Professional photographer 2008 07

JULY 2008 | WWW.PPMAG.COM | $4.95

©D

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PROFESSIONAL PHOTOGRAPHER JULY 2008

LET’S HEAR IT FOR THE BOYSWomen often make the buying decisions, and the concerns of men seem to get brushed aside. How about a little TLC for the guys?

by Jeff Kent

PARTNERSHIPS: MUTUAL ATTRACTION

Forging productive partnerships with high-end salons

by Jeff Kent

PORTRAITS: 16 CANDLES

Sweet sixteens are a growing market for pro photographers

By Jeff Kent

IMAGE BY PETE WRIGHT

62

68

72

Features

DepartmentsCONTACT SHEET

20 Anne Geddes: Visionary down underby Lorna Gentry

22 5 Steps to using music legally in slideshows

24 Extreme studio makeoverby Cyndi Smith

26 Second annual CPI P3 winners27 Professional Photographer wins

7 gold GAMMA awards

PROFIT CENTER

29 What I think: Jeff and Carolle Dachowski

32 Shoestring marketingby Kammy Thurman

34 Ties that bindby Sarah Petty

36 10 Steps to never forgetby Charles J. Lewis

38 Payroll reliefby Scott Kurkian

THE GOODS

41 What I like: James Balog42 Features: Nikon D3 high ISO

by Ron Eggers and Stan Sholik46 Lighting essentials 2:

Fill lightby Don Chick

52 DSLR roundup: Pro selectionby Ron Eggers

ON THE COVER: David Schwartz captured thisimage of the bridegroom, Brian Blain, just before thestart of the wedding reception at the Mill at FineCreek, near Richmond, Va. “Brian spent much of themorning setting up tables, the cake, and the flowersfor the reception, says Schwartz. “I pulled the coupleaside for 10 minutes before the reception started tolet them relax. The natural light flooding in a bank ofwindows illuminated the mask of his face perfectly.”Schwartz augmented the natural light with a goldreflector, using manual exposure with a Canon EOS5D digital SLR, for 1/100 second at f/1.8, ISO 1000.

6 • www.ppmag.com

14 FOLIO

57 IMAGING USA

82 CALENDAR

87 PPA TODAY

106 GOOD WORKSPROFESSIONAL PHOTOGRAPHER | JULY 2008 | WWW.PPMAG.COM

We asked a panel of photographers to discuss how photographing men differs

from photographing women. Among those we canvassed is Mark Brandes, a traditional portrait

artist who prompts his male subjects to talk about what they love to do when they’re not working—

that’s the way to reveal what’s in the subject’s heart.

©M

ark Brandes

CONTENTS

72

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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]

circulation consultant MOLLIE O’SHEA, [email protected]

editorial officesProfessional Photographer

229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A.404-522-8600; FAX: 404-614-6406

Professional Photographer (ISSN 1528-5286) is published monthly subscriptions

Professional Photographer P.O. Box 2035, Skokie, IL 60076; 800-742-7468;

FAX 404-614-6406; email: [email protected]; Web site: www.ppmag.commember services

PPA - Professional Photographer 800-786-6277; FAX 301-953-2838; e-mail: [email protected]; www.ppa.com

Send all advertising materials to: Debbie Todd, Professional Photographer, 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509

Subscription rates/information: U.S.: $27, one year; $45, two years; $66, three years. Canada: $43, one year; $73, two years; $108, three years.

International: $39.95, one year digital subscription. Back issues/Single copies $7 U.S.; $10 Canada; $15 International.

PPA membership includes $13.50 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation

Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468; FAX 404-614-6406; email: [email protected]; Web site: www.ppmag.com.

Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine,

P.O. Box 2035, Skokie, IL 60076Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A.

Article reprints: Contact Professional Photographer reprint coordinator at Wright’s Reprints; 1-877-652-5295.

Microfilm copies: University Microfilms International, 300 North Zeeb Road, Ann Arbor, MI 48106

Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPAPublications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta,GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices.

Acceptance of advertising does not carry with it endorsement by the publisher. Opinions 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

Coming to AmericaANNE GEDDES TO APPEAR IN PHOENIX

It’s been an exciting month here at the offices of Professional

Photographers of America (PPA). It began with the news that Anne

Geddes has graciously accepted our association’s invitation to speak

at Imaging USA 2009, in Phoenix, January 11-13.

And what a story Geddes has to share: Her inspiring career as a

world-class baby photographer has blossomed into a dynamic

brand. Her images grace an array of attractive merchandise—books,

calendars, date books, clothing, crockery, even checks and credit

cards. At the heart of Geddes’ work is her belief that images can

help protect, nurture, and foster love for all children.

In fact, the Bank of America Anne Geddes Visa Card earns you

Anne Geddes rewards points and helps children worldwide through

the Geddes Philanthropic Trust, established by Anne and her

husband, Kel, to battle child abuse. To date, the trust has

accumulated more than $4.5 million.

You’ll be able to hear the story behind Anne Geddes’ phenomenal

success first hand on the evening of Monday, January 12 at IUSA.

Head over to www.imagingusa.org today to register for the PPA

convention and expo.

GOLD STARS

I once worked for a brilliant magazine publisher who would end

every staff meeting with the few simple words, “Just do good work.”

I’m excited to share the news that Professional Photographer was

recognized this year by the Magazine Association of the Southeast

with its gold award for General Excellence, bestowed to the magazine

with the best overall packaging, showcasing, excellence in content

selection, writing and reporting, design and illustration among all

the business-to-business/association titles published in the

Southeast. PP won six more gold awards in other categories, as well

as one silver award (details on p. 27).

We have to thank the inspiring photographers we are honored to

feature each month for this glittering hardware. Our publications

staff here at headquarters and our contributing writers and

designers all work from the same rich palette; the artists of our

industry provide the heart and soul featured on our pages. �

Cameron Bishopp

Director of Publications

[email protected]

technical editorsANDREW RODNEY, ELLIS VENER

director of publicationsCAMERON BISHOPP

[email protected]

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


show the worldhow you see it.

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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.

JO BURKHARDTJo Burkhardt, M.Artist, MEI, of Photographic Art By Jo in Sarasota, Fla., was commissionedfor this digital painting by Pepito Valdes of Pepito Masterpiece Portraits in Tampa. “The originalphoto captured my imagination and carried me back to days gone by in a quaint Europeanvillage,” says Burkhardt. “I wanted to convey an inviting warmth by painting in the cottage Isaw in my mind’s eye.” Burkhardt used Adobe Photoshop CS to remove street and building signs,and Corel Painter IX to complete “Welcome,” which earned a Fujifilm Masterpiece Award.

©Jo Burkhardt

Gre

at im

ages

beg

in w

ith g

reat

lens

es. B

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ROBERT CLEEREAn avid scuba diver, Robert Cleere, CPP, of CleerePortraits in Tuscaloosa, Ala., also loves to experimentwith 3D imaging programs. “I came up with the bluetubes, and they reminded me of swaying sea life,” hesays. “I was looking into a saltwater aquarium when I sawthis beautiful fish, and I thought how neat it would lookin my blue underwater world.” Cleere rendered the 3D fishusing a variety of 3D programs, then polished the image,“Jail Bait,” in Adobe Photoshop.

RANDY MCNEILLYRandy McNeilly, M.Photog.Cr.MEI, API, of McNeilly

Photography in Shelby, N.C., created “Mr. Felix” for a localhospital’s employee of the month portrait. Shooting with aCanon EOS-1Ds digital SLR and 70-200mm Canon f/2.8 L

IS USM EF lens, McNeilly exposed the image for 1/60second at f/4. A 44WS Photogenic PowerLight 1250DR

behind an 18-inch Photogenic Parabolic Glamour Reflectorwith a 42x72-inch silver Larson reflector provided the main

lighting. An 80WS Photogenic PowerLight 1250DR with a4-foot Chimera soft box on a Red-Wing boom arm hungabove the subject, while a 30WS Photogenic PowerLight

1250DR with an 8-inch grid and reflector lit the background.

©Robert Cleere

©Randy McNeilly

Ev

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.com

/dlc

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©2008 Collages.net Inc. All rights reserved. Photos ©2008 Artistic Imaging, BLR Life Photography, Carrie Workman Photography, Dan Doke Photography, Studio G, The Shooting Gallery, and TriCoast Photography

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

Visionarydownunder

An evening with Anne Geddesannounced for Imaging USA 2009

BY LORNA GENTRY

©Roy Emerson

New York Times best-selling author and

photographer Anne Geddes will be speaking

at Imaging USA 2009, being held in

Phoenix, January 11 to 13.

The Australian photographer became an

international phenomenon in the 1990s with

her remarkable images of babies. Geddes’

latest book, “A Labor of Love” (Andrews

McMeel Publishing), is a personal account

of her life, from her childhood on a 26,000-

acre cattle ranch in North Queensland, to

teaching herself photography in her mid-

20s, to embarking on the 25-year career

that brought her international renown. . .

Geddes’ work has been published in 83

countries; worldwide book sales exceed 18

million copies in 24 languages. A Geddes pho-

tograph is instantly recognizable. Her unique

perspective enthralled international audiences,

and revolutionized children’s portraiture.

But Geddes’ success didn’t happen over

night. Early on, when she approached a

London publisher, she was summarily

rejected. In an interview with Seattle Times

book critic John Marshall, Geddes said the

publisher told her, “If I can give you some

advice, just photographing babies is never

going to work for you. You need to broaden

your portfolio to include adults and animals.”

Years later, the chagrined editor would con-

fess it was a bit like turning down the Beatles.

Indeed, the Anne Geddes brand has become

a global business empire. Her images appear

on an array of products, including stationery,

greeting cards, toys, photo albums, watches,

even wallpaper and dishes. She also designs

clothing for infants and toddlers, and last

year introduced maternity T-shirts. More

than 3 million people visit Geddes’ Web site,

www.annegeddes.com, annually to shop and

read her blog, where she reinforces the message

behind her work: Protect, nurture and love.

“For me, a photograph constitutes art when

viewers are awakened to an idea or visual

experience they might not have had other-

wise, helping them to see their world afresh

and sometimes in a totally different way,”

Geddes says. “The essence of a great child por-

trait is, for me, that the magic and the intan-

gible individual energy of that child at that

particular age are captured. And with a child,

the magic or energy is always in the eyes.”

Spend an evening with Anne Geddes at ImagingUSA 2009 in Phoenix, January 10-13. Formore show info, visit www.imagingusa.org. To view more of Anne Geddes’work, go to www.ppmag.com.



If you’re combining copyrighted music with

your images to create a presentation or a

product, you’ll need to obtain two different

copyright licenses, a master use license, often

granted by the record label for use of the actual

recording, and a synchronization license, pro-

vided by the songwriter or music publisher for

the use of the music in conjunction with images.

In some cases, the usage rights are owned by

different divisions of one record label.

The rights owner is under no obligation

to grant either usage license. Unlike some

music rights, there’s no mandatory licensing

or statutory rate (fee) for master or synchro-

nization rights. The licensing departments

of recording companies are geared toward

the motion picture and television industries,

so be prepared to educate them regarding

your particular use.

PRICING AND NEGOTIATION. Just as

your clients can’t force you to allow them to

make copies of your work, you can’t force a

music copyright owner to allow you to use

his work in your slideshow at any price. It is

entirely possible that at least one of the

rights owners will refuse to license the work,

or demand a prohibitively high fee to do so.

GOING HALFWAY. In cases where the

publisher and the record label are not the

same entity, do not finalize payment on any

licensing contract until you’re sure you can

acquire both the synchronization and master

use licenses. One without the other is useless

to you for the purpose of putting pre-recorded

music to visual presentations. For a detailed

discussion on these issues, see PPA’s Guide

to Music Licensing for Photographers in the

Members Only section at www.ppa.com.

(The Harry Fox Agency, which used to

secure synchronization licenses, no longer

offers this service. The only way to secure the

license now is directly through the publisher.)

