JANUARY 2008 | WWW.PPMAG.COM | $4.

95
 Faithful color. Incredible latitude.
An effortless workflow.
Even the photographers will be throwing bouquets.
Jose Villa

2007 Jose Villa Fujifilm Pro 400H 220 Format

In a digital age, is it possible to have a renaissance in film? After using Fujicolor

Pro 400H for the shot above, Jose Villa emphatically says, yes. I love the soft tones
that this film provides. Even though the lighting is flat in this image, Pro 400H
allowed me to capture smooth, soft gradations from highlight to shadow and keep
the skin tones natural as well." Whats more, since Fujicolor Pro 400H is designed
for ultimate compatibility in today's digital workflow, it offers ease of use after the
shoot. For a wedding photographer as busy as Jose, thats a proposal thats difficult
2007 FUJIFILM U.S.A., Inc. to resist.
 CONTENTS
PROFESSIONAL PHOTOGRAPHER | JANUARY 2008

Features
112 SENSE & SENSIBILITY
For Kevin Kubota success came by
listening to both head and heart
by Jeff Kent

122 OUT ON THE TABLE

John Harrington shares everything he has
learned about businessand leaves nothing out
by Jeff Kent

132 A MASTERS MASTER

PPAs 2008 Lifetime Achievement
Award honors Frank E. Cricchio
by Don Dickson

144 POOLS OF LIGHT

Howard Schatz and his remarkable life aquatic
by Stephanie Boozer

WEDDINGS: RISING STARS

74 JB & DeEtte Sallee soar into the wedding
photography stratosphere
by Jeff Kent

80 PORTRAITS: ONE STEP AHEAD

Frank Donnino changes with the times
by Jeff Kent

88 WEDDINGS: FRONT PAGE NEWS

Cliff Mautner is hot on the trail of blushing brides
by Stephanie Boozer

NATURE: CHILLING EFFECT

96 James Balog documents the accelerating glacial pace
by Jeff Kent

WEDDINGS: BUILDING BACK

104 In post-Katrina New Orleans, John-Michael Hannan
builds anew
by Lorna Gentry

IMAGE BY HOWARD SCHATZ

 14 FOLIO

CONTENTS PROFESSIONAL PHOTOGRAPHER | JANUARY 2008 | WWW.PPMAG.COM

156

163

186
CALENDAR

PPA TODAY

GOOD WORKS
Cliff Maunter

Departments
C O N TA C T S H E E T
18 PIX Digital Imaging Contest

22 PPA & SEP sweepstakes winner

27 Candid camera
29 New photo books
32 What makes a photography
Web site great?

PROFIT CENTER
37 What I think: Frank Cricchio
38 The joy of marketing
by Sarah Petty
42 Finding the boutique client
by Sara Frances
46 Raising the bar: Blake Discher
by Jeff Kent

THE GOODS
51 What I like: Frank Donnino
52 Pro review: Olympus E-3
by Joe Farace
58 Workflow: Freestyle shooting
by David Jay
66 Print finishing: Grand finale
by Bryan Linden
70 Tutorial: Time-saving
Lightroom presets
by Kevin Kubota

88 During his tenure with the Philadelphia Inquirer, Cliff Mautner learned

to judge the moment and find the light. He captures the essence of who the couple is,

allowing it to come out naturally, but rendered through his artistic interpretation.
ON THE COVER: Taken in a pool custom
designed for underwater photography, in
crystal clear water regulated for chemistry and
temperature, Howard Schatz's images mesmerize
the viewer with dancers' ethereal expression
in a weightless world. Fashion designer
Betsey Johnson loaned this fanciful dress for
Underwater Study 2615, one of the images from
Schatz's newest book, H2O. Exposure: 1/125
second at f/4.0, ISO 50.

6 www.ppmag.com
Mind. Body.
Photography.
A Picture-Perfect Relationship
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 P ROF E S S I ONA L
EDITORIAL

director of publications
CAMERON BISHOPP

The master senior editor

cbishopp@ppa.com
art director/production manager
JOAN SHERWOOD DEBBIE TODD
EARNING THE ULTIMATE MERIT BADGE jsherwood@ppa.com dtodd@ppa.com

Were honored this month to feature in our pages the masters
master, Frank E. Cricchio, M.Photog.Cr., Hon.M.Photog., CPP,
F-ASP, Hon.F-ASP, a member of the Cameracraftsmen of America.
Cricchio, a past president of Professional Photographers of America
(PPA) as well as the American Society of Photographers, took his
first image in 1944 with a Sparta box camera, and opened his first
studio of photography in Port Arthur, Texas, in 1958.
Cricchio also holds a record that many have tried, but so far
failed, to top. Through the PPA Merit and Degree Program, launched
in 1937, member photographers earn merits toward PPA degrees for
their professional achievements and their contributions to furthering
the photographic education of others. Merits are awarded when a
member takes PPA-sanctioned classes to advance his skills and
business acumen, creates images that become part of the PPA Loan
Collection, has images and/or articles published in Professional
Photographer magazine, and educates other photographers through
speaking and presenting seminars at PPA and affiliated events.
In 1998, Cricchio became the first person to earn more than
1,000 merits1,192 of them to dateand he continues to make
tremendous contributions not only to the association, but the whole
of the photographic industry.
This year, the PPA Board of Directors confers the 2008 Lifetime
Achievement Award on Frank Cricchio, honoring a career of creative
image-making, his professionalism and tireless contribution to
educating and enriching fellow photographers. Turn to p. 132 for
our interview with Cricchio.
BIG TIME
Finally, a nod to this issue, our Imaging USA show special, and our
biggest magazine ever. We hope you enjoy it, and please pass it on
to anyone you know whos just starting out in professional
photography. We hope it will serve as a useful introduction for the
photographers coming into our ever-growing industry. I
Cameron Bishopp,
Director of Publications
cbishopp@ppa.com
manager, publications and
features editor
sales/strategic alliances
LESLIE HUNT KARISA GILMER
lhunt@ppa.com kgilmer@ppa.com
editor-at-large sales and marketing assistant
JEFF KENT CHERYL PEARSON
jkent@ppa.com cpearson@ppa.com
technical editors
ANDREW RODNEY, ELLIS VENER
director of sales and strategic alliances
SCOTT HERSH, 610-966-2466, shersh@ppa.com
western region ad manager
BART ENGELS, 847-854-8182, bengels@ppa.com
eastern region ad manager
SHELLIE JOHNSON, 404-522-8600, x279, sjohnson@ppa.com
circulation consultant
MOLLIE OSHEA, moshea@ppa.com
editorial offices
Professional Photographer
229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A.
404-522-8600; FAX: 404-614-6406
Professional Photographer (ISSN 1528-5286) is published monthly
subscriptions
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P.O. Box 2035, Skokie, IL 60076; 800-742-7468;
FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com
member services
PPA - Professional Photographer
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Send all advertising materials to: Debbie Todd, Professional Photographer,
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Subscription rates/information: U.S.: $27, one year; $45, two years;
$66, three years. Canada: $43, one year; $73, two years; $108, three years.
International: $39.95, one year digital subscription.
Back issues/Single copies $7 U.S.; $10 Canada; $15 International.
PPA membership includes $13.50 annual subscription.
Subscription orders/changes: Send to Professional Photographer, Attn: Circulation
Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468;
FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com.
Periodicals postage paid in Atlanta, Ga., and additional mailing offices.
Postmaster: Send address changes to Professional Photographer magazine,
P.O. Box 2035, Skokie, IL 60076
Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A.
Article reprints: Contact Professional Photographer reprint coordinator at
Wrightss Reprints; 1-877-652-5295.
Microfilm copies: University Microfilms International,
300 North Zeeb Road, Ann Arbor, MI 48106
Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA
Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta,
GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices.
Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed
by Professional Photographer or any of its authors do not necessarily reflect positions of
Professional Photographers of America, Inc. Professional Photographer, official journal of the
Professional Photographers of America, Inc., is the oldest exclusively professional photographic
publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating
Abels Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer,
The National Photographer, Professional Photographer, and
Professional Photographer Storytellers. Circulation audited and
verified by BPA Worldwide

10 www.ppmag.com
 CAROL ANDREWS
M.Photog.Cr., ABI
candrews@ppa.com

SUSAN MICHAL
Professional Photographers M.Photog.Cr., CPP, ABI
of America smichal@ppa.com
229 Peachtree St., NE, Suite 2200
Atlanta, GA 30303-1608 TIMOTHY WALDEN
404-522-8600; 800-786-6277 M.Photog.Cr., F-ASP
FAX: 404-614-6400 twalden@ppa.com
www.ppa.com

2007-2008 PPA board industry advisor

MICHAEL GREEN
president mgreen@ppa.com
*JACK REZNICKI
Cr.Photog., API
jreznicki@ppa.com legal counsel
Howe and Hutton,
president-elect Chicago
*DENNIS CRAFT
M.Photog.Cr., CPP, PPA staff
API, F-ASP DAVID TRUST
dcraft@ppa.com Chief Executive Officer
trustd@ppa.com
vice-president/treasurer
*RONALD NICHOLS SCOTT KURKIAN
M.Photog.Cr., API Chief Financial Officer
rnichols@ppa.com skurkian@ppa.com

chairman of the board CAMERON BISHOPP

*MICHAEL GLEN TAYLOR Director of Publications
M.Photog.Cr.Hon.M.Photog., cbishopp@ppa.com
API, F-ASP
mtaylor@ppa.com DANA GROVES
Director of Marketing &
directors Communications
RONNIE NORTON dgroves@ppa.com
ABI, Qualified European
SCOTT HERSH
Photographer,
Director of Sales &
Associate of the Irish PPA
We bring the rnorton@ppa.com
Strategic Alliances
shersh@ppa.com

hig h sc h o
market into focus
ol LOUIS TONSMEIRE
Cr.Photog., API
ltonsmeire@ppa.com
J. ALEXANDER HOPPER
Director of Membership,
Copyright and Government
Affairs
American Student List has been providing High School Student lists to DON DICKSON ahopper@ppa.com
hundreds of satisfied portrait photographers since 1971. High School M.Photog.Cr., CPP
Seniors and Juniors are available on pressure-sensitive labels, diskette ddickson@ppa.com WILDA OKEN
or via electronic delivery.Additionally,our list of Families with Children Director of Administration
is ideal for marketing family and holiday portraits.
SANDY PUC woken@ppa.com
See us at the Imaging USA Convention (Booth 1404) for a chance to win a
$100 AMEX Gift Card. M.Photog.Cr., CPP, ABI
spuc@ppa.com LENORE TAFFEL
Director of Events/Education
ltaffel@ppa.com
RALPH ROMAGUERA, SR.
M.Photog.Cr., CPP, API, F-ASP *Executive Committee
NY: 888-462-5600 FL: 888-550-8548 www.studentlist.com rromaguera@ppa.com
The most trusted name in youth marketing. of the Board

12 www.ppmag.com
  Proof Books

 Parent Albums

 Finished Albums
 Vendor Sample Books

 Studio Sell Books

 Favors and Gifts

And

Collages.net press printed books are made from the highest quality materials and provide the
industrys nest presentation. They are available in a wide variety of convenient sizes and creative
color and border options, for any of your studio needs.

