Professional photographer 2008 06

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4unique 5/14/08 11:32 AM Page 1

PROFESSIONAL PHOTOGRAPHER | JUNE 2008

CONTENTS

STRENGTH IN NUMBERSFor Christian Oth and his exceptional team ofphotographers, every wedding is a work of fine art

by Stephanie Boozer

PORTRAITS: LEAP YEAR

After a slow start, Salvatore Cincotta’s bookings skyrocketed

by Jeff Kent

PORTRAITS: POWER SHOTS

Mark Bolster: The art and business of executive portraiture

Interview by Ellis Vener

PORTRAITS: IN GOOD COMPANY

Power points from executive photographer Stan Kaady

PORTRAITS: DRAMATIC LIKENESS

Julia Gerace’s experience in theateris part of her repertoire

by Jeff Kent

IMAGE BY MARK BOLSTER

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Features

5,6-contents 5/14/08 11:33 AM Page 1

DepartmentsCONTACT SHEET

20 Robb Kendrick’s timely tintypes22 PPA’s Indemnification Trust

to the rescue24 Pirkle Jones’ golden age

by Lorna Gentry25 Healing art: Now I Lay Me

Down to Sleep27 Nature photographer

Richard Ettlinger

PROFIT CENTER

31 What I think: Vicki Popwell32 Pricing for what it’s worth

by Holly Howe36 Fabulous solution, perfect timing

by Stephanie Boozer

THE GOODS

41 What I like: Manolo Doreste42 Lighting essentials: The foundation

by Don Chick48 Albums & Presentation:

Breakaway displayby Karen Linsley

52 Pro review: HP Photosmart Pro B8850 printerby Stan Sholik

56 Pro review: Manfrotto CX series carbon fiber tripodsby Joe Farace

60 Solutions: How to edit a soft proofby Andrew Rodney

64 Tutorial: Balance mixed light temperatures with raw captureby Bob Coates

ON THE COVER: Salvatore “Sal” Cincotta trulyenjoyed photographing this betrothed couple, MichelleLewis and Anthony Grice. “We rarely book a weddingtwo years out, but she said, ‘I know I love yourwork, and I know I want you to shoot my wedding,’so we locked it in,” says Cincotta. He captured thisimage with a Canon EOS 5D and Canon 70-200mmf/2.8L IS USM lens.

6 • www.ppmag.com

14 FOLIO

69 IMAGING USA

96 CALENDAR

103 PPA TODAY

122 GOOD WORKSPROFESSIONAL PHOTOGRAPHER | JUNE 2008 | WWW.PPMAG.COM

Julia Gerace got her start in photographing headshots of actors, musicians and

models. Those portraits had to sparkle to catch a director's attention, and they did.

They also got the attention of the audience. For the last four years, Gerace has added award-winning

portraits of seniors, children and families to her repertoire.

©Julia G

erace

CONTENTS

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5,6-contents 5/14/08 11:34 AM Page 2

show the worldhow you see it.

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X-Rite, the X-Rite logo, ColorMunki, and the ColorMunki logo, are trademarks or registered trademarks of the X-Rite incorporated in the United States and/or other countries. All other trademarks are properties of their respective owners X-Rite Incorporated 2008. All rights reserved.

Mind. Body.

A Picture-Perfect Relationship

Photography.

director of sales and strategic alliancesSCOTT HERSH, 610-966-2466, [email protected]

western region ad managerBART ENGELS, 847-854-8182, [email protected]

eastern region ad managerSHELLIE JOHNSON, 404-522-8600, x279, [email protected]

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Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressedby Professional Photographer or any of its authors do not necessarily reflect positions ofProfessional Photographers of America, Inc. Professional Photographer, official journal of theProfessional Photographers of America, Inc., is the oldest exclusively professional photographicpublication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporatingAbel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer,The National Photographer, Professional Photographer, andProfessional Photographer Storytellers. Circulation audited andverified by BPA Worldwide

10 • www.ppmag.com

PROFESSIONAL

senior editorJOAN [email protected]

features editorLESLIE HUNT

[email protected]

editor-at-largeJEFF KENT

[email protected]

art director/production managerDEBBIE TODD

[email protected]

manager, publications andsales/strategic alliances

KARISA [email protected]

sales and marketing assistantCHERYL [email protected]

EDITORIAL

It’s business timeHOW TO HANDLE PRESSURE-PACKED ASSIGNMENTS

High-level businesspeople have little patience, and even less time

for the creative process, and I have a healthy respect for

photographers who create successful executive portraits. Their

subjects can be harder to wrangle than a family of quintuplets.

In my former life as managing editor of a magazine covering

business and investing, my job included setting up and overseeing

our cover shoots. Loosely translated, that meant trying not to have

a nervous breakdown as the CEO of a bajillion-dollar company

impatiently fidgeted and complained during the 30-minute

photo session that our staff had spent months visualizing,

planning and coordinating.

No doubt about it, corporate sessions require a photographer

at the helm with great talent and even greater negotiation skills.

And this month, Atlanta-based commercial photographer Ellis

Vener—whose portfolio of executive portraits uniquely qualifies

him for the assignment—checks in with two photographers who

fulfill those requirements ably.

The first, Mark Bolster, navigates executive sessions with due

diligence: “These assignments are pressure packed, and that’s a kind

of pressure I thrive on. I like getting in and out and not being too

much of a pain. I do that by just being prepared.” Vener finds out

exactly what goes into Bolster’s preparations, beginning on p. 76.

Then Vener got five invaluable pointers from Atlanta

commercial photographer Stan Kaady (p. 79). It sounds like he’s

had gentler experiences with his corporate subjects. “Most of the

[CEOs] I photograph these days are used to having their photo

taken and are easy enough to work with,” Kaady says. “I rarely run

across someone with an attitude.”

Maybe in this increasingly media-savvy world, smart executives

are coming to realize just how powerful a photograph can be. �

Cameron Bishopp

Director of Publications

[email protected]

technical editorsANDREW RODNEY, ELLIS VENER

director of publicationsCAMERON BISHOPP

[email protected]

10-editorial 5/14/08 11:34 AM Page 1

Professional Photographers of America229 Peachtree St., NE, Suite 2200Atlanta, GA 30303-1608404-522-8600; 800-786-6277FAX: 404-614-6400www.ppa.com

2008-2009 PPA board

president*DENNIS CRAFT M.Photog.Cr., CPP, API, [email protected]

vice president*RON NICHOLSM.Photog.Cr., [email protected]

treasurer*LOUIS TONSMEIRE Cr.Photog., [email protected]

chairman of the board*JACK REZNICKICr.Photog., Hon.M.Photog., [email protected]

directorsDON DICKSONM.Photog.Cr., [email protected]

SANDY (SAM) PUC’ M.Photog.Cr., CPP, [email protected]

RALPH ROMAGUERA, SR.M.Photog.Cr., CPP, API, [email protected]

CAROL ANDREWSM.Photog.Cr., [email protected]

SUSAN MICHALM.Photog.Cr., CPP, [email protected]

TIMOTHY WALDENM.Photog.Cr., [email protected]

DOUG BOXM.Photog.Cr., [email protected]

DON MACGREGORM.Photog.Cr., [email protected]

industry advisorKEVIN [email protected]

legal counselHowe and Hutton, Chicago

PPA staffDAVID TRUST Chief Executive Officer [email protected]

SCOTT KURKIANChief Financial [email protected]

CAMERON BISHOPP Director of [email protected]

DANA GROVES Director of Marketing &[email protected]

SCOTT HERSHDirector of Sales & Strategic [email protected]

J. ALEXANDER HOPPERDirector of Membership,Copyright and [email protected]

WILDA OKEN Director of [email protected]

LENORE TAFFEL Director of Events/[email protected]

SANDRA LANGExecutive [email protected]

*Executive Committee of the Board


12-board 5/14/08 11:35 AM Page 1


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

LISA EVANS“Designing portraits through a combination of photography and painting has been our specialty forover 25 years,” says Lisa Evans, M.Photog.Cr., of Lisa Evans Portrait Design in Danville, Calif. Evanscaptured the photographic portion of “Summer Dreams” with a Mamiya RZ Pro medium-format cameraand 150mm Mamiya f/4 Variable Soft Focus lens, exposing Fujifilm Fujicolor NPH 400 Professionalfilm for 1/30 second at f/6.3. Evans used a 41x74-inch Photoflex LiteDisc reflector to bounce naturallight. She used Corel Painter to apply brush strokes, then hand-painted over the entire image.

©Lisa Evans

14, 16 -folio 5/14/08 11:35 AM Page 1

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DAVID ZISERWhile on holiday in San Jose delCabo in Mexico, David Ziser,M.Photog.Cr., F-ASP, of DavidA. Ziser Photography inEdgewood, Ky., captured thisdramatic image at sunrise. Witha Canon EOS 5D digital SLR and12-24mm Sigma f/4.5-5.6 EXDG Aspherical HSM lens, Ziserexposed “Lifestyles of the Rich”for 1/40 second at f/6.3. “Theextremely wide-angle lens onthe full-frame Canon 5D createdthe unusual composition,” heexplains. “That, coupled with thedramatic color contrastscombined to make the strikingimage of the villa.”

WENDY VEUGELERAt the request of a client looking for an

heirloom portrait of her son, Wendy Veugeler,M.Photog., M.Artist, CPP, of Cellar Portrait

Studio in Crystal Lake, Ill., used clothing andprops to imbue the image with nostalgia. Using

a Mamiya RB67 medium-format camera and180mm Mamiya f/4.5 lens, Veugeler exposed

Kodak Professional Portra 160NC film for 1/125second at f/8. An 800WS Photogenic

PowerLight 1250 behind a 4x6-foot LarsonSoff Box and a gold Larson reflector provided

the main lighting. A second 800WSPhotogenic PowerLight 1250 and Photoflex

StripDome 03 served as fill. Veugelerperformed basic cropping and correction in

Adobe Photoshop, then finished the print withMarshall Photo Oils, pastels and pencils.

©David Ziser

©Wendy Veugeler


14, 16 -folio 5/14/08 11:35 AM Page 2

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CONTACT SHEETWhat’s New, Events, Hot Products, Great Ideas, Etc.

All images ©Robb Kendrick

Alchemy,anewRobb Kendrick raises tintype

photography to fine art

BY LORNA GENTRY

20-22,24,26-27-CS 5/14/08 11:40 AM Page 1

June 2008 • Professional Photographer • 21

A few months ago Robb Kendrick was on an

editorial assignment in upstate New York,

and stopped for a visit with his friend, John

Coffer, a photographer and farmer. Coffer

was in the middle of molasses making, so

Kendrick agreed to help. For eight hours

the men fed sorghum cane into a 19th-

century press powered by a draft horse,

then boiled down the goo into syrup. “It

was slow, manual labor, and we only got

just one gallon of syrup,” says Kendrick.

“But we had the most incredible

conversation.”

The length of a process is beside the

point, says Kendrick, who crafts one-of-a-

kind tintype and Daguerreotype

photographs. It’s all about connecting with

humans. That's why he bonded with the

like-minded Coffer, a master tintype

photographer, when he took Coffer’s

workshop in 2000. Kendrick was suffering

a mid-career crisis. He was a successful

photojournalist, best known for his work in

National Geographic magazine, but digital

didn’t excite him. What stirred his soul was

wet-plate photography.

This spring he published two books,

“Still: Cowboys at the Start of the Twenty-

First Century” (University of Texas Press),

his second on cowboy tintypes, and

“Changelings” (Cloverleaf Press), a limited

edition on mummies in Mexico, where he

lives. For “Still,” Kendrick logged some

40,000 miles over six years driving across

the American West, Canada and Mexico,

with a darkroom-in-a-trailer hitched to

his pickup. That’s where he begins the

process of image-making by pouring

collodion on Japanned plates. Japanning

blackens the background; it’s accomplished

by applying and baking several coats of

asphaltum and Everclear.

Kendrick relishes the quixotic alchemy

of the wet process that follows. After

applying and briefly air-drying the

collodion solution, he soaks the treated

plate in silver nitrate, waits four minutes,

then places the plate in a holder. He heads

out of the darkroom and inserts the holder

in the camera, then makes a photograph of

the subject. He’s got 12 minutes max to do

it. The exposure made, it’s back to the

darkroom to process the plate.

It took about six months for Kendrick to

acquire the wet process materials and

equipment. “The thing about these old

processes is that it’s like a treasure hunt,” he

says. “You have to go on eBay to find lenses,

and you have to make and retrofit

equipment. It’s almost like a survival class

in photography.” Perfecting the technique

took much longer, but eight years later, he

says, “I’m still in love.”

To see Robb Kendrick at work in his portabledarkroom, watch the video atwww.robbkendrick.com

20-22,24,26-27-CS 5/14/08 11:37 AM Page 2

Photographers know that digital files and

media are subject to damage through fire,

theft, computer crashes—and bad dogs? Yes,

says Wilson Sarkis of Farmington, Mich.

“We’re very careful with the wedding images

we shoot,” Sarkis reports. Yet when he shot a

wedding just a half-mile from his house, he

figured he’d wait to transfer the images from

the memory cards to the computer at home.

Home life intervened and he forgot about

the cards until the next day.

Unfortunately, another member of Sarkis’

household got there first. The scent of food

from the wedding reception had permeated

the backpack where the media was stored,

and the 150-pound family dog could not

resist temptation. “He chewed through the

cards like they were suckers,” groans Sarkis.

“I almost had a heart attack.”

About half of the images survived intact.

After a week of worry, Sarkis, a member of Pro-

fessional Photographers of America (PPA),

recalled the malpractice-type insurance he

had through the PPA Indemnification Trust.

He called the PPA Service Center and explained

his predicament. The representative walked

him through steps he could take to mitigate

the problem, beginning with what to say to

the wedding client. The Indemnification

Trust would help pay for the necessary re-

shoot, said the rep.

“The way the representative guided me

made the rest so smooth,” Sarkis says. The

bride was calm and agreed to do a re-shoot.

“I had to bring in an editor, stage the scene,

and rush the images … it was expensive,” he

says. Without PPA, the episode would have

had much larger and more expensive

consequences, he adds. Even more cautious

now, Sarkis bought a database safe to

securely store media cards, and incorporated

redundant backup into his workflow.

PPA Indemnification Trust protects mem-

bers when something goes wrong with an

assignment that’s generally considered the

photographer’s responsibility (equipment mal-

function, dissatisfied clients, even errant dogs).

The annual cost is just $50, with a $200

deductible per incident, and is included in

almost every member's dues. Usually within

24 hours of a call to PPA, the member gets a

call from Howe & Hutton, a firm of attorneys

experienced in defending photographers.

If the client had taken Sarkis to court, the

Trust would have provided representation

and paid any damages due.

As Sarkis learned, in business, you can

always expect the unexpected. The

Indemnification Trust helped him save

money and uphold his reputation.

“I wouldn’t hold a camera without being

a member of PPA,” says Sarkis.

—Angela Wijesinghe, PPA Marketing Specialist

For more information on the PPA Indemnifi-cation Trust, call 800-786-6277, or visit theMembers Only section at www.ppa.com.

CONTACT SHEET

My dog ate my …memory card?

©Jacqueline Palmer

PPA’s Indemnification Trustcame to the rescue whenthe situation got hairy

“I wouldn’t hold acamera without beinga member of PPA.”

—WILSON SARKIS

20-22,24,26-27-CS 5/14/08 11:37 AM Page 3

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23 mamiya zdback 5/14/08 11:41 AM Page 1

In postwar American photography, photo-

journalism dominated, but fine-art and social-

documentary photographers thrived on the

periphery of the cultural and political landscape.

Mid-century, pockets of visionary photog-

raphers provoked experimentation and

fostered a new visual sophistication. In 1946

one such luminary, Ansel Adams, founded the

country’s first fine-art photography depart-

ment, at the California School of Fine Arts in

San Francisco, now known as the San Francisco

Art Institute. Pirkle Jones was enrolled in the

first class, learning his craft from Adams and

Minor White. Through the school he befriended

Edward Weston and Dorothea Lange. “I

look upon that era as the golden years,” Jones

reflects. “It’s never been duplicated since.”

Jones’ diminished energy bothers him

these days, but at age 94, and with a

repaired heart, his recent accomplishments

are remarkable. After retiring 10 years ago

from 60 years of photographing northern

California and nearly 30 years of teaching,

he turned his attention to archiving his work,

publishing books, and arranging exhibitions

in museums and galleries. He also patiently

talks with reporters, documentarians and pho-

tographers, who make pilgrimages to his

home in rugged and verdant Mill Valley, Calif.

They come because Jones is the last of his era.