HOW TO SECURE THE

APPROPRIATE LICENSES

1. Choose the song/s you wish to use on

the slideshow.

2. Find out who owns the master use

rights to each sound recording you want

to use. The label info is usually in the

CD liner notes and at any online music

service site. (See sidebar below for major

record label contacts.)

3. Next, determine who owns the

synchronization rights; most likely it’s the

publishing company representing the

songwriter. Song names can be matched

with publishing companies through the

ASCAP ACE database (www.ascap.com),

BMI (www.bmi.com) or the U.S. Copyright

Office (www.copyright.gov).

4. Contact the owners of both the master

use and synchronization rights. Sometimes

it’s the same company. Explain your project

and ask for the appropriate license. Expect

questions about the number and

geographical distribution of your project,

and be prepared to negotiate the price.

5. Sign the various licensing agreements

and submit payment.

CONTACT SHEET

Slide rules5 steps to using music legally in slideshows

WHO OWNS THE SONG?Contact info for the major labels

SONY BMG ENTERTAINMENT550 Madison Ave.,New York, NY 10022212-833-7700

2100 Colorado Ave., 2nd FloorLos Angeles, CA 90404310-449-2555Song information locater:www.sonymusicfinder.com (free registration required)E-mail: [email protected]

UNIVERSAL MUSIC GROUPFilm & TV Licensing Department, 2220Colorado Ave., Santa Monica, CA 90404

310-235-4721; FAX: [email protected]

WARNER MUSIC GROUPWarner Special Products,3500 West Olive Ave., Suite 800Burbank, CA 91505818-953-7900Pre-licensed music (not royalty free):www.onestoptrax.comOther Warner licenses:www.warnerchappell.com

EMI-CAPITOL MUSIC GROUP NORTH AMERICAAlasdair McMullan, Esq.1290 Avenue of the AmericasNew York, NY 10104

212-492-5056FAX: 212-492-5095

EMI MUSIC PUBLISHING75 Ninth Ave., 4th FloorNew York, NY 10011 212-492-1200

2700 Colorado Ave., Suite 100Santa Monica, CA 90404 310-586-2700Master use licenses: [email protected] www.emimusicpub.com/worldwide/around_the_world/usa_home.html

For other label information, searchallrecordlabels.com


What you see on the outside is just as important as what you see on the inside. With nearly twenty new selections for Miller’s Albums and Press Books, your cover can now

reflect the same beauty and creativity as your photographs.

www.millerslab.com 800.835.0603

Just when our studio needed it most, a little

luck came along to give our long overdue

studio renovation the boost it needed. I had

entered the Simply Canvas Extreme Studio

Makeover Sweepstakes at Imaging USA 2007

in San Antonio. Simply Canvas owner and

CEO Adam Fried called to tell me I’d won.

We’ve been in business in Southern Coastal

Maine since 1991, running a camera and

custom frame shop, and a full-service photog-

raphy studio. Our interior design was embar-

rassingly out of date. With the influx of pro

and pro-wanna-be photographers here, we

needed to make our business really stand out.

With the $4,500’s worth of Simply Canvas

products we’d won and the company’s invalu-

able consultation on display we added a profit-

making finishing touch on our extreme

renovation.

Taking half the floor space of the camera

shop, we created a gallery meeting area for

the studio. We consolidated inventory, built

new walls, laid tile and hardwood floors,

installed new lighting and a flatscreen TV,

and re-painted. My husband, Chris, and his

father built the space themselves, even the

curved wall that makes such a dramatic

design statement.

We wanted the space to impress

clients with the enticing yet tranquil

atmosphere of a luxurious spa.

An interior designer advised us on

colors, and we bought modern, com-

fortable furniture from Ikea. The

awesome canvas prints from Simply

Canvas transformed the space into

our ideal studio.

The new space has brought

incredible results. My favorite wall

display is one image of a family on the

beach reproduced as 8x12-, 11x14-,

16x20-, 20x24-, 20x30- and 30x40-

inch prints, and hung in a group. It’s

the best sales tool I have to illustrate

how large canvas prints are the best

buy. We show clients their images on

our large flatscreen TV, surrounded by

all these beautiful canvases.

In 2006, when we were producing

canvas prints ourselves on a Roland

printer, we sold about 15 all year.

Since our studio makeover, one client

alone ordered 20 canvas prints for

her home.

C.A. Smith Photography is in Kennebunk,Maine (www.casmithphotography.com).

CONTACT SHEET

Extreme studio makeoverSweepstakes win gives a big boost to a major renovation l CYNDI SMITH

All images ©C.A. Smith Photography


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Commercial Photographers International

(CPI) announced the winners of its second

annual image competition. Dubbed P3 for

the categories—Best in People, Products and

Places—the competition recognizes excellent

commercial images by both professional and

amateur commercial photographers.

The competition was created as a venue

for established and emerging commercial

photographers to promote their work. The

P3 Image Competition also aims to unify

the passion and flair of the commercial

photographic community.

This year Paul D. Van Hoy II garnered

P3 awards for Best in People and Best in

Products. Debra Collins took the honors in

the Best in Places category. Kayce M. Baker

was named P3 Photographer of the Year.

The P3 Photographer of the Year is awarded

prizes and $800 in cash. The Best of winners

are awarded prizes and $300 in cash.

Winning images from the competition will

be on display at the Commercial Photography

Conference at Imaging USA, in Phoenix,

January 11-13, and on the CPI Web site.

CPI is a non-profit organization

dedicated to providing information, resources

and materials for photographers in the

rapidly changing commercial photography

industry. For more information on CPI, go

to www.MyCPI.com.

CONTACT SHEET

22 • www.ppmag.com ©Paul D. Van Hoy II

CommercialcompetesWinners of the second annual CPI P3 image competition

©Debra Collins

The Magazine

Association of

the Southeast

recently pre-

sented Profes-

sional Photog-

rapher maga-

zine seven gold

GAMMA wins,

including the

highest prize a magazine can win in its

category, General Excellence, as well as one

silver GAMMA.

The gold in General Excellence was

awarded for best overall packaging, show-

casing, excellence in content selection,

writing and reporting, design and illus-

tration among all Southeast business-to-

business/association titles.

Additional gold winners: Best Series,

“Celebrating 100 Years of Professional Photog-

rapher,” December; Best Feature, “Hair of the

Dog,” by Stephanie Boozer, July; Best Profile,

“Life in Balance: Greg Heisler,” by Jeff Kent,

January; Best Service Journalism, the

“Marketing to Women” package, including

“Soft Power,” by Lorna Gentry and “What

Women Want” by Ann K. Monteith, May;

Best Cover, image by Greg Heisler, January;

and Best Photography, “Destination:

Weddings,” photographs by Susan Stripling.

The silver GAMMA for Best Photography

was for “Bon Appétit,” photographs by Sara

Remington, February.

Top prizeProfessional Photographer wins 7 golds, including General Excellence

July 2008 • Professional Photographer • 27

©G

reg Heisler

Gold winner, Best Series.Gold winner, Best Cover.

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).

August 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.

July 14: Fast-Paced Wedding Growth - Laura Novak

July 28: Working with Children- Sam Puc’

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 888.851.0405

Professional Photographers of America | www.ppa.com


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

What I thinkFor Jeff and Carolle Dachowski,success is about partnerships

What do you wish you knew when you were

first starting out? How to price our work.

We were afraid of being too expensive.

Now we understand that every market

has different price points. We picked one

and are very happy where we ended up.

What was your biggest surprise when you

started your business? That people want

their portraits made when they are ready, not

when we are. So we adopted the phrase,

“Whenever you’re ready, we’re happy to help.”

What piece of conventional wisdom do you

find untrue? That you have to specialize.

Our main work is portraiture, but we produce

commercial images along with weddings,

children and families. The subjects of these

categories become great referral sources for

our other product lines.

What’s your deal breaker? If someone asks us

to make exceptions to our policies before we

even work together, they’re going to be too

much trouble.

What’s been your most effective marketing

strategy? Marketing partnerships are our

single most effective tool. These relationships

are all about a time investment. They don’t

cost us anything out of pocket, and the return

is huge.

IMAGE BY DACHOWSKI PHOTOGRAPHY

WWW.DACHOWSKIPHOTOGRAPHY.COM

What do you do when you want to get your

name out in the community, but you just

don’t have the resources to do the heavy

advertising your competitors do? Here are

11 free or low-cost ways to attract more

clients and build your business quickly.

1. SEEK PUBLICITY. People are 10

times more likely to read an article than an ad,

and to act on it. Find books at your bookstore

or library that explain how to create press

releases and get them into newspapers, on

radio and on the Internet. My favorite is

Joan Stewart’s “89 Ways to Write Powerful

Press Releases” (www.publicityhound.com).

2. SELL TO CURRENT CLIENTS.

It’s five to seven times more expensive to get

a new client than to sell to a current client.

Give your clients lots of opportunity to come

back for more. They might not buy a

30x40-inch portrait every year, but they’ll

go for grandparent folios, Christmas cards

and photo gifts for friends and family.

Marketing to people who already like your

work can cut your expenses dramatically.

3. CREATE A LOYALTY PROGRAM.

Within a few days of a purchase, send the

client a thank-you card featuring the

portrait image. Make it personal, from one

friend to another. So few businesses bother

with this small courtesy that your clients will

be surprised and impressed when they get it.

You can also give them items they’ll hang on

to, such as photo calendars. They’ll see your

name every day for a whole year!

4. START A CONTINUITY PRO-

GRAM. Launch baby, child and family portrait

clubs that reward members with a discount

or premium after they’ve purchased a certain

number of items in a given time. Such clubs

have been very successful. You can create

clubs around seasonal and holiday portrait

sales. How about a birthday club that includes

a child’s portrait every year to age 18? Create

a lifetime club for your best clients—your

cream of the crop—with products, services

and prices available only to these VIPs.

5. STUFF IT! Every time you hand a

product to a client, you should also hand out

an incentive to return. Cards promoting

other products or special discounts or gift

certificates can ride home with the client in

the bag or box that holds the purchase. Use

enticing language and truly valuable offers

to pull them back.

6. TEAM UP. Offer to photograph charity

events (with attribution, of course) and provide

images or portrait packages for fundraising

auctions and such. It’s a super way to

network and make a positive impression.

Partner with businesses of other kinds

that cater to the same market. Share names

and send mailings. For every type of photog-

raphy, you’ll find complementary businesses

that can help you attract more clients.

7. BUILD VISIBILITY. You sell what

you show. Do a roving exhibit that moves

from one business to the next every month.

Offer to show images at your library for

National Photo Month, May. Be visible your-

self. Volunteer for worthy community organi-

zations. People like to buy from someone

they know, so put your best face forward

and get acquainted with a lot of people.

8. STALK YOUR CLIENTS. Not

literally, of course, but you need to be where

your clients are. Get involved with the

organizations that your target market is

involved in or supports.

9. SPEAK UP. In addition to attending

civic meetings, you can be a volunteer speaker.

It doesn’t have to be incredibly deep, and

you don’t have to give away trade secrets,

but it will prove your value and expertise to

the very people you want on your client list.

Offer to teach classes or mentor photography

groups in schools in your area, or to Girl

Scouts, Boy Scouts, 4-H members. Those

kids have parents who will appreciate you!

Offer special sessions just for club families.

10. KEEP IN TOUCH. Keep track of

who does business with you, what they buy

and how often, so you can create fitting

opportunities for future purchases. According

to some reports, 68 percent of the clients

who leave a business say it’s because they felt

ignored. Your current clients are the low-

hanging fruit on the marketing tree. If you

want to reap more sales, reach out often.

11. ESTABLISH A REFERRAL

PROGRAM. Newsletters are a great way to

stay in touch. Every time you send one out,

include several referral cards for clients to hand

out to friends. The card should reward clients

for making referrals, and reward the new

clients who come in with the card. Tuck referral

cards into your packages, too. Make digital

versions for clients to forward to friends.

