Professional Photographer 2012 07

JULY 2012

©Dan & Alex McClanahan

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P ROF E S S I ONAL

EDITORIAL

director of publications

JANE GABOURY [email protected]

Permission to play Ready, set, go! Whenever she demonstrates yet another amazing physical feat— how can so much strength can be packed into such a tidy little frame?—my favorite yoga instructor exhorts us, her fledgling yogis,

senior editor

art director/production manager

JOAN SHERWOOD [email protected]

DEBBIE TODD [email protected]

features editor

creative services manager/ publications & SSA

LESLIE HUNT [email protected]

“Play with this. Don’t worry if you can’t do it. Try it. You’re not going

editor-at-large

to hurt yourself, so experiment and have fun. We’re just playing

JEFF KENT [email protected]

CHERYL PEARSON [email protected] circulation

MOLLIE O’SHEA [email protected]

here.” She frees us from our fear of embarrassment and, moreover, gives us permission to do something many of us have not done in a long time: learn through play. For children, play is not merely fun, it’s also education. It’s how we get our first lessons in language, music, geography, art, negotiation. Remember when learning was a thrill? When it didn’t involve school, teachers, tests, and conformity? When it resulted from the ad hoc experiments we conducted in our backyards? That idea of freeing people to experiment and learn winds its way through this issue. Husband-and-wife photographers Dan and Alex McClanahan, whom we profile in “Rich in Love” (page 74), may be found photographing engaged couples as they ride bicycles, spin on a playground merry-go-round, or perform gravity-defying street acrobatics. You can’t help but feel the joy in these couples’ relationships. In his sessions, says Dan McClanahan, he lets loose his photographic innovation and experiments only after he’s shot “what’s safe.” In other words, after the work is done, he makes room for a little free time to play and learn. Seattle photographer Cheryl Jones has found success in boudoir photography (“Femininity and Light,” page 80), but that’s not where her career began. In fact, she confesses she was terrified when one of her bridal clients asked her to make boudoir photos she could give to her new husband. It was after experimenting with the style and using friends and family as test subjects that Jones discovered how much she enjoyed working with women and making them feel beautiful. Whatever high-stress projects or events you may have on your schedule this summer, give yourself permission to play without feeling guilty about it. You’ll not only enjoy yourself, you may also learn a thing or two in the process. In the meantime, please stay in touch. n Jane Gaboury Director of Publications [email protected] Discover new products, share your favorites and join the community.

PPMAG.COM/SHOP

4 • www.ppmag.com

contributing editors

DON CHICK, LORNA GENTRY, ROBYN L. POLLMAN, ELLIS VENER publications sales staff eastern region ad manager

central region ad manager

TARA TRUITT, 404-522-8600, X230; [email protected]

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

western region ad manager

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 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. Print: $27, one year; $45, two years; $66, three years. U.S. Print and Digital Combo: $37, one year; $65, two years; $96, three years. Canadian Print: $43, one year; $73, two years; $108, three years. Canadian Print and Digital Combo: $53, one year; $93, two years; $138, three years. International: $19.95 one year digital subscription. Back issue/Single copies: $10 U.S.; $15 Canada; $20 International. PPA membership includes: Domestic $17.50, Non-Domestic $42 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 2012, PPA 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 Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices. Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers of America, Inc. Professional Photographer, official journal of the Professional Photographers of America, Inc., is the oldest exclusively professional photographic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, Professional Photographer, and Professional Photographer Storytellers. Circulation audited and verified by BPA Worldwide.

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PROFESSIONAL PHOTOGRAPHER JULY 2012

Features 74

80

RICH IN LOVE Husband-and-wife team Dan and Alex McClanahan followed their hearts not only in marriage but in business, too By Stephanie Boozer

FEMININITY AND LIGHT Seattle photographer Cheryl Jones draws from classic art training to photograph women in boudoir settings By Lorna Gentry

86

ENGAGEMENT: RELATIONSHIP ADVOCATE

90

BOUDOIR: A WOMAN’S GIFT

96

LANDSCAPE: PASSIONATE COMPETITOR

Anna Pociask’s unique brand of couples therapy By Jeff Kent

Tess Johnson empowers her subjects By Jeff Kent

Brian Rueb’s obsession drives perfection By Jen Christensen

104 110

MATERNITY: GREAT EXPECTATIONS

Marie Murray photographs what comes naturally By Jeff Kent MATERNITY: THE SWEET SPOT

Aneta and Tom Gancarz are on a growth track By Lorna Gentry IMAGE BY: CHERYL JONES

CONTENTS PROFESSIONAL PHOTOGRAPHER | JULY 2012 | WWW.PPMAG.COM

16

FOLIO

115

PPA TODAY

128

SCHOOL CALENDAR

130 GOOD WORKS

Departments C O N TA C T S H E E T 22 Rock show 24 Images in the next dimension 28 Giveaway of the month 28 PP asks: Compliments 30 Look back: Alfred Stieglitz 30 Coming up for air

PROFIT CENTER 33 What I think: Jamie Hayes 36 Ask the experts 38 Starting over: Lifelong customers

by Kalen Henderson 42 Indemnification

by Maria Matthews

44 Customer service: Referrals

by Thomas Fallon 48 Stages of selling by Lori Nordstrom 50 Hitting the curve balls by Elizabeth Esser

THE GOODS 53 What I like: Brian Rueb 56 Roundup: Selling & marketing tools

by Robyn L. Pollman 60 Pro review: Canon EOS 5D Mark III

by Ellis Vener

64 Pro review: Nikon D4

110

Aneta and Tom Gancarz prefer to work on location, where clients

tend to feel relaxed and the natural light is sublime. They know how important it is to make expectant mothers comfortable, so they help choose clothing and poses accordingly.

IMAGE BY: ANETA & TOM GANCARZ

8 • www.ppmag.com

by Ellis Vener 68 Pro review: Wacom Intuos5 by Ellis Vener 70 Roundup: Camera bags, cases, tripods, and heads by Jen Christensen 72 Pro review: Graslon Prodigy Dome by Allison Earnest ON THE COVER: Says Dan McClanahan of this engagement portrait, “Mackenzi and Kyle are one of those couples that radiates confidence, and they weren’t timid about being real in front of a camera. I created a multi-layered frame for them to have an intimate moment within.” McClanahan shot the image with a Canon EOS 5D Mark II camera with a Canon EF 24–70mm f/2.8L lens at f/2.8 for 1/500 second with exposure compensation of +0.3.

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chairman of the board *DON DICKSON M.Photog.Cr., Hon.M.Photog, CPP [email protected]

Professional Photographers of America 229 Peachtree St., NE, Suite 2200 Atlanta, GA 30303-1608 404-522-8600; 800-786-6277 FAX: 404-614-6400; www.ppa.com

2012-2013 PPA board president *TIMOTHY WALDEN M.Photog.Cr., F-ASP [email protected] vice president *RALPH ROMAGUERA SR. M.Photog.Cr., CPP, API, F-ASP [email protected] treasurer *SUSAN MICHAL M.Photog.Cr., CPP, ABI [email protected]

12 • www.ppmag.com

directors DON MACGREGOR M.Photog.Cr., API [email protected] MICHAEL GAN M.Photog.Cr., CPP [email protected] ROB BEHM, CPP [email protected] LORI CRAFT, Cr.Photog. [email protected] MICHAEL TIMMONS M.Photog.Cr., F-ASP [email protected] RICHARD NEWELL M.Photog.Cr. [email protected] STEPHEN THETFORD M.Photog.Cr., CPP [email protected]

AUDREY L. WANCKET M.Photog.Cr., CPP [email protected] industry advisor KEVIN CASEY [email protected] PPA staff DAVID TRUST, CAE Chief Executive Officer [email protected]

SCOTT MORGAN Director of Information Technology [email protected] WILDA OKEN Director of Administration [email protected] CARLA PLOUIN Director of Marketing and Communications [email protected]

SCOTT KURKIAN, CPA, CAE Chief Financial Officer Chief Operating Officer [email protected]

DAWN ROBB Director of Education [email protected]

JANE GABOURY Director of Publications [email protected]

LENORE TAFFEL Director of Events [email protected]

KRISTEN HARTMAN Director of Member Value and Experience [email protected] BILL KELLY Director of Sales & Strategic Alliances [email protected]

CLAIRE WHITE Director of Allied Associations [email protected] SANDRA LANG Executive Assistant [email protected] *Executive Committee of the Board

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Photos By Jose Villa, 2012

Inspiration. Innovation. Perfection.

folio|

Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sample of award-winning photography selected from PPA’s annual International Photographic Competition (IPC), which is open to non-PPA members. The Loan Collection is a select group of more than 500 photographs chosen for distinction by the IPC jurors. ppa.com/competitions/international.php

©Carol Walker

CAROL WALKER During a maternity shoot for a friend, Carol Walker of Thomas Bruce Studio in St. Petersburg, Fla., realized her favorite Les Brandt Background was too large for this full-length portrait, so she re-shot the background after the session and dropped in her subject to create “Lady in Waiting.” With a Nikon D700 camera and Nikkor 80-200mm f/2.8D ED AF lens, Walker exposed the mother-to-be for 1/60 second at f/16, ISO 200. A Norman ML-400 flash and 32-inch Chimera soft box with a honeycomb grid provided the main lighting, and a Norman ML-600 flash and 36-inch Norman Octagon soft box provided fill. She used a White Lightning Ultra 600 as a hair light, and two White Lightning Ultra 1200 strip lights with 48x7.5-inch soft boxes and honeycomb grids on the background. “Natasha told me that she has never felt as beautiful in her entire life as she did during her maternity session,” says Walker. “I take that as one of the highest compliments I’ve ever received.” thomasbruce.com


©Serena Star

ELLIE ERICSON Ellie Ericson, of Ellie Ericson Photography in Vancouver, B.C., Canada says she wanted to create an elegant figure study, and the result was “Porcelain Beauty.” With a Canon EOS 5D Mark II camera and Canon 70-200mm f/2.8 L IS USM EF lens, Ericson exposed the frame for 1/125 second at f/2.8, ISO 100. Two 500WS Photogenic flashes with narrow 3-foot soft boxes flanked the subject, and a faraway third light provided fill. “There had to be separation, however slight, between the unlit background and the model by softly lighting her all over,” says Ericson. ellieericson.com ©Ellie Ericson

SERENA STAR Serena Star, M.Photog., of Serena Star Photography in Pittsgrove, N.J., created “Cirque Du Lauren” with a Fujifilm FinePix S5 Pro camera and Tamron SP 28-75mm f/2.8 XR Di LD lens, exposing the image for 1/200 second at f/5.6, ISO 200. A 320 watt-second AlienBees B800 soft box and grid provided the main lighting, camera left. In Adobe Photoshop, Star lightly retouched skin and eyes, added a texture to the background, and applied a bit of lens blur for separation. serena-star.com

BARRY COX Barry Cox, M.Photog.Cr., CPP, of Barry Cox Photography in Mantua, N.J., captured “Waiting for Baby” with a Canon EOS-1Ds camera and Canon 28-70mm f/2.8 L IS USM EF lens, exposing the frame for 1/125 second at f/8, ISO 100. He bounced light from a 600 watt-second Photogenic PowerLight 1250, bare bulb at half power, off a white wall, and through a translucent gobo covering the window frame. A 177 wattsecond PowerLight 2500DR with a 36-inch white umbrella provided fill. Cox performed minor retouching in Adobe Photoshop. coxphotography.com

RICHARD STAHLBERG Having met a young couple dancing the Argentine tango, Richard Stahlberg, M.Photog., CPP, of Stahlberg Photography in Martinez, Calif., asked if he could photograph them in his studio. With a Canon EOS 5D Mark II camera and Canon 35135mm f/4-5.6 USM EF lens, Stahlberg exposed “Tango Argentino … the Street Dance” for 1/80 second at f/8, ISO 125. A Photogenic StudioMaster with 4x6-foot Larson soft box and a 4x6-foot silver reflector provided the only lighting. Stahlberg used Adobe Photoshop to convert the image to black and white, then added borders and textures. stahlbergstudios.com

©Richard Stahlberg

©Barry Cox

CONTACT SHEET What’s New, Cool Events, Interesting People, Great Ideas, Etc.

Rock show

The first museum exhibition on rock ‘n’ roll photography finishes a nationwide tour at the Annenberg Space for Photography BY LORNA GENTRY Tupac Shakur: Courtesy of Danny Clinch

This summer, the Annenberg Space for Photography in Los Angeles vibrates with the exhibition “Who Shot Rock & Roll: A Photographic History, 1955 to the Present.” Originally mounted at the Brooklyn Museum in 2009, “Who Shot Rock & Roll” is the first major museum exhibit to examine the photographers’ place in the history of rock music. The Annenberg has produced a documentary film to complement the show that includes behind-the-scenes footage and interviews with photographers, musicians, and show curator Gail Buckland, a photo historian, author, and professor at Cooper Union in New York. “We all know rock ‘n’ roll is a revolution,

Elvis: © Alfred Wertheimer, The Wertheimer Collection

but it’s a bipartisan revolution: sound and

Floyd, and Eric Clapton. Yet for all her suc-

demia to say it’s OK to like rock ‘n’ roll pho-

image,” says Buckland. When a friend sug-

cess, Furmanovsky couldn’t spur interest in

tography,” says Buckland. “Who’s to say if an

gested she write a book about it, Buckland

rock photography in galleries and museums.

Ansel Adams mountain is any more monu-

couldn’t match the name of a single photog-

So in 1998 she launched Rockarchive.com,

mental than Grace Jones on stage? I remem-

rapher to one iconic rock image. If a photo

a photographic collective in the spirit of

ber when museums wouldn’t show fashion

historian couldn’t identify them, Buckland

Magnum Photo. Over the past 14 years

photographers, not even Avedon and Penn.

figured the topic was ripe. For three years

Rockarchive.com has done well selling rock

As a photo historian, one of my missions is

she interviewed dozens of photographers,

photographers’ work to galleries and collectors,

to encourage people to look at the quality of

among them Jill Furmanovsky.

but the progress was measured. Buckland’s

a photo rather than why it was taken. If it’s

book and exhibit changed everything. “To

really good, then it’s worthy of being included

roll scene of the early 1970s, Furmanovsky

have a curator look at the work with a differ-

in the larger history of photography.”

was a teen with a camera and a plum job:

ent eye was a revelation,” says Furmanovsky.

official photographer for the Rainbow Theatre,

Since the Brooklyn exhibition, additional

a premier rock venue. That gig launched a

museums have hosted exhibits, and a num-

career that’s spanned four decades and pro-

ber of rock photographers have landed book

duced an impressive portfolio of rock leg-

deals and gallery shows.

In the heady days of the London rock ‘n’

ends, including Oasis, Bob Dylan, Pink

“I think it took someone like me from aca-

“Who Shot Rock & Roll: A Photographic History, 1955 to the Present” is on view at the Annenberg Center for Photography through Oct. 7. For more information, visit annenbergspaceforphotography.org.

Fans Looking in Limousine: © BarryFeinsteinphotography.com

CONTACT SHEET

Images in the next dimension As the Kardashian family’s personal photog-

Now he’s backing what he thinks could

rapher for the past five years, Nick Saglimbeni

be photography’s next big thing: 3-D. He’s

sees the world a little differently than most.

developed a still camera to shoot it, and the

“I have a lot of fun with my work,” said the

magazine WMB 3D: World’s Most Beautiful,

owner of SlickforceStudio in downtown Los

to showcase the captures. “Some people say

Angeles as he was preparing to judge the

it’s a gimmick, but when Versace or Nike or

Miss California pageant. “I guess the girls

McDonald’s or whoever realizes that when

saw me in the Kardashian show and said

people see their products in 3-D, they have an

they wanted me to be a judge. I’ve never

immediate visual and emotional experience,

judged a beauty pageant before, so it’s

and they’re going to want it. Just you wait!”

bound to be a hilarious adventure.” Saglimbeni has made his career out of

Photography by Joyce Park for SlickforceStudio

“I’d been watching ‘Avatar’ and I remember thinking, Why is no one doing this with still

trying new things. He moved to California

photography?” Saglimbeni says. “I think of

from Baltimore in the early 1990s to study

‘Avatar’ as a kind of B.C. and A.D. dividing line

cinematography at the University of Southern

in the industry. No one took it seriously before

can be adjusted after they’re shot. It should

California. He soon realized cinematography

that movie, and now everything is shot in 3-D.”

also solve a common 3-D problem.

would not be his career.