He’s outlived them all now, a dozen years

beyond his friend Ansel Adams, who died in

1984 at the age of 82. From the late 1940s

to the early ’50s, Jones was Adams’

professional assistant. “When Ansel was

working in Alaska on his Guggenheim

Fellowship, he sent back his negatives for

me to process,” Jones recalls. “But only Ansel

could print his work. He always made the

decisions, though quite often I was in the

darkroom with him washing prints. He was

a master at printing. I learned a tremendous

amount in the darkroom assisting him. He

was also inspirational about doing the work,

giving it your all.”

In 1959 Jones and Adams began collab-

orating on a four-year photo-essay project

on the California wine industry that became

a 1963 Smithsonian exhibition. Jones also

collaborated with Dorothea Lange in 1956 on

“Death of a Valley,” a documentation of the

exodus of Berryessa Valley, Calif., residents

prior to a mandated flooding, an experience

Jones describes as “unforgettable.” In 1968 he

and his late wife, writer and photographer

Ruth-Marion Baruch, collaborated on a

seminal record of the Black Panthers in the

Bay Area, which became a published book.

Throughout Jones’ career he used a 4x5

view camera, a 35mm Leica and a Hasselblad.

Nearly all his prints are selenium toned—for

preservation, he says—and he shot

exclusively in black and white. “I love color,

but I think it’s a bigger challenge to do a fine

photograph in black and white. Ansel

sharpened my awareness of the beauty of a

fine print, the gradations of tonalities.”

Jones says he used to have a number of

Ansel Adams prints, but sold most of them

in recent years. Most notable was the 2006

sale of a rare 1948 print of “Moonrise,

Hernandez, New Mexico,” which fetched

$609,600 through Sotheby’s, a world-

record auction price for an Adams.

Looking back on his varied career, Jones

is sanguine. “I’ve always been supercritical of

my work, but I’ve had a few years since I

produced the work to look at it in a different

light. Now I’m rather surprised that it’s as

good as it is. I feel satisfied with the body of

work I produced. After all, I made a few

statements that probably will survive.”

Fore more of Jones’ work, see “Pirkle Jones:California Photographs, 1935-1982,” byPirkle Jones and Tim Wride (Aperture, 2001).

Lorna Gentry is a freelance writer in Atlanta.

CONTACT SHEET


©Pirkle Jones courtesy Lumière, Atlanta


On the shoulders of giantsPirkle Jones and the golden era of photography I BY LORNA GENTRY

“Gate Five,” Sausalito, 1970

20-22,24,26-27-CS 5/14/08 11:38 AM Page 4

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Have you considered the impact your photog-

raphy can have on the lives of others? Right now

more than 4,000 photographers in 14 countries

touch the lives of grieving families every day

through their involvement with the Now I Lay

Me Down To Sleep Foundation (NILMDTS).

Professional Photographers of America

(PPA) is honored to announce its official

partnership with NILMDTS, the nonprofit

organization focused on infant bereavement

photography.

Formed in 2005 in Colorado, NILMDTS

was born of a partnership between a grieving

mother, Cheryl Haggard, and local PPA

photographer Sandy “Sam” Puc’. NILMDTS

continues the compassionate photography

that Puc’ did for Haggard and her husband,

of their newborn son, Maddux, moments

before his death and once he was at peace.

Today, NILMDTS volunteers create images

that help families heal, and provide a

tangible keepsake of a child’s brief life.

“We were only the starting point of some-

thing that went far beyond us,” says Puc’,

who is also a PPA Board Member. “This

specialized work is literally changing lives.

The healing power that comes from just one

single image is life changing.”

In partnering with NILMDTS, PPA helps

extend that charitable work. Working with

NILMDTS is a meaningful way for profes-

sional photographers to use their artistic gifts

to benefit others. It’s not an easy mission.

“I have yet to see a conversation about

Now I Lay Me Down to Sleep where somebody

wasn’t crying,” says David Trust, PPA chief

executive officer. “This is a unique cause

with which photographers feel a natural and

very emotional connection. It is a great

partnership for PPA and its members.”

“The reality is, we cannot change what is

happening to these families,” continues Puc’.

“But we can change the way they heal for

the rest of their lives.”

For more information, go towww.nowilaymedowntosleep.org.

CONTACT SHEET

Healing artPPA embraces the compassionate work of Now I Lay Me Down to Sleep

“This specialized workis literally changinglives. The healingpower that comes fromjust one single image is life changing.”

—SANDY PUC’

20-22,24,26-27-CS 5/14/08 11:38 AM Page 5

Publishing house Abrams Books joins the

American Museum of Natural History to

honor Richard Ettlinger for his six-year

project that culminated in the recently

published book and exhibition, “On

Feathered Wings: Birds in Flight.”

“On Feathered Wings” features more than

170 seemingly impossible dramatic shots of

birds hunting, feeding, fighting, all on the

wing. The project covered five continents.

Says Ettlinger, “The work I did with six of

the world’s greatest action photographers took

hours of study and endless patience. Our dedi-

cation paid off and I am delighted to be recog-

nized by both Abrams Books and the museum.”

The year-long exhibition opens at the

Museum of Natural History in New York on

June 21. Visit amnh.org for more information.

©Richard Ettlinger

Nature photographer

Richard Ettlingerhonored

New book and exhibition showcases stunning photography of birds in flight Taken with a handheld Canon EOS-1D Mark IIn

and 500mm Canon f/4L IS USM lens, exposedfor 1/5,000 second at f/5.6, ISO 800.


20-22,24,26-27-CS 5/14/08 11:38 AM Page 6


Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies

What I thinkFor Vicki Popwelljoy is in the journey

What do you wish you knew when you were

first starting out? What real joy the journey

before me would bring. I have the opportunity

to do what I really love every day and to

have my family with me.

What advice would you give to someone just

starting out in the photography business?

Keep a balance between your artistic side

and your business side. Hire an awesome

CPA. Attend as many seminars and conven-

tions as you can afford. Glean the knowledge

you need and use the speakers’ ideas, but

don’t directly copy them. Be original!

What’s the biggest business risk you’ve ever

taken? Turning in my notice as a well-paid

public relations rep to go full-time at my

studio. I had to borrow money in the

beginning without being sure I could pay it

back. Thankfully, we did!

In client relations, what’s your highest priority?

Being real with my clients, meaning I listen

to their portrait needs and desires and then

meet those needs and desires. A truly satisfied

customer is crucial to any studio’s success.

What’s the secret to running a successful pho-

tography business? Knowing that technology

changes rapidly and being adept at keeping up

with the changes. We embrace changes with

enthusiasm and enjoy continuing to learn.

IMAGE BY VICKI POPWELL

WWW.VICKIPOPWELL.COM

31-PCsplash 5/14/08 11:41 AM Page 1


After a frustrating wedding job, Keith and HollyHowe took a leap of faith and doubled theirstudio’s wedding prices, reaping more than profits.

For what it’s worth

We’ve all been there. One of those weddings

where the bride has a migraine and the

groom hates to have his portrait taken. The

majority of the wedding party arrives late,

and the bride’s dad, grandfather, and

brothers—members of the wedding party—

are bellied up to the bar down the street.

When you’ve finally wrangled everyone into

the sanctuary for group photographs, the

pastor starts pressuring you to hurry up.

Then the pièce de résistance, the father of

the bride glowers at you and says, “I thought

you guys were good.”

This fateful wedding took place about

five years after we opened our studio in North

Platte, Neb. We were doing okay, supporting

our young family. Our prices were mid-

range for the area, and we felt comfortable.

Then came that awful wedding. On the way

home, out of stress and anger I said, “I’ve

had it. We’re doubling our prices on

weddings.” My husband, Keith (Keith A.

Howe, M. Photog.M.Artist.Cr.), was in a

panic—“That’s drastic!” He was sure we’d

never photograph another wedding.

The next day at the studio, I took a hard

look at how much weddings contributed to

our gross sales, and how much they cost us

to produce. The profit margin was much lower

than our other product lines. What’s the worst

that could happen if we doubled the prices, I

asked myself. Can we live with the conse-

quences?” (We find those questions really

useful when we’re facing any tough decision.)

The answer: It could price us out of the

market, and we might not contract a single

wedding in the following year. After poring

over our books, we surmised it would be

difficult to lose that portion of our profits,

but we would survive.

Our goal in raising prices was to compen-

sate for the stress, hassle and occasional lack

of respect we felt at weddings. Happily, that

goal was achieved, and some unexpected

All images Keith & Holly Howe

PROFIT CENTER HOLLY HOWE, M.PHOTOG.CR.

TO PRICEACCORDINGLY

32, 34-howe 5/14/08 11:42 AM Page 1

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Introducing New Square Albums and Booksto the Miller’s Line

benefits as well. First, the increase closed the

gap between portraits and weddings in sales

generated per hours invested. Revenue per

hour was similar for weddings and family and

senior portrait sessions. We would no longer

be disappointed for having to turn away a

portrait session on a Saturday afternoon.

Second, brides started viewing our work

as an investment rather than an expense.

This subtle distinction made a lot of difference

in the way brides and their families related

to us, from photographing the wedding

through delivering the albums. Because we

were now at the top of the local price scale,

we no longer dealt with clients looking for a

deal. Brides stopped trying to negotiate prices

or the contents of the plans they selected.

And, although the scale of the weddings

we photograph still tends to be modest, the

priorities of the couples we work with center

on achieving the best photography they can

afford to invest in. When the bride feels she’s

making an investment in great images, she’s

motivated to ensure that everyone is ready on

time, sober and cooperative. Funny thing, but

when you’re treated as a respected professional,

you’re willing to work like a dog for the bride.

We also began limiting the number of

events we’d accept per year. The combina-

tion of being at the top of the price scale and

limiting our availability gave the impression

that people might not be able to book us, no

matter how much they wanted to, thus giving

us a higher perceived value. We were photo-

graphing almost as many weddings as

before, but with higher gross sales. The catast-

rophe Keith envisioned—brides running

screaming from the studio over the new prices

—never happened. In fact, nobody said a

word. Had we been under-priced all along?

In the process, our studio became more

profitable. Greater profits gave us the

opportunity to improve our facilities and

equipment and to invest more in our

continuing education. We are enjoying

weddings again. Our actual and perceived

value increased to match our price range.

We could have plodded along forever where

we were, but that snide comment from the

father of a bride made us just mad enough

to jump out of our comfort zone and take

action. I’m not mad at that father anymore

—in fact, we owe him a big thank you. �

Keith and Holly Howe are both recipients of the PPA National Award. The Howes’studio, Photographic Images, opened indowntown North Platte, Neb., in 1980(www.photographicimages1.com).

PROFIT CENTER

32, 34-howe 5/14/08 11:42 AM Page 2

Tell your story with a Photo Book from Mpix. Our new Custom Hard Covers give you complete freedom to add vibrant, colorful images to the front and back of

your book. Now your story starts before you even reach page 1.

PHOTO BOOKS

Visit www.mpix.com to see our full line of photographic and press products.

Imag

e cou

rtesy

of

Salle

e Pho

toga

phy,

Dalla

s, TX.

The much anticipated launch of BellaGrafica’s

line of stunning promotional materials turns

traditional ideas about studio marketing upside

down. This sumptuous promotional line sells

for a fraction of the cost of commissioning a

graphic designer or marketing team. Moreover,

the high quality of the papers and printing is

affordable, even in small quantities.

BellaGrafica is an off-shoot of Marathon

Press, the multi-product and service resource

for professional photographers. The new outfit’s

six premier collections were co-created by

well-known photographers Lori Nordstrom,

M.Photog.Cr., CPP; Sandy Puc’, M.Photog.Cr.,

ABI, CPP; Jed Taufer, Cr.Photog., and Vicki

Taufer, M.Photog.Cr., CPP; Tim Walden,

M.Photog.Cr., F-ASP and Beverly Walden,

M.Photog.Cr.; Jeff Woods, Cr.Photog., and

Julia Woods, Cr. Photog.; and Sarah Petty,

Cr.Photog., CPP. (Editor’s note: Petty

is a regular columnist for this magazine.)

Each collection features a versatile array

of packaging and marketing pieces, from print

boxes with an assortment of belly bands to

promotional cards and booklets. Each

BellaGrafica piece is a sensual treat, crafted

from luxurious vellum, bejeweled bindings

and intricate die-sculptured design elements.

“Most photographers who have heard of

Marathon know we’re good because of our

reputation,” says Shannon Barry, director of

marketing and development at Marathon

Press. Sensing a perception among small

studio owners that Marathon’s prices were

out of reach, Barry and her team met with

longtime Marathon consultant Ann Monteith,

M.Photog.Cr.Hon.M.Photog., ABI, F-ASP,

CPP, to update their knowledge about

photographers’ needs in marketing services.

The next step would be to innovatively fill

those needs within a small studio’s budget.

A major piece of intel became the team’s

starting point: According to a 2006 PPA

study, some 80 percent of today’s portrait

and wedding buyers are women.

“Only a few enterprising studios were acting

on this knowledge by creating compelling prod-

ucts in response to how women actually react

to marketing and advertising,” says Monteith.

“Women consumers speak and hear a language

of connection and intimacy, rather than a com-

petitive language of status and independence.”

Add that factor to the growing trend of

the boutique studio model, in which photog-

raphers cater to a limited clientele to provide

individualized services, and it becomes clear

that marketing should focus on personal

service and relationship building.

“Boutique studio owners succeed because

they go to great lengths to learn who their

clients are, including where they and their

family shop, what they value, where they

spend their leisure time, and other important

behavioral indicators,” says Monteith.

It was Sarah Petty’s success in applying

her prior marketing and design experience

to her studio business that landed her on the

creative team, notes Monteith.

PROFIT CENTER STEPHANIE BOOZER


Every so often, a product comes along that makes everyonewonder why no one had thought of it before. Inspiredby the cachet of boutique studio marketing, BellaGraficabrings compelling design within reach of small studios.

Fabulous solution, perfect timing

Marathon describes Jeff and Julia Woods'collection (left) as urban chic. The other fivecollections are each dubbed with an identifyingstyle: simple, whimsical, magical, eclectic andelegant. The Woods' wedding collectionbrochure is pictured above.

36, 38-bellagraphia 5/14/08 11:43 AM Page 1

“Ann saw that the boutique revolution

was growing and thought that we could all

benefit from working together,” says Petty,

who was the next photographer onboard.

When the rest of the studios were

chosen, says Barry, “We put everything back

into the photographers’ hands, telling them

to design as if they didn’t have to worry about

resources, time limits or anything else.”

Each studio came back with unique, stylized

marketing pieces as professional looking as

any by Abercrombie & Fitch or Anthropologie

or any other major brand’s. “We have built our

entire business based on these types of beau-

tiful and elaborate promotional pieces,” says

Petty. “Our clients tell us they look forward to

receiving our mailings. It helps us attract clients

who are less price sensitive and will become

more emotionally attached to our brand.”

Now it was BellaGrafica’s turn to figure

out how to make them not only affordable,

but cost effective for photographers with

limited budgets. “BellaGrafica invested in

creating the dies and stocking the materials

to produce them,” says Barry.

The new lines also had to be versatile. Pho-

tographers can completely customize any piece

in any of the collections, as well as mix and

match pieces from all six and change color

schemes and tag lines to suit your style and spe-

cific clientele. For example, Nordstrom’s line

may be perfect for your portrait clients, and

Petty’s designs might be ideal for your seniors.

“It’s important in developing any mar-

keting campaign that you stay true to your

style and your brand,” says Nordstrom.

The bottom line is that studios have to

believe in their work, their brand, and their

connection with their clients. A strong

studio identity is the springboard for the

branding process. BellaGrafica’s designs just

might help you get there. �

For more information on BellaGrafica, visitwww.bellagrafica.com.

Sandy Puc' goes straight to the heart of new parentswith this custom-designed signature stationery.

Professional Photographer Online’s exciting features

At ppmag.com, we don’t simply recreate the magazine online. Professional Photographer Online goes far beyond that with loads of cool,

useful and inspiring content. And it’s all yours free!

FREE E-MAIL NEWSLETTER: Want to see the latest news and exclusive product reviews

you won’t see in the pages of the magazine? Sign up now for Professional Photographer’s free email newsletter:

http://ppmag.com/email.php

• Web Exclusives: Fresh stories, tutorials and reviews you’ll ONLY find online!

• Archived features, organized relevant to your specialty.

• Photo Gallery• Profit Center• An in-depth product review library• Online Classifieds• Buyer’s Gallery

36, 38-bellagraphia 5/14/08 11:43 AM Page 2

39 dury1 5/14/08 11:44 AM Page 1

Answer your questions:

You qualify to participate if:you are a PPA memberyour 2007 business tax return is already filed, or you have a draft from your accountantyour gross sales during 2007 were $50,000 or moreat least 50% of your business is from portraits (including seniors) or weddingsyou use financial softwarestudios not using financial software call 800-786-6277 for pre-approval

Participate and receive:Entry into a drawing for TWO Grand Prizes: two all-inclusive trips for two to Imaging USA ’09 [including Buddy Pass registration, as many pre-convention classes as wanted for free, airfare, hotel room (two rooms per package if necessary), and $1,000 in spending money].Free, exclusive Webinar, reviewing the study results (including a free download of the PowerPoint and other materials used during the Webinar).Advance copy of the free report.Complimentary Showcase book for the first 100 participants who send in their financials.