For more information, visit www.collages.net/books or contact Customer Service

at (877) 638-7468 or customerservice@collages.net.

Albums | High-End Cards | Press Printed Books | Gallery Wraps | Professional Printing | Online Presentation

Check out Collages.nets comprehensive product line at www.collages.net/products.

2008 Collages.net Inc. All rights reserved. Photo 2008 More Than An Image Photography.
 folio| Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sample of
award-winning photography by PPA members. The Loan Collection is a select group of some 500
photographs chosen annually by the PPA print judges from more than 5,000 entries.

Stan Jones

STAN JONES
While visiting Babcock State Park in West Virginia, Stan Jones, M.Photog., of S&N
Photography in Cave City, Ky., fulfilled a longtime wish to photograph this unique spot.
Taking advantage of the early morning light, Jones exposed Glade Creek Falls for 4 seconds
at f/16, ISO 100, with a Canon EOS-1Ds Mark II digital SLR and 24-70mm Canon f/2.8 L EF
lens with a circular polarizer. He used Adobe Photoshop to perform minor color correction.

14 www.ppmag.com
 BOB HAWKINS
Anyone who knows my work knows I love
character studies, says Bob Hawkins,
M.Photog.MEI.Cr., CPP, of Bob Hawkins Studio in
Newton, Iowa. I like to get their story, where the
journey of life has taken them. Using nothing but
a Larson 4x6-foot silver reflector to bounce light
from a window, Hawkins captured Etched by
Time with a Canon EOS-1Ds digital SLR and 70-
200mm Canon f/2.8 L USM EF lens. He
converted the image to black and white in Adobe
Photoshop, adjusted the contrast and density, and
applied a weathered wood overlay to add texture.

TIM MATHIESEN
Tim Mathiesen, M.Photog.Cr., A-ASP, F-ASP, of
Panoscenes.com in Laguna Niguel, Calif., couldnt
resist the urge to capture this breathtaking
sunset over Moloki Island in Hawaii. Shooting
with a Fujifilm Panorama GX617 Professional
camera and 105mm Fujinon SW f/8 lens with a
center filter, Mathiesen exposed Fujichrome Astia
100F film for 1/15 second at f/16 to create Just
Another Sunset in Paradise. Sunsets in Hawaii
are legendary, says Mathiesen. This one looked
like nothing would happen, then turned Bob Hawkins
spectacular in just a few minutes.

Tim Mathiesen
Three new cameras designed to inspire. Starting with the totally new EOS-1Ds Mark III. With a 21.1-megapixel full-frame
CMOS sensor, dual DiG!C III Image Processors, and a 3-inch LCD monitor, its far and away the most remarkable camera Canon has
ever created. The newly redesigned 10.1-megapixel EOS 40D lets photographers take the next leap
forward, with its DiG!C III Image Processor and 6.5 frames-per-second shooting. Along with the
exceptional EOS-1D Mark III with its blazingly fast 10.5 frames-per-second shooting and 10.1-megapixel
CMOS sensor, Canon makes the creative process easy, rewarding and, most important, inspiring.

To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc

Enter the Why Do You Love Football Photo Contest at www.usa.canon.com/nfl for a chance to win a trip to Super Bowl XLII. Contest ends 12/2/07.

2007 Canon U.S.A., Inc. Canon, EOS and DiG!C are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE is a trademark of Canon. All rights reserved.
 CONTACT SHEET
Whats New, Events, Hot Products, Great Ideas, Etc.
Greg Sims

Lets get
digital PIX Digital Imaging Contest Thirteen highlights 2007s best
Michel Tcherevkoff

18 www.ppmag.com
 Sean Teegarden

Sponsored by Photo District News magazine,

the annual PIX Digital Imaging Contest recog-
nizes special achievement in digital photogra-
phy in several categories. Winning images are
determined not only by the technical profi-
ciency they reflect, but also by such universal
photographic principles as imagination, vision
and collaborative effort. The PIX contest is
an opportunity to acknowledge the digital
techs, CGI artists, retouchers and other
digital artists who labor behind the scenes.
The first place winners of PIX Digital
Imaging Contest Thirteen are, by category:
Advertising Campaign: Hasnain Dattu
and Stephen Cribben for their collaboration
on We See What Most Dont, a campaign
for the Salvation Army.
Portraits/Celebs/Music: Michael OBrien
for the Tom Waits Series, depicting the
musician in a variety of scenes for his new
album, Orphans.
Travel/Lifestyle: Tony Gale for Night,
nightscapes of public recreation spaces shot
on film then scanned for digital editing.
Fashion/Beauty: Michel Tcherevkoff for
Shoe Fleur, a collection of shoes and acces-
sories made entirely from botanical elements.
Personal Work: Jim McHugh for the
Hotel Series, a project inspired by the
preservation of Los Angeles buildings.
New Talent: Sean Teegarden for True
Character, a portrait series in which
Teegarden made the distinguishing
characteristicswhat some would call
flawsof his subjects vividly apparent.
The PIX contest judges were Brian Storm
of MediaStorm; Dave Lewis of Fallon
Worldwide; Marin Preske of Surface magazine;
Katrin Eismann, digital photography author
and instructor at the School of Visual Arts;
and Martin Bols of [zerone] Photo Retouching.

Opposite page, top and left: Greg Sims' "Lemonade Stand," was merited in the Advertising category.
For more information on the awards, visit Michel Tcherevkoff's "Shoe Fleur," was First in Fashion/Beauty. Above: Sean Teegarden's "True
www.pdngallery.com/contests/pixdigital/2007. Character" series was first in New Talent.

January 2008 Professional Photographer 19

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CONTACT SHEET
Sweepstakes winner
PPA and SEP members-only Sweepstakes Marketing Co-op pays off
Roman Cooper from Saginaw, Mich., is the first
winner of the 2007 Graduate in the Drivers
Seat Sweepstakes, sponsored by Professional
Photographers of America (PPA) and the
22 www.ppmag.com
Society of Sport & Event Photographers (SEP).
Cooper entered the sweepstakes at Hicks
Studio of Saginaw, owned by Randall
Tucker, CPP. He chose to take home the cash
equivalent of a 2007 Jeep Wrangler Sahara.
Hicks Studio participated in the national
sweepstakes by joining the PPA/SEP Sweep-
stakes Marketing Cooperative member
program. Along with the Graduate in the
Drivers Seat Sweepstakes, PPA and SEP
also sponsored two more give-aways, the
Family Destination: Disney Sweepstakes and
Escape to Paradise Cruise Sweepstakes. The
winners of both will be announced this month.
This exclusive new member-only benefit
enables photographers to participate in a
profit-building sweepstakes promotion with
high-value prizes that they couldnt offer on
their own.
PPA and SEP members can still join the
2008 Sweepstakes Marketing co-op and
give their own clients the chance to win
fabulous prizes. Find out more at Imaging
USA in Tampa, Fla., January 6-8, or online
at www.ImageSweepstakes.com.
 2007

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2007 Nikon Inc.

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 CONTACT SHEET
Candid camera
Capturing the moment she says, Yes.
Nearly every aspect of the digital generations
lives is online, in photographs, and fair game
even the typically private moment between
couples when marriage is proposed. Would-be
grooms are hiring professional photographers
to secretly photograph them on bended knee
popping the question to their unsuspecting girl-
friends, who also have no idea a lens is trained
on their priceless (and, hopefully, positive)
Photo by Casey Fatchett
Gruber Photographers
BY LORNA GENTRY
reaction. In a trend thats picking up traction,
photographers are documenting couples
lives from Will you marry me? to I do.
New York wedding photographer Terry
deRoy Gruber, who photographed the wedding
of Michael Douglas and Catherine Zeta-Jones,
is in the vanguard of pre-engagement photogra-
phy. Since 1999 Gruber has been all over
Manhattan covertly photographing proposals
from Central Park to rooftops and the Brooklyn
Bridge. Public places are often best, but there
is always the chance that someone will walk in
front of the camera at the moment and obscure
the view. We do the best we can, but when were
in a public spot we cant control everything.
Its a bit easier to pull off paparazzi
photography in a restaurant, he says. For
outdoor proposals, Casey Fatchett, also a
New York wedding photographer,
recommends daylight or at least a well-lit
area. I once had a client who took his
girlfriend to Columbus Circle to propose, he
says. I text messaged him to move her uses Rolleiflexes, 35mm film and digital
closer to the fountain where the light was cameras with 200-400mm lenses, and
better. As we messaged back and forth, he Widelux panoramic cameras in order to
told her he was he was messaging for work, give a sense of setting, he says. If Casey
but afterward she said she was beginning to Fatchett is trying to blend into a crowd, he
wonder if there was another woman. uses either a 70-200mm f/2.8 lens or a 28-
Price depends on the arrangements, which 105mm f/2.8 lens on his digital camera.
can range from a photographer simply dressed One of Fatchetts ruses is pretending to be a
as a tourist with a camera to elaborately con- street photographer at a predetermined loca-
cocted pretexts. Terry Gruber has hired people tion. It helps that I came to New York to be
to pretend to pose with their dogs in Central an actor, he says. This type of photography
Park for a photographer who is actually lets you live out a spy fantasy, following people
shooting over their shoulder to capture the around paparazzi-esque, shooting out windows
proposal-in-progress behind them. Its a bit and taxis. Its fun and its always different.
like a duck blind, he says. For about an hours
To see more of Terry deRoy Grubers photogra-
time, Gruber charges $750 and up, and phy, visit www.gruberphotographers.com. To
Casey Fatchetts prices begin at $295. Each see more of Casey Fatchetts photography
photographer books about a dozen a year. visit www.fatchett.com.
Equipment depends on the job. Gruber Lorna Gentry is a freelance writer in Atlanta.
January 2008 Professional Photographer 27
Pages an enormously influential photographer and
teacher, captures the jingoism of America in
1947, Magnum Photos has chronicled the
major events and personalities that shape

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CONTACT SHEET

Your Web site is often a client's first

What makes a photography Web site great? impression. You need a distinct brand identity,
as John Sibiliski's site illustrates (left).