Before he could create a sea change in

“People’s biggest complaint about 3-D—

photography with 3-D, he needed a camera.

other than they hate wearing those goofy

the way of YouTube, and I thought, I don’t

He sketched something out, and for the

glasses—is that they get headaches or motion

want this to be my future,” Saglimbeni said.

next six months he and engineer German

sickness from looking at it,” Saglimbeni says.

“Photography was just starting to get exciting

Pinchevsky worked on a prototype.

He and his team purposely chose lenses that

then with DSLRs and HDR [high dynamic

Eventually, with the additional help of post-

minimize eye strain and comfortably trick

range], and there were so many new tech-

production supervisor Joyce Park, they

the brain into thinking it’s seeing a third

nologies to explore that didn’t cost you

designed the Saglimbeni 3-D system. Not

dimension.

$20,000 if a shot went wrong.”

only does it take 3-D images, but the images

“I saw a lot of cinematography jobs going

“You can see the model’s hair as it is frozen in a moment in time and almost feel as if you are there,” he says. That was evident on the covers of the first editions of his magazine. His friend Kim Kardashian graced the first, Gabrielle Union the second. The celebrities lent the magazine instant legitimacy and helped attract attention. “The text literally floats behind the models and the ads—which are also in 3-D—and pops right off the page.” For the first time, this year Sony World Photography Awards created a 3-D category. It was no surprise to Saglimbeni that he and his team took home the grand prize. Even with that success and attention, Saglimbeni says photographers continue to ignore 3-D. “I think we’re still a bit ahead of our time,” Saglimbeni says. But then, time flies. — Jen Christensen


P R O F E S S I O N A L

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CONTACT SHEET

PP’s Giveaway of the Month

PP Asks …

We love hearing from readers on our Facebook page, and that it often where you share your wisdom. This month, we’re talking about compliments, those nuggets of niceness that make your day. These are just a few of the responses readers posted on our wall. Click the Like button to join the conversation at facebook.com/ppmagazine. This month’s post: EVERYONE APPRECIATES A COMPLIMENT. WHAT COMPLIMENT WOULD MAKE YOUR DAY? WHAT’S YOUR FAVORITE WAY TO COMPLIMENT SOMEONE ELSE? When parents nearly cry over a photo I captured of their child. That raw emotion is better than any [verbal] thank you. —Brandy Boozer I’m careful not to compliment little girls solely on their looks; I also mention something they did or said was really smart, kind, or cooperative. —Susan Wolfe When people say they feel like they’re there when viewing my lifestyle images. —JellyBean Pictures

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Someone I didn’t know wrote to say she was having a really bad day, but watching the slideshow on my website turned around her day and put her in the best mood. I’ll never forget that compliment! —Jonna “Henderson” Nixon When a parent tells me my image captured the essence of her child—“That is so her!” I simmer with joy. —Joanne Lee When I photograph boys age 7 to 10, I say, “You don’t want to say how handsome you are, but I can say it, can’t I?” It always brings a smile. —Laraine Ritchie When a wedding a guest said I was like a photo ninja; you didn’t see me unless there was an important moment happening. —Kim Przybylski Brides saying they cried the first time they saw my images is a favorite compliment. A super favorite compliment is when they say their groom cried. —Maureen Guthrie Fritts

CONTACT SHEET

Read more about the legends of photography at the International Photography Hall of Fame, iphf.org.

Image by Gertrude Kasebier, 1892.

Impressario of change Alfred Stieglitz was an avante-garde intellectual and gifted photographer Alfred Stieglitz, Camera Work XXXVI, 1892

Photo-Secessionist and Pictorialist photog-

American and

raphy movements, Stieglitz influenced

European pho-

American art for four decades—not just

tographers,

photography but all disciplines—through

painters, and

his galleries and seminal photographic jour-

sculptors, including

nals Camera Notes and Camera Work.

Pablo Picasso and

Stieglitz took this photograph, “The

Auguste Rodin.

Alfred Stieglitz

Terminal,” in 1892 with a 4x5 camera, at the

Stieglitz used composition and natural

time considered unworthy of artistic photog-

elements, such as steam and snow, to give his

raphy, according to the Metropolitan Museum

photographs a painterly style. After World

of Art in New York. The small, portable cam-

War I, his style shifted to a spare, modern

Photographer, curator, writer, publisher,

era gave him the flexibility to capture life in the

look. Some of his best-known photography

and arts impresario Alfred Stieglitz (1864–

streets of New York, his muse. In 1905, he and

came from this period, including a cloud

1946) was an important voice in the rapidly

Edward Steichen founded the Little Galleries

series, called “Equivalents,” and a series of

evolving discourse on art in fin de siècle to

of the Photo-Secession at 291 Fifth Avenue,

portraits of his wife, painter Georgia O’Keeffe.

early 20th century America. Founder of the

later simply called 291, where he exhibited

—Lorna Gentry

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August 31

Professional Photographer P R E S E N T S

Business, Marketing, and Sales Strategies

What I think Jamie Hayes generates great business with sound decisions What’s your secret for efficiency in your photography business? Truly, we have no secrets. We use excellent software and vendors that help keep our business efficient and organized—ProSelect software for sales, album design, and editing; SuccessWare for studio management; and Lavalu for retouching and editing. We’ve worked hard to streamline our studio’s offerings, and we stay focused on our most profitable and popular product lines. What’s the greatest challenge your business has faced in recent years? We offer a luxury product, so when the economy suffers, so does our studio. We’ve had to keep ourselves motivated and are constantly looking for bigger and better promotional opportunities. What’s your deal breaker? A bride who views her photography as just another expense, not seeing the value in hiring a professional. How do you think the business of photography will evolve? We need to get more clients to sample our products and services to experience great customer service and top-notch photography. Most of our new clients are amazed at how we create fantastic portraits of their children while they’re having the time of their life. IMAGE BY JAMIE HAYES HAYESANDFISK.COM

July 2012 • Professional Photographer • 33

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PROFIT CENTER

STUDIO MANAGEMENT SERVICES

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

Ask the experts Remote display ads, getting the word out, and forming an LLC Q. The few times I’ve invested in print and online advertising haven’t paid off. Most of my new clients are referred by other clients. Is paid advertising worth the cost for portrait photographers? If so, where’s the best place for it? A. It’s difficult to stand out in a magazine with scores of photography ads. Still, there are venues where paid advertising pays off, such as a displaying your work at places your clients and ideal prospects frequent. For example, to promote my holiday photo cards, I set up a display in a storefront at a local outdoor mall. The store was vacant, so I got a good deal on using just the window for a few months. The location was ideal because there was a lot of foot traffic, and no other photographers were advertising in the area. Look for places in your area where your ideal clients hang out, especially locations without other photography advertisements. Set up a beautiful display of your work, and you’ll get more calls than traditional advertising would yield. —Eric Doggett Q. I’m a certified professional photographer and I’ve been in business for 15 years. I recently moved to a new town. I don’t really know anyone. How do I get my name out in a brand new place? A. It’s tough to reestablish yourself professionally. Try looking at this as an opportunity to reinvent your business model, update product lines and pricing, and perhaps even rejuvenate your style. Refresh and use the things that worked in your former business, get rid of products that weren’t highly profitable, and take time to examine your price list, then make changes strategically. I have found that the best way for me to make an impact and give myself visibility in the community is to invest in partnerships


with business owners whose target market is the same as mine and with charities. Do comarketing and promotions with these local businesses and nonprofits. Perhaps you could offer a mini-portrait promo exclusively to the business’s best patrons or the charity’s donors; you could donate a portion the profits to the charity. It’s a fine way to get your name out in the community without a huge marketing budget. The key in whatever you decide to do is to find like-minded organizations, businesses, and charities that attract your ideal client. Create a plan together and make sure it is a win-win for both of you. This type of transparency in marketing and honesty in the approach creates a true and wonderful relationship plus a fabulous marketing opportunity. n —Mary Fisk-Taylor, M.Photog.Cr., CPP, ABI, API Q. I want to register my business in North Carolina as a limited liability corporation. I’ve found LLC information on the Web, but I’m not sure what to do from there. A. Each state has its own registration and filing process for doing business. State governments vary in helpfulness and the resources they provide; some offer a stepby-step guide for entrepreneurs on opening a business in the state. North Carolina allows you to do much of the work online, including registering, reserving your company name, selecting your business entity (LLC, in your case) and filing the necessary documents for it. PPA encourages studios to do business as an LLC because it provides owners a measure of legal protection that’s not available to sole proprietors. For photographers in states that do not provide a business guide, I suggest calling a local attorney to help you file the documents your state requires to do business as an LLC.

©Veer

Ten tips for setting up a photography business: • Get a business license. • Create a business plan. • Create a financial plan. • Identify the best business entity for you. • Register your company. • Reserve your corporate name. • Trademark your company name. • Gather tax information. • Know what’s needed for employees. • Protect yourself with insurance. n —Bridget Jackson, manager of PPA Studio Management Services

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

PROFIT CENTER

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

Starting over: Lifelong customers Sales techniques that keep them coming back for more If there’s anything professional photogra-

we worked, but now, not so much. Technology

phers hate to do, it is sell.

was our new best friend back then, only to

We love to dream up images, we love to

betray us later by making itself available to,

capture magical moments, we love to inter-

well, everyone. The general public could get

act with our subjects. But when the time comes

a good idea of what we paid for our products

to ask for cold, hard cash in exchange for our

and, worse, could actually purchase those

work, we have a tendency to cave in. That’s

products on the Internet. Anarchy!

why I value my trusty salesperson, Kate,

Selling has become more complex. We

more than any equipment in my studio.

have to break down our menu into small por-

Maybe you’ve had some retail sales experi-

tions to show clients how easily those items

ence in your past. As kids, my older brother

will fit into their budget. We give a price list

and I had a lawn mowing business. In addi-

to clients and allow them time to view images

tion to all the trimming and mowing—you

of our products online at home. They can plan

know, the hard work—my job was to sell our

purchases completely pressure-free. We want

services to the ladies in our small Iowa town.

them to buy until they’ve reached a comfort-

I’d go door to door and present the old fea-

able limit, and then stop for a while. As visions

tures-and-benefits pitch and we’d be mowing

of the other things they wanted replay in their

that lawn before noon. I liked getting my 25

minds, those clients are more than likely to

percent of the take (Do you think I got

return—if we’ve provided a pleasant sales

scammed?), but more important, I knew we’d

experience, if they leave happy and as friends.

made a friend in that customer; come fall and

Buying is a lot like eating. If you’re sitting

is not the best use of my time. I encourage

winter, maybe she’d call us when she needed

alone and can pick and choose your food, you’ll

those who can and love to view and sell to

her leaves raked or her snow shoveled.

eat until you’re satisfied. If someone’s sitting

embrace it. Meanwhile, I’ll embrace the

across from you, pushing plates toward you,

clients who email me an order and give me

handle sales at the studio. I’m not going for

saying, “Eat this. Try that,” then you may eat

permission to charge their credit card. A

one humongous sale per customer; I realize

more than you’d really like. When you remem-

couple of months later, it’s rinse and repeat.

it’s probably not going to happen in this

ber eating with that companion, you’ll associate

What it boils down to is creating a sale and

economy. If I can make one solid, satisfying

it with feeling ill. We certainly don’t want clients

a loyal customer simultaneously. Accomplish

sale for today and know that client will

to associate buying photography with feeling

both and you guarantee your business will

return for the next season’s session and the

that they’ve uncomfortably over-indulged.

thrive for another season. If your goal is one

That experience helped teach me how to

one after that, then I’ve got a pretty good

An in-studio viewing sales strategy works

©Veer

almost two hours and results in a $150 sale

appointment and one sale each and every

beautifully in many studios, but I’ve had lit-

day, then your business is evergreen. With a

tle success with it. My store of patience does

business that thrives, you can afford to hire

structure, which got a major overhaul when

not cover sitting alongside a 20-something

that cute little neighborhood girl and her

I came back to the business just over two

bride-to-be while she tries to select engage-

business-savvy brother to mow your lawn. n

years ago. The economy of 2005 and 2006

ment photos from the 100 we’re viewing,

allowed us to be a little finicky about the

reassuring her repeatedly that she does not

number of sessions we booked and the hours

have a big nose. A sales session that takes

chance at having a life-sustaining business. That mindset is reflected in our pricing


Kalen Henderson’s Studio K/Henderson Photography is located in Mt. Pleasant, Iowa.

PROFIT CENTER

BY MARIA MATTHEWS

Unhappy partnership

less a deductible. (The trust covers only indi-

A marriage that ends in divorce leads to disaster for a photography studio

as whole or other photographers who work

vidual member photographers, not the studio there unless they are active PPA members and pay the annual participation fee.) Had the H&H photographers who captured Remis and

In 2003, Todd J. Remis and his fiancée,

find themselves facing accusations of wrong-

his wife’s vows been PPA members at the time

Milena Grzibovska, hired H&H Photogra-

doing by clients, and cases not unlike the

of the wedding-gone-wrong, they would have

phers, a 65-year-old studio, to create motion

Remis suit come across the desks of PPA’s

had the ability to access the trust for assistance.

and still photographs of their wedding. Remis

indemnification trust attorneys every day.

In the end, the court dismissed all but two

claims that photographers Curt Fried and

The indemnification trust is a malpractice

counts in the Remis suit—breach of contract

Harlod Gillet, the studio’s founders, assured

protection program created as a benefit for PPA

and fraud—and the studio is awaiting the

him that his staff knew the wedding venue

members. It was established to protect pho-

court’s opinion on those counts. The judge

well and would have no trouble creating won-

tographers against accusations of negligence

completely releases two of the named H&H

derful images for him. In a lawsuit Remis filed

while on assignment. Although not an insur-

photographers in the case, current owners

in 2009, he asserted that there was indeed

ance policy, the trust can take the place of a

Dan Fried and Lawrence Gillet, the son of

trouble. Remis said the image quality was

costly errors and omissions or professional

founder Harold Gillet; Curt Fried retired in

poor, the two-hour video wasn’t long enough,

liability policy. In recognition of the priceless

2004, leaving his half of the business to his

and there was a 15-minute gap in coverage.

nature of photography, PPA requires mem-

son Dan. Despite their being dismissed as

ber portrait and wedding photographers to

named plaintiffs, the suit is still costing the

satisfaction, H&H Photographers offered to

participate in the trust at a cost of $50 a year.

photographers a considerable sum. The legal

remedy the problem. But Remis was never

The trust’s attorneys work directly with

fees to date may exceed $50,000 as the case

In 2004, upon hearing of the clients’ dis-

completely satisfied, filing his suit just before

members to ensure that accusations are

the statute of limitations ended his legal

addressed at little to no expense to members.

recourse. Among the eight counts in the suit

If there’s a settlement or other fee the photog-

were breach of contract, negligent misrepre-

rapher must pay, the trust reimburses that cost

sentation, fraud, and intentional infliction of emotional distress. The Remises divorced in 2010, having separated in 2008. Yet Remis’ demands in the 2009 suit included not only reimbursement of the $4,100 he’d paid for the studio’s services but an additional $48,000 so that he and his wife could recreate the wedding and have it shot by another photographer. The court’s decision, written in January by Judge Ling-Cohan, cites some of the absurdities in Remis’ claims, but the judge wanted to further explore the photographers’ accuracy in describing their services and the actions they took to deliver what was promised in the contract. Professional photographers of all specialties


©Veer

enters its next phase. n

Maria Matthews manages the PPA Copyright and Government Affairs Department.

