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PROFESSIONAL PHOTOGRAPHER | FEBRUARY 2008
CONTENTS
DOUBLE VISIONLouise Botticelli’s boomingbicameral business model
by Jeff Kent
SHOT THROUGHTHE HEART Marcus Bell throws heart and soul intohis photography, whether documentinga wedding or creating fine art
by Stephanie Boozer
9TH ANNUALHOT ONE AWARDSTechnology that works for you
by Jeff Kent
COMMERCIAL: FLIP SIDE
Jason Lindsey forges a commercial career with a dual perspective
by Jeff Kent
IMAGE BY MARCUS BELL
82
90
68
74
Features
DepartmentsCONTACT SHEET
20 Inspiration Sundance style
22 Irving Penn exhibition
24 Dutchess of Carnegie Hall:Editta Sherman
28 Public lands and permits
PROFIT CENTER
33 What I think: Louise Botticelli
36 The joy of marketing by Sarah Petty
40 Buying into booksby Kalen Henderson
42 Do more in less time and prosperby Charles J. Lewis
THE GOODS
45 What I like: Kerry Brett Hurley
46 Pro review: Nikon D300 by Ellis Vener
54 Pro review: Canon EOS-1Ds Mark IIIby Ron Eggers
60 Lighting: In the studioby Ed Pierce
64 Lighting: The Zeus Systemby Ellis Vener
ON THE COVER: Louise Botticelli photographedCameron, age 3, at her Setauket studio. Theimage was captured using a Kodak DCS Pro Back645 on a Contax body with a 140mm Zeiss lens,exposed for 1/125 second at f/8. The image wasretouched in Photoshop, finished with Corel Painter,and titled “Sailing the Seas of Imagination.”
6 • www.ppmag.com
14 FOLIO
112 CALENDAR
119 PPA TODAY
138 GOOD WORKSPROFESSIONAL PHOTOGRAPHER | FEBRUARY 2008 | WWW.PPMAG.COM
Commercial photographer Jason Lindsey of Champaign, Ill.,
is living proof of the value of having a dual perspective. His experience as an art director
and designer enhance every shoot, and his clients appreciate the difference.
©Jason Lindsey
CONTENTS
68
7 studio logic.indd 1 1/15/08 1:09:31 PM
director of sales and strategic alliancesSCOTT HERSH, 610-966-2466, [email protected]
western region ad managerBART ENGELS, 847-854-8182, [email protected]
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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
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Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressedby Professional Photographer or any of its authors do not necessarily reflect positions ofProfessional Photographers of America, Inc. Professional Photographer, official journal of theProfessional Photographers of America, Inc., is the oldest exclusively professional photographicpublication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporatingAbel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer,The National Photographer, Professional Photographer, andProfessional Photographer Storytellers. Circulation audited andverified by BPA Worldwide
10 • www.ppmag.com
PROFESSIONAL
senior editorJOAN [email protected]
features editorLESLIE HUNT
editor-at-largeJEFF KENT
art director/production managerDEBBIE TODD
manager, publications andsales/strategic alliances
KARISA [email protected]
sales and marketing assistantCHERYL [email protected]
EDITORIAL
To market, two marketsCATERING TO DISPARATE CUSTOMERS THE SMART WAY
Thanks to the hospitality of family friends who own a beach home
there, for the last 10 years I’ve been fortunate enough to vacation on
a very lovely and luxurious little island near Charleston. The
exclusive summer enclave is brimming with million-dollar houses
and the wealthy vacationers who enjoy them.
For years, the only place to buy groceries in the area was a mid-
range, practical sort of chain store right off the island, where both
year-round residents and wealthy summer vacationers bought their
milk—the kind of place where I normally shop, with a discount aisle
and half-price specials.
One summer we returned to find that a gourmet grocery had
been built right on the island. It’s the kind of “shoppe” that sells $45
imported olive oil. I couldn’t help but notice how the disposable
income went flying when we visited the store for our freshly ground
dark-roast coffee.
After check out, I glanced at my receipt. At the very bottom in
tiny print was the name of none other than the mid-range grocery
store down the road. How clever. The owners had opened a luxury
store directly targeting those monied vacationers, wisely choosing to
keep the two brands separate.
Louise Botticelli, whom we feature this issue, has also embraced
this separate but equal concept. After years at the helm of an
upscale portrait business catering to customers happy to fork over
big dollars for art, Botticelli opened a second, more accessible studio
that targets customers looking for more affordable portraits and
other photographic services as well. She gave it a moniker of its own.
The way she and her team executed the expansion reinforces a
fundamental concept in professional photography: Your brand is
sacred. Botticelli’s savvy in opening a wholly separate storefront
protects the desires and comfort of both clientele. Turn to her story
on p. 74 to learn more. �
Cameron Bishopp
Director of publications
technical editorsANDREW RODNEY, ELLIS VENER
director of publicationsCAMERON BISHOPP
9©2008 Collages.net Inc. All rights reserved. Photos ©2008 Brett Chisholm Photography and TriCoast Photography.
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Professional Photographers of America229 Peachtree St., NE, Suite 2200Atlanta, GA 30303-1608404-522-8600; 800-786-6277FAX: 404-614-6400www.ppa.com
2007-2008 PPA board
president*JACK REZNICKICr.Photog., [email protected]
president-elect*DENNIS CRAFT M.Photog.Cr., CPP, API, [email protected]
vice-president/treasurer*RONALD NICHOLSM.Photog.Cr., [email protected]
chairman of the board*MICHAEL GLEN TAYLORM.Photog.Cr.Hon.M.Photog.,API, [email protected]
directorsRONNIE NORTON ABI, Qualified EuropeanPhotographer, Associate of the Irish [email protected]
LOUIS TONSMEIRE Cr.Photog., [email protected]
DON DICKSONM.Photog.Cr., [email protected]
SANDY 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]
industry advisorMICHAEL [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]
*Executive Committee
12 • www.ppmag.com
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14 • www.ppmag.com
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.
TIM OSTERMEYER“The entertainment value of this image is that there are four long telephoto lenses withminimum focal length of more than 10 feet to photograph polar bears in the distance, but thisbear was less than 3 feet away,” says Tim Ostermeyer, M.Photog.Cr., CPP, of OstermeyerPhotography in Allen, Texas. With a Canon EOS A2E 35mm camera and 100-400mm Canonf/4.5-5.6L IS USM EF lens, Ostermeyer exposed “Polar Paparazzi” for 1/125 second at f/8,ISO 400, on Fujicolor NPH 400 Professional film. Though the image didn’t originally merit,“The late, great photographer and wonderful person Buddy Stewart asked the judges toreconsider,” says Ostermeyer. “He saw the humor and challenges of getting this photograph.”
©Tim Ostermeyer
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MOLLIE ISAACSHired by an architect to photograph a series of model homes in the Outer Banks of North Carolina, Mollie Isaacs, M.Photog.MEI.Cr., of F2Photographic Design in Kill Devil Hills, N.C., created “Simple Sophistication” for the client’s Web site. Shooting with a Canon EOS 20D digitalSLR and 20-35mm Canon f/3.5 USM EF lens, Isaacs exposed the frame for about 1 second at f/22, ISO 400. Isaacs performed minorretouching, tinting the back window soft pink and removing distortion caused by the wide-angle lens.
DON MONTEAUX“Contrary to popular belief, this image was not a composite made in Photoshop,” says Don Monteaux, M.Photog., CPP, of Virginia Beach, Va.While driving toward Hatteras, N.C., Monteaux saw this gaggle of geese walking single file along the dunes. He captured “Grounded” with aCanon EOS-1D Mark II digital SLR and 24-105mm Canon f/3.5 II USM EF lens, exposing the frame for 1/250 second at f/8. The only digitalretouching Monteaux performed was minor enhancement of the sky in Adobe Photoshop.
©Don Monteaux
©Mollie Isaacs
16 • www.ppmag.com
8,762 miles to the South China Sea.
179 feet up a limestone cliff.
4 NIKKOR® lenses.
0 chances to re-shoot.
©2007 Nikon Inc.
18-19 nikon.indd 2 1/15/08 1:11:13 PM
See Beth Wald’s killer shots at stunningnikon.com/challengeShooting in punishing conditions, Nikon® Pro Beth Wald asked a lot of her lenses: “Everything comes down, in any
shoot, to the glass of the lens. Everything is dependent on the sharpness, the clarity, the intensity of colors, the
saturation…it’s the glass that makes it all happen.” Every NIKKOR lens in the Nikon Pro System comes from glass
we make ourselves for people like Beth, who said, “It’s going to be hard to get back to Vietnam to re-shoot this.”
18-19 nikon.indd 3 1/15/08 1:11:50 PM
CONTACT SHEETWhat’s New, Events, Hot Products, Great Ideas, Etc.
InspirationFive-star accommodationsmeet top flight talent at the 2008 SundancePhotographic Workshops
©Eddie Soloway
Sundance style
The popular Sundance Photographic Workshop
kicks off the year with a series of travel,
landscape, nature and portrait photography
classes in three seasonal sessions. Set amid
the breathtaking scenery of Utah’s Sundance
Resort, the Workshops are headlined by
award-winning photographers Nevada
Wier, Eddie Soloway, Bobbi Lane, Tony
Sweet, Brenda Tharp and Tom Bol.
Founded by actor and environmentalist
Robert Redford in 1969, the Sundance Resort
lies in a canyon in the shadow of scenic Mt.
Timpanogos, about an hour’s drive south of
Salt Lake City.
With classes sizes capped at 15 students,
there’s plenty of opportunity for one-on-one
instruction. Between sessions, students are
free to roam the grounds of the five-star
resort, one of Forbes magazine’s Top 10
Coolest Resorts.
The spring Workshops, May 7-11, emphasize
travel and landscape photography. The courses
are: “Photographing on the Move” with Nevada
Wier, and “A Natural Eye” with Eddie Soloway.
The summer Workshops, August 25-29, offer
tutorial-style training in nature and portrait
photography. The Workshops are: “Exploring
Your Personal Vision” with jazz performer
turned nature photographer Tony Sweet, and
“Portraits on Location” with commercial
photographer Bobbi Lane. The fall Workshops,
November 5-9, focus on travel and adven-
ture sports photography. Outdoor and travel
photographer Brenda Tharp presents “The
Art of Travel Photography: Capturing the
Essence,” and Tom Bol shares his sports and
environmental portrait skills in “People in
the Landscape.”
Evenings include a reception and dinner
with presentations by the instructors. Tuition
is $1,100 with one scholarship available per
workshop. Meals and lodging are not included.
For more information, visitwww.sundanceworkshop.com.
February 2008 • Professional Photographer • 21
©Brenda Tharp
©Eddie Soloway
New York City’s Morgan Library & Museum
presents an exhibition of modern photography,
showcasing its first major acquisitions in this
field, through April 13. “Close Encounters:
Irving Penn Portraits of Artists and Writers”
features 67 portraits of influential artists,
authors, and performers of the 20th century.
Acquired in 2007, this rare collection of gela-
tin silver prints is an extraordinary visual record
of some of the greatest creative minds of the
period, including T.S. Eliot, Truman Capote,
Arthur Miller, Tennessee Williams, Aaron
Copland, Richard Rodgers, and Oscar
Hammerstein II.
A resident of New York City for more than
50 years, Penn (b. 1917) began his career as a
photographer in the 1940s at Vogue magazine.
His compositions not only helped define the
look of the magazine, but established a ground-
breaking aesthetic for modernist photography.
“Irving Penn’s incisive portraits illustrate
a rich and defining period in this city’s
cultural history,” says Charles E. Pierce Jr.,
director of The Morgan Library & Museum.
“Many of Penn’s subjects are artistic and
literary icons whose own drawings, musical
scores, manuscripts, and books are
represented in the Morgan’s growing
twentieth-century collections.”
“Each of these works is a vivid record of
the encounter between Penn and his subject,”
says guest curator Peter Barberie. “If a funda-
mental task of portraiture is to capture sub-
jects differently than they present themselves
to the world, then Penn has succeeded
admirably. He enters into hard negotiation
with every personality that stops in front of
his camera and, very often, he wins.”
More than one-third of the exhibition com-
prises works from the 1940s, images that por-
tray the evolution and maturation of Penn’s
style. In 1947, he began photographing subjects
seated on or before a draped rug, subjects such
as Salvador Dalí, whose persona generally
dominated whatever milieu he appeared in.
Yet on Penn’s rug, Dalí, if still stylish and
defiant, looks caught.
In 1948, Penn defined a corner of his studio
with movable walls, and directed sitters to
inhabit the restricted space. Among these
portraits is one of Marcel Duchamp, svelte
and elegantly posed, who becomes a tall line
that echoes the lines of the corner itself; and
Georgia O’Keeffe, who as Alfred Stieglitz’s
wife and model was acclimated to being
photographed, looking wary standing unposed.
In the 1950s, Penn begin to capture subjects
up close, sometimes cropping their forms to
accentuate the two-dimensional design of
the composition or filling a large frame solely
with a bust or head. In Penn’s iconic 1957
image of Picasso, the artist’s face is cloaked
in the shadow of his wide-brimmed hat, his
body by a dark overcoat, leaving only the
piercing stare of a single illuminated eye to
glare from the center of the photograph.
Penn is also known for his celebrated
group portraits, such as the 1967 photograph
“Rock Groups,” picturing Janis Joplin and
Big Brother and the Holding Company
alongside the Grateful Dead in San Francisco,
both groups on the brink of frenzied stardom.
If you go to just one exhibition this year,
make it “Close Encounters” at the Morgan.
For more information, go towww.themorgan.org
CONTACT SHEET
22 • www.ppmag.com
Close encountersSix decades of Irving Penn’s work at the Morgan Library & Museum
Arthur Miller, New York, 1983
© Irving Penn, gelatin silver print from an edition of 14, 1984
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This isn’t a struggle to save Carnegie Hall
from demolition, which she helped fight in
the 1960s when the city bought the 117-year-
old property. This time it’s Carnegie Hall vs.
Carnegie Hall. The venue’s management
intends to evict tenants who live above the
concert hall, many of whom, like Sherman,
have been there for decades. They refuse to
go quietly. Tenants in some 50 studios have
filed a lawsuit.
Carnegie Hall studio apartments have been
home to such arts luminaries as Isadora
Duncan, Marlon Brando, Leonard Bernstein
and Martha Graham. In 1947 Sherman moved
in with her ailing husband (who died in 1954)
five children and an already antique 8x10
camera, with which she made portraits.
Back then the studios were advertised as
places where artists could live and work for
a philanthropically motivated low rent. In
her five decades above the rapping of tap
shoes and the discord of orchestral tuning,
Sherman photographed inventors, poets and
writers, including Carl Sandberg and Pearl
S. Buck, and Broadway and Hollywood
stars, among them Yul Brynner (left), Tyrone
Power, Boris Karloff and Henry Fonda.
Today the youthful faces of Golden Age
celebrities gaze from frames covering the
walls of Sherman’s studio, where the decades-
old sign, “Celebrity Camera Portraits,” still
hangs on the door. “Most of the people I
photographed are dead now,” she laments.
The dramatic lighting in those portraits is
due in part to the graceful north light flooding
in through a skylight 40 feet overhead. “I
used to rent out my studio to Vogue magazine,”
she says. “It was in demand at that time,
thanks to the skylight. It was annoying,
because I had to stop my photography, but it
paid well and I had these five children to
raise so I needed the income.” Some of the
photographers turned the camera on her
(above), as evidenced in numerous pictures
displayed in the studio, often wearing
vintage clothes once worn by Gloria
Vanderbilt’s mother. Andy Warhol both
photographed her and made a short film of
her at work in her studio.
Sherman had learned photography from
her father, Italian-born portraitist Nunzio
Rinalo, who had immigrated to New
Jersey. By age 10 in 1922, Sherman was
working with her father in the darkroom,
CONTACT SHEET
The Duchess ofCarnegie HallPhotographer Editta Sherman is legendary
24 • www.ppmag.com
Recently, 95-year-old portrait photographer Editta Sherman hadlittle time to talk with a reporter on the phone. She was busy sav-ing Carnegie Hall of New York, her home of 61 years. At an up-coming gathering, she plans to auction some of her famous photo-graphs and sell copies of the book “Facades,” a 1978 collaborationof Sherman and New York Times photographer Bill Cunningham,and donate the proceeds to the hall’s legal defense team.
Photo of Editta Sherman by Roberta Ciacci
©Editta Sherman
and by 16 was helping him photograph
weddings. “I didn’t have much of a
childhood because I was so involved in his
photography,” she says.
Photography remained a hobby until
her husband’s illness made her the family’s
sole breadwinner. She set up a studio in
Martha’s Vineyard to attract the wealthy
crowd who vacationed there. She earned
enough referrals to relocate to the Carnegie
Hall studio, where she converted the
kitchen into a darkroom. Many years later
when photographer Bill Cunningham
moved in, he dubbed her the “Duchess of
Carnegie Hall.” The nickname is so apt
that it stuck.
Sherman still does portraits occasionally,
these days mostly of non-celebrities. “Back
in the day I was pretty well known, but
now the young ones are coming up and the
older ones are dying off.” Nevertheless, she
continues to get calls. “You know, there’s no
difference between a celebrity and non-
celebrity as long as they pay the price!”
Lorna Gentry is a freelance writer in Atlanta. ©Editta Sherman
In her five decades above the rapping of tap shoesand the discord of orchestra tuning, Shermanphotographed inventors, poets and writers.
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How many photographers have made
photographs at a national park or anywhere
that requires a Special Use or Filming
Permit from the government? With high a
price tag, unclear definitions, and narrow
application windows, seeking a permit can
be stressful. Several photographic associations
are collaborating to redress the process.
Professional Photographers of America
(PPA), Commercial Photographers Interna-
tional, the Society of Sport & Event Photogra-
phers, the Student Photographic Society and
Evidence Photographers International Council
are speaking with two entities, the Department
of Interior and the New York City Mayor’s Office
of Film, Theatre and Broadcasting (MOTFB).
The Department of the Interior proposed
streamlining the permits that apply to land
managed by the National Park Service, Bureau
of Land Management and Fish and Wildlife
service. Laudable, yes, although the associations
also want to address the high fees and loose
terms that remain in the proposed change.
For instance, photographers pay a location
fee of $50 to $250, plus a varying cost recovery
fee for application processing and operating
expenses associated with the photo session.
Having to pay the cost recovery component—
whether or not a permit is granted—is likely to
be a financial burden to many photographers.
PPA maintains that professional photogra-
phers covering a school class or family portrait,
working with only a tripod and a reflector,
make less impact on a site than moviemakers
or commercial shooters, and should not have
to pay as much. PPA asked for clarification of
the department’s definition of “commercial
photography,” “model,” “sets” and “props,” to
stem confusion over how photographers are to
classify the work they plan to do, which influ-
ences their decision to apply for a costly permit.
In regard to the MOTFB proposal to
amend Title 43 of the Rules of the City of
New York, the associations submitted com-
ments for the second time. MOTFB wants
to include Chapter 9, an ordinance requiring
photographers, filmmakers and others to
obtain a permit on a first-come, first-served
basis before photographing, filming or
otherwise broadcasting on city property.
MOTFB released a revised draft on
October 29 that’s more favorable to the
photographers. The ordinance now applies
to causing “obstruction of daily activities”
rather than the number of people and kind
of equipment that will be used.
MOTFB also intends to offer an optional
permit that would allow photographers to
apply for a permit, even if the project doesn’t
warrant what’s now termed a “required
permit.” The optional permit should enable
photographers to complete outdoor assign-
ments on city property.
While no final rule decisions have been
issued by either the Department of Interior
or the MOTFB, PPA and its allied organiza-
tions are vigilantly monitoring these and
other issues related to film and still pho-
tography permits.
For more information, visit www.ppa.com.
28 • www.ppmag.com
CONTACT SHEET
Public placesPhotography permit rules need monitoring
©Rita A. Bales
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Albums“ Collages.net albums have superior print quality, the ordering process is effortless, and the customer service is above exceptional. However, the basis of my choice doesn’t do the product justice until seeing it fi rst-hand. Plus, the feedback from my studios’ clients is phenomenal! With an abundance of attractive and vibrant leather color choices available for covers, my clients always fi nd the perfect fi t for their album. As the owner of three busy studios, I’d like to thank Collages.net
albums for taking yet another product to the next level. ”
Julie MadisonArtistic ImagingLas Vegas
High-End Cards“Uniquely beautiful, high-class, and extremely professional are all phrases my clients use to describe Collages.net’s high-end cards. Adding this
product to my studio’s line couldn’t have been a more profi table choice. Not only has it greatly increased my bookings, but it has increased the appreciation and the quality of my work. There isn’t another card product that comes close to this innovative, personal product line.”
DeeDee DallasD2 Photography
Riverside, CA
Gallery Wraps“ Extraordinary is the best way I can describe Collages.net’s gallery wrap line. I have several gallery wraps displayed at my studio, and my clients love them. Not only do these products sell themselves, but Collages.net’s lab turns them around quickly, their specialists go above and beyond to help you, and Collages.net’s print quality
is fi rst class. Collages.net has exceeded my clients and my expectations once again!”
Dan DokeDaniel Doke PhotographyBoston
Listening. Creating.
xx-collagespd.indd 2 1/15/08 1:19:51 PM
Press Printed Books“Collages.net’s press printed book collection is a key part of our studio’s high-end product line. The hard cover, hand-sewn books are very popular with both our wedding and portrait clients.
The variety of sizes, colors, and templates allow us to create everything from proof books to customized books.
Brittany and Eric HansonBLR Life Photography
Las Vegas
Professional Printing“ Competition is intense. I am always looking for tools to keep me one step ahead of the game, and collagesColorTM
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Brett ChisholmBrett Chisholm Photography
Houston
Check out Collages.net’s comprehensive product line at www.collages.net/products.
Contact Customer Service at (877) 638-7468 or [email protected].
©2008 Collages.net Inc. All rights reserved. Photos are ©2008 of their respective photographers.
Innovating. Collages.net is the proud partner of over 10,000 studios across the U.S.
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xx-collagespd.indd 3 1/15/08 1:21:49 PM
32-supermonday.indd 1 1/15/08 1:12:52 PM
February 2008 • Professional Photographer • 33
Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies
What I thinkLouise Botticelli staysahead of the game
What’s the biggest business risk you’ve ever taken?
About three years ago, I decided to expand the busi-
ness to accommodate the clientele who were look-
ing for more of a modestly priced, less elaborate pho-
tography experience. It was risky, setting up my
own competition within the same area.