You don’t have to be a big studio or have

a big budget to market your business success-

fully. You can do a lot of effective marketing

with a little time and imagination. �

Kammy Thurman, a direct-marketing saleswriter and consultant, is co-owner of AnchorPhotography in Laurel, Mont. For moremarketing strategies, see her free“Photography Marketing Report: 25 Ways toBoost Your Marketing Return—WithoutIncreasing Your Marketing Budget” atwww.anchorcreative.com.

PROFIT CENTER KAMMY THURMAN


11 low-cost/no-cost ways to market your photography

Shoestring marketing

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You’ve heard the saying, “It’s not what you

know, it’s who you know.” I’d like to add that

it’s the strength of the relationship you have

with the “who” that makes all the difference.

Your success in business is determined in

part by your ability to foster caring

professional relationships with your

employees, clients and other businesses.

If people like you, they’ll want to be

your client. Employees who respect you

and know that you value them will both

treat your customers well and willingly

chip in when you really need them. And if

you have a friendly relationship with your

vendors and neighboring businesses, they’ll

want to help you succeed. As a codicil,

the company you choose to keep can help

or hurt your business, so work with

reputable businesses.

CLIENTS. The more time prospects

spend interacting with your promotional

pieces, the stronger their desire to relate to

your brand. Create dynamic, involving

promotions that your clients will want to

share with their friends and family. Use a

blog on your Web site to build relation-

ships with your clients by giving a face and

a personality to your brand. Share your

positive thoughts and feelings about your

clients, even tell cute stories from their

sessions. Get a site that allows you to

continually update the messages and the

images. The more time clients spend

interacting with your brand, the more

emotionally attached they become.

Reward your best clients the way fancy

restaurants reward their regulars with the

best seating with no waiting. It costs much

more time, effort and money to bring in new

clients than to cultivate ongoing relationships

with present clients. How much time do you

have to invest in educating a new client

about your products and services and what

to expect in a portrait session?

Find ways throughout the year to reward

customers for their loyalty. And don’t

underestimate the power of a handwritten

note. Congratulate or console clients with

flowers. Include images of their children in

your promotions. During the winter holiday

season, we actually rank our clients by the

amount they’ve invested in us that year. We

send the top clients a special gift,

personalized photo greeting cards printed by

White House Custom Colour, beautifully

packaged in boxes from Nashville Wraps.

We also had a local artisan create handmade

leaded-glass ornaments with images from our

best clients’ sessions—talk about facilitating

strong relationships! Anything you can do to

treat the best clients in a special way

solidifies the long-term value of your brand.

B-TO-B AND COMMUNITY. It’s

smart to get other businesses to share the

task of marketing. At times you can tie in

with other businesses for events,

fundraising and various other community

efforts. Become a top client with businesses

that share your target market. Make

friends with the owners and let the staff

know you appreciate their service and

enjoy working with them. When an

opportunity to partner up comes along,

they’ll be happy to participate.

Create relationships with your vendors!

We wouldn’t be able to deliver such high-

quality products as consistently as we do

without our top-notch suppliers and service

providers. Just as we ask our own clients to

pay fair prices for outstanding photography,

we expect to pay for quality ourselves. From

labs, to album companies to framers, we

want to do business with companies who

treat us like their most valuable client.

Don’t be afraid to ask vendors to help in

your marketing programs. For example,

Be the business everyone loves to work with.Respect, friendliness and rewards for loyaltymake you a long-term favorite with clients.

Ties that bindBUILDING RELATIONSHIPS IS JUST GOOD MARKETING

SARAH PETTY, CPPTHE JOY OF MARKETINGTM


Give back to the community. We havecreated a charitable endowment fund that’sdistributed yearly to the charity of ourchoice. It not only generates goodwilland publicity, it makes us feel great.

when you embark on a huge promotion

that requires 20 large framed portraits,

call those companies with whom you’ve

fostered a relationship and see how they

can help you in your endeavor. It can only

benefit the frame-maker to show off their

wares with your dazzling portraits between

the borders. You only sell what you show

and so do they!

Give back to the community. We have

created a charitable endowment fund that’s

distributed yearly to the charity of our

choice. It not only generates goodwill and

publicity, it makes us feel great.

STAFF. Surround yourself with people

who have relationship-building skills. When

you interview prospective team members,

see how well they can carry on a conversation

with just about anyone, in addition to

having a positive, willing-to-please attitude.

It’s so important to have friendly people

answering the phone, dealing with problems

and helping to further relationships. Show

you value your employees’ efforts by

supporting their relationships with their

families by allowing a little flexibility in

scheduling, so they can participate in

special activities like their children’s school

performances and family vacations.

SYSTEMS. To be a great relationship

marketer, you need to use accessible, multi-

functional studio management software and

a database that accommodates all kinds of

info about every client, supplier and

business you have a relationship with.

Database launched, you must regularly

communicate with everyone in it, not just

those extra-special clients. You strengthen

your brand by reaching out to clients, friends

and prospects during their emotional

experiences, such as the birth of a baby, the

holiday season, even the week of Mother’s

Day—a good time for a mother and child

promotional special.

Yes, building relationships takes an

investment in time, but it’s doable if you

specifically allocate times to concentrate on

each of your major tasks without interrup-

tion. And tea time or tee time, schedule

some time to be good to yourself. �

Sarah Petty Photography is in Springfield,Ill. (www.sarahpetty.com).


I’m on a mission here. I want to help every

reader of Professional Photographer magazine

realize that it’s imperative to become a

master of marketing and selling. Discovering

that changed and enhanced my life, and it

will benefit you too, if you embrace it.

1. The best marketer wins. Commit yourself

to becoming the master marketer you need

to be, right now.

2. The photographer who spends the

most on gaining new clients wins. You have

to price your products and services high

enough, and have excellent sales techniques

to be able to afford marketing that will bring

in new clients and sustain your profitability.

3. Be mindful of the 80/20 rule. That is,

80 percent of your profit comes from 20

percent of your clients. Keep excellent

records and know the breakdown of your

sales averages. By carefully targeting your

most profitable clients, the 20 percent, you

can dramatically increase your profits while

actually doing less work.

4. The best targets for your marketing are

clients you have served. Induct them into your

own V.I.P. club and mail them a personal

note or a newsletter or a promotional offer

or something every month. You have no past

clients if you make every customer a client

for life. The very best people to market to

are the people who already know you, like

you, trust you, and appreciate what you do.

5. Strategic (sequenced) marketing is 100

times more effective than one-step tactical

marketing. The strategy should include your

Web site, special reports, sequenced mailings,

PROFIT CENTER CHARLES J . LEWIS, M.PHOTOG.CR.

A strategic marketing plan is targeted, sequenced,diversified in scope and unified by your brand.

10 steps to never forget


displays, referral rewards, and more.

6. Always include an offer and a deadline in

promotions. The offer can be for a percen-

tage off your regular fees, a bonus frame with

a portrait purchase, a beautiful flower arrange-

ment or dinner for two—anything but free

photographs, which would undermine the

value of your images.

7. Always use photographs and testimonials

from satisfied clients in your marketing. Don’t

be timid about asking for those testimonials.

8. The headline is one of the most important

parts of your marketing. A headline is an ad

for the ad. It should stop the reader in her

tracks and compel her to read on.

9. Successful marketers are patient. They

use two-step lead generation marketing tech-

niques; that is, they use marketing materials

to invite prospects to make inquiries or request

materials or visit their Web site, then fulfill

the request. This kind of marketing is not

meant to persuade prospects to make pur-

chases, but to gather information about

people who are already interested in your

products and services. These leads become

your target for sequenced mailings. Educate

them, build a rapport with them, and show

them how good your work is.

10. Use different versions of your

marketing materials and monitor which gets

the best results. Print a unique key code on

each version, ask every caller or e-mailer for

the code, and record the information.

Formulate and put your strategic mar-

keting plan into action today. It will bring in

wonderfully qualified clients who are happy

to pay your prices and ready to choose you

over the competition. �

Charles J. Lewis shares more business tips atwww.cjlewis.com.


Formulate and put your strategic marketing plan into action today. It will bring in wonderfully qualifiedclients who are happy to pay your prices.

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You need to read this article if: You currently

have employees; you are planning to hire

someone in the near future; or you have no

employees, but you and/or your spouse are

employees of your S-corporation.

If you fall into one of the three categories

above, let me ask you some questions:

• Who handles your payroll?

• Who determines how much tax should

be withheld from each paycheck, and who is

responsible for paying and filing all

government forms and taxes?

If you handle it yourself, even for one or

two employees, you really need to consider

outsourcing this responsibility. The U.S. and

state government requirements for withholding

and reporting employee taxes are complex,

and in the best interests of your company,

should be competently handled by someone

who understands the laws. As a small-business

owner, you’d be smart to outsource as many

tasks like this as possible, for a reasonable cost.

PPA Studio Management Services (SMS)

recommends an outsourcing option that makes

it virtually impossible from a cost standpoint to

justify doing it yourself—Priority Pay. And, if

you’re currently outsourcing your payroll duties

to an accounting firm or a payroll service, this

option could save you a great deal of money.

In addition to being an efficient, reliable

company, its service fees are low enough to

be cost-savers for tight, small-business budgets.

Photography businesses are always looking

for ways to trim their expenses, especially in

the current economic slump, and making

this one change almost guarantees relief.

If you are using Paychex or ADP—good

companies both—to process your payroll, you’ll

save a bundle by switching to Priority Pay.

Paychex and ADP do a fine job handling payroll.

But as publicly-traded companies charged

with earning large profits for their stockholders,

their fees must be high, and their focus directed

on companies with more than a few employees.

The privately owned Priority Pay company

is in business to make money, of course, but

can do so while providing affordable services

to small businesses. Let’s look at a real-

world example of how Priority Pay benefited

one photography business.

Over 16 months, this studio with its five

employees paid Paychex $3,006 to process

its bi-weekly payroll. The service included

filing all quarterly tax forms, calculating and

depositing the monthly employee withholding

and matching payroll taxes, and filing the

year-end payroll tax reports and W-2s. The

studio switched to Priority Pay. Over the

next 16 months, the studio paid just $527

for the same services—a savings of $2,479!

HERE’S THE LOW-DOWN ON

PRIORITY PAY’S SERVICES:

The cost is $12 per payroll, plus $1 for each

employee. That includes filing all tax forms

and generating year-end W-2s. (PPA members

get the first four months of service free.)

There’s no additional fee for direct

deposit for each employee.

You can sign on for services at any time.

Priority Pay can handle all pre-tax and after-

tax non-tax deductions, such as 401(k),

health insurance and garnishments.

Priority Pay assumes full responsibility

for handling all IRS and state and local tax

notices for any payroll for which they

provide the processing.

SMS has already referred many studios

in its program to Priority Pay, and highly

recommends looking into the company’s

services. We believe you’ll get relief in both

cost and stress. �

For more information, ask Joy Pachowicz at Priority Pay, 866-862-6483;[email protected]; or visitwww.prioritypaypayroll.com. Don’t forgetto mention your PPA membership to get thefirst four months free. If you have anyquestions about payroll services, or want toknow more about what PPA’s StudioManagement Services can do for yourbusiness, please call Beth Moore at 800-339-5451, ext. 244. Beth Moore is thecoordinator of Studio Management Servicesat PPA headquarters in Atlanta. ScottKurkian is Chief Financial Officer of PPA.

PROFIT CENTER SCOTT KURKIAN

PPA recommends an easier, more affordable solution forprocessing payroll and filing the appropriate tax forms.

Payroll relief


PPA Studio Management Services (SMS)recommends an outsourcing option that makesit virtually impossible from a cost standpointto justify doing it yourself—Priority Pay.


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

What I likeJames Balog revolutionizeshis work with the Nikon D3

What’s the best equipment investment

you’ve ever made? The Nikon D3. We’re

really excited by what the camera can

accomplish. It solves a lot of problems

from a professional standpoint.