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PROFIT CENTER

BY THOMAS FALLON

Referrals are marketing gold

Don’t wait until the ordering session to dis-

The bedrock is customer service

the client and delay his decision. Maximize

cuss them all: That’s a sure way to overwhelm quality and service by enabling clients to get

What’s the easiest, most efficient and cost-

portrait your client ordered inappropriate

effective way to build your photography

for the space where it will hang? You’re the

business? It’s not through the newest social

professional with the training and artistic

THEM. You know a 16x20-inch portrait

media or any other technology. It’s simply

eye. Determine what clients need and tell

would look ridiculous in the client’s large

returning to the bedrock—providing extraor-

them. Clients will appreciate your guidance

foyer. You hear that space screaming for a

dinary customer service that inspires clients

because it’s part of what they’re paying for.

dramatic 30x40 inches, and you can illus-

to become your marketing ambassadors.

2. BE A DESIGNER. Your client came

the fullest enjoyment from their portraits. 3. DON’T TELL THEM, SHOW

trate it with a side-by-side projection of each

to you for a beautiful portrait. He probably

size in the space. Same with format: square,

your clients and turn them into ambassadors

has no idea how and where to display it, never

rectangular, oval, or something completely

for your business:

mind all the options. Should your client opt

customized? If you feel the portrait should

for one large, framed family portrait to hang

be printed on canvas and have a gleaming

doctor, lawyer, or any other professional, you

over the sofa or fireplace or would a coordi-

lacquer topcoat, place a sample in the client’s

expect him or her to know what should be

nated grouping better portray the family’s life-

hands so he can experience the feel of it.

done, offer you best options, and steer you

style? Would canvas, fine-art paper, or polished

4. LEAD, DON’T FOLLOW. Learn

away from problems. Did the mom arrive

metal look best with the client’s decor? For a

about your clients, their personalities, inter-

for the portrait session in loud stripes that

collection of 4x4-inch prints, would a coffee-

ests, styles, turn-offs. You know the myriad

make her look 20 pounds heavier? That’s on

table book or image box be more suitable? You

possibilities in portrait styles, and you can

you for not guiding her at a pre-session con-

know that placing the portrait on an easel in a

show them the ones that fit their interests.

sult. Are the small children grumpy for the

corner of the room will solve the problem of

Consumers are accustomed to and weary of

sunset session at the beach? Small children

limited wall space, but your client probably

the prevailing one-size-fits-all, find-it-your-

usually run out of gas at that time. It was

doesn’t. Visit the client’s home or ask for images

self, who-cares-if-you-return-it marketplace.

your responsibility to schedule the session at

of the walls in advance of the portrait session,

They will appreciate your genuine interest in

the optimum time of day. Is the size of the

then choose a few customized display options.

fulfilling their unique desires and value your

Here are 10 specific ways you can wow

1. BE AN EXPERT. When you go to a

recommendations. ©Veer

5. BE GENUINE. We’ve all heard about someone who could sell refrigerators to Eskimos. That kind of shilling does not win you lifelong clients. Try to understand what will fit your client best. Listen more than you talk. The better you serve him, the better for both of you in the long run. If clients are being penny-wise and pound-foolish over this important purchase, tell them so. On the other hand, respect their budget; if you can help them cut back on a certain finish to allow for the frame they adore, do it. Either way, your client will appreciate it, and that’s the way to foster repeat clients. 6. NO PROFILING ALLOWED. Do not pre-judge your client. I have clients who


live in multi-million dollar homes and some

go wrong. Maybe it’s a miscommunication

in modest cottages. I try not to presume how

with your supplier or entirely the client’s

important a portrait is to them or how much

fault. Doesn’t matter. Just address the prob-

they are willing to invest in it. Simply affirm

lem, thank the client, and say, “I can take

that every client wants and deserves the best

care of that for you.” I learned this years ago

you have to offer. That doesn’t mean gilded

with my own suppliers. Those who took care

frames for all but providing each one what

of me when an issue arose remained my

will best serve him or her. A professionally

suppliers. Those who did not were forgotten.

made portrait will last longer and bring

Businesses today seem to do everything they

more enjoyment to your clients than any-

can to constrain costs rather than take care

thing else they can buy for their home.

of clients. They’re cutting off their lifeblood.

7. DISCOVER WHAT THE CLIENT

If you’re doing your job, problems should

REALLY WANTS. Your clients are not com-

arise no more often than one in a hundred.

ing in to buy a photograph, a finish, or a frame.

Add 1 percent to your price up front, and

They’re seeking memory insurance. They want

then cheerfully address your clients’ con-

to see the personality of their loved ones in a

cerns. Your cost will be covered. Your clients

portrait. They are uncertain about how to

will be happy. Too often, businesses do not

decorate their home with portraiture. They

handle problems properly. Think of it as an

have not considered the possibilities and may

opportunity for you to stand above the rest

be a little intimidated by the process. They

and earn your clients’ loyalty and referrals.

want to feel secure about their decisions and

10. FOLLOW UP. The two most

their investment. Reassure them with options

important words in business are “Thank

you feel will best fit their needs. Offer your

you.” Say it in person and with a foil-stamped

opinion and then listen to their response.

card or an informal email. I have a file of

When clients raise issues, address them. Put

testimonials from happy clients, and they

yourself in their place, and help them choose

look great in my marketing pieces. How did

the things that will give years of enjoyment.

I get them? I simply emailed my clients after

8. BELIEVE THEY’RE ALL YOUR

the session, told them when to expect delivery,

IDEAL CLIENTS. Imagine the clients you

and asked them to tell me how everything

want, and cater to them. Don’t wait for the day

looked when it arrived if I wasn’t on hand to

when your dream client calls you. You want

install it. If there was a problem, I’d already

clients who appreciate your art and are willing

done a great deal to ease the client’s mind

to invest in it. Here’s a fact you should know:

just by asking if he or she was happy. Be

It’s not all about you. Your clients care about

proactive. Testimonials are more powerful

the feelings they get from their portraits, not

than anything you could say about yourself.

the framed rectangles on the wall. Treat your

I did not ask for a compliment or a rave review,

current client like he or she is the most impor-

I simply took the time to follow up. When

tant customer you will ever have. The degree

you’ve succeeded in wowing the client, just

to which you address client needs will deter-

ask for a referral there and then. Your

mine how your own needs are met. Serve your

clients’ friends can keep you in business. n

current client exceedingly well, and you will

Thomas Fallon is a two-time Maine Photographer of the Year and multiple winner of Kodak Gallery and Fuji Masterpiece awards. Thomas Fallon Photography is in South Portland, Maine.

be appreciated, rewarded, and recommended. 9. ASSUME FULL RESPONSIBILITY. Despite your best efforts, sometimes things


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PROFIT CENTER

BY LORI NORDSTROM, M.PHOTOG.CR., CPP

Stages of selling

can make some suggestions about the best presentation of the portraits we’ll be taking.”

Take care of your client from the very beginning

With this reply, I’ve not only planted seeds for the sale of a wall collection, but I’ve also given myself license to make those suggestions.

We are all selling, all the time. We sell in our

oftentimes education about your products

Then I get clients excited about walking

relationships and our friendships as well as

and services. Develop a script to help you

through their home looking for places to

in the marketplace. In business, the sale

start addressing these inquiries. Ask ques-

hang the portraits where the family will most

doesn’t start in the sales room. A sale is a

tions and make suggestions to begin build-

enjoy them. I ask them to take some snap-

process that begins with the first customer

ing value in the products and customer

shots of their walls and anywhere they would

interaction and wraps up in the sales room.

experience they can expect from you.

consider hanging a portrait or grouping.

And if you want to make someone a loyal

In that first encounter, after you’ve built

I also walk clients through the portrait

customer who keeps returning, the selling

rapport and scheduled a meeting or session,

experience, telling them a little about the

won’t end in the sales room, either. Let’s

the most important question to ask is, “Have

session, that someone from my studio will be

look at the stages of the selling process.

you thought about where you will hang your

calling a couple of days before the session to

portraits?” Start this conversation in the

answer any questions they might have, and

to potential clients. What you’re selling

sales process from the very start, leading the

then we talk about the order appointment.

could be their need for a professional pho-

client and making suggestions for the best

“We’ll bring you back to the studio about a

tographer or a particular product or service.

placement and presentation of the client’s

week after your session to view and choose

Key your message to the group of people

portraits. Most clients will say things like, “I

your images.” We make that appointment and

you’re marketing to. Selling guru Zig Ziglar

hadn’t really thought about that,” “I was just

then discuss what the order appointment is

says selling is the transference of a feeling. If

thinking about getting a couple of 5x7s and

about. Build excitement for the order appoint-

your message elicits from potential clients

8x10s.” My answer is, “Our specialty is creat-

ment, talk about seeing the images for the first

the feelings you have toward your product,

ing custom portrait art for your home so you

time and planning beautiful wall decor that

then they will invest in your product.

can enjoy it every day and show off what’s

they will love seeing every day. This is the time

most important to you. I’ll be asking you a

to answer questions that might come up or

few questions as we work together so that I

address any hesitation about making all of

Branding and marketing are how you sell

When potential clients contact you for the first time, they need information and

their decisions at the appointment. Let your All images ©Lori Nordstrom

clients know that you will be helping them and holding their hand through the entire process. During the consultation, continue the conversation and keep building on the relationship you’ve begun to cultivate. Talk about the subjects you’ll be photographing, what their interests are. If they are 3- and 5-yearolds, find out their favorite games, what music they love, what TV shows or movies they’re into. Having information in advance of the session will help you relate and interact with

A digitally generated wall grouping based on clients’ own photos of their home can put them in a purchasing frame of mind.


the subjects. Also ask about allergies and foods they are not allowed to eat. Have snacks and drinks available for the kids in case of a needed break or when the session is over. During the consultation, I also want to talk about the snapshots of the client’s walls. I’ll begin making suggestions based on the decor and space available. Get your clients invested in this process with you. You’re selling before you ever take a picture when you can get your client excited about hearing your suggestions. The more questions you can ask and the more you can find out about clients, their home and lifestyle, the better you’ll be able to serve them. Keep your emphasis and interest on your clients, not you. The session comes next in the sales process. You’ll continue to sell as you work with the client. While you work, make references to things you’ve talked about: “This series is

During the session, reference the room in which the photo will hang. Later, give clients a digital mockup of the portrait in place.

going to be perfect for Saydee’s bedroom!” or “That was the image for the main piece in

ment.” I want clients to understand that

future before the sales appointment, not

the family room!” Continue to ask questions,

they will be making decisions and placing an

during. By walking your client through the

building the relationship, establishing trust.

order. With a plan in place for preparing

entire process, you should be addressing

Call clients before their order appointment.

clients, getting to know them, and making

any questions before they come up. Your

Let them know how excited you are for them

suggestions, we’ve led right up to the order

client should know your procedure for

to see the images and the great suggestions

appointment and clients are excited about

viewing and ordering their images, how

you have. Let them know you’ve designed

making their decisions.

you handle digital files, your policy on put-

custom concepts, and you can’t wait to share them. Build anticipation for the unveiling. Finally, it’s time for the sales session. In my studio it’s called simply the “order appoint-

If an objection comes up at the order

ting them online, and anything else that

appointment, it’s often too late to remedy

repeatedly comes up. If your clients are

the situation. Write down the objection and

asking, it’s information that they need. You

work out how you can address it in the

should start delivering this information from their very first contact in a positive way and as a benefit to the client. n

HELP CLIENTS VISUALIZE WALL DECOR During the pre-session consult, I often show clients a framed wall grouping on their own walls—just the frames, without the images. When I schedule the consultation, I ask clients to take pictures of the walls and other spaces in their homes. I import those images into the sales presentation software PreeVu, which allows me to digitally build and display custom wall groupings, right on the client’s own walls. I want our clients to start visualizing how their home will look with the addition of beautiful images on their walls. When they see the finished concepts like that, purchasing the collection is a no-brainer.

Lori Nordstrom Studio is in Winterset, Iowa.

Lori Nordstrom is among the presenters in the pre-conference business track at Imaging USA 2013 in Atlanta, Jan. 20-22.


PROFIT CENTER

BY ELIZABETH ESSER

Hitting the curve balls Coping skills come in handy when life throws you an unwelcome surprise

Learn to ask for help when you need it. It’s not a sign of weakness, but of strength and courage. You might need to ask for help at home so you can have more energy to work and focus on business, or from your staff, colleagues or friends so you can

Sometimes life throws you a curve ball and

Give yourself one day off a week: no email,

take a day off when needed. You can seek

usually without having the decency to slow

phone calls, browsing photography forums.

help from organizations that deal with peo-

down to give you time to adjust. Adapting to

All will still be there tomorrow. Do some-

ple with your particular needs. For your

major life changes—illness, disability, aging,

thing you enjoy, like catching up with friends,

studio, the Small Business Administration

getting married, having kids—can be diffi-

dining with the family, watching old movies.

can be a huge help both on the local and

cult and stressful.

Try not to fill your day off by catching up on

national levels. It can steer you to available

house and yard work. The time away from it

resources for women and minorities, peo-

all will reenergize you for the week ahead.

ple with disabilities, veterans, and many

I learned several strategies for coping with change when I suddenly became dis-

When you recognize your limits, you’ll

others. And PPA Studio Management Serv-

They’ve helped me adjust both at home and

see that you can’t do it all or be everything to

ices has business management classes and a

at work. Attaining a work-life balance is

everybody. Few if any of us can. In addition

mentor program for PPA members. Try to

something many photographers struggle

to knowing your strengths and weaknesses,

develop a network to call on if and when

with under the best conditions. We work day

identify the strengths and weaknesses of

things get overwhelming.

and night building our business, and when it’s

your staff and your business as a whole. In

finally going well, we spend even more time

business parlance, this is called performing a

life changes, even difficult situations such as

maintaining, growing, and managing it,

SWOT analysis: strengths, weaknesses,

serious illness, divorce, death in the family,

often at the expense of our health and per-

opportunities, and threats. It can help you

or disability. Putting on a facade may seem

sonal life. When a life-altering event occurs

develop a plan that capitalizes on the

like the easier and better way to handle things,

in the middle of all that, it’s difficult but nec-

resources and assets available to you, indi-

but open and honest communication can

essary to step back from everything, reprior-

cate tasks you could delegate to particular

help in many ways. Share a bit of yourself

itize, and figure out the best way to adapt.

individuals, and identify activities you

with your clients, and you become a friend

should consider outsourcing.

as well as a businesses associate. I’m not

abled shortly after opening my business.

First, listen to your body. Recognize when you’re reaching your limit and stop

If you are the sole operator of your business,

Try opening up to your clients about your

suggesting you post an intimate online diary

before you’re spent. Give yourself permission

you might find temporary help in a local col-

or dump your stress on clients, but look for

to take a break and set boundaries between

lege’s student intern program. You can often

ways to share your struggles that could help

your home and work lives. We’re all guilty of

find willing and able students to assist in

others. Host events for charities close to

bringing work home, toiling late into the

many different areas of your business in return

your heart, and tell clients why they are

night, dwelling on something studio related.

for your time and mentoring guidance.

meaningful to you. Take time to take care of yourself, learn

reaching your limit and stop before you’re spent. Give yourself permission to take a break and set boundaries between your home and work lives. Recognize when you’re


to delegate, and ask for help. You’ll gradually find you can handle whatever life throws at you. n

Elizabeth Esser’s studio, Eliza Portrait Design, is in Omaha, Neb.