What’s the secret to running a successful photography
business? Continuously evaluate and reevaluate
what the market is looking for and figure out how
to make it work for your business. Choose a lab
that cares about the success of your business and
gives you the support you need to grow.
What’s your deal breaker? A long time ago, I had
a client who kept negotiating and bargaining with
me about the price of his portrait, and I felt
uncomfortable. After the portrait was delivered,
the client apologized, and said he and his family
loved it so much that I couldn’t buy it back from
him for any amount. Now I tell people, if you do
not love your portrait, I will buy them back from
you. Well, I don’t have a gallery of other people’s
portraits in my house!
What’s your motto? Look for the good in
people, and it will show in your portraits and in
your business.
IMAGE BY LOUISE BOTTICELLI
WWW.BOTTICELLIPORTRAITS.COM
Photography by Gregory Heisler.
epson.indd 1 1/15/08 1:18:13 PM
Epson Stylus Pro 4880, 7880, 9880 and 11880Epson Stylus Pro 4880, 7880, 9880 and 11880
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Introducing the all new Epson StylusIntroducing the all new Epson Stylus®® Pro Series. Redefining the perfect print. Pro Series. Redefining the perfect print.
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epsonspread-2.indd 1 1/15/08 1:18:32 PM
Before you can think about generating
desire for your brand, you have to create a
consistent identity. There must be a con-
sistent look to everything about your
business that the public sees, including
your logo, the colors you use, your signage,
your business forms, even your photography.
Think of your logo as your face. A logo
can be letters, symbols, graphic elements,
pictures or a combination of any and all of
them. The key is to create a unique logo and
stick with it. My best advice is to hire a pro-
fessional graphic designer to help you create
an identity package you can use for years. It
is an investment in the future of your brand.
Last February, after years of working in
the family’s photography studio in Indiana,
Jeff and Michelle Richardson decided to
branch out and open a studio of their own
in another Hoosier town, Bloomington.
They agreed to spare no cost in creating a
new identity for Richardson Studio Ltd.,
including engaging just the right graphic
artist and brand manager. The Richardsons
understand that the power of a brand
depends on having a strong identity from
the beginning, and braced themselves for
the process to take as long as necessary.
36 • www.ppmag.com
With a strong visual identity, you give yourbusiness a face. Repetition and consistencyturn your logo and branding into a familiarface that your clients will grow to love.
Identity crisisCREATING A LOGO AND BRAND
SARAH PETTY, CPPTHE JOY OF MARKETINGTM
Building a brand identity takes consistency, notjust in the usage of your logo, but in colors, styleand the message of your marketing material.
All photos ©Richardson Studio
Partnering with a local graphic designer,
they started with nothing more than a few
words they liked and some sketches, and the
identity began to evolve. In addition to a
logo and color palette, the Richardsons
wanted to include sketches of people in their
brand identity, but not in the logo itself.
They’ll use the sketches in their marketing,
and eventually people will automatically
associate any arty renderings of people with
the studio. When creating wallets for high
school seniors, they might print a sketch of a
girl in the corner. For a promotional piece
about family photography, they could use
sketches of an entire family.
Another part of their identity includes a
shortened, initials-only version of the
company’s name, RS, which is imprinted
on all of their images. It works because it’s
been consistently used from the start. If
you choose to use a symbol or your initials
in a shorthand version of your identity, it
must be done the same way each time. To
tie the two versions together, look for
opportunities to use both versions in places
like your blog.
Your logo must withstand the test of
time. Coca-Cola has retained its logo for
more than 100 years—I’m sure that over the
years graphic designers were clamoring for a
crack at creating a new logo for this high-
profile company. The company’s executives
had enough faith in the brand to resist. I’ve
heard small business owners say they’re
bored with their logo, but it isn’t until you’re
about sick of it that others actually start to
notice it. Repetition and consistency are the
keys to creating a successful identity. They
must exist early on to get people emotionally
attached to your brand.
When you meet with your graphic
designer, the more information you can pass
along about your vision, the better job the
designer will do. Show examples of your
photographic style and the style you want
for your studio. If your photography style
and your studio are both traditional, then
your logo and identity should have a
traditional flavor. If you want to reposition
your business as more contemporary, then
display contemporary images and style your
studio accordingly. Contrasting elements in
your identity will only cause confusion.
Never let anyone who is reproducing
something for you try to recreate your logo.
Always give the printer a vector file of your
logo, even if it’s in a standard font. It will
February 2008 • Professional Photographer • 37
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guarantee the scale and the spacing
between the letters is accurate. It makes
me wince to see the names of prominent
businesses set in a style other than their
logo. Once you have your logo and detailed
specifications figured out, put a copy of
them in a folder on your desktop so they’re
always readily available.
To stay fresh in your business, you can
use trendy fonts, colors and designs in your
marketing and promotional materials. The
key is to stay true to the face of your busi-
ness, your logo. If you feel your logo is dated
or needs to be changed to reposition your
business, make a 100-percent commit-
ment—including financial—and follow
through with everything you use. If it’s
handled well, it can create buzz that your
business is growing and evolving. Replace
the old logo on everything, from signage, to
business cards, to mailing labels. Even if you
have a huge pile of letterhead remaining, be
strong and take it to the recycling bin.
Having your old logo anyplace will weaken
your brand in the mind of the consumer.
Once you have a new identity, define
the usage parameters so you know how it
will look in color, black and white, on
your prints, in ads, everywhere it will be
used. Finally, protect your identity as if it’s
your child. �
Sarah Petty Photography is in Springfield,
Ill. (www.sarahpetty.com).
38 • www.ppmag.com
THE JOY OF MARKETINGTM
• As with selecting a photographer, price
isn’t necessarily a primary factor in choosing
a graphic designer. Because it’s such a
major part of your business plan, the goal
is finding a designer who gets you.
• When interviewing candidates, ask
tons of questions about their portfolios,
about the kind of direction the clients gave
them, about problems they might have
encountered and how they resolved them.
• Ask to see the first round of logos that
have been presented to a past client so you
know what to expect when it is your turn.
Are they rough pencil sketches or are they
detailed computer-generated files?
• Ask how many proposed logos they’ll
show you and what happens if you don’t
feel the designs represent you.
• Ask for references and call them to see
how they liked working with the designer.
• Ask if he met deadlines, and if he
missed the mark, how he handle the
situation.
• Offer to trade professional services
in-kind.
• Start a design file for your designer.
The more direction you give regarding your
likes and dislikes, the more efficiently the
designer can pick up on your style.
• Stress that your logo needs to be
strong in black and white as well as color.
Ask your designer to show you both ways.
• Discuss font choices. Because you
should plan on keeping the logo for at least
10 years, don’t choose a highly stylized,
trendy font.
• There must be some chemistry between
you and the graphic designer. You need to
be able to bounce ideas off each other and
come up with better ideas together.
TIPS FOR FINDING A GRAPHIC DESIGNER
Richardson Studio imprints an abbreviatedversion of its company name, the initials RS,and a sketched figure on all of its images.
Labs throughout the industry are offering
high-quality, reasonably priced book lines,
printed on digital offset presses, with a
menu of binding and cover options. Would
offering such books be profitable for your
studio? Considers these factors:
TIME. In a one-person studio, you can’t
afford to invest countless hours designing a
book that may never sell. You can design the
individual pages in Adobe Photoshop and
many other programs, some of which provide
templates. You don’t have to compromise
your creativity. Some of the applications have
stylish, attractive templates with ample choices
for each page. You could do a complete book
design in as little as 30 minutes.
Whether you use templates or custom
Photoshop layouts, the image file preparation
is crucial to the finished look. Most labs want
flattened JPEG files, and some require page
numbers and elaborate layout specifications.
If the lab has a ROES software ordering
system for books, you don’t have to hassle
with tracking page numbers, and you can
adjust the layout without remaking the entire
book. Once the images or pages are loaded
into the ROES software, you can check the
layout, and even render a printed image for
client approval. When the layout and design
are approved, uploading the book is easy.
WILL IT SELL? Consumers know they
can have photographs printed on pillows,
mugs, cards, practically anything. Professional
photographers should select only the
products that will reflect the value of your
work. You can develop and market high-
quality books in many ways, from children’s
portraiture to seniors to weddings.
One photographer offers a “Baby’s Life:
Volume 1” book as part of a package clients
purchase before the birth of the child. The
package includes sittings at 1, 3 and 9
months old, and age 1, and the book can
include sonogram images. Clients can also
opt to have photographs made on the day of
the birth at the hospital. The finished book
will feature images from every session. Of
course, this arrangement provides ample
opportunities to make additional sales of
portraits and add-ons from each session.
The delivery of the Volume 1 includes a
coupon toward a Volume 2 package, a book
with images from two sessions over the next
year, in addition to other images the parents
want to include.
High school seniors can be tempted into
having a personal yearbook made with images
from the senior session and others they’d like
to include. Printed just before graduation,
the book can include pages for friends and
family to write in personal messages.
Wedding albums produced as coffee
table books are already popular. In most
cases, clients can order a large-format book
with a designer cover, as well as smaller, less
richly bound versions with the same layout.
MARKETING VALUE. Though often
considered an add-on, a press-printed book
can have value for your studio beyond a one-
time sale. Parents and newlyweds proudly show
these books to everyone, giving you word-of-
mouth endorsements from happy customers.
A 20-page soft-cover book generally costs
the studio less than $25, and a survey of
studios shows it retailing for $49 to $69.
There are volumes of stories out there just
waiting for your creative touch to tell them. �
Kalen Henderson is a photographer, studio con-sultant, and teacher (www.kalenhenderson.comand www.hendphoto.com). Her lab is AmericanColor Imaging, a provider of press-printedbooks and free software to create and uploadyour own design (www.acilab.com).
PROFIT CENTER KALEN HENDERSON, M.PHOTOG.MEI .CR. , CPP, AP I
40 • www.ppmag.com
Labs now offer gorgeous book lines hot off the digital offsetpress. How do you decide if this product is right for you?
Buying into books
©Kalen Henderson
41 buckeye.indd 1 1/15/08 1:13:30 PM
French novelist Victor Hugo wisely said, “He
who every morning plans the transactions of
the day and follows out that plan carries a
thread that will guide him through the labyrinth
of the most busy life. …But where no plan is
laid, where the disposal of time is surrendered
merely to the chance of incident, chaos will
soon reign.”
I’ve been using a things-to-do list for the
last 30-some years, and it’s truly one of my
secrets for success. More than a list, it’s a
plan, and that’s why it is so effective.
If you use this tool every day, you will
accomplish more than you dreamed
possible, and you’ll do it in less time and
with less effort. You’ll also earn more
money with your photography. First thing
in the morning, sit in a quiet place in your
home and work on your things-to-do list.
Devote about 20 minutes to it every
morning, and you’ll save yourself hours of
wasted time. It keeps you focused on what’s
most important, and helps organize your
day, week and month to keep you on the
path to success.
To be begin, on a sheet of paper, draw a
line drawn down the middle. On the left
side, write everything that needs to be
done; the order of the items doesn’t matter.
Keep the list with you throughout the day
and add tasks as they arise. The following
morning, review the list, then copy it onto a
new piece of paper, updating it and
reorganizing it, writing what you consider
the most important things at the top of the
PROFIT CENTER CHARLES J . LEWIS, M.PHOTOG.CR.
Time is more valuable than money. Everyone has thesame amount of time in a day, it’s a question of how you organize, prioritize and invest it in growing.
Do more in less time and prosper
42 • www.ppmag.com
new list. Delete tasks accomplished the day
before and add new items that have arisen.
As you review the list, write an “A” next
to items that are important to the accom-
plishment of your long-term goals, a “B”
next to items moderately important to your
long-term goals, and a “C” next to tasks that
have little to do with achieving your long-
term goals. You know how important it is to
write down key goals for your life and your
business, and prioritizing daily tasks this
way keeps you aware of what you’re
working so hard for.
Look at the A items on the list, and
consider if there’s anyone you could delegate
these tasks to. Look at the remaining A
items and prioritize them from 1 to 6.
That’s all you’re going to worry about today.
Just the top six. Now copy those top six
items onto the right side of the paper, in
order of priority.
When you get to work, begin with the
top item on the list. If the phone rings, and
if you’re the one responsible for answering
the phone, answer it. When you’ve taken
care of the caller, go right back to working
on the task. If you have an appointment,
keep it, then return to working on the task.
When you finish it, proudly scratch it off
the list, and begin work on the second most
important task.
Perhaps this sounds too easy, but if you
adopt and use this simple system, you’ll be
amazed at how organized and focused you
become. The first few days or weeks will feel
strange, but you’ll soon see exciting improve-
ment in your productivity and profits. �
For more information from Charles J. Lewis,visit www.cjlewis.com.
“I’ve been using a things-to-do list for thelast 30-some years, and it’s truly one of my secrets for success. More than a list, it’s a plan, and that’s why it is so effective.”
February 2008 • Professional Photographer • 43
44 sms.indd 1 1/18/08 12:30:55 PM
February 2008 • Professional Photographer • 45
Professional Photographer P R E S E N T S Products, Technology and Services
What I likeKerry Brett Hurleyfell hard for digital
What makes your workflow flow?
Adobe Lightroom. When working with
tight deadlines for my magazine I feel
that I can edit super fast.
What's the best equipment investment
you've ever made? My first digital camera.
I bought the Canon EOS-1DS Mark II and
was blown away with what I could do.
What hot new product are you going to
go out of your way to use? Larson's half-
and-half reflector and BellaGrafica's
marketing materials.
Has a piece of equipment ever changed
the way you approach your photography?
I love the Canon EOS-1D Mark III.
I can do back to back beach sessions at
night and I don't have to worry about
the light falling because I can push the
ISO and basically shoot in the dark.
What's the one piece of gear they'd have
to pry from your cold, dead fingers? My
70-200mm lens.
IMAGE BY KERRY BRETT HURLEY
WWW.BRETTPHOTOGRAPHY.COM
THE GOODS: PRO REVIEW
All im
ages ©E
llis Vener
Nikon incorporates the design and functionimprovements working photographers have beenasking for in its new ASP-C class DSLRs.BY ELL IS VENER
Amazing NIKON D300
This image and the detail above show the impressiveamount of detail and low noise level even in a long exposurein low light. Exposure: .4 seconds at f/8, ISO 200, -1 EV.
Front view, Nikon D300
Rear view, Nikon D300
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The Plus II joins the growing system of photographic products with built-inPocketWizard Wireless Freedom. Ask for these brands.
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The theme of the advertisements for Nikon’s
new ASP-C class DSLR is “The new Nikon
D300 vs. compromise.” That’s a bold
challenge. Since I’m both as hopeful for
great things and as wary of hype as the next
guy, I had to test the D300 for myself, not in
a lab but the real world. After a modicum of
testing under controlled circumstances,
most of this review is informed by simply
going out and shooting photographs.
These days, the criteria for choosing a
DSLR camera go beyond resolution; now
you have to weigh the whole package: the
accuracy and speed of the auto-focus system,
the ISO sensitivity range, the dynamic range
of the signal, the TTL flash control, the
range of compatible lenses, the ergonomics,
and above all, the quality of straight-from-
the-camera color to speed the workflow.
Clearly, Nikon has been listening to working
photographers, and put that information
into the design and functionality of this
camera and its much larger sister, the D3.
Built around a 15.8x23.6mm, 12.3-effective-
megapixel sensor array, the D300 weighs 1.82
pounds and is slightly larger than the D200.
The APS-C format (in contrast to the 24x36mm
format) is a boon for telephoto fans, but a
slight bane for ultra-wide-angle fans. As for
the angle of view, a 200mm f/2.8 lens used
with APS-C format equals a 300mm f/2.8
on the larger format, while a 20mm lens
covers the angle of only a 30mm lens. The
viewfinder magnification is a respectable
.94X with 100-percent coverage of the frame,
in contrast to about 95 percent with the D200.
Even better is the larger new high-resolution
LCD display; 3 inches on the diagonal, it’s a
920,000-dot (VGA) screen with a 170-degree
viewing angle, which translates into a full-
screen 2.25x1.5-inch, full-format image display.
A tap of the zoom button gets you a full-
screen, 2.375x1.8125-inch view. When
reviewing an image at any magnification other
than full view, one tap of the OK button
takes you back to the full view. A second tap
opens a limited set of in-camera, post-
capture manipulation options: D-lighting,
trim (cropping), monochrome conversion,
filter effects, and color balance.
Other improved handling characteristics
include the relocation of the control buttons,
now on the back of the camera, reflecting a
more natural set of options. The D200’s
rarely used bracket button, located on the
far left of the viewfinder, becomes the image
review button on the D300, and the D200’s
review button at the top left of the LCD
display is now the menu button. In the
location of the D200’s menu button, the
D300 sports a control for three items:
image lock when you’re reviewing images, a
large display of the camera settings when
you aren’t, and info about the highlighted
48 • www.ppmag.com
specs: Nikon D300
SENSOR: 3:2 aspect ratio, 23.6x15.8mm APS-C format CMOS
RESOLUTION: 12.3 effective megapixels (4,288x2,828 pixels)
METERING: TTL full-aperture exposure metering, using 1,005-pixel RGB sensor: 3D
Color Matrix Metering II (type G and D lenses); Color Matrix Metering II (other CPU
lenses); center-weighted; spot metering
SHOOTING SPEED: Continuous shooting up to 6 fps
ISO SENSITIVITY: ISO 200 to 3200 in steps of 1/3, 1/2 or 1 EV, with additional 0.3,
0.5, 0.7 and 1 EV (ISO 100 equivalent) under ISO 200 and 0.3, 0.5, 0.7 and 1 EV (ISO
6400 equivalent) over ISO 3200
SHUTTER SPEED: 1/8,000 second to 30 seconds in steps of 1/3, 1/2 or 1 EV, bulb
WHITE BALANCE: Auto (TTL white balance with 1,005-pixel RGB sensor), seven
manual modes with fine-tuning, color temperature setting, white-balance bracketing
possible (2 to 9 frames in 1/3 increments)
VIEWFINDER: SLR-type with fixed eye-level pentaprism; built-in diopter adjustment
(-2.0 to +1.0 m-1); approx. 100 percent coverage; about 0.94X magnification with a
50mm lens at infinity
LCD MONITOR: 3-inch, about 920,000-dot (VGA), 170-degree wide viewing angle,
100 percent frame coverage
LIVE VIEW: handheld shooting mode—TTL phase-difference AF with 51 focus areas (15
cross-type sensors); tripod shooting mode—focal-plane contrast AF on a desired point
within a specific area
LENS MOUNT: Nikon F Mount with AF coupling and AF contacts
LENS COMPATIBILITY: DX AF Nikkor all functions; other Nikkor lenses with limited function
FLASH: Nikon i-TTL Speedlight flash units; built-in Speedlight—manual pop-up with
button release; ISO 200 guide number (meters) about 17. X sync 1/250 second; flash
sync up to 1/320 second
STORAGE: CompactFlash
PRICE: $1,799 body only
THE GOODS: PRO REVIEW
menu choice. When you’re reviewing
images, navigating between a grid of
thumbnails or a magnified section of the
frame is much simpler. The former Enter
button is now the OK button. With the
exception of the autofocus area switch, the
other controls remain the same.
The change in AF mode reflects a definite
upgrade in the autofocus mechanics of the
earlier Nikons, including the D2Xs. The
new Multi-CAM 3500DX autofocus module
incorporates many of the advances in the
3500FX AF of the D3: 15 cross-type sensors
and 36 horizontal sensors, compared to 11
in the D200 and D2Xs. By incorporating
color and brightness info from the 1,005-
pixel 3D Matrix metering system (as filtered
on the fly through Nikon’s Scene Recognition
System algorithms), the D300 does a better
job predicting focus on moving subjects.
According to a technical analysis by
kammagamma.com, in 14-bit per channel
NEF mode, the D300 has an overall dynamic
range of 8.6EV, a full stop greater than the
D200. At a Sendai, Japan, press briefing I
attended last August, Nikon engineers stated
that depending on the lighting and the subject
matter, photographers could expect a 50- to
150-percent increase in highlight dynamic
range. Translation for wedding photographers:
Greater dynamic range means more fine detail
in white-on-white wedding dresses and tux
shirts and in black tuxedo jackets as well.
If you’re shooting subjects with a large
dynamic range, like a man in a black tux
dancing with a woman in a white dress, you
can speed up your processing workflow by
activating the Active D-Lighting option (low,
normal, high or off) under the shooting menu.
Active D-Lighting works on both ends of the
exposure scale, lowering overall exposure to
retain highlight detail, boosting shadow values
to bring out detail separation by applying a
digital simulation of a partial dodge effect.
Then, instead of broadening the dynamic
range to show shadow detail, Active
D-Lighting applies contrast adjustments.
It takes some playing with to figure out
when to use it and with which setting, but
the intention behind Active D-Lighting is to
speed your workflow by handling a commonly
used processing step, exposure, before it
needs to be addressed. Active D-Lighting is
no substitute for real HDR processing, but
combined with the larger dynamic capture
range, it does seem to help. (Active D-Lighting
differs from the standard Nikon D-lighting
compensation that’s applied post capture in-
camera or in Capture NX.)
There are several post-capture processing
options built into the D300 that I didn’t
fully explore, but it’s fair to say there’s a mini
version of Capture NX onboard. Applying
these options creates a JPEG copy of the
original NEF, TIFF or JPEG. (Yes, you can
shoot 24-bit TIFFs if you like.)
Live view on a DSLR is sometimes derided
as being like turning a DSLR into your great-
aunt’s point-and-shoot, but don’t be hasty to
judge. The D300 offers both handheld and
tripod-mounted modes. You can live-preview
a frame on the camera’s LCD rather than in
the viewfinder. The handheld mode is useful
when you can’t hold the camera to your eye.
The tripod mode is designed to help you
determine focus accuracy when shooting
still life, landscapes and architecture. It’s not
quite as good as shooting tethered with a
20-inch monitor, but it works surprisingly
well with the high resolution LCD.
If you already own a D200, the big improve-
ments for you in the D300 are its increased
resolution of fine detail and far better per-
formance at high ISO. I photographed a simple
target in constant daylight with a D200, a
D300 and a D3, using the same 24-70mm
f/2.8G ED Nikkor lens at the same aperture,
to make a series of exposures covering the
THE GOODS: PRO REVIEW
50 • www.ppmag.com
The portrait at right was exposed with theNikon D300 for 1/200 second at f/18, ISO 800,using a 15-55mm Nikkor f/2.8G ED lens andAlienBees and Zeus studio lighting. Above aredetails pulled from the image.
full range of ISO settings for each camera.
The D300 noticeably out-resolved the D200.