Little thing, big difference … The UPstrap

non-slip shoulder strap that prevents gear

from slipping off the shoulder. It’s saved

me from a lot of neck pain over the years!

Has a piece of equipment ever changed

the way you approach your photography?

For years, I was drawn to 4x5 cameras

because of the extra-large prints you could

produce. But a 4x5 camera in the field is

cumbersome. In the work I’m doing on

the Extreme Ice Survey (see January 2008

issue), we’re photographing in severe

environments during extraordinary

weather conditions. We’re on boats and

helicopters and dogsleds. Lugging in a

big camera just isn’t practical. With the

Nikon D3, suddenly I can make 72-inch

prints and feel good about them. I can

have the portability and the end result I

need. The file size and resolution of the

D3 have really revolutionized my work.

IMAGE BY JAMES BALOG

WWW.JAMESBALOG.COM

Digital SLRs are improving all the time, but

advances in sensor light sensitivity have

lagged, until now. Most professional DSLRs

have the ISO equivalence of 100 to 1600 or

3200, and a few extend the range one stop

in either direction for effective ISO of 50 to

3200 or 6400. When the highest ISO is

part of an extended range or custom

function, it indicates that the camera

maker considers it to be above the optimal

range, and therefore electronic noise may

be beyond acceptable levels.

Nikon takes the ISO range far beyond

any model available previously with the D3,

the company’s first full-frame digital SLR.

The new model’s stated ISO range is 200 to

6400, indicating that Nikon deems the

electronic noise acceptable up to ISO 6400.

But the D3 takes it beyond even that—the

ISO can extend two stops over 6400. The

first stop, Hi-1, is done in roughly third-stop

increments, at these settings: Hi-0.3 (ISO

8320), Hi-0.7 (ISO 10880), and Hi-1 (ISO

12800). The second stop, Hi-2, sets the

capture ISO to 25600—unbelievably high

light sensitivity that enables shooting with

available light in situations that couldn’t be

captured any other way.

For this review, we were able to shoot

with the D3 in lighting situations so dark

that it was difficult to set the camera without

turning on its LCD light. In situations such

as the police DUI checkpoint, flash becomes

extremely annoying. It also destroys the

overall feeling of the activities. Being able

to shoot with just the available light makes

the scene look a lot more natural.

Low light isn’t the only reason to call on

high ISO. It’s also an advantage in shooting

action, sports and other activities. The Nikon

D3 can get the job done in many competitive

situations, such as with marginal overhead

light in an old gym or a badly lit high school

football stadium, that otherwise would

definitely have required auxiliary flash.

THE GOODS: FEATURES

ISO plays an important role not just in low light,but anytime you need smaller apertures or fastershutter speed than the available light allows.BY RON EGGERS & STAN SHOLIK

ISO advantage NIKON D3

This motorcycle shop, lit only by side windows andoverhead fluorescent lights, was shot at ISO 6400,yet the electronic noise was minimal.

©R

on Eggers

Sometimes in a relatively well-lit area,

you’ll need fast shutter speed, small aperture,

or both to capture the scene. It took a

shutter speed of at least 1/250 second to

stop the motion of dancers at a local ballet

school rehearsal, even at the apex of a leap.

To maintain relatively sharp focus on all the

dancers in the large rehearsal space required

an aperture between f/5.6 to f/8.

The room was well lit with fluorescent

lamps, but a good exposure with the necessary

shutter speed and aperture required ISO 6400.

Using a camera with a maximum ISO of 3200

would have compromised the depth of field.

The resulting image would need post-processing

noise-reduction software, such as Noise

Ninja, to produce anything remotely usable.

Images captured with the Nikon D3 at ISO

6400 are remarkably noise-free, even in

dark areas like the dancers’ leotards, and don’t

need post processing for noise reduction.

The D3 is just as effective for shooting

entertainment venues. Frequently,

credentialed photographers are permitted to

take pictures with available light only. Often,

dramatic stage lighting is powerful enough

to shoot even at lower ISO, but the extra

low-light capture capabilities of the D3

make it possible to pick up shots that

otherwise would have been missed.

The Nikon D3 is the right camera for any

photographer who shoots in difficult

lighting situations. �


Shooting with the Nikon D3 at ISO 6400 made it possible to capture the DUI checkpoint

without having to add flash.

A high ISO allowed shutter speed fast enough tostop action at the precise moment, with an aperturesmall enough to capture adequate depth of field.

THE GOODS: FEATURES

©Ron Eggers

©Stan Sholik

This is the second in a series on the

fundamentals of studio portrait lighting.

The primary role of fill light is to fill shadows;

i.e., control the lighting ratio or the contrast

ratio on the subject. When the fill light is

supplied by a powered light or strobe with a

modifier, it’s usually positioned directly over

and behind the camera (Figure 1). Ideal fill

light is non-directional (casting no shadows

from the subject’s features) and non-specular

(causing no visible reflection of the light

source on the subject).

If every light in the room were turned off

and the subject were illuminated solely by the

fill light, the light should appear flat, lacking

shadow detail on the subject. Positioning

the fill light directly over the camera is the

optimum way to achieve flat light. Positioned

anywhere else, the light is likely to cast

shadows from the subject’s features.

Using non-directional, non-specular fill

light is a way of controlling contrast. There

are two basic ways to provide fill light:

bouncing light from a strobe or powered

light source into a light modifier, or using a

reflector to bounce some of the extra light

from the main light onto the shadow side of

the subject. The latter works best when there’s

a large light modifier attached to the main light.

Photographers often attach an umbrella

to a powered light when it’s used for fill. The

very characteristics that make an umbrella

difficult to use as a main light modifier make

it ideal for the fill light. It provides a large

light with a soft quality that’s spread evenly

over the entire scene—exactly what you

want in a fill light.

A good starting point for the contrast

ratio is 3:1 (Figure 2). From the subject’s

position, point the dome of your light meter

at the main light, and measure only the light

THE GOODS: LIGHTING

A thorough understanding of the fundamentals is vital toyour growth as an artist. Understand how to use fill lightto control contrast and heighten the impact of the image.

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

Lighting essentials 2:Filling the shadows

CONTROLLING FILL LIGHT

All images ©

Don C

hick / Model: Em

ilye Chick


Figure 2Figure 1 A 16-inch parabolicwith barn doors on themain light and 45-inchumbrella for fill

3:1 Contrast ratio


A PhotogenicPowerLight 1250with a 45-inchWestcottumbrella

Figure 4Figure 3 5:1 Contrast ratio

falling on the subject from the main light.

As an example, let’s assume a value of f/8. If

any other light is on when you take this

reading, shelter the meter from it. Point the

meter at the fill light and meter only the

light falling on the subject from the fill light.

Adjust the fill light power setting until there’s

a one stop difference between the main light

and the fill light (f/5.6 in this example).

Now the contrast ratio between the main

light and the fill light is 3:1. If you want

darker shadows, increase the difference by

lowering the power setting on the fill light

strobe (Figure 3). For lighter shadows,

decrease the difference by increasing the

strobe power setting.

To achieve non-specular light with an

umbrella, it’s better to use one with

reflective white fabric rather than silver.

Silver would more efficiently bounce light

back into the scene, but as a fill modifier, it

could create unwanted reflections. A 45-

inch white Westcott umbrella costs less than

$30 (Figure 4).

You can also bounce a powered light onto

a wall behind the camera and back into the

scene for fill. I know photographers who

have painted an entire wall white for this

purpose. It provides a very large fill light,

and with white, you don’t have to worry

about color affecting the white balance of

the image. One photographer I know tacked

up a large sheet of white cardboard to

bounce fill light for portraits.

If you’re using a 3x3-foot or larger soft box

for your main light, you can use a reflector

for the fill light. A large freestanding reflector

works well and is easy to place. For low

contrast, position the reflector close to the

subject; for higher contrast, increase the

subject-to-reflector distance (Figures 5 & 6).

With a little experience, what you see will be

what you get in the image.

Whatever the reflector, I recommend a

white fabric or surface. With a silver

reflector, you could get unwanted specular

reflections in the oils and sheen of the

subject’s skin. Ideally, you want a degree of

specularity from the main light, but none

from the fill light.

In a tiny studio space, the wall opposite

the subject might be close enough to reflect

sufficient light into the scene so you don’t

need a fill light. If that’s your situation,


THE GOODS: LIGHTING

Figure 5

A 3x4 soft box on the mainlight and reflector fill

Reflector fill

A 3x4 soft box and distantreflector fill create a highcontrast ratio

Figure 6High-contrast reflector fill

notice how the color of that wall (if it’s

other than white) affects the color balance

of your final image. If the wall is too

efficient at returning light, hang a length of

black fabric on it to serve as negative fill,

which will actually subtract some of the

reflected light, thereby increasing contrast.

There are many reflectors on the market

of various prices. A large piece of foam board

costs $20. If you have a popup portable

reflector, you can add a portable reflector

mounting arm to a light stand for about

$50. F.J. Westcott’s 42X72-inch aluminum-

frame Scrim Jim kit sells for $366 (you’ll

still need a light stand to hold the frame in a

vertical position). Photoflex sells a 39x72

PVC panel that can be used as a stand-alone

reflector with an optional set of legs and

white/black fabric for a total cost of about

$165. Calumet offers a 42x78 aluminum–

frame, three-fabric panel kit with a set of

legs for $160 (Figure 7). Larson Enterprises

offers a freestanding 42x72 Reflectasol with

a soft white fabric for $330 (Figure 8).

A common mistake photographers make

is putting a reflector panel in the wrong

place. The reflector should be positioned

around and toward the front of the subject

so that the reflected light falls on the

shadow side of the subject’s face (Figure 9).

Early in my portrait career, I used a strobe

light bouncing into an umbrella as a fill light

setup. I switched to a reflector fill setup, and

the results are very pleasing. With careful

placement of the reflector, I rarely have to

retouch for glasses glare. A powered fill light

over the camera nearly always provides a second

catch light in the eyes, and if your subject

wears glasses, you’ll likely have to retouch.

Fill light doesn’t have to be expensive or

complicated. Studying the characteristics of

various fill light setups will deepen your

understanding of light and further your growth

in the art and craft of photography. �


THE GOODS: LIGHTING

Figure 7 Figure 8

A 42x78-inch Calumet panel A 42x72-inch Larson Reflectasol

Background

Diagram by Don Chick

Main Light

Camera Position

Subject

Reflector FillCorrect location

Reflector FillIncorrect location

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.

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Just when it seems resolution can’t get much

higher, shooting speed much faster or low-

light capture capability much better, a new

generation of professional DSLRs comes to

market. Aside from a brief experience with

the Leica, I’ve shot extensively with all of the

current professional models.

High-performance pro camera bodies

are available for less than $2,000 now,

with many features and capabilities once

exclusive to the most expensive models.

I’m amazed at the level of performance of

many of the new DSLRs, even the entry-

level models.

With the prevalence of raw file capture,

in-camera processing is a key factor in per-

formance, and new processing engines

continue to improve responsiveness and

shooting speed at every level. To accom-

modate RAW + JPEG capture and other

workflow options, many high-end models

now have two CF memory card slots, or

pair slots for CF with xD or SD cards.

Two DSLR cameras squash the com-

petition in resolution and shooting

capability: the Canon EOS-1Ds Mark III

and the Nikon D3. Last year Canon set a

new and as yet unmatched benchmark in

DSLR resolution with the 21.1-megapixel

CANON EOS-1DS MARK III, which

handles like an SLR but has the resolution

of a medium-format digital camera. It

has a full-frame, 35mm-size CMOS

sensor with maximum resolution of

5,616x3,744 pixels.

The 1Ds Mark III is equipped with

dual DIGIC III image processors, a

multiple-threading engine that handles

all analog-to-digital (A/D) conversion

and transferring tasks. Without such an

advanced high-speed processing engine,

21-megapixel captures would choke the

camera’s electronics.

