s clients have more sophisticated expectations of their wedding photography. They’re more involved in the creation of their  wedding  weddi ng day, day, so photogr photographer apherss need to comcomplement that design in the style of the images.

What do you see as the biggest challenges for  the future of professional photography?  With  With  the availa availabilit bilityy of inexpensi inexpensive ve digital digital camera camerass and the onslaught of digital filter applica  tion  tions, s,

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a big challenge will be educating clients about  the importance importance of a trained trained and talented talented eye for making beautiful, timeless images. It will  become increasin increasingly gly important important to stay con con-scious and intentional while making images, and to understand what makes a good image as opposed to just taking a picture. The challenge for photographers in an image-saturated world is to stay true to  themselves  thems elves and and their unique unique vision. vision. That’s  been said many many times, times, but it will become more and more critical in the coming  years—and  years—an d more and more more of a challenge. challenge.  As photographers photographers,, we need to continual continually  ly  challenge ourselves every time we pick up a  camera, rather than just sticking with what’s comfortable. It’s in that challenge that we  become better better photograph photographers. ers.

n

To see more from Page Bertelsen, visit   pagebertelsen.  pagebertel sen.com. com.

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2011 Affiliate Schools Schedule PPA Members receive both merits and the best published prices.

July 10-14 Image Explorations, Shawnigan Lake, British Columbia, Don MacGregor MacGregor,, 604731-7225, don@macgregorstud [email protected], ios.com, imageexplorations.ca July 17-22 PPSNYS Photo Workshop, Hobart/ William Smith Colleges, Geneva, N.Y., Linda Hutchings, 607 607-733-6563 -733-6563,, [email protected], ppsnysworkshop.com July 31-August 4 East Coast School Photographic Workshops, Work shops, Raleigh, N.C., Victoria Kelly, 919-466-7478, [email protected], eastcoastschool.com August 1-4 Long Island Photo Workshop, Sheraton Long Island Hotel, Smithtown, N.Y., Jerry Small, 516-221-4058,  [email protected],  jerry@jsmallphoto .com, liphotoworkshop.com September 11-16 Georgia School of Professional Photography, North Georgia Technical College, Clarkesville, Ga., Kevin Jiminez, 706-854-8885, kevjiminez@aol [email protected], .com, gppaschool.com

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106 • www.ppmag.com

PPATODAY

JULY 2011

PRESIDENT’SMESSAGE Don Dickson, M.Photog.Cr., CPP - 2011-2012 PPA President

 Life is good, and  it is getting better  every day…

   h   c   o   n   a    H   s    i   r    h    C    ©

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 just returned from a

I

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wonderful meeting in

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Lyon, France, where I

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was lucky enough to meet

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photographers from Ire-

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land, Italy, France, Belgium

your business be more successful.

and Germany. As I spoke with them, I realized that

Take action by planning ahead. The fall business

photographers all around the world face the same challeng-

season is fast approaching, and now is the time to create

es. One Irish photographer said that he photographed 51

your marketing plan for it if you have not already done so.

weddings two years ago and only eight weddings this past

Discuss with your staff your vision and ideas to continue

year. It is obvious that that times are changing, and photogra-

growing your business. For instance, you might plan on

phers must be able to adapt to these changes. We must learn

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to do things differently than we have done in the past to

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survive in the new economy. We have to reinvent ourselves

your business and make a contribution to Operation

to satisfy the demands of our clients. We have to take action

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to ensure our studios are successful.

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Take action by learning what you need to survive and grow. One great step would be to plan

Remember::HDUH33$0D\*RGEOHVV\RXWKLV\HDU

now on attending Imaging USA in New Orleans in January. We will have over 100 speakers, an overwhelming trade show focused on the needs of your business, and networking at social events that are unbeatable. It is designed to provide every photographer an opportunity to get an incredible education, learn new skills, make new friends in the industry and reconnect with old friends.

Take action by using the PPA Benchmark Survey results as a financial success guide. Data

“Character is the force within each individual which distinguishes that person from others. Character is achieved  and not received.” ~National Honor Society

is being collected for the new 2011 Benchmark Survey, and this information gives photographers target income

Your Success is Our Business.