From the L1 setting (about ISO 100) to
ISO 800, the D300 resolution remains near
constant and virtually unaffected by noise. With
the onboard high ISO noise reduction function
turned off, at ISO 800 the noise-to-signal
ratio is noticeable on a good monitor, but
nowhere near as much as with the D200 or
D2X. If you must go to ISO 1600 and higher
(top end is 6400), the resulting images will
be usable, but softer and more noise-freckled
than with the D3. The ability to easily go up
to ISO 800 with only marginal loss of image
quality has big implications for the way we
work—not only can we work in dimmer
ambient light, but we also get broader
lighting tool options.
Nikon Capture NX has also been
updated, and finally comes with the camera
at no additional cost. I usually use Adobe
Photoshop Lightroom for raw processing
and archiving, but I thought it only fair to
give Capture NX a spin. It’s a lot slower than
Lightroom, but it did a markedly better job
of processing D300 and D3 images, before I
started using the targeted U-point controls.
In files processed with Lightroom and Adobe
Photoshop Camera Raw-processed NEFS, I saw
strange artifacts in the high ISO images, mostly
in large areas of reddish colors. These simply
weren’t there in the same images processed
through Capture NX. The difference is great
enough for me to change the way I archive my
NEF files in Lightroom. I’ve started to embed
my original NEFs in the Lightroom-created
DNG folder to use when I need to process
them in Capture NX or a future version of
Lightroom, ACR or other raw processor.
Despite all its improvements, the D300
still has room for future innovation: greater
noise reduction at ISO 800 and above—
presently you have to step up to the D3 for that,
at three times the price; another EV or two
of dynamic range, this time extending into
the low values; and a built-in viewfinder blind
to block meter-foiling stray light when your
eye is away from the camera. While we’re at
it, let’s make Capture NX run as fast as Adobe
Photoshop Lightroom and also be able to
export Capture NX-edited NEF files as DNGs.
If you don’t need a DSLR with a so-
called full-frame sensor (about 24x36mm
sensor), or you don’t have the budget for it,
with an MSRP of $1,799, the Nikon D300
is the king of APS-C class cameras. �
Go to Web Exclusives on www.ppmag.com tosee high ISO GretagMacbeth’s chart shots.
52 • www.ppmag.com
THE GOODS: PRO REVIEW
Canon repeatedly denied the rumor that
they were developing a 22-megapixel
camera. The new Canon EOS-1Ds Mark III
has a 21.1-megapixel, full-frame CMOS
sensor, so technically the denials were
legitimate. Still, Canon succeeded in keeping
the competition guessing.
With this 21-megapixel DSLR on the
market, the competition has something to
strive for. The EOS-1Ds Mark III has the
highest resolution 36x24mm sensor in a
DSLR. That resolution is a significant increase
over the 16-megapixel ESO-1Ds Mark II, the
previous holder of that distinguished position.
With maximum resolution of 5,616x3,744
pixels, that’s packing a lot of pixels into the
space of a 35mm frame. In fact, it’s closer in
resolution to medium-format digital backs
than to conventional 35mm-type digital
SLRs, but with the advantages in size,
weight and ease of use of those SLRs.
The 1Ds Mark III comes equipped with
dual DIGIC III processors. Without tandem
processing engines, analog to digital (A/D)
conversion and other image processing and
transfer tasks could easily be choke points
with such high-resolution images. With it,
THE GOODS: PRO REVIEW
All im
ages ©R
on Eggers
More than 21 megapixels in a 36x24mm sensorsupported by dual image processors make theEOS-1Ds Mark III the big dog in its league.BY RON EGGERS
Big timeCANON EOS-1DS MARK III
The 1Ds Mark III’s dual DIGIC III processors and 14-bit-per-channel A/D conversion ensure smooth gradi-ents and exceptional skin tone. Model: Natalia Stella.
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the EOS-1Ds Mark III achieves exceptional
speed. It can capture up to 5 frames per second
in bursts of 56 JPEG frames or 12 RAW frames.
To come close to achieving that speed, it’s
important to use high-speed cards. The
Mark III comes with both CompactFlash
(CF) and SecureData (SD) slots, so with
current card capacity, it’s possible to have up
to 20GB of internal storage, although that’s
not as roomy as it sounds. If you capture
maximum-resolution JPEG + RAW files,
about 350 shots will fill a 16GB CF card.
The camera’s 14-bit A/D converter
produces an exponential increase over a
12-bit A/D converter, yielding 16,384 tonal
variations per channel, as opposed to the
customary 4,096, resulting in smoother skin
tones and gradations. Once raw images have
been processed internally, they can be
opened in the 16-bit Photoshop color space.
I shot extensively with the EOS-1Ds Mark
III in manual mode, where most creative
controls can be made without taking your
eye from the viewfinder. The viewfinder displays
all the pertinent information, including
shooting mode, exposure settings, frame
count, and ISO. You can set the two navigation
wheels on the front and back of the body for
different functions, such as shutter speed and
aperture or shutter speed and ISO. Changing
exposure by adjusting the ISO, without
affecting the shutter speed or aperture, simplifies
action photography and depth-of-field control.
For a camera of this caliber, the ISO
range is somewhat limited. The standard
ISO range that can be used without image
degradation is 100 to 1600. Even when
extended through a custom function setting,
the ISO range is still only 50 to 3200.
Electronic noise was noticeable at 3200, but
tolerable at 1600.
I experimented with most of the scene
modes, including Portrait, Landscape, Neutral
and Monochrome. Monochrome was inter-
esting because its lens-type filtration effects
will simulate yellow, orange, red and green
56 • www.ppmag.com
specs:Canon EOS-1Ds Mark III
SENSOR: 3:2 aspect ratio, 36x24mm full-
frame CMOS
RESOLUTION: 21.1 megapixel
(5,616x3,744 pixels)
IMAGE PROCESSOR: Dual DIGIC III
Processor
METERING: 63-zone TTL full-aperture
metering, evaluative (linked to all AF points),
partial (approx. 8.5% of viewfinder), spot
(approx. 2.4% of viewfinder) with three
variables (center spot, AF point-linked spot,
multi-spot), and center-weighted averaging.
SHOOTING SPEED: Rated at 5 fps, up to
56 JPEG frames per burst or 12 RAW frames
per bursts
ISO: 100 to 1600; to 50-3200 via custom
function
EXPOSURE SETTINGS: Program AE
(shiftable), shutter -priority AE, aperture-
priority AE, E-TTL II program AE (evaluative
flash metering, averaged flash metering),
manual, bulb
SHUTTER: Vertical-travel, mechanical,
focal-plane shutter with electronically
controlled speed of 1/8,000 second to 30
seconds. X-sync up to 1/250 second
WHITE BALANCE: Auto, daylight, shade,
cloudy, tungsten, white fluorescent light,
flash, custom WB, user-set color
temperature (2,500-10,000K)
VIEWFINDER: Eye-level SLR with solid
glass pentaprism; about 100 percent
horizontal and vertical
LENS MOUNT: Canon EF
FLASH: Accepts Canon Speedlite flash units
STORAGE: CompactFlash and SecureData
PRICE: $7,999
This photo was taken using custom white balance. Taking a custom white balance measurement,which can be stored for future use, is a simple process.
THE GOODS: PRO REVIEW
filters for dramatic black-and-white photos.
Most of these model shots were taken in
the Manual/Portrait mode, with off-camera
flash providing fill light. The EOS-1Ds Mark
III accepts most Canon Speedlite flash
units. Using a non-Speedlite flash, I had to
experiment a little to balance daylight and
fill flash, but once I had the settings down,
the results were good.
The camera has 45 autofocus points. When
shooting with f/2.8 or faster lenses, there are
19 cross-type focusing points, and the 26
assist-focusing points are sensitive only
horizontally. Cross-type focusing points are
more accurate than assist-focusing points.
The cross-type focusing points drop as the
lens speed drops. With an f/4 lens, only the
center AF point works as a cross type; with
f/5.6 lenses, all AF points have horizontal
sensitivity only; and with f/8 lenses, only the
center AF is active, so it makes sense to
shoot with fast lenses whenever possible.
With the full-frame sensor, there’s no lens
conversion factor. It’s compatible with more
than 50 Canon professional EF lenses.
In low-light, shooting in the predictive
AI Servo focusing mode, the camera had
difficulty initially locking in on the subject.
Theoretically, when the shutter release is
pressed down half-way in the AI Servo
mode, the camera will continuously focus on
the primary subject, but that didn’t work
particularly well in limited available light. If
the camera didn’t lock on right away, it
tended to take considerably longer to focus
than expected, often making me miss the
shot I wanted entirely. Rather than making
only fine-focusing adjustments, it would run
through the entire focusing sequence, some-
times repeatedly, before locking on. I haven’t
encountered that in previous high-end
Canon DSLRs.
The EOS-1Ds Mark III uses a 63-zone
TTL full aperture metering system that sup-
ports evaluative, partial, spot and center-
weighted averaging modes. I prefer shooting
in the center-weighted averaging metering
mode, and I had no problems there. But the
evaluative mode, which should be the most
intelligent assessment, as it takes into account
the largest number of readings within a
frame, at times yielded underexposed images.
You can set the camera to various standard
defined color temperatures and specific
Kelvin values from 2,500 to 10,000, as well
as custom color temperatures. Setting up a
custom white balance is simply a matter of
registering an image taken specifically for
that purpose, or an image stored on a card.
It’s important that that image is correctly
exposed, as significant under- or over-
exposure will throw off the process.
First you select Custom WB registration
in the menu and indicate which WB (1-5)
the reading will occupy. Then you set the
lens to manual focus and make an image of
THE GOODS: PRO REVIEW
58 • www.ppmag.com
Shooting in the Monochrome Scene mode, it's possible to simulate various lens filter effects, including ared filter for dramatic sky effects.
a pure white card, exposed to produce a
light gray (18 percent) image. For some
reason, in both sunlight and shade, the first
few times I tried it, the image of the card
had a blue cast. Thereafter they recorded
correctly. Once the camera finishes the
computations, the results are stored in one
of the five personal white balance slots for
later recall. There’s a faster method of taking
a custom white balance, using the function
button and dials to skip the menu
navigation, all explained in the manual.
The Mark III’s extra-large 3-inch LCD
screen is highly readable under almost all
lighting conditions except very bright sunlight.
I could still see the overall image on the screen,
but the details were barely distinguishable.
In most viewing conditions, you could see well
enough for framing, even shooting in the
Live View mode and framing using the LCD.
The camera’s My Menu option lets you
group all of the most common commands
and settings onto one screen, greatly speeding
up access to frequently used items. It’s also
possible to write the camera settings to a
memory card so you can revert to favorite
settings, and have available various sets of
preferred camera settings for different
shooting situations. It also simplifies loading
the settings of one camera onto another.
The Mark III has a rugged body and the
shutter is rated to 300,000 frames—high, even
for a professional camera. Its integrated cleaning
system activates each time the camera is
turned on or off, shaking dust particles from
the sensor. There’s also a software dust removal
method for artifacts on captured images
once they’ve been transferred to a computer.
Considering its resolution, image quality
and speed, the Canon EOS-1Ds Mark III is
ideal for high-end commercial work, both
on location and in studio. However, when I
was shooting tethered to a computer, the
USB cable tended to pull out. Disconnecting
cables plagued photographers when studio
flash systems were generally triggered by PC
cords. Wireless triggering devices eliminated
that problem, but the problem returns with
the USB cable. To be fair, it’s an inconvenience
with any DSLR used in USB-tethered mode.
Still, Canon could have come up with some
sort of USB cable locking mechanism.
The camera comes with Version 16 of
the EOS Digital Solution Disk, which
includes Digital Photo Professional 3.2. for
professional grade image transfer,
organization and conversion, and a
number of other applications and utilities.
The Canon EOS 1Ds Mark III has a
suggested retail price of $7,999. �
February 2008 • Professional Photographer • 59
There’s a quiet revolution taking place in
studio lighting. For almost 50 years, the
studio experience included a pop and flash
with each exposure, while powerful strobes
fired away. Before flash, constant light
sources ruled. Today, photographers are
rediscovering the beauty, simplicity and
intimacy of constant light.
Manufacturers are responding to the
trend with new technology, such as the
Westcott Spiderlite constant light series,
which can be attached to any Westcott
soft box or strip bank. Spiderlites work
with either tungsten or cool-running,
daylight-balanced fluorescents. Switches
on the units control the light output by
turning on or off individual or multiple
THE GOODS: LIGHTING
Flash isn’t the only way to light in studio. New lower heat sources can illuminate likenorth light or be easily configured into setups that flood the space with light.BY ED P IERCE, M.PHOTOG.CR.
ConstancySTUDIO LIGHTING
60 • www.ppmag.com
Figure 1
All images ©Ed Pierce
bulbs, without changing color temperature.
I shot all of the images shown here with
a Canon EOS 5D, using a PhotoVision One-
Shot Digital Calibration Target to achieve
proper exposure and custom white balance.
For the high-key image of Melissa (Figure 1),
I used a basic two-light setup with Westcott
daylight-balanced fluorescent bulbs. The
butterfly-positioned key light had five bulbs
in a 31x42-inch soft box boomed above and
in front of the subject. I placed a 12x50-inch
strip bank with three bulbs on the floor in
front of the subject for fill. Exposure: 1/30
second at f/3.2, ISO 200, with an 85mm
Canon EF f/1.2 II USM lens.
I’ve always been envious of studios that
have northern exposure window light in
the camera room. But as beautiful as
window light is, it can be challenging to
maintain proper exposure and color
balance on sunny days when the sun darts
in and out of the clouds, and nearly
impossible on rainy days.
When Westcott introduced the 8x8-foot
Scrim Jim frame a year ago, I got the idea
to build myself the perfect window. I
combined two frames, 18 inches apart, with
a one-stop translucent fabric in one and
silver reflective material in the other.
Between them I suspended five 8-foot
Figure 3
Figure 2
February 2008 • Professional Photographer • 61
sections of track lighting holding 25
Westcott fluorescent bulbs. Voila! Perfect
window light that can be moved and
feathered, is consistent in intensity and
color balance, and can be used day or night.
I used “Ed’s Big Box” in Figures 2 and
3. The first image of Ashleigh began with
a fairly traditional approach to window
light, with a 72x42-inch white Scrim Jim
reflector for fill. I added two Spiderlites in
strip banks, one as a hair light, the other as
an accent to add a second catch light at the
bottom of the eye. Photographers with
window-lit camera rooms will be excited
to learn they can now add accents and
supplemental lighting to backgrounds and
hair in this way. Exposure: 1/160 second at
f/1.4, ISO 100, with an 85mm Canon EF
f/1.2 II USM lens. The second image of
Melissa was taken from a high angle. In
addition to the big box, I used a single eye-
lighter fill strip bank on a boom arm.
Exposure: 1/100 second at f/2.0, ISO 100.
Another welcome use of the Spiderlite
with fluorescents is adding flash when
needed for depth-of-field or action-stopping
shots. You can add strobes by either
replacing several of the fluorescent bulbs
62 • www.ppmag.com
Figure 4
THE GOODS: LIGHTING
with the Westcott screw-in strobe units or,
as I prefer, simply inserting Quantum
Qflashes through the soft box vents, as in
the portrait of Michael on the gold couch
(Figure 4). The Qflash with 150 watt-seconds
of output, which can be AC- or battery-
powered, is more than powerful enough for
portraits. Here, I shot at f/7.1, ISO 100. All
Qflashes were set below half-power. One strip
bank provided hair light, another eye-lighter
fill. Again, the main light was a 31x42-inch
soft box boomed into a butterfly position.
The final two images of Melissa (Figures
5 and 6) look almost like opposites, yet
were created with identical light sources. I
switched to tungsten in my Spiderlites, a
simple switch-out of the screw-in bulbs. I
used strip banks for hair light and fill, but
instead of a soft-source main light, I used a
4-inch theatrical Fresnel (purchased online
for about $150). The accent lights are
Photogenic mini-spots I bought some 20
years ago for the purpose of simulating print
competition lighting. Surprisingly, I still find
several sources for them online. I shot this
homage to the glory days of Hollywood
black and white for 1/40 second at f/2.2,
ISO 100, with the 85mm lens. I shot the
alleyway grunge image with my 200mm
fixed Canon EF f/1.8L USM lens for 1/30
second at f/1.8, ISO 100.
Not one of these takes was handheld.
The camera was mounted on my Bogen
camera stand. I could have bumped up the
ISO, as all but one were shot at ISO 100,
but I learned to do it this way 25 years ago
and I still prefer it today. You can always
make a sharp image soft, but it doesn’t work
in reverse. Call me old school. �
Pierce is teaching a 68-city educational tourin 2008. Go to www.edpierceseminars.comfor dates and locations.
February 2008 • Professional Photographer • 63
Figure 6
Figure 5
The new Zeus system from Paul C. Buff has
a combination of desirable features that
similar systems lack, starting with the price.
The system is compatible with select Dyna-
Lite M2000 heads, and Zeus heads work
with Dyna-Lite packs. Users can remotely
trigger and control output, or simply trigger a
pack via various optional Paul C. Buff wired
and wireless remote control units. The system’s
version of Balcar’s reflector and light
modifier attachment design is very secure.
The packs and all of the heads are fan cooled.
The Zeus System may lack the looks and
the sleek interfaces of more expensive systems
from Broncolor, Elinchrom, Hensel and Profoto,
but it does the job it’s supposed to do:
consistently produce the light
you need and lots of it.
ZRM1 RINGMASTER
Perhaps the least obvious strength of the
Zeus system is the ZRM1 RingMaster flash
head. Yes, it’s a ringlight, and poking your
lens through the donut hole makes it easy
to make shadowless portraits with the hard,
near-clinical feel you’d expect, but it’s much
more versatile than ringflash heads that
cost a bundle more.
Like most standard heads, and unlike
virtually all current ringflash heads, the
ZRM1 is the platform for a system of light
modifiers. With the inner and outer edges
of the ring used as attachment points, it’s
the Swiss Army knife of lighting. It’s also
light enough to handhold longer than
other ringflash units with the same output
capacity. Like its ABR800 monolight
sibling, its functional modeling lights
let you see what you’re doing. And
like the ABR800, the head can
be used as an off-camera light,
mounted on a tripod or light
stand, or handheld.
Start by working with
the basic bare ZRM1
head with or without the
included diffuser. Add
the removable 10-inch
reflector, then try those
combinations with the optional 20-inch
grid spot attachment.
For a softer look, add one of the two sizes
of Moon Unit soft boxes, either the original
with a 30-inch diameter or the new 56-inch
diameter version. Shoot through the center
or change the diffusion screen and use it as a
standalone soft box.
For something even more exotic, try a set
of the optional heavyweight black paper masks
precut in various shapes and patterns, pack-
aged with four blanks for your own signature
patterns. None of them really changes the
overall quality of the light, but they create
interesting catch-lights in the subject’s eyes
and subtly alter the shape of the shadows.
The masks tend to block a fair amount of
light, which isn’t a problem given the power
and efficiency of the Zeus system. Try removing
the internal diffusers to get a large light with
a brighter center hot spot. Go back to the
bare tube configuration and add the center
deflector in conjunction with the 10-inch
reflector, or some strategically placed bounce
cards for shadowless macro work light.
There’s also an included umbrella adapter.
Two more terrific things about the ZRM1
and 56-inch Moon Unit soft box—the com-
THE GOODS: LIGHTING
From Tennessee comes a versatile lightingsystem with smart design features. It’sconsistent, reliable and priced right.BY ELL IS VENER
All-star comboTHE ZEUS SYSTEM
Zeus ZRM1 RingMaster Flash Head
Zeus Z2500SH Standard Flash Head
bined shallow depth and a weight of just 1
pound, 14 ounces for the fully assembled
soft box and speedring. The ZRM1 and 56-
inch Moon Unit are only 5.5 inches deep,
great news if you have to get a large light
over a set in a low-ceilinged room. Compared
to standard head and soft box combinations,
this combo requires less ballast when the
light is mounted on a boom. Despite the
shallow design, using the internal diffusers
evenly and smoothly illuminates a wide area.
POWER PACKS
Zeus packs come in two strengths, the 1,250
watt-second (WS) Z1250 and the 2,500WS
Z2500. These are the actual output specs, not
“effective” watt-seconds. Paul C. Buff designed
the Zeus packs with only two head connection
ports, Channels A and B. A single slider controls
total pack output over a continuous 5-stop
range, and power can either be distributed
symmetrically between the two channels or
split into a fixed 3:1 ratio between channels
A and B. By combining the asymmetric setting
and the slider, you gain two more stops of
low-power output if you use just the B channel.
With the Z2500, which we used for this
evaluation, this means the total power range
is 7 stops, or from 2,500WS to about 20WS.
Of course, how raw watt-seconds translate
into the quantity of illumination on your
subject depends on the modifier or reflector
on the head and its distance from the
subject. In a large space, at a diffusion
screen-to-subject distance of 8 feet, meter and
camera set to ISO 100, a Z2500 + Z2500SH
+ Medium Chimera Super Pro soft box
combination produced f/16.5 at full power
and a little less than f/2 at minimum power.
Bare tube color temperature, as measured
with a Broncolor FCC meter, ranged from
5,850 Kelvin to 5,500 Kelvin at 1/8 power.
There are pack and head systems with better
color temperature stability throughout their
range—Profoto and Broncolor in
particular—but they cost much more.
There are two standards for measuring
flash duration. The t0.1 standard is equiv-
alent to the motion-stopping ability of a
shutter speed, and the more commonly
used (at least in marketing literature) t0.5
standard, which is about 3 times shorter
than t0.1 flash duration. If stopping
motion is important to you, the t0.1
standard is the one to bear in mind.
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February 2008 • Professional Photographer • 65
With the head plugged into the B channel,
at full power in symmetric mode, the t0.1
flash duration of the Z2500 and Z2500SH
combination measured a very
respectable 1/230 second (1/690
second at t0.5). Using the variator and
cutting power by 2 stops slightly length-
ened flash duration to 1/175 second.
With the variator at full power but
switched to asymmetric mode, in which the
B channel has only 1/4 power at maximum,
the t0.1 flash duration dramatically shortened
to 1/655 second (about 1/2,000 second at
t0.5). These measurements are slightly
longer than the company states, but their
measuring tools are different.
There are some things I wish were
different about the Zeus. For one, I’d like
the pack to have a more squat shape with a
lower center of gravity. I’m not crazy about the
clamshell lid design. I’d like the option to
side-mount a hook to the pack so that I could
hang it from a stand as ballast. I wish the
lever to open the reflector/speedring attach-
ment clamps were on the side and not the
bottom of the head. I’d like the heads to
have a short pigtail connection so the 12-foot
cable could be disconnected for easier
storage. And I’d like a pencil-light type head
like the Dyna-Lite Enertec pencil light,
which won’t work with the Zeus because of its
lower power capacity.