The 1Ds Mark III is also fast. It can

shoot JPEGs at 5 frames per second (fps)

for up to 10 seconds, or RAW files at 5 fps

for 4 seconds.

A/D conversion is performed at 14-bits

per channel, or 16,384 tonal variations per

channel, exponentially more than the cus-

tomary 4,096. That results in significantly

smoother skin tones and color gradations.

Its main drawback is its standard ISO

range of 100 to 1600, which can be

extended one stop in each direction through

a custom function setting, but is rather

limited for a camera of its caliber.

Nikon has been playing catch-up to

Canon for the last few years, but it nar-

rowed the gap with the new NIKON D3.

It has the DSLR body that professional

photographers using a Nikon system

have been waiting for. One of its many

impressive features is its very broad ISO

range. Its standard 200 to 6400 range

can be extended one stop lower and two

stops on the high end, topping out at an

incredible ISO 25600, for shooting

under extremely low light. Electronic

noise remains a consideration at the

highest ISOs, but the advanatage of its

light sensitivity far exceeds any noise

problems, which can be significantly

reduced with software.

THE GOODS: DSLR ROUNDUP

An elite tier of high-end models tops the dozensof DSLRs competing on the market today.Each new generation raises the bar.BY RON EGGERS

Pro selectionPROFESSIONAL DIGITAL SLR CAMERAS

Canon EOS-1Ds Mark III

Nikon D3


©20

08Vg

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The D3 is the first model with Nikon’s

new FX-format CMOS sensor, the full-

frame sensor Nikon pros long clamored

for. It captures 12- or 14-bit, 12.1-megapixel

images at resolutions up to 4,256x2,832

pixels. Nikon is developing a new line of

lenses for the FX format. With its low-light

shooting capability and the ability to

capture up to 9 fps at full-frame resolution,

it’s excellent for shooting sports and action.

Also incorporated is the Nikon Scene

Recognition System, with an improved

1,005-pixel RGB sensor, to enhance auto-

exposure capability and optimize white

balance. Nikon’s self-diagnostic shutter

system ensures continued operation; the

shutter is rated at 300,000 exposures.

I shot with both of these cameras for

several months, and I was reluctant to give

up either of them. The Canon Mark III is

priced $7,999, the Nikon D3 $4,999.

Many professional photographers don’t

need a camera with such advanced capabilities.

The cameras that meet their shooting require-

ments have to stand up to heavy daily use.

Several models fit the bill, listed here in reverse

alphabetic order.

The SONY ALPHA DSLR-A700 is a

solid piece of equipment that combines

professional performance with

affordability. With excellent shutter and

focusing response, it can capture 5 fps

for almost 4 seconds.

Designed around an APS-C-size 12.2-

megapixel CMOS Exmor sensor, the A700

has a maximum capture resolution of

4,272x2,848 pixels. Processing is handled

through the advanced Bionz image

processor. The hardware-based, large-scale

integrated Bionz circuitry increases

performance, optimizes image quality and

reduces electronic noise, particularly in

low-light situations.

The A700 body has sensor-based

Super SteadyShot Image Stabilization,

making IS available with any lens, to pick

up two or even three stops without having

to crank up the ISO. I shot with a

prototype last year, and have been using a

production model for a couple of months

now and haven’t been disappointed.

Olympus finally released the

OLYMPUS E-3 in its E-series of the

Four Thirds System digital cameras and

lenses. Olympus produced numerous

consumer DSLRs between the

original E-1 and last year’s E-3, to

the point of causing conjecture

about whether it would continue to

target the professional market. I

took the E-3 and a couple of the

new Zuiko lenses on assignments to

Central America and had no

problems.

In travel, sometimes the only

chance to pick up a shot might be

from a moving vehicle. It’s not ideal,

but that may be the only option. A

camera responsive enough to get those shots

meets one of my major criteria. In the

mountains of Costa Rica, the E-3’s extremely

fast autofocus and Supersonic Wave Drive

(SWD) lenses performed better than some

other models in its price range.

The SWD in-body image stabilization

makes it possible to pick up several extra

stops of shutter speed. Olympus pioneered

the DSLR Live View shooting mode, enabling

shooters to use the LCD for framing. Maybe

that doesn’t seem crucial for professionals,

but I’ve used it several times when shooting

overhead or at odd angles. A number of


Olympus E-3

Sony Alpha DSLR-700


Nikon D300

other manufacturers followed suit in

incorporating live LCD preview.

The E-3 has a 10.1-megapixel Live MOS

sensor, maximum resolution of 3,648x2,736

pixels, and a capture rate up to 5 fps; it’s

priced $1,699.

The NIKON D300, a more affordable

alternative to the D3, is designed around a

12.3-megapixel DX-format CMOS sensor.

It can capture images at a maximum

resolution of 4,288x2,848 pixels. It’s

possible to shoot up to 6 fps, and up to 8

fps with the optional MB-D10 multi-power

battery pack attached. One thing I really

like about the D300 is how easy it is to

change settings and modify options. Most

of its major controls are directly accessible.

The D300 is priced $1,799.

The LEICA DIGILUX 3 is the first in

its line to support interchangeable lenses.

It’s built around a 7.5-megapixel

LiveMOS sensor with

maximum resolution of

3,136x2,352 pixels, and

supports aspect ratios of 4:3,

3:2 and 16:9. Leica supports

the Four-thirds bayonet lens

mount. The classy looking

Digilux 3 body has the style and feel of a

traditional rangefinder rather than an

SLR. It’s priced $2,499.

The FUJIFLM FINEPIX S5 PRO

is the newest in the line of Super CCD

digital SLRs. Its Super CCD sensor has

6.17 million pixel positions, and

captures two kinds of pixels at

each position, for effective

resolution of 12.34-megapixels.

The S5 Pro’s RP (Real Photo)

Processor Pro, with its two-cycle

image processing, retards electronic

noise, even at high ISO settings. The

results are a wide dynamic range,

smooth gradients and natural looking

colors, as well as advanced moiré

reduction capability.

One of the S5 Pro’s signature features is

the film simulation mode, which mimics

film characteristics for capturing different

subjects under different lighting and

shooting conditions.

I had no problem shooting with the S5

Pro, although some of its capabilities, such

as the frame and burst rates, were limited

compared to competing cameras. It has a

maximum capture rate of 3 fps, but can

take only seven images in a 5-second burst.

That’s on the low side for professional

cameras. The S5 Pro is priced $1,699.

A

workhorse in the EOS line, the CANON

EOS 40D houses a 10.1-megapixel

CMOS sensor that can capture images

at a maximum resolution of 3,888x2,592

pixels, and uses a DIGIC III Image

Processor to enhance image quality and

color fidelity and sharpen details. It has the

Canon EOS Integrated Cleaning System,

which goes through a 2-second cleaning

routine every time you turn the camera on

or off. That’s a major plus because dust and

dirt on a sensor can cause real problems

for photographers.

The large 3-inch LCD screen also makes

a big impression on anybody who’s used to

shooting with an earlier model in the series.

The 40D has an MSRP of $1,139. �

Editor’s note: Though several of thesemanufacturers have other midrange digitalSLRs on the market, this selection coversthe current models of most interest toProfessional Photographer readers. You’llfind a roundup of high-end consumer levelDSLRs, as well as sample images from thepro DSLRs, in Web Exclusives atppmag.com.

Canon EOS 40D

Fujifilm FinePix S5 Pro



Leica Digilux 3

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The Dachowskis saw a ready-made clientele in the patrons of the chi-chi salon down the street, and went a-courting. They soon saw a steady flow of beautiful new clients walking in the door.

Mutual attractionForging productive partnerships with high-end salons

hen Jeff Dachowski,

Cr.Photog., CPP, and his

wife, Carolle Dachowski,

opened their Manchester, N.H.,

studio in 2003, they had

photographic skills, a good business

plan and a sophisticated studio space. Next

challenge, get clients.

The Dachowskis looked at businesses

around them that were drawing the same

target market they aspired to win, women

with disposable income. If they could arrange

a mutually beneficial partnership with another

high-end service provider, the business just

might get the foothold it needed.

Partnering with the boutique salon just

down the street was a no-brainer. The

photographers proposed creating edgy

portraits of the salon’s stylists to decorate its

walls. The Dachowskis would donate their

time and artistry, asking the salon owner to

pay only the cost of the printing.

Jeff went into the initial meetings without

a formal presentation, bringing only a note-

book and an open mind. “I didn’t try to sell

them anything,” he says. “I asked them what

they needed, and said we wanted to create

an atmosphere where they’d have a partner

in the graphic field.”

For the salon, the benefits of receiving

completely customized photography for so

little outlay was obvious. In addition to

decorating the walls, the Dachowskis’ images

grace the salon’s marketing materials and

Web site. It’s a tremendous help in promoting

the personalities of the salon staff to new

clients. “Going to a salon or day spa is a

WPARTNERSHIPS By Jeff Kent

All images ©Jeff & Carolle Dachowski

personal thing,” says Carolle. “If you’re

getting a facial or massage, you want to

know who will be touching you. If you’re

getting a haircut, you want to see how your

stylist’s hair looks. Our images enhance the

personal connection.”

In turn, the studio needed connections to

the people working at the salon. “We wantedBEGIN WITH A PERSONAL CONNEC-

TION. Start with a salon with which you

already have a relationship, like your own

or your spouse’s salon. Take advantage of

that personal in.

KNOW THE SALON’S STYLE. It’s impor-

tant to see the style of the salon before

you make a proposal. Does this salon fit the

branding of your photography? You need

to find a match that works for both sides.

BE HONEST ABOUT EVERYONE’S

BENEFITS. Be up front about how the

relationship will benefit the salon, and

forthright about what you’ll get out of it

as well. Most salons are small businesses

run by people who understand and appreci-

ate the value of a symbiotic relationship.

DON’T PUSH THE ISSUE. If you’re too

pushy about the number of referrals you

expect, it could sour the relationship. If

your partner businesspeople have a good

experience with you, and they like and

respect you and you work, they will be

delighted to send clients your way.

HOW TO ESTABLISH ASALON PARTNERSHIPOF YOUR OWNTips from Jeff and Carolle Dachowski

PARTNERSHIPS


them to create a buzz about our business

with their clients,” says Jeff. “If we

succeeded, they’d be talking about us at a

time when clients were a captive audience.”

The relationship is succeeding. In the

first several months, the Dachowskis

booked, on average, one new client a week

from salon referrals. In the first year, they

pulled in around $10,000 in gross sales

from salon referrals alone.

A couple of years later, the Dachowskis

decided to up the ante and engage a bigger

salon across town. Every week, some 850

women came in for the services provided by

the 65 members of the salon’s staff. The

Dachowskis made a similar proposal, and

the results were even more successful. In the

first month of their new arrangement, they

grossed $16,000 from the salon’s referrals.

In 2007, the salon provided them with

nearly $40,000 in referrals.

The Dachowskis have never asked the

salons for mailing lists, e-mail addresses or

any other client contact info. They don’t want

them. All they ask is the chance to get their

images in front of people and to build personal

relationships with other businesspeople. “The

salons are our ambassadors to our target

market,” says Carolle. “They provide personal

referrals as trusted sources. That’s everything.”

Today, with their established relation-

ships with the two salons, the couple says

the referrals account for 30 to 40 percent of

the studio’s gross sales. In exchange, the

Dachowskis continue to provide professional

portraits for the cost of the printing, making

frequent updates to show new work, feature

different salon clients, and promote collab-

orative studio-salon specials. “With these

partners, it’s more important to have contact

with their clientele than to charge for the

sessions, especially in the beginning,” Jeff

says. “We justify the time we invest as a

marketing cost—as opposed to spending

$17,000 on a direct mail piece, we create

these images. And the results are more

successful! Yes, we will continue to give our

time and artistry to maintain those

relationships.” �

To see more work by Jeff and Carolle Dachowski,visit www.dachowskiphotography.com.