If you’re interested in participating, call PPA Customer Service (800-786-6277) to sign up no later than June 30, 2008.

This important survey is being conducted by accountants who understand the photography industry. All individual information and data will be kept completely confidential. The final industry report will be available only to PPA members.

The last Studio Financial Benchmark Survey has helped hundreds of photographers. Help us repeat this success…and get the answers you need.

Professional Photographers of America | www.ppa.com

Are you spending enough money on marketing?How much does education affect your bottom line?Do you have too many employees?

When should you hire employees?What can you do to make your business more profitable?

Get the answers to these questions when you take part in the Studio Financial Benchmark Survey, PPA’s renowned financial survey of the photographic industry.


Professional Photographer P R E S E N T S Products, Technology and Services

What I likeWhy Manolo Doreste clingsto his Tamrac case

What makes your workflow flow? Using Adobe Light-

room presets. Those presets allow me to give my images

that special punch of style in a matter of seconds.

What’s the best equipment investment you’ve ever

made? My Canon EOS-1Ds Mark II. It allowed

me to grow into the photographer that I am

today. It helped me explore and develop my

creativity as an artist.

Little thing, big difference … Time Exposure

ProSelect software. This application has turned

around my presentations and sales 180 degrees.

What hot new product are you going out of your way

to use? I use Finao portfolio boxes for all my clients.

From sign-in boxes to displays at birthday parties, my

clients love them, and I really appreciate the great

quality and Finao’s excellent customer service.

Has a piece of equipment ever changed the way you

approach photography? The 70-200mm Canon EF

f/2.8L IS USM lens. I can get very close to my subject

and make the background completely disappear.

What’s the one piece of gear they’d have to pry from

your cold, dead fingers? My Tamrac rolling case.

It’s usually loaded with my Canon equipment (two

Mark II bodies, 70-200mm lens, 24-70mm lens,

16-35mm lens and two Speedlite 580EX flashes).

IMAGE BY MANOLO DORESTE

WWW.MANOLODORESTE.COM

41-goodsplash 5/14/08 11:44 AM Page 1

This is the first in a series of articles on the

fundamentals of studio portrait lighting.

The main light is the foundation of all lighting

setups. It can illuminate the subject from any

angle, even from behind to create a silhouette.

Positioned in front of the subject and directly

over the camera, the main light yields flat

light, to create an image with no shadow

detail. Positioning the main light on either

side of the camera produces shadow detail,

which adds interest and drama to the image.

Hard shadows or shadow transfer areas

in photographs are crisp and distinct with

well-defined edges (Figure 1). Soft shadow

areas have varied shading and feathered

edges (Figure 2).

Figure 3 illustrates form shadows and cast

shadows. Cast shadows occur when light is

interrupted. In my simple illustration, the illu-

mination from the main light to the white

paper is interrupted by the egg, the subject of

the image, which casts a shadow on the paper.

A form shadow appears on the subject itself.

The shadow is created on the side opposite the

light. Resulting from an absence of light, form

shadows have soft edges and varied shading.

Cast shadows can also appear on the

subject. The typical example in Figure 4

shows the subject’s nose casting a shadow

on her cheek. This cast shadow has more

defined edges and uniform shading than the

form shadow on the right side of the face,

where the natural curve of the face creates

an absence of light. The form shadow is

affected by the light nearby. We can control

these shadows with lights and light modifiers.

Light modifier is a catch-all term for such

lighting tools as umbrellas, panels, parabolic

reflectors, and soft boxes. Light modifiers

such as louvers, honeycomb grids and Fresnel

lenses have specialized uses. The beauty of

light modifiers is that they can be easily

removed or altered to quickly adapt a single

light source for different styles of photography.

Consider several factors when choosing a

light modifier to use with your main light,

including the look you’re trying to achieve

and your preference for well-defined or soft

THE GOODS: LIGHTING

Whether you’re a new photographer or a seasoned portraitist,mastering the fundamentals is vital to your growth as anartist. Know how to set the tone with your main light.

BY DON CHICK, M.PHOTOG.CR. , CPP

Lighting essentials:The foundation

MAIN LIGHT AND MODIFIERS

All images ©

Don C

hick


Figure 1 Figure 2

Form shadow

Cast shadow

Cast shadow

Form shadow

Figure 3

Figure 4

42,44-46- lighting 5/14/08 11:45 AM Page 1

Wireless Radio Triggering9 1 4 - 3 4 7 - 3 3 0 0PocketWizard.com

SmartTransceiverNEW PocketWizard PLUS II

Profoto, Norman, and PhotogenicMonoblocsA built-in radio receiver provideswireless triggeringfrom a PocketWizardTransmitter and wireless metering.

Profoto, Dyna-Lite,Norman Packs andBattery PacksA built-in radio receiver provideswireless triggeringfrom a PocketWizardTransmitter and wireless metering.

The Plus II joins the growing system of photographic products with built-inPocketWizard Wireless Freedom. Ask for these brands.

SekonicL-758DRL-358Choose which flash unit to trigger and measure simultaneously and even fire your camera.

PocketWizard Plus II MultiMaxTrigger your flash, cameras or both without wires from thepalm of your hand.

Triggers your flash, camera or both wirelessly from up to 1,600 feet away.Auto-Sensing Transceiver TechnologyAutomatically Transmits or Receives forfaster, easier, carefree wireless triggering.Auto-Relay modeWirelessly triggers a remote camera and a remote flash at the same time.Fast Triggering SpeedTriggers cameras and/or flash units up to 12 frames per second.Digital Wireless Radio TechnologyFour 16-bit digitally coded channelsprovide the world’s best triggering performance.

43 mamiya pocket 5/14/08 11:47 AM Page 1

shadows. The smaller the light modifier, the

harder the shadow, and vice versa, as

illustrated in Figures 5 and 6. Consider

where you’ll be using your lighting gear

most often, in studio or on location; some

modifiers are more portable than others.

Soft boxes range in size from 1 square foot

to 6x8 feet. The larger the box, the softer it

renders the light. One reason for the

popularity of soft boxes among photographers

is the versatility and control they provide.

For instance, angling the direction of the

soft box to use the edge of the light is called

feathering the light. A large soft box yields a

large sweet spot, the area where the light fall-

off is gradual. That’s beneficial when you’re

photographing several subjects together, or

a roaming toddler, because you won’t have

exposure worries if the subject moves.

You can create three distinct lighting pat-

terns with a large soft box simply by moving

the subject: loop lighting (Figure 7), split light

(Figure 8) and profile light (Figure 9). It also

helps you maintain the artistic flow when you

don’t have to pause to reposition both subject

and lighting gear, as you do with other light

modifiers. Soft box prices vary with size and

manufacturer, from about $100 to $900.

Umbrellas, which soften the light (Figure

10) and are relatively inexpensive, offer limited

control over the lighting. Because umbrella light

spills everywhere, it’s ideal for fill light, but

doesn’t offer much control as a main light. If


THE GOODS: LIGHTING

Figure 5

For instance, angling thedirection of the soft box touse the edge of the light iscalled feathering the light.

Small light sourcebare bulb

Large light source4x6 Larson Soff Box

Figure 6

Large light source,soft shadows 4x6 Larson Soff Box

loop pattern on subjectpositioned at back edge

Figure 7

42,44-46- lighting 5/14/08 11:45 AM Page 2


A 4x6 Larson Soff Boxpositioned in the centercreates a split patternon the subject

A 4x6 Larson Soff Boxcasts a profile patternon the subject

Model: Cara Evans

Figure 8

Figure 9

A 7-inch Novatronparabolic reflector withfour-way barn doorsand a 42x72 Calumetpanel creates a smallarea of diffusion

A 45-inch PhotogenicEclipse umbrella

Figure 10

Figure 11

42,44-46- lighting 5/14/08 11:45 AM Page 3

you do use an umbrella on the main light, you’ll

need to buy a variety of gobos—things to go

between. Umbrella prices start around $30.

Light modifying panels, made of translucent

fabric stretched over frames of PVC or alu-

minum, are placed in front of the main light

near the subject. Ideally, the light has a set of

barn doors to control the amount of light spill.

Moving the light closer to the panel makes the

light source smaller (Figure 11). Moving it

further away makes the light source larger

and softens the shadows (Figure 12). Versatile

and portable, panels lend themselves to

location shooting.

You can make a panel yourself with materials

from hardware and fabric stores for less than

$50. If you make your own, be sure to check

your white balance with each fabric you use

to maintain color consistency in your images.

If you’re not that handy, I recommend looking

into the 42x78-inch Calumet Photographic

panel system. The kit includes three fabric

panels, frame, brace, and legs to make it

free-standing, and sells for about $160.

Parabolic reflectors come in many shapes

and sizes. They’re probably the least forgiving

light modifiers. Photographers usually place

some form of diffusion material in front of

the metal reflector to soften the light, but

the relatively small diameter causes shadows

to remain fairly hard (Figure 13). Main light

parabolic reflectors are usually equipped with

a set of barn doors to both control light spill

and direct the light. A 16-inch parabolic reflec-

tor and two-way barn door cost about $270.

Taking the time to observe light in the

world around me gives me an opportunity to

develop my artistic side. When I notice some-

thing unusual, I analyze what’s happening

and how it’s done. Try experimenting with

the different kinds of light modifiers on your

main light. Your understanding of light will

grow, and you might just find a whole new

look that excites you. �


THE GOODS: LIGHTING

Figure 12

Figure 13

A 7-inch Novatron parabolicwith four-way barn doors anda 42x72 Calumet panel oftranslucent fabric creates a large diffusion area

A 16-inch Photogenicparabolic with two-waybarn doors

42,44-46- lighting 5/14/08 11:46 AM Page 4

“If you can make a couch out of it, then my

goodness, you should be able to make a

wedding album out of it!” says Christine

Perry-burke, of Finao, makers of the multi-

option Finao and Seldex presentation lines.

If you think “Biker Chic,” “Bank Heist”

and “Bomber Jacket”

sound like cool names for album covers, check

out FINAO’s line of albums. This company

provides custom albums to discerning high-end

wedding photographers. Finao’s Web site

holds a bounty of cool urban designs, tips,

tricks, blogs and photos.

If you choose the One album design, you

can then customize just about every element

of it. For the covers, choose Magical Mystery

Glass, Silk Tones or Metallic Canvas, with square

or rounded corners. Inside, pick the creased

print or cut print look. With 20 sides, album

prices are priced by size, from $99 to

$290.20. For additional fees, you

can choose printing options

from The Edge Photo

Imaging or White House

Custom Colour. Moreover, you

can also choose Vegan Alternatives for

albums made of Earth-friendly materials.

Finao’s Seldex line includes the totally cus-

tomizable Image Preview boxes. The smallest

holds up to 150 4x6 prints; prices start at $55.

Call Finao at 888-346-2687, or visit

www.finaoonline.com.

COUTURE BOOK takes a very

different approach to wedding albums. The

company’s mission is to create one-of-a-

kind, handmade albums with the look of

coffee-table books. Your calls to Couture

are answered by an aristocratic voice

directing you to the concierge. The design

of the company’s Web site is elegant

simplicity, with a minimum of navigation

buttons across the bottom. Once you sign

in, you navigate through the site to build

your album with customized features of

your choice. The eight album foundation

designs all begin with 100 pages for $345,

including printing and binding.

The Couture Himalayan Leh album

features Nepalese paper on the front cover,

folded and wrapped with a beaded tie. The

interior pages are parchment paper, with or

without artisan torn edges. The Indian line

features silk fabric covers, and the French,

Italian, German and NYC lines have equally

distinct features.

The 4-year-old Couture Book company

donates a portion of all album sales to your

THE GOODS: ALBUMS & PRESENTATION

High fashion comes to the photo industry,and album crafters are leading the way. Wepresent some chic new looks for your images.BY KAREN L INSLEY, CPP

BreakawaydisplayNEW PRODUCTS THAT REDEFINE THEWAY YOU PRESENT IMAGES

CoutureHimalayanLeh

FinaoSeldexImagePreview


48-51-albums 5/14/08 11:47 AM Page 1

49 ACI 5/14/08 11:49 AM Page 1

choice of the nine charities it supports.

Call 877-472-1710, or visit

www.couturebook.com.

FORBEYON has two brand new album

lines, Linear and Perfect Bound, in

addition to its popular Flush Mount line. If

you opt to use Forbeyon’s design services,

you get low-res files for proofing and

approval in two to four weeks. Design

service fees range from $3 to $5 per image

or $12 per side. Printing and binding in

each line begins with a base price, plus a

per-page fee. The Linear line

starts with a 4x5 album

at $18 for

soft covers,

$22 for

hard covers,

plus $1 per

page, up to an

8x10 album

at $26 for

soft covers,

$32 for hard

covers, plus $2 per page.

Perfect Bound albums start at

4x5 inches, $18 for soft covers,

up to $39 for a 12x12 album with

hard covers. For example, an 11x14

Perfect Bound hard cover photo-wrap

book with 30 sides would cost $87.

Turnaround for printing and binding is

two to four weeks.

Call 800-540-1480 or visit

www.forbeyon.com.

The venerable ART LEATHER has

broadened its style selection, including the

new flush-mount album Art Magazine and

the Italian-made album line, Eventi d’Autore.

A totally customizable book, the Art

Magazine includes thin

pages with photo or

standard covers. Prices

for 20 sides range from

$63.60 to $296.80,

depending on the album

size and covers. The

Eventi d’Autore album is

available only through an

Art Leather sales rep; the

Art Magazine can be

ordered online. Rachel

Lundgren, Art Leather

Marketing Coordinator,

says that the

company is back on track and fulfilling

orders expeditiously.

EXCLUSIVE ALBUMS, a lab supplier

for three years, announced its debut in

the professional photographer market at

Imaging USA in January. The company’s

albums come in an appealing variety of

contemporary colors and styles, and each

comes with a presentation box. Standard

turnaround is two weeks, longer for custom-

made designs.

Exclusive

Albums uses a

special tech-

nology that

prevents warp-

ing. Binding,

print and

design services

are priced a la

carte. The lush

THE GOODS: ALBUMS & PRESENTATION

Exclusive Albums GenuineLeather Suede

Forbeyon Flush Mount

Art Leather Art Magazine


48-51-albums 5/14/08 11:48 AM Page 2

Genuine Leather Suede album comes in

one size, 10x12 inches, for $675, including

printing and binding. Printed and bound

photo cover albums range from $85 for a

4x5-inch 20-page album to $590 for a 50-

page 12x16 album. Call 877-216-8823, or

visit www.exclusivealbums.com.

If you have clients who shop the luxury

line of Saks’ holiday catalog, they’ll love the

PICTOBOOKS Precious Metal Series of

albums. The covers are crafted in gold,

platinum, white gold or silver, and topped

with diamonds, rubies, sapphires or emeralds.

Prices in the line begin at $10,000. “We

do push the envelope with our books,” says

Chan Park, production manager at PictoBooks.

The gorgeous albums in PictoBooks’

other signature lines—Signature, Cocktail,

Metallic, Wooden and Carbon Fiber—start

at just $300. You can order up to 30 sides

per album, and all

albums come with a

presentation box.

Your clients can

review the album on

PictoBooks’ Web site.

Call 800-697-

4286, or visit

www.pictobooks.com.

�

Karen Linsley ownsand operates a studioin Lake Tahoe,California,specializing inweddings andportraits.


PictoBooks Precious Metal

48-51-albums 5/14/08 11:48 AM Page 3


HP promotes its latest model, the Photosmart

Pro B8850, as the ideal printer for “passionate

hobbyists and advanced amateur photogra-

phers,” but it’s also ideal for most professional

photographers. It’s capable of producing the

same print quality as the HP Photosmart Pro

B9180 Photo Printer, a pro-photographer model

priced 20 percent more. Unlike its pro sibling,

however, it lacks Ethernet connectivity, the abil-

ity to print on media thicker than 0.7mm,

and compatibility with third-party RIPs.

The B8850 prints on cut sheets of 3.5x5 to

13x44 inches. Its eight-color HP Vivera pig-

ment-based inkset includes both photo black

(gloss) and matte black inks, which the printer

accommodates without having to swap car-

tridges (list price $33.99 each). The printer

automatically selects the appropriate

cartridge for the ink specified in the paper

type dropdown menu.

It took me about 25 minutes to unpack

the printer and install the eight cartridges

and four user-replaceable print heads.