In the big picture, these are minor matters
of design, and adding these features would
likely add to the price. Bottom line, if you’re
looking for new studio lighting and you want
a lot of versatility for your money, the Zeus
is definitely a serious contender. �
THE GOODS: LIGHTING
66 • www.ppmag.com
specs:The Zeus System
ZEUS Z1250 POWER PACK
MAXIMUM POWER OUTPUT: 1,250WS
FULL-POWER RECYCLE TIME: 1.2 seconds
QUARTER-POWER RECYCLE TIME:
0.35 seconds
SIZE (h x w x d): 10.5x7.5x4.25 inches
WEIGHT: 7.4 pounds
PRICE: $599.95
ZEUS Z2500 POWER PACK
MAXIMUM POWER OUTPUT: 2,500WS
FULL-POWER RECYCLE TIME: 2.4 seconds
QUARTER-POWER RECYCLE TIME: 0.7
seconds
SIZE (h x w x d) : 10.5x7.5x4.25 inches
WEIGHT: 11.2 pounds
PRICE: $799.95
ZEUS Z2500SH FLASH HEAD
INCLUDES: 7-inch 80-degree reflector,
250-watt quartz-halogen modeling light
MOUNT: standard swivel stand, hardwired
12-foot cable
MAXIMUM POWER INPUT: 2,500WS for
maximum continuous usage up to
30,000WS per minute
SIZE (h x w x l): 5.25x4x7 inches
WEIGHT: 3 pounds (without cable)
PRICE: $299.95
ZEUS ZRM1 RING MASTER
FLASH HEAD
INCLUDES: 10-inch reflector, eight 20-
watt lights, flash tube cover/diffuser
MOUNT: universal camera platform, tripod
and light stand mounting bracket, 12-foot
head-to-pack cable
MAXIMUM POWER INPUT: 2,500WS for
maximum continuous usage up to
20,000WS per minute
SIZE: 8-inch diameter, 2.75-inch depth, 4-
inch center port for lens
WEIGHT: 1.5 pounds (excluding cable,
camera, mounting bracket)
PRICE: $299.95
ZEUS Z5000BTH BI-TUBE FAN
COOLED FLASH HEAD
INCLUDES: 7-inch, 80-degree reflector,
two flash tubes, 250-watt quartz halogen
modeling light
MOUNT: standard swivel stand, and two
12-foot head-to-pack cables
MAXIMUM POWER INPUT: 5,000WS for
maximum continuous usage up to
30,000WS per minute
SIZE (h x w x l): 5.25x4x7 inches
WEIGHT: 3 pounds (without cables)
PRICE: $399.95
Zeus Z2500 Power Pack
68 • www.ppmag.com
Commercial photographer Jason Lindsey of Champaign, Ill., has adual perspective. He learned about the business of image creationduring his years in commercial design and art direction.
Flip sideJason Lindsey forges a commercial career with a dual perspective
n business, it often helps to see things
from the perspective of your customers.
For a public relations agent, it’s useful to
spend some time working in the media.
For a real estate broker, it would pay to go
through the home-buying process. For a
commercial photographer, it certainly helps
to have been an agency art director.
Commercial photographer Jason Lindsey
of Champaign, Ill., is living proof of the
value of having a dual perspective. Lindsey
had always been interested in photography,
but his education and early career experience
were in graphic design. Over five years of
commercial design and art direction,
Lindsey learned about the business of image
creation from the perspective of an ad
agency. He learned how to deal with clients,
figure out the logistics of commercial
projects, and how to turn a concept into a
fully realized campaign.
Meanwhile, photography kept pulling at
Lindsey’s heartstrings. He started shooting
tourism and travel images, first for fun
and then for a fledgling list of clients.
Lindsey found an increasingly receptive
market for his images. Clients liked his
style. Art directors liked his knowledge of
the industry.
When Lindsey felt the time had arrived,
he dove headfirst into the business of
commercial photography. He bought a
lighting kit the night before his first big
commercial shoot, but had to hire someone
who knew how to work the lights. The
technical skills came soon enough, but have
never been a focus of Lindsey’s. Instead, he
All images ©Jason Lindsey
COMMERCIAL By Jeff Kent
I
February 2008 • Professional Photographer • 69
sells his particular vision of the world, with
an emphasis on emotion, innovation and a
clear sense of commercial artistry.
A decade later, Lindsey’s business is
going like gangbusters. His clients include
Anheuser-Busch, Fujifilm, the U.S. Postal
Service, Geico Direct, Amazon.com and
dozens of others. He’s done editorial shoots
for National Geographic Books, Smithsonian
Magazine, The Wall Street Journal and
U.S. News and World Report, to name just
a few. We sat down with Lindsey to get
some details about the approach that’s
made him so successful.
Professional Photographer: How has your
experience in art directing affected your
work as a photographer?
Jason Lindsey: Not only was I working as a
designer, but my degree from college was in
design. In school, we learned about trying to
communicate something for a specific purpose
or need. It’s more a commercial way of
thinking than a purely artistic approach.
Much of the photography training I’ve seen
is more about art. My design training is
valuable for my work because it was all
about being creative on demand, or creating
something for a very specific purpose. That
background helps me talk to art directors
and get on board very quickly with what
they are trying to accomplish.
Tell us about your working style. Do you do
a lot of planning before a shoot, or do you
work more intuitively?
In general, I try to make the images feel
natural or intuitive, but much of my work is
consciously produced, even if it’s an
intuitive consciousness. I try to do as much
preparation as possible before going on
location. Once there, I can work more
intuitively. The more prepared I am going
into a shoot, the more reactive I can be to
the changing situations on location.
COMMERCIAL
70 • www.ppmag.com
‘‘’’
When I started shooting professionally,
my portfolio and promo materials were what I
thought clients wanted to see. Later, I put
together materials that were much more personal.
My business almost doubled.
Tell us about your approach to lighting,
particularly the difference between your
environmental lighting and your thematic,
communicative lighting.
Back when I started, I asked an established
photographer friend if I should take a
lighting class. He told me no. “I think it’s a
good thing that you don’t light by rules,” he
said. He had a good point. I don’t light
certain things certain ways because of some
lesson I learned in a class. I developed my
lighting style more naturally.
I light with one of two approaches. The
first is based on emotion, on what I’m trying
to communicate in the image. For example,
I did a portrait of an author whose book
opened with a nighttime car wreck on a
rural stretch of road, so we did the shoot
before sunrise and replicated the look of
truck headlights illuminating a scene at
night. I set up a battery-powered light kit
and lit the author with strong directional
light from the side to create a connection to
the scene in the book. If my light is very
noticeable, as in this case, you can be sure
there’s a reason.
My other approach to light is based on
how the subject would appear in a natural
environment. In natural environments, light
comes from everywhere, not just a window
or single light. It reflects and bounces
around from all sides. I visualize how
something would look in a natural
environment and use that as my guide.
I like shooting outdoors after sundown. I
also make a lot of images shooting directly
into the sun, intentionally creating lens flare.
In general, I don’t worry about photographic
rules. If there’s lens flare, but the shot has
more emotion, more impact, that’s fine.
From where do you draw your inspiration?
A broad variety of sources. The Web has
been an amazing source of inspiration. I look
at online magazines, photo news groups and
other photographers’ portfolios. I also often
brainstorm with a photographer down the
street named Christopher Rory. He does
children, seniors, families and pets. We look
at each other’s work and draw inspiration
from each other. People often put the
[commercial and retail portrait] markets in
separate categories. It’s strange that those
two worlds don’t usually meet. Maybe they
should. My interactions with Rory have
broadened my visual reference significantly.
How has your work developed from your
first days of pro shooting?
When I started shooting professionally, my
portfolio and promo materials were what I
thought clients wanted to see. About two
years later, I put together promos and a new
portfolio that were much more personal.
The new materials were focused on how I
see the world, how I like to shoot things. My
business almost doubled after I started
showing my vision. It was encouraging that
my outlook had such value. It helped me to
have confidence in my approach from a
business standpoint. I still have to remind
myself to push out there further, to pursue
my photographic vision.
What would you recommend to those
interested in establishing a stronger career in
commercial and editorial photography?
Make sure you’re listening to yourself in
terms of how you see the world. What I sell
is my vision of the world, how I interpret a
scene or a setting. I don’t sell my equipment
or my technical expertise. These days, because
there are more and more high-quality
digital cameras out there, it’s easier for
clients to shoot certain things on their own.
When they hire a professional photographer,
they want that photographer to bring a
unique vision to the project. That’s how you
find a market for your work in this field. �
To see more from Jason Lindsey, visit himonline at www.perceptivevisions.com.
February 2008 • Professional Photographer • 71
1.800.662.1000 • www.albumsinc.com
COMING IN FEBRUARY EXCLUSIVELY FROM...
“THERE IS NO END.THERE IS NO BEGINNING.THERE IS ONLY THE PASSION OF LIFE.”
– Federico Fellini
72-73 albums.indd 2 1/15/08 1:14:36 PM
BE THE REVELATION
Everything after the photography1.800.662.1000 • www.albumsinc.com
You’re not just taking a picture when you push that button. You’re laying bare
the revelation through which the next generation sees. Capturing the truth
that will grow more telling with each passing year. And every new set of
enlightened eyes.
That’s the power of photography. Every shot you take adds a branch to
a family tree. Creating memories that, years from now, will connect families
to their roots in often unexpected and meaningful ways.
That’s your gift. You immortalize moments. And when you print them and
preserve them in family albums, you make the understanding of those
who come after immeasurably deeper.
THROUGH WHICH THE NEXT GENERATION SEES.
Jorgensen Album
72-73 albums.indd 3 1/15/08 1:14:54 PM
All images ©Louise Botticelli
DOUBLE
Louise Botticelli’sbooming bicameral
business model
BY JEFF KENT
VISION
It’s a common conundrum in photography
—should you follow a high-end, low-volume
business model or a moderately priced, higher
volume model? There are big differences
between the two, including the areas of
marketing approach and workflow.
Louise Botticelli, M.Photog., decided to
follow both models. A former teacher with a
master’s degree in early childhood education,
Botticelli got into professional photography
about 15 years ago, after a long break from
the workforce while her children were
growing up. She was taking classes in art
and photography at Stony Brook University
in New York when she was drawn to a mall
display of portraits on canvas by Jeff Lubin,
M.Photog.Cr. Fascinated, she signed up for
Lubin’s seminars. She found a direction for
her photography and learned how to
establish a market for it. Botticelli joined
PPA and took dozens more workshops
presented by well known portrait masters.
She opened a portrait business in her
home in Setauket on New York’s Long
Island. A natural with kids, Botticelli con-
centrated on child and family portraiture,
and within a year or so, the business had
“You can never let your guard down. If you get busy andstop promoting your business, you’ll eventually feel it. It could take a year, but you’ll see a downturn.”
outgrown the confines of her home. She
rented a small space in West Hampton on
Long Island, which the business again
outgrew in about a year, and she moved
one more time before adding a 3,000-
square-foot studio on the side of her home.
Then Botticelli Portraits really took off. She
bought a small gallery space on Main Street
in West Hampton to display her work to a
wider audience, and hired a studio manager
so she could concentrate on making artful
portraits, most of them rendered on canvas.
About four years ago, the studio’s sales
averages started to drop. The storefront
gallery, promotions and mall displays were
bringing in clients, but they were ordering
78 • www.ppmag.com
smaller prints and lesser packages. Botticelli’s
son Brian graduated from college about
then, and he wanted to join the business.
Taking both matters into consideration, she
and her manager brainstormed about
revising the original business plan.
To the high-end, labor-intensive portrait
line, Botticelli decided to add a venture to
cater to a different market, one that would
offer more products and services and go for
higher volume sales. The West Hampton
gallery was revamped into a separate
division of Botticelli’s business, Uniquely
You Express Photography. Under Brian’s
management, the new business included
wedding and event photography.
Sales averages rebounded and the Uniquely
You brand was building a reputation in the
area. Botticelli purchased another space, this
one in the commercial district of Huntington,
Long Island, a town closer to New York City
with year-round traffic. Brian Botticelli moved
into the new space, and the West Hampton
business was placed under the management
of a recent photo school graduate.
“It was a hard decision to change the busi-
ness structure, but when we saw the numbers
going down it was obvious that something was
holding people back,” says Botticelli. “It was
the pricing. When my son joined the business,
I said ‘We need to offer a good product at a
different price.’ I knew it couldn’t be out of
the main studio that I work in, because that
was identified with high-end canvas portraits.
So we started Uniquely You. Once the
people came in for the smaller-scale products,
there was a percentage that would still opt
for canvas portraits. It worked really well.”
Using StudioPlus studio management soft-
ware, Botticelli’s studio manager coordinates
the business of all three locations from her
office in the home studio. The West Hampton
and Huntington studios use Phase One digital
camera backs linked directly into the
StudioPlus system for ordering and image
management. All phone calls go directly to the
manager’s office, freeing up the three photogra-
phers to work with clients without distractions.
“If you’re going to advertise and put
money into getting your phone to ring,
someone needs to be there to answer it,” says
Botticelli. “It’s also important to train the
people you work with, whoever answers the
phone, because that’s where you form the
first connection with a potential client.
Clients want that connection. It’s so important.”
To manage the growth of the business
and maintain a healthy volume, Botticelli
uses a marketing plan that’s “a little bit of
everything.” She has image displays in five
malls, which generate most of the studios’
calls. She hangs prints in libraries, physicians’
offices, clothing stores and other local busi-
nesses. For one clothing store, she designed
business cards that feature one of her images
and her studio name. She’s bought print ads
and worked with Marathon Press on direct
mailings, even partnered with car dealerships
that give studio coupons with the purchase
of a new car. “You can never let your guard
down,” she says. “If you get busy and stop pro-
moting your business, you’ll eventually feel it.
It could take a year, but you’ll see a downturn.”
Besides marketing, Botticelli credits much
of her success to good customer service and
consistency once she gets people in the door.
“Always have time for people while they’re
there. Be consistent with pricing and
turnaround. If you make promises or
promote a particular system, stick to it.”
Another key is workflow. Botticelli man-
ages the multi-location business by doing
what she does well—photographing children
and families—and delegating the rest. Part
of it is working closely with trusted partners
and vendors. “There will always be problems
when you establish a new partnership, but
as long as you solve them in the beginning,
you can establish a level of consistency so
that everything coming out of your studio
will be acceptable to you,” she says.
Because of Botticelli’s successful business
model, other photographers are seeking her
advice. The former teacher will once again
be tutoring pupils in one-on-one, weeklong
workshops that go behind the scenes at her
three studios. Her Photography for Life work-
shops focus on sharing the lessons that she’s
learned—or, as she puts it: “Everything you
need to know to turn your passion into a career.”
“I find that no matter what level you’ve
reached, what your experience is, you can
always learn,” says Botticelli. “I yearn to go
to PPA conventions, to attend workshops,
and to look at Loan Collection prints. You
can discover so much by looking at good
work. And the whole PPA community is so
eager to share. Learning is the clearest path
to success in this business.” �
To learn more about Louise Botticelli, visither online at www.botticelliportraits.com.
February 2008 • Professional Photographer • 81
Al images ©Marcus Bell
Shot through the heart
Marcus Bell throws heart and soul into his photography
whether documenting awedding or creating fine-art.
BY STEPHANIE BOOZER
appily situated in Queensland,Australia, Marcus Bell is thehead of Studio Impressions, a choice photography
studio popular with globetrotting brides.
Specializing in what he calls a “global approach,” Bell travels anywhere to photograph weddings.
Clients around the world seek him out for the
quality of his work and the emotion it evokes.
Professional Photographer: How did you
get started in photography?
Marcus Bell: Believe it or not, I was a banker,
struggling to escape and find my passion.
What was always under my nose became
one of the greatest finds in my life. My
father was a photographer, and my grand-
father before him. I never imagined I’d do
what my forefathers did, but when I picked
up the camera, it was like being hit by a bus.
What sets Studio Impressions apart?
One major factor is our print presentation.
Early on, we incorporated our fine-art
‘‘ ’’My father was a photographer,and my grandfather before him.I never imagined I’d do whatmy forefathers did, but when I picked up the camera, it was like being hit by a bus.
training into everything we do. Every image
goes through a comprehensive process to
draw out the emotion. I think of it as
communicating my vision into the final
print while enhancing the viewing
experience through composition and light
and drawing out the center of interest.
What’s your philosophy?
Shoot from the heart. Build relationships
with your clients. Communicate your vision
into print. Be remarkable in everything you do.
Studio Impressions was founded on a few basic,
yet powerful philosophies. First, passion. From
day one, my passion ensured I’d create a studio
for all the right reasons. I also emphasized
high quality, fine-art images and a comple-
ment of outstanding products. The most
important ingredient of our success is creating
a strong relationship with each of our clients.
Emotion and real moments are the essence
of Studio Impressions’ photography. I use
‘‘
the camera to tell true stories of real people.
Being invited to share clients’ most precious
moments is a privilege.
Is there any location you wouldn’t travel to?
I would say Antarctica could be too far
away. Not to contradict myself, but it
would be great if you could fly there, yet
[its remoteness] is part of its beauty. The
most interesting location I’ve photographed
is due more to the people than the place—
Ireland. I always come away with the most
amazing experiences and images. Paris is
the most problematic location, only
because so many photographers have
captured it from every angle.
Tell me what you love most about weddings.
I would travel the world to capture candid
emotional images in street-scene environ-
ments, but as soon as I saw that these
moments happen week-in and week-out at
weddings, I was hooked and always will be.
Every wedding is unique to me.
Where does your fine-artwork fit in?
It’s the largest inspiration of all for my
wedding photography. Being taught about
the art of photography instilled so much of
what my images represent today. I’ve
incorporated a number of new tools that
let the creative side run wild. Principles
that painters use enable a photographer
look at images on a whole new level, and in
turn produce standout works of art in their
own right, even in wedding images.
At the end of the day, who are you—
a photographer or a businessman?
A photographer for sure, though a pho-
tographer who’s had to learn to be out-
standing in every single way to compete
alongside the businessman. My whole
business was based on this.
I’m a strong believer that the major
events in our lives shape who we are, and
in turn, shape the photographers we are.
A number of major events have shaped
my photography: the death of my father
when I was 16, meeting my wife, the birth
of my son Jackson, and the premature
birth of my twins.
At the birth of my son Jackson, I
handed my camera to the anesthesiologist,
a keen photographer. He captured one of
the dearest moments in my life. For the
first time, I saw for myself the gift that
photography gives others. With a single
image you can encapsulate a moment that
will be relived over and over again. That’s
an amazing gift to give to our clients. I
can’t remember ever seeing a bank state-
ment that gave anyone this kind of joy. �
Visit Marcus Bells’ Web site atwww.studioimpressions.com.au.
’’
I use thecamera totell truestories ofreal people.Beinginvited toshare clients’mostpreciousmoments isa privilege.
88 • www.ppmag.com
90 • www.ppmag.com
CAMERAS
DIGITAL SLR (35MM STYLE)LESS THAN $1,000
IT’S A TIE!
Pentax K100D SuperIn the K100D Super, Pentax provides a full-featured, technologically advanced SLR at anaffordable price. The K100D Superis compatible with all Pentaxlenses andcan beadaptedto screwmountand645/67lenses(adaptersold sep-arately). Itfeatures shakereductiontechnology, a 2.5-inch LCD with 210,000-pixel resolution and a dust removal system tokeep the CCD surface clean. The K100DSuper has a 6.1-megapixel APS-C size CCD,an 11-point autofocus mechanism and 16-segment multi-pattern metering. Thepentamirror viewfinder provides a 96-percentfield of view with 0.85X magnification. Price: $519.95, body only; $599.95with 18-55mm lens.www.pentaxslr.com
Olympus Evolt E-510The Olympus Evolt E-510 portable digital SLRhas a 10-megapixel Live-MOS sensor. Thecamera’s mechanical image stabilization withSupersonic Wave Drive technology providesblur-free images, while the Live View LCD allowsyou to compose shots from a variety of angles.The E-510 is compatible with more than 30
A high-techstate of mind
There are two schools of thought on technology. The first prescribes using
existing technology as long as possible: Save money, wait until the system is
obsolete. The second declares that technology is a tool, and new tools should
replace old ones the minute they’re available: The cost will pay off in greater
efficiency, broader functionality, and staying ahead of the competition.
Professional photographers have largely belonged to the second school,
embracing and mastering new technology, and never at the expense of artistry.
The Hot One Awards reflect not only the technology in the photographic industry,
but the spirit of the photographers as well. The Hot One judges, professional
photographers themselves, evaluated myriad entries in this ninth annual event
to vote on the best of the year’s new and upgraded products and services.
We hope you’ll be as eager to see what they chose as we were. Here’s to
putting these wondrous tools to the most artistic of uses!
Jeff KentHot One Editor
The Hot One Awards showcasethe most advanced,
useful tools on the market
February 2008 • Professional Photographer • 91
digital-specific lenses. Its dust reduction systemkeeps the sensor spot free. Lightweight andportable, the E-510 has an ergonomic grip forease of use in a variety of quick-shooting situa-tions. Price: $549.99, body only; $749.99with 14-42mm and 40-150mm lenses.www.olympusamerica.com
DIGITAL SLR (35MM STYLE) $1,000 TO $3,000
Canon EOS 40DThe Canon EOS 40D brings digital SLR usersa host of cutting-edge features at a mid-rangeprice. Housing a 10.1-megapixel CMOS sensor,the camera comes with the EOS IntegratedCleaning System, Canon Live View, 3-inchLCD monitor and a DIGIC III Image Processor.Canon’s noise reduction technology providesclean images, and 14-bit conversion providesexcellent color tones and gradations. Well-configured for fast-moving applications suchas sports, wedding or event photography, theEOS 40D can capture 6.5 frames per secondwith a burst rate of up to 75 consecutiveJPEGs. Price: $1,299, body only.www.usa.canon.comwww.fujifilmusa.com
DIGITAL SLR (35MM STYLE)$3,000 TO $7,000
Canon EOS-1D Mark IIIWhen Canon released the EOS-1D Mark III, itwas heralded as a technological breakthrough.The EOS-1Ds Mark III has since assumed topplace in a EOS line, but the 1D Mark III is farfrom a forgotten stepchild. With a 10.1-megapixel CMOS sensor (APS-H size), a new45-point autofocus system, a 3-inch LCDmonitor with Live View technology, and the
Canon EOS Integrated Cleaning System, theEOS-1D Mark III impressed our judges as arobust, tech-loaded DSLR. It shoots at astaggering 10 frames per second in bursts of upto 110 JPEGs or 30 RAW files. Dual DIGIC IIIImage Processors speed up camera processeswhile refining image quality. Price: $4,499,body only. www.usa.canon.com
DIGITAL SLR (35MM STYLE)OVER $7,000
Canon EOS-1Ds Mark IIIThe eagerly anticipated Canon EOS-1Ds MarkIII was a unanimous winner in this category.An engineering marvel, the camera boasts anentirely new 21.1-megapixel, full-frame CanonCMOS sensor. It features Highlight TonePriority and 14-bit A/D conversion for excellentcolor tones. Dual DIGIC III Image Processorswork together to accelerate data handling andspeed up the operation of camera features. TheEOS-1Ds Mark III is durable, with a tough body,rugged shutter design and EOS IntegratedCleaning System to ensure pro-grade reliability.