   R    E    T    T    E    L    S    W    E    N    R    E    B    M    E    M    A    P    P

P  P  A M E  M B  E  R  N E  W  S  L  E  T  T  E  R 

it takes a nat   S     E“Sometimes ural disaster to wake us up    N from our insulated world,”      C    A    E    L     N    R     A    O      S      S    W      I    E      A    N

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Imaging USA is headed back to New Orleans this

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     N      E      R

The Wake-Up Calls

“The storm reminded us that things can happen…and if WKH\GR\RXPLJKWKDYHWRGRDMRE\RXZHUHQȊWGRLQJ  M.Photog.Cr., ., CPP, CPP, EHIRUHȊVD\V5DOSK5RPDJXHUD6U M.Photog.Cr

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reality of being on food stamps and unemployment wakes \RXXSȆZHGLGHYHU\WKLQJDQGDQ\WKLQJWRKDYHEXVLQHVVȎ However, for a period of time, New Orleans was

“virtually a ghost town,” according to Rick Najdzion, CPP, RI6WXGLR3KRWRJUDSK\$QLPPHGLDWHVKRFNULSSOHG through the city and businesses shut down. Due to the GHYDVWDWLRQDQGODFNRISXEOLFVHUYLFHVDQGXWLOLWLHVȆQR HOHFWULFLW\QRUXQQLQJZDWHUȆWKHJRYHUQRUDQGPD\RUDFWX-HOHFWULFLW\QRUXQQLQJZDWHUȆWKHJRYHUQRUDQGPD\RUDFWX ally closed the city for more than a month. “The hardest part was not knowing what to expect when we did return to our homes and businesses,” says :DGH3RQWKLHUCr.Photog., CPP, ABI, CBM , of New 2UOHDQV(YHQW3KRWRJUDSK\ȍ1HHGOHVVWRVD\IDPLOLHVKDG much more on their minds than their next family portrait session.” 6XFK 6XF KXQF XQFHUW HUWDL DLQW QW\ \ZHD ZHDNHQ NHQV VVRP VRPH HEX EXVL VLQHV QHVVR VRZQ ZQHUV HUVȊȊ UHVROYHDQGVWUHQJWKHQVRWKHUVȊ7KLQNRILWDVEHLQJZRNHQ IURPDGHDGVOHHSE\WKHʏUHDODUP'R\RXIROORZ\RXU HPHUJHQF\SODQLI\RXKDYHRQHRUGR\RXUXQDURXQGLQ VKRFN",WȊVQRWXQWLO\RXIDFHVXFKDQXSKHDYDOWKDW\RXUH-VKRFN",WȊVQRWXQWLO\RXIDFHVXFKDQXSKHDYDOWKDW\RXUH   s   r   e    h   p   a   r   g   o    t   o    h    P    k   o   o   r    B    +   a    h   s    i    l    A    ©

ally know how you react.

The Responses

The Resiliency

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Today, New Orleans is ready to welcome you at Imag-

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ing USA with open arms. Hospitality and entrepreneurial

what he preached and had at least three months of work-

spirits are rampant, the convention industry has returned in

ing capital in a reserve account. In addition, he carried a

force…and the city never lost its old charm. “New Orleans

12-month business interruption insurance that covered

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documented business losses for the entire year. “That was

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buildings, a friendly culture, architecture like no other city,

also lucked out in that conventions are the bulk of his busi-

musicians and something going on everywhere you look.”

ness, and those clients remained loyal, paying for him to WUDYHOWRQHZORFDWLRQV :LW LWK KD DPX PXFK FKGL GLII IIHUH HUHQW QWF FOL OLHQW HQWE EDVH DVHV VHQL HQLRUV RUVD DQG QG

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depths of uncertainty and desolation to reinvention and

fects through sheer determination and smart business. Right

new opportunities, what those photographers went through

away, the Romagueras had a family meeting and nailed

affected each one differently. But those who made it have at

down their response, including who would work on recon-

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struction and who would manage business…what business

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there was. “We wanted to make sure that when the schools came

We will all face personal disasters and maybe even natural disasters in the future. The strength of New Orleans

back, we would be there ready to serve them,” Romaguera

and its people is the spirit we all need in our businesses.

explains. “We marketed more, made more samples, made

And as Imaging USA heads to New Orleans in January, that

changes…all things that we just get too complacent to do in

moxie may just infuse us all.

a daily routine.” To survive and thrive in the aftermath, Najdzion also kicked complacency to the curb. He lived in Baton Rouge for a few months, picking up the pieces of his studio by