Setup complete, you power up the printer,

load the media tray with HP Advanced Photo

Paper, and let it go through a closed-loop self-

calibration cycle designed to ensure color con-

sistency. To my knowledge, this calibration

cycle on a consumer-targeted printer is unique

to HP. The B8850 prints a test pattern for the

printer to read and compare to an internally

stored target, and adjusts the print head

printing density as needed. You can run the

calibration cycle at any time; it’s required

only when you install new print heads. With

typical usage, you’ll need new heads every

four years, according to the HP specs.

You install the printer software during the

calibration cycle. When the cycle ends, you

connect the printer to your computer’s USB 2.0

port with the cable provided, and you’re ready

to print. The B8850 software includes a won-

derful printer driver for Photoshop. The print

plug-in combines settings from the print driver

and Photoshop’s Print with Preview settings

onto one screen, significantly reducing the num-

ber of steps it takes to prepare for printing.

The printer software also includes the

HP Color Center, which simplifies ICC

profile management and includes profiles

for non-HP papers. The B8850 arrived with

a nice sample pack of 13x19-inch papers, but

only a few sheets of 8.5x11 HP Advanced

Photo Paper Glossy, half of which were used

in the self-calibration cycle. To conserve the

large papers, I decided to do my initial tests

on my favorite glossy paper, which wasn’t

listed in the paper drop-down menu.

Using the Datacolor Spyder3Print

system, I profiled my paper, added its name

and profile to the HP print plug-in through

the Color Center, and immediately saw it appear

THE GOODS: PRO REVIEW

Fine art-quality, affordable photo inkjetprinters are rapidly evolving. In a nichethat Epson created and owned for years,Canon and now HP are catching up.BY STAN SHOLIK

Simply satisfying HP PHOTOSMART PRO B8850 PRINTER

The B8850 printer software combines settings fromthe print driver and Photoshop’s Print with Previewsettings on one screen, significantly reducing thenumber of steps it takes to prepare for printing.

52,54-HP 5/14/08 11:49 AM Page 1

53 bogen 5/14/08 11:51 AM Page 1

in the paper menu. Professional photographers

should have no problem printing accurate

color on any inkjet paper with the B8850

after creating a profile and adding paper

and profile to the HP plug-in software.

I used Scott Martin’s Onsight color

evaluation image to assess print quality

(www.on-sight.com). Other than a slight

hitch in the green and cyan gradients, the

color ramps were accurately reproduced on

the HP Advanced Photo Paper with the HP-

supplied profile. The grayscale was neutral in

every block from 0% to 100%, and there was

no banding in the monochrome gradient.

For monochrome prints, the B8850 gives

you a choice of two settings, Composite Gray

or Gray Inks Only. Composite Gray, a neutral

combination of gray and color inks, produced

far better results. The shadows were dark and

rich and the highlights were clean with

excellent detail.

Satisfied with the results so far, I tried a

13x19 sheet of Hahnemühle Smooth Fine

Art paper in the specialty media tray. To use

the straight-through printing path, there

must be enough space behind the printer to

accommodate the paper’s full length. It’s a

simple and effective jam-proof solution for

large or heavyweight media.

It took about 7 minutes to output the bor-

derless 13x19 print, and about 3 minutes for

a borderless 8.5x11 print. The print quality

was excellent on each of the surfaces I tested,

and the HP-supplied profiles yielded accurate,

neutral color reproduction.

If you’re not embarrassed to be caught

using a printer designed for advanced amateurs,

you’ll find most of the features you need on

the the HP Photosmart Pro B8850, and

print quality that should satisfy almost every

professional or fine-art photographer. �

Stan Sholik writes for NewsWatch FeatureService. He is a commercial photographerwith more than 30 years of experience.


The Printing Shortcuts tab presents a quick-pick collection of printer settings. The Save As… buttonallows you to save the settings for future output.

The paper type drop-down menu in the Printing Shortcuts tab is preloaded with HP-recommended papers.Selecting a paper also selects its profile. You can add custom papers and profiles through another window.

RESOLUTION: 4,800dpi optimized; up

to 4,800x1n200dpi when printing from a

computer and 1,200dpi input

BORDERLESS PRINTING: Up to

13x19 inches

PAPER SIZES IN INCHES: Letter, legal,

tabloid, executive, 3.5x5, 4x6 (with or

without tabs), 5x7, 8x10, 11x14, 11x17,

Super B (13x19), envelopes

VOLUME: Up to 1,000 pages per month

CONNECTIVITY: One hi-speed USB 2.0

DIMENSIONS: 26.5x16.9x9.5 inches

WEIGHT: 37.7 pounds

PRICE: $549; 27ml ink cartridges $33.99 each

specs: HP Photosmart Pro B8850


52,54-HP 5/14/08 11:51 AM Page 2


If you’ve never used a carbon fiber tripod, the

first thing you’ll notice is how light they are. If

you believe sturdy can only be heavy, you’ll

change your mind. Manfrotto’s recently

released CX series carbon fiber tripods even

have a stylish design.

They feature a quick column center system

(Q90°) that allows you to rotate the column

to a horizontal position with a single motion,

without removing the head or disassembling

the column, so switching between framing and

positioning is a snap.

The new Manfrotto 100-percent carbon

fiber CX tubes excel inflex resistance and

torsion rigidity. Redesigned locking levers,

new leg angle selectors, and re-engineered

magnesium and aluminum castings are high-

lights of the CX family. The newly designed

ergonomic leg locking levers are not only nice

to look at, but easy to operate. Manfrotto also

redesigned the top plate on 190CXPro4 and

190CXPro3 tripods to incorporate a bubble

level, which is important for panoramic shots

and keeping horizon lines horizontal.

As with all tripods in the Manfrotto CX

series, the 190CXPro4 I tested lacks

retractable spikes, so when working on soft

ground, as I was at Barr Lake Stare Park, you

have to make do with the minimalist rubber

tip ends. Most tripods have a hook under

the center column to hold a weight or

camera bag, but because of the center

column design, this feature isn’t practical for

CX series tripods. Instead, there’s an L-ring


Ruggedness, stability and portable weight are a tripod’s most crucial characteristics. With atripod made from carbon fiber, you get all three. BY JOE FARACE

A leg upMANFROTTO CX SERIES CARBON FIBER TRIPODS

©2008 Joe Farace

The bubble level on the top of CX series tripod isa big help when shooting multiple frames to makepanoramic images. This one comprises five exposures.

56-59-manfrotto 5/14/08 11:52 AM Page 1

DO YOU NEEDA TRIPOD?

With a new generation of image stabilized

(IS) and vibration reduction (VR) lenses, as

well as anti-shake capabilities built into cam-

era bodies, do you even need a tripod? You

do, and here are a few good reasons why:

PORTRAITS: With the camera secured

on a tripod, you can walk over to your

subject to adjust a pose, yet maintain

proper cropping and aperture for the

depth-of-field. Also, subject and

photographer can interact face to face

without the camera blocking the view.

PRODUCT SHOTS: When you’re using

hot lights and want to increase the

depth-of-field, especially for close-ups,

you still need a tripod for long exposures.

PHOTOGRAPHY WITH FILTERS: Infrared

photography often calls for filters that are

seemingly opaque with filter factors

approaching infinity, requiring such slow

shutter speed that even the best IS and

VR technologies can’t handle it.

REGISTRATION: Using a tripod for group

photos lets you maintain registration

from shot to shot in case you need to

digitally swap expressions. Exact registra-

tion is also key for before-and-after

shots, construction-in-progress docu-

mentation, and stitched panoramic images.

ONE OF THE FAMILY: With a tripod,

the camera’s self-timer, and your own

fleet feet, you can both capture and

appear in your own family photos.

For a series of headshots for Sara’s portfolio, Imounted a Canon EOS 5D on a Manfrotto190CXPro4, so I could walk over to her adjust herpose and direct her.

Long exposure demands a tripod. This digitalinfrared image, taken near Barr Lake, was madewith a 4-second exposure at f/6.3, ISO 800,through a dense Cokin 007 (87B) filter.

©2008 Joe Farace

©2008 Joe Farace




804RC2 PAN/TILT HEAD

You can use any kind of head with the

CX series tripods. For this review, Bogen

Imaging provided an 804RC2 pan/tilt

head similar to the 3030 head on my old

green tripod, yet it’s 20 percent lighter.

The 804RC2 has rounded rather than

hard edges, and the handles are more

ergonomic than the previous lumps of

hard foam. The new coating on the

ubiquitous Manfrotto quick-release lever

is supposed to be even more durable and

scratch resistant than on previous

models, and it’s larger than the previous

solid metal ones. The new QR is made

of a polymer called Adapto, which is

resistant to extreme temperatures and

not likely to corrode or oxidize. Like the

carbon fiber legs, this material absorbs

vibrations. The 804RC2 head’s new

counter-spring system makes it easier

to position the camera on its axis, as it

counter-balances some of the camera’s

weight and does most of the work of

positioning the camera for shooting.


We planted this apple tree in my front yard 10years ago. Every year when the tree is in bloom, Imake a photograph of my wife, Mary, and me infront of it. Having a tripod means we don’t haveto ask some else to make the photo.

©2008 Joe Farace


on the top of the tripod that can hold a

counterweight. You may need the supplied

instruction booklet to learn how to rotate the

center column horizontally, as well as how to

use the L-ring weight attachment point; it

might not be obvious the first time you see it.

The legs have snap-lock levers instead of

collars, and they lock solid and precisely. With

the legs spread wide, the lock is just as solid

and precise when you flip the center column

horizontally to get into a low to the ground,

limbo-like position for tough macro shots

and unusual perspectives. All of the tripod’s

controls, including the handles on the 804RC2

pan/tilt head that I tested, are firm and lock

in a crisp manner, so that with all the

controls locked, the 190CXPro4 is solid and

rigid. Even with the wind blowing, the

camera remained solidly in place. For best

results, I always use a cable release (or the

timer) to trip the shutter for long exposures.

The 190CXPro4 is a fine tripod for

small to medium-size digital SLRs. The

three-section 190CXPro3 with its wider

legs is better suited to hold large cameras

like the Canon EOS-1Ds Mark III or Nikon

D3. Three inches shorter in compressed

length and lighter than the 190CXPro3

model, the 190CXPro4 might be better for

photographers who need to keep their

gear compact.

The CX-series is not only made of new

materials, but also has an innovative design.

From the push-button locks at the tops of

each leg to the shape of the leg-locking

levers, these re-imagined Manfrotto tripods

are even better than their predecessors. �

(www.bogenimaging.com)

specs: Manfrotto CX-Series Tripod

MODEL: 190CXPro3 190CXPro4 190CX3

MAX HEIGHT: 48 inches 48 inches 46.9 inches

MIN HEIGHT: 3.15 inches 3.15 inches 2.36 inches

LEGS CLOSED: 22.8 inches 19.7 inches 21.7 inches

WEIGHT (W/O HEAD): 2.84 pounds 2.95 pounds 2.90 pounds

PRICE: $300 $325 $250

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Daniel Anderson Fine Art Digital Scanning & Printing Nov 8–9, 2008

Barbara Brundege Composition & Landscape Oct 17–19, 2008Photography at White Sands

Ctein Close-up Photography Sept. 17–18, 2008Night Photography Sept. 19–21, 2008The Layered Look in Photoshop Jan. 29–30, 2009Image Restoration Jan. 31–Feb 1, 2009

Mark Dubovoy Digital Photography Done Right Feb. 26–March 1, 2009

Sean Duggan Adobe Camera Raw Dec. 11–12, 2008Secrets of the Mask: Dec. 13–14, 2008

Selections & MaskingArt of Photo Collage Feb. 19–22, 2009

Norman Phillips Dynamic Portraiture: April 3–5, 2009Professional Lighting and Posing

Allen Kuhlow Everything You Want to Know Oct. 17–19, 2008About Adobe’s Lightroom

Paul Schranz Printing Fine Art Digital Black & White Aug. 23–24, 2008Alternate Composition: Sept. 26–28, 2008

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With good ICC profiles for your display and

printer, and proper viewing conditions, soft

proofing can yield a better than 90-percent

match between the onscreen image and the

printed version—an emissive display and

reflective print will never match perfectly.

The goal is to come as close as possible,

which takes some output-specific image

editing based on its appearance with and

without the soft proof function turned on.

For the best results, your ICC profiles

should accurately define the condition of

both your display and your printer, and appro-

priate and controllable print viewing condi-

tions near the display. The luminance and

white point of the viewing conditions and

display must also be correctly defined when

you build the profiles. If you’re not familiar

with soft proofing, use the links to my pre-

vious columns listed at the end of the article.

Let’s begin with a print-ready image. You’ve

made all the tone and color adjustments for

ideal color reproduction based on the image’s

working space. This is a master image that

you can use for output to any number of

devices, whenever you need to. Now mentally

draw a line to separate the master image from

all output-specific edits, including sharpening.

Now open the master image and make a

duplicate (Image > Duplicate). Name it Before

View. Arrange the two documents side by

side, filling as much of the display as you can

while retaining access to your Photoshop

tools. Place the master image to the right of

Before View, which you’ll eventually discard.

You’ll make your edits on the master.

Select View > Proof Setup > Custom… to

bring up the dialog in Figure 1. Select the

output ICC profile for the printer and paper

you’re using. Now toggle the rendering intent

menu between Perceptual and Relative

Colorimetric, and select the one that gives

the image the color appearance you prefer.

Select the Simulate Paper Color checkbox

and behold a rather ugly preview. You can call

this checkbox “the make my image look like

crap button,” but it gives you a far more accurate

onscreen preview of the printed version with

its contrast ratio of paper and ink. Let your

THE GOODS SOLUTIONS BY ANDREW RODNEY

Soft proofing helps you see how your image will look onpaper. The first version usually looks horrible. Here’show to make the proof look the way you want it to.

Figure 2: Left, the original image with no soft proof. Center, the same image with the custom proofsetup from Figure 1 turned on. Right, the image with the edits from Figure 3; it’s hardly identical to theoriginal, but it’s much better than the center image.

Figure 1: The Customize Proof Conditions dialog is configured for matte paper on an Epson Stylus Pro3800 printer using a relative colorimetric intent with Simulate Paper Color on. You can save this as acustom setting for future use.

How to edit a soft proof


All im

ages © A

ndrew R

odney

60-62-rodney 5/14/08 11:54 AM Page 1

eyes adjust for a few seconds, and acknowledge

that sometimes reality sucks. That’s why we

have Photoshop in the first place. Our goal

is to edit the soft proof simulation of the image

until it looks closer to the image on the left.

Remember, you’ll never get an exact match.

Make all of the edits on adjustment layers,

starting with the curves (Layer > New

Adjustment Layer > Curves…). I can usually

counteract some of the effects of the paper

simulation with a slight curve adjustment in

the upper 3/4 tone. Make other curve edits

as appropriate for the particular image. I

can’t get the appearance of the original, but

I can make improvements (Figure 2).

Now make a Hue/Saturation adjustment

layer. A small global saturation increase, about

+3 to +8, helps; I know I’m fighting an often

massive difference in color gamut among

the working space, display and printer. With

some colors and tones, no amount of work

will get us back to the original appearance.

The selective colors in Hue/Saturation

can also be useful. Often, a blue sky

appears slightly cyan or magenta in the

soft proof. I correct this by making a

separate Hue/Saturation adjustment layer,

selecting a color range from the pull down

menu (Blue, not the Master), and moving

the hue slider a few degrees one way or the

other. You’ll see why it’s wise to keep each

edit on a separate, labeled layer, as in

Figure 3.

Place all the adjustment layers in a

Layer Group (click on the folder icon in the

Layers palette and drag the adjustment

layers onto the new group folder). Give this

group the same name as the profile and ren-

Figure 3: The Layer palette shows the group ofadjustments used in Figure 2. The layer group isnamed for the output profile and rendering intentselected in Figure 1.


60-62-rodney 5/14/08 11:54 AM Page 2

dering intent, as in Figure 3. When you want

to print this image on a different printer,

you’ll make a new layer group with edits

for that printer. You could eventually have

a number of layer groups with output-specific

edits, and turn on only the one you need

for a particular printer and paper combina-

tion. You can also drag and drop a layer group

from document to document. You can double-

click on an adjustment layer to alter it,

without having to start from scratch.

Print your image and close the duplicate

—there’s no need to save it. View the print

under the light box. Enlarge the edited

image to fill as much of the screen as you

can, then view it in full-screen mode and

compare it to the print. Hit the F key until

the image is totally surrounded by black,

and hit the tab key to hide the palettes.

That’s the best way to evaluate the match

between the onscreen image and a print.

If you don’t want to store all the adjust-

ment layers and groups in each document,

you can store them in one blank, low-resolution

Photoshop document and simply drag and

drop them onto your images when you’re

ready to print. (I prefer to keep them with

the master image.)

Here’s one more good trick, especially for

matte papers, that I learned from Jeff

Schewe, who runs the awesome Photoshop

News Web site, photoshopnews.com.