It has a 3-inch LCD monitor with a Live Viewfunction, plus a 45-point autofocus system.Price: $7,999, body-only. www.usa.canon.com
MEDIUM-FORMAT DIGITALCAMERA SYSTEM
Mamiya 645ZD Digital SystemMamiya won this growing and hotlycontested category with the 645ZD DigitalSystem, the first 22-megapixel digitalcamera system priced under $10,000. Thesystem brings plenty of bang for the buck,including the Mamiya 645AFD II medium-format camera, an 80mm f/2.8 AF lens and the newly introduced Mamiya ZD 22-megapixel digital back. The 645ZD DigitalSystem features the Mamiya communica-tion protocol (Mamiya Serial Communica-tion for External) for optimized two-waycommunication between the 645AFD II
camera and the ZDdigital back.
The system
handles shooting at 1.2 frames per second,has an optional low-pass filter to reducemoiré and aliasing, and comes with customwhite balance features. It even includesAdobe Lightroom software. Price: $9,999. www.mamiya.com
LENSES
MACRO LENS
Zeiss Makro-Planar T* 2/100 ZFOffering a dash
of Hollywood totoday’sphotographers,the ZeissMakro-PlanarT* 2/100 ZF isthe first still-camera lenswith ARRI/Zeiss MasterPrime optics
straight from themovie industry.
The lens exhibitssuperior optical performance, even at wide-open aperture, from infinity to the close focuslimit at half life-size. Configured for an F-bayonetmount, the Zeiss lens features all-metal con-struction and nine-blade aperture from f/2.0-f/22 in 1/2-step increments. Price: $1,507. www.zeiss.com
MEDIUM-FORMAT LENS
Medium Format Lensbaby 3GLensbaby widens its popularity with the medium-format Lensbaby 3G. Compatible with Mamiya
645 and Pentax 67 camera bodies,the Lensbaby 3G brings the
unique features of theprevious Lensbabies
to the medium-format world. The
Mamiya 645configuration
has an80mm
fixed focallength andan aperture
range of f/3.4 tof/39. The Pentax
67 configuration has a 100mm fixed focallength and an aperture range of f/4 to f/45.The Lensbaby 3G can be locked into a bent
position with a press of a button. Workingwith a traditional barrel focus mechanism,photographers can then fine-tune the focus.Price: $390. www.lensbabies.com
STANDARD ZOOM LENS
AF-S Nikkor 24-70mm f/2.8G ED LensNew from Nikon, the AF-S Nikkor 24-70mmf/2.8G ED lens is designed to be a universallens for a range of applications, including
weddings, photojournalism and outdoor pho-tography. It features Nikon’s Nano-Crystal Coatto reduce ghosting and flaring, and internalfocusing to ensure fast focusing. The NikonSilent Wave motor contributes to even faster,quieter focusing. The AF-S Nikkor 24-70mmf/2.8G ED is compatible with Nikon FX- andDX-format image sensors. Price: $1,699. www.nikonusa.com
TELEPHOTO LENSIT’S A TIE!
Zeiss Sonnar T* 2/85 ZMCarl Zeiss takes a share of the telephoto lenscategory with the Zeiss Sonnar T* 2/85 ZM.Configured for rangefinder cameras using an
M-bayonet mount, the lens delivers sharpimages over the entire focusing range, even atwide-open aperture. Judges loved that theSonnar T* 2/85 ZM is the first M-mounttelephoto lens with floating elements thatincorporate a nonlinear rangefinder couplingmechanism. Price: $2,774.www.zeiss.com
AF-S Nikkor 400mm f/2.8G ED VRJudges also loved Nikon’s new Nikkor400mm, the 400mm AF-S Nikkor f/2.8G EFVR. The lens features vibration reduction (VRII) image stabilization, which allowsphotographers to shoot up to four shutterstops slower than without VRII. The NikonSilent Wave motor delivers quick, quietautofocus. Three extra-low dispersionelements reduce ghosting and flaring whileenhancing sharpness and contrast, even at
the widest apertures. Nikon Nano CrystalCoat further reduces ghosting and flaring. The400mm f/2.8 lens is made of a lightweightmagnesium alloy that withstands dust andmoisture. Price: $8,799.95. www.nikonusa.com
TELEPHOTO ZOOM LENSIT’S A TIE!
Tamron SP AF70-200mm F/2.8 Di LD (IF) MacroCapturing its share of the telephoto zoom lenscategory, Tamron wowed judges with the new SPAF70-200mm F/2.8 Di LD (IF) MACRO, alightweight (39.3-ounce) telephoto zoomdesigned for DSLRs with full-size image sensors.The lens has a minimum focusing distance of just 37.4 inches over the entire zoom range,
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February 2008 • Professional Photographer • 93
FILM
BLACK-AND-WHITE
Kodak Professional T-MAX 400No, film is not dead. Kodak hammers homethe point with the improved T-MAX 400, acontinuous-tone, panchromatic, black-and-white negative film. T-MAX 400 is particularlyeffective for dimly litsubjects, fast-movingaction, andcapturesthat requireboth gooddepth offield and fastshutterspeed. T-MAX 400 has Kodak-patented T-GRAIN emulsions for finer grain and greatersharpness than previous 400-speed black-and-white films. In fact, film experts compare the clarityprovided by this film to that of 100-speed films.Price: about $3 per roll in 35mm format.www.kodak.com
COLOR TRANSPARENCY
Fujichrome Velvia 50 for Professionals (RVP 50)Winning the Color Transparency category isFujichrome Velvia 50 for Professionals (RVP50), a high-color saturation, high-contrasttransparency film.Velvia 50made itsname inlandscapeand naturephotographywith itsimage depthand colorfidelity. Afterdiscontinuing it in 2005, Fujifilm reintroducedthe widely popular Velvia 50 with a new process.The updated version features an RMS granularityof 9, and uniform gray reproduction from highlightto deep shadow. Price: $6.20 per roll in35mm format. www.fujifilmusa.com
for a maximum magnification ratio of 1:3.1;both specs are the best available in this lensclass. The lens has three low-dispersionelements to compensate for the lateral andon-axis chromatic aberrations typical oftelephoto shooting, which can mar imagequality. The lens also features internal surfaceand multiple-layer coating to help preventghosting, flaring and reflections from lenssurfaces. Price: $699. www.tamron.com
smc Pentax-DA* 50-135mm f/2.8 ED AL[IF]SDM telephoto zoomSharing the prizefor telephotozoom lens is the50-135mm smcPentax-DA*f/2.8 EDAL[IF]SDM. Thisnew telephotozoom deliversexcellent opticalquality, andincludes SDMtechnology forfast, accurate andquiet focusing.The lens’sadvanced opticaltechnologyincludesasphericalelements, specialoptical-glasselements and original lens coating. Ourjudges particularly liked how the lensdelivered image contrast, clarity and edge-to-edge sharpness. Price: $999.95.www.pentaxslr.com/lenses
WIDE ZOOM LENS
AF-S Nikkor 14-24mm f/2.8G ED LensNikon’s impressive showing in the lenscategory continues with the 14-24mm AF-SNikkor f/2.8G ED. One of the fastest 14mm
wide-angle zoom lenses on the market, thisversatile lens has attractive features forphotojournalism, interior and landscapephotography and a variety of wedding andportrait applications. The f/2.8 aperture
handles an array of lighting conditions, whilethe overall clarity and sharpness approachesthat of prime lenses. Price: $1,799.95.www.nikonusa.com
WIDE-ANGLE LENS
Zeiss Distagon T* 4/18 ZMCarl Zeiss certainly gave Nikon a run for itsmoney in the lens categories, tying theJapanese manufacturer with three awards.This year’s Zeiss collection is rounded outby the Distagon T* 4/18 ZM, a super-wide-angle lens configured for rangefindercameras with an M-bayonet mount. Thelens provides excellent image quality overthe full 24x36 frame, through the entirefocus range, and even at wide openaperture. The Distagon T* 4/18 ZM comesin a compact package with impressively highresolving power. Price: $1,055. www.zeiss.com
LIGHTING EQUIPMENT
CAMERA FLASH
Metz Mecablitz 58 AF-1 digitalMetz won the camera flash category with thenew Mecablitz 58 AF-1 digital, with USB-upgradeable wireless flash. The unique USBupgrade feature allows easy software updatesvia any Internet-enabled PC. The flash connectswith the Canon E-TTL and Nikon i-TTL remotesystems via wireless infrared. The 58 AF-1yields a max guide number of 58 meters/190feet at ISO 100, 105mm focal length. Otherfeatures include an integrated fold-awayreflector card for the vertical and horizontal
swivel-and-tilt reflector; a built-in wide-anglediffuser for illuminating at an 18mm focallength; a large LCD; and new multi-zoneautofocus metering technology. Price: $350
for Nikon-compatible version; $375 forCanon, Olympus, Pentax, Samsungand Panasonic compatibility. www.metz.de/en/
LIGHT MODIFIER
Paul C. Buff Foldable soft boxes and octaboxesPaul C. Buff scored with a new series offoldable soft boxes. Designed for use with allAlienBees, White Lightning and Zeus standardflashes, and all Zeus bi-tube flash heads, PaulC. Buff foldable softboxes and octaboxeshave an opaqueblack exterior shelland a recessedfront lip, where atranslucentwhite diffusionpanel attaches.This recessed liphelps control lensflare, and willhold a 40-degreehoneycomb grid(sold separately) tocontrol light spread. Theinside walls have a reflective silver liningto bounce light before it’s diffused throughthe front panel. The boxes have a secondinternal baffle for double-diffusion. Price:$119.95 for 10x36 and 24x36 inches;$129.95 for 32x40; $159.95 for 30x60; $149.95 for 35-inch diameter;$169.95 for 47-inch diameter.www.alienbees.com and www.white-lightning.com
PORTABLE LIGHT UNIT
Profoto AcuteB 600/600RProfoto scored high marks by condensing theperformance features of its Acute2 pack into asmall, battery-operated version for locationshoots. The Profoto AcuteB 600 produces upto 160 full-power flashes from a singlecharge. In addition to its 600-watt-secondsof flash power, the AcuteB comes with a
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DIGITAL STORAGE MEDIA
IN-CAMERA MEMORY CARD
Lexar Professional UDMA 300x CompactFlash CardThe Lexar Professional UDMA 300x CompactFlash cardwowed the judges with its fast transfer speed, reliable datastorage and its compatibility with the newest generation ofUDMA-enabled digital SLRs. Available with 2-, 4- and8GB capacity, the card delivers industry-leading read-writespeed, with a minimum sustained write speed of 300x, or45MB per second. The UDMA CF card comes with LexarImage Rescue 3, Lexar Backup n Sync and Corel PaintShop Pro X software. The card has a limited lifetime warranty and free dedicated technical support.Price: $79.99 for 2GB; $129.99 for 4GB; $219.99 for 8GB. www.lexar.com
PORTABLE HARD DRIVE AND DISPLAY
JOBO SpectatorThe new JOBO Spectator mobile storage device features a high-resolution, 2.5-inch, TFT color LCD display with a 16-million colorspectrum. With built-in card slots supporting all popular memory cards,the Spectator ensures secured copying from card to hard drive with anintegrated auto-verify function. Additional features include image zoom,thumbnail and slideshow modes with adjustable display duration; apower-saving function; and free firmware updates. With a high-speedUSB 2.0 interface and TV-out hookup, the Spectator can function as aMac- or PC-compatible external hard disk. The Spectator is availablewith storage capacity of 40-, 80- and 120GB.Price: $249 for40GB; $299 for 80GB; $379 for 120GB. www.jobo-usa.com
600-watt-second lamp head that uses ahigh-efficiency 65-watt halogen modelinglight, which produces output equivalent to a90-watt bulb. In the studio, the modelinglight can be powered from a wall outlet. TheAcuteB 600R model comes with a built-in32-channel PocketWizard receiver for wirelessflash triggering. Price: $1,899.www.profoto-usa.com
POWER PACK
Paul C. Buff Zeus Power PacksDesigned for use with the ZeusSystem, Zeus Power Packs come intwo models, the Z1250 (1,250 watt-seconds, 7.4 pounds) and the Z2500(2,500-watt-seconds, 11.2 pounds).With two flash head outlets, eachpack provides asymmetrical powerdistribution (1:1 or 3:1) with steplessflash power adjustment over a 5-f/stop range. Synchronization isaccomplished via
sync cord, built-in slave tripper or remotecontrol. Zeus Power Packs are designed foruse with Paul C. Buff Zeus Flash Heads(standard, bi-tube and ringflash), and are also pin-for-pin- and voltage-for-voltage-compatible with the Dyna-Lite 2040, 4040 and 4080 series of flash heads. Price: $599.95 for Z1250; $799.95 for Z2500. www.alienbees.com/zeus.html orwww.white-lightning.com/zeus.html
SLAVE/TRIGGER SYSTEM
Elinchrom EL-Skyport WirelessFor the hottest new slave/trigger system, thejudges selected the Elinchrom EL-Skyport Wireless, a miniaturized secure, high-speeddata transmission system for wireless handheldor computer control of all Elinchrom RX powerunits. There are four modules available in the
Skyport system: transmitter, RX receiver, trans-ceiver RX USB and universal receiver (usedwith a sync socket to fire most flashes). Thesystem can sync up to 1/1,000 second. Thecombined studio operating range is 165 feet—395 feet in the great outdoors—with inter-ference-free operation in 40-bit security. Ourjudges loved the speed of the Skyport, 2.4GHz,more than 7 times faster than most competitors.For multiple flash unit control, there are eightfrequency channels with four work groups perchannel. Price: $206 for Universal Kit. www.elinchrom.com
STUDIO LIGHTING SYSTEM
Profoto ComPact RProfoto impressed the judges with its next-generation ComPact system for controlling
modular lighting setups. Withthe same functionality as its
predecessor, the
ComPact R also has a built-inPocketWizard. The system’ssimple learningmode remembersthe first signal receivedduring power-up. It holds
the memory until you enter a new channel.Compatible with all 32 PocketWizardchannels, the ComPact R can be triggeredfrom more than 300 feet. The ProfotoComPact R ProValue Pack includes two 8-foot light stands, two white umbrellasand a custom carrying case. Price:Starts at $899, increases withmodular additions. www.profoto-usa.com
February 2008 • Professional Photographer • 95
DYE-SUB PRINTER
Mitsubishi CP-9800DWThe Mitsubishi CP-9800DW set the standardfor this year’s crop of dye-sub printers withits sophisticated adaptive thermal-headmanagement engine and 300dpi high-densitythermal head. When combined with newhigh-grade media, it produces deep blacks,strong color depth and smear-free gradation.The CP-9800DW comes with a high-speedUSB 2.0 interface. It prints 4x6 photos in 8
secondsand batchprints at400 printsper hour.It offersedge-to-edgeprinting infour out-put sizes.As with all
Mitsubishidigital photo
printers, the CP-9800DW is backed
by the Express Replacement Assistanceprogram. Price: $2,595. www.mitsubishi-imaging.com
INKJET PRINTERS
INKJET PRINTERLESS THAN $500
Epson Stylus Photo 1400The budget-friendly Epson Stylus Photo 1400impressed judges with its ability to producehigh-quality prints in 11x14-, 12x12- and 13x19-inch sizes. A successor to the Stylus Photo1280, the 1400 comes with a bevy of improve-ments. The printer delivers Claria Hi-Definitionink in droplets as small as 1.5 picoliters. Thenew DX5 print head prints nearly three timesfaster than the head in the 1280, giving you 8x10 photo prints as fast as 108 seconds and11x14 in 173 seconds. The Stylus Photo 1400also features Auto Photo Correction tech-nology, which provides an array of auto-fix
features for improperly exposed photos. Thismodel even prints on inkjet-printable CDsand DVDs. Price: $349.99.www.proimaging.epson.com
INKJET PRINTER$500 TO $1,000
Canon PIXMA Pro9500Our judges selected the Canon PIXMAPro9500 in this price category. The printerfeatures Canon 10-color (no swapping) Luciapigment ink system for high-quality outputup to 13x19 inches. Using FINE print head
technology, it can output images at amaximum resolution of 4,800x2,400dpi.Matte black, photo black and gray inks areincluded. Price: $849.99.www.usa.canon.com
INKJET PRINTER$1,000 TO $5,000
Epson Stylus Pro 4880The Epson Stylus Pro 4880 incorporates a17-inch-wide printer design with new ink tech-nology and an advanced print head. The Stylus
Pro 4880 uses Epson UltraChrome K3 inkswith the new Epson vivid magenta pigments.The MicroPiezo AMC print head combines withEpson AccuPhoto HD screening technology to placedroplets with extreme precision for smoothtonal transitions and fine detail from highlightsto shadows. The 4880’s high-capacity paper trayhandles cut-sheet media up to 17x22 inches,which can be loaded four different ways, androll media up to 17 inches wide. Price: $1,995.www.proimaging.epson.com
INKJET PRINTERMORE THAN $5,000
HP Designjet Z3100ps GP Photo PrinterIn this category, a winning printer better deliversomething above and beyond the norm. TheHP Designjet Z3100ps GP Photo Printer doesjust that, featuring a built-in spectrophotometerfor simple, push-button color management.Using a HP Vivera 12-color pigment inkset,this printer produces prints with exceptionalwater resistance and archival longevity ofmore than 200 years. The printer comes witha new embedded Adobe PS3/PDF RIP that
improves productivity by working seamlesslywith Photoshop and PDF files. Available in24- and 44-inch models, the DesignjetZ3100ps GP includes the HP AdvancedProfiling Solution for building customizedRGB and CMYK profiles for a variety ofmedia. Price: $5,095. www.hp.com
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INKJET MEDIA
FINE-ART MEDIUM
LexJet Sunset Select Gloss CanvasLexJet Sunset Select Gloss Canvas impressed
our judges with its water-resistant, poly-blend, gloss canvas surface, which lends itselfto an exceptional color gamut and imageclarity. The pH-neutral, acid-free inkjetcoating and bright white point render brightcolors, fine detail and consistency from printto print. Sunset Gloss Canvas can bestretched or mounted, and is compatible withpopular dye- and pigment-based inkjetprinters. It’s available in 40-foot rolls instandard widths of 17 to 60 inches. Price:$1.96 per square foot. www.lexjet.com
GLOSSY PAPER
LexJet Sunset Fibre Elite 285gLexJet developed the Sunset Fibre Elite basedon feedback from users of the previous HotOne Award-winning Sunset Fibre Gloss.LexJet’s customers wanted a super-smooth,bright white, glossy surface in a fiber paper,and the company obliged. The result isanother Hot One Award winner. Sunset FibreElite has a 285g microporous high-gloss-coated surface with a special acid-inhibitinglayer. Available in standard sheet sizes and rollwidths up to 60 inches, it is universallycompatible with all dye and pigmented inksets. Price: $1.80 per square foot.www.lexjet.com
MATTE PAPER
Moab Lasal Photo Matte 235Moab Lasal Photo Matte 235 is a double-sided, professional-grade photo paper thatyields excellent image sharpness and colordensity. The paper features an instant-dry,smooth matte surface that works well inhigh-speed production. Lasal Photo Matte235 is universally compatible with a widerange of printers and ink sets. Price: From$10.95 for 50 4x6 sheets to $48.95for 50 13x19 sheets. www.moabpaper.com
SEMI-GLOSSY PAPER
Hawk Mountain Papers Sharpwing LusterNew from Hawk Mountain Papers, SharpwingLuster is an 11 mil. opaque, resin-coated,photorealistic inkjet paper. Its bright white,quick-drying, microporous, low-luster coatingallows particularly high-resolution printing.Sharpwing Luster works with all types ofinkjet printers and with both dye and
pigmented ink. It comes on 3-inch-core rollsand 17x25-inch sheets. Price: $100 for24-inch x 100-foot roll.www.hawkmtpaper.com
98 • www.ppmag.com
SCANNER
MUTLI-FORMAT SCANNER
Epson Perfection V500 PhotoEpson takes all the marbles in the scanner category with the Epson Perfection V500 Photo colorscanner. It delivers 6,400dpi optical resolution with 48-bit color depth and 3.4 Dmax optical
density. The unit works with Epson’s new ReadyScanLED technology, which delivers fast scans withno warm-up. The ReadyScan LED adjusts thecolor of the light source based on the type oforiginal. The unit includes Digital ICE toremove dust and scratches, and Epson EasyPhoto Fix for restoring faded color. The Epson
V500 Photo has a built-in transparency unit(TPU) with a moving carriage and a lamp optimized
for scanning multiple 35mm negatives, slides andmedium-format film. Price: $249.99.
www.epson.com
9TH ANNUAL HOT ONE AWARDS
Set Yourself Apart.
Introducing new Color Efex Pro™ 3.0 from
Nik Software, the leading digital photographic
fi lters for Adobe® Photoshop® that let you
craft a style all your own.
Used by today’s top professionals, Color Efex Pro 3.0 offers
state of the art image processing, unprecedented selective
control with Nik’s patented U Point® technology and a
streamlined workfl ow you have to experience to believe.
New fi lters like Bleach Bypass, Polaroid™ Transfer, Glamour
Glow, and more let you truly take control of color, light and
tonality in your images to create unique enhancements with
easy yet professional results.
The way you see photography will never be the same.