5 important content and design basics BY TRICIA GELLMAN HOLMES

A great Web site is one that gets you the

quality and quantity of work that you
want. In the current age of technology, a
high-quality portfolio Web site is essential
for a professional photographer because in
many cases, your Web site is also your
potential clients first impression of you
and your work.
The first and arguably most important
aspect of your site are the imagesmake
sure they load quickly and are displayed
large. Beyond your imagery, here are five
key components: unique and consistent
branding, easy to use navigation, updated
content, search engine optimization and
clear, easy to find contact information. All
of these contribute to ensuring your Web
site is working to market your business.
1. A distinct and consistent brand
identity. Your Web site is a primary means
to establish your brand and distinguish
yourself. Through the selection of your
images, use of color, typography, logos and
graphics, and even music, you have the
opportunity to create your own unique
brand. Consistent branding throughout
your site shows the attention to detail and
the level of professionalism you bring to
your business.
In the worlds of portrait and wedding
photography, your personalityand that
of your brandmay be as important as
your images to your potential clients
decision. Customers often look for a brand
and images that they connect with on an
emotional level.
2. Intuitive navigation. Navigating your
site shouldnt be a challenge. An intuitive
navigation scheme helps visitors explore
your site without experiencing frustration.
With a glance they should understand how
to navigate your site and access the content

32 www.ppmag.com
they want to see. Your choice of readable e-mail or a request for more information, so the amount of business you generate while
fonts is also key to ease of navigation. its easy for potential clients to get in touch giving you more time and energy to spend
Ornate or highly stylized fonts should be with you. on your work.
used very selectively. Clearly identified menu Features such as these add value to your
Tricia Gellman Holmes is vice president of
items enable visitors to quickly find the site and make it a resource for clients and
marketing for liveBooks, a provider of cus-
pages they are most interested in. Easy-to- potential clients. A well-designed and easy- tomized portfolio Web sites and marketing
navigate portfolios make visitors want to to-use Web site will dramatically increase software for professional photographers.
explore them fully. The right navigation
makes your Web site inviting and will
increase the amount of content potential
clients view.
3. Updated content. Keep it fresh. A Web
site that changes regularly provides an
incentive for visitors to come back again. A
site that is frequently refreshed tells
prospective clients that you are actively Introducing the new QUANTUM TURBO SCSlim,
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site current without taking away from your
Provides up to 225 full-power Qflashes or 400 shoe mount flashes on a
time to shoot. single charge!
4. Image size and download speed. Your Charges in 1.5 - 2 hrs. using its standard (100240 VAC) charger.
Computerized "Fuel Gauge" displays power remaining and charging progress.
Web site should showcase your work first
Compatible with all Quantum "C" and "CC-Series" flash cords.
and foremost, not distract people from it.
Let your images take up most of the viewing
area so the rest of your Web site design isnt
competing for attention. Faster download
speed helps visitors have a better experience
overall. Finding the right balance between
high quality and low file size is essential.
Too far in one direction and your photos
will appear slowly on a visitors screen, and
too far in the other gets you fast-loading
photos that dont reflect the quality of
your work.
5. Clear contact information. A clear
contact page is one of the easiest ways to
increase business. Make sure that after
visitors have explored your Web site they
have an easy way to become your clients.
Have a page where visitors can find out
where you are located and access your
contact information, including your address,
phone number, and e-mail address. Make
the page clickable with hot links to your
Call 631-656-7400, visit www.qtm.com or your professional photo dealer for more information.

January 2008 Professional Photographer 33

Photography by Gregory Heisler.
Beautiful.

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

What I think
Frank Cricchio prioritized
professionalism for 50 years
What advice would you give to someone who is just
beginning in the photography business? Know the
technical skills that enable you to give your client the
best product in the industry. Having technical skills
enables you to go further with your artistic vision.

Whats the biggest business risk youve ever

taken? My biggest risk was embracing color
photography when we had only black and white.
Families wanted matching images of their
children, and black and white mixed with color
images was not acceptable.

What do you consider your big breakthe turning

point? The introduction of color photography in
1958. Before color photography, the old masters
kept their quality processes secret and did not share
with others. When color photography was introduced,
everyone was on a level playing field. All of us had
to start from step one to learn color, from
processing to the art of using color in an image.

Whats the secret to running a successful photogra-

phy business? The secret to any personal service
business is to care more about your customers
needs than your profits. You must become involved
in your community. Your professional image should
be impeccable. You should always dress profes-
sionally and behave professionally. When the phone
rings, always answer it with a smile in your voice.

IMAGE BY FRANK CRICCHIO

WWW.FRANKCRICCHIO.COM

January 2008 Professional Photographer 37

 TM
THE JOY OF MARKETING S A R A H P E T T Y, C P P

To be successful in business, you must do

Successful studio events can generate buzz,
heighten visibility and build brand for your
business. Here are 12 tips for a great party.
things that give you visibility and build your
brand all year long. To be a leader in your
market requires doing even more, things
that knock the socks off clients and prospects.
Once a year, every business should throw an
event that creates massive buzz. Think of it
as a party to celebrate your clients.

Host with The event must be exciting, enticing and

inspiring. People dont want to come to your
business to hear a sales pitch, they want to

the most
be stimulated. Nows your opportunity to
wow them with your creativity.
One of the best reasons to host an event
is to bring in people during a slow time,
12 IDEAS FOR THROWING AN ANNUAL EVENT which often for photography studios is the
first quarter of the year. You can use an event
All photos Vicki Taufer

not only to create buzz, but also to book sessions

during typical lulls. When it comes to having
successful events, Vicki Taufer, M.Photog.,
CPP, and husband Jed Taufer, owners of
VGallery in Morton, Ill., are some of the
best. VGallery has had a Girls Night Out
event every winter for eight years. They
invite vendors who appeal to women or who
have a unique product to set up in their
studio during the event. They give each
attendee a gift bag stuffed full of goodies
from these companiesreally great goodies
like product samples, not just coupons.
Known for putting on events worth going
to, the Taufers launched another successful
event, Dog (and Cat) Days of Summer.
Promoted solely with an e-mail blast, the
event was fully booked in 24 hours. The 30
to 40 animals theyd planned to photograph
grew to 120. The events sales were fantastic,
and as part of the promotion, raised enough
money to contribute 125 bags of pet food to

Vicki and Jed Taufer's Dog (and Cat) Days of

Summer event generated a fantastic response and
great press for Vgallery and animal charities.

38 www.ppmag.com
animal charities. Three newspapers covered
the event, and one quoted Vicki Taufer: We
have run specials for children over the years
and have never seen a response like this.
People love their children, but they must
really love their pets. The event generated
both buzz and revenue, and positioned
VGallery in a segment of the market they
had not yet tapped, pet photography.
Hosting an event can be stressful when
youre new at it. I hope these tips from my
own experience will help you create a
smashing success.
SELECT A THEME. Whether its a playful
tagline or an extravagant design, your event
needs consistency. Use the same theme and
design elements on the invitations, signage,
nametags, packaging, ads and anything else
you use to promote this event. This is one
Gitzo US subsidiary: Bogen Imaging Inc. 201 818 9500 www.bogenimaging.us info@bogenimaging.com
time you can go crazy with fresh looks, but
the theme should be consistent with your
identity. Whatever the look, do not tamper
with your logo.
POLISH YOUR STUDIO like never before.
Repair any nicks and get rid of anything
unattractive or dated. Give the place a fresh
coat of paint. When I worked at an advertising
agency, a client company rebuilt the front
room displays in its hair salon and day spa
every six to eight weeks. Our clients knew it
would increase sales of add-on products
because it was timed with the visiting cycle of
the typical customer, so shed see something
new every time she came, yet would still feel at
home there. Photographers should reenergize
A great goodie bag goes a long way in creating buzz.
Carbon Fiber + G-Lock Tripods
Gitzo takes carbon fiber to the next level
30% lighter weight The most advanced carbon tubes maximize
vibration absorption, stability and weight to strength ratio
20% higher load capacity New patented G-Lock gravity lock
system increases rigidity, is faster to operate and resistant to water,
dust and dirt
Low level shooting with the included Ground Level Set the center
column can be removed completely for macro photography
Lifetime Warranty European innovation and manufacture
with full US support and service
Selection of 24 tripods Full range based on weight
and height preferences
"I have taken my Gitzo tripods around the world numerous times and
into extreme environments for my project LIFE: A Journey Through Time.
It has taken six years to complete but the project is now a book, an
exhibit, and a live music performance -- and the tripods still function
as well as ever." Frans Lanting
Frans Lanting, one of the world's premier nature and wildlife
photographers. Learn more about his work at www.lanting.com
and read about the LIFE project at www.LifeThroughTime.com
To locate a Gitzo 5 Star Dealer
with products on display and in stock
go2 www.bogenimaging.us/gitzo5star
January 2008 Professional Photographer 39

THE JOY OF MARKETING
their studio at least once a year, and having
an event with lots of guests is a great
motivator to do it.
TIE-IN WITH A CHARITABLE CAUSE.
We always find a way to generate funds for a
charity we believe in. For example, we can con-
tribute the events session fees to the charity
and say so in our promotions. Clients get both
a tangible product and emotional satisfaction.
THERES ALWAYS A REASON TO HAVE A PARTY
If youve recently changed the name or
logo of your business, an event is an
opportunity to keep people attached to
your brand. When you make major
changes to your business, people want to
know that they are positive changes.
If you just opened your first retail
studio space, have expanded or changed
location, everybody is curious to see your
new space. Make every detail perfect and
celebrate with everyone you know.
If you transition from proofs to projec-
tion, an event can help educate clients on
how it benefits them. Set up a projector
and show large images with music. It will
give you a chance to explain how you can
shoot more, how you can help them with
40 www.ppmag.com
TM
Its a wonderful feeling to help others and it
creates goodwill in the community.
INTRODUCE SOMETHING NEW. People
look to you as a leader in style and design. They
want to see whats fabulous and new. Maybe
its a canvas gallery wrap framed with stirring
words, or a line of custom art books, or a
new metallic media or a unique frame. New
products plant seeds for future session sales.
framing and in-home design and more.
Events bring traffic during slow times.
Planning an event allows you to be
proactive and boosts the cash flow.
Generating money for a favorite charity
not only feels good, but also makes people
feel good about you. It would be hard for
many of us to donate $2,500 to a charity
out of our own pocket, but if we can do it
through our business, how wonderful is that!
When you want to overcome objections,
an event can be the solution. Have you ever
heard, We dont want our home to be a
shrine to our kids.? Because my clients
purchase large wall portraits, they sometimes
have concerns that theyll run out of space.
I want them to come to my own home and
PROVIDE A GUESTBOOK. Your database
is one of your most important assets. Make sure
you capture the names of everyone attending
your event and add the newcomers to your
database. You can also collect new names
and updates with register-to-win studio gift
certificates. You could have people register
to win a television set or other unrelated
prizes, but you gain an opportunity for
additional sales if the reward is a sitting.
OFFER BEVERAGES AND ENTICING
SNACKS. Pastries, hors doeuvres, soda and
even adult beverages for evening events can
stimulate conversations and make people
comfortable in your setting. Make sure the
time of your event accommodates different
lifestyles. Stay-at-home moms are usually
Color scheme and design should be fresh and
suit the theme, but still consistent with your
studio's brand and identity.
see how to decorate with artful portraits of
ones family. Right before Christmas, I
hosted a holiday open house at my home.
Welcoming my best clients into my home
strengthened the bond between us.
If you are expanding your services,
an event can be a catalyst for growth.
For example, if you are starting to offer
senior photography, plan something
exciting to get seniors to come see
your cool space.
Even if you dont have a specific
reason to stage an event, throw a fun
party and hang out with the people who
love your photography the most. Make
hosting an event a goal for your business
in the new year.
available until the kids get home from but on the day of the event, take the time to that might be taking place at the same time
school, and working parents like to come make phone calls to the targeted reporters as yours. Remember that events typically
right after work. Yes, 10 a.m. until 7 p.m. is at the newspaper and television stations. grow each year, so dont get frustrated if you
a long time, but heck, youve done all the One thing about events: there are no dont have a huge turnout for your first. On
work, the more the merrier. guarantees, warns Vicki Taufer. You cant the other hand, we know photographers whove
FREE GIFT FOR EVERYONE. I strongly control things like weather or other events had 400 people at their first event. I
advise studios to invest in an impressive
promotional item. Coffee mugs and pens just
dont cut it anymore. I have given offset-
printed custom calendars housed in CD
jewel cases. Twelve sheets of paper fit nicely;
turn over the calendar and theres a second
year. Our art will be sitting in front of the
client for two years after the event. At the
Dog Days of Summer, VGallery gave visitors
gift bags donated by a local bakery holding
custom-made VGallery dog biscuits.
BE GENEROUS. We produce hundreds
more calendars than well need for the event.
I give several copies to everyone whose child
was featured in itwe like to use some of
our best clients as modelsand they delight
in passing them along to friends.
PROSPECT FOR NEW CLIENTS. Target
ads and announcements at select neighbor-
hoods, groups or organizations to stir up
new business.
CONSIDER CO-MARKETING. For example,
if you specialize in childrens photography,
you could photograph select clients of childrens
clothing shops in town and display them in
a unique way during your event. Build
goodwill with the store by inviting everyone
on the clothing stores mailing list.
INVITE FRIENDS AND FAMILY. Its smart
to invite the people who care about you. It helps
fill your studio, which makes it seem more
exciting, and because they want to see you
succeed, theyre some of your best salespeople.
GENERATE PUBLICITY AND MAXIMIZE
EXPOSURE. Because youre generating
money for chairty, your event is newsworthy.
Not only should you send a press release,