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Professional Photographer P R E S E N T S

Products, Technology, and Services

What I like Brian Rueb bags quality for outdoor photo adventures What’s the best equipment investment you’ve ever made? The minute I upgraded to the Canon L series lenses, I noticed a difference. Typically, the lower-end lenses would give me some really soft areas at f/16 and higher, which is where I shoot the majority of the time, so having the nice glass has really helped. On location, what’s your most valuable photo equipment? My tripod and my graduated neutral density filters. For landscapes, I rely heavily on both. If I leave one at home, which has happened, I struggle to create the best result. What hot new product are you going out of your way to use? My F-Stop Tilopa BC bag is a workhorse. It holds all my gear, plus water and other supplies for a full day of shooting. For smaller shoots I use one of their Millar sling bags to hold my camera body and three lenses, including a 100-400mm. If money were no object, what equipment would you run out and buy? Easy—a largeformat digital camera and few really expensive lenses. I think all photographers are quality snobs at heart. IMAGE BY BRIAN RUEB BRIANRUEBPHOTOGRAPHY.COM


GOODS

ROUNDUP BY ROBYN L. POLLMAN

DIY sales strategy Selling and marketing tools to invigorate your business

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THE GOODS: PRO REVIEW

While not revolutionary, Canon’s new DSLR tops the larger, heavier EOS-1Ds Mark III. BY ELLIS VENER

Top of the Marks CANON EOS 5D MARK III

The obvious camera to compare the 5D

up on media adds options: recording raw

Mark III to is the 5D Mark II, but after

and JPEG files separately, putting movie

using it for a variety of assignments, I have a

files on separate media; and simply having

different perspective: Until a much higher

additional capacity.

resolution 24x36mm (full-frame) Canon

ance should not be undervalued. The new 5D

sor to the larger, heavier, and much more

Mark III has 61 AF sensors, up to 41 cross-

expensive EOS-1Ds Mark III.

type (depending on the maximum aperture

I base my assessment on several factors.

dim (EV-2) as the earlier cameras can

(The 22.3 effective megapixels of the 5D

handle. By comparison, the 5D Mark II had

Mark III slightly exceeds the 22.1 megapixels

nine autofocus points, one cross-type, and

of the 1D/1Ds and the 5D Mark II.) Like the

six assist points; and the 1Ds Mark III has

1D/1Ds camera series, the 5D Mark III has

45 AF sensors, 16 cross-type, and 26 assist

two media slots to the Mark II’s one. With

points. The sensors are more tightly spaced,

its completely revamped autofocus system, it

making one-step simultaneous composing

has more AF points, more cross-type sensors,

and focusing easier. The autofocus system of

and a larger operating range than either of

the 5D Mark III is also the same one that

the older cameras. It has improvements in

will be used in the 18.1-megapixel EOS-1D

the metering system, especially in regard to

X body that’s in the works for professional

subject color, in Speedlite E-TTL metering

sports shooters and photojournalists.

Two media slots may not be a big deal to

There are big improvements in the E-TTL flash control system, particularly with multiple Speedlights. Photographing a series of figurines using 580EX II and 430EX II Speedlites proved it a versatile and reliable system.


of the lens), and can work in light twice as

The megapixel count is effectively the same.

and control, and in weather and dust sealing.

©Ellis Vener

The improvements in autofocus perform-

DSLR shows up, the 5D Mark III is succes-

For optimum AF performance, users can calibrate individual bodies to individual

a casual user, but it’s a standard feature on

lenses using the camera’s built-in autofocus

any DSLR meant for professional photogra-

micro-adjustment control. Fine-tuning

phers, who get paid for results, not excuses.

camera-to-lens matches is the easiest thing

The high quality of CF and SD media has been

you can do to improve image quality. Canon

pretty reliable for years, but write errors do

takes this so seriously that it’s given the 5D

occur; recording to two cards simultaneously

Mark III the ability to adjust AF perform-

lowers the risk of mishaps. Beyond creating

ance for both the wide and tele settings of

in-camera backups while shooting, doubling

zoom lenses.

©Ellis Vener

While the 5D Mark III’s megapixel count is only slightly greater than the 5D Mark II or 1Ds Mark III, its high-range ISO performance is in a different class altogether. Dynamic range is improved as well. At ISOs well above 1600, the signal is cleaner in the blacks, shadows, and lower mid-tones. The standard sensitivity range extends from a base of ISO 100 to 25,600 in 1/3-stop increments, with expansion in whole stops down to the equivalent of ISO 50 and up to 52,600 and 102,400. In practice, there appears to be no difference in image quality (based on color, detail, dynamic range, and signal-to-noise ratio) at settings of ISO 100 to 800. Noise in dark colors starts to be apparent at ISO 800 but can be easily nullified in Adobe Lightroom 4.1. For most general low-light purposes, I felt comfortable going up to ISO 6400 with minimal amounts of luminance noise reduction in Lightroom. This broad range makes a difference in image quality in other real photographic ways: Faster shutter speeds freeze motion better and, combined with moderate apertures, this means greater depth of field, better action shots, and lower energy demands on flash batteries. In other words, ISO settings are a creative tool.

ISO tests showed no apparent difference between ISO 100 and ISO 800. Above, you can compare ISO 100 (top) to ISO 3200 with no noise reduction applied.

At the other end of the sensitivity scale, ISO 12,800 and 25,600 produce a grainy, impressionistic look in the highlights and

more automatic, but I’ve always been dis-

three additional Canon Speedlites in remote

mid-tones, lots of color freckles in the shad-

concerted by the way the information dis-

mode. With Speedlites married to the 5D

ows, and blacks that are noisy and relatively

plays on Canon DSLR viewfinders go dark

Mark III’s ability to make ultra-clean images

weak. Unless that’s a deliberate choice on

when changing shooting modes.

at ISO 800, you get a versatile, though not

I see a real improvement in the E-TTL flash

inexpensive, lighting kit. A full set of the results

control system, especially with multiple Canon

is posted at bit.ly/MtLmcw. The figurines in

The EOS 5D Mark III handled a wide

Speedlites. As the new 600EX-RT Speedlite

the collection range in size from 1.5 inches to

variety of subjects and environments in the

and transmitter system is not available yet, I

16 inches in height or width. Exposure for all

way you’d expect a high-end camera to, but

used a combination of 580EX II and 430EX

photos was ISO 800, f/11 at 1/200 second.

a couple of the control placements baffled

II Speedlites for a commissioned still life. To

me. I don’t doubt that more time with it

get the master flash a good distance off-cam-

changes the energy levels based on the light-

would have made finding certain controls

era, I used a cable from OCF Gear and set

ing effect and reflectivity of the subject,

your part, ultra-high ISO is suitable only when there’s no other option.

Even though the E-TTL metering



©Ellis Vener

This close-up was shot with the Canon EF 24105mm f/4L lens at 105mm, exposed for 1/20 second at f/11, ISO 125, with a mix of ambient light and electronic flash for minimal fill.

according to Canon Technical Information Advisor Chuck Westfall, “Canon added a feature called automatic color temperature compensation to its EX-series Speedlites starting with the 580EX. With this feature, a circuit in the flash reads the battery power level and the flash duration for every shot and then applies a color temperature compensation factor to the white balance data in the resulting image files. This has the effect of equalizing the color temperature for all flash photos taken with the 580EX or newer Canon Speedlites with EOS digital SLRs.” Whatever is going on under the hood, the

played with the camera’s tone-mapped HDR

the 22.3-megapixel raw files (about 33.5MB

system works reliably.

features, which offer a limited selection of

each) to both the CF and SD media.

The 5D Mark III adds a fore/aft indicator to the artificial horizon. The 3.2-inch 1,040,000-pixel LCD screen on the back of

options. If you’re serious about the HDR look, you’re better off doing it in post-processing. The battery life is pretty good. I averaged

As to how it handles, no camera will ever be perfect for everyone (I prefer the exposure mode switch to be on the right side of the

the camera is gorgeous to look at, and the

700 frames before needing to recharge, but I

pentaprism, for example), but with one major

new menu structure is an improvement. I

use live view a lot and was constantly writing

exception, it’s fine. The exception is the viewfinder. In itself it’s okay, but I wear glasses,

Specs

and it’s hard to see the entire frame, so it

Canon Eos 5D Mark III

EFFECTIVE PIXELS: 22.3 million IMAGE SENSOR: Approximate 35x24mm CMOS sensor (35mm full-frame) TOTAL PIXELS: 36.8 million DUST-REDUCTION: Self-cleaning sensor unit, dust-delete data acquirable for use with software IMAGE SIZE: 5,760 x 3,840 pixels maximum FILE FORMATS: JPEG, RAW (14-bit Canon Original) PICTURE STYLE: Auto, standard, neutral, portrait, landscape, monochrome, user-defined 1-3 MEDIA: SD and CF slots SHUTTER: Electronically controlled, vertical-travel, mechanical, focal-plane shutter SPEED: 1/8,000 to 30 seconds, x-sync 1/200 second DIMENSIONS: Approximately 6 x 4.6 x 3 inches WEIGHT: Approximately 30.3 ounces (body only) PRICE: $3,499

could be more eye friendly in that regard. In sum, the Canon EOS 5D Mark III’s performance meets the needs and expectations of a critical working pro photographer, though it falls short of the massive resolution of Nikon D800 cameras. The EOS 5D Mark III is not a revolutionary camera but one that evolves Canon’s DSLR lineup substantially. Canon put its best current technology into a smaller body, making it less expensive to manufacture, and though the suggested retail price exceeds the 5D Mark II by $1,300, the camera you really need to compare it to is the EOS-1Ds Mark III, which at $6,999 is twice as expensive and lacks many of the 5D Mark III’s advantages. n


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 flash 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 the same. Recently, Paul set about to create all new, next generation technology that will surely be the standard against which future mono flash units will be judged. The core of Einstein™ lies in its IGBT flashtube 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 flash 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 lighting patterns. Adjustable in exact digital 1/10f 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 - flash durations, color temperatures, Wattseconds, EU Numbers, model-to-flash ratios and more, either from the rear panel or from your camera. With the Cyber Commander™ (CyberSync™ system components sold separately), you can control and meter up to 16 lights, bracket in camera f-stops, create infinite 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 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 flash 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™”

EINSTEIN™ E640 Self-Contained Studio Flash (reflector not included)

$499.95*** • 9f Variability (2.5 to 640WS) • Global Voltage • 0.08 to 1.7 Sec. Recycle • 1/1700 to 1/27000 Second t.5 Flash Duration (1/580 to 1/13500 Sec. t.1) • Constant 5600° Color at any power setting • Color LCD Display • 12 fps Capability • 250W Modeling Lamp • Pyrex Diffusing Dome

• Fan-Cooled • Audible Recycle Beeper • Optional CyberSync™ Plug-in Radio Remote • Ultra Compact - 4.25lbs • Rugged Lexan Housing *** Factory-Direct Price from Paul C. Buff, Inc.


If you regularly shoot in rough conditions, the D4 delivers in dim or harsh light, and for fast action. BY ELLIS VENER

Multi-media storymaker NIKON D4

Cameras are storytelling tools, with still pho-

stay. Some of the video technology actually

the framing composition and exact focus.

tos telling stories one way and videos

aids still photography.

With the camera on a tripod, these details

another. Some people resent the inclusion of

Consider the live view function. In non-

can be inspected in intimate detail before

video capability in still cameras and say

video cameras, live view works like a view

you take the photograph. With a camera with

they’ll never use that technology. For camera

camera’s ground glass—with more informa-

built-in video set in video mode, the live

makers, that boat sailed a couple of years

tion, a built-in magnifier, and autofocus if

view screen is your viewfinder and requires a

ago, and multimedia cameras are here to

you want it—which gives you a preview of

smartening up of the autofocus system. The version of live view in the Nikon D4

©Ellis Vener

(and the Nikon D800, and in a similar version in the Canon EOS 5D Mark III and EOS-1D X) is state of the art in contrastbased autofocus. Live view autofocus has matured to the point where I feel comfortable using it in real-world shoots. It allows unobtrusive shooting in situations where raising a camera to look through the viewfinder could disrupt the event or the subject. With the AF face-recognition option, the Nikon D4’s sensitivity range, and really good signal-to-noise ratio at high ISO settings, the camera can capture good candid shots even in dim light. The D4’s 16.2-megapixel resolution breaks no new ground, but other facets of its performance make it a standout. It is capable of hitting an ISO equivalent of 205,600 (Hi-3); you’ll need to deal with the resulting noise and weak blacks, but when you absolutely The Nikon D4 beautifully handles a mixture of harsh and dim light in this exposure taken for 1/125 second at f/3.5, ISO 3200. Detail remains in highlight and shadow.


©Ellis Vener

Exposure: 1/8,000 second at f/2.8, ISO 1400. Shot at 200mm with a Nikkor 70-200mm f/2.8 lens.

Nikon T14E and TC17E teleconverters), nine sensors are active, and with a lens sporting maximum aperture of f/8 or smaller, only

need to stop motion in low light, this camera

one sensor is active. Autofocus depends on

can do it. A side effect is the impact lower down

light as well as contrast, but the D4’s works in

the scale where the signal-to-noise ratio is

a range from EV -2 (at ISO 100, the equiva-

better than with the already stellar D3S.

lent to an exposure of 30 seconds at f/2.8) to

Having 25 percent more pixels than the D3S

EV19 (ISO 100, 1/8,000 second at f/8).

also doesn’t hurt if you regularly make prints

Like the D3S that this model replaces, it’s

as large as 11x17 inches. So while it can’t touch

capable of firing off up to 10 or 11 frames per

the D800 or the D3X in maximum resolu-

second (fps), and has a standard ISO range of

tion, the D4 shines brighter in the condi-

100 to 12,800, plus Lo-1 (ISO 50 equivalent)

tions that event photographers, photo-

and four Hi settings above 12,800. Beyond

journalists, and sports photographers often

the ISO 25,600 equivalent, the three Hi set-

work in: dim or harsh light, bad weather (I’m

tings are in full-stop leaps (51,200, 102,400,

taking Nikon’s word on this), and fast action.

and an astounding 204,800). If you’re a fan

The Advanced Multi-CAM 3500FX auto-

Specs

of Nikon Active D-Lighting (ADL), which is

focus system has 51 discrete sensors that can

applied at capture, you now have five ADL

be used singularly or in groups of nine, 21,

modes: low, normal, high, extra high, and

or 51 (for 3-D subject tracking). Fifteen of

auto. Active D-Lighting works like a tone-

these sensors are cross type, but the number

curve adjustment, curving the capture process

used depends on the maximum aperture of

to boost shadow values and tone down the

the lens. For lenses with maximum aperture

brightest highlight values, emulating a

of f/5.6 to f/8 (including faster lenses with

larger dynamic range.