Download the free, full-featured trial software at
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© 2007 Cherie S
teinberg Cote
nik.indd 1 1/15/08 1:19:22 PM
PRESENTATION
CONTEMPORARY/UNMATTED PHOTO ALBUM
AsukaBook Book Bound EX in VarnishAsukaBook continues its popularity in thiscategory with Book Bound EX in Varnish. The
regular EX tookhome the prizelast year, andAsukaBook’s addition of a
varnish finishand the new 11x12.5-inch size lands it theaward again. The EX line of coffee-table-stylebooks features the same design on the bookjacket and the hard cover underneath. Insidelaminate pages are available in matte orglossy finish. EX books come in high-glossred or black cases with personalized hotstamping. Price: $175 to $262,depending on size and design. www.asukabook.com
DISPLAY ITEMIT’S A TIE!
Finao Seldex Image PortfolioThe judges were impressed by these unique,custom-designed, personally branded image
portfolios from Seldex Artistic Albums. Theseboxes come completely wrapped in an imagefrom the photographer, printed on eithercanvas or silk. Every print is treated with aprotective coating to increase the longevity ofthe portfolio. Inside, there are 15 rag matswith bevel-cut openings for image display.Price varies from $16.40 to $162.60. www.finaoonline.com
Collages.net Gallery WrapPart of a wave of new products introduced byCollages.net in 2007, Gallery Wraps won praisefrom our judges as a high-quality display
option for contemporary images. Eachgallery wrap comes on a 1.5-inch wooden
stretcher and is finished with a protectivecoating. Collages.net wraps the image
around the sides of the frame for fullimage display. Photographers canuse an online interface to preview
images in the gallery wrap format. Collages.nettechnicians take care of the production end.Price: Varies with image size. www.collages.net
FRAMEIT’S A TIE!
Digital Foci Image Moments IMT-083We know there are some great traditionalframes out there, but the digital displays just
keep winning. This year, we have a tie. TheDigital Foci Image Moments IMT-083, a newaddition to Image Moments line that won lastyear, provides digital image display on a selec-tion of interchangeable frames. Memory cardscan be inserted directly into the unit, whichdisplays the images on an 8-inch, 800x600-pixel LCD screen with a 500:1 contrast ratio.With 256MB of internal memory, the newImage Moments frame stores as many as1,500 images. An auto slideshow featureautomatically scrolls through the images in aset sequence. Price: $199. www.digitalfoci.com
JOBO Photo Display PDJ701JOBO grabbed the judges’ attention with thenew Photo Display PDJ701, a digital framewith a 7-inch, 800x480-pixel TFT color LCDwith a contrast ratio of 400:1. The Photo DisplayPDJ701 earns points for its impressive cache
of internal memory—1GB to hold more than10,000 pictures. Like Image Moments, the JOBO frame can display images directlyfrom memory cards, and has an automaticslideshow feature. Price: $179.www.jobo.com
NOVELTY OR ADD-ONSALES ITEMeMotion Designer Picture ShowsProfessionally produced eMotion MediaDesigner Slideshows are broadcast-qualityphoto presentations with such features ashigh-end title sequences, 3D animation,
9TH ANNUAL HOT ONE AWARDS
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©B
rett Chisholm
Photography
color-matched background layers and all sortsof special effects. The whole thing is timed tomusic for a pro-grade multi-media experience.EMotion Media offers all this through asimple ordering process at affordable prices.Photographers pick a show, upload theirimages, and let eMotion Media take care ofthe rest. Shows are available for the Web or
on DVD, presented in a leather folio andsilk-lined gift box. Price: $39.95 to $119.95.www.emotionmedia.com
ONLINE PRINTING/ORDER FULFILLMENT
collagesDesktop + collagesColorCollages.net took a big step forward with thisyear’s introduction of collagesDesktop +collagesColor. CollagesDesktop is a free, down-loadable workflow application for Collages.netcustomers. The software integrates withcollagesColor, a professional printing solution.The combination of these elements provides
seamless image management and ordering ina variety of photographic products, includingalbums, gallery wraps, magazine-style books,greeting cards and individual prints output onKodak Endura paper. Price: Desktop softwareis free for Collages.net customers. Print and product prices vary.www.collages.net/collagescolor
February 2008 • Professional Photographer • 101
©TriC
oast Photography
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Qual tyLightof
The
Li
SOFTWARE
ALBUM DESIGN
Art Fotografic Album DS PRO—My Designer Studio EditionWinning the competitive album design categoryis Art Fotografic Album DS PRO—My DesignerStudio Edition. Working with Photoshop, AlbumDS PRO features over 500 templates that can
be used forany sizealbum. Thenew MyDesignerStudioEdition fea-tures an addi-tional 500customizabletemplatescreated by aprofessionalalbum designstudio, insuch cate-gories aschildren,
seniors, sports traders, announcements andstationery. There are also hundreds of borders,edge effects, masks and frames. Layouts canbe configured free form in Auto Layout modeor via other options provided by the software.Video tutorials accompany the application,which is available in several languages.Price: $449. www.albumds.org
CAMERA CAPTURE/PROCESSING
Craig’s Actions ProductionAssistants—Creative SuiteEver dreamed of automating image productionfrom camera to printer with the touch of abutton? Our judges certainly have, which iswhy they tapped Craig’s Actions ProductionAssistants—Creative Suite as the Hot Onewinner in the camera capture/processingcategory. This set of Photoshop Actions isavailable as a full suite or in three sets:Portrait/Wedding, Jazz for a collection of color
and duotone effects, and iTones 1, the first ina series of funky image effects. Price: $647for the full set; $247 per module.www.craigsactions.com
DIGITAL ASSETMANAGEMENT
Adobe Photoshop Lightroom 1.3.1Adobe Photoshop Lightroom, now in version1.3.1, has taken the industry by storm, servingas the professional photographer’s essentialtool for importing, raw processing, managingand presenting volumes of digital
photographs.The softwareis organizedinto fivetask-orientedmodules:Library, fororganizingandselecting;Develop, fortone andcoloradjustments;Slideshow,
for presenting; Print, for output; and Web, forcreating and posting Web pages. Otherfeatures include a hue, saturation andluminance adjustment tool for intuitive imageediting. Clone and Healing features provide
non-destructive edits to eliminate sensordust marks. Lightroom uses AdobePhotoshop Camera Raw technology tosupport more than 150 native raw fileformats, as well as JPEG and TIFF. Price:$299. www.adobe.com
IMAGE EDITING
Adobe Photoshop CS3In one of the most crowded categories of thecompetition, Adobe Photoshop CS3 was aneasy winner, and king of imaging applications.Photoshop CS3 has enhanced colorcorrection, improvements to the interface tomaximize workspace, and new imageprocessing and alignment algorithms.Automatedfeatures helpusers createadvancedcomposites andpanoramas in afraction of thetime it took withprevious versions.The newNondestructiveSmart Filtersallow you tofreely experimentwith imageeffects withoutrisk of altering the original image file. Andthat’s just the tip of the iceberg. The entireapplication has been upgraded, enhanced andoptimized for faster operation, more robustfunctionality and even broader compatibility.Price: $649. www.adobe.com
IMAGE EDITING PLUG-INIT’S A TIE!
Nik Software Color Efex Pro 3.0Our judges liked the simplified control affordedby Nik Color Efex Pro 3.0. Nik Software’s U Point technology allows users to selectivelyapply enhancements to color, light andtonality without configuring masks, layers orselections. The plug-in includes more than 50
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9TH ANNUAL HOT ONE AWARDS
traditional and stylizing filters, including neweffects such as Film Effects to replicate thecolor, contrast and grain of more than 30 filmtypes; Bleach Bypass to emulate the popularcinematic effect; Glamour Glow; and TonalContrast to separately control the contrast inthe highlights, mid-tones and shadows. Theinterface is also newly redesigned. Price:$299.95. www.niksoftware.com
Ron Nichols Digital Solutions PalettesJudges also gave kudos to Ron Nichols DigitalSolutions Palettes. This collection of digitalpalettes speeds retouching and enhancementwith programmed setups of common tasks,
preset tools, brushes, blending modes and layersmanagement. The system is facilitated fromone desktop docking interface that controls allother Ron Nichols palette products. The familyof Ron Nichols Palettes includes the latestversions of the Production Retouching Palette,ProSelect Video Tutorial Palette, Helen Yancy’sArtistic Enhancement Palette, Peter Eastway’sInspired Landscapes Palette and Tim Walden’sBlack and White Darkroom Palette. Price:$199 for download; $239 on CD.www.ronnichols.com
DIGITAL PAINTING
Corel Painter XWith Painter X, Corel takes the next step indigital painting. Judges loved the breakthroughtechnology of the RealBristle PaintingSystem, which makes the virtual brushesblend andsplay, for afeel closer tohand-paintingon canvas.TheUnderpaintingPalette isaugmentedwith colorschemesbased ondifferentstyles,includingImpressionist, Classical, Modern and ChalkDrawing. The Auto-Painting palette has beenupdated with the Smart Stroke Paintingoption, which applies brush strokes along theforms and detail in the original photo. Price:$229 upgrade; $429 full version.www.corel.com/painter
PRESENTATION/SLIDESHOW
Photodex ProShow Producer 3.2After a one-year absence from the winner’spodium, Photodex recaptures the Hot Oneaward for presentation/slideshow softwarewith ProShow Producer 3.2. The application
offers everything from digital proofing tomultimedia slideshow production. WithProShow Producer,photographers can create professionalshows with artisticeffects previouslyavailable onlythroughsophisticatedphoto and videoediting software.Features includethe Chroma KeyTransparency toolto createcinematic green screeneffects, the built-in vignette tool, photo andvideo cropping and rotation tools, enhanceddrop shadow control, caption textures andmore. Price: $249.95.www.photodex.com
STUDIO MANAGEMENT
SuccessWareFor the second year in a row, SuccessWarecaptures the prize for hottest studiomanagement software. SuccessWaremanages day-to-day studio operations,
helps you price products for profitability anddesign plans for increasing revenues. Theapplication is based on proven photographybusiness management practices developedby Charles Haynes, a past PPA president,and other industry experts. The newestversion of the software has increasedfunctionality with more complete pricing,accounting and business managementfeatures. Price: $1,495 to purchase;$299 plus $49 a month to lease.www.successware.net
February 2008 • Professional Photographer • 103
STUDIO & LOCATIONEQUIPMENT
BACKGROUND
Denny CP6262 Rusty MetalJudges gave the nod to the Denny CP6262Rusty Metal background, a computer-painted
background with an industrial chic feel. RustyMetal is available in a variety of sizes and canbe accessorized with the Denny Rusty MetalSenior Numbers. Price: $792 for 8x16-foot background. www.dennymfg.com
CAMERA BAG ORTRAVELING CASEIT’S A TIE!
jill-e camera bagsWe had such a diverse anddeserving set of entriesin our camera bag andtraveling case
categories that we decided to give threeawards. The first goes to jill-e, a new line ofcamera bags and accessories designedspecially for women. Our judges—especiallythe women in the group—loved thecombination of fashion and ruggedfunctionality of these bags. Jill-e bags havethe padding and protection of traditionalbags, but they’re crafted for panache inleather, suede and other stylish materials.Price: Varies by design. www.jill-e.com
Lowepro Apex AW Camera PouchesLowepro Apex AW Camera Pouches areperfectly suited to carry consumer-size cameras.With single-compartment design, the Apex AW Camera Pouches can accommodatea camera, memory card and battery, smallaccessories and a variety of video devices. Lowepro’s patented All Weather Coverprotects against rain, dust and sand, and the interior is lined with soft, brushed-tricotand has dividers topreventscratches.
It features amemory card pocket, reversed zipper withsilent zipper pulls and molded bumper. Price:$19.99 to $25.99. www.lowepro.com
Tank Photo Airport InternationalFor taking your pro gear into the air, thelarge rolling Think Tank Photo AirportInternational meets all international carry-onregulations. The bag includes severalsecurity features, such as a combination lock for the zipper sliders, a security cableand an ID plate with a unique serial number.Photographers can register their bag with
Think Tank Photo’s online security foridentification in case of loss or theft. The roller holds two DSLRs, accessories and lenses up to a 500mm f/4. The optional Airport International Low Dividerreconfigures the lower section of the case to accommodate laptops with no bulge.Price: $319. www.thinktankphoto.com
COLOR MANAGEMENT
PANTONE hueyPROThe PANTONE hueyPRO improves colorclarity and consistency across multiple CRT,laptop and LCD displays. An upgrade from the original huey, hueyPRO has addedfunctionality for users who frequently print photos and other graphics, sharethem among workstation monitors orupload them to the Web.About the size of a thickpen, the hueyPRO cancontinually adjust a monitoras the room lightingchanges. New softwareallows increased control overbrightness and contrastthrough user-selected gammaand white point settings.Price: $129.www.pantone.com
9TH ANNUAL HOT ONE AWARDS
Get a new perspective on studio management software.
“SuccessWare has been hands-down one of
the best investments I have made for my
business. It helps me make critical decisions
such as which prices need to be raised, what to
pay employees and how much I can afford in
rent. I also base our marketing decisions on the
client sales information. At only $49 a month,
this software can save you time by helping you
make better business decisions.”
Sarah PettySarah Petty Photography, Springfield, IL
©2
00
7S
arah
Pet
tyP
hoto
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phy
SuccessWare is the only software that will managethe day-to-day operations of your business, priceyour products for profitability and create a plan tomake you more money.
SuccessWare knows that as a professional photographer, your focusis on creativity. That’s why we have a team of specialists ready to help.
They’ll solve problems and create solutions to make you more money. So the
next time you have a studio management challenge, turn to the place that
photographers trust–SuccessWare.
SuccessWareSuccessWareGET YOUR FREE DEMO AT
WWW.SUCCESSWARE.NET | 800.593.3767
PURCHASE OR LEASE | WINDOWS & MAC
STUDIO & LOCATION EQUIPMENT CONTINUED
DIGITAL PROJECTOR
Epson PowerLite 77cThe Epson PowerLite 77c multimediaprojector features 2,200 lumens with XGA
resolution and high-aperture 3LCD technology. The 3LCD technology is a solid-state opticalengine that works without a moving color wheel.Users can adjust each color’s hue and saturationfrom six different axes. The unit starts up within5 seconds and can be powered down immediatelywith Epson Instant Off. The projector includessoftware for displaying slideshows fromportable storage devices or directly fromdigital cameras. At 6 pounds, the PowerLite77c is highly portable. Price: $749.www.epson.com
POSING TOOL
Lastolite HiLite The Lastolite HiLite illuminated background isa versatile, evenly lit surface for a variety of
poses against a white backdrop. The HiLitecan be backlit so that subjects can stand asclose as 6 inches away without casting ashadow. The HiLite also works as a large rearsoft box to illuminate the subject as well asthe background. This setup needs just oneother flash head to light the subject from thefront. The self-supporting, collapsiblebackground sets up in minutes. Price: $456for 5x7-foot; $537 for 6x7.www.bogenimaging.us
POWER SUPPLY
Paul C. Buff Vagabond II Portable Power SystemDesigned to work with all Paul C. Buff flashunits and power packs, the Vagabond IIPortable Power System is a major upgrade.The Vagabond II offers faster recycle from asingle second-generation PSI900GF puresine wave inverter that converts power froman internal 20AH, 12-volt battery into acurrent-controlled, pure sine wave power
source (120VAC, 60Hz OUT). The system includes a built-in global battery charger withcharging cord, and a built-in GFCI thateliminates the need for physical groundingand auxiliary battery cables. The Vagabond IIsystem weighs 18.6 pounds and measures10.5x8.5x6 inches. Price: $299.95.www.alienbees.com/VIIsystem.html orwww.white-lightning.com/VIIsystem.html
TRIPOD OR CAMERA STAND
Manfrotto 055XPROBManfrotto’s 055XPROB features a fasthorizontal center column system for quick andeasy horizontal positioning. You can extendthe column to its highest vertical positionthen swing it around to horizontal positionwithout removing the head or disassemblingthe column. This greatly simplifies switchingbetween framing andpositioning setups. The055XPROB has improvedergonomics in the leg anglerelease mechanism and better functioning in the quick-action leg locks. Price: $168.www.bogenimaging.us
106 • www.ppmag.com
9TH ANNUAL HOT ONE AWARDS
107 printjudge.indd 1 1/15/08 1:15:22 PM
EDUCATIONALRESOURCES
BOOK
“The Adobe Photoshop CS3 Book for Digital Photographers”In a how-to published by Peachpit Press,Scott Kelby, best-selling author on Adobe
Photoshop,delves intoCS3 to uncoverthe mostimportant and usefultechniques for digitalphotographers.Our judgesliked Kelby’sdirect approachwith step-by-step instruc-tions. In thisnew edition,
Kelby shares even more secrets from thetop pros. Price: $49.99.www.peachpit.com
DVD OR CD
Kubota RAW Workflow for Lightroom“Kubota RAW Workflow for Lightroom” is thelatest time-saving tutorial from digital workflowmaster Kevin Kubota. The tutorial provideseasy-to-follow instruction for working withraw files in Adobe Lightroom. Kubota coversorganization, editing, adjustments, enhance-ments and presentation. Kubota sharesinsider tricks and the proven techniques heuses in his own busy studio. Our judges likehow the tutorial provides a big-picture look ateffective raw workflow. Price: $79.www.kubotaimagetools.com
WEB SITE
Collages.net Build Your BrandNew from the expanding educational catalogavailable at Collages.net, Build Your Brandprovides numerous marketing techniques thathave proved successful for real studios acrossthe country. The site covers such topics aslogo usage and blogging, as well asinnovative, free ways to reinforce your brand.The marketing practices are updated regularlyand tweaked with constant feedback fromCollages.net customers and partners. Price:Free for Collages.net customers.www.collages.net/studiomarketing
108 • www.ppmag.com
9TH ANNUAL HOT ONE AWARDS
MISCELLANEOUS
NEC MultiSync LCD2690WUXi DisplayThis year we decided to give some love to someworthy items that just don’t have a home in theHot One categories. No surprise, Miscellaneous
brought in more than three times the numberof entries in any other category. With dozens of great products to choose from, our judges hadto compare apples to oranges to pears totangelos, but what finally stood out in themixed fruit salad was the MultiSync
LCD2690WUXi Display. This modelfeatures SpectraViewII Series LCDdisplays on ultra-thin frames. Themonitors come with theSpectraViewII Color CalibrationSolution, which combines a colormeasurement sensor withsophisticated profiling software.Available in screen sizes of 19 to 26inches, the SpectraviewII Seriesincludes a widescreen version andthe MultiSync LCD2180WG-LED, thefirst LED-backlit desktop LCDdisplay. Price: From $1,900.www.necdisplay.com
HONORABLE MENTION: PhotoShelter Personal ArchiveA special honorable mention in themiscellaneous category goes to the
PhotoShelter Personal Archive. The PersonalArchive organizes image archiving, distribution,pricing and sales in a single online hub. Itprovides the fotoQuote pricing grid to helpphotographers manage competitive pricing.New in 2007, PhotoShelter offers one terabyteof redundant storage for $1,000 per year.Price: $9.99 for standard subscription;free starter accounts available.www.photoshelter.com
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Current EventsMarch 7-11C: Wisconsin PPA, Marriott Madison West,Madison, Wis.; Donna Swiecichowski, 920-822-1200; Paul Tishim, 715-384-5454;Deb Wiltsey, 866-382-9772; wppa-online.com
March 7-12C: PP of North Carolina, Inc., Sheraton ImperialHotel, Durham, N.C.; Loretta Byrd, 459 GreenleafRoad, Angier, NC 27501; 888-404-7762;[email protected]; www.ppofnc.com
March 16-20C: Mid America Regional, Decatur ConferenceCenter, Decatur, Ill.; Kathryn Northcott,[email protected]
March 28-30S: PP of Oklahoma, Quartz Mountain Resort,Lone Wolf, Okla.; Ted Newlin,[email protected]; www.ppok.org
April 4-8S: PP of Washington, Wenatchee, Wash.; RadleyMuller, 360-676-9279; [email protected];www.ppw.org
April 6-9C: PPSNY, Hilton Rye Town, Rye Brook, N.Y.;Barbara Bovat, 518-851-2187; [email protected];www.ppsnys.com
April 12-15C: Heart of America, Mid America Center, CouncilBluffs, Iowa.; Stephen Harvey, 620-624-4102;[email protected]; www.hoappa.com
April 13-15C: Montana PPA, Billings, Montana; ScottFairbanks, 406-761-2059; [email protected];montanappa.org
April 14S: Connecticut PPA, Crowne Plaza Hotel, Cromwell,Conn.; Harvey Goldstein, 203-430-8276;[email protected]; www.ctppa.com
April 21S: PP of Massachusetts; Steve Meier, [email protected], www.ppam.com
April 26-29C: New Hampshire PPA; North Conway, N.H.;Lorraine Bedell, 603-743-5732; [email protected]; nhppa.com
April 27-29C: PP of New Jersey, Bally’s Hotel & Casino,Altlantic City, N.J.; Leslie Meltzer, 866-985-4300; [email protected]; wwwppanj.com
May 18-20S: PP of Louisiana, Marksville, La.; DaynaPonthieu, 318-359-6633; www.ppla.net
May 18-23W: Imaging Workshops, Mountain Summit,Breckenridge, Colo.; Thomas J. Hissong,303-933-9461; [email protected]; www.coloradoworkshops.com
June 15-16C: PP of Oregon, Mt. Bachelor Resort, Bend,Ore.; Arlene Welsh, 800-370-5657; [email protected]; www.pporegon.com
June 16S: PP of Massachusetts; Steve Meier, [email protected]; www.ppam.com
June 22-23S: Kentucky PPA; Embassy Suites, Lexington, Ky.; Randy Fraley, 606-928-5333;[email protected]; www.kyppa.com
June 22-24S: PP of North Dakota, Northern Light Seminar,Doublewood Inn, Bismarck, N.D.; Poppy Mills,701-222-3040; [email protected]
August 2-5C: PP of Louisiana, New Orleans, La.; DaynaPonthieu, 318-359-6633; www.ppla.net
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]
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 20S: PP of Massachusetts; Steve Meier, [email protected]; www.ppam.com
October 20-21C: Wisconsin PPA, The Osthoff Resort, ElkhartLake, Wis.; Donna Swiecichowski, 920-822-1200; Paul Tishim, 715-384-5454;Deb Wiltsey, 866-382-9772; wppa-online.com
October 26-27C: PP of Iowa, Airport Holiday Inn, Des Moines,Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA50674; 563-578-1126; [email protected]
112 • www.ppmag.com
calendarSubmit your organization’s convention,workshop, seminar or exhibition dates toProfessional Photographer at least sixmonths in advance. Editors reserve the rightto select events to be announced on thesepages, and to determine when announcementswill appear. Editors are not responsible forconflicting or incorrect dates. For readers’convenience, each event is identified by a codepreceding its name: C=Convention, W=Work-shop, S=Seminar, C/E=Approved PPA ContinuingEducation Seminar, E=Exhibit. Send all Calendarof Events additions or corrections to: SandraLang, Professional Photographer, 229 PeachtreeSt., NE, Suite 2200, Atlanta, GA 30303;FAX: 404-614-6404; [email protected].