January 2008 Professional Photographer 41

 PROFIT CENTER S A R A F R A N C E S , M . P H O T O G .C R .
The boutique photographer, a franchise of one
Finding the boutique client
Eddie Tapp
This is the first in a year-long
series about the boutique studio business
model. The series will appear in the Web
Exclusives section at www.ppmag.com.
Where can you find the clients for fine com-
missioned photography who wont be
stricken with sticker shock? Demographic
information alone wont help you. Weve all
experienced the low-income wedding client
who pays cash for the most expensive package
and the Lexus-driving bride who values
status more than high-quality photography.
As for party consultants, an obvious referral
source, they often expect a sizable commis-
sion and listing fees as well.
A boutique cannot afford to work with
unprofitable, time-consuming clients. The
wrong client can even damage your business
reputation. Last year, to fill a post-Christmas
lull, I took on a bat mitzvah hosted by the owner
of a public relations firm. I saw the potential
42 www.ppmag.com
The clients we desire want to know
the spirit of the people they work
with, so we post photos of ourselves
on our Web site doing all kinds of
jobs. The boutique model is an
appearance business, and everything
about us is critical as a sales tool.
for a valuable commercial relationship. The
budget was small, but the request for nothing
special, just photos looked easy and profitable.
But it took 60 days to close the deal, the retainer
check bounced, as did the final payment, and
a huge snowstorm almost doubled the time we
spent on the job. Group photos for 20 disinte-
grated into chaos, as some 50 people milled
around with pre-dinner drinks, getting in the
way and distracting the subjects. These were
not the clients for my studio. The boutique
photographer deals with relatively few clients
a year, so he has to recognize and turn down
the uncommitted client.
We recently had the privilege of photo-
graphing a couple at their country club wed-
ding. All the decision-making parties came
to the studio for the first consultation. They
judged the quality of our product based on
their appreciation of fine arts and our willing-
ness to brainstorm special ways to approach
their needs. It was unnecessary to educate them
on the fine points that make our studio differ-
ent. They booked a $20,000 still and video
package on the spot. Its been a joy to work
with them as the job progresses. Its worth
the extra effort to find a handful of such clients!
One way to simplify your search for the right
client is to hire a professional coach or advisor,
who can help you formulate a step-by-step
playbook, a guide that defines the desired
client, helps you find her, leads you through
selling and contracts, and helps you close at
least seven out of 10 prospects. A proficient
coach is worth far more than the investment.
After more than three decades in business,
I didnt think I needed a professional business
consultant, even though I wasnt reaching
enough of the right boutique clients. Then I
met Rick Skurla. He was the right person to
analyze my business from the outside, help
me develop a consistent sales presentation
and a word-for-word script to close the sale.
After the first few meetings, I began to get
it. Within a structured guideline for building
a client relationship, theres plenty of room to
be creative yet make high sales. Its all about
trust. Recently four different clients voiced that
exact word; they trusted me to design photo-
graphs and albums for them, for more than
$15,000 each. With that I knew my invest-
ment in a professional coach had paid off.
Theres a subtle difference between a busi-
ness consultant, who helps to define a market,
suggest operation and sales strategies, and a
business coach, who focuses on the principals
of the company and their personal goals and
strategies. Im using the term coach to signify
either one, but ask the professional youre
interviewing which one he considers himself
to be. When choosing, consider these factors:
Profile you and your market. First, honestly
state who you are, what services and products
you offer and how you want to limit jobs and
services in the future, your goals in regard to
your age and experience, your family life, and
whether youre a long-time pro like me, or an
eager newcomer. A startup boutique owner
might have an easier time self-profiling
because you can begin fresh. The demo-
graphics of your area have a lot to do with
the feasibility of your plan. Your coach
should make sure youre in the right arena.
Profile your client. Your franchise of one
needs to know the buying habits of the desired
client, where she lives, her social pursuits, her
family involvement. Analyze your best clients
and note what they have in common. When
you know what led them to select you, you
have a treasure map to lucrative clients. The
more detailed the map, the better.
Attract and book prospects. For boutique
January 2008 Professional Photographer 43
PROFIT CENTER
photographers, the right client is almost always
a referral from a planner, a friend, a past client,
or anyone in a position to trust you enough to
refer others to you. You must consistently ask
particular questions to ascertain that the
prospect wants the top-tier product you
provide, is in position to finalize the decision,
and has the funds allocated. You cant afford
to invest time in prospects who dont meet
all three criteria. Your coach should help you
script word-for-word qualifying questions
phrased accurately and sensitively.
Next, you get to show off your talent with
extravagant samples and offer creative ideas
for the prospects particular needs. Your play-
book should include anecdotes of how you
solved similar problems in the past. If your
prospect lives elsewhere and cannot meet in
person, your Web site becomes your credentials;
the site in itself isnt a direct sales tool. Asking
44 www.ppmag.com
for a commitment and closing the deal are
the last of the offense plays in your book.
Service after the sale. Score big when you
demonstrate your superior technique, unique
presentation and timely delivery. When you
like your clients and there are but a select few
of them, its easy to invent artistic new products,
keep in touch with progress reports on the
job and write thank-you notes. Never
discount the importance of careful, trans-
parent billing. I was amazed at clients
positive response when presented with a
computerized, detailed invoice explaining
every charge and the inevitable add-ons that
come with any job. You will probably spend
serious time over a number of months to
complete each job. Your billing can make a
lasting impression and fulfill the meaningful
experience the boutique client desires.
Now why not take a client to lunch, and
measure your success with her answers to
your questions about how and why she
booked you, what she liked best, what could
have been done differently? Youre in a great
position to ask for referrals, because the
boutique photographers reward comes from
exceeding expectations. I
Sara Frances and her business partner and
husband, cinematographer Karl Arndt,
own Photo Mirage in Denver, Colo.
(www.photomirage.com).
For more info on Rick Skurla,
professional business and sales coach of
Skurla and Associates, e-mail
rick@skurlaandassociates.com. Download
a free copy of The Business Owners
Playbook, a publication of The Hartford,
at www.thehartford.com/businessowner.
Sign up for a one-time consultation with
Professional Photographers of America
Studio Management Services, get info on
upcoming business workshop at
www.ppa.com.
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PROFIT CENTER

Blake Discher thinks new photographers
shouldn't have to learn the business the hard
way, like he did. He's happy to share what he's
learned about being a success.
BY JEFF KENT
For the last 18 years, Detroit photographer
Blake Discher pursued professional
development, reinvention and
specialization. Starting out as an Associated
Press stringer, he cut his teeth shooting
sports and spot assignments. As his career
matured, Discher got into P.R. and corpor-
ate photography. These days, he specializes

Raising the bar

7 VALUABLE LESSONS FROM BLAKE DISCHER
in people-centered images, shooting for
annual reports, brochures and editorial
features. Hes one of the biggest names in
corporate photography in Detroit.
Discher is a strong believer in open
Blake Discher
information sharing. He enthusiastically
talks about his business to fellow profes-
sionals, going so far as to post a pricing
structure on his Web site. He wants
photographers everywhere to raise the
bar so that everyone profits. We asked
Discher to share some of the lessons he
learned in running a successful photog-
raphy business.

SPECIALIZE. Everyone wants a spe-

cialist. If you do all types of photography,
youre a general practitioner. If you needed
an operation on your brain, youd go to a
brain surgeon, not a general practitioner.
Being in Detroit, my clientele is in the
automotive industry. Im a specialist in
that field. I talk their lingo. I know
their concerns. I have the relevant experi-
ence. Thats what clients like to hear.
Its what differentiates me from the
competition.