Nikon D4

EFFECTIVE PIXELS: 16.2 million IMAGE SENSOR: 36x23.9mm CMOS sensor (Nikon FX format) TOTAL PIXELS: 16.6 million FILE FORMATS: NEF (raw), TIFF MEDIA: CompactFlash (UDMA compliant), XQD SHUTTER: Electronically controlled vertical-travel focal-plane shutter SPEED: 1/8,000 to 30 seconds in 1/3, 1/2, or 1 EV stops, bulb FLASH SYNC SPEED: 1/250 second seconds or slower DIMENSIONS: Approximately 6.3 x 6.2 x 3.6 inches) WEIGHT: Approximately 2 pounds, 9.6 ounces (body only) DUST-REDUCTION SYSTEM: Image sensor cleaning, dust reference data for use with Capture NX 2 IMAGE SIZE: FX (36x24) image area, 4,928 x 3,280 pixels maximum; can be set to 1:2, 5:4 and DX formats PICTURE CONTROL SYSTEM: standard, neutral, vivid, monochrome, portrait, landscape, user settings PRICE: $5,995.95


©Ellis Vener

As a video camera, the D4 has a slew of shooting and recording options. With the camera set to full-frame width, you can shoot at 30, 25, and 24fps at HD resolution of 1,920x1,080; at 1,280x720ppi, the frame rate is 60, 50, 30, and 25 fps; at 640x424ppi, 30 or 25fps; and in DX crop mode at 1,920x1,080ppi, at 30, 25, and 24fps. Also new is a 20-step audio level adjustment feature with audio level meters that show up in the live view window and connections for stereo sound input and a headphone output for audio monitoring. Movies can be recorded to either CompactFlash or the new Sony XQD memory device, but the default is the XQD slot. There are also output options for HDMI (Type C mini-pin), high-speed gigabit Ethernet, and USB 3.0. For both still and video, the D4 has advances in its 3-D color matrix metering

Exposure: 1/1,600 second at f/2.8, ISO 3200, -1/3 EV. Shot with an AF-S Nikkor 70-200mm f/2.8G ED VRII lens zoomed to 200mm.

system. The metering system’s 91,000-pixel RGB metering sensor (blowing away the D3/ D3S 1,005-pixel RGB sensor) and updated scene recognition database work in conjunction with information from the autofocus system to better refine both metering and autofocus accuracy. The camera’s size has advantages, such as a larger battery with the capacity to handle well more than 2,000 frames between charges, and a built-in ergonomic grip for shooting vertically. Other niceties: The camera is built like a proverbial tank yet handles nimbly, featuring clearly marked controls in logical positions. With lenses from small, singlefocal-length wide angles up to 300mm f/2.8, the camera is well balanced when handheld. Buttons on the back of the camera and the left top deck have a backlight option that’s helpful if you’re working in the dark. The D4 is not for everyone, but if you or your work conditions are hard on smaller, more delicate cameras, it’s definitely one to consider. n


THE GOODS: PRO REVIEW Images courtesy of Wacom

Say goodbye to the mouse. Once you scale the learning curve, you’ll find this new tablet’s not just a creativity tool but a workflow accelerator as well. BY ELLIS VENER

Touch this

WACOM INTUOS5

In pen and tablet navigational device inno-

the previous model are indeed large ones:

will take some time to get used to this

vation, Wacom remains king of the hill

Now you can use your fingertips as well as

method. Now that I’ve got the hang of it, I

with the new Intuos5. Wacom promotes

the Wacom pen; the touch sensitivity is

like it.

its Bamboo and Intuos tablets as tools

doubled, making for smoother drawing;

for creativity—which they are—and the

and it has a wireless option as well as USB

a laptop trackpad, get ready for a vastly

Intuos5 is that and more. It’s also a tool for

2.0 connectivity.

expanded range of control—deeply, truly

production of more mundane work, such as

Programming the Intuos5 is straightfor-

If you’re already using your fingertips on

customizable control. Size matters here.

writing, database work, spreadsheet crea-

ward, although you’ll need to do some

Most trackpads are barely the width of a

tion, and even iTunes. Once you set up an

thoughtful consideration to maximize its

small hand, but the Intuous5 comes in

Intuos5 to fit your way of working, it can

use for specific applications and as a gen-

three sizes with active surfaces measuring

accelerate your workflow.

eral navigation device. If, like me, you’re

6.2x3.9 inches, 8.8x5.5 inches, and 12.8x8

not accustomed to using a tablet and pen, it

inches. I used the medium-size tablet for

The big changes in the Intuous5 from

this review. Its substantial size makes it easier to use with multiple displays, such as when your main Photoshop live area is on one display and the menus and palettes or Lightroom is open on a second. Many of us are familiar with using oneand two-finger gestures on iPads and smart phones; with the Intuos5 you can make use of all five digits. Even better, you can use your fingers and the pen simultaneously. Like the pen itself, the express keys, touch ring, and radial menus can be programmed to your liking. If you usually navigate with a mouse, you may need a few days of practice to adjust to using a pen as an on-screen pointer and brush. With the Wacom device, you can minimize your use of a keyboard for commands and shortcuts, which is where the programmable express keys, touch ring, and radial menu come into play. Because precision is important in point-


ing to and drawing things, all three sizes of

up a USB port. A little drawer in the tablet

are also worthwhile tutorials by Patrick

the Intuos5 feature resolution of 5,080 lines

stores the external transmitter when it’s not

LaMontagne.

per inch, 2,048 levels of pen pressure, and

in use. The wireless option is handy if you

pen accuracy of about 0.01 inch. The dou-

want to reduce the cables on your desk, but

the Wacom Cintiq line become widely

bling of the sensitivity over previous Intuos

it slowed the response time on my system,

available and lower in price, the Intuos5 is

models and the Bamboo line is thanks to

so I prefer working with the wire.

a fine interface for anyone who spends

the incorporated electromagnetic reso-

The pen comes with its own holder and

Until touch-sensitive displays such as

much of the day working on a computer.

nance technology, which yields smoother

a set of 10 additional nibs: five replace-

It has revolutionized the way I interact

curves and a better read of pen pressure.

ments for the standard nib and five with a

with my photographs, especially retouch-

softer, more brush-like feel. You need to

ing. I’ve used great mice before, like the

useful that the corners of the active area of

replace a nib when it wears down or flattens,

1,600ppi Razer, but the Intuos5 is a clear

the tablet and the four functions of the

but you’ll use it a lot before that happens.

step up, even for people like me who are

If you work in a dim room, you’ll find it

touch ring are backlit, and the brightness is user-adjustable. The optional wireless connection acces-

Once the driver is installed, you can use

lousy at drawing. n

the Intuos5 straight out of the box, but the easiest way to learn how to take advantage

sory kit—a module and a battery you install

of its features is to watch Wacom’s

in the base of the tablet, and an external trans-

YouTube channel. Along with the hour-

mitter that plugs into a USB port—gives

long webinar, there are short tutorials on

you freedom from the wire but doesn’t free

the radial menu and other features. There

INTUOS5 VIDEO TUTORIALS: youtube.com/user/Wacom youtube.com/user/MontyLaMontagne


THE GOODS: ROUNDUP

for quick removal at airport security scanners.

Keep your gear safe and steady.

The included cable lock and locking zipper BY JEN CHRISTENSEN

slider provide extra security. The sealed rain

Bags & sticks

cover keeps gear dry, and the removable

CAMERA BAGS, CASES, TRIPODS, AND HEADS

ON THE DOWN LOW

padded waist belt comfortably secures the bag. $279.95; thinktankphoto.com

Lowepro’s new Event Messenger bag features a modern design that’s so discreet

No matter what’s most important to you

BIG AND GRIPPY

about getting your gear from one place to

The GorrilaPod

another and keeping it steady once you get

Focus is the strong-

there, there’s a bag, a case, or a tripod and

est and largest flexi-

head designed to do the job. Check out

ble tripod in the Joby

these solutions.

line. It wraps around almost any surface to

L STANDS FOR LITERS

help steady your

If you liked Gura Gear’s Kiboko 30L carry-

shot. The sturdy alu-

on, you’ll love its smaller cousin, the Kiboko

minum frame and

22L+. Built to meet tough international

rubberized foot grips hold up to 11 pounds of camera and lens. Combine it with an

people won’t notice you’re carrying valuable

adjustable Ballhead

camera equipment. With the dual-mode flap,

X for versatile positioning. Focus, $99.95;

you can quietly fold away the Velcro fasten-

Ballhead X, $69.95; joby.com

ers and switch to snaps, eliminating disruptive ripping noises. The bag comes in three

FRIENDLY FLYER

sizes. $59.99 to $79.99; lowepro.com

Airport Accelerator bags meet the three

carry-on standards, it features a removable belt, tripod attachment, sturdy and comfortable handles on the top and side, and a 15inch laptop pocket. Comfortable to carry, it’s made of durable sailcloth. Butterfly flaps let you open one side of the bag at a time so you don’t have to expose everything inside. $379; guragear.com


Cs of travel: comfort, capacity, and carry-on

EYE CATCHER

size. Lightweight at 4 to 5 pounds, the largest

You’ll never lose your tripod in the crowd

of Think Tank’s Airport backpacks sports a

with Benro’s MeFoto Travel Tripod kit.

convenient 17-inch laptop pocket designed

Made of sturdy material, it sports a splash of

color with accents in gold, blue, green, red,

photo cases have a design that doesn’t scream

quick-release plate, and a deluxe carrying

or titanium. Just 12.6 inches folded, the tri-

“Cameras inside!” The wheels take the weight

case. Models are geared for anything from

pod extends to 51.2 inches, weighs 2.6

off your back and are user-replaceable should

small to medium-format camera gear

pounds, and supports up to 8.8 pounds. It

you ever manage to wear them out. Includes a

weighing up to 26.4 pounds. $164 to $219;

comes with a compact carrying case and

17-inch top-zip laptop pocket and a steel secu-

indurogear.com

shoulder strap. $139; benrousa.com

rity cable. $279.95 to $335.95; tenba.com

TALLBOY NOTHING TO BE AFRAID OF

TRANSFORMER

The Calumet 8121 4-

Booq’s pill-shaped Python Sling is full of

The Rucpac

Section 8x carbon fiber

smart surprises. A variety of pockets hidden

strap system

tripod extends to 56.5

throughout provide secure storage. The large

turns your

inches, yet its invertible

back pocket with water-repellent zipper holds

favorite hard

legs fold up to fit more

an iPad or laptop measuring up to 13 inches,

case into a

compact spaces than many

backpack.

other tripods. The carbon

Developed by

fiber stand is also much

U.K.-based

lighter than standard

photographer

aluminum models. It

Laurens

includes a compact ball

Parsons, who

head and retractable stain-

wanted to

less steel spikes. $379.99;

carry Pelican cases more easily, the Rucpac

calumetphoto.com

hard case backpack converter quickly

and the padded strap features a secure smart

attaches/detaches to the back of any

A NEW ANGLE

wheeled hard case without impeding access.

The compact, lightweight Satechi Camera

$96.66 to $129.99; rucpac.com

Holder and Suction Cup Mount adheres

phone holder. It’s made of durable 1680D ballistic nylon with a water-repellent coating and

ALL YOU NEED

has a durable rubberized bottom and remov-

Induro Adventure AKP series tripod kits

able rain poncho. $229.95; booqbags.com

feature quick-lock legs and a precision three-way

ROLLER DERBY TOUGH

pan head.

Tenba completely redesigned its beloved

Folding

Roadie, and the new Roadie II rolling carry-on

handles minimize packing space. It has a bubble level, closed-cell

to flat surfaces, windshields, and dash-

foam grip,

boards. Two 180-degree swivel hinges and a

reversible

360-degree rotating connector let you

center col-

mount a small camera in just about any

umn and

direction. $27.99; satechi.net n



Image courtesy of Graslon

Mirrors and a dome-shaped cover combine to make a unique speedlight modifier. BY ALLISON EARNEST

Light so soft GRASLON PRODIGY DOME

More photographers than ever are using small

impressed by its design and size, 3x5x8 inches,

hot shoe flashes to light portraits. Speedlights

which is larger than most. Size does matter

are small, easy to use, and portable, but with-

in this case—the larger the field of light rela-

out a modifier they produce hard light that’s

tive to the subject, the softer your light.

unflattering in portraits. To soften the light, the

The unit’s soft, even illumination is achieved

remedy is to place a light modifier on the flash

through its patent-pending reflective mir-

or between the flash and the subject. There

rors, which scatter the hard light from the

quality, hard and soft. Overall, I was

are numerous small flash modifiers available,

flash in many directions before it exits the

pleased with the quality of the light it pro-

but buyer, beware: Not all are created equal.

diffuser dome. That design is common to some

duced with the dome on, but for certain

of the expensive studio light modifiers. OK,

subjects, such as firefighter Del Reyes, the

now let’s see how it measures up in the field.

light was too soft for my taste, and the no-

When asked to review the Graslon Prodigy Dome speedlight modifier, I was skeptical that it would offer something new. I was

The modifier can yield two kinds of light

dome configuration worked better. The

All images ©Allison Earnest

The Graslon Prodigy Dome creates very soft light, which may not be suitable for male subjects (left). Removing the dome and using only the light-scattering reflector mirrors creates a large, pleasing field of light (above).


Prodigy Flat flash is another of Graslon’s line of flash diffusers that are harder and more directional than the dome. The Prodigy Dome worked quite well with my female model, Whitney Lancaster; the soft shadows are desirable when you want to create a feminine quality of light. If you like to bounce the flash, the Prodigy Dome is top heavy, so it might not be easy to use in that way. A slight downside with this modifier: You must read the directions to understand how to attach it to your flash, and attaching it is not a fast process. Once attached, however, the modifier is secure, and removing it is easy. The qualities of light it creates are worth the investment. n Allison Earnest is the author of the Sculpting with Light series of books, including the forthcoming “Lighting for Product Photography.”

Bare-bulb flash creates a harsh, unflattering quality of light (left). The Prodigy Dome creates a soft, even illumination with pleasing shadows with no noticeable hot spots (right).


Rich in love Husband-and-wife team Dan and Alex McClanahan followed their hearts not only in marriage but in business, too BY STEPHANIE BOOZER

All images ©Dan & Alex McClanahan

he small town of Ames, Iowa, is home to Iowa State University, vast expanses of green space, and dynamic young photography duo Dan and Alex McClanahan. Located about 45 minutes outside the capital city, Des Moines, Ames boasts a population of slightly more than 58,000, which dips drastically after the college students leave for summer. This might not

“We wanted to work together,” says Dan,

Photographers of Iowa and sought the wisdom

sound like a ripe market for an artsy photog-

who was becoming seriously interested in

of fellow Iowan Lori Nordstrom, M.Photog.

raphy business, yet it’s working out exactly

photography at the time. Finding journalism

Cr., CPP, who gave them solid business advice,

that way.

lackluster and photography ever more con-

says Dan. Through planning, timing, and

suming, Dan switched his focus. After loads

plain luck, the McClanahans recently bought

was pursuing a degree in graphic design and

of studying, much trial and error, and hard

the historic loft building where they had been

Dan was studying journalism. They married

work, Dan hung out a shingle as a full-time

renting studio space. In addition to gaining

after graduation, in the midst of a horrible

photographer. When the timing was right

valuable storefront space for gallery displays,

economy and equally horrible job market that

financially, Alex quit her job to work with him.

they are pulling in extra income as landlords.

The couple met at Iowa State, where Alex

had Dan working nights and Alex days. The opposite schedules were miserable for them.

That was just three years ago, and they’ve come a long way. They joined Professional

Dan is the studio’s primary photographer, typically shooting engagement and senior

sessions as well as any commercial work that comes their way. Alex is the second camera on weddings and does much of the image editing and designing. “Alex is also the accountant and morale captain,” says Dan. “I’m the IT guy and janitor. Working together is just awesome. It’s the primary reason we established our business model. We’re very low volume and high quality, and we highly value having a life outside the business.” The McClanahans book about 12 weddings a year and do engagement sessions for those couples only. One look at those engagement portraits and it’s easy to see why the McClanahans were able to hit the ground running. “When I’m shooting an engagement session, I realize that this couple feels the same way about each other as I do about Alex, which makes it that much more personal for me,” says Dan. “It also gives me insight as to how to best capture them. Since the wedding day is structured, these sessions are so much more stress-free. We’re just playing and having experiences together, and I can capture that chemistry that’s unfolding naturally.” The McClanahans want their engagement couples to be comfortable in environments that inspire everyone’s creativity. A typical session starts in the studio, then it’s off to one or two locations around town. For a couple that Dan says displayed “this awkwardly beautiful indie-rock love,” an abandoned house with snowdrifts inside was the perfect setting. “Both of them had this great sense of humor that was sarcastic and cutesy and awkward,” says Dan. “A month later, someone tore that house down, so it was cool for me because it’s something I could never do again. A lot of our creative ideas are byproducts of my practice of experimenting in each session after I’ve shot what’s safe. Sometimes it’s a complete bomb, but others—it’s awesome.”