PPA EVENTS
Professional Photographers of America (PPA)has a proud tradition of providing its memberswith outstanding educational opportunitiesthrough its annual events, PPA-Merited classesand its PPA Affiliate School Network. Don’tmiss out on the vital knowledge you’ll gain atthese events! For information on PPA events,call 800-786-6277 or visit www.ppa.com.
June 6117th Annual International PrintCompetition Deadline for Entries
July 22-23Judges Workshop, Daytona Beach
April 7Super Monday
October 9-18PPA Fall Cruise
January 11-13, 2009Imaging USA, Phoenix
January 10-12, 2010Imaging USA, Nashville
Certification ExamApril 27North Conway, N.H.
Image Review
Online submission:May 9, August 8, & October 10
114 • www.ppmag.com
PPA members receive both merits and the best-published prices.
March 30 - April 2International Photographic Arts School,Mariott Hotel & Conference Center,Indianapolis, Ind.; Janell Spencer, 812-384-3203; [email protected];www.apag.net/ipasschool.html
March 30 – April 4Triangle Institute, Greentree Radisson,Pittsburgh, Pa.; Samuel Pelaia, 724-869-5455; [email protected]; www.trianglephotographers.org
March 31 – April 4California Photographic Workshops,Fisherman’s Wharf, San Francisco, Calif.;James Inks, 888-422-6606;[email protected];www.cpwschool.com
April 6-11New England Institute, Ocean Edge Resort,Brewster, Mass.; Sal Genuario, 401-738-3797; [email protected]; www.ppane.com
April 27 – May 2Texas School, Texas A&M University,College Station, Texas; Donald Dickson,806-296-2276; [email protected];www.tppa.org/school.htm
May 4-9Georgia School, N. Georgia Tech,Clarksville, Ga.; Tom McCollum, 888-272-3711; [email protected];www.gppa.com
May 4-9MARS (Mid-Atlantic Regional School),Grand Hotel, Cape May, N.J.; AdeleBastinck, 888-267-6277;[email protected]; www.marsschool.com
May 6-9 and May 11-14Wisconsin Professional PhotographersSchool, UW Stevens Point-Treehaven,Tomahawk, Wis.; Phil Ziesemer, 715-536-4540, [email protected]; www.wiprophotoschool.org
May 18-22Florida School of Photography, DaytonaBeach Community College, Daytona Beach,Fla.; Teri Crownover; [email protected];800-330-0532; Marybeth Jackson-Hamberger, [email protected];www.fppfloridaschool.com
May 18-23Imaging Workshops of Colorado,Breckenridge, Colo.; Jeff Johnson, 303-921-4454; [email protected]; www.coloradoworkshops.com
June 1-5Kansas Professional Photographer School,Bethel College, Newton, Kan.; RonClevenger, 785-242-7710,[email protected]; www.kpps.com
June 1-5Mid-America Institute of ProfessionalPhotography, University of Northern Iowa,Cedar Falls, Iowa; Charles Lee, 641-799-8957; [email protected];www.maipp.com; Al DeWild,[email protected]
June 8-12Illinois Workshops, Grafton, Ill.; Bret Wade,217-245-5418; [email protected];www.ilworkshops.com
June 8-13Great Lakes Institute of Photography,Northwestern College, Traverse City, Mich.;Greg Ockerman, 313-318-4327; [email protected]; www.glip.org
June 15-20West Coast School, University of San Diego, San Diego, Calif.; Kip Cothran, 951-696-9706; [email protected];www.prophotoca.com
June 22-25Golden Gate School of ProfessionalPhotography, Mills College, Oakland, Calif.;Julie Olson, 650-548-0889; [email protected];www.goldengateschool.com
June 22-26PP Oklahoma School, St. Gregory’sUniversity, Shawnee, Okla.; Glenn Cope,580-628-6438; [email protected];www.ppok.org/school.html
July 13-17Image Explorations, Shawnigan Lake, British Columbia; Don MacGregor, 604-731-7225; [email protected];
www.imageexplorations.ca/
July 20-25PPSNY Photo Workshop, Hobart/WilliamSmith Colleges, Geneva, N.Y.; LindaHutchings, 607-733-6563; [email protected]; www.ppsnysworkshop.com
August 4-7Long Island Photo Workshop, SheratonHotel, Smithtown, Long Island, N.Y.; Jerry Small, 516-221-4058; [email protected]; www.liphotoworkshop.com
August 10-14East Coast School, Sheraton Imperial Hotel,Raleigh, N.C.; Janet Boschker, 704-567-0775; [email protected];www.eastcoastschool.com
August 24-27Carolina Art & Photographic School,Randolph Community College, ArchdaleCampus, Creekside Park, N.C.; Bob Henderson, 336-288-1132; [email protected]; www.capsartschool.com
September 28-October 2Lamarr Williamson School of SouthCarolina; Springmaid Resort, Myrtle Beach,S.C.; John Wrightenberry; 803-781-2130;[email protected]; www.ppofsc.com
Send all additions or corrections to: MarisaPitts, Professional Photographers ofAmerica, 229 Peachtree Street, N.E., Suite2200, Atlanta, GA 30303;[email protected].
2008 PPA-AFFILIATED SCHOOLS
COMING TO ORLANDO, FL. APRIL 2-4, 2008
REGISTER TODAY! CALL 800-738-8513OR VISIT WWW.PHOTOSHOPWORLD.COM
PHOTOSHOP WORLD IS THE OFFICIAL CONVENTION OF THE NATIONAL ASSOCIATION OF PHOTOSHOP PROFESSIONALS
REGISTRATION OPTIONS
NON-NAPP MEMBER(before February 29, 2008) includes a full-year NAPP membership $599
(after February 29, 2008) includes a full-year NAPP membership $699
NAPP MEMBER(before February 29, 2008) $499(after February 29, 2008) $599
Mark Your Calendar! The world’s largest Adobe® Photoshop® educational event, featuring the latest Photoshop CS3 training, and an expanded 3-day tech expo is coming to Orlando, Florida!Photographers, graphic designers, Web developers, educators, art directors, students, and Photoshop fanatics — this is the conference you don’t want to miss in 2008!
Adobe and Photoshop are registered trademarks of Adobe Photoshop Incorporated.
Photoshop®World:
napp.indd 1 1/15/08 1:19:04 PM
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 20-23, 2009C: PP of Oregon, Mt. Bachelor Resort Bend,Ore.; Arlene Welsh, 800-370-5657; [email protected]; www.pporegon.com
February 27-March 3, 2009C: Wisconsin PPA, Marriott Conference Center,Madison, Wis.; Donna Swiecichowski, 920-822-1200; Paul Tishim, 715-384-5454; Deb Wiltsey,866-382-9772; wppa-online.com
February 26-March 4, 2009C: PP of North Carolina; Sheraton ImperialHotel, Durham, N.C.; Loretta Byrd, 888-404-7762; [email protected]; www.ppofnc.com
March 28-31, 2009C: Heart of America, KCI Expo Center, KansasCity, Mo.; Stephen Harvey, 620-624-4102;[email protected]; www.hoappa.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, Minn.;56455; 763-390-6272
November 15-16, 2009C: PP of Ohio, Hilton Easton, Columbus, Ohio; Carol Worthington, [email protected]
February 2008 • Professional Photographer • 117
PPA-Approved ContinuingEducation SeminarsPPA members receive both merits and the best-published prices.
February-MarchC/E: New Hampshire PPA Photofestival2008; 603-627-7563; www.nhppa.com;[email protected]
March 3-8C/E: Painter Panache Master; Jeremy Sutton,San Francisco, Calif.; 415-626-3971;www.jeremysutton.com
May 5-9C/E: From Traditional to Digital; JeremySutton, San Francisco, Calif.; 415-626-3971;www.jeremysutton.com
July 12-18C/E: Copan Honduras Study AbroadExcursion with Paul Wingler, Suzette Allen & JonYoshinaga; 800-483-6208; [email protected]; www.suzetteallen.com/copan
August 1-4C/E: Oxford Painter Workshop; JeremySutton, San Francisco, Calif.; 415-626-3971;www.jeremysutton.com
September 12-17C/E: Great Gatsby Impressionist Workshop;Jeremy Sutton, San Francisco, Calif.; 415-626-3971; www.jeremysutton.com
October 20-23C/E: Painter Creativity; Jeremy Sutton, SanFrancisco, Calif.; 415-626-3971; www.jeremysutton.com
November 2-6C/E: The College! Master Biennale; JeremySutton, San Francisco, Calif.; 415-626-3971;www.jeremysutton.com
118 benefits.indd 1 1/15/08 1:16:12 PM
PRESIDENT’S MESSAGEJack Reznicki, Cr.Photog., API
2007-2008 PPA President
news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
PP
AN
ews &
Notes
P 1
The hardest part of being a professional photographer is not about taking a photograph, deciding which lens to use, knowing what directions to give the model or what props to pick. Nope. The hardest part of photography is deciding what and how to charge for it.
As a commercial photographer, I rarely sell prints; I only provide tightly licensed les to clients. I learned a long time
ago to stop selling images and think instead about licensing images. While licensing wouldn’t work exactly the same for wedding/portrait shooters, I do think it is a business model that needs to be looked at seriously. The current business model used by many wedding/portrait photographers will not hold well over time. But that, of course, is just my personal opinion.
I personally believe licensing is a concept whose time has come for wedding and portrait photographers. So many industries have changed radically over the last 10 years, and there is no reason to believe that our industry will dodge a shifting marketplace. You can’t continue doing what you did 10 years ago and survive today. The business “kingdom” is just like the animal kingdom: adapt, migrate, or die.
Many industries and individuals who didn’t adapt to changing times—who wouldn’t admit there was a changing paradigm in the marketplace—basically died off. We saw it with Web designers who faced families with computers, small shop printers facing home copiers and printers, and mechanics facing car engines that can only be diagnosed with a computer. The collectible industry has been radically transformed by eBay. And the music industry changed shockingly fast because of iPods and iTunes.
Our industry is not immune to changes in the marketplace.
I’ve always been a strong advocate of licensing, which, I believe, strengthens your control over your images. It can be as simple as just a few sentences on your invoice, specifying what your client can and can’t do with the images (and, in some cases, for what length of time they can do it).
I’ve heard photographers say that licensing is like “giving away” copyright. Balderdash. Licensing gives you more control and lets you give your clients what they want. It’s a win/win situation. You should never “give away” or “sell” your les, but you should gure out a business model that makes what
you do a win/win situation. And that situation should add more to your bottom line at the end of the year.
This is a complex issue, and I’m limited here by space. I’d be happy to talk more about this on the OurPPA.com Forum, where opposing views—if respectful to others—are very welcome. Discussing these issues from several sides enlightens everyone.
On a side note, this will be my last column as I’m in the nal month of my presidency. As of March 1, I’m leaving this of ce and this spot in the magazine to your new president, Dennis Craft, and his wonderful and capable hands. Looking back at the year, I have to say it’s been a fantastic and enlightening experience.
A special thanks to PPA’s staff for keeping me on track, on time, and looking good because of what they did behind the scenes. And thanks to all the volunteers who continually give so much to this association.
Thank you and good night.
Jack Reznicki, Cr.Photog., API2007-2008 PPA President
TODAY FEBRUARY | 08
SOMETHING TO PONDER…© Lester Miller © Rachel Gracie © David Huntsman
© Bruce Belling © Nathan Beck © Robbin Loomas
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news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
PP
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TODAY
P 2
Laura Novak put together her AN-NE Marketing entry in a day, shipped it overnight, and won the award for Best Family & Children Campaign. How? Let’s just say her campaignitself wasn’t created overnight.
Perhaps her business degree helped. More likely, though, it was a combination of her determination to know her customer and her strong awareness that she needed to know her customer. In fact, “know your customer” is one thing she always tells other photographers.
“You have to understand what your customers care about, value, and believe in. They can’t be simple demographical numbers,” Laura commented. “If you know what they value, then you can make them happy. And a happy customer births the elusive referral!”
But Laura rst had to get customers through her doorway before she could make them happy. While she had an
established reputation for weddings, she wasn’t known for family and children portraits. “I knew I needed something full scale to capture people’s attention. That’s what really drove the idea,” she said.
So Laura listened to her customers and potential customers. “I began to see a pattern,” she remembered. “When I talked to people around town, they would say, ‘Oh, I’ve been meaning to call you…I’m going to schedule a session, but I’m waiting for…’ ”
Those who scheduled family and children portraits needed a reason to do so. “When I sell weddings, there’s already a sense of urgency because there’s a wedding date. But with portraits…there’s no urgency, no ‘reason’ for them to take action now. That was my inspiration for the ‘What’s Your Reason’ campaign. We wanted to give customers reasons to come.”
However, she didn’t skip straight to the execution phase of marketing. In her
words, marketing is de nitely a “process with strategy and execution sections.” These are the steps Laura takes:
1. De ne audience. 2. Decide your purpose.3. Create the message.
“A lot of photographers skip straight to creating and designing their messages and materials. You just can’t do that,” Laura stressed. “You need to know what you want your customers to believe about you.”
In order to do that, you have to know your audience (as Laura stressed earlier) and decide your purpose. These rst two steps—the strategic part of the
marketing plan—are what really make a campaign effective. In fact, when Laura teaches, she often compares such a plan to driving a car: “You want to go to Ohio, so you head east. But if you have a map in hand, you don’t waste time getting there,” she laughed. “That’s why planning our marketing is so important—we don’t have lots of time or money to waste!”
2007 AN-NE MARKETING AWARD SPOTLIGHT: LAURA NOVAK by Angie Wijesinghe, PPA Marketing Specialist
IN MEMORY: Buddy Stewart, M.Photog.Cr., CPP, API, F-ASP PPA member since 1968
Buddy Stewart died November 30, 2007 of cardiac arrest at his son’s home in Hattiesburg, Mississippi. Buddy was an award-winning photographer, a distinguished competition juror, a wonderful educator, and a dedicated volunteer leader in his state organization, the American Society of Photographers, PPA and his
community. His special passion was helping photographers improve their craft through the International Image Competition. As a Juror, Jury Chair, PEC Committee member and PEC Committee Chair, Buddy’s leadership was instrumental in establishing and maintaining the high integrity of the International Image Competition. And
119-122 ppatoday.indd 2 1/15/08 1:17:07 PM
TAKE A PEEK AT HOW IT WORKED FOR LAURA NOVAK AND HER STUDIO:
TARGET AUDIENCE: They pro led their ideal customer, from age range and location to household income and interests in art and design. Not stopping at numbers, Laura also polled the mothers who called to inquire about services, but didn’t book immediately; and she paid attention to conversations, learning what customers wanted.
PURPOSE/GOALS: To introduce the area to the studio’s brand and philosophies (which were spelled out) and to encourage purchases throughout the year.
MESSAGE: Not only did this involve the humorous, yet provocative “reasons” for portraits, it also involved the color scheme and graphic elements that would entice customers with a strong interest in art/design. An added bonus: Laura used models of well-known residents. Thus, the overall message was one of inspiration—an inspiration to act.
IMPLEMENTATION: The studio’s staff graphic designer created the materials in-house (direct mail postcards, postcard displays, local magazine/newspaper ads, and a Web site ash introduction). Each piece was placed in a carefully researched location.
RESULTS: The results were every photographer’s dream: 120 portraits from August 2006 to August 2007, with an average sale of $1,650. It even created such a demand that Laura raised her prices several times that year!
Laura and her team reached out to their ideal client, presented them with images, copy, and an overall feeling that they would connect with. That inspires the audience to act…and act they did.
“Even though marketing is a process, you can’t be discouraged by it,” admitted Laura. “It simply takes time to learn what will work, to learn what your customers want. You learn about them as you service them, which will re ne your customer pro le. Then you take that information and put it into next year’s plan.”
Laura Novak – Laura Novak Photography – Wilmington, DEwww.NovakPhotography.comwww.StrategyAvenue.com (A Business Resources for Photographers Web Site)
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. More information is at the Competition & Awards page on www.ppa.com.
news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
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If you can make people laugh in an ad, they will remember you. It forms a connection, relaxing them to the point where they begin to trust you.– Laura Novak
at Imaging USA ‘08, he received the PPA Directors Award posthumously.
Overarching his many accomplishments, titles and responsibilities, Buddy was a good friend to all. He freely shared his skills, his knowledge, his creativity and
passion for our profession in helping thousands of individual photographers.
His friend Barry Rankin said, “[He] was always on the side of what is right and good...always willing to share his knowledge, his last possession, anything that would help a friend.” Helen
Yancy added: “To all of us, Buddy was an example of the highest integrity, a bigger than life personality that represented PPA and photography in the best possible way.”
BE A WINNER YOURSELF!The 2008 AN-NE Marketing Awards are earlier this year, with a deadline of July 1, 2008. Rules will be online in February, but you can start getting ready now. Named in honor of Ann Monteith (AN) and Marvel Nelson (NE), both PPA past presidents and marketing gurus, this competition helps you take a closer look at what your customer sees before they see you: your marketing. See how you stack up against your peers in 2008.
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AFFILIATE SCHOOL SPOTLIGHT
news from the world’s largest professional photography association | Professional Photographers of America | www.ppa.com
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CALIFORNIA PHOTOGRAPHICWORKSHOPSMarch 31 - April 4, 2008Scotts Valley, CAContact: Jim Inks; 888-422-6606; [email protected] site: www.CPWschool.comTuition: $545 (PPA members); $620 (non-members). Special tuition rates for John Teague’s “Seeing the Light” class: $295 (Members); $325 (Non-Members). Lodging for 5 nights and meals at the conference center are available for students attending the session: $480 (double); $680 (single)Course Information: Choose one photographic expert to study with throughout the week. For details on classes, visit the Web site listed above.Advanced Photoshop –
Suzette Allen Artistic Elements of Portraiture! –
Carl Caylor,Wedding Photography –
Joe Buissink Passion for Portraiture –
Paul TumasonLifestyle Children’s Photography –
Tina WilsonBeginning Photoshop –
Jon YoshinagaLighting and Business Basics –
John Teague (with a special tuition rate)
WISCONSIN PROFESSIONAL PHOTOGRAPHERS SCHOOL @TREEHAVENMay 6-9 & May 11-14, 2008Tomahawk, WIContact: Dennis McGill; [email protected]; 715-369-1226Web site: www.WiProPhotoSchool.orgTuition: $595-$750Course Information:May 6 – 9, 2008 PhotoshopCS3® –
Peter BauerAll 5 PPA Business Modules –
Steve Larsen & Aletha SpeakarPortraits, Weddings, & Children –
Louis TonsmeireMastering Light –
John Woodward
May 11 – 14, 2008 Portraits, Weddings, & General Business –
Doug BoxUnderstanding People, Light, & Style–
Ken Skulte Sales, Marketing, & Psychology –
Clark & Rachel Marten Digital Work ow –
Dave Johnson
IMAGING WORKSHOPS OF COLORADO, INC.May 18 - 23, 2008 | Breckenridge, COContact: Jeff Johnson; 303-921-4454; [email protected] Web site: www.ColoradoWorkshops.comTuition: $925 Member; $975 Non-MemberCourse Information: “Take Your Talents to New Heights!” Join us in Breckenridge for professional development workshops, designed for imaging professionals of all skill levels. Our 2008 faculty includes Kevin Kubota, Scott Dupras, Don MacGregor, Kalen Henderson, David Ziser and more. Take your imaging career to new heights atop this Rocky Mountain paradise. Call 303-933-9461 or view our Web site for more details.
Chances are, people stay connected to local and regional organizations thanks to a newsletter, magazine, or Web site. But these publications don’t produce themselves! Have you—the editors and Webmasters—been thanked?
If you are in charge of these publications, you need to enter the 2008 Af liate Communications Competition.
All PPA Af liate editors and Webmasters are invited to participate in this competition, designed to encourage excellence in Af liate publications and to recognize the individuals who spend their time and energy editing, designing and maintaining these publications in order to keep their members informed. Earn an achievement merit if your entry is accepted into the competition and an additional merit if you win!
Get the recognition you deserve. Entry forms are available at http://competitions.ppa.com. Entries must be received at PPA no later than Friday, February 22, 2008. If you have additional questions, please contact PPA at (800) 339-5451, ext. 226, or e-mail [email protected].
AFFILIATE COMMUNICATORS GET RECOGNIZED
Now that Imaging USA ’08 is over, what are you going to do for education? Just check OurPPA.com for topic threads about PPA Af liates, News, Events, & Schools; PPA Approved & Merited Education; Super Monday (the one-day
classes held around the country); the new PPA-hosted Webinars and more! After all, you can never have enough education.
CONVERSATIONS ON OURPPA.COM
http://ourppa.com
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICESLabTab
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Buyer’sGallery
THIS SECTION IS
THE MONTHLY
RESOURCE
PHOTOGRAPHERS
USE TO FIND
THE PRODUCTS
THEY NEED. PUT
YOUR MESSAGE
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IN FRONT OF
INDUSTRY PROS
AND START
TURNING
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INTO BUYERS.