PARTNERSHIPS

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


Business is sizzling in Miami for photographer Manolo Doreste. He putshis heart into covering the sweet sixteen and quinceañera party beat, andthe girls love having something so personal that reflects who they are at 16.

16 candlesSweet sixteens offer a growing market for pro photographers

aybe you’ve heard the hype.

Maybe you’ve seen the MTV

show. Maybe you’re wonder-

ing, is this for real? Are

sweet sixteens really such a

huge phenomenon? Could

this be a market for my photography?

The popularity of sweet sixteen parties is

definitely for real. The renewed trend of this

coming-of-age tradition is powered by the

growing Latin influence on mainstream

American culture, coupled with reality TV’s

rapt coverage of these events. It’s revving up

sales in catering, reception venues, flower

delivery, fashions, music, and happily,

professional photography.

In Hispanic communities, girls’ symbolic

transition into womanhood is celebrated on

her 15th birthday with a quinceañera, an

important longstanding tradition. Families

save for years to throw lavish parties that rival

any wedding reception. The parties sometimes

resemble supercharged debutante balls, only

less stuffy and with more panache. Attended

by a court of friends, the birthday girl often

makes a grand entrance, stepping from a

stretch limo, alighting from a horse-drawn

carriage or carried on a pallet like a princess.

Latinas who have grown up in the United

States have begun to put off the quinceañera

for a year to align it with the traditionally

American sweet sixteen celebration. Buoyed

in recent years by the extravagant and widely

popular MTV show “My Super Sweet 16,”

the celebrations that once meant pizza, soda

pop and cake have swelled into full-blown

galas with full-blown price tags to match.

MPORTRAITS By Jeff Kent

All images ©Manolo Doreste

To date, the quinceañera/sweet 16 trend

is growing strongest in internationally diverse

cities like New York and Chicago, and areas

with a heavy Latin influence, like the South-

west. Los Angeles and Miami, with their

penchant for high-profile partying and large

Hispanic populations, are the epicenters.

Manolo Doreste, a professional photog-

rapher in Miami, is a specialist in quinceañeras

and sweet sixteens. Also a portrait and

wedding photographer with a background

in commercial work, Doreste was reluctant

when he accepted his first sweet sixteen

shoot six years ago. “I didn’t want to do

what I’d seen done in the past, which was

traditional and without variation,” he

explains. “So I turned to the girl and said,

‘Let’s talk about this. Who are you now?

What do you like? Let’s do something

different that’s personal to you.’”

Personalization became Doreste’s trademark.

He soon built a clientele of Miami-area girls

who wanted the coverage to be as stylish and

individualized as their parties. “People ask me

all the time about what’s typical. I tell them that

nothing is typical. I want to create something

… you look at 10 years from now and remember

this time in your life. The pictures should be

a reflection of you, not of the photographer.”

By Doreste’s estimate, about 40 percent of

his revenue comes from these teenage fiestas.

To accommodate the dramatic variation in

events—from formal balls with six-figure

price tags to small private parties—Doreste

established three basic price tiers: portraits

only; portraits and event coverage; and portraits,

event coverage and an album. Clients can

customize packages or add items a la carte,

including extended event coverage and hair

and makeup stylists for multiple-look portrait

shoots. The fees for full event coverage are

comparable to his wedding fees, which is a

fiscal necessity, as both kinds of events

compete for time on his calendar.

To other photographers interested in

quinceañeras and sweet sixteens, Doreste

recommends following your heart, not your

wallet, into this budding marketplace. “Be

true to what you’re doing,” he says. “Be sure

you like kids of that age. You are investing

your creativity and personal time, so don’t do

it just for the dollar value. You need to enjoy

that type of work and appreciate giving these

kids a true documentation of who they are now

—something they can cherish in the future. If

you follow those ideals, you will be successful.” �

To see more from Manolo Doreste, visitwww.ManoloDoreste.com.

©Rob Watts

BOYSL E T ’ S H E A R I T F O R T H E

Women often make the buying decisions, and the concerns of men seem to get brushed aside. How about a little TLC for the guys?

B Y J E F F K E N T

©Pete Wright

s portrait, family and wedding photographers zero in on their target

market—women—are the concerns of men being

brushed aside? After all, photographing women is

©Pete Wright

For most women, the primary desire is to show youthfulness and beauty. Men mostly want to appear strong, althoughthey often want to show a sensitive side.

—MARK BRANDES

distinctly different than photographing

men. To get a masculine perspective, we

asked five well-respected photographers to

give us their take on the art, the science

and the psychology behind making

portraits of men.

What are the major differences in your approach

to making portraits of men and women?

MARK BRANDES: Both men and women

want to be flattered in their portraits, but

the feelings they want to convey are often

different. For most women, the primary

desire is to show youthfulness and beauty.

Men mostly want to appear strong,

although they often want to show a sensitive

side. Body shape is less important to men,

so there’s more freedom in posing a man

with a less-than-perfect physique.

ROB WATTS: Men are usually in a hurry

and have fewer concerns about details like

hair, clothing and jewelry. I move as quickly


WISE GUYSOUR PANEL:

MARK BRANDES, M.Photog.Cr.

A traditional portrait photographer in

Westlake Village, Calif., Brandes caters to

a high-end clientele. He draws inspiration

from the great master painters such as

John Singer Sargent and Jan Vermeer.

www.markbrandes.com

DON CHICK, M.Photog.Cr., CPP. This

Rochester, N.H., portrait specialist,

speaker and educator has garnered many

accolades. He regularly conducts portrait

studies with male subjects.

www.donchick.com

ROB WATTS. A wedding and portrait

photographer in Hendersonville, Tenn.,

Watts photographs executives, music

industry personages, and regular Joes.

www.robwattsphoto.com

PETE WRIGHT, Cr.Photog. The

Richmond, Va., wedding and portrait ace

and his wife, Liliana, handle portrait

subjects in commercial assignments,

model shoots, senior and family sessions,

and straight-up shoots with guys.

www.pwphotography.com

as possible. I try to find out how the portrait

will be used to help me guide the session. In

general, men are a bit more relaxed, and I

don’t have to puff them up so much. They’re

concerned about how the final images will

look, but are less picky about the little

things. They want to get through the session

and move on to the next task.

How do you get men to open up to show

energy and a desirable expression?

PETE WRIGHT: It’s very much case-by-case.

MANLYMARKETINGWho says men can’t commit? Bringingthe groom into the equation has ledto quicker decisions for bigger albums.

BY PIERRE STEPHENSON, CPP

Our business, without a doubt, thrives

on our ability to exceed our female

clients’ expectations. The majority of our

marketing reflects the fact that women

represent the largest percentage of our

clientele. They are usually the decision

makers, the purchasers of our products

and services, and the ones who tell

everyone under the sun what a great

studio we are. So why don’t we focus

100 percent of our marketing on women?

Because everyone else is doing that.

Professional photographers have long

realized that our marketing should be geared

toward women. Several years ago, we realized

that most everyone was leaving men out

of the marketing equation. In wedding

marketing especially, men are overlooked—

after all, it’s all about the bride, isn’t it?

That didn’t sound entirely right to us.

We decided to create a small and very

focused manly marketing strategy to target

those forgotten guys. It worked! In fact,©Pierre Stephenson

it worked so well that we often witness

prospective grooms dragging in their soon-

to-be brides to see us. Our women clients

continue to love what we do, and we still

focus primarily on their needs and desires.

But we have, in essence, created a niche

brand catering first to the forgotten man.

We are seeing our grooms take a more

active part in the decision-making. Many

of them fall in love with our coffee table

albums long before the wedding day and

insist on having one. Surprisingly, brides

shopping without the groom tend to be

much more cautious and indecisive when

it comes to committing and buying big-

ticket items, such as custom albums.

Having the grooms involved has definitely

increased our sales and made the process

easier for both the clients and us.

I don’t think men spend more, but I

do think that women are more willing to buy

if their partner is excited and involved.

Moreover, the albums we’re building now are

bigger because everyone wants to include

our unique guy images. Along with other

sales incentives, this has almost doubled

our album sales over the last year.

Although we do track the effectiveness

of our marketing and advertising efforts with

regard to jobs contracted, we haven’t ana-

lyzed our final sales in relation to specific

marketing campaigns. Our overall sales have

grown for the last 13 years. Last year we

saw an increase of 16 percent in gross sales

and about 19 percent in net profit. Looks

like we were right to trust our instincts!

Our style of shooting has changed to

encompass the guys. We make them look

like they’ve walked right out of a magazine

shoot. It’s as important to showcase the

groom and his friends as it is the bride and

her bridesmaids. You have to be careful

sometimes not to spend more time with

the men than the women. There’s so much

fun stuff that guys are ready to do! We

encourage them to be themselves and to play

on the wedding day. It creates a buzz at the

reception later, when we project a montage

of the day’s images. Our beauty-and-

the-beast spin surprises the guests and

gets the whole room laughing and crying.

We didn’t reduce our female-oriented

traditional advertising, we simply created

another ad for men, which we place in a

separate area of, for example, our bridal

book. This way the ads don’t compete or

send mixed messages.

One manly marketing approach that

worked surprisingly well was the poker

tournament we hosted at our studio for

our wedding clients. It not only brought

in many grooms and their friends, but

also generated word of mouth advertising

that spread amongst our male clientele.

Grooms are now asking when we’ll host

another tournament.

There are legal restrictions on gambling,

so our poker players weren’t really

gambling at all. Instead, each player’s

“buy-in” was the purchase of a credit in

their name for later use on a print or

album order. Winners were awarded

prizes donated by our studio and other

businesses in the area.

Our latest manly marketing success

was at a winter bridal show. We convinced

the show owners to let us project a wedding

day bloopers show on stage before each

of the fashion shows. It was a huge hit!

Set to jazzy swing music, our show had

audiences laughing and tapping to the

beat. It prompted grooms to vigorously

escort their brides to our booth, where

we made sure to show them our bride-

oriented materials. Months later, couples

coming in are still mentioning that show.

Manly marketing does work. We’ll

continue to emphasize female appeal in

our marketing, décor, sales approach, and

training, but not at the exclusion of men.

Good marketing is not always about your

largest client segment. Set yourself

apart, find the niche that works for you,

and brand the heck out of it!

Pierre’s Portrait Art Co. is in Madison,Wis. (www.pierresportraitart.com).

Some men want to be led every step of the

way, and be told straight out how they look

and what they need to do. With others, it

has to be subtle, like “Hey, did you see the

Cowboys game this weekend? Can you slide

your right foot forward and drop your chin?

Terrell Owens was on fire, wasn’t he?”

DON CHICK: I get them to talk about

themselves—their likes, desires and dreams.

I want their minds busy thinking about

things other than being photographed.

MARK BRANDES: Conversation with a por-

trait subject is important to set the stage. My

friend Michael Thompson, who’s a great portrait

photographer in Nashville, says he never asks

a man about his work, but what he loves to

do when he’s not working. This unlocks the

heart of the man, not just his head.

Artistically, what are your objectives when

photographing men?

PETE WRIGHT: Typically, I like to I photo-

graph a very confident, GQ-feel. I want

them to exude a confidence that they can

achieve anything. In other scenarios, like

with new dads, I want to bring out some

vulnerability and reflect the tenderness a

man feels when he holds his new child, or

the playfulness he exhibits when he’s

spending time with his family.

ROB WATTS: It depends. If he’s the CEO of

a large company, a nice strong image with

split lighting works well. In this scenario,

you can never go wrong with a sort of half

smile that depicts wisdom. With a groom

or groom-to-be, I like to show some

tenderness toward the camera as well as

his new bride. I like to see the groom lost

in the moment. The best way to get this

look is to take him away from everyone else

so he’s not distracted and will let his guard

down. I work with musicians, and for these

guys, a sense of gentle humor always

works. I’ll tell them a funny story or ask

them to tell me something funny that

happens in their industry.

What do you do differently when you

photograph men?