The McClanahans schedule all of their engage-

whipped cream on top. Seriously, though, I

couples in a gorgeous scene with perfect

ment sessions for evening and sunset light,

always strive for authenticity in portraiture.”

lighting, and they have an authentic, natural

Part of capturing that authenticity is how

moment. We just handle the technical stuff.” n

though they do carry Canon Speedlites for when they want to add drama to the images.

the McClanahans interact with clients. As a

“As photographers, it’s our responsibility

husband-and-wife team, they don’t have to

to create perfect light all of the time, no mat-

keep a stoic demeanor. Their clients seek them

ter what,” says Alex. “But we don’t get dis-

out for their shooting style as well as their

tracted by gear; we try to be quick and

personalities, which shine through in their

efficient. That’s what keeps the couple look-

branding and Web presence. Self-portraits

ing real and natural. If you have to stop for

of the couple in quirky, fun settings go out as

10 minutes to move gear, you can lose that

Christmas cards and show up on their blog.

chemistry and motion. We don’t want the

Though they strive to maintain a healthy bal-

gear to slow anyone down, we want them to

ance between work and home life, they are

be engaged the entire time.”

passionate about what they do, and it shows.

Asked how he would describe his shooting style, Dan says, “Cherry pie with

“We always say that we want to combine authenticity and artistry,” says Alex. “We place

See more of the McClanahan’s work and follow their blog online at mcclanahanstudio.com. Stephanie Boozer is a freelance writer in Charleston, S.C.

Dan & Alex McClanahan are among the portrait presenters at Imaging USA 2013 in Atlanta, Jan. 20-22.

Femininity A ND LIGHT Seattle photographer Cheryl Jones draws from classic art training to photograph women in boudoir settings BY LORNA GENTRY

All images ©Cheryl Jones

heryl Jones of Belle Boudoir begins sizing up her clients as soon as they walk into her Ballard neighborhood studio in Seattle. They’ve already talked on the phone before the appointment, so Jones has an idea about what her client is looking for in her boudoir photos. While the makeup and hairstylist begins working her magic, Jones shows the client portfolios and asks her to pick out the ones that appeal most. “Often photos they like are similar, like they’re all natural light,” Jones says. Before heading into the studio to choose backgrounds and set up lights, Jones sorts the clothes her client has brought and hangs them up in the order she wants to shoot. “For my clients’ comfort, I like to start with the least revealing clothes so they can get comfortable in front of the camera. Outfits that are more complicated or revealing I save for the end of the session, in part because corsets and thigh-high stockings can leave red lines and marks. I give everyone 10 to 15 minutes of being calm and relaxed in the beginning. I don’t want to submerse them into a potentially terrifying situation. By the time we do the more revealing photos, my clients are calm and totally into it.” Jones opened Belle Boudoir in 2009, and it is the largest of the few area studios dedicated exclusively to boudoir photography. Her 1,200square-foot, two-story studio accommodates 15 unique sets, a queen-size bed with different styles of headboards, couches, and various backgrounds, from wallpaper to exposed brick to a variety of paint colors. There’s a staircase, seamless backdrop, and large windows that are a set unto themselves. Jones decides which sets to use based on the clothes the client brings. By the time she’s ready to shoot, the stylist has finished with hair and makeup. “They usually are feeling great about themselves after their hair and makeup are done, so we jump right in.” Jones doesn’t use assistants because, she says, “My clients feel more comfortable one on one and

don’t want people standing around watching. Only one out of about 25 clients will bring a friend along. But usually they want to keep it private and don’t want distraction.” One of the most common questions clients ask is if Jones will Photoshop them. Yes and no, she tells them. “Most of the time I don’t need to. If a woman has a bruise or an acne breakout or stretch marks, I’ll retouch that. But I work very hard to finesse photos through lighting and posing techniques and reserve technical adjustments for things like contrast and color. I love it when my clients say, ‘Is that really me?’”

FROM FEAR TO CAREER Jones has a classic art background but chose photography over painting when she graduated from college. She began her career by photographing weddings. When one bride asked for boudoir photos, “I was terrified!” Jones says with a laugh. “But I enjoyed it. I like helping women feel confident and gorgeous.” The following flood of requests for boudoir photos convinced her to specialize. Her clientele falls into three groups: “Bridesto-be who are looking for a gift for their grooms. Military wives who need gifts to send overseas to their partners or for their partners to take with them when they leave. But my biggest clientele are women 35 to 55 who are moms and wives celebrating a milestone in their lives, like a birthday or anniversary. They want the makeup and hair and the whole experience, and they give the images as a gift to their husbands.” Jones has also photographed a number of women who have cancer. “Women with cancer come in before they have treatment to preserve the memory of how their bodies looked. Some come in after they’ve recovered from cancer. I’ve also photographed women who are pregnant but not yet showing, so they can remember what they looked like

before the baby. A lot of women come in

Lighting ranges from natural to bright to

geous images I think will wow her, which is

romantic. Jones uses Nikon Speedlights on

usually 40 to 100 photos, depending on the

stands throughout the room for backlighting

length of the session. I use Lightroom for

experimentation, says Jones, and she wasn’t shy

and to bounce off the ceiling. Because Seat-

color enhancement, cropping, et cetera, and

about asking friends and family to be guinea

tle is so often overcast, she augments the

then export through a portraiture plug-in to

pigs so she could try new equipment and pos-

natural light with soft boxes, beauty dishes,

soften edges, which I do minimally.”

ing styles. “I would do three-hour practice

and small video lights. On her Nikon D700

sessions before I’d try it on real clients. That

camera, she most often uses a 24-70mm

her images ready to view. “It saves so much

was more helpful than books or workshops.”

f/2.8 lens. “It’s fast so I can stay engaged

time. I put a book together for her and it’s

after they’ve had a baby, too.” Best practices in posing and lighting took

By the time the client returns, Jones has

One of her techniques is to tell the sub-

with the client,” she points out. If she needs

ready in about two weeks. I tell my clients

ject to close her eyes, relax her forehead, then

to go longer she’ll use either an 85mm f/1.8

the shooting day is long—anywhere from

open her eyes. “That’s when I get gorgeous bed-

or 105mm f/2 prime lens.

five to seven hours, from hair and makeup to

room eyes. Sometimes I can catch them in a

This year she introduced same-day proof-

natural smile or laugh. I always look for and

ing, and it has increased workflow efficiency

accentuate the curves of their bodies. I fol-

exponentially. Once a studio session is com-

low the line of the body and use their arms

pleted, she sends off the client to lunch while

from the elbows back to enhance the curve.”

she does a quick edit. “I select all the gor-

selecting the photographs—but then it’s just a short wait for the surprise.” n

To see more of Cheryl Jones’ work, visit boudoirphotographyseattle.com.

‘‘ ’’

I love it when my clients say, ‘Is that really me?’

©Image courtesy of McClanahan Studio

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E V E N T S

Anna Pociask forges deep connections to create soulful engagement portraits that celebrate individuality and spontaneity. E NG A GE ME NT

BY JEFF KENT

Relationship advocate One brand of couples therapy

Y

ou might say that Anna Pociask is a stu-

working on a master’s degree in marriage and

Her desire to run a business of her own

dent of relationships. From her first intro-

family counseling. A welcome distraction from

on her own terms was strong, but rather than

duction to photography, Pociask has been

her studies was photographing her infant

working with couples in a therapeutic context,

fascinated by the personal connections of her

daughter, and that hobby became a passion.

she began working with them in photographic

subjects and the bond between subject and

Seeing her images, others asked her to pho-

settings, offering her own brand of art ther-

photographer. In fact, she began to envision

tograph their weddings and families even as

apy through relationship-focused images.

a career in professional photography while

she was completing her degree requirements.

All images ©Anna Pociask

Pociask’s engagement portraits, an off-

E N GA G EM EN T

would my friends, so when the camera comes out they’re comfortable with me. I laugh with my clients—a lot. I text with many of my brides-to-be and am always in touch. I like them to know that I’m here not just to take their picture but to make their engagement session memorable as well.” A deeply spiritual person, Pociask shares her faith with her clients. Her overtly religious approach doesn’t appeal to everyone, but it does draw like-minded people to her and becomes another bond in relationships. Pociask’s weekly blog is called Monday Marriage Matters, and with her marriage and family counseling training, she uses it to advise readers on maintaining a healthy relationship. “I let all my couples know early on that I care about their marriage,” she says. Pociask’s engagement sessions draw on all the emotions that lead up to the wedding, all the romance, chemistry, passion, and tension. Yes, tension. “All that tension building up to the wedding day should be captured in the engagement session,” she says. It’s a part of the whole experience, a chapter in the couple’s story, and it brings depth and drama to the images. This period of heightened anticipation, excitement, and stress reveals much about her clients’ personalities, which enriches her coverage of the big day. Pociask says she pushes herself every day to become a better artist and photographer. shoot of her wedding photography, have

couple in a pose, the better the result,” says

She calls her work “visual food for the soul.”

evolved into robust celebrations of her clients’

Pociask. “What I mean by ‘uncomfortable’ is

When she succeeds in creating that, the

relationships as they enter a new chapter in

a position that feels awkward physically but

images become a testament to the couple’s

their lives. She adapts every session to the

has great artistic appeal. I tell them that the

bond. “I want there to be a magical impres-

distinct personality of each couple, so no two

more awkward you feel, the better, because

sion left on one’s soul after viewing my pho-

shoots are exactly alike. To stay organized

those shots will be beautiful and unique.”

tography,” she says. And that, after all, is

and artistically consistent, she envisions the

Pociask leaves room for spontaneity in

overall ambience of the session beforehand,

the sessions. The loose, playful atmosphere

including experimental lighting, imaginative

helps her subjects relax and contributes to the

flair and artistic posing.

photographer-subject bond. “I’m affectionate

“The more uncomfortable I can get my


with my clients,” she says. “I treat them as I

what her clients desire and why they come to this dedicated student of relationships. n

See more of Anna Pociask’s work at annapociaskphotography.com.

Tess Johnson stirs her subjects to feel empowered, embrace their beauty, and celebrate their femininity with her dreamy boudoir style. B OU DO IR

BY JEFF KENT

All images ©Tess Johnson

R

etail boudoir photography

used to be a novelty. It seemed

a touch risqué, not something for the average portrait client. When someone wanted a

boudoir shoot, the options for tasteful, professional portraits were limited. Tess Johnson says times have changed.

When she set up a portrait studio outside Portland, Maine, some five years ago, there was perhaps one dedicated boudoir photographer in the area. Johnson decided to fill the void, calling on her experience as a hair and makeup artist and building on the experience she gained when she shared a studio with a boudoir photographer in Los Angeles. She began by photographing friends, mostly moms who wanted to appreciate their bodies again. After doing numerous sessions for free, she had a portfolio of images celebrating femininity that inspired confidence in her subjects. Her boudoir business accelerated quickly through a combination of word-of-mouth promotion, Facebook marketing, Flickr imagesharing, and participation on message boards at The Knot website. “Maine is a small state, and everyone knows everyone,” says Johnson. “My first clients told others, and my clientele expanded quickly. I went from shooting soccer moms to brides-to-be almost overnight. That led to work with single women looking for gifts for their boy-

A woman’s gift Building confidence leads to beautiful imagery 90 • www.ppmag.com

friends, women over 50 celebrating their mature look, and professional models who wanted images for their portfolios.” Since then, Johnson has seen the market explode. Now boudoir images are gaining

popularity as wedding gifts from the bride to the groom. Many wedding photographers have entered the field, capitalizing on their relationships with their bridal clients. For Johnson, who does not shoot weddings, the competition has somewhat whittled bookings with brides-to-be; however, her woman-centric approach to boudoir portraits keeps clients knocking on her door. Those clients come to Johnson not only for the quality of her images but also for the sense of empowerment she communicates during the session. The way she sees it, boudoir photography is more for the women she’s shooting than for the men who ultimately receive the images. “Many of my boudoir clients tell me that looking through their boudoir books makes them feel good about themselves,” says Johnson. “That’s exactly what I want to accomplish. Yes, the guys like it, but ultimately I’m shooting for women. My images have a more women’s fashion magazine feel than Maxim magazine. I consider things a woman would appreciate, which usually means more details and fewer full-body shots. The sexuality is more implied than obvious—they’re pretty and sexy in a dreamy sort of way.” Johnson does about 50 to 60 boudoir sessions a year. The images go into 12x9inch LayFlat books from Miller’s Professional Imaging and are typically 20 to 30 pages. For almost every client, she produces a two-page centerfold of the session’s wow! image. The books are part of an all-inclusive package that includes hair and makeup styling. Her training and experience in that arena is a tremendous advantage, she says. “The hands-on styling session gives me a chance to get to know my clients and help them relax,” says Johnson. “By the time I’m done, we’re old friends. The shoot is very comfortable after that.”


BOU DO IR

To every boudoir photographer,

an hour-long coffee break while your

Johnson recommends making styling

client’s in the makeup chair. Use that time

part of the package. It’s critical to find a

to bond with her and set the tone for the

hair and makeup artist who makes your

shoot,” she says.

clients feel comfortable, she says. The

The right ambience is crucial. Boudoir

session prep should be a relaxing, pam-

photography caters to emotions. Clients

pering experience. “And don’t disappear for

need to trust you if they’re going to be

“Many of my boudoir clients tell me that looking through their boudoir books makes them feel good about themselves. That’s exactly what I want to accomplish. Yes, the guys like it, but ultimately I’m shooting for women.”

shedding layers of clothing and inhibitions.

She’ll tell them where to look and how to

“Once they feel comfortable and beautiful,

They’ve got to feel beautiful. “You don’t

pose so they don’t have to worry about it.

they will let go and try more things. That’s

want to flatter clients in a contrived way,”

She never starts with subjects looking

when you start to get great results, and you

says Johnson. “Don’t just throw compli-

straight into camera. She lets them be shy

can create work that not only looks good but

ments at them. Figure out what they like

at first and builds into the more direct

also makes your client feel wonderful about

about themselves—women want people to

looks. And she’s always encouraging her

herself. If I can accomplish that with every

notice those things. I love when my clients

subjects. If something isn’t working, she

boudoir shoot, then I am happy.” n

leave my studio saying, ‘You made me feel

won’t point out the disconnect but casually

so beautiful,’ and they haven’t even seen the

suggest trying something new. It’s all about

photos yet.”

building confidence.

As she begins shooting, Johnson tells subjects that she will be their guide:

“I think women all want the same thing, which is to feel beautiful,” says Johnson.

See more from Tess Johnson at tessjphotography.com.