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3D LightMaster (www.3dlightmaster.com)............................133Adorama (www.adorama.com) .......................................113, 115Advanced Photographic Solutions (www.advancedphoto.com)125Album Crafters (www.albumcrafters.com)............................130Albums Inc. (www.albums inc.com)..................................72-73AlbumX/Renaissance Albums (www.renaissancealbums.com)131Allied Photographic & Imaging Lab (www.alliedphoto.com) ...125AllStar Photo Imaging (www.4allstar.com)...........................126American Color Imaging (www.acilab.com) ......................57, 127American Photographic Resources Inc. (www.aprprops.com) .135American Student List (www.studentlist.com) ......................131ARK-LA-TEX Color Lab (www.altcolorlab.com) ....................124Art Hands (www.arthandsinc.com) ......................................134B & H Photo-Video (www.bhphotovideo.com).................110-111Backdrop Outlet (www.backdropoutlet.com) ........................130Backgrounds by David Maheu (www.backgroundsbymaheu.com) 132Bay Photo Lab (www.bayphoto.com) .............................49, 124Big Black Bag (www.bigblackbag.com) .................................132Bogen Imaging Inc. (www.bogenimaging.us)..........................37Brightroom Inc. (www.backprint.com)..................................126Buckeye Color (www.buckeyecolor.com) ..........................41, 127Paul Buff Inc. (www.white-lightning.com) .........................17, 77CPQ (www.cpq.net) ............................................................126Candid Color Systems Inc. (www.candid.com).......................128Christopher Imaging (www.chrisimaging.com) ......................128Cindy Baxter Studios (www.cindybaxterstudios.com)............130Collages.Net (www.collages.net)..................................11, 30-31Color Incorporated (www.colorincprolab.com) .......................125Corporate Color/Prolab Express (www.prolabexpress.com)....124Contemporary Photography/J. Hartman (www.jhartman.com) .133Custom Brackets (www.custombracket.com).........................133Custom Color Corporation (www.customcolor.com)...............124Denny Manufacturing (www.dennymfg.com) ........................135
Denny Manufacturing (www.photonovelty.com)....................135Diversified Lab (www.diversifiedlab.com) .............................126Drive Savers (www.drivesavers.com) .....................................65Dury’s (www.durys.com).......................................................67Dyna-Lite Inc. (www.dynalite.com)........................................81Ed Pierce Seminars (www.edpierceseminars.com)..................89emotion Media Inc. (www.emotionmedia.com)......................132Epson (www.epson.com) ...........................................29, 34-35Filmet (www.profilmet.com)................................................128Focal Point Studios (www.notecard.info) ..............................135Foto Figures (www.fotofigures.com) ....................................135Fredericks Photo Lab (www.fredericksphotolab.com) ............125GP Albums (www.gpalbums.com)...........................................3Graphic Authority (www.graphicauthority.com) ......................52Group Photographers Association
(www.groupphotographers.com) ..............................124GTI Graphic Technology Inc. (www.gtilite.com) .....................101H&H Color Lab (www.hhcolorlab.com) ..........................Cover IIIHallmark Imaging (www.hallmarklabs.com)..........................129Herff Jones (www.hjpro.com)...............................................127Jonathan Penney Inc. (www.jonathanpenney.com) ................135The Levin Company (www.levinframes.com) ........................134Lexar Media (www.lexar.com/ppmag) ....................................55Lustre Color (www.lustrecolor.com)...............................101, 128MPIX (www.mpix.com).........................................................57MWM Dexter Inc. (www.mwmdexter.com) .............................78McKenna Pro (www.mckennapro.com)..................................125Mamiya (www.mamiya.com)............................................23, 25Meridian Professional Imaging (www.meridianpro.com) ..Cover IIMichel Company (www.michelcompany.com) ........................133Michigan Photo (www.michiganphoto.com)..........................126Microtek (www.microtekusa.com or www.artixscanm1.com)....43Midwest Sports (www.midwestsportslab.com) .....................127Miller Professional Imaging (www.millerslab.com) ..................13Mitsubishi Imaging (www.mitsubishi-imaging.com)...............87Morris Group (www.themorriscompany.com)........................134MyPhotopipe (www.myphotopipe.com).................................97NAPP (www.photoshopworld.com) ......................................116
National Direct Marketing Services (www.ndmservices.com).130Neil Enterprises (www.neilenterprises.com)..........................132Nik Software (www.niksoftware.com/ppadfine ......................99Nikon (www.stunningnikon.com/challenge.com)................18-19North American Photo (www.naphoto.com)..........................127Onlinephotofix.com (www.onlinephotofix.com).....................135PR Photo Lab (www.prphotolab.com) ..................................129Pacific Mount (www.pacificmount.com) ................................131Perfection Distributing Inc. (www.perfectiondistibuting.com).131Photo-Tech Inc. (www.phototechnic.com).............................135Photogenic (www.photogenic.com) ........................................12Photoprism Color Lab (www.photoprismcolorlab) .................129Pictobooks (www.pictobooks.com)................................130, 132Pictology (www.go.pictology.com)........................................133PocketWizard (www.pocketwizard.com) ................................47Profoto (www.profoto-usa.com)...................................Cover IVPortrait Weavers (www.portraitweavers.com)........................131Reedy Photo (www.reedyphoto.com) ...................................129Sandy Puc’/Bellies & Babies 2008 Tour
(www.bellies-babies.com)..............................................53Sekonic (www.sekonic.com)..................................................39Simply Canvas (www.simplycanvas.com)..............................129Sony (www.sony.com/dpf)....................................................79Speedotron (www.speedotron.com)......................................117Student Marketing Group Inc. (www.studentmarketing.net)..133Studio Dynamics (www.studiodynamics.com).......................135Studio Logic (www.studiologic.com)........................................7Studio Pro Group (www.studioprogroup.com) .....................1128Successware (www.successware.net) ....................................117Superior Specialties Inc. .....................................................135Tamron (www.tamron.com) .................................................139Texas School (www.tppa.org/school.htm).............................123Unique Photo Supplies (www.uniquephoto.com) .....................4Used Camera Buyer (www.usedcamerabuyer.com) .................59Walker Display (www.walkerdisplay.com) ..............................131White House Custom Color (www.whcc.com) ............8-9, 26-27White Glove (www.wgbooks.com) ........................................132
Publisher not responsible for errors & omissions
PROFESSIONAL
ProductMall SOMETHING HERE YOU NEED...
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ACCOUNTING
CPAs FOR PHOTOGRAPHERS. Business set-up, taxplanning and preparation, business valuations andconsulting. Decades of experience. Darryl Bodnar, CPA,(410) 453-5500, [email protected]. Visit our websiteat www.nlgroup.com.
ALBUMS
GP ALBUMS (formerly General Products L.L.C.) is focusedon flush mount and digital offset albums along with ourNEW extensive line of self-mount albums and folios. GP’sOptimus, Quick-Stick, Digital Vision, Tempus, and Eclipsealbums are the products that will help take your photographybusiness into the future. You will experience the same greatquality with a whole new look. As a manufacturer, GP Albumsalso has the ability to create custom photo packagingproducts upon request. GP Albums continues to offer varietyand flexibility allowing photographers to design the perfectproduct that will last a lifetime. For more information, pleasevisit us at www.gpalbums.com or call 1-800-888-1934.
BACKGROUNDS
THE DENNY MFG. CO., INC. is the World’s Largest Manufactureof Hand Painted Backgrounds, Computer Painted Backgrounds,Muslin Backgrounds, Studio Sets, Props, Lift Systems, andrelated Studio Accessories. Contact us today to receive ourFREE 180 page color catalog filled with exquisite productsand ideas to help you succeed in Photography. Write P.O.Box 7200 Mobile, AL 36670; Call 1-800-844-5616 or visitour Web site at www.dennymfg.com.
STUDIO DYNAMICS’ muslin and canvas backdrops offerquality and value at outlet prices! Call 1-800-595-4273for a catalog or visit www.studiodynamics.com
CHICAGO CANVAS & SUPPLY—Wide Seamless Canvas andMuslin, Duvetyn, Commando Cloth, Theatrical Gauze, Velour,Sharkstooth Scrim, Leno Scrim, Gaffers Tape, Primed Canvas,Gesso, and Deka Fabric Dyes—Fabrication Available. Curtain Track& Hardware for Moveable Curtains and Backdrops—Easilyinstalled. Quick turn around time. Our prices can’t be beat. Visitour website or call for a free catalog and samples. 773-478-5700;www.chicagocanvas.com; [email protected]
CAMERA REPAIR
HASSELBLAD REPAIRS: David S. Odess is a factorytrained technician with 31 years experience servicing theHasselblad system exclusively. Previously with HasselbladUSA. Free estimates, prompt service, reasonable rates anda 6 month guarantee. Used equipment sales. 28 SouthMain Street, #104, Randolph, MA 02368, 781-963-1166;www.david-odess.com.
CANVAS MOUNTING
CANVAS MOUNTING, STRETCHING, FINISH LACQUERING.Original McDonald Method. Considered best AVAILABLE.Realistic canvas texture. Large sizes a specialty.WHITMIRE ASSOCIATES, YAKIMA, WA. 509-248-6700.WWW.CANVASMOUNT.COM
COMPUTER/SOFTWARE
SUCCESSWARE®—Studio Management Software availablefor both Windows® and Macintosh®. Recommended by AnnMonteith, the nation’s foremost studio managementconsultant. Call today for a FREE SuccessWare® Tour 800-593-3767 or visit our Web site www.SuccessWare.net.
Learn how you can revolutionize customer and ordertracking and ignite your marketing fire with customizedsoftware that knows what’s going on in YOUR business—even when you don’t! More professional photographerstrust Photo One Software, powered by Granite Bearthan all other studio management software combined! 5Powerful Guarantees: 5 days to customize your PhotoOne to match your studio; personalized phone training foryou and your staff; 75 minute no-hassle guaranteedsupport call-back time; 365 days of unlimited support andusable upgrades and a 365 day unmatched money backguarantee! Zero-Risk. Only $299.00 deposit gets youstarted. Call 888-428-2824 now for your free workingdemo or visit www.photoonesoftware.com. Photo One,Building better businesses, one studio at a time.
DIGITAL
DIGITAL PHOTOGRAPHERS—Kessler Color producesSTUNNING images from digital files. Try our rapid FTP siteand get a FREE 16 x 20. New Service—E-Vents fromKessler Color. Get 8x10 units for [email protected]. 800-KES-LABS.
SCHOOL PHOTOGRAPHERS—Kessler Color’s digital unitsstart at $.90 each. Beautiful color and great value! Call 800-KES-LABS.
EDUCATION/WORKSHOPS
DIGITAL PAINTING FORUM. The Digital Painting Forum,hosted by Painter Master Marilyn Sholin has thousands ofinternational members and over 50,000 post about Corel®Painter, Essentials, and Photoshop.Forums includetutorials, brushes, digital painting, art, and the business ofcreating, marketing and selling digital art. This forum hasa small subscription fee that is well worth the educationgained. www.digitalpaintingforum.com
WALL PORTRAIT CONFERENCE. April 20th-25th, 2008. Sixday Wall Portraiture concept to completion. The original wallportrait school. Has changed the lives of many! Emphasis onpublic acceptance, concepts, sales, portrait finishing and more.Yakima, Washington, 509-248-6700, www.wallportrait.com
EQUIPMENT FOR SALE
DIGITAL PRINTERS; FUJI-NORITSU; MINILABS; NEW& USED, FACTORY AUTHORIZED. INSTALLATION ANDTRAINING. FINANCING—$600 UP. DELIVERY—INSURED.WWW.DIRECT-RESOURCES.COM; 877-318-3015.
HELP WANTED
HELP WANTED: Assistant photographer for contemporaryphotojournalistic wedding coverages in Orange County, CAarea. Must have digital equipment. E-mail John [email protected].
PORTRAIT PHOTOGRAPHERNORTHEASTERN WISCONSIN
Harmann Studios is a progressive portrait company withmultiple locations with emphasis in seniors, children,families, sport, and school photography. We have been inbusiness for more than 45 years and have unlimitedresources to make our portraits stand out. We are seekinga candidate with 5 years of portrait experience, goodorganizational skills, exceptional understanding of DSLRcameras, and most of all, a fun and adaptive personality.Health, vacation, and flexible scheduling are just some ofthe benefits we offer. Please send resumes and sampleimages and sample images to John Harmann [email protected].
PORTRAIT PHOTOGRAPHER.Company: Club Services of America. Description: Family portraitphotographer with wanderlust. Great earning potential forexcellent family photographer with quality portraitexperience. Photograph and sell to Country Club membersthroughout the United States. Many assignments arewhere the weather is good: south in the winter and northin the summer. OK to travel with spouse. PPA Certified orMasters of Photography are preferred. Requirements:Must have tools of the trade and a dependable automobile.Family portrait photographer. Some sales experience.Excellent knowledge of digital photography. See ourwebsite at: www.clubservicesofamerica.com. Email resumeand sample portraits to [email protected].
PHOTO LAB MANAGER—Responsible for digital photoprocessing. Large in house production lab. Must have generalknowledge of photography. Candidates will be proficient inproducing color correct portrait quality images. Fax coverletter and resume to FCS 315-733-3214. No phone calls please.
INCORPORATION SERVICESINCORPORATE 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
ACADEMY PRODUCTIONS INC.INNOVATIVE PRINTING SOLUTION
Complete Imaging Service for today’s professionalphotographer Processing—Proofing—Film—Digital Files
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• Competitive Pricing—Quick Turn AroundCALL US TODAY: 800-421-3523
6100 ORR ROAD • CHARLOTTE, NC 28213www.PicAcademy.com
PECHMAN PROFESSIONAL IMAGING(DIGITAL OR FILM)
Portraits & Units 8x10 16x20
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Studio-Color Corrected 1.90 11.99
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Raw-File-Services 3.15 16.40
•Undergrad-Sport-Event Pkgs. 8x10 @ $.96
•Fully Assembled Albums-10x10 print included-9 to 18pages from $149.99, (100’s of templates available)
•Proofs from $.25
•Proof Books-spiral bound-8x10 page @ $1.60
• 48 Wal Gold Stamp Special-next 48 free
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•Digital Retouch $2.50, Art-$1.00 per minute
ROES®, LABPRINTSTM, FTP OR DISK.800-777-0221 WWW.PECHMANIMAGING.COM
PLATINUM GICLEETM FINE ART B&W from your digitalfile or negative up to 40 x 60. New DuraFiberTM Media providesdeep blacks and waterproof, non-scuff surface, great for hand-coloring. Also available in sepia, color, split-tone. Call forfree sample. Jonathan Penney, Inc., Master Printmakers.631-874-3409. www.jonathanpenney.com
SPORTS PHOTOGRAPHERS The most versatile sportsprogram available. Digital or film, quality & service is ourmotto. See www.sportsphoto.com
ClassifiedAdvertisingCLASSIFIED ADVERTISING RATES
Classified rates: • $1.50 per word; • $2.00per word/ words with all caps or bold face.• $10.00 per issue—Confidential Reply BoxAds (Optional)—$30 minimum per ad.Closing date is 20th of the second monthproceeding issue date. Remittance must bereceived with order. NO ADS ACCEPTED BYPHONE. Remittance to: ProfessionalPhotographer Classified Ads, 229 PeachtreeNE, Ste. 2200, Atlanta, GA 30303; 800-339-5451, ext. 221; FAX 404-614-6405.
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HAND PAINTED OILS; Transparent, Deluxe, and CanvasStretched up to 40x60. A complete photo art lab servingphotographers since 1965. Traditional and Digital printingservices. Fiber based B&W up to 30x40. Giclee Fine Artprints. Restoration. Free estimates & pricing guide. 800-922-7459 Venetian Arts www.venetianarts.com
UNITED PROMOTIONS, INC.• FULL SERVICE DIGITAL & FILM LAB•
10% DISCOUNT from our low List Price for prebuilt orderssubmitted in ROES (free software), Photolynx, OzE,Workstream or other pre-approved software via our website, FTP or on CD’s. Fast Delivery. Wallets to 40" wide prints.
VOLUME PACKAGE PRINTS - Pre Schools, DayCares, Underclass, Proms/Dance, Cap &Gown, Store/Malls, Glamour, Church, FundRaising and Family Packages.
SPORTS & EVENT PACKAGE PRINTSWEDDING - SENIORS - CANDID - STUDIO PRINTSADD ONS TO ORDERS - Retouching, Proofs on
Envelopes, School Service Items, CD’s, Fun Packs(laminated & die cut), Plastic ID Cards, Groups, BigPrints, Composites, Trader Cards (2 sides), MagazineCovers, Memorymates, Digital Groupmates, PhotoMagnet Cutouts, Statuettes, Buttons, Magnets,Mirrors, Calendars, Locker Prints, Photo Pennants, Mouse Pads, Fun Posters, Admission Tickets, StickerPrints, Banner Prints, Collages, Gold Foil StampingLaminating, Mounting, Posting Images Online and manymore services for the professional photographer.
NEW PRODUCTS - Dye-Sub Photo Plaques andGallery Wraps on Canvas.
UNITED PROMOTIONS, INC.433 Lawton Road
Charlotte, NC 28216-3317(800) 362-4441 - Toll Free
www.upilab.com [email protected]
FREE 20X30Wallets to 6ftx14ft
Goldencolor 9020 W. Olympic Blvd.Beverly Hills, CA 90211
310-274-3445 www.goldencolor.com
PRINTMAKERS CHICAGO, www.PrintmakersChicago.com,312-265-5767. Call or visit our web site and find out moreabout our wide range of photographic support services:
• Large format archival inkjet printing• Carbon pigment sepia archival inkjet printing• Digital offset printing (up to 11 x 17)• Printing on almost anything up to 80” wide by any length• Web site image management for easy reordering
MARKETING
REVEALED: HOW TO GET MORE REFERRALS ANDREPEAT BUSINESS THAN EVER BEFORE! Studiesshow you can see a 10, 25, EVEN 100% INCREASE inreferrals and repeat business by ‘staying in touch’ with aclient newsletter. But who has the time? Photographersusing my unique, “DONE-FOR-YOU” NEWSLETTER systemreport spending only around 60 minutes on their newsletterand getting $750-$18,500 back every month! See foryourself… Request your FREE Special Report and SamplePackage at www.TheStudioNewsletter.com to learn more.
PHOTO RESTORATION
1st PHOTO RESTORATION FREE! Try us, you’ll like us!Point & click easy. No sign up cost. 100% guarantee.Online leader since 1993. Wholesale only to professionals.www.hollywoodfotofix.com or call 888-700-3686.
PRESENTATION BOXES
BOXES—FREE SAMPLE PRESENTATION BOX—FROMTHE ORIGINAL BLACK BOX MANUFACTURE—Fastdelivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10",11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEYAVENUE, NORFOLK, VIRGINIA 23508; 757-440-1147(phone); 757-440-1149 (fax); 888-440-1146 (toll free).www.aufengerbox.com
PRESENTATION BOXES available for immediate shipment;19 sizes—4 stock colors. For FREE catalog & samples call800-969-2697 or fax request 800-861-4528. BUYDIRECT AND SAVE. NPD Box Company, 3000 QuigleyRoad, Cleveland, OH 44113. www.NPDBox.com
PRESENTATION BOXES-BOX MANUFACTURER BUYDIRECT AND SAVE. Complete line of Print and Proofboxes. Hinged presentations. Better Quality, Lower Prices.Product mfg in our own plant. Customize with logo, andchoose colors with ease. Tissue included! Call 401-725-3646 for free samples. H-B Packaging Group 575Lonsdale Ave. Central Falls, RI 02863 www.h-bphoto.com.
RETOUCHING
WHEN YOUR NAME is on the line, nothing but the best will ever do. Our retouchers know what you need: fastservice, a retouch that looks like the photo was neveraltered and the lowest prices in the industry. If you demandthe best log onto www.retouchup.com and your first 10retouches are free just to prove our claims—the best—thefastest and the least expensive or call 888-700-3686.
SALES AIDS
BOXES—FROM THE ORIGINAL BLACK BOX MANUFAC-TURE—FREE SAMPLE—Fast delivery, Finest quality4”x5”, 5”x5”, 4”x6”, 8”x10”, 11”x14”, 16”x20”, 20”x24”.AUFENGER BOX, 4800 COLLEY AVENUE, NORFOLK,VIRGINIA 23508; 757-440-1147 (phone); 757-440-1149(fax); 888-440-1146 (toll free). www.aufengerbox.com
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CHARMING, well respected NORTHERN CALIFORNIAfull service portrait studio in a cute country town which hasalways supported a photography studio. Originally establishedin 1996 as strictly a wedding business, expanded based onconsumer demand. PHENOMENAL visibility on primaryBusiness Route in the downtown area. No competition for 25miles. Recent recipient of downtown beautification award fromChamber of Commerce. Growing high school senior, photorestoration and commercial markets. Successware, Roes and LLCin place. Strong web presence (www.ricecreekphoto.com).Regional and national advertising in place. Selling due to deathin family and relocation. Owner will assist transition. 100%turn-key. $90K negotiable; [email protected].
FLORIDA STUDIO: High-End 35-year business inbeautiful Tampa Bay available at $460k with ownerfinancing. Nets over $150,000 annually without weddings.Magnificently landscaped real estate is also available.Retiring and ready to sell call VR Business Brokers 727-499-6500 or e-mail [email protected].
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138 • www.ppmag.com
p to now, “Good Works” has
focused on charities related to
humans. But what about the
at-risk populations that can’t
speak for themselves?
The planet is dotted with
threatened and endangered
species of plants and animals, and we’re
not talking about faraway, exotic locales.
There are thousands of at-risk plants and
animals here in the United States, in our
communities, in our backyards.
Three years ago, Carol Freeman decided
to do something to help the threatened and
endangered species in her area, the environs
surrounding Chicago. A nature photographer
with clients among environmental organiza-
tions, Freeman has visited various natural
sites around Chicago on assignments for
clients. Speaking with site stewards on location,
she learned about many endangered plant
and animal species in Illinois. Their plight
was compelling, yet there weren’t many striking
images of these species. If they existed at all,
the images tended to be bland scientific cat-
alog shots. “I felt that if we were going to
save these species, we needed to produce
jaw-dropping images,” says Freeman. “There is
definitely a need for good quality nature
photography in this area.”
Freeman set out to photograph all 487 of
the threatened species in her area. She also
founded a nonprofit called Team Green
Environmental Network to promote education
about the plants and animals she documents.
This enormous undertaking pits Freeman
against the forces of time, development and
the inevitable demise of some of the plants
and animals. “I am aware that this may be
the one and only time I ever see some of
these species, and my photograph may be
the last picture people see of a particular
plant or animal,” she says.
Over a little more than three years,
Freeman has photographed 66 of the threat-
ened and endangered species in Illinois, and
she hopes to document most of the species
within the next five years. She plans a school
exhibit, an educational Web site and a cam-
paign to promote awareness about how
human activities are affecting the fragile
ecosystem. “I’m hoping that with awareness
comes change in our lifestyle,” says Freeman.
“The biggest threat to these species is from
us, primarily from development and destruc-
tion of their habitat. I’m hoping that people
will begin to think about that. I’m hoping
people will elect politicians who are commit-
ted to the environment. I’m hoping people
will think twice before they plow over a field
of wild grasses, before they clear-cut land for
a new development, before they destroy a
stream. Most of all, I hope people will opt to
make a change.” �
To see more of Freeman’s work, check outwww.carolfreeman.com.
Images wield the power to effect change. In this monthly feature, Professional Photographer spotlights professional photographers using their talents to make a difference through charitable work.
Share your good works experience with us by e-mailing Cameron Bishopp at [email protected]
good works |
Silent plightGIVING A FACE—AND A VOICE—TO THREATENED SPECIES
©Carol Freeman
U
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