%Lģ EATS, (DVř STREETS:

transferring calls, getting in touch with clients and main-

WHAT TO DO IN NEW ORLEANS

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While at Imaging USA, there’s so much you can do to soak up the relaxing yet entertaining atmosphere that is the Big Easy:

I could,” he says. “Ninety percent of my business was weddings and people were canceling, delaying, moving locations.” That was one reason Najdzion took the time to UHLQYHQWKLVEXVLQHVVGLYHUVLI\LQJDQGDGGLQJVHUYLFHV resulting in a full-service portrait studio by the end of 2006. ȍ&OLHQWVQHHGHGWKRVHQHZKDSSLHUPHPRULHVWRHPEUDFHLQ their rebuilt homes,” he says. Being able to see such opportunities during disheartenLQJVLWXDWLRQVLVDFULWLFDOVWHSLQVXFFHVV$QGOLNH0HUOLQ says, “Having work and life interrupted for many months certainly makes you think about the direction of your busiQHVVDQGZKHUH\RXZRXOGOLNHLWWRJRȎ&DVHLQSRLQW She saw her chance at a “new lease on life” and attended a workshop that led to her publishing “Statuesque New 2UOHDQVȎDSKRWRJUDSK\ERRNDERXW1HZ2UOHDQVȊVWDWXHV DQGPRQXPHQWV0HUOLQFDOOVLWRQHRIWKHPRVWUHZDUGLQJ experiences of her career.

FOOD - Start dieting now so that you can enjoy all the great culinary delights! Try the potato puffs at Antoine’s, the beignets at Café Du Monde, and Romageura’s favorite place in the French Quarter: The Court of Two Sisters. FAMILY FUN - Every local will tell you that this is a family-friendly place. Choose from nearly 20 museums within walking distance, an aquarium, insectarium, haunted history tours, IMAX theater, and even a zoo (a streetcar ride away). NIGHTLIFE - New Orleans has a saying: “Laissez les bon temps rouler,” which means, “Let the good times roll!” Take that to heart and stroll down Bourbon Street, enjoy live music every night, visit Harrah’s casino (one block away), and try the famous Hurricane at Pat O’Briens.

   R    E    T    T    E    L    S    W    E    N    R    E    B    M    E    M    A    P    P

P  P  A M E  M B  E  R  N E  W  S  L  E  T  T  E  R 

GET THE MOST OUT OF

rather than trying to copy every word,” Dokken explains.

IMAGING USA

ences of the best speakers.”

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Visit the Imaging EXPO

I

s

this the year for you? Are you going to join 10,000 oth-

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ers in soaking up the latest and greatest in professional

a great way to get ahead of the curve with your business of-

photography at Imaging USA? If so, you need to know

ferings, network and learn about actually using products via

how to make the most of your time. And who better to ask

WKHRQʐRRUGHPRVȎ

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Try a Portfolio Review & Browse the Photographic Exhibit

Book Early

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on doing differently next time. She wants to ensure a place

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at a convention hotel because they are much more conve-

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nient and offer better opportunities to meet people.

Have a Plan for Implementation Decide What Classes & Events to Attend

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 M.Photog.Cr., CPP, of %RWK'RNNHQDQG(OOD&DUOVRQ M.Photog.Cr.,

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overwhelmed with ideas, so she advises taking time after

they are most interested in. Just remember to “be open to

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a point to apply at least one thing when you get back home.

once listened to David Stoecklein, who specializes in phoWRJUDSKLQJFRZER\VDQGZHVWHUQVFHQHU\ȍ,WZDVQȊWHYHQ

Experience the Difference

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Try this advice, and you could leave Imaging USA ener-

his talk incredibly inspirational.”

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Write Out a Schedule

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“I was so glad I had taken the time to pre-plan and set a

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schedule,” adds Dokken. “It would have been too easy to

who discussed exactly what I needed to hear to refocus

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my business,” recalls Dokken. In the end, she was able to increase her wedding package pricing, refocus on quality

Take “Smart” Notes

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set herself apart.

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“Being in the same place with thousands of other

little thing the instructor says. Focus on the points most

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relevant to your business plan. “I eventually started mak-

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ing action item lists that were inspired by the content,

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WWW.IMAGINGUSA.ORG

Faces of PPA 

 YOUR  YO EDUCATION GOES ON FOREVER.