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Award-winning landscape photographer Brian Rueb didn’t set out to become a photographer—not until his mother warned him not to. LA N DS C A P E

BY JEN CHRISTENSEN

Passionate competitor Obsession and research pay off

I

n large part, Brian Rueb credits his

ing was setting me up for a life of misery and

class when Rueb was growing up in their

mother with making him an internation-

poverty,” says the award-winning landscape

Northern California home, and she devel-

ally recognized professional photographer.

photographer. It was her worry that made

oped her photos in the kitchen. Initially,

Photography was the exact opposite

Rueb determined to succeed. And it was her

Rueb had no interest in the developing

camera that helped launch his career.

process, but he spent hours in his mother’s

She wasn’t a professional. She had

makeshift darkroom, enjoying her conver-

bought a Nikon FM2 for a photography

sation and the delay of his bedtime. “I just

of what she wanted him to do professionally. “My mother had strongly suggested [my

goal of] being a fine-art producer for a liv-

All images ©Brian Rueb

thought it was eccentric and odd to shield

eerie prints sell well, he’s working on a book,

ing in a portrait studio: “I was the new guy

the kitchen with black sheets she sewed

and the photography classes he teaches

with potential, so I got all the rookie, haz-

herself and then turn on this eerie red

through the Aperture Academy in California

ing-type assignments: old people, misbehav-

light,” Rueb says. He grew to like watching

are booked a year out.

ing kids, families of 25 that didn’t speak

the images come to life under her able hands. “Photography at the time wasn’t something I even considered as a medium to use creatively.” But he couldn’t avoid it, either. When he needed an after-school job, his mother’s photography teacher hired him to make deliveries for his studio. Then in college when he needed an art elective, he joined a friend in a photography class, FM2 in hand. “I had a really great but strict college instructor who was so hard on the students that for some reason I took it as a personal challenge not to be in that group who were there to waste time. He had no patience for laziness and half-assed work,” says Rueb. The class might have been a mere elective, but he worked hard at it, and his professor noticed. “I was lucky he liked my work, although in retrospect it was pretty bad. Having his vote of confidence focused me to push harder.” Rueb started to think seriously about becoming a professional photographer. “Twenty-one years ago when I had the epiphany [of becoming a photographer], my mother went into full-on mom mode and told me all the reasons it was a horrible idea,” he says. So he got a teaching degree. He figured teaching would at least give him a steady paycheck and enough free time to pursue the photography he loved. “It took me 15 years of doing other things, with photography being a side thing, before I got to the point where I felt I was professional, and even now I still have fears about it.” You wouldn’t know it. Rueb has traveled around the world in pursuit of the perfect shot. He’s become a successful landscape photographer, shooting throughout America, and in Africa and Iceland. His beautiful,

Rueb says it took years to find his profes-

English, rowdy pets, all of it. I had to photo-

sional muse. He entered the business work-

graph them, which never went well, and sell

LA NDS C A P E

to them afterwards. I dreaded that.” He tried weddings next, but it wasn’t a good fit either. Shooting film at the time, he always worried he wouldn’t get the shots, at least not the ones the families wanted. It seemed there was always a cranky mother-in-law barking orders, an uncle who wanted to show him his fancy new camera, or an aunt who needed to make sure he took pictures of the right things—“‘Did you see the flower girl? So cute with that bouquet! Tell me you got that,’” he recalls. He could do the job all right, but weddings stressed him out. Then, on a father-son outing to photograph landscapes, “I fell in love with the freedom to create in nature,” Rueb says. “I’ve yet to have a rock or a tree tell me they look fat.”

T WO OF THE MANY

FACES OF PPA We’re like a two-headed photographer. Despite our different personalities, our working relationship has really helped us through the ups and downs of owning a photography business. For example, we’ve gone from landscape-only photography to portraits and commercial work that still include the landscapes we love. Even with all the changes, one thing we’ve never disagreed on is how glad we are to have joined PPA. For years, we’ve met and bounced ideas off others in the industry, but attending PPA’s Imaging USA and Business Breakthroughs Workshop was the major turning point for our studio. And by committing to follow up with Studio Management Services, we’ve become even more VXFFHVVIXO6LPSO\SXWZHEHOLHYHLQ33$7KH\KHOSXVUHðQHWKHTXDOLW\RIRXUFUDIWDQG inspire us to always do something better.

Babe & Arlene Sarver © Babe’s Photos

Babe’s Photos Phoenix, AZ Members since 1998

LA NDS C A P E

A self-described perfectionist, Reub does an obsessive amount of research before each shoot. He pours over maps, talks to locals, studies thousands of images—professional and amateur—to figure out exactly what he hopes to capture. He picked Iceland for the book he’s developing in large part because of a crush he developed in the eighth grade on Icelandic singer Bjork. Doing research about her, the Northern Californian felt drawn to Iceland’s cold landscape and light. “I saw even more images that made this place look like a playground for this type of photography,” he says. He raised money from friends and family for the trip and shot every day of his three-month stay. (Yes, he did look up Bjork’s number in the phonebook but swears he resisted the temptation to call.) As with most of his shoots, Rueb planned half of his shots. He shot the others wherever the bus left him and came home with fantastic stories along with thousands of images. “I’m not a technical writer … I couldn’t care less about what ISO I shot, the f-stop, the EXIF data,” he says. “My purpose for writing is to talk about the other side of photography, the story behind the photos and what goes into a shoot from a personal experience level.” He hopes to get the book together by the end of the year. When not writing, he’s been enjoying teaching. A number of his students have gone on to win awards or begin professional careers. He loves seeing people develop the same enthusiasm he has for this art. Teaching also keeps his hyper-competitive nature in check. Because of that, he says he’s not

Even his once nay-saying mother has

wall are his photographs hanging in a place

always fun to shoot with. But in the field

taken one of Rueb’s workshops, although

of pride. “I guess that means I’ve finally

with his students, he redirects that energy.

“admittedly, it was not a great experience for

made it,” he concludes. n

“I’m trying to make sure I teach my students

the both of us,” he says. “I go out too far and

better than anyone else. I love seeing their

too hard for her.” But when Rueb walks

joy. It’s so motivating.”

through his mother’s house, there on the


See more of Brian Rueb’s work at brianruebphotography.com.

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072012

Canadian photographer Marie Murray’s eye for design, drama, and femininity is evident in her maternity portfolio. Clients love it. M A T ER NI T Y All images ©Marie Murray

I

BY LORNA GENTRY

t’s a tough business to break into, Marie Murray was warned as a young woman seeking a career in photography. So instead, she went to school to do something “practical.” That didn’t last long. She

had to follow her heart. Now, seven years later, she runs a suc-

cessful business in maternity, newborn, child, and family photography in Burlington, Ontario, called Memories by Marie. First apprenticing with a fashion photographer, Murray learned valuable lessons in lighting and posing. Fashion continues to inspire her, which is evident in her maternity portraiture. When she struck out on her own four years ago, she had no studio and did location shoots exclusively. This worked well for a couple of years as she formed relationships that became the base of a thriving clientele. She went on to open home studios that were basic and cramped, and now she’s happily ensconced in a much larger home that affords her an 11,000-square-foot studio—a dream come true, she says. The abundance of natural light from wallto-wall windows is perhaps Murray’s favorite feature of the new studio. “For maternity photos, I like natural light because it’s soft and beautiful and gives a glowing backlight,” she says. She typically mixes natural light with studio lighting. “If someone doesn’t feel comfortable, and quite a few pregnant women don’t feel comfortable, I use studio lights so that I can light them in ways that are very flat-

Great expectations Comfort is key for moms-to-be 104 • www.ppmag.com

tering. Then when they see their images they love them instead of being self-critical. And while I’m shooting I’ll show them a couple of shots as we go along so they can see they look good. That’s gets them excited and more

M A TER NI T Y

“Some pregnant women are uncomfortable posing nude. I tell them that when properly lit, this type of shot is very flattering, especially profile shots, because you’re focused on the belly and not sharing too much information elsewhere. If they just can’t do it, then I get them to put something like a wrap on the top so their belly can be exposed.”

inclined to do the things I ask them to do. ”

Murray reports that at least 90 percent of

them that when properly lit, this type of shot is

her clients want their husbands to be there

very flattering, especially profile shots, because

three B400s and two AB800s. “I also use a

at the shoot, and 90 percent of those husbands

you’re focused on the belly and not sharing too

full-length reflector. With maternity, I typi-

would rather be somewhere else. “I joke with

much information elsewhere. If they just can’t

cally need only one to two lights, but if some-

the husbands to lighten the mood,” she says.

do it, then I get them to put something like a

one wants a high-key photo I’ll use all five.”

“I’ll throw them into a few shots to make

wrap on the top so their belly can be exposed.”

Murray uses AlienBees lighting; she has

High-key photos, she says, are reserved for

everyone happy. But I don’t ask to photo-

Most clients, however, are happy to shed

“women who are comfortable with themselves

graph him without a shirt because it will

their clothes. “They go for it! I’d say 85 percent

or have a slender to medium build. I like to

make him uncomfortable. Most men are

of my clients want nude shots,” Murray says.

do nudes or semi-nudes with them especially.”

also uncomfortable looking into the camera,

The results are tasteful and beautiful. Murray

With high-key shots in which the woman is

so I have him look at his wife’s belly or face,

uses a Nikon D700 DSLR camera and favors

swathed in fabric, Murray directs a fan on the

which tends to make him smile and relax.”

prime lenses. Her go-to lenses are the 50mm f/1.4, 85mm f/1.8 and the 24-70mm f/2.8.

subject to get the fabric to splay and billow dramatically around her. To get maximum

FEELING SHY

movement, she clips the end of the fabric to a

It’s not just husbands who may have a hard

few props in maternity portraits, but she

light stand. If the subject’s husband is at hand,

time relaxing for the camera. “Some pregnant

does indulge in a variety of furniture for pos-

he’s given the task of holding the fabric.

women are uncomfortable posing nude. I tell

ing, including a bed, chaise longue, and sofa.


Other than fabric wraps, Murray uses

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M A TER NI T Y

The upholstery and accents are in shades of white and cream as well as light colors. Her clients happily comply with posing suggestions, but lying down can be tricky. “It can be difficult for pregnant women to get up and down from a sofa or bed,” notes Murray. Murray advises mothers-to-be to come in for maternity portraits when they’re 30 to 36 weeks along. “I want them to come when they’re most comfortable, so it depends on the woman. I tell them to come when they’re feeling good about themselves and can move around easily. And I warn them not to wait

too long or they may not get the picture.” That happened to Murray herself. “We planned to have maternity photos when I was pregnant with our son, but he came six weeks early, and I missed the opportunity.” Her son, now three months old, is her second child. With her first child, a daughter now 20 months old, she took her own maternity shots using a remote control. “I used studio lights for my own comfort level and didn’t reveal too much of my body.” She combined those photos with pictures of her daughter taken every week during the first year of her life, compiling a 300-page album. Albums and digital files are Murray’s most requested products. “Some clients will want a couple of wall pictures but most want before and after albums.” While most mothers return for newborn photos, some like to wait until their babies are at least three months old. Personally, Murray loves it when clients return with their newborns. “As a photographer, it’s incredible to document the changes that a woman’s body goes through, which are amazing, and then to meet the newborns. I just love it!” n To see more of Marie Murray’s work, visit memoriesbymarie.ca.

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Aneta and Tom Gancarz grew their business from the ground up, beginning with children and expanding to maternity, newborns, and families. M A T ER NI T Y

BY LORNA GENTRY

The sweet spot On a growth track

raphy, a thriving studio in Manchester, U.K., specializing in newborn, baby, and family portraiture. Professional Photographer caught up with the duo to get the lowdown.

neta and Tom Gancarz have their three children to thank for their photography careers. As enthusiastic parents, they photographed their children so often

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All images ©Aneta & Tom Gancarz

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M A TER NI T Y

comfortable on location. Of course, there are

When you shoot outside do you augment the

we use our window as the main light source

situations when we have to use the studio—

natural light?

and fill in with octabank soft boxes for a nice

bad weather, for example. Among our favorite

We generally use available light. The time of

balanced light. Occasionally we use flash.

locations are big parks that surround old coun-

the day is extremely important. Late afternoon

try houses in our area. They aren’t overcrowded

is best. If lighting conditions are difficult

How do you advise mothers-to-be to dress

and give many opportunities for great portraits.

we’ll use reflectors but never flash. In studio

and what to bring for the portrait session? Since everyone likes to dress differently, we leave the choice to our clients, but we do advise on what works best, how to mix different colors, what not to wear. We have a guide on our website that helps with choosing color schemes and tones. Mums-to-be love to bring items that will be connected to their babies, typically a soft toy like a teddy bear. When they come back for their newborn shoot they usually bring the same toy to the session. Pregnant women can be uncomfortable with their bodies. How do you help them relax? We understand that some women might feel uncomfortable so we discuss it prior to the shoot and adjust accordingly. We start with full-length poses and gradually change to half-length. It’s important to analyze the subject’s figure and shoot only poses that allow you to hide any imperfections. What equipment do you use? Nikon D700 and D300 DSLR camera bodies. The D700 has fantastic low-light capabilities that allow us to work in difficult lighting conditions, and the D300 is our backup camera. We like working with fixed focal length lenses, most often the 85mm f/1.8D AF and 50mm f/1.4G AF-S. In some cases we need a bit wider lens, so 35mm f/1.8G AF-S comes in handy. Sometimes on location we use a long zoom, like the 70-300mm f/3.5-5.6 VR AF-S. For really close shoots we use the Sigma 105mm f/2.8 macro. n

To see more of Aneta and Tom Gancarz’s work, visit atgancarzphotography.co.uk.

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JULY 2012

PRESIDENT’S MESSAGE

Tim Walden, M.Photog.Cr., F-ASP - 2012-2013 PPA President

T

H[WUDRUGLQDU\LPDJHVIRUDIXWXUHJHQHUDWLRQ$IWHUDOOZKHQ ZHVHHVWRULHVRQWKHQHZVRIDKRXVHFDWFKLQJRQʏUHWKH RZQHUVZKHQLQWHUYLHZHG RIWHQVD\WKHʏUVWWKLQJVWKH\ grab are their photos.

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his month, I wanted to take a break from my usual presidential address to share a personal message that I feel is vital to the industry in this day and time. For the past few months, my mother has been struggling with cancer. On May 17, 2012, she passed away in the care of hospice at a local hospital. As sad as that day was, knowing that we had a beautiful portrait of her was immensely comforting to our family. The saying, “You don’t treasure what you have until you no longer have it,” is true. Although we enjoyed having the portrait in our home and passed by it daily, its value has enormously increased and it has become a treasure. It now holds all of our memories…and that is indeed priceless. I took this portrait of her before she was ill, and Bev painted it for a canvas presentation. In it, she is dressed to the nines. She is glowing with beauty and grace. My mother ZDVDSURXGZRPDQDQGKRZVKHGUHVVHGDQGʏ[HGKHU hair and makeup was critically important to her. The entire family felt it honored her to present the portrait, beautifully framed, at the funeral. She would have wanted it that way! So, just when you think that what you do is unimportant, remember this story and how valuable this single portrait is to our family. Take the utmost care and attention with every client that steps in front of your lens. What you are capturing are precious, irreplaceable, valuable and

“Photography is a way of feeling, of touching, of loving. What \RXKDYHFDXJKWRQʏOPLVFDSWXUHGIRUHYHUȓLWUHPHPEHUV little things, long after you have forgotten everything.” a$DURQ6LVNLQG

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IMPROVE WORKFLOW, PROTECT TIME: ONE PPA MEMBER LEARNS HOW By Angela Wijesinghe

W

e all have limited time and resources. The challenge is using what we have wisely. How can ZHLPSURYHZRUNʐRZVRWKDWEXVLQHVVʏWVLQWR our lives instead of becoming our lives? “Your business will encroach on every aspect of your life if you let it,” notes Angela Talentino Kurkian, M.Photog.Cr., a PPA Studio Management Services (SMS) consultant. “As photographers, we often aren’t protective of our time at all.” Figuring out ways to protect that time DQGJHWWKHMREGRQHHIʏFLHQWO\LVRQHEXVLQHVVDVSHFWWKDW Kurkian and other SMS consultants can help PPA members address. Cindy Christante, who is facing a big change in her VWXGLRKDVEHHQH[SHULHQFLQJWKDWKHOSʏUVWKDQG

Big Shoes to Fill Christante’s daughter, Maari, recently left her mother’s 7H[DVEDVHGEXVLQHVVIRU$IULFDWRSXUVXHKHUGUHDPRI EHFRPLQJDKXPDQLWDULDQSKRWRJUDSKHU)RUVL[\HDUV Maari was the full-time digital artist and graphic designer for her mother’s studio, Natural Impressions Photography. She had also worked her way up to shooting 40 percent of the studio’s work. While Christante is thrilled for her daughter’s opportunity, she says she knew the change would RSHQXSODUJHJDSVLQKHUVWXGLRȊVZRUNʐRZ Kurkian, who owns Essenza Studio in Ohio on top of being an SMS consultant, understood. “Whenever a partner is taken out the equation—especially one who handles a big piece of the business puzzle—you always wonder: How do I survive?” she says. Christante was asking herself that very thing. She has three assistants, two of whom job share an administrative assistant position and one who serves as digital manager to EDFNXSHOHFWURQLFʏOHVKRZHYHUQRQHDUHDGHSWDWXVLQJ Adobe Photoshop. Christante feared she would be adding seven hours to her work week for every job she shot.