MARK BRANDES: I rarely raise my camera

above a man’s forehead. Too high of an

angle can make him look weak. With

women, I try to curve the body as much as

possible, but I don’t curve men. I pose

men’s arms and shoulders with more

angles to give a strong foundation for the

upper body and head.

ROB WATTS: I like to see a bit more

contrast in lighting. It portrays a sense of

power and intelligence. I like to shoot

with the camera at eye level rather than

from below so they appear to be good

listeners. If it’s a light-hearted person,

shooting from above can work well with

a jovial grin. I watch for the tilt of the

man’s head. I don’t like it to tilt toward

his higher shoulder, as it can be interpreted

as feminine body language. The head

tilted toward the lower shoulder conveys

a laid-back attitude. Of course, there are

always exceptions.

DON CHICK: I like dramatic lighting and

posing, so when I photograph a man,

I almost always add accent lighting,

especially on the temple area. I may ask the

subject to let his beard grow for a day or

©Don Chick

GROOMED FORSUCCESSWedding photographer DavidSchwartz shares tips for giving thegroom his share of the spotlight.

The bride will get her time, but I always

arrive early to ensure I have some time

with the groom and his groomsmen.

I approach the session in a relaxed

manner. I want the groom laughing

and relating to me from the minute I

walk in. We’ve already developed a

level of comfort in the engagement

session. The groom has seen my

work, and in most cases will do

anything I ask if he trusts me.

I try for about eight looks within

five minutes. For example, I go for

the strong look where I capitalize on

the feeling in his eyes. I’ll go for a

softer side by using split lighting with

a portion of his face in shadow. And I

always try for a natural expression of

laughter. Brides love that one.

If the groom is contemporary and

fashion conscious, I’ll use only natural

light and wide open aperture, and

incorporate different angles and looks.

If the groom is more traditional, I’ll

use my 70-200mm lens and a mini-

soft box on my Quantum T5D flash,

which I mount on a light stick. The

lighting will be flat and classic.

My male clients often enter the

session dreading having their picture

taken, but by the end, they’ve enjoyed

being the center of attention. I have

had brides say the groom was so dis-

appointed the session had to end, and

“Don’t tell him I told you this, as he’d

feel too prissy.” I just smile and think to

myself that I had another great session.

To see more from David Schwartz, go towww.davidschwartzphotography.com

©David Schwartz

In general, men are a bit more relaxed, and I don’t have to puff them up so much.They’re concerned about how the finalimages will look, but are less picky aboutthe little things. They want to get throughthe session and move on to the next task.

—ROB WATTS

two and to wear masculine colors. I may even

over-sharpen the image a bit in Photoshop to

bring out a rugged masculinity. I often use a

split light pattern, too, which I consider a

more masculine form of lighting.

What is your advice to other photographers

interested in making portraits of men?

ROB WATTS: Relax! If you are relaxed and

confident, the client will be at ease. Don’t

over-talk, but you have to have some kind

of personal conversation. Most people

fail to realize how much psychology is

involved with portrait work. There are so

many subliminal things going on that

influence the entire session. Learn how to

read people quickly. This will help in every

portrait session.

DON CHICK: Watch out for a narrow defini-

tion of beauty. A mature man with

a face full of life can be an interesting,

challenging and rewarding subject.

The beauty you see in his finished portrait

isn’t that of a 20-year-old female, but is

it any less appealing? Don’t shy away from

the subject matter. Use accent lighting to

add interest and drama. Compliment

strengths, minimize the flaws, and above

all, make him look good. �

©Mark Brandes

Current EventsAugust 2-5C: PP of Louisiana, New Orleans; Dayna Ponthieu,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 10S: New Hampshire PPA, Manchester, N.H.; PaulKady, 603-788-8864; [email protected];www.nhppa.com

August 23-27C: Florida PP; Rosen Plaza Hotel, Orlando; AlanDust, 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.net

November 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.; John Alexander; 541-382-5587; [email protected];www.pporegon.com

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


calendar

Submit 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 EVENTSProfessional 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.

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

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

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.; Wendy Veugler, 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 3C/E: The Art & Craft of Studio Portraiture:Marion, Iowa; DonChick, 603-335-4448;[email protected]

October 9C/E: Escaping from the Box, Jamestown,N.Y.; Paul Rogers, 815-436-0422;www.paulrogersphotography.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 10-14C/E: Joseph & Louise Simone Workshop,Virtual Backgrounds, San Marcos, Texas;Jim Wilson, 800-831-0474

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

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

August 4-7Long Island Photo Workshop, SheratonHotel, Smithtown, Long Island, N.Y.; JerrySmall, 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, RandolphCommunity 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, MyrtleBeach, S.C.; John Wrightenberry, 803-781-2130; [email protected]; www.ppofsc.com

Send all additions or corrections to: MarisaPitts, PPA, 229 Peachtree Street, N.E., Suite2200, Atlanta, GA 30303; [email protected].

2008 PPA-AFFILIATEDSCHOOLS


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]; NicoleBugnacki, P.O. Box 567 Ironton, MN; 56455;763-390-6272

YOU NEED DRIVE AND

PASSION TO SURVIVE IN

YOUR OWN BUSINESS.

After realizing that my home

country of Scotland didn’t

have everything I wanted, I

landed a job as a cruise ship

photographer in the US. When

we finally started our land-based

studio in Colorado, my wife was 6

months pregnant. I knew we needed help

or we would end up living in a cardboard

box! I joined PPA, and the education,

Studio Management Services, and

photographer network took the fear

away and gave us a grip on what we

needed. Yes, we hit many obstacles

and heard many people say, “no.”

BUT WHEN YOU HAVE PASSION,

THOSE NEGATIVES BECOME MERELY

BUMPS IN THE ROAD.

GRAHAM WILSON | PROFESSIONAL PHOTOGRAPHER | PPA MEMBER SINCE 2002

© Vision Photography

© Dennis Craft

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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Welcome to summer! This month’s magazine is dedicated to family portraiture. Family is one of the greatest blessings in my life, and I know others feel similarly.

For the last 12 years, an important part of our family has been our Golden Retriever, Molly. When she became ill this spring, we faced the tough decision of putting her to sleep. She was the only Golden my children remember, so you can imagine the void in our home.

Our home was empty for a few weeks before we found our new Golden Retriever puppy, Jackson. It was love at rst sight, and the laughter is back in our home. Jackson is every bit a puppy, but I wouldn’t trade the joy he brings for anything. We have had many family portraits with our dogs, and I can’t wait until Jackson is a part of the next portrait.

As photographers, we have an awesome responsibility with such family portraits. Customers trust us to memorialize their family and capture the love and laughter they share. Getting to know them in the few hours we spend together is a blessing in itself.

Anyone can take a picture of a family, but a true artist captures the relationships and the spirit of each family (and the family pet). I have been mentored by some of these true artistsand wonderful family photographers. Rod Gleason is probably one of the best family portrait artists in Michigan, and he has taught me many things over the years. I became friends with Michael Taylor about sixteen years ago and have always marveled at his beautiful family portraits. And I am always inspired by Ken Whitmire.

Many years ago, I had the opportunity to sit in a few programs and see his mastery of family portraits. Ken’s images are not only technically correct, they also ow with a grace and beauty that is breathtaking.

The challenge of family photography is making many people look good and feel comfortable at the same time. I have a lot of respect for image makers that can take the challenge of family photography and create images that show the interaction and love of the family, making it beautiful at the same time.

Whether you are with your family or creating images for your clients this summer, enjoy the time and relationships that will develop. Have a great summer with your family!

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

FRIENDS MET ALONG THE WAYThe best part of this profession is meeting others who share the same passions we do, whether they have been in business many years or are just beginning.

I had the privilege to teach at Texas School in April. While there, I met Quinn Hancock, a Kansas photographer. Quinn was the head wrangler for the building my class was in, and we had many conversations ranging from associations to computers and photography. As the week came to a close, I knew I had found another

friend who shares the same passions as I. Quinn, thanks for a great week.

The second person to meet is graduating from our local photography program. Sarah Karr worked in our studio during high school, wanting to continue her college education. She recently graduated with an Associates Degree in Photography. As part of the process, she needed a professional photographer to critique her portfolio. I spent a few hours reviewing her images, nding myself impressed with her creative eye. At the end, my family and I went to the open house (for all the graduates in the 2008 class), where we enjoyed the portfolios and spent time with Sarah. It was an honor to share this special time with a young person who loves photography and the future that it holds for her.

Thanks to Quinn and Sarah, they have again inspired me. I count that a blessing.

TODAY JULY | 08

© Dennis Craft

2007 AN-NE MARKETING AWARD SPOTLIGHT:CHRISTA HOFFARTH by Angie Wijesinghe, PPA Marketing Specialist


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“I like things that are different. I want to be different, unique,” comments Christa Hoffarth of [studio] in South Lake Tahoe, Calif. One look at her marketing concepts and design, and you can see it is true. After all, she won the 2007 AN-NE Marketing Award for Best Wedding Campaign.

Of course, it is easy to say that one wants to be different. Following through is the hard part…just not for Hoffarth. She doesn’t have a background in marketing or graphic design. She just looks. She looks at her competition for ideas. She looks at graphic design books to see the latest design from packaging to icons. Most importantly, she looks at all of her marketing pieces as a whole.

Take, for instance, one of her rst marketing experiences. She wanted brides to nd her online and created a pro le on TheKnot.com. What made this an effective start was her pro le image, as she found later. After looking through the other photographers’ pro les on the site,

Hoffarth chose an image that was really different from the others. “It’s the only way to get noticed,” she says.

Hoffarth always starts her marketing campaigns with a concept. In fact, she keeps a box of ideas—full of interesting designs she’s come across—for inspiration. “I come up with a concept and start recreating all the materials from scratch. Then I marry them together,” explains Hoffarth.

For her award-winning wedding campaign, Hoffarth started by remembering a custom brochure held together with a screw post. Intrigued, she created a design concept featuring unique binding ingredients (ballchains, screw posts) and square shapes (brochure with DVD, storytelling thank you cards, business cards). She even included a square, boxed wedding day emergency kit as a client gift. Ever-tuned to details, Hoffarth also redesigned her business cards to t this theme (a square shape connected to the brochure with a ballchain).

Even though each campaign is unique, Hoffarth stresses the importance of consistency. “Be consistent in the style and the way you approach your campaign on the Web, in print, and everywhere,” she says. That’s why it’s so important to look at all the pieces together.

There are also some parts that never change in Hoffarth’s marketing: her logo, her main colors (blue and white), and even her logo placement.

“I’ve developed a style guide for my marketing pieces, and it’s been a great help,” she adds. “I have a pre-laid-out set of instructions to follow. The information usually stays the same, so all I have to do is create a new style in the software and apply it.”

All things considered, Hoffarth puts a great deal of thought into how she stands out in the large wedding market. What she loves about the AN-NE Marketing Awards is that it forces photographers to put that kind of thought into their marketing.

“The AN-NEs will make you focus on your design and how it all looks and connects together,” says Hoffarth. “Earning this accolade was a great addition when I pitched my image marketing designs to a printing company. For me, the AN-NEs opened doors.”

Don’t worry if you’re not the natural designer that Hoffarth is. To her, the most important advice she can give photographers is to be consistent and really look at how your marketing all ts together. In her words, “Start with a

concept and let it spread.”

Learn more about Hoffarth’s wedding campaign in “Married to Marketing,” by Lorna Gentry (Professional Photographer, March 2008, pg. 36).

© Michael Imus Photography

© Christa Hoffarth


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BOARD MEMBER SPOTLIGHTRon Nichols, M.Photog.Cr., API

PPA Member since: 1984

Location: GRAND LEDGE, MICHIGAN

~ Christa Hoffarth

GO WITH THE DVD“Most of my customers are out-of-towners. My portfolio DVD is the quickest way to control what my clients see of my work,” says Christa Hoffarth.

A good wedding portfolio DVD is:

• More interactive than an online gallery.

• Emotional…with all the music and effects possible.

• Easily included in a brochure or another marketing piece.