DIFFERENTIATE. One of the keys in this

business is to stand out from the crowd.
You need to express why the client should
work with you and no other. If you cant, it
becomes a price game, and youll lose. One
way to differentiate yourself is to be know-
ledgeable about your clients business, be

46 www.ppmag.com
able to talk intelligently about it, ask
pertinent questions. It instills confidence
that youve put time into the project, and
that makes you valuable.
PERSONALIZE. A large part of this busi-
ness is people skills. If you call me from a
referral, the first thing I say is that Id like
to collaborate with you. Then I ask how
creative we can get on the project. Can we
be a little different, or do we need to be
conservative? You need to really engage the
client. Try to determine why this person
called you. What did he see on your Web
site that he liked? What makes him think
you might be the right person for the job? I
also zero in on what makes this client click,
find out exactly what hes looking for up
front. I give him some ownership of the
ideas we discuss. I create a partnership. If
you do this well, the client feels like youre
on the same teamhis team. You want to
build on the sense that youre working
together toward a common goal.
VIRTUALIZE. Photographers need to pay
attention to Web marketing. The majority
have a Web site, but dont take full advantage
of the Internet. Update your site often.
Add content. Make your site a dynamic
experience for the visitor. About 65 percent
of my new clients come from Internet.
The Internet is especially important for
emerging photographers without big
budgets. You can gain a real advantage with
search engine optimizations, new content,
updated material and other steps to keep
your site fresh and interesting.
BUDGET. Early in my conversation with a
prospective client, I ask, Have you set a
budget for this project? I say I wont be the
cheapest photographer around. In fact, I
may be at the top end. But theres a reason
for that. Never quote a price in the first
phone call. Instead, take down all the
specifics, ask plenty of questions, and then
tell the client youll call him back. Then go
research the clients business. Look at the
specifics of the job. When you call back with
the price, you can drop in some talk about
his company, show you know what youre
doing when it comes to this job. Get him
talking and engage him.
In pricing, as bad as it is to come in too
high, its equally bad to come in too low. Im
convinced that photographers who under-
charge do so because, for the most part, they

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PROFIT CENTER
dont know how much they could charge.
Take the time to not only research the client
but to research what other people are
charging in your market.
MAXIMIZE. In todays business climate,
48 www.ppmag.com
the survivors will be those who, at the end of
the day, can say I did everything I could to
market my business today. Part of the
challenge for professional photographers
today is that the cost of entry is so low.
Clients can buy high-end cameras for
$1,500 and take pictures that are good
enough. As a professional, if you take
pictures that are only good enough, then
that $1,500 camera just replaced you.
REINVENT. It can be dangerous not to
reinvent yourself every four or five years.
Part of developing a style is looking at
images, adapting to new tastes, and staying
current. If you shoot long enough, you start
to repeat certain elements. Ive noticed my
images have a lot of strong diagonal and
vertical lines. The images are structured.
The danger is that if I do it too much, it
becomes standard, boring.
The same goes for marketing. Examine
what you are doing and dont let your look
get stale. Reinvent your marketing. I
know I need to be more aggressive in my
marketing. Ive put my Web site out there,
and its worked for the last five years. But I
think that wave will start to settle down. It
cant be just about a Web site anymore. I
need to get back to some traditional
methods of getting clients.
The way to make more money in this
business is to get better clients. Once you
have an established client, youll never be
able to raise your prices dramatically with
that client, so its important to keep getting
better clients. Thats the way to progress
in business. I
To see more from Blake Discher, check out
www.fireflystudios.com.
Blake Discher presents Web Marketing in the
pre-convention program (January 3-5) at Imaging
USA in Tampa, Fla., January 6-8.
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Professional Photographer P R E S E N T S Products, Technology and Services

What I like
For Frank Donnino,
toys are toys
What makes your workflow flow? I
have this dumb envelope system. We
move the client envelope and order
form from one area to another. It
works well. Plus, I get exercise!

Whats the best equipment investment

youve ever made? My new GPS. Oh,
you meant for photography? Hands
down, our iMacs. Great, stable system.

What hot new product are you going

out of your way to use? Those plastic
credit card type gift cards are getting
our phone to ring off the hook.

Has a piece of equipment ever changed

the way you approach your photography?
Yes. I love my 75-200mm Canon f/2.8
zoom lens. I photograph wide open
outdoors and love the look I get.

Whats the one piece of gear theyd have

to pry from your cold, dead fingers?
My iPhone, of course. Also, my Canon
5D with my zoom lens. Hey, toys are toys!

IMAGE BY FRANK DONNINO

WWW.FRANKTHEARTIST.COM

January 2008 Professional Photographer 51

THE GOODS: PRO REVIEW

The recently released Olympus E-3 digital SLR

includes Live View, dust reduction, in-camera
image stabilization and 10-megapixel image sensor.
B Y J O E FA R A C E

Four-thirds for
the pro OLYMPUS E-3

In 2003, Olympus introduced the E-1, a pro-

All images Joe Farace

fessional digital SLR based on the four-thirds

system; Leica, Panasonic, and Sigma followed
suit (www.fourthirds.org). Olympus
launched the Olympus E-3, its flagship, in
Puerto Rico, which provided opportunities
to test the cameras capabilities under real-
world pro shooter conditions. The E-2 got
knocked off the design board when
Olympus teamed with Panasonic for
production of the Live MOS sensor.
The E-3 includes live view and dust
reduction, along with fast autofocus, in-
camera image stabilization, and a 10-
megapixel image sensor, all housed in a
rugged dust and splash-proof magnesium
alloy body. The 17.3x13mm Live MOS
sensor yields a picture angle equivalent to a
2X focal length in 135mm format.
Olympus says the E-3 has the fastest AF
speed in the world. I couldnt put a stopwatch

I made a series of photographs of Old San Juans

Christ Chapel with the E-3 in Auto White Balance
mode and got the kind of golden church photo-
graphs so beloved of wedding photographers in
the days of film, but I wanted more. I shifted the
E-3 into Live View mode so I could see color balance
options and how they affected the image in real time.
I captured this image using the Tungsten white bal-
ance preset that represented the chapels true colors.
Exposure: 0.3 second, handheld at f/4.5, ISO
1600, 7-14mm Zuiko Digital ED f/4.0 lens at 7mm.
I used the 12-60mm lens along with the new EC-
20 2X Teleconverter at Castillo de Serralles to
photograph these tinysmaller than a dime
flowers. While the 2X teleconverter does not
decrease the camera to subject distance, it does
double the image size, producing superb macro
results. Exposure: 1/200 second at f/11, ISO 100.

on the AF, but with the cameras 11-point,

biaxial cross type AF system, five frames-
per-second continuous shooting, and 1/8,000-
second top shutter speed, it was ready when
I was to capture a decisive moment.
The shutter has a life rating of 150,000
exposures, likely underrated, which should
meet the demands of professional photogra-
phers. Olympus also announced three new
Supersonic Wave Drive (SWD) lenses, including
the Zuiko ED 12-60mm f/2.8-4.0 (24-120mm
equivalent), my go-to lens in Puerto Rico.
The E-3s optical viewfinder provides a
100-percent view, and a 1.15X magnification
for precise composition. The only cameras
close to matching this big, beautiful view
have full-frame sensors. The 2.5-inch swivel
DIGITAL ZUIKO
Live View LCD screen affords a 100-percent Along with the E-3, Olympus announced three new Zuiko Digital ED lenses that use
view and 170-degree viewing angle. The Supersonic Wave Drive (SWD) autofocus motors: the 12-60mm f/2.8-4.0 SWD, 50-
screen can be rotated freely so you can take 200mm f/2.8-3.5 SWD, and a 14-35mm f/2.0 SWD that will probably be available at
Hail Mary shots with the camera held PMA 2008. The lens two compact, high-powered Supersonic Wave Drives autofocus
overhead, down low, or from unusual at high speed using elliptical oscillations, while an optical encoder
angles. detects and controls the lens drive position with direct rotation
Live Views real advantage to pros is its detection. What this means to you is quiet, fast autofocus lenses
real-time monitoring of white balance and that accurately focus to 5 microns in 0.17 seconds.
exposure. When I was permitted to shoot The 12-60mm f/2.8-4.0 SWD covers a zoom range
inside Old San Juans Christ Chapel, I could equivalent to 24 to 120mm on a 35mm camera. It has special
confirm proper color balance through the optical glass elements to correct aberrations, while its digital
live view image. Being quiet was essential, design ensures crisp edge-to-edge images even when shooting
and the SWD lens focused quietly and wide-open. This lens boasts impressive close-up capability,
accurately. Wedding photographers will find allowing you to shoot as close as 9.8 inches throughout the zoom
these features especially useful. range. At Castillo de Serralles in Ponce, I was able to shoot the
The E-3s built-in dust reduction system 12-60mm lens along with the new EC-20 2X Teleconverter and it
uses a supersonic wave filter to eliminate produced superb results in normal or macro shots. On the other end of the focal
specks in captures. It can even remove spots length spectrum, I used the same combination to double the focal length of the 60mm
that usually cannot be removed through maximum focal length while photographing a model next to a waterfall in the El Yunque
vibration or discharging with static electricity. rain forest. Both close-up and fashion images were tack-sharp.

January 2008 Professional Photographer 53

THE GOODS: PRO REVIEW
I was walking past these boats and wondered what the E-3 could dohandheldin the moonlight. Even
handholding the shot is remarkably sharp due to the E-3s mechanical image stabilization. Exposure: 0.4
second at f/3.5, ISO 2000, captured in Live View mode, 12-60mm f/2.8-4.0 lens at 27mm.
The system really works. After three days
shooting on the beach and streets of San
Juan and Ponce, where I was constantly
changing lenses, my image files are squeaky
clean. The E-3s sealed splash-proof, dust-
proof chassis proved itself during a rainstorm
in the El Yunque rainforest, even after I
slipped on a wet rock and bloodied my
elbow, proving its more rugged than I am.
The E-3 has a twin cross-type (biaxial),
11-point AF sensor that responds on both
vertical and horizontal axis. Unlike systems
that react at lower f-stops by boosting sensi-
tivity, the E-3s sensor has a houndstooth
pattern phase detection layout with micro-
lamination technology for fast, real-world
performance. The 11 AF target points can be
chosen individually or dynamically in combina-
54 www.ppmag.com
tion. If you know the general direction of
the moving subject, the AF area will be
determined by the anticipated motiona
modern implementation of the pre-focusing
techniques used in the manual-focus days.
Mechanical focusing is available, and theres
a custom function to let you choose the
direction of the focus (clockwise or counter-
clockwise) that you find more natural.
The camera is fast from start-up to first
capture, but exposure compensation and
some other button controls seem stiff; you
have to really poke them to make them work.
Its easy to freeze sports action with the
E-3s continuous frame rate of 5 frames per
second (fps) and shutter speed up to 1/8,000
second. You dont have to worry about blur
caused by camera shake because the bodys
specs:
Olympus E-3
IMAGE PROCESSOR: TruePic III
SENSOR: 4:3 aspect ratio, 17.3 x 13.0mm
Live MOS sensor
RESOLUTION: 10.1 effective megapixels
(3,648 x 2,736)
VIEWFINDER: 100% field of
view, 1.15 magnification
METERING: TTL open-aperture metering
system, digital ESP metering (49-point
multi pattern metering), centre weighted
average, spot (about 2% of viewfinder);
highlight/shadow bases are available
SHOOTING SPEED: 5 frames per
second up to 16 frames in RAW, up to
card capacity in large/normal JPEG mode
with SanDisk Extreme II or faster CF card
ISO: 100-3200
EXPOSURE SETTINGS: Program AE
(shiftable), aperture priority AE, shutter
priority AE, manual
SHUTTER SPEED: 1/8,000 second to
60 seconds (1/3, 1/2 or 1EV steps), bulb
WHITE BALANCE: Hybrid detection
system with high-speed Live MOS
sensor and dedicated external sensor, 7
settings, custom from 2000 K - 14,000
K, white balance compensation available
FOCUS MODES: Single AF (S-AF),
continuous AF (C-AF), manual (MF),
S-AF + MF, C-AF + MF
LENSES: Four-Thirds mount Zuiko
Digital lenses
FLASH: Built-in retractable flash, GN=13
(ISO 100.m); compatible external flash
FL-50R, FL-36R, FL-50, FL-36, FL-20,
STF-22, SR-11; X-synch at 1/250 second
or less, Super FP up to 1/8,000 second
STORAGE: CompactFlash, xD
PRICE: $1,699 (body only)
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THE GOODS: PRO REVIEW