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SMS Lends a Hand Christante had the foresight to prepare for this upcoming change months in advance, and she knew where she would seek answers. She has long been a proponent of PPA’s educational resources, having attended an SMS Business Breakthroughs workshop several years ago with Maari. “SMS had already made a huge difference in our EXVLQHVVSURʏWDELOLW\DQGJRDOVȎH[SODLQV&KULVWDQWHȍ6R when I didn’t have a clue of how to handle this transition, 606ZDVWKHʏUVWSODFH,WKRXJKWRI5LJKWDZD\%ULGJHW Jackson, the SMS manager, told me: ‘Cindy, you can’t do all of this yourself.’ I needed to hear that.” Jackson suggested that before Christante begin ZRUNLQJZLWKDQ606FRQVXOWDQWVKHWUDFNKHUZRUNʐRZ over two weeks. By doing so, she would learn how long it takes to complete various tasks, such as answering emails, GRZQORDGLQJDQGEXUQLQJʏOHVDQGKROGLQJDVDOHVVHVVLRQ 7KLVGDWDZRXOGDOORZKHUWRVHHH[DFWO\KRZVKHZDV spending her time.

What Is Working Christante brought the data to Kurkian, who understood ZKDW&KULVWDQWHZDVXSDJDLQVWȍ:KHQ,ʏUVWJRWKHUSDSHUZRUNDQGWKHHVWLPDWHGZRUNʐRZWLPH,ZDVRYHUZKHOPHG for her,” Kurkian says. Together, Christante and Kurkian discussed steps that ZRXOGVWUHDPOLQHZRUNʐRZDQGUHGXFH&KULVWDQWHȊVZRUN hours: Trim planning sessions. Christante has cut the length of planning sessions from 60 to 30 minutes. “In fact, after P\WDONZLWK$QJHOD,GLGP\ʏUVWSODQQLQJVHVVLRQLQ PLQXWHVʐDWȎVKHVD\VDFNQRZOHGJLQJWKDWFOLHQWVW\SLFDOO\ didn’t need all the information she had been giving them. Use existing resources. Christante met with her assistants and asked if they wanted to embrace Photoshop and other business tools the studio was using. “We’ve cut three hours RXWRIWKHZRUNʐRZE\WUDLQLQJRXUHPSOR\HHVWRGRLPDJH selection, prepare Facebook images and gallery wraps, digital packages—little things that just bog me down.” Outsource or hire. For several years, Christante has been using a remote retoucher to do entry-level retouching, and

she’ll continue to do so because it makes good business sense. She also plans to hire a dedicated part-time social media employee to be the online voice of her studio. When Christante then drew up a worksheet of everyone’s tasks, she found that her list, which includes planning VHVVLRQVVKRRWLQJʏQDOUHWRXFKLQJDQGVDOHVVHVVLRQVZDV WKHVKRUWHVW7KLVZDVDʏUVWȍ,IHHOWKDWWKLVLVGRDEOHQRZȎ VKHVD\Vȍ,GLGQȊWIHHOWKDWZD\MXVWVL[ZHHNVDJRȎ

What You Can’t Forget $IWHUWDNLQJDGHHSORRNLQWRKHUFXUUHQWZRUNʐRZDQG embracing a willingness to delegate, Christante and her VWXGLRDUHRQDPRUHSURʏWDEOHSDWK$QGLWFRXOGQȊWKDYH EHHQGRQHZLWKRXWʏUVWIRFXVLQJRQKRZKHUWLPHZDVVSHQW “Focus is probably one of the most important steps in HIIHFWLYHSKRWRJUDSKLFZRUNʐRZȎVD\V.XUNLDQȍ7LPHJHWV whittled away quickly when we wear so many hats and are SXOOHGLQVL[GLIIHUHQWGLUHFWLRQV%XWLI\RXFDQGHWHUPLQH your strengths and weaknesses, you can build off of them.” Part of that involves delegating and outsourcing. As &KULVWDQWHH[SHULHQFHGʏUVWKDQGVKHFRXOGQȊWGRDOOWKH tasks herself. An added bonus of this discovery process was that Christante freed up time to do more photography by making the best use of training, delegation and outsourcLQJȍ1RZWKDW,ȊYHWDNHQFDUHRIP\ZRUNʐRZ,KDYHPRUH time to concentrate on my creativity,” she says. And that’s ZK\VKHEHFDPHDSKRWRJUDSKHULQWKHʏUVWSODFH :RUNʐRZDQGRWKHUEXVLQHVVFRQFHSWVDUHQRWZKDW most photographers want to concentrate on, Christante admits. But she’s made a goal for herself: She won’t take another photography class until she takes three business FODVVHV6KHȊVVHHQWKHUHZDUGVʏUVWKDQG Angela Talentino Kurkian, M.Photog.Cr., is an SMS consultant who also owns Essenza Studio in Ohio. essenzastudio.com

ADD STRENGTH TO YOUR BUSINESS & STABILITY TO YOUR LIFE Cindy Christante is just one of hundreds of PPA members who have turned to PPA’s Studio Management Services (SMS) for help balancing WKHLUZRUNñRZDQGLQFUHDVLQJWKHLUERWWRPOLQHV Want to learn more about this exclusive service and how it might be able to help you? Check out the workshop calendar below:

BUSINESS BREAKTHROUGHS WORKSHOPS ____________________________________________ JULY 16 – 18

Memphis, TN / Allison Rodgers Photography

AUGUST 27 – 29

Atlanta, GA / PPA Headquarters (Senior Photography Edition)

NOVEMBER 5 – 7

Atlanta, GA / PPA Headquarters

BUSINESS BASICS WORKSHOP ____________________________________________ NOVEMBER 3 – 4

Atlanta, GA / PPA Headquarters

Call today to see how PPA and SMS could help you: Cindy Christante owns Natural Impressions Photography in Austin, Texas. naturalimpressionsphotography.net

888.851.0405

WWW.PPA.COM/SMS


BOARD INSIGHT: MAKING WORKFLOW WORK By Angela Wijesinghe

W

RUNʐRZ is more important than ever for a successful photography business. In fact, over 65 percent of PPA members surveyed said LPSURYLQJZRUNʐRZ was one of their top business concerns in 2012. And PPA board PHPEHU5DOSK5RPDJXHUD6U03KRWRJ&U&33$3, F-ASP, agrees. ȍ)RUSKRWRJUDSKHUVZRUNʐRZLVDOODERXWKRZ\RX organize your studio, from the telephone call to escorting FOLHQWVWRWKHGRRUZLWKWKHLUʏQDORUGHUȎKHVD\Vȍ$QGWKH growth of digital photography has actually made it a bit PRUHGLIʏFXOWWREDODQFHȎ Think of it this way: Before digital cameras, a photogUDSKHUȊVEDVLFZRUNʐRZZHQWIURPVKRRWLQJWRGURSSLQJWKH ʏOPRIIDWWKHODE1RZWKHPDMRULW\RISKRWRJUDSKHUVJR from shooting to converting the images, culling the image selection, retouching and adding in special effects (black DQGZKLWHʏOWHUVHWF SUHSDULQJIRUWKHVDOHVSUHVHQWDWLRQ and so on. A lot more steps have been added, which can eat away at your time if not handled correctly.

Doing It Right /RXLVLDQDEDVHG5RPDJXHUDNQRZVDWKLQJRUWZRDERXW KDQGOLQJWLPHHIʏFLHQWO\+HDQGKLVIDPLO\RZQHGIRXU studios at one time (prior to Hurricane Katrina), and they currently run one full-time studio with an additional satellite location…and are doing as much or more business than HYHU7RGRWKLVKHVD\VDJRRGZRUNʐRZLVSDUDPRXQW :KDWPDNHVXSDJRRGZRUNʐRZOLNHWKDW" $V5RPDJXHUDVD\Vȍ,I\RXȊUHJRLQJWRVXUYLYHLQ this business, you have to get organized.” So pay attention

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to how your image gets from your camera into the client’s hands—all the different steps in all your processes, from uploading your images to backing them up, editing and getting them to the printer. Once you know the steps, you can track them to see what could be streamlined or combined IRUWKHPRVWHIʏFLHQF\OLNHKDYLQJDFWLRQVUHDG\IRUFHUWDLQ image effects). Don’t forget about the “sales” steps. Though some WKLQNRIZRUNʐRZRQO\LQWHUPVRILPDJHHGLWLQJKRZ\RX present images and sell to the customer is part of it too! To LQFUHDVHZRUNʐRZHIʏFLHQF\LQWKLVDUHD5RPDJXHUDKDV been using ProSelect software. “It’s an important part of RXUZRUNʐRZEHFDXVHRIZKDWLWFDQGRRQWKHVDOHVHQGȎ KHH[SODLQVȍ,WPDNHVVXJJHVWLYHVHOOLQJVRPXFKPRUH HIʏFLHQW:HFDQSUHSDUHLPDJHVIRUVHOOLQJFUHDWHFURSV composites or clusters of images, show clients how it would look on their walls…all in one place. And that makes it easier to get the money from the clients!” 5RPDJXHUDDOVRWKLQNVWKDWJHWWLQJWKHULJKWVRIWZDUH IRUDOOVWHSVLQ\RXUZRUNʐRZQRWMXVWWKHVHOOLQJSDUW ZLOO KHOS\RXEHPRUHHIʏFLHQW)RUH[DPSOHVLQFHKHEHOLHYHV it’s better to shoot raw images and then convert them into JPEGs, he’s tested different systems for that conversion processing. He’s found that it really depends on the camera: Images taken with a Canon camera tend to process better with their systems, Nikon with theirs, and so on.

Looking Ahead ȍ*RRGZRUNʐRZPHDQVJRRGWLPHʐRZȎDGGV5RPDJXHUD “At our studio, we always try to remember that if a step is taking too long, there might be a better way.” ,WȊVIDUWRRHDV\WRJHWFRPSODFHQWZLWKDZRUNʐRZWKDW seems to be working. And it may be…for now. Problem is, with the new technology and tools that keep coming out, you might be missing a solution that could save you time. 7KDWȊVZK\5RPDJXHUDDOZD\VVWD\VXSRQWKHODWHVWDQG greatest, and he urges all photographers to do the same. He compares it to professional baseball players and musicians practicing. At every game you go to, the players still practice with their coaches. Before concerts, musicians play scales to warm up. So why shouldn’t pro photographers take an hour of the morning and browse websites for WKHODWHVWPHWKRGVDQGWRROVWKDWFRXOGPDNHWKHLUZRUNʐRZ ZRUNHYHQEHWWHU"$V5RPDJXHUDVD\Vȍ3KRWRJUDSKHUV should be determined to check all the options for staying successful in the business they love.”

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2012 Affiliate Schools Schedule PPA members receive both merits and the best published prices. July 15-19 The Lamarr School, University of South Carolina, Columbia, S.C., John Wrightenberry, 803.238.2836, [email protected], thelamarrschool.com

July 29 - Aug. 2 East Coast School Photographic Workshops, Sheraton Downtown, Raleigh, N.C., Loretta Byrd, 919.796.4747, [email protected], eastcoastschool.com

Aug. 26-31 Georgia School of Professional Photography, North Georgia Technical College, Clarkesville, Ga., Kevin Jiminez, 706.854.8885, [email protected], gppaschool.com

July 15-19 Image Explorations, Shawnigan Lake, British Columbia, Don MacGregor, 604.731.7225, [email protected], imageexplorations.ca

Aug. 6-9 Long Island Photo Workshop, Sheraton Long Island Hotel, Smithtown, N.Y., Jerry Small, 516.221.4058, [email protected], liphotoworkshop.com

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July 15-20 PPSNYS Photo Workshop, Hobart/William Smith Colleges, Geneva, N.Y., Linda Hutchings, 607.733.6563, [email protected], ppsnysworkshop.com

Aug. 12-16 Evergreen School of Photography Summer Session, Ft. Worden, Port Townsend, Wash., Rich Breshears, 509.586.6695, [email protected], ppw.org


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good works |

Images wield the power to effect change. In this monthly feature, Professional Photographer spotlights professional photographers using their talents to make a difference through charitable work.

major fundraisers a year as well as smaller initiatives to raise funds, awareness and materials. Schwarzkopf also holds promotional drives through her business, Realities Photography, offering a discount on portraits in exchange for donations. “Often, the people arrive at shelters with nothing but the clothes on their back,” says Schwarzkopf. “We bring them pajamas and other items to make them more comfortable. It goes a long way toward creating a sense of comfort during an extremely difficult time.” At first, Sleep Tight Kids worked on an individual basis, helping one family at a time. But through growing local support and tremendous backing from the profes©Jill Schwarzkopf

sional photography community, the nonprofit now partners with five other charitable

Sleep Tight Kids

I

BRINGING BEDTIME COMFORT TO CHILDREN IN NEED

organizations to help more than 250 families a year. “To build this organization, I tapped into my connections in the photography industry and PPA and my client base,” Schwarzkopf says. “The response was incredible. What started as a nonprofit sup-

n 2009, photographer Jill Schwarzkopf of

tive was to bring the comfort of the night-

ported mainly by wedding photographers

Asheville, N.C., learned from friends who

time ritual she’d enjoyed as a child to under-

expanded to the entire wedding industry

were teachers that several of their students

privileged children throughout western

and beyond. My clients have responded

were coming to class in the same clothes

North Carolina. “In my family, our nighttime

favorably because they know their dona-

they’d worn the day before and that those

ritual is very important,” says Schwarzkopf.

tions are going to the cause, and they really

kids’ families were struggling just to keep

“We read stories to our kids every night and

like being a part of that.” n

the heat on at home. Calling on friends and

tuck them into bed so they feel safe and

family, Schwarzkopf helped raise money to

secure. So many kids don’t have that. Their

pay for the families’ utilities and buy blan-

parents work late or maybe aren’t always

kets and sleepwear for the children.

there, and then there are children in orphan-

Schwarzkopf decided to step up her

efforts and create an organized, ongoing initiative. She hired an attorney to help her

ages and shelters. We want to bring them emotional as well as physical comfort.” Sleep Tight Kids buys and distributes

establish an official 501(c)(3) nonprofit

new pajamas, night lights, blankets, sheets,

organization she named Sleep Tight Kids.

books, toothpaste and brushes, plush toys,

Then she reached out to the photographic

and other comforting items. The organiza-

community to find partners, encourage vol-

tion also makes monetary donations to

unteers, and solicit donations. Her objec-

families in need. The charity holds two


Learn more about Sleep Tight Kids at sleeptightkids.realitiesphotography.com. Visit Jill Schwarzkopf online at realitiesphotography.com.

Share your good works experience with us by e-mailing Joan Sherwood at [email protected].

“Having a financial management program that lays everything out in front of you so that you can get the information you need, when you need it to make good business decisions is vital...the bottom line for us is that SuccessWare puts us in control.” Jed & Vickie Taufer | VGallery | Morton, Illinois

What do top studio owners use to manage? These owners have all chosen SuccessWare to help them manage their businesses. Other software may track your business but they all fall short when it comes to managing your business. SuccessWare is the only studio management software that will assist you with; creating a business plan, pricing your products, preparing financial reports and tracking client information. SuccessWare manages all your day-to-day operations giving you the knowledge to make solid management decisions necessary to achieve your goals and take your studio to the next level. You can’t get that with just tracking software.

TRACK. PRICE. PLAN. PROFIT. MANAGE. Don’t just take our word for it, see what Jed, Vickie and other successful photographers have to say at: www.successware.net/success_stories

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© Bambi Cantrell

Bambi Cantrell and Profoto D1. Overpowering the Sun Educational video shows Bambi's lighting techniques: Profoto.com/US/Cantrell

Profoto.com/US · 914 347 3300 Distributed by MAC Group

Professional Photographer 2012 07

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