I learned that in the early’90s, and from then on, I never missed attending some sort of PPA or PPA Affiliate education. From the business workshops to the photographic competitions I entered to strengthen my weakest skills, everything was (and is) a learning tool. And I can’t forget how my involvement in the local and national affiliates led me to hang out with the t he right people—successful people—success ful photographers and businesspeople became my peer group and encouraged me to succeed. Constant learning is my goal—it’s goal—it ’s what got me to my studio in the first place and kept me there through the years. Last year I photographed my 1,200th wedding, but I will never stop trying to improve my offerings! Sam Gardner, M.Photog.Cr., CPP Image Insight Professional Development / Sam Gardner Photography

PPA member since 1992

 Your Success is Our Business

  5  H À    H  F   W    L      R Q  V   E     \  3   D  W    U   L      F  L      D

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112 • www.pp www.ppmag.com mag.com

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July 2011 • Professional Photographer Photographer • 113

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114 • www.pp www.ppmag.com mag.com

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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

 Lab  L abTab

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116 • www.ppmag.com

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Publisher not responsible for errors & omissions 

120 • www.ppmag.com

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July 2011 • Professional Photographer Photographer • 121

 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.

©Megan Borders

choose just one girl. She resolved to accommodate all eight applicants. The larger scope of the project was more  than  th an Bor Borde ders rs fel feltt she she cou could ld ha hand ndle le alo alone, ne, so sh shee reached out to the local photographers, stylists and artists in her network. The response was impressive. On a snowy day in December, a  group of them joined Borders in hosting a fullfledged photo shoot for the young mothers. The day began at Victoria’s Academy of  Cosmetology, where the girls were pampered and given professional hair styling and makeup. Then, braving three inches of fresh snow,  the photograph photographers ers set up a winter winter wonderwonder land shoot shoot in a nearby park. park. Eight Eight photographotographers paired with the eight girls, while a  stylist applied final touches, and a videographer recorded the proceedings. Following  the brisk brisk outdoor session, session, Borders Borders and the the crew treated the girls to hot cocoa and pizza 

Senior portraits for Mom

 to cap cap off off the big day day.. Not long afte after, r, the pho pho--

MEGAN BORDERS GIVES TEENAGE MOMS A SPECIAL GIFT

ages of prints and digital images to the teens.

 tographers  tograph ers presented presented compliment complimentary ary pack-

“It’s a small thing we did, but I wanted to give these girls something they may never have  very year, year, PPA PPA member Megan Megan

Horizons. The school helps the young women

had before—a day to be completely spoiled,

Borders of Richland, Wash., under-

stay on track for high school graduation by 

 with pos positiv itivee memorie memoriess to last a lifetim lifetime, e,” says says

 takes a personal personal project project to both both

providing childcare and counseling. The

Borders. “Little things can go such a long way.

reawaken her creativity and benefit

director of Horizons, eager to collaborate

 You  Y ou have to to fight off off the nagging nagging lie that

 the com commun munity ity.. Last Last fall fall,, she she chose chose to

 with Borders, Borders, suggested suggested holding holding an essay  essay 

 would have have you believe believe you’re re too insignifiinsignifi-

concentrate on a population

contest; the prize for the author of the win-

cant to make a difference. I believe there’s no

dear to her heart, teenage girls.

ning essay would be a complimentary por-

greater force than love, and am often reminded

 trait session. session. That That sounded great great to Borders. Borders.

of just how easy it can be to give some away.”

Borders planned to donate a senior portrait session to a teenage girl

By the time she’d read the third essay,

 whose family family couldn’t couldn’t afford afford it. She’d She’d make

says Borders, tears were running down her

her princess for a day, complete with deluxe

cheeks. She was overwhelmed by the girls’

professional styling of her hair and makeup.

stories. Some had been through unspeak-

Then she got a message from the community’s

able experiences. Many were struggling to

Boys and Girls Club about an alternative high

get their lives back on track and return to a 

school for teenage parents called Brighter

state of normalcy. No way could Borders

122 • www.ppmag.com

n

To see more from Megan Borders, visit  megborders.com. Find videos from the proj-  ect by clicking on the media button on the  iPhone graphic, or at youtu.be/P-5IM_HEm80. youtu.be/P-5IM_HEm80.

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

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