Open your image. Make sure the foreground

and background colors are set to the default

(if not, hit the D key). Select the background

layer and go to Select > Color Range… Notice

that Sampled Color is selected with black

(foreground) to start the range of the selection.

Enter 25 in the fuzziness field and click OK.

Select Layer > New > Layer via Copy

(cmd/ctrl—J) to place this range of dark colors

onto a layer of its own. Name this layer

Punch Blacks, and set the Blending mode to

Multiply. Only the range of darks from 0 to

25 will go darker, which often produces a

better or truer black on the final print. This

really helps with matte papers, but try it with

glossy, too. Just like the other output-specific

tweaks, this one should go into its own layer

group; you can’t copy and paste this onto

other images! Figure 4 shows the steps.

For previous articles on soft proofing,

download these PDFs from The Goods archive

at www.ppmag.com: www.ppmag.com/reviews/

200409_rodneycm.pdf and www.ppmag.com/

reviews/200411_rodneycm.pdf. �


THE GOODS

Figure 4: Follow these steps for the Jeff Schewe Punch Black technique.

With good ICC profilesfor your display andprinter, and properviewing conditions,soft proofing can yielda better than 90-percent match betweenthe onscreen imageand the printed version.

60-62-rodney 5/14/08 2:23 PM Page 3

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The mixed light of fluorescent green, daylight blue and tungsten

yellow with their various color temperatures can make a dreadful

clash of color casts in your images. I’ll show you how to make

adjustments that will turn captures in unavoidably ugly light

conditions into attractive final images.

You can use a raw image to create white balance bracketing by

processing it for each light source with a different color

temperature, then blend the colors and exposure to make the

image pleasing. If your composition has any hot spots of light,

lean toward underexposure. If you don’t have detail in the

highlights, you will never get it back.

The secret to making this work is to mentally isolate various

color areas, and adjust one version of the image for each of them,

regardless of how the rest of the image looks.

Open the original file in Camera Raw and process it for the

primary light source. Click Open Image. Open the original again

in Camera Raw and adjust for color temperature in another area.

When you open the second version, hold down the shift key and

drag the background layer onto the first version. This creates a

THE GOODS: TUTORIAL

Mixedlight,

blend wellCOLOR BALANCE WITH RAW CAPTURE


Figure 1: Original capture with mixed light temperatures

Figure 2: After adjusting and blending for various light sources

In a church, home or office, multiple lightsources with varying color temperaturescan cause ugly headaches. Use AdobePhotoshop Camera Raw to whip up a cure.

BY BOB COATES, M.PHOTOG.CR., CPP

All images ©Bob Coates

64, 66, 68 tutorial 5/14/08 11:55 AM Page 1

I’ve always gone against the grain. Even when I was just coming into the professional scene, I wanted to do my own thing. The black-and-white, romantic portraits of children that were popular at the time just weren’t my style. I wanted to photograph brilliant, fun colors and interact with the kids. So I did. I knew I’d become a true professional when someone called to book a second time. A professional creates products that people want more than once…and I see some clients 3-4 times a year. So don’t be discouraged by what is expected; you have to be authentic and follow what you want to do. If you don’t, what’s the point?

One of the Many Faces of PPA

Audrey WoulardProfessional PhotographerPPA Member since 2006

© A

udre

y W

oula

rd

new layer aligned exactly with the first. Repeat the process, creating

a new layer for each area where the light source affected the color.

It took five layers to correct this image. The Camera Raw

dialog boxes show the adjustments I made in each layer.

When the layers are stacked, add a layer mask to each. Type D

to make the foreground color white and the background color

black. If you’re working on a small area of the image, use a hide-

all mask: opt/alt-click on the Add Layer Mask icon on the Layers

palette or choose Layer > Layer Mask > Hide All in Photoshop

CS3. The mask is filled with black, hiding the contents of the layer.

Paint with white or white with a low opacity setting to reveal

what you want to see. If you want to use most of the layer, start

with a white mask—Layer > Layer Mask > Reveal All, or click on

Add Layer Mask icon—and paint with black to cover what you

don’t want to see.

I processed the original background layer for just the spotlights

to ensure I’d get detail and rich color. I increased the exposure

and lowered the saturation on the Overall Room layer. Note that

it has a white layer mask with some black paint revealing the

lights from the bottom layer. The Bookcase layer with a black


Figure 4: Overall office color and exposureFigure 3: Adjusted for ceiling spot lights to hold detail

Figure 5: Bookcase area

THE GOODS: TUTORIAL

64, 66, 68 tutorial 5/14/08 11:56 AM Page 2

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67 success 5/14/08 11:57 AM Page 1

mask was processed for lighter exposure and a slight magenta

tint. Applying a soft white brush with low opacity reveals the

effects. I also painted the Doorway mask with a soft white brush.

Note that I painted in other portions of this layer to add color to

shadows under the desk and chair.

Learning to make selections can help to speed you through

your work. I used the polygonal Lasso tool to select the window

area because it’s outlined by straight lines. Feather a selection like

this by choosing Select > Refine Edge so there’s no obvious

transition. Be sure you’ve selected the mask and fill it with white

(Edit > Fill > Use: White) to reveal. As a shortcut, opt/alt-delete

will fill with the foreground color and cmd/ctrl-delete will fill with

the background color. You could also select Use: Color for your fill

and use a gray to reveal only some of the color.

On the Window layer mask I also used a soft brush at low opacity

to paint the interior of the windowsill and chair back. If you’ve

changed the light outside a window, adjust for the window light

falling on the surrounding objects, or the effect will cause a

disconnect in the viewer’s mind.

After you’ve adjusted all the color and finished the masks, leave

your image on the monitor, get a glass of water, maybe go for a

walk. When you return, look for errors in your color correction.

Highlight the top layer. Press shift + opt/alt + cmd/ctrl + E to

create a new flattened layer with all of the corrections, leaving the

layers below intact. If you need to redo the image, having the layer

work will save you time.

The last layer is for retouching. Using a combination of the

Clone and Patch tools, I removed a few highlights, along with

some wires that could not be avoided during the shoot.

This technique has many applications. Use your imagination for

blending different exposures and color balances for creative inter-

pretations of exteriors and landscapes. This image was built and cor-

rected from a single raw capture, but you can use a tripod and take

multiple captures of a scene with different exposures and color balances.

It's a great way to get detail in shadows without adding noise and

color, while maintaining good exposure on the rest of the image.

Take it one step further: Capture images throughout a span of

time, capturing detail in the landscape and the deep blue or

afterglow in the sky.

Enjoy exploring all the ways to blend multiple images together

using these techniques. Send low-res versions of your results to me—I'd

love to see how they turned out: [email protected].�

Bob Coates is based in Sedona, Ariz. See more of his work atwww.bcphotography.com.


THE GOODS: TUTORIAL

Figure 6: Area through doorway

Figure 7: Outside window

64, 66, 68 tutorial 5/14/08 11:56 AM Page 3

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FIND THE MOST UP-TO-DATE INFORMATION

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ALL WE NEED IS YOU.

We can’t wait for you to see what we have in store for you at Imaging USA 2009 - it’s going to be the best yet! Start planning

now, and consider adding an extra kick to your experience by attending one (or more!) of the popular pre-convention

business classes.

There’s a great selection of hotels again this year – and you can’t go wrong with any of them. Each hotel is conveniently

located just steps away from a Phoenix Light Rail Station. You’ll have a comfy, quiet and quick ride every time - just a few

Special room rates are available at the following hotels for those attending Imaging USA. Be sure to visit

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IMAGING USA WAS CREATED WITH YOUR

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Keep watching www.ImagingUSA.org, your inbox, and this

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SEE YOU IN PHOENIX!

al Cincotta opened Salvatore

Cincotta Photography in St. Louis

in late 2006. He photographed weddings and

made portraits of children, babies,

seniors and expectant mothers.

Midway through 2007,

Cincotta had managed to book

only seven weddings for 2008. Portrait

sessions were sparse as well. Cincotta was in

it for the long haul, but the paucity of his

bookings was undermining his confidence.

He’d taken seminars at Imaging USA 2007

in San Antonio and came away with a solid

foundation. He followed up in July by taking

PPA’s Make More Money in Photography

conference in Memphis. The marketing and

business plan he implemented in August

2007 changed everything.

By early 2008, Cincotta had 34 weddings

booked for the year, and another five for

It was summer 2007. Sal Cincotta had a head for business, an eye forphotography and a marketable style. What he didn’t have was enoughclients. That was then, this is now. The key: Divide and conquer.

Leap yearAfter a slow start, Salvatore Cincotta’s bookings skyrocketed

By Jeff KentPORTRAITS

S2009. His wedding trade had rapidly become

a six-figure business, with an average of about

$4,500 per wedding. Senior bookings jumped

from three in 2007 to 50 in 2008. Child por-

trait bookings climbed, with repeat business

in his Baby’s First Year plan with average

sales of $2,000 to $2,500 per client.

Exactly what happened? As a former

computer consultant for Microsoft, Proctor

& Gamble and similar giants, Cincotta was

no newbie to business, and his marketing

coordinator, Taylor Golden, had promotion

and advertising experience. All they needed

was knowledge specific to the business of pro-

fessional photography. “The PPA conferences

All images ©Sal Cincotta

73-75 cincotta 5/14/08 11:57 AM Page 1

gave us a context in which to apply sound

business practices,” says Cincotta. “That

made a huge difference.”

Cincotta’s first step was to separate his busi-

ness into three distinct lines—weddings, babies

and children, and seniors—as per the advice

of Make More Money presenter Michael

Redford, M.Photog.Cr., API, CPP. Because

the target market of each specialty is distinct,

he made three different marketing plans.

Next, Cincotta implemented branding

initiatives suggested by another Make More

Money speaker, Sarah Petty, CPP, and

designed a consistent look and theme for his

marketing and business materials.

Then Cincotta pursued relationships

with vendors in the same markets, such as

reception halls, florists and caterers. He says

these referral sources are like goldmines. He

returns the favor in the form of complimentary

images of their wares to use as they please.

Cincotta also built relationships with four

high schools in the area, and recruited six

senior ambassadors to promote his senior

portrait services.

To ramp up his child portrait line,

Cincotta met with the owner of a local chain

of high-end toy stores. He offered to create

portraits of children playing with the stores’

specialized toys. The owner could hang

them on the stores’ walls and use them in

his advertising. The owner loved the idea.

Cincotta ran a promotion to draw

children 4 to 12 years old to use as models.

Each subject got a complimentary session

and an 11x16 print, with no obligation to

buy anything. He figured he’d be doing

about 25 sessions over one weekend.

On a Friday afternoon, he sent an e-mail

blast to everyone on his contact list. Within

two hours, callers had booked all the slots.


PORTRAITS

73-75 cincotta 5/14/08 11:58 AM Page 2


Over two days, Cincotta introduced dozens

of people to his services. When the parents

went to his Web site to choose the shot for

the print, they also found his regular print

prices, just in case they wanted to buy

additional prints. And buy they did.

Cincotta grossed $4,000 in additional

print sales, and 15 framed portraits went

up on the walls of three toy stores.

Toys pictured in those images flew off

the shelves.

“When I told other photographers about

the toy store promo, they thought I was

crazy to work for free,” says Cincotta. “But I

didn’t work for free. Besides making $4,000

in two days, it continued to generate

revenue downstream. You can’t put a price

on that kind of focused publicity.”

Cincotta also worked out a raffle

arrangement with the stores’ owner. At each

location, there's a monthly drawing for a

free portrait session. Cincotta captures 40

to 50 solid leads every month in exchange

for one free session. Raffle entrants whose

names aren’t drawn are awarded a very nice

consolation prize—a 50-percent discount

on their next portrait session.

These promotions have proved invaluable

for Cincotta’s studio. But the continued growth

comes from his emphasis on service. “The

customer experience starts from the first

e-mail, the first phone call,” he says. “If you

want the majority of your business to come

from referrals, then every customer experience

has to be top notch across the board.”

That’s also a part of effective branding.

“It’s not just about taking pictures,” he

stresses. “You need to be a guide. We walk

clients through their sessions. For wedding

clients, we provide timelines and help them

plan their day. We follow up with clients

after image delivery and see what they

think of the images in their home. It’s impor-

tant to position yourself as a trusted advisor

as opposed to solely a photographer.”

It’s really that simple, he says. “You have

to find a way to connect with people,” says

Cincotta. “Develop a rapport, and be

genuine. There is a sales component to this

work, and no one will trust you enough to

buy from you if you don’t take the time to

make a connection with them.” �

For more on Salvatore CincottaPhotography, visit www.salcincotta.com.

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When you're photographing corporate leaders, the last thing you wantto elicit is emotion, says Mark Bolster. This portrait has to conveyconfidence and assurance to both shareholders and competitors.

Power shotsThe art and business of executive portraiture

ark Bolster’s confident, easy-

going demeanor cloaks the

soul of a fierce perfectionist

who believes in being pre-

pared. That’s what it takes to

meet the exacting challenge of

executive portrait photography on location.

Based in Pittsburgh since 1985, Mark

Bolster’s clients include King Pharmaceuticals,

PNC Financial, Alcoa, Allcare Dental, Federated

Investors, Siemens, and UPS, for whom he

creates images for use in corporate annual

reports, editorial portraits, advertising and

industrial brochures. He recently published

his first book, “Pittsburgh: A Photographic

Portrait,” a limited edition available for

purchase at www.markbolster.com/pittsburgh.

Professional Photographer: When a client calls…

Mark Bolster: The first thing I do is get

information about how the photo will be

used. If you don’t, you’re setting yourself up

for problems. Whether I’m hired directly by

the corporation or by a graphic design firm,

I prefer to bill the company directly. They

treat business as business, and that helps

when negotiating money, getting paid

quickly, and getting advances.

The higher up the corporate ladder the

subject is, the less time you can count on

spending with him. I like photographing

everyone, but I’m best known for my portraits

of senior level executives. These assignments

are pressure packed, and that’s a kind of pres-

sure I thrive on. I like high expectations, I

like getting in and out and not being too much

of a pain. I do that by just being prepared.

MPORTRAITS Interview by Ellis Vener

All images ©Mark Bolster

76-80-bolster 5/14/08 12:01 PM Page 1

That preparation includes …

I generally insist on having some time before

the shoot to scout the location. I try to figure

out a couple of different places to make the

portrait. If the prime location for whatever

reason becomes unavailable, having a fall-

back position ready to go leaves us some

options. If there’s enough time, I love to shoot

in one spot and then quickly move to another

to get a completely different photograph.

You have to be mindful of the executive’s

time, so you have all the lighting in place in

each location, and all the exposures dialed in.

There’s no time to make adjustments beyond

maybe adjusting the subject’s jacket or tie. It’s a

very time-pressured gig. Everyone around the

CEO worries about the senior executive photo

because it’s the one they’ll get called on the

carpet for if the photographer doesn’t act in a

professional way, or blows the shot, or has an

equipment problem. Executives don’t want to

hear about any of that—they’re paying you a

lot of money and you need to get it and you

need to get it right away.

The duration of a typical shoot?

With a CEO, I always tell their assistants or

corporate communications people I need 30

minutes with the person, not including my

setup time. I know I can do it in 20 minutes,

but I might not get the variations I want to

deliver to the client. I really want to make

their job harder by giving them several really

good options to choose from.

Post-capture priorities …

Tight editing is a critical step. I want to give

the graphic designer and the subject a

variety to choose from, but delivering too

many options frustrates busy executives.

Editing for corporate portraits goes

further than weeding out closed eyes and

76-80-bolster 5/14/08 11:59 AM Page 2

goofy expressions. You have to put yourself

in the shoes of the designer and understand

how a composition might work in a layout.

Delivering compositional variations, along

with a range of expressions, demonstrates

that you understand the complicated process

of creating an effective narrative in an annual

report or brochure, and that the photos are

only part of the story. Filling that need

sometimes includes—at a designer’s request

and for an additional charge—digitally

extending a background a couple of feet or

moving a head from one group portrait to

another to replace a bad expression. I use

Adobe Photoshop CS3 and Adobe Bridge on

a Mac with a 24-inch screen.

Executive portraits are unique because …

Portraits for a client’s personal use require

the subject and photographer to connect on

an emotional level, but that’s not a require-

ment for corporate portraiture. In the

grand scheme of things, what the CEO of a

Fortune 500 company does is a lot different

from what little Mark Bolster does. One

reason I get called back from year to year to

photograph the same people is that I make

it clear from the start that I respect their

time, and I won’t make this thing go on a

minute longer than absolutely necessary. It

shows I have their best interests at heart,

and they’re more willing to give me what I

want from them.

High-level executives have been groomed

for the job. Part of that process is learning

what they look like when photographed.

They know what their best side is, what

their best smile looks like, what their best

PORTRAITS

76-80-bolster 5/14/08 12:00 PM Page 3

“power look” is. If they’re comfortable they

might cooperate with doing a few variations,

but if you try to force pictures, you can make

them feel uncomfortable.