built-in image stabilization compensates for

camera movement up to five stops. The stabi-
lizing Supersonic Wave Drive motors collect
information about movement from a gyro,
which detects and analyzes vibrations, and
moves the imaging sensor with a piezoelec-
tric element. I predict in-body image stabili-
zation will become standard in digital SLRs.
The cameras TruePic III Image Processor
uses all of the pixel information in each image,
to yield accurate color, natural flesh tones,
and true blue skies. It also lowers noise in
images shot at high ISOsurprisingly low,
even at ISO 1600. Noise becomes noticeable
at ISO 2000 and higher, and if that bothers
you, better reach for noise-reduction software.
The synergy between the mechanical image
stabilization and TruePic III processing gave
me remarkably sharp and colorful captures The E-3s fast AF and nimble response enabled me to get off a series of shots of this guy coming up a
under pure moonlight at the Ponce Yacht & narrow street in Old San Juan on a scooter. I didnt have time to put the camera in Continuous mode; I
heard the scooter, turned around and just started snapping the shutter. All of the shots were sharp and
Fishing Club, hand-holding the camera and well exposed. Exposure: 1/640 second at f/4.0, ISO 200, 12-60mm f/2.8-4.0 lens at the 12mm setting.
at a shutter speed of 0.4 second.
Image quality in both RAW and JPEG
modes was high, but is 10 megapixels enough? to switch between capture card types, you The FL-50Rwireless flash accessory will
For most studio, portrait and wedding pho- still have to dive into Olympus be useful for wedding and senior photogra-
tographers, yes. If you disagree, remember kitchensink menus, in which every phers to add snap to available-light photo-
not so long ago when you happily delivered possible combination of customization is graphs without the flat flash-on-camera
images made with 6-megapixel cameras. If listed. That will be intimidating for the new look. The flash syncs with either the cameras
clients liked those image files, theyre going Olympus shooter, but once youve pop-up flash or another FL-50R in the hot
to love the 3,648x2,736-pixel captures of the customized the E-3, changes and menu shoe. I used the pop-up flash to trigger two
E-3, especially captured in Olympus ORF dives will be fewer and simpler. FL-50Rs to photograph models on the streets
(RAW) format. Adobe Photoshop Lightroom I tested the E-3 with the optional HLD-4 of Old San Juan and they always fired. (Price:
and Adobe Photoshop Camera Raw already Power Battery Holder, which holds two $499.99.) Olympus includes a Sto-Fen-like
support this format. rechargeable BLM-1 lithium-ion batteries, bounce adapter that works quite well but
The E-3 accepts CompactFlash, including and had power enough to shoot all day. The doesnt seem as sturdy as the real thing.
the fast Lexar UDMA cards and not-so-fast HLD-4 has a vertical grip and shutter release The E-3 is a tough pro camera thats
(they lack a built-in controller) xD Picture with controls, including a programmable infinitely customizable to any specialty. A
Cards, which Ive called mostly useless function (Fn) button. If you prefer big clever combination of live view, mechanical
because theyre non-standard and so tiny cameras, youll like it. If you need the image stabilization, and dust reduction let
theyre easy to lose. Olympus makes this additional power, you might use the grip you deliver clean, publishable image files
annoying little format more palatable by despite its bulk. My wife, Mary, who has with little or no tweaking. I
letting you copy files from one memory card small hands, found the HLD-4 grip
Joe Farace is the author of Getting Started
to another with a single push of the added comfortable, although she didnt like the in Digital Imaging (Focal Press), available
button next to the pentaprism. If you want similar grip for the E-1. (Price: $199.99.) where books are sold and at www.joefarace.com.

56 www.ppmag.com
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 THE GOODS
Its a radical theorytrust your equipment,
automate your post-capture workflow, and
spend your energy on your clients.
B Y DAV I D J AY
Freestyle
shooting
BREAK FREE OF YOUR
TECHNICAL BAGGAGE
Imagine youre out celebrating with friends and
you want to remember this happy experience.
You hand off your point-and-shoot to a
stranger, he counts off 1-2-3, and nothing
happens. How long can you keep smiling for
the camera before you begin to feel
awkward, like your smile has become forced
and cheesy? About half a second!
Weve all felt it and then hated the pictures
All images David Jay
58 www.ppmag.com
DAVID JAYS
WEDDING
WORKFLOW
I believe the photographers workflow
should be streamlined to include only
the tasks we need to do every week.
Heres how my workflow goes:
1. Download images using four Lexar
Professional CompactFlash readers
I can download four CF cards in the
same amount of time as one.
2. Import images into the Lightroom
Library.
of ourselves, even if those photos werent badly
3. Watch as Lightroom makes unique
taken. We dislike seeing that frozen aspect of
custom adjustments to each file with
ourselves and we feel awkward all over again.
my Default Develop preset. I use my
Now put yourself in your clients shoes.
own Brilliant setting.
Imagine how theyd feel on their wedding
4. Correct with Find and Fix editing,
day if they had to keep smiling while the
finding the files that need extra
photographer fiddled with the white balance
adjusting and fixing them with presets
to ensure getting spot-on color, setting and
to make batch adjustments.
resetting the exposure, and readjusting the
5. Pick the keepers by pressing the P
key (Flag as Pick).
6. Show only picked files.
7. Sort by date created, putting files
in chronological order.
8. Export full-resolution JPEGs in
the sRGB color space, naming them
00001_Filename.jpg,
00002_Filename.jpg,
00003_Filename.jpg
9. Organize into categories
(Preparation, Ceremony, Formals,
Reception, etc.)
10. Upload to Pictage and release
to client.
By using his Brilliant preset as the default Develop
preset (applied to images as they're imported),
David Jay has most of his photos looking exactly
the way he wants when he sees them for the
first time in the Photoshop Lightroom Library.
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THE GOODS

rest of the technology. How would they like

seeing themselves like that in your images?
Our first job as wedding photographers
is to provide a positive emotional experience
to our clients even decades down the road.
Step one is to make absolutely certain we do
not cause them to feel awkward, posed or
stiff on their wedding day. The second step
is to preserve their joy in a way that invites
them to relive it ever after.
A recent article in Business Week pointed
out that businesspeople should avoid con-
fusing the business theyre in with how they
conduct business. Photographers might
confuse their business with being a lab or
selling prints and albums, when in reality,
Four views of the Really Right Stuff flash-
thats simply the way theyve been
rotating flash bracket.
conducting their business. Successful
photographers realize that the intangible
element of the service they provide and the
environment they create on the wedding day
is a huge part of what they sell.
David Jay's Brilliant preset (above) applies a certain signature look to his images. In cases where that
In the past year, some amazing tools have preset isn't quite right, or he wants another look, he has a full selection of alternate presets (below)
become available, tools that can free us from that he can apply for certain lighting situations or to create different image styles, all with one click.

the technology of shooting and post-

processing so we can focus on engendering
that emotional experience. I call it freestyle
shooting. We can be free of the technical
baggage thats weighed down photographers
for generations.
My freestyle shooting tools include a
Canon EOS-1D Mark III camera and its
Safety Shift feature, which allows me to set a
minimum shutter speed to prevent motion
blur, set the camera on AV mode with Auto
White Balance, then open up the aperture.
Then the camera can adjust the shutter
speed and the ISO for near-perfect exposure
and color every time. As an artist, I
sometimes struggle with near-perfect, so I
need a tool to make a few global
adjustments to nail it. The tool is Adobe
Photoshop Lightroom.
The day after the wedding, I import all

60 www.ppmag.com
THE GOODS

2,000 images to Lightroom, and then the
software makes a unique, custom adjustment
on every single file without my doing any-
thing further. I use my Brilliant preset, which
Ive set as Lightrooms Adobe Default Preset
(Develop > Set Default Settings). The magic
of the Adobe Default Preset is that it analyzes
each file and custom corrects for exposure,
brightness, contrast and other density
settings. It will brighten some files a bit and
darken others, all while Im out having
lunch or serving a client.
Next, all I have to do is find-and-fix editing.
I skim through the images and delete the
ones where people were blinking, and fix the
ones that the computer didnt do a super job
on. The computer has trouble with backlit
images, so Ive created and saved another
preset to apply to them with one easy click.
Sometimes I want to adjust the color. I
like my pictures a bit warm, so Ive made a
preset that allows me to select and warm-up
the cooler images with one click. Not long
ago we had to correct each file, but now we
can color-correct in batches by lighting
condition.
To create and save a preset in Lightroom,
go to the Develop tab, make the necessary
adjustments, select the AUTO settings, and
click the create-new-preset button (the +
icon at the top right corner of the Presets
panel). Preset saved, I can instantly preview
its effect on a selected image simply by
hovering over it.
I believe photographers get overwhelmed
by their workflow for one reason: They
spend too much time thinking about what
could be done to the image rather than what
should be done. Adobe Photoshop Light-
room helps you stay on track so you can
process 2,000 wedding photos in a couple
of hours.
These tools have freed my clients and me
to enjoy the wedding day.
You can find the presets that I use as well
as free videos demonstrating the power of
these presets at www.showitfast.com. I
Learn more about photographer and
entrepreneur David Jay at www.davidjay.com.
David Jay presents "Creating Freedom" in the
Wedding & Portrait track at Imaging USA in
Tampa, Fla., January 6-8.

To preview a
preset, you can
apply the preset
and set the
Develop window
to a comparison
mode with
duplicate or split
screens in a
variety of
configurations.
For a quicker
preview, move
your cursor over a
preset name and
the Navigator
window at the
top left corner of
the screen will
show a preview.