• Easily shared with co-workers at the bride-to-be’s workplace (face it, a lot of women plan their weddings at work).

Christa Hoffarth[studio] - South Lake Tahoe, CAwww.christahoffarthphoto.com

The annual AN-NE Marketing Awards competition recognizes outstanding ingenuity and effectiveness in real-world marketing endeavors. Named in honor of Ann Monteith and Marvel Nelson, both marketing gurus and past PPA Presidents, the competition is open to PPA members only. Learn more on the Competitions page at www.ppa.com.

Ron Nichols has always been involved with different groups. In fact, he spent a lot of time in dark rooms as a young boy, earning his Boy Scout merit badges and growing ever more intrigued with photography.

After starting his own studio, Ron kept getting busier. He volunteered with PPA, co-founded and directed the Great Lakes Institute of Photography (GLIP), made the teaching rounds, and so on. Soon, he had to develop ef ciency tools. “I had to work quickly, smarter, and better because I wasn’t in studio very often,” Ron remembers.

His ef ciency and work ow systems soon developed into something others needed, programs and software code made to handle problems photographers face. Ron is busier than ever with PPA’s Board of Directors, his almost virtual consulting and work ow solutions company (RonNichols.com), and his studio. Luckily, though, he has a great team (including his wife) in the studio and is able to run RonNichols.com online from wherever he is. “It’s always a balance,” Ron says. “But even though I’m not in my studio every day, I’m consulting in a studio all the time.”

All his volunteering and consulting work gives him a special view into photographers’ needs. “I see similar issues of balancing work,” Ron explains. “Two of the most common

items I help photographers with is standardizing procedures and eliminating repetitive tasks. Still, every studio needs to handle it differently.”

Ron knows that photographers tend to go into photography because of the creative aspect. “Then they are hit with the management side…and it’s tough to learn,” he says wryly.

Ron’s advice to all photographers is to “concentrate on business.” No matter where you are in photography, take business classes and learn how to run a business. As Ron says, “The most successful photographers aren’t always the best photographers themselves.” They usually have the added bene t of knowing how to make a business pro t.

At the end of the day, does Ron miss capturing images? “Not really,” he replies. “I always have a camera in my hand. Now, though, I usually get to photograph what I want and concentrate on the art of it…when I have time!”

CONGRATULATIONS ANN!

CONVERSATIONS ON OURPPA.COM

AFFILIATE SCHOOL SPOTLIGHT


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LAMARR WILLIAMSON SCHOOL OF PHOTOGRAPHYSeptember 28 - October 2, 2008 | Myrtle Beach, SCContact: John Wrightenberry; [email protected]; 803-781-2130Web site: www.lamarrschool.com Course Information:The Lamarr School was founded to honor the life of South Carolina’s world-renowned background artist, teacher, and gentleman, Lamarr Williamson. Photographers are invited to come “learn in an atmosphere that promotes interaction and sharing at a level where professional development is the prime product.”

High Octane Weddings – Curt LittlecottAll the World Is a Studio – Michael TaylorPainter in a Digital World – Cheri MacCallumTaking It to the Next Level – Monica Sigmon

EXCELLENT OR GOOD ENOUGH by Dennis Gartner, M.Photog., CPP

July often means that many of you are hot and heavy into photographing weddings and high school seniors. If you want inspiration, browse the Photographic Specialties forums on OurPPA.com. You can scroll through images to get ideas for new poses and offer helpful critiques. You can ask speci c questions about

wedding cancellations, what kind of shoes to wear on a long shoot, new places for logos on senior wallets…anything that pops up.

Tough questions come up all the time. And a forum is a great place to gather responses from many, many sources who understand your position.

Not a wedding or high school senior photographer? Not to worry! The Photographic Specialties section of the OurPPA.com forums also includes areas for questions/comments on commercial, portrait, sport & event, and other photographic specialties.

www.OurPPA.com

One never hears a baseball fan say, “He might hit only a couple of runs this year, but he’s good enough.” Likewise,

“My heart surgeon doesn’t have the greatest reputation, but I guess he’s good enough.”

Photographers need neither license nor certi cate to call themselves professionals. Unlike doctors, lawyers, teachers, architects and other professionals, photographers can open a studio without taking a qualifying exam, and (as long as we’re lawful) conduct business without government regulation. But photographers—like all true

professionals—must continue to develop their skills and knowledge, to strive to become not just good enough but excellent, and to have that excellence af rmed not just by their clients, but also by their peers.

For photographers, participating in PPA is the best way to accomplish those goals. PPA provides a range of continuing education in photography, juried print competitions with constructive feedback from experts, a professional certi cation program, and a cumulative merit award and degree program.

For any professional, especially in a creative endeavor like photography, an essential element of quality comes from the heart. It’s that spark of energy that makes us do what we do. We may go hungry and sleepless, not wanting to stop lest we lose that inspiration. We use all of the tools at our disposal to craft a photographic image.

If quality is your pursuit, you will never settle for average, adequate, fair, passable, or good enough.

Congratulations to PPA’s very own Ann Monteith, M.Photog.Cr.Hon.M.Photog., CPP, ABI, API, A-ASP, Hon.A-ASP. She is the 2008 PPA recipient of the IPC Professional Photographer Leadership Award from the International

Photographic Council (IPC), a non-governmental organization of the United Nations. For more information on IPC and the awards, please visit www.ipc-un-ngo.org.

© Brandon Remler

PHOTOSHOP WORLD IS THE OFFICIAL CONVENTION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS

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Mark Your Calendar! The world’s largest Adobe® Photoshop® educational event featuring

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Adobe, the Adobe logo, and Photoshop are registered trademarks of Adobe Systems Incorporated.

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Publisher not responsible for errors & omissions

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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

PHOTOGRAPHY “PROFIT SECRETS” REVEALED…AMAZING FREE REPORT: A retired Arizona Businessmanwith no photography training used the “Six Secrets” toearn $53,762 profit his first 90 days as a photographer,and built a million dollar photography business in 14months. www.your-photography-business.com.

EQUIPMENT FOR SALE

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HELP WANTED

HELP WANTED: Assistant photographer for con-temporary photojournalistic wedding coverages in OrangeCounty, CA area. Must have digital equipment. E-mailJohn at [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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SCHOOL/WEDDING Photographers. Low package pricesstarting at 19 images. Wedding 10x10’s, you design weprint $2.49. www.PhotoPrintPros.com.

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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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NEED BODIES IN YOUR DOOR NOW?Inexpensive MARKETING SOLUTIONS that produce aHUGE RESPONSE for seniors children, family, weddings.FRANK DONNINO; WWW.FRANKSBABYPLAN.COM

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PRESENTATION BOXESBOXES—FREE SAMPLE PRESENTATION BOX—FROMTHE ORIGINAL BLACK BOX MANUFACTURE—Fast delivery,Finest quality 4"x5", 5"x5", 4"x6", 8"x10", 11"x14", 16"x20",20"x24". AUFENGER BOX, 4800 COLLEY AVENUE, NOR-FOLK, VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149 (fax); 888-440-1146 (toll free). www.aufengerbox.com

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STUDIO FOR SALEA WELL-ESTABLISHED, SUCCESSFUL TURNKEY PHOTO-GRAPHIC BUSINESS IN A HIGH VISIBILITY, FASHIONABLEAREA OF NORTH FLORIDA. OPEN FIFTEEN YEARS, NOWWITH FULL FILM AND DIGITAL PROCESSING, WIDE FORMATPRINTING, LUCIDIOM AND FUJI KIOSKS, SPACIOUS-EQUIPPED STUDIO, LIGHTING, CAMERAS, BACKGROUNDSAND MUCH MORE. READY TO HAND OVER TO CONTINUEMAKING A PROFIT RIGHT AWAY. THE BUILDING, OVER 4000SQ.FT., WITH LARGE PARKING LOT, IS AVAILABLE FOR LEASEOR PURCHASE. OWNERS ACCOMMODATION AVAILABLEON SITE. THE BUILDING WILL BE WORTH $1,000,000.NOW OFFERING BUILDING AND BUSINESS TOGETHER FOR900K. OWNER AVAILABLE DURING [email protected] OR CALL MON-FRI 904-399-3939 BEFORE 9 AM OR BETWEEN 5 AND 6PM.EST.

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.

FANTASY STUDIO FOR RENT. Not ready to buy, wanting torelocate and test an area? This is a studio unlike any other. Nowyou can afford to be the best with minimal outlay. Completewith lights, wardrobe, props and 5000 sq.ft. of movie set back-grounds. Unlimited creativity and an exceptional opportunityto be the best you can be. Colorado Springs, Colorado, iswaiting for you. www.ljm-photography.com; 719.593.2424.

WESTERN COLORADO—just hours from national parks. 40year-old established studio plus client list. Amazing outdoorphoto park. Thriving economy in this sunny college townof 150,000—a great opportunity. Owner will assist yourtransition. Call 970-596-1975.

Well respected, full service studio for sale in BEAUMONT,TEXAS. Originally established in 1946. Strong name identifica-tion with little advertising, repeat customers into the 3rdgeneration. This studio has exclusivity over 2 premier programsfor high school senior girls, presenting repeat opportunitiesfrom senior portraits to weddings to babies. Owners areanxious to relocate. This is a once in a lifetime opportunity forthe right person. FOR SALE AT A FRACTION OF THE VALUEWITH OR WITHOUT EXCELLENT REAL ESTATE. Seriousinquiries only. 409-553-6434.

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.

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


group of photographers from across the

globe, known as the Society of XXV,

made a commitment several years

ago to meet annually to share

experiences, techniques and

friendship. At gatherings, the

members often compare accolades, network,

and learn from one another. In 2008, the get-

together had a particular focus. Each of the

highly accomplished photographers left his

or her ego at home and embarked on a life-

changing mission.

In April, the Society met in San Diego’s

Balboa Park, where, in partnership with the

Make-A-Wish Foundation, the members

created portraits for the families of terminally

ill children. Since 1980, the Make-A-Wish

Foundation has enriched the lives of chil-

dren with life-threatening medical condi-

tions by granting their wishes. The children’s

wishes have ranged from the exotic, like

meeting Elvis in Hawaii and shooting hoops

with an NBA star, to down-to-earth pleas-

ures like swimming at the YMCA and build-

ing a playhouse complete with flower boxes.

The Society helped grant the wishes of 12

children who wanted to have family portraits

made. The members took on the ambitious

goal of photographing all 12 families in four

days. Afterward, they produced digitally

enhanced, coated canvas prints for each

family. “We called the project our ‘Gift of

Love,’” says Helen Yancy, M.Photog.

M.Artist.MEI.Cr.Hon.M.Photog., a member

of the Society of XXV, and a past president of

Professional Photographers of America. “No

signatures on the portraits, no egos allowed.”

Working in small teams, the photogra-

phers brought a variety of perspectives and

expertise to the project. Each photographer

was involved in every aspect of the sessions,

retouching and artwork, so that the final

images represented the best of all of them.

Canon U.S.A. and Breathing Color

stepped up to provide the requisite materials.

They loaned the project a large-format print-

er with archival inks, and donated canvas,

coating material, stretcher bars and 20x24-

inch frames, so that every family would

leave with a world-class framed portrait.

To say the project was charity didn’t seem

right to members of the XXV organization.

The Society may have fulfilled the children’s

wishes, but each member felt generously

rewarded by the joy of a collaborative expe-

rience they’ll never forget. “When photogra-

phers form a small group to inspire and

refresh each other, they not only gain in

friendship and knowledge, they also increase

their capability to conduct projects that ben-

efit others,” says Yancy. “We all had a won-

derful time with the kids and their families.

There is no greater reward than working

with friends to help someone else.” �

To learn more about the Make-A-WishFoundation, visit www.wish.org.

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 |©Sarah Smith, M.Photog.Cr.

No egos, just altruismA GIFT OF LOVE TO THE MAKE-A-WISH FOUNDATION

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914-347-3300

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