How do you keep the session on even keel?

A big part of it is being prepared. Whenever

possible, I go in the day ahead for a pre-

light session. I’ll set up my lights—I travel

with two 1,200WS Profoto Acute2 12000R

packs, four heads, and a Profoto Acute

Ringflash. When necessary, I supplement

that with a four 1,000WS Dyna-Lite

pack and head system, plus a range of

Chimera and Photoflex soft boxes and grid

spots, every kind of clamp made, and a

range of stands.

Then I’ll do a trial run to test every-

thing—composition, basic poses, lighting,

camera and lenses—to make sure the work

flows efficiently the next day. Ideally, I can

leave the light setup overnight, and if can’t,

I make copious notes and lay down gaffer’s

tape to mark where everything will go.

The best equipment for the job …

To be honest, equipment just bores me. If I

didn’t need any of it, I’d be a really happy

camper. It’s important that my gear is

reliable, because ultimately that’s part of

making a good image. If there’s one piece of

gear I’m enthusiastic about, it’s the Remin

Kart-A-Bag Kartmaster HD500. This 600-

pound dolly holds a ton of weight, has

pneumatic tires, and most important, holds

up when you travel a lot. Reliability is part

of my philosophy of being respectful of my

clients’ time. �

Atlanta, based commercial photographerEllis Vener is a technical editor forProfessional Photographer.


Atlanta-based corporate and editorial

photographer Stan Kaady shares a few of

his techniques for shooting corporate

portraits on location.

DRESSING FOR THE C-LEVEL

On a corporate shoot, my assistants

need to be dressed in business casual: no

holes in their jeans, no tattoos showing,

no metal studs protruding from their

temples. I’ve got no problem with any of

that, but those things just don’t work in

that world. I’m fairly conservative, but

not hyper-conservative. That’s true of

the corporate market I’m involved in, too.

QUALITY CONTROL: LIGHTING

For the last four or five years, I’ve been

using much more ambient, natural light.

Maybe I’ll toss in a strobe here or there,

but my lighting style is not strobe

driven. Often I’ll work with just the

overhead fluorescents and a reflector. If

there’s some nice window light I’ll use

that. The quality you can get with

available general office light is just

phenomenal. With the low noise factor

of digital cameras these days, I can

shoot at higher (ISO) speeds and take

advantage of a lot more found light.

When I need to add light, I don’t go

overboard. It’s both a matter of my tastes

and a strategy for working fast and light.

One of my favorite tactics is to use

White Lightning monolights as a bare-

bulb flash. I remove the reflector from

the monolight and aim the head into a

corner of the room to spread the

In good company5 power points from executive photographer Stan Kaady

©Stan Kaady

76-80-bolster 5/14/08 12:00 PM Page 4

illumination across the ceiling and walls.

It’s just amazing. It gives me a window-

light look I can blend with the existing light.

Sometimes a minimalist approach

works best. I’ll use just a couple of Nikon

SB-800 hot-shoe mount flashes (or

ones of similar size) when I can’t dial

down the big lights far enough.

HEADS UP

Headshot sessions last about 10 minutes,

beginning with the application of a little

powder makeup to knock down the shine

on the subject’s cheeks, nose and forehead.

For lighting standard headshots, my

formula is simple: a small Plume Wafer

soft box to the subject’s left or right, a

gray background 5 to 6 feet behind the

subject, and a small light bouncing off

the background to create a separation

between subject and background. A silver

card opposite the soft box adds a little

more separation and a moderately hard

edge. I shoot about 30 frames, cull the

best shots, and do minor image adjust-

ments. I use Adobe Bridge and Photoshop

CS3 to create a private proofing gallery

for the client, then make more extensive

image enhancements on the ones he picks.

BACKGROUND CHECK

One of the challenges for the corporate

portrait photographer is finding a back-

ground that’s not trite, contrived or

clichéd. Sometimes on location the first

thing I want to do is turn and run. Then

I have to find a place with nice existing

light and a nicely shaped background

that will also complement the subject.

PEOPLE, PEOPLE!

Most of the people I photograph

these days are CEOs, executive vice

presidents and others of that rank.

They’re used to having their photo

taken and are easy enough to work

with. I rarely run across someone

with an attitude or who will give me

only 5 minutes to make the portrait.

It can be a challenge, but one of the

reasons I like what I do is that every

day is like a field trip for me.

PORTRAITS


“Most of the peopleI photograph these days are CEOs,executive vicepresidents andothers of that rank.They’re used to havingtheir photo takenand are easy enoughto work with.”

©Stan Kaady

©Stan Kaady

76-80-bolster 5/14/08 12:00 PM Page 5

During the month of October, PPA Charities is conducting Family Portrait Month, a national fund-raising effort. The proceeds will benefit Operation Smile, which provides free reconstructive surgery to children and young adults around the world suffering from cleft lips, cleft palates and other facial deformities. Join in this cause-related marketing program to attract new clients, encourage return business, and help create a smile.

Find out more about Family Portrait Month and how you can help the children of Operation Smile: www.PPAcharities.com | www.FamilyPortraitMonth.com | www.operationsmile.orgor contact Bert Behnke at 708.267.0657 or [email protected]

What about those who can’t smile? Those who find it difficult to even speak and eat?

Now you can help them smile, too.

charities

images courtesy of Operation Smile


Julia Gerace enjoys the diversity of her work, although headshotsremain the foundation of her business. “A headshot is more than aportrait,” she says. “It’s the actor’s first introduction to a director.”

More than portraitsJulia Gerace builds theatrical experience into her repertoire

ulia Gerace always had a flair for the

theatrical. A music major in college, she

began her career working in theater band

pits, often as the intermediary between

the musicians and the director. During

programs, she would pore over the actors’

headshots.

Gerace has also been an inspired

shutterbug since childhood. When she

married and had kids, her enthusiasm for

photography was renewed. Theater and

photography came together in 2004 when

she was working on a production that

included some 80 teenage actors. Gerace

offered to set up a studio at the theater to

make headshots for display in the lobby.

The director agreed, awarding Gerace her

first major professional gig.

Many of the actors returned to Gerace

for more images and updated headshots.

Several agents got wind of her progressive

style and began sending their clients for

headshots. Soon, parents and high school

seniors began to call. Clients in New York,

New Jersey and all over New England

began traveling to Gerace’s studio in

Shelton, Conn.

Enthused by her blossoming career in pro-

fessional photography, Gerace joined PPA

and the Connecticut Professional Photogra-

phers association (CPPA). She took classes,

sought mentors, and began entering print

competitions. She was named Connecticut

Portrait Photographer of the Year in 2005,

2006 and 2007. She also collected two Kodak

Gallery Awards, five Fujifilm Masterpiece

JPORTRAITS By Jeff Kent

All images ©Julia Gerace

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Awards, and two Hallmark Awards for best

color portrait.

Four years into running her own studio,

Gerace is enjoying the growing diversity of

her work, although headshots remain the

foundation of her business. “A headshot is

more than a portrait,” she says. “Often, it’s

the actor’s first introduction to a director.

You have to say so much about the actor in

that one shot. Is he approachable, easy to

work with, open, dynamic? You also want

an interesting composition and an attractive

overall image. It’s a lot to think about for

one image.”

The key for Gerace is incorporating the

subject’s personality and aspirations. “When

I first meet a client, I ask about what he does

and what he wants to do,” she explains. “I

truly want to know everything he’s about, and

that knowledge goes into the image. When I

start shooting, I’ll discuss anything I think

he’s interested in—TV shows, movies, music,

whatever. I want him to relax, let his guard

down and trust me.”

To elicit the expressions needed to set

her subjects apart in their headshots,

Gerace asks them to put themselves into

the moment and envision themselves at

times when they are most happy, most

relaxed, most confident. It could be the

moment they go on stage, thinking about

their grandchildren, or what they did the

night before. The sessions include a lot of

clothing changes, setting changes and a

free-form shooting style.

With all the professional actors and

models represented in her portfolio,

Gerace’s senior and family portrait clients

know their images won’t be typical

portraits. “I don’t suddenly shift gears from

one type of work to another,” she says.

“Whether they’re actors or kids or seniors,

PORTRAITS


82 - 85-GERACE 5/14/08 12:03 PM Page 3

I still know what I want to do. I want them

to know that I’m interested in everything

about them, that I want to portray them in

the most flattering light. I still want to

make images that are about them, not just

how they look.”

Gerace continues to shoot intuitively. “I

don’t want to get stuck doing something one

way,” she says. “There is no one hard and

fast rule for creating great images. I believe

in using lighting, posing, Photoshop,

everything. I use as many tools as it takes to

follow my inspirations.”

Gerace’s studio is in a refurbished factory,

and she’ll set up in stairwells, on loading

docks, in the side alley and around the old

windows and brick walls. She creates varying

dynamics by combining lighting angles,

natural window light and directional

studio lighting. You’ll never see a Gerace

image with flat studio lighting. She wants

her portraits dramatic, full of impact and

with a strong, expressive focus on the

subject’s eyes.

Inspired by the work of photographers

like Patrick Demarchelier, George Hurrell,

Annie Leibovitz, Kevin Aucoin, Renee

Asmussen and Mark Seliger, Gerace would

like to one day see her images gracing the

pages of magazines and catalogs, maybe

even the iconic Vanity Fair or Harper’s

Bazaar. Meantime, she’s thrilled with her

bustling business with actors, models,

seniors, kids and families. “It’s a privilege to

do this kind of work,” she says. “It’s great to

be able to do something you love, and to

work with creative people who appreciate

what you do.” �

For more information on Julia Gerace, visitwww.juliagerace.com.


“Whether they’re actors or kids or seniors, I still

know what I want to do. I want them to know that

I’m interested in everything about them.”

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Strength in numbers

For Christian Oth and his exceptional team of photographers, every wedding is a work of fine art

©Christian Oth Photographers

BY STEPHANIE BOOZER

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ooking around his studio inNew York’s hip Chelseadistrict, Christian Oth seems almost surprised by his success. Since

moving into the lofty studio in fall 2005,

this Austrian native has emerged as a leadingcreative force in wedding photography with his honest, yet fashionable documentary

style. With five photographers working alongside him in New York, plus two at large

in San Francisco and Sydney, Australia, Oth’s boutique approach to wedding

photography generates a lot of buzz among posh brides.

Each of the photographers on his team has his own successful editorial and commercial

career, from sports photography to photojournalism. Oth encourages them to pursue their

creative endeavors and maintain their independent artistic identities beyond weddings.

“All of these guys have creative influences from elsewhere, which brings so much

more to our weddings,” says Oth.

With a decade of experience in commercial and editorial photography and a long-

standing relationship with The New York Times Magazine, Oth launched his first

wedding Web site in 2001. Fashion-forward, upscale Manhattan brides were

instantly smitten. It helped to have early exposure to one of the most influential

matriarchs of home, hearth, and nuptial ceremony, Martha Stewart. In a lucky twist

of fate, Stewart was a guest at one of Oth’s first gigs.

“She actually baked the cake,” says Oth. “It was just me and my assistant, but we

came back with incredible pictures. That was one of my few initial lucky breaks.”

Luck aside, Oth’s commitment to stunning imagery and rock-star customer service

is the cornerstone of his success. With a photo editor and art director on staff, each wedding

collection is edited to perfection, and the final album worthy of fine-art book status.

“Our clients have to be treated like royalty,” says Oth, who makes his guests

comfortable with a cappuccino or glass of wine, whatever they need.

Oth’s prices start at $15,000 if he’s behind the camera. Otherwise, prices range

upward from $4,500, depending on the photographer. Thus, brides have access to a

wide pool of photographic talent, at an approachable range of prices, and can choose

the photographer who best suits their personality and style. Oth’s personal style does

guide the other photographers to keep the studio’s portfolio unified, yet each brings a

unique perspective to every event.

“It grew organically,” says Oth, who couldn’t be more pleased with his team. “When

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I started in wedding photography, I had no

idea that I’d have all of these really great pho-

tographers working with me five years later.”

Australian photographer Shawn Connell

was the first to approach Oth more than four

years ago. Connell already had a successful

career in Australia, with high-profile magazines

and clients, including former Prime Minister

John Howard for his daughter’s wedding.

“But I had dreamed of becoming a New

York City photographer since I was about 15,”

says Connell. He got lucky in the U.S. State

Department’s Green Card Lottery program,

winning a ticket to a new life in America,

provided he found employment. He e-mailed

three other photographers in New York, but

in Oth he found the affinity he was looking for.

“I love the freedom,” says Connell, who’s

currently working on two independent

creative projects—snorkeling with humpback

whales in the South Pacific, and documenting

beachgoers in Australia and America.

“Christian allows me to go after the pho-

tography I believe in.”

Meredith Davenport, a hard-hitting

“Having worked so many years on myown, it’s nice to have a community,” says Meredith Davenport. “Christian’senthusiasm is the pulse of the place. He attracts positive, energetic people.”

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photojournalist, has been with Oth for

about two-and-a-half years. For her, too, the

relationship is rewarding, both in financial

stability and as a change of pace. Often

covering war and strife in Third World

countries, Davenport finds a wedding day a

refreshing break from the routine, though

no less compelling.

“I’ve been less stressed in war zones,”

laughs Davenport. “It’s intense—I’m drawn

to intensity in everything. I like being

emotionally intimate with people, and

weddings are very emotional.”

Davenport and Connell agree that partner-

ing with Oth is an almost perfect gig. They

benefit from the steady work with clients,

but dodge the day-to-day hassles of running

a busy studio. And Oth couldn’t be happier.

The business has grown from a one-man

show into a multi-member creative force.

To keep the team unified and driven, Oth

holds bi-monthly meetings to toss around

ideas, find out what everyone’s into outside

the studio, and of course, discuss any

wedding business at hand. Oth finds the

collaboration of creative minds fosters a

dynamic environment for everyone.

“Having worked so many years on my own,

it’s nice to have a community,” says Davenport.

“Christian’s enthusiasm is the pulse of the

place. He attracts positive, energetic people.”

Due to his increasing wedding

popularity, and the birth of his son, Oth cut

back on editorial work two years ago, but

still takes assignments with The New York

Times Magazine when he’s able. For now,

weddings are where it’s happening.

“When I show up at the wedding, I love

just immersing myself in it,” says Oth. “I

focus on the creative energy of the occasion,

and I’m determined to make it beautiful. All

of the weddings I shoot are incredibly

beautiful though, so it’s not that hard.” �

Read more about Christian Oth and his talentedteam at www.christianothweddings.com.

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Current Events

July 20-23C: PP of Mississippi/Alabama, Riverview Plaza,Mobile, Ala.; Wayne Rawson, 601-693-1966; [email protected]; www.ppma.net

August 2-5C: PP of Louisiana, New Orleans, La.; DaynaPonthieu, 318-359-6633; www.ppla.net

August 9-13C: Tennessee PPA, Marriott Cool Springs, Franklin,Tenn.; Ernie K. Johnson, 615-509-5737;[email protected]; tnppa.com

August 23-27C: Florida PP; Rosen Plaza Hotel, Orlando, Fla.;Alan Dust, 800-330-0532; www.fpponline.org

September 12-15C: PP of Oklahoma, Radisson Hotel, Tulsa, Okla.;Ted Newlin, [email protected]; www.ppok.org

September 13-16C: PPA of New England, Radisson HotelNashua, N.H.; Roland Laramie, P.O. Box 316,Willimantic, CT 06226; [email protected]

September 13-17C: Georgia PPA, Athens, Ga.; Tom McCollum,770-972-8552; [email protected];www.gppa.com

September 27-29C: PP of Nebraska, Midtown Holiday Inn, GrandIsland, Neb.; Brian Baer, [email protected];www.ppofn.org

October 3-7C: Southwest PPA, Sheraton Arlington Hotel, Arlington, Texas; Michael Scalf Sr., Box 1779, Blanchard, OK 73010-1770; 405-485-3838; [email protected];www.swppa.com

October 5-6S: Kentucky PPA; Hyatt Regency, Lexington, Ky.; Randy Fraley, 606-928-5333; [email protected];www.kyppa.com

October 12-13C: PP of Colorado, Denver, Colo.; Jeff Johnson,303-921-4454; [email protected];www.ppcolorado.com

October 12-14S: PP of Mississippi/Alabama, Guntersville StatePark, Ala.; Wayne Rawson, 601-693-1966; [email protected]; www.ppma.net

October 18-21C: APPI, Decatur Conference Center, Decatur,Ill.; Jill Sanders, 309-697-9015;[email protected]

October 20S: PP of Massachusetts; Steve Meier, [email protected]; www.ppam.com

October 20-21C: Wisconsin PPA, The Osthoff Resort, Elkhart Lake, Wis.; Mary Gueller, 920-753-5302; Jim Buivid, 262-377-5118; Deb Wiltsey, 866-382-9772; wppa-online.com

October 26-27C: PP of Iowa, Airport Holiday Inn, DesMoines, Iowa; Chris Brinkopf, P.O. Box 108,Sumner, IA 50674; 563-578-1126;[email protected]

October 26-28S: Northern Light/Minnesota PPA; Nicole Bugnacki, 763-390-6272;[email protected]

November 2S: PP of Louisiana, Northern Exposure,Shreveport, La.; Dayna Ponthieu,318-359-6633; www.ppla.netNovember 9-10C: PP of Ohio, Hilton Easton, Columbus, Ohio;Carol Worthington, [email protected]

Future EventsJanuary 31 - February 3, 2009C: PP of Iowa, Airport Holiday Inn, DesMoines, Iowa; Chris Brinkopf, P.O. Box 108,Sumner, IA 50674; 563-578-1126;[email protected]

February 6-10, 2009C: PP of South Carolina, Myrtle Beach. S.C.;Wilber Jeffcoat, wilber@jeffcoatphotography;www.ppofsc.com

February 13-15, 2009C: PP of West Virginia, Morgantown, W.V.;Tom Gilson, 304-232-3686; [email protected]; www.ppwv.org

February 20-23, 2009C: PP of Oregon, Embassy Suites Hotel, PDX,Portland, Ore.; Arlene Welsh, 800-370-5657; [email protected]; www.pporegon.com


calendarSubmit your organization’s convention, work-shop, seminar or exhibition dates to ProfessionalPhotographer at least six months in advance.Editors reserve the right to select events to beannounced on these pages, and to determinewhen announcements will appear. Editors arenot responsible for conflicting or incorrect dates.For readers’ convenience, each event is identi-fied by a code preceding its name: C=Convention,W=Workshop, S=Seminar, C/E=Approved PPAContinuing Education Seminar, E=Exhibit. Sendall Calendar of Events additions or correctionsto: Marisa Pitts, Professional Photographer,229 Peachtree St., NE, Suite 2200, Atlanta, GA30303; FAX: 404-614-6404; [email protected].