62 www.ppmag.com
THE GOODS: PRINTS

You make flawless inkjet prints on top-quality storage, mounting and display, not necessarily
your clients environments. Coating prints with
media, so go one step further to protect your work. lacquer-based aerosol sprays is often recom-
B Y B R YA N L I N D E N mended by manufacturers to protect and ensure
print longevity. Sprays also eliminate gloss

Grand finale
differential on exceptionally high-gloss media.
I protect prints on resin-coated (RC) or
fine-art paper with Print Shield by Premier
Imaging Products. It works on any surface
PRINT FINISHING without yellowing or influencing the natural
characteristics of the paper, increasing
Many photographers with excellent pigment oils on your hands, lint particles or scratches. display life by as much as 100 percent, and
inkjet printers are uncompromising on print The best advice: Look but dont touch for 24 making prints scuff- and water-resistant.
quality, yet not when it comes to print finishing. hours if possible. When the print has cured Print Shield is available in aerosol cans or by
Perhaps they dont know the available (dried completely) and the glycerol in the the gallon for use with high-volume, low-
options for protecting their prints. inks has evaporated, its safe to handle and pressure (HVLP) spray guns.
Prints emerge from the printer dry to the you can add coatings to further protect it. There are also newer, more eco-friendly
touch, but theyre not actually completely If youre making several prints, do not stack products with different finish characteristics,
dry. You may not get ink on your hands, but them until you place blank matte paper such as PremierArt Eco Print Shield. Water-
its easy to permanently mar the print with the between them to allow for proper glycerol based rather than lacquer-based, theyre less
absorption. A telltale sign that the curing is caustic. Available in gloss, satin and matte
complete is the wavy appearance of the interleaf finishes, they can give a matte surface a gloss
FOR BEST RESULTS papers, indicating that they have absorbed the finish or a satin protective layer, and vice
glycerol. Always let prints fully cure before versa. Eco Print Shield comes in quart bottles
Whether you use an aerosol spray or an
framing or otherwise finishing, because the or by the gallon, and can be rolled on or
HVLP spray gun, coating prints is quick
glycerol gas released can fog the print. sprayed on with an HVLP gun, and is com-
and easy. For consistent results, follow
Manufacturers print longevity specifications patible with canvas and fine-art or RC papers.
these steps:
are typically based on the ideal conditions for Eco products work well for gallery wraps
Make sure prints and working
environment are free of dust and debris.
Before spraying, mount prints
vertically so the spray doesnt pool.
Before finishing your print, spray an
empty area of the mounting surface from
a distance of 6 to 10 inches, so you can
see the diameter and pattern of the spray
and adjust as necessary.
Spray at a consistent distance, using
a back-and-forth motion, overlapping
each pass by 50 percent.
Allow prints to dry 20 to 40 minutes,
depending on the requirements of the partic-
ular spray, then rotate the prints 90 degrees
and dry another 20 to 40 minutes.

Premier Imaging Products

66 www.ppmag.com
 CODY AND MIKE ARE READY FOR 2008. ARE YOU?
CODY CLINTON AND MIKE FULTON | TRICOAST PHOTOGRAPHY | LAKE JACKSON, TEXAS
COLLAGES.NET CUSTOMERS SINCE 2005

Make 2008 the best year in your studios history. Close every client you meet by letting them touch and see studio samples
of your entire product line albums, press printed books, gallery wraps, and high-end cards.

Make Collages.net your business partner in 2008, and youll be ready.

Albums | High-End Cards | Press Printed Books | Gallery Wraps | Professional Printing | Online Presentation

Check out Collages.nets comprehensive product line at www.collages.net/products.

2008 Collages.net Inc. All rights reserved. Photos 2008 Tracy Hicks Photography and TriCoast Photography.
THE GOODS: PRINTS

Premier Imaging Products

because the water-based formula wont
crack due to stretching and wont become
brittle with time. Water-based formulas
protect prints from moisture, light, humidity,
atmospheric contaminants, scuffs and
fingerprints. The brand new embellishing
gel Eco Elegance can add impasto and
brush strokes to your prints.
Spraying prints is not difficult. It can be
done in a spray room or, if you wear a good
painters respirator (about $30 at hardware
stores), in well-ventilated areas. Ventilation
is critical; there are ventilation fans and
commercial spray booths available if you
dont have a space with adequate air flow.
Hang plastic tarps to catch the overspray.
To prepare to spray, I mount my prints
vertically on a piece of black foam board. If
the print has a border that will be trimmed,
I mount it with clips, especially good with
prints made on roll paper, which curls. To
mount cut-sheet full-bleed prints, I use
loops of large strips of low-tack masking
tape on the back of the print.
Delicate, fine-art surfaces like velvet and
watercolor paper are easy to flake or scuff.
Always spray art surfaces and canvas prints
to protect them. Its a good idea to spray
prints in albums as well. Many labs offer
this service, but doing it yourself is easy
enough with a little practice. I

Tips for using Eco Print Shield at

www.ecoprintshield.com.

Epson, HP and other manufacturers

recommend PremierArt Coatings for their
media (performance certified by Wilhelm
Imaging Research). For specs and purchase
info on Premier Print Shield, Eco Print
Shield and the HVLP spray gun, visit
www.premierimagingproducts.com.

Bryan Linden is a photographer and digital
imaging expert, who presents workshops on
a variety of subjects (www.lindenphoto.net).
Linden is the vice president of Marketing
and Sales for Album DS album design
software (www.albumds.com).
Premier Imaging Products uses this photo to show how a print can benefit from spray coatings. The
image was halved, then mirrored. The right half was sprayed with three light coats of PremierArt Print
Shield. The image was cured for 24 hours before water testing. The image shows the effects of the
following water resistance tests: (top) three drops of water placed on the print for 45 seconds, then
wiped away with a sponge; (center) three passes with a moist sponge; and (bottom) three drops of
water placed on the print for four minutes and then blotted with a paper towel.

68 www.ppmag.com
PURE
PROFESSIONAL

THE POWER IS IN
YOUR HANDS
The Nikon Digital System
at Booth 1027

IMAGING USA January 6th-8th 2008

THE GOODS: TUTORIAL

All images Kevin Kubota

Time-saving
presets
LIGHTROOM PRESETS MAKE YOUR LOOK
PART OF YOUR AUTOMATED WORKFLOW

BY KEVIN KUBOTA, CR.PHOTOG.

Editors note: Dont miss Jeff Kents profile of Kevin Kubota on p. 112.

If youre familiar with Photoshop actions, you know what a Figure 1

valuable time-saver Adobe Photoshop Lightroom presets can be.
You cant do everything you can do with an action, but presets are
still ultra-handy.
To create a preset in Lightroom, switch to Develop mode.
1. Adjust an image using any combination of settings from the
adjustment panels on the right (Figure 1).
2. On the Presets panel at the left, click the + button to create a
preset. You can select a folder first to save the preset into, or open
a new folder on the fly as you save the preset (Figure 2).
3. Check off only the settings that you used to create the
look, so you can combine the preset with presets with differ-
ent settings. Otherwise, when you apply a new preset that
Figure 1
contains the same adjustments, it will overwrite the previously
applied settings.
4. Apply the preset to another image by selecting the image
and clicking on the preset (Figure 3). You can preview the effect Figure 2

by simply passing your mouse over the name of the preset. The Figure 3
result appears in the navigator window. If you like it, simply click
the preset name to apply it to the image.

PRESETS POWER TIPS

Now lets see how to put presets to use by creating a My Look
preset for import.
Its a good idea to fine-tune settings to get a look you like,
then apply them automatically when you import images. It saves
time and gives you a starting point before doing any fine-tuning.
The following are settings we use for our basic look, which is
applied to all imported images by default; you can modify them
to your liking.

70 www.ppmag.com
 1. Add some Clarity, Vibrance,
and Saturation (Figure 4).
2. Set the tone curve to Linear to
Figure 4 have a predictable starting point for
future presets with a curve adjustment (Figure 5).
3. We love the look of a vignette on every image. If you do too, apply
it here. Remember, you can easily remove or adjust it later (Figure 6).
4. When youve finished modifying the settings, save the preset Figure 6
as My Look, and click Check All to save all the settings. This gives
you a consistent starting point. We prefer to use Auto Tone as a
starting point, as it automatically sets the appropriate exposure,
recovery, fill light, black point, brightness, and contrast for each
image individually (Figure 7).
5. Use your My Look preset when you import images (Figure 8).
Figure 5

TURN ON AUTOSYNC MODE IN DEVELOP.

Heres a secret trick. You can apply the same preset to multiple
images simultaneously in Develop mode by turning on the
AutoSync feature.
1. Switch to Develop and select two or more images.
2. Hold down the cmd/ctrl key. The Sync button changes to
AutoSync (Figure 9). Click once on AutoSync
and it locks into AutoSync mode. Now, when
multiple images are selected, applying any
preset will affect every selected image at once,
helpful if you want to, for example, adjust the
Figure 9 color on several images at a time. Figure 8

Figure 7
EXPORT AND SHARE
Once youve created all these cool presets, youll probably want to
reuse them on your other computers with Lightroom.
1. Select the preset in your list, right-click on it and hold to
bring up the contextual menu. Select Export (Figure 10).
2. Save the preset to your desktop, copy it to the other computer,
and then use Import... on the other computer to bring it in. Easy!
There are many more great features that make Lightroom the
program of choice for a slick and sassy workflow. The more you
explore, the better it gets! I

Kevin Kubota of Bend, Ore., internationally recognized speaker and

educator, is the author of the popular Digital Photography
Bootcamp. The Lightroom tips printed here are from his latest
tutorial DVD, RAW Workflow for Lightroom, available online at
www.kubotaimagetools.com. Figure 10

January 2008 Professional Photographer 71

Floating Frames
The next generation
in gallery-wrapped
canvas prints
Simply Fabulous Floating Frames are a high end/low cost
framing option for your clients who like the three dimensional
look of gallery-wrapped canvas, but want the added style of a
custom, solid wood frame. Our frames leave a 1/2 space
between the canvas and the edge of the frame to preserve the
three dimensional look of the canvas. Each hand made frame is
available for prints from 8x10 to 40x100, and any size in between
at no extra charge. Available in different styles and colors.
Starting at $39.00

Visit SimplyCanvas.com/frames for specials and details.

Visit us at Imaging USA booth #216

 Sensing their Texas clients were looking askance at their young ages,
the Sallees created a sophisticated and elegant studio environment for
selling their high-quality wedding images. Sales soared.
WEDDINGS By Jeff Kent

W
All images JB and DeEtte Sallee

hen they started dating in

college, JB and DeEtte Sallee
never anticipated opening a
studio of their own, much less
becoming near-overnight sensations
on the Dallas wedding photography
scene, or speaking in lecture halls packed
with eager pro photographers.
Yet four years after diving in head first,
the Sallees are among the brightest rising
stars in the pro-photo galaxy. Theyre still a
bit baffled over how they got there.
Armed with a degree in photography, JB
started out as an assistant for Dallas wedding
photographer Fran Reisner. DeEtte, a psych
major with a photo minor, worked at Davids
Bridal. Toting a portfolio of images JB shot
while shadowing Reisner, the couple literally
went door-to-door calling on referred
prospects. Eager for experience, they said
yes to all manner of events, and soon had
nearly two-dozen weddings booked.
That first year, says JB, they werent yet
working with their ideal clients. We were
just happy to be in business, he says.
After struggling through the first year of
so-so wedding gigs, the Sallees began
asserting themselves about what they could
provide and showing their more innovative
work. The results were fantastic, almost
instantly bringing in higher-end wedding
bookings. They set up a home studio and
sought to attract sophisticated brides.
A couple of years later, the Sallees moved the
business into a storefront studio. They had