PPA EVENTS

Professional Photographers of America (PPA)has a proud tradition of providing its memberswith outstanding educational opportunitiesthrough its annual events, PPA-Merited classesand its PPA Affiliate School Network. Don’tmiss out on the vital knowledge you’ll gain atthese events! For information on PPA events,call 800-786-6277 or visit www.ppa.com.

June 6117th Annual International PrintCompetition Deadline for Entries

July 22-23Judges Workshop, Daytona BeachOctober 9-18PPA Fall Cruise

October 27Super Monday

January 11-13, 2009Imaging USA, Phoenix

January 10-12, 2010Imaging USA, Nashville

Certification ExamFor a complete list of exam dates, go towww.ppa.com and click on Certification.

Image Review

Online submission:August 8 & October 10

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PPA-Approved ContinuingEducation SeminarsPPA members receive both merits and the best published prices.

July 12-18C/E: Copan Honduras Study Abroad Excursionwith Paul Wingler, Suzette Allen & Jon Yoshinaga;800-483-6208; [email protected];www.suzetteallen.com/copan

July 21-25C/E: Basic Business Modules, Union College, Lincoln, Neb.; Quinn Hancock; 785-883-4166; [email protected]

July 22C/E: Escaping from the Box; Fort Worden, Wash.; Paul Rogers, 815-436-0422; www.paulrogersphotography.com

July 23C/E: Kentucky PPA Merit Monday; EmbassySuites, Lexington, Ky.; Randy Farley, 606-928-5333

August 1-4C/E: Oxford Painter Workshop, SanFrancisco, Calif.; Jeremy Sutton, 415-626-3971; www.jeremysutton.com

August 4C/E: Print Competition Boot Camp; Batavia,Ill.; 630-761-2990

August 13C/E: “Making Digital Photography Easy,Predictable & Fun” with Robert D. Lloyd,Malta, Ill.; Wend Weugeler, 815-356-1231;[email protected]

August 25-27C/E: The Artistry Corel Painter Retreat, Malibu,Calif.; 818-981-2803; www.artistrymag.com

August 28-29C/E: The Artistry GARTEL MarketingSeminar, Calif.; 818-981-2803; www.artistrymag.com

September 12-17C/E: Great Gatsby Impressionist Workshop,San Francisco, Calif.; Jeremy Sutton, 415-626-3971; www.jeremysutton.com

October 20-23C/E: Painter Creativity, San Francisco, Calif.; Jeremy Sutton, 415-626-3971; www.jeremysutton.com

November 2-6C/E: The College! Master Biennale; Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com

November 14-16C/E: The Artistry Corel Painter Retreat,Malibu, Calif.; 818-981-2803; www.artistrymag.com

Future events

February 16-18, 2009C/E: The Artistry Corel Painter Retreat,Malibu, Calif.; 818-981-2803; www.artistrymag.com

February 19-20, 2009C/E: The artistry GARTEL MarketingSeminar, Calif.; 818-981-2803; www.artistrymag.com

Lighting Systems For Digital and Film Cameras

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ADVANCED FEATURES

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February 20-23, 2009C: PP of Massachusetts; Steve Meier,781-829-4282; [email protected];www.ppam.com

February 20-25, 2009C: Virginia PPA, Renaissance Hotel,Portsmouth, Va.; William Garrett, 434-836-2751; [email protected]

February 26-March 4, 2009C: PP of North Carolina; Sheraton ImperialHotel, Durham, N.C.; Loretta Byrd, 888-404-7762; [email protected];www.ppofnc.com

February 27-March 3, 2009C: Wisconsin PPA, Marriott ConferenceCenter, Madison, Wis.; Mary Gueller, 920-753-5302; Mary Mortensen, 262-754-8889; Deb Wiltsey, 866-382-9772; wppa-online.com

March 15-18, 2009C: Mid-America Regional, DecaturConference Center, Decatur, Ill.; Jill Sanders, 309-697-9015;[email protected]

March 28-31, 2009C: Heart of America, KCI Expo Center,Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected];www.hoappa.com

March 28-31, 2009C: PPSNYS, Desmond Hotel, Albany, N.Y.;Kelvin Ringold; 315-451-3716;[email protected]; www.ppsnys.com

April 3-8, 2009C: Minnesota PPA; Joanie Ford, 763-560-7783; [email protected];mnppa.com

April 4-8, 2009C: Northern Light, Minnesota, Jeff Fifield, 218-722-377; [email protected]; Nicole Bugnacki, P.O. Box 567 Ironton, Minn.; 56455; 763-390-6272

April 25-28, 2009C: SEPPA, Athens, Ga.; Tom McCollum,770-972-8552; [email protected];www.4seppa.com

August 8-12, 2009C: Tennessee PPA, Marriott Cool Springs,Franklin, Tenn.; Ernie K. Johnson, 615-509-5737; [email protected];tnppa.com

October 18-21, 2009C: APPI, Decatur Conference Center,Decatur, Ill.; Jill Sanders, 309-697-9015;[email protected]

November 1-2, 2009S: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126; [email protected];www.ppiowa.com

February 6-9, 2010C: PP of Iowa, Airport Holiday Inn, Des Moines, Iowa; Chris Brinkopf, 563-578-1126; www.ppiowa.com

February 26-March2, 2010C: Wisconsin PPA, Radison Hotel, Green Bay, Wis.; Donna Swiecichowski,920-822-1200; Carl Caylor, 906-779-1535; wppa-online.com

April 10-13, 2010C: Heart of America, KCI Expo Center,Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected]; www.hoappa.com

November 14-15, 2010C: PP of Ohio, Hilton Easton, Columbus,Ohio; Carol Worthington,[email protected]

March 4-9, 2011C: PP of North Carolina, Sheraton ImperialHotel, Durham, N.C.; Loretta Byrd, 888-404-7762; [email protected];www.ppofnc.com

April 2-5, 2011C: Heart of America, KCI Expo Center,Kansas City, Mo.; Stephen Harvey, 620-624-4102; [email protected];www.hoappa.com

Send all Calendar of Events additions or corrections to: Marisa Pitts, ProfessionalPhotographer, 229 Peachtree St., NE, Suite 2200, Atlanta, GA 30303; FAX: 404-614-6404; [email protected]


PPA members receive both merits and the best-published prices.

July 13-17Image Explorations, Shawnigan Lake,British Columbia; Don MacGregor, 604-731-7225; [email protected]; www.imageexplorations.ca/

July 20-25PPSNY Photo Workshop, Hobart/William Smith Colleges, Geneva, N.Y.;Linda Hutchings, 607-733-6563; [email protected];www.ppsnysworkshop.com

August 4-7Long Island Photo Workshop, SheratonHotel, Smithtown, Long Island, N.Y.;Jerry Small, 516-221-4058; [email protected]; www.liphotoworkshop.com

August 10-14East Coast School, Sheraton ImperialHotel, Raleigh, N.C.; Janet Boschker, 704-567-0775; [email protected];www.eastcoastschool.com

August 24-27Carolina Art & Photographic School,Randolph Community College, Archdale Campus, Creekside Park, N.C.;Bob Henderson, 336-288-1132; [email protected]; www.capsartschool.com

September 28-October 2Lamarr Williamson School of SouthCarolina; Springmaid Resort, Myrtle Beach, S.C.; John Wrightenberry,803-781-2130; [email protected];www.ppofsc.com

Send all additions or corrections to:Marisa Pitts, Professional Photographersof America, 229 Peachtree Street, N.E.,Suite 2200, Atlanta, GA 30303;[email protected].

2008 PPA-AFFILIATED SCHOOLS

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PRESIDENT’S MESSAGEDennis Craft, M.Photog.Cr., CPP, API, F-ASP

2008-2009 PPA President

news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com

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Traveling this spring for PPA, I have found that every conversational topic seems to be about taking care of business. We’re in an industry that is not only changing rapidly in technology, but also in business practices.

For instance, in the last year, our studio changed many of the ways we market to and nd customers…and what we sell to them. We have changed more in the last twelve months than we did in the previous twenty-seven years. Some of these changes were brought on by technology, some by the changing marketplace.

Education reects these changes, too. Years ago, most photography conventions’ programming was heavily geared towards lighting and posing,

offering little in regards to business and marketing. In fact, when business and marketing programs were offered, the attendance was very low. But recently there has been a strong surge in educational opportunities that help grow photographers’ business skills.

PPA has made a conscious effort to offer business programs at Imaging USA, which has generated a new group of industry instructors—a wonderful resource for all PPA afliates and members.

A few years ago, PPA also conducted a survey of studios around the country. The 2005 Studio Financial Benchmark Survey gave us, as members, a wealth of information about how we could make our studios more protable. It is

now time to repeat this survey. Thanks to this upcoming study and analysis, we will have even more information to help you navigate your business.

As your business and marketplace continue to change, PPA will continue to update the resources you need to stay on the cutting edge. Whether you are attending a PPA Local Afliate, PPA Afliate School, PPA Webinar, or Imaging USA itself, PPA is committed to making the best resources available.

May your business continue to grow.

Dennis Craft, M.Photog.Cr., CPP, API, F-ASP2008-2009 PPA President

TODAY JUNE | 08

FRIENDS MET ALONG THE WAY

Through my photographic journey, I have had the opportunity to meet many wonderful people. Some have inspired me with their photography, others with their business savvy. Over the years, some have become close friends, people I have spent time with outside of photography.

One such person is Drake Busath of Salt Lake City, an incredible photographer with a successful business. I met Drake about ten years ago and count him as a great friend. I have had the pleasure of visiting his studio and spending time with his family.

Photography brought us together, but true friendship goes beyond the camera. A few years ago, my family joined the Busath family and a few other photography friends on a houseboat at Lake Powell. Friendship, laughter, great food, and fun…all started because of a camera. It will always be one of my family’s treasured memories.

This April while representing PPA at the Asian Pacic Regional, it was a pleasant surprise to see Drake as one of the invited speakers. We crossed paths 6,000 miles from home and

renewed a friendship that started many years ago.

My journey has become richer because of the people I have met, and I feel lucky to count Drake as a friend. This month, remember the friends that you wouldn’t have if it wasn’t for photography.

© Dennis Craft © Dennis Craft © Dennis Craft© Bert Behnke

BOARD MEMBER SPOTLIGHT

IN MEMORY…ALFRED LOUIS DEBAT


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Kevin Casey, Collages.net, President & CEO

Industry AdvisorPPA Member since: 2003

Location: LANGHORNE, PAPictured left: Kevin Casey and son

“I’ve always liked what PPA does for the industry,” remarks Kevin Casey, PPA’s Industry Advisor. “It has one goal: to help photographers.”

In his business, Casey also deals with professional photographers’ needs (split about even between wedding and portrait work). The company that provides online posting, printing, albums, press-printed books, workow solutions and more for pro photographers was conceived nine years ago when Casey received the photo of an employee’s baby and wondered how it could be shared. Now, pro photographers can save time, save money, and differentiate themselves through Collages.net’s comprehensive product line.

“I tracked my early customers,” Casey remembers. “Many of them stopped using other advertising mediums (like Yellow Pages) because of the referrals they received by posting their events/portraits online.”

And even though he is more of a watercolor artist than a photographer, Casey had to handle Collages.net’s workow when he was a one-man business. For instance, to build his business model in a pre-digital world (1999), he sped up the manual scanning process by taking digital images of paper proofs. Then, as photographers wanted to discourage customers from copying, he had the word “proof” etched onto glass and placed over the image before taking its picture.

“It’s much smoother now. It is incredible to see how far this entire industry has advanced,” he says.

Smoothing out the Collages.net process has given Casey an edge as the Industry Advisor. In his mind, there is a need to balance great photography with the stylish products many consumers look for. As Casey says, “The most successful studios keep current with the new trends,

colors, and styles of products and services. In today’s competitive market, it is important to keep an open mind. Today’s customers want variety and choice, so exposing them to the products now available is a fundamental key to success.”

If it wasn’t enough to be the original creative and business mind behind Collages.net and PPA’s Industry Advisor, Casey is now the seventh-fastest boardercross racer in his age group. (He was convinced to try boardercross, a snowboard race, by his 22-year-old son who is starting a pro-snowboarding career. They both went to the March 2008 Nationals.) While he might have trouble nding snow in Phoenix, Imaging USA 2009 will be the perfect place for him to share more business insights with PPA members.

Alfred Louis DeBat, 76 passed away on March 30 after a lengthy battle with cancer. A graduate of Northwestern University’s Medill School of Journalism, DeBat traveled extensively as a photographer and served as editor-in-chief of several imaging publications, including PPA’s Professional Photographer, Photomethods, Darkroom Techniques& Creative Camera, and Digital Imaging Digest. He was also a member of the American Society of Media Photographers (ASMP) and PPA. Sought-after as a digital photo expert, DeBat most recently served as technical editor for major book publishers and edited several digital imaging and photography volumes.

“DeBat was a great editor, photogra-pher, and teacher,” says Kim Brady, photo editor and writer living in the Atlanta area. “Many who worked alongside Al considered him both a close friend and mentor in the eld of publishing, including me.”

“He was always enthusiastic about innovations in photography,” says Larry Thall, a close friend. “For a man in his mid-70s, Al was able to adapt and embrace new technology.”

DeBat is survived by Marla Kalbhen, who shared Al’s life and travels for 25 years; his daughter, Avril DeBat; a sister, a brother, two nieces, three nephews, and seven great nieces and nephews. A celebration of his life is scheduled for late this summer.

2008 AFFILIATE COMMUNICATIONS COMPETITION

2008 AN-NE MARKETING AWARDSCOMPETITION: ENTER NOW!


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Don’t miss the free critiques, new categories and great prizes this year! Entries must be postmarked by June 27, 2008.

Rules and submission guidelines are online—see the Competitions section of www.ppa.com.

PPA recently held its 2008 Afliate Communications Competition, designed to improve afliate publications and Web sites, and recognize those involved in producing these communication tools. The newsletters and Web sites were scored in the following three areas:

CATEGORY IPrinted publication of 12 or more pages, 4-color, published at least 3 times per year.

1st Place: Donna Jirsa, Professional Photographers of California Pro Photo West

2nd Place: Bill Hedrick, Texas Professional Photographers Association Texas Professional Photographer

3rd Place: Donald E. Hayden, Southwest Professional Photographers Association Southwest Image

Hon. Mention: Karna Roa, Professional Photographers of the Redwood Empire

PPRE

CATEGORY IIPrinted publication of 12 or more pages, 1- or 2-color, published at least 3 times per year.1st Place:

Scott J. Green, Detroit Professional Photographers AssociationDetroit Newsletter

2nd Place: Jon R. Smith, Professional Photographers of OklahomaThe Oklahoma Photographer

3rd Place: Ladd Scavnicky, Professional Photographers of OhioThe Contact Sheet

Hon. Mention: Jessica Galaska, Professional Photographers of NebraskaPPN News & Views

CATEGORY IIIPrinted publication of 12 or fewer pages, 4-color, published at least 3 times per year.1st Place:

John Fuller Royal, Professional Photographers of North CarolinaFocus on Carolina

2nd Place: Dave Johnson, Twin Cities Professional Photographers Association In Focus

3rd Place: Jim Nardone, Professional Photographers of Central Ohio Click Topiks

Hon. Mention:Linda R. King, Professional Photographers Guild of the Palm BeachesPPGPB Newsletter

CATEGORY VE-newsletter distributed in HTML or PDF format, via e-mail or online, at least 3 times per year.1st Place:

Harriet Ahlstrom, Northern Light Professional Photographers AssociationNorthern Light

2nd Place:Kimberly Sayre, Professional Photographers of the Greater Bay AreaThe Bulletin

3rd Place: Linda R. King, Professional Photographers Guild of the Palm BeachesPPGPB Newsletter (e-mail version)

Hon. Mention:Arlene Welsh, Professional Photographers of OregonIn Focus

CATEGORY VIIWeb site designed exclusively for a PPA afliate group or school.1st Place:

Linda R. King, Professional Photographers Guild of the Palm Beacheswww.ppgpb.com

2nd Place:Jeff Johnson, Imaging Workshops of Coloradohttp://coloradoworkshops.com

3rd Place:Jeff Johnson, Professional Photographers of Nebraskahttp://ppofn.org

Hon. Mention:Maydrick Arnaud, Professional Photographers Guild of Houstonwww.ppgh.org

editorial content» overall appearance» service to members»

“Innovation” and “prestige” are words that have motivated Holmes Community College’s Workforce Training Center Branch in Ridgeland, Miss. Those guiding words were trumpeted loud and clear when the college held its First Annual Exhibit of Fine Art Digital Photography at the college last December. Why so innovative? It was the combination of great photography and storytelling

poetry that really caught the attention of attendees.

Director Angela Crain and Coordinator Sherry Hager envisioned, decorated, managed and advertised the exhibit. Five classes entered about 50 prints that were placed in individual gold cloth settings. Then longtime PPA pro photographer and Digital Photography and Photoshop Continuing Education instructor, Robert Alexander, printed the 11x14 images and wrote poetry for each. Each poem was placed next to its respective print. On the adjacent side of each display, the photo’s creator placed an explanation as to why and how they made it.

Almost the entire crowd wanted to read the poems and explanations, along with viewing the photos. It was such a success that the college leaders have expressed their desire

to expand the idea to the other branches. In fact, the interest was so great that the photography classes have dramatically increased in attendance.

The poem idea grew from an earlier exchange between Alexander and another PPA member and friend, pro photographer Eric Greulich from Indianapolis. Greulich had sent Alexander a photo, to which Alexander added a poem about the feeling he received from the photo. In response, Greulich shared something he learned playing in a college dance band:

“adding good lyrics dramatically improves a song’s popularity.” The same seems to hold true for photography combined with poetry.

Alexander stated, “Eric showed me how adding another dimension of artistic interest widens the magnetic attractiveness of each print. The viewer can glimpse the spirit in which it was made and the intended message is magnied.” One thing’s for sure: it denitely attracted attendees’ interest at the Mississippi exhibit.

UNIQUE PHOTO EXHIBIT by Robert (Bob) Alexander

AFFILIATE SCHOOL SPOTLIGHT


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LONG ISLAND PHOTO WORKSHOPAugust 4 - 7, 2008 | Smithtown, Long Island (NY)Contact: Jerry Small [email protected] site: www.liphotoworkshop.comTuition: $650 Members; $700 Non-Members ($50 discount before July 1)Course Information:Create Your Signature

-Joseph and Louise SimoneMastering the Techniques: How To Be a Complete Photographer

-Hanson FongProfessional Digital Imaging

-Gary SmallCorel Painter -Fay SirkisWeddings -Cherie Steinberg-CoteLight is the Greatest Inuence

-Dave Black

EAST COAST SCHOOLPHOTOGRAPHIC WORKSHOPSAugust 10 - 14, 2008 | Raleigh, NCContact: Janet [email protected] site: www.eastcoastschool.comTuition: $650 by June 15; $700 after June 15 Course Information:Photoshop CS3 for Prot -Suzette AllenPortraits and Lighting -Doug BoxIntro to Portrait Photography

-Bob Boyd I Want It All -Don & Nancy EmmerichThe Complete Photographer

-Hanson Fong Succeeding in the Fine Art Studio

-Tim Kelly Seniors from Start to Finish -Fuller Royal Take it to the Next Level

-Monica Sigmon & Michael Taylor Mastering the Light -John Woodward

CAROLINA ART & PHOTOGRAPHIC SCHOOLAugust 24 - 27, 2008 | Archdale, NC Randolph Community CollegeContact: Bob [email protected] site: www.CapsArtSchool.com Tuition: $450 for a 4-day classCourse Information:Painter for the Photographer

-Fred PowellIntroduction to Photoshop

--Rose Mary CheekUsing Photoshop to Create New Products & Marketing Pieces

-Bob Coates

So hurry along, don’t dilly-dally.Cheer real loud at the pep rally.No home-runs or cheers from above,Can e’er replace a Brother’s love.

Poem excerpt by Bob Alexander© Linda Graves

3�DAY BUSINESS WORKSHOP

NOW’S YOUR CHANCE TO INCREASE PROFITABILITY and receive instruction on essential elements for business success (in both a group setting and a one-on-one consultation).

June 9-11: Ann Monteith, Carol Andrews & Sarah PettyAugust 4-6: Ann Monteith & Lori Nordstrom

BUSINESS BASICS WORKSHOPS:

THE BUSINESS OF PHOTOGRAPHYJuly 19-20: Ann Monteith & Mary Fisk-Taylor

THE BUSINESS OF WEDDING PHOTOGRAPHYAugust 10-11: Jen Roggi & Julia Woods

NEW WEBINARS (online seminars)PPA and SMS are bringing education to you, and all you need is a computer and the Internet. Keep watching your inboxes for information on live business webinars.

NEW BOOKKEEPING SERVICESBehind on your bookkeeping? Our Bookkeeping Program can help! With competitive pricing and programs tailored to meet your studio’s individual needs, SMS can help ease your headaches and get your studio off to a great start.

Classes fill up fast…Register today...800.786.6277For more information, call Beth Moore at 800.339.5451 x244

Professional Photographers of America | www.ppa.com

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Publisher not responsible for errors & omissions

PROFESSIONAL



ACCOUNTING

CPAs FOR PHOTOGRAPHERS. Business set-up, taxplanning and preparation, business valuations andconsulting. Decades of experience. Darryl Bodnar, CPA,(410) 453-5500, [email protected]. Visit our websiteat www.nlgroup.com.

ALBUMS

GP ALBUMS (formerly General Products L.L.C.) is focusedon flush mount and digital offset albums along with ourNEW extensive line of self-mount albums and folios. GP’sOptimus, Quick-Stick, Digital Vision, Tempus, and Eclipsealbums are the products that will help take your photographybusiness into the future. You will experience the same greatquality with a whole new look. As a manufacturer, GP Albumsalso has the ability to create custom photo packagingproducts upon request. GP Albums continues to offer varietyand flexibility allowing photographers to design the perfectproduct that will last a lifetime. For more information, pleasevisit us at www.gpalbums.com or call 1-800-888-1934.

BACKGROUNDS

THE DENNY MFG. CO., INC. is the World’s Largest Manufactureof Hand Painted Backgrounds, Computer Painted Backgrounds,Muslin Backgrounds, Studio Sets, Props, Lift Systems, andrelated Studio Accessories. Contact us today to receive ourFREE 180 page color catalog filled with exquisite productsand ideas to help you succeed in Photography. Write P.O.Box 7200 Mobile, AL 36670; Call 1-800-844-5616 or visitour Web site at www.dennymfg.com.

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CAMERA REPAIR

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COMPUTER/SOFTWARE

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DIGITAL

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EDUCATION/WORKSHOPS

FREE DIGITAL PAINTING TUTORIALS. The Digital PaintShop has FREE goodies from a variety of artists includingPainter Master Marilyn Sholin. Tutorials for Painter andPhotoshop, actions, brushes, textures, eyelashes and more.The Digital Paint Shop is about everything Digital Art.Register for one of the Painting Workshops in Asheville,NC and other locations; www.digitalpaintingshop.com

EQUIPMENT FOR SALE

DIGITAL PRINTERS; FUJI-NORITSU; MINILABS; NEW& USED, FACTORY AUTHORIZED. INSTALLATIONAND TRAINING. FINANCING—$600 UP. DELIVERY—INSURED. WWW.DIRECT-RESOURCES.COM; 877-318-3015.

HELP WANTED

HELP WANTED: Assistant photographer for contemporaryphotojournalistic wedding coverages in Orange County, CAarea. Must have digital equipment. E-mail John [email protected].

PORTRAIT PHOTOGRAPHER—BEAUTIFUL BOISE, ID.We’re a rapidly growing studio in Boise, ID, specializing infine art family portraiture— maternity through high schoolseniors. We’re looking for a team player with 5 years ofportrait experience, DSLR mastery, lighting experience,digital retouching expertise, great client skills, and mostimportantly, a desire to learn, grow and have fun. Must bewilling to learn how to sell. Ideal candidate is motivated tobecome a partner in the studio. Health and vacationbenefits available. Qualified candidates only, send resumesand sample images to [email protected].

INCORPORATION SERVICES

INCORPORATE OR FORM an LLC today! Your art isa business. Treat it like one. The Company Corporation canhelp you incorporate or form a limited liability company in aslittle as ten minutes. We are fast, accurate and affordable.Provide additional credibility to your photography studio orbusiness at the fraction of the cost of using an attorney.Call 1-800-206-7276 or visit www.corporate.com today!

LAB SERVICES

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HAND PAINTED OILS; Transparent, Deluxe, and CanvasStretched up to 40x60. A complete photo art lab servingphotographers since 1965. Traditional and Digital printingservices. Fiber based B&W up to 30x40. Giclee Fine Artprints. Restoration. Free estimates & pricing guide. 800-922-7459 Venetian Arts www.venetianarts.com

LEGAL PHOTOGRAPHYLEARN LEGAL PHOTOGRAPHY. Buy the “Guide toBecoming a Legal Photographer” and work freelance forattorneys. See www.nylawphoto.com/guide.htm

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ClassifiedAdvertisingCLASSIFIED ADVERTISING RATES

Classified rates: • $1.50 per word; • $2.00per word/ words with all caps or bold face.• $10.00 per issue—Confidential Reply BoxAds (Optional)—$30 minimum per ad.Closing date is 20th of the second monthproceeding issue date. Remittance must bereceived with order. NO ADS ACCEPTED BYPHONE. Remittance to: ProfessionalPhotographer Classified Ads, 229 PeachtreeNE, Ste. 2200, Atlanta, GA 30303; 800-339-5451, ext. 221; FAX 404-614-6405.



PRESENTATION BOXES

BOXES—FREE SAMPLE PRESENTATION BOX—FROMTHE ORIGINAL BLACK BOX MANUFACTURE—Fastdelivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10",11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEYAVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147(phone); 757-440-1149 (fax); 888-440-1146 (toll free).www.aufengerbox.com

PRESENTATION BOXES available for immediate shipment;19 sizes—4 stock colors. For FREE catalog & samples call800-969-2697 or fax request 800-861-4528. BUYDIRECT AND SAVE. NPD Box Company, 3000 QuigleyRoad, Cleveland, OH 44113. www.NPDBox.com

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RETOUCHING

WHEN YOUR NAME is on the line, nothing but the best will ever do. Our retouchers know what you need: fastservice, a retouch that looks like the photo was neveraltered and the lowest prices in the industry. If you demandthe best log onto www.retouchup.com and your first 10retouches are free just to prove our claims—the best—thefastest and the least expensive or call 888-700-3686.

SALES AIDS

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5000 POSTCARDS $149 UV Coated5,000 Business cards for $60.00

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STUDIO FOR SALE

FULL SERVICE Studio with Great Reputation in CharmingMid-South Town with Major University and Large Trade Area.30-Year-Old Business—Only Studio in Town. GreatOpportunity—Owners Retiring and Will Assist in Transition.$125,000 Studio Real Estate Available. To obtain further infor-mation, please reply to :[email protected] and refer to ad #107.

QUAINT PHOTOGRAPHY STUDIO in Sterling, Coloradofor lease or sale. This studio is very unique and is located onprime main street property. Sterling, Colorado is located innortheast Colorado approximately 125 miles east of Denver.The community consists of 13,000 people and is a smaller,friendly town. The property sits on 5 lots totaling 15,000square feet. The large studio has been totally remodeled andis 3,000 square feet with all studio lighting, props,backgrounds, etc. There is an adjoining 2,000 square footbuilding that is equipped with scenery and props also. Thebackyard has extensive landscaping including a barn, pier,gazebo, pond, bridge, waterfall, and various settings. A greatopportunity with limited potential for an energetic, artisticphotographer. Please call 970-522-7408 for moreinformation. Serious inquiries only.

STUDIO ESTABLISHED in the Pittsburgh, Pennsylvania,area for over 20 years, with a great image and a very largeclient base. Owner is PPA Certified, Master Photographer& Photographic Craftsman. Wants to slow down. Will trainand is willing to work for new owner to maintain continuityduring transition. For information call 724-789-7371.

WESTERN COLORADO—just hours from national parks.40 year-old established studio plus client list. Amazingoutdoor photo park. Thriving economy in this sunnycollege town of 150,000 - a great opportunity. Owner willassist your transition. Call 970-596-1975.

FANTASY STUDIO FOR RENT. Not ready to buy, wantingto relocate and test an area? This is a studio unlike anyother. Now you can afford to be the best with minimaloutlay. Complete with lights, wardrobe, props and 5000sq.ft. of movie set backgrounds. Unlimited creativity andan exceptional opportunity to be the best you can be.Colorado Springs, Colorado, is waiting for you. www.ljm-photography.com; 719.593.2424.

STUDIOS WANTED

COLUMBUS CAMERA GROUP, INC. buys whole studiosor any part including cameras, film, darkroom, long roll,lighting, and misc. No quantities too small. Call 800-325-7664. Ask for Eric.

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harlotte, N.C., portrait photog-

rapher Jeff Carsten’s inspiration

for the “Wall of Hope” started with a portrait

of infant twins born prematurely. Weighing

only two pounds at birth, the

twins were placed under round-

the-clock care in the Neonatal Intensive Care

Nursery (NICN) at the Levine Children’s

Hospital in Charlotte. The twins rallied, and

went on to pursue the normal business of

being babies. Meeting them at the studio,

Carsten was struck by the intense bond

between the children and their parents in

the wake of the family’s ordeal.

Carsten approached the Children’s Hospital

with an idea for a project. He proposed to

photograph 20 families with children who

had been cared for in the NICN and gone on

to lead normal lives. Carsten wanted to take

down the families’ stories and display them

on placards alongside 20x24 black-and-

white prints. He felt the stories and images

would be as a source of inspiration and hope

for other anxious families.

“Imagine your child in the NICN,” says

Carsten. “These are little babies hooked up

to heart monitors and tubes, going through

surgery. Imagine how frightening it would

be. I wanted to show that it’s not hopeless at

all. The majority of these babies get out of

the NICN and survive. I wanted to show

them as toddlers, as regular kids with nor-

mal lives. Most of all, I wanted to show the

bond between the parents and children.”

Carsten got the go-ahead about a year

later. In two months, he interviewed and

photographed 20 families. The local non-

profit Charlotte Mothers of Multiples donat-

ed the money for the framing and installa-

tion, plus a little cash to offset Carsten’s

printing expenses. Carsten donated his time,

artistry and most of the cost of the prints.

The exhibit became a permanent installa-

tion in a highly visible area of the NICN.

“This exhibit took on a life of its own,”

says Carsten. “As the photographer, I almost

became invisible. I showed up at the opening

and said a few words, but afterwards, the

pictures took over. They truly engaged people.”

There were plenty of tears at the exhibi-

tion’s opening. Nurses and doctors who

hadn’t seen the children since they’d been

released were astonished at how well they

had grown. The parents of the children

relived their experience at the NICN, and

families with children there at the time were

inspired by the success stories.

“There is no question that photography

can be extraordinarily powerful when the

emotions are real,” says Carsten. “This proj-

ect had an impact that I hadn’t anticipated.

I may have captured the images, but it was

the children who really made them. I was

almost irrelevant. I’d never seen that before,

and it was very powerful.” �

To see more from Jeff Carsten, visit his studioonline at www.southernlightphoto.com.

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.

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

good works |©Jeff Carsten

A wall of hopeEMOTIONAL SUPPORT FOR A NEONATAL INTENSIVE CARE NURSERY

C

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©M

ary

Fisk

-Tay

lor

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