Rising stars perceived that mothers of the bride looked

askance at paying a premium for such young

JB & DeEtte Sallee soar into the wedding photography stratosphere

74 www.ppmag.com
 WEDDINGS
photographersJB was 25, DeEtte just 22
when they beganwho were working out of
their living room. In the stylish Las Colinas
area of Irving, Texas, they created an elegant
environment with a gallery, chandelier and
marble fireplace.
Within 18 months, bookings increased
dramatically and overall sales skyrocketed.
Bridal and engagement portrait sales
jumped by more than 500 percent. In Texas,
pre-wedding formal portraits are a big deal.
The Sallees elegant retail space was a
critical component in booking the full
package of portrait and wedding coverage.
76 www.ppmag.com
Of course, fancy trappings only work when
the product is excellent. From the first, both
photographers focused on creating images
bursting with exuberance. The Sallees have
been able to invest in better equipment, and
their shooting techniques have naturally evolved.
They still create the kinds of images that speak
to them and to their clients, and thats about
as far as they ponder the issue. Clients have
always told us that what we do stands out
from other photographers, says JB. We
always listen to the client, especially when
she tells us she loves our style!
In wedding photography, says JB,
Personality is most important to the clients
were dealing with. Were targeting people
our age, people like us, who go for an upbeat
personality. They want someone who will be
fun at the wedding, who will try different
things and give them something extra
actually add something to the day.
These days the Sallees youth is working
to their advantage. A few stuffy parents may
waver, but most brides and grooms fit squarely
into their peer group. They understand one
another and form immediate connections.
The rest follows naturally.
After only four years, the couple has
 WEDDINGS
become nationally known for their award-
winning albums and progressive shooting
style. JB attributes those awards to their
focus on delighting their clients. Everything
we enter in competitions was originally done
for clients. We dont make things specifically
for competition. Judges like that.
Indeed. After scoring a perfect 100 on an
album in their first year of regional competi-
tion, the Sallees have been receiving invitations
to speak at industry events, including Imaging
USA in Tampa, Fla., January 6-8. At their
first presentation, JB and DeEtte looked out
over a standing-room-only audience. Every
appearance has followed suit.
78 www.ppmag.com
Its no real secret, though. Its the talent,
the personality and the stringent commit-
ment to the work. We put a lot of hours
and money back into the business, says JB.
Were constantly buying new equipment,
advertising in magazines, learning new
techniques, and thinking of ways to improve
our work. Honestly, when we started, we
never had any desire to compete. We just
want to get better and better and better. We
never want to stop learning, and that has
made an enormous difference. I
To see more from the Sallees,
visit www.salleephotography.com.
Be sure to attend JB and DeEtte Sallee's
presentation "Weddings: Sallee Style" at Imaging
USA in Tampa, Fla., January 6-8.
 Frank Donninos studio has faced a number of challenges the past few
years, but regardless of the roadblocks in his path, Donnino continues
to adapt and improve his businessand increase his profits each year.
PORTRAITS By Jeff Kent

W
All images Frank Donnino

hen we last checked in with

photographer Frank Donnino
of Boynton Beach, Fla., he was
reaping a windfall with his first-
year baby portrait plan. His gross
sales had ramped up by more than 500 percent
in five years, profit margins were higher, and
cash flow was healthy, thanks to the plans
3-, 6-, 9- and 12-month-old sessions.
Life has a way of challenging success. Since
then, January 2004, Donnino was forced out
of his studio by difficult landlords. He worked
through Hurricanes Francis and Jeanne while
operating a temporary studio in his living
room. Then he built a new studio, moved
his entire business, and asked his clients to
follow. They did. Business is still booming.
Part of Donninos enduring success owes
to the relationships he builds with clients,
and part to his commitment to continuously
upgrade the business. After 28 years, Donnino
knows how to ride the highs and lows, how
to adapt to circumstances, like the current
economic downturn in South Florida. Right
now in South Florida, as in other parts of
the country, were going through a terrible
time with the mortgage situation, says
Donnino. People are losing money in real
estate and its hurting the overall economy.
With everyone feeling the crunch, he
adopted a new direct mail sales piece, created
by a member of Donninos personal Master-
mind online forum. The piece includes a gift
card with an assigned cash value of $250,

One step ahead equal to the price of one portrait session and
one 5x7 gallery print. Clients can apply the

Business success means changing with the times

80 www.ppmag.com
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 PORTRAITS

gift card toward a collection of images, a baby

plan or any of Donninos other packages. So
far, the response rate has been 11 percent.
When we spoke, Donninos schedule was
full for the next two months. The cards
have been very successful, says Donnino.
Because of the perceived value of the cards,
people dont simply throw them away. We
are getting more people in the door, which
gives us an opportunity to sell them
something. Its a play off the old free sample
thing; get them in the door and then sell.
Donnino embraces the growing trend in
the boutique studio experience. Its the biggest
change Ive seen in the portrait industry in
recent years, he says. Women are our
target market. They are typically the ones
making the buying decisions on child and
family portraits, so it makes sense to create
an experience that caters to women. It can
be done on any budget. You just have to sit
down and think about it.

Donnino hired a design consultant to

boutique his studio, including an
investment of about $6,000 in new paint,
furniture and finishings. Hes also using
marketing materials created by Sarah Petty,
CPP, herself a successful boutique studio
owner (and PP marketing columnist, see
p. 38), and updating and coordinating his
packaging. Hes planning a high-end mailer
to target upper-income families, and raising
prices to rev up sales averages on childrens
sessions from about $600 to $1,000 per. He
anticipates making more top-end package
sales ($3,000 to $4,000), and getting an
ample return on his boutique investment.
You have to up the prices when you
undertake a project like this, says Donnino.
The specific pricing will depend on your
market and your clientele. You have to price
 PORTRAITS

where you feel comfortable, but you have to

know how to sell the big-ticket item. If it
looks expensive, it should be expensive.
Such an upward shift in pricing needs to
be made in increments, says Donnino, if you
want to maintain your current client base
while courting higher-end buyers. It doesnt
have to happen overnight. As you gain more
high-end clients, you can control your
business volume by raising prices. You will
lose some clients whove been with you for
the longest time, and that hurts. But the
returns will ultimately make up for those
losses. You need to be careful not to push
away your base too quickly. You cant drop
whats making you money until the new
product line is entrenched, says Donnino.
One way hes eased the transition for estab-
lished clients is by offering year-long package
pricing. Donnino sells his four-part baby plan
on a monthly payment plan with certain photo-
graphic products available at different times

84 www.ppmag.com
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 PORTRAITS
of the year. Clients get the multiple sessions,
a choice of prints and photo products, and
the option to pay the charges monthly. It
makes expensive products affordable, says
Donnino. The plan is something people are
used to, like paying off credit card balances
in installments. Sure, some people default,
but the benefits far outweigh the risks. The
system has improved our cash flow because
we have payments coming in every month,
even during slow times.
As the economy fluctuates, Donnino
86 www.ppmag.com
continues to adapt, increasing his business do that, youll always be busy. Youll always
each year regardless of the situation. He be successful. I
gives tremendous credit to the mentors hes To see more from Frank Donnino, visit him
found in other PPA member photogra- online at www.frandtheartist.com.
phers and his webmasters Shirley Lund
and Stephen Denas.
One of the most important lessons
Ive learned from these pros is to act like
every client who comes through the door
is the last client Ill ever have, says
Frank Donnino presents "Diapers to Dollars,
Donnino. Treat everyone right. Give Profit in Baby Photography," at Imaging USA
2008 in Tampa, Fla., January 6-8.
them the best product you can. If you
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 Cliff Mautner spent the first part of his photographic career shooting
news assignments for the Philadelphia Inquirer. Ten years ago,
he branched into wedding photography and he never looked back.
WEDDINGS By Stephanie Boozer

A
All images Cliff Mautner

fter a 15-year career as a photojournalist

for the Philadelphia Inquirer, Cliff
Mautner, of Cliff Mautner Photography
in Hagenfield, N.J., found himself in
a role he thought hed never play,
that of wedding photographer.
I used to joke about shooting weddings,
laughs Mautner, who shot over 6,000 assign-
ments for the Philadelphia Inquirer in just
about any location you can name. Back in
the day, wedding photography was a very
stodgy form of the craft.
Turned off by formal poses and forced
smiles of brides and grooms, Mautner pre-
ferred the excitement and spontaneity of photo
assignments. No matter how terrible the light-
ing or location, Mautner had to nail the image.
My job was to go and make really good
environmental portraits, Mautner says of
his early assignments. Eventually I got to
where I could assess a situation in about 30
seconds and compose the image in my head.
It took hundreds of these to get my feet
under me, but I did develop a skill set that
enabled me to see things quickly.
Beginning at the paper as a stringer,
Mautner got the assignments no one else
wanted, like photographing six newsworthy
Philadelphians a week for the Neighbors in
the News column. He earned $25 per picture,
plus mileage, but this was exactly the training
he needed to develop his eye for light.
The only natural gift I have is my ability
to see and utilize light, says Mautner.
Photographers dont get to choose the time

Front page news of day, the couples, the weather, none of the
conditions we perform under. I learned to

Cliff Mautner is hot on the trail of blushing brides

88 www.ppmag.com
 2007 Cherie Steinberg Cote
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 WEDDINGS

make bad light into good light to create a

texture, a dimension and a mood.
As a full-time Inquirer photographer,
Mautners first big assignments were a) a
meeting of the German American Police
Association, and b) a gathering of breast-
feeding La Leche League mothers. My
editor had a great sense of humor, he
laughs. He moved on to cover everything
from presidential campaign stops to
spelunking to heart-wrenching images for
the charity Operation Smile, whose
volunteer doctors perform corrective
surgery on underprivileged children with
facial defects (www.operationsmile.org).
He considers that assignment, which took
him to Liberia, one of the most meaningful
in his career.

Photographers dont
get to choose the time
of day, the couples, the
weather, none of the
conditions we perform
under. I learned to
make bad light into
good light to create a
texture, a dimension
and a mood.
 WEDDINGS

My career at the Philadelphia Inquirer

enabled me to meet people and see places and
things that the average person wouldnt see
in a lifetime, he says. The social awareness I
gained through some of the brightest minds in
journalism helped me become well-rounded.
After much coaxing, Mautner agreed to
photograph a wedding and was surprised at
how much he enjoyed it. The moments
were there to be made, and thats what I do.
Capturing moments is at the root of it all,
he says. Realizing he had an edge with his
photojournalists eye, Mautner started shoot-

92 www.ppmag.com
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Dca^cZ]dhi^c\
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 WEDDINGS

ing weddings for an area photographer, and

eventually he went solo.
I dont pawn myself off as a photojour-
nalistic-style photographer, says Mautner. I
think its a silly buzzword, except for those
that truly do beautiful wedding photojour-
nalism. If I had to describe my work, Id say
its an artistic interpretation of the day, with
the best of some traditional aspects mixed
in. I try to capture the essence of who the
couple is and allow that to come through
naturally.
Ten years into his second career,
Mautners covered about 600 weddings,
averaging 55 to 60 yearly. In February 2006,
he bought a 90-year-old church and con-
verted it into a dream studio. The 2,000-
square-foot space has 14-foot ceilings, the
original beech hardwood flooring, and lots
of old brick. It boasts a 13x15-foot bay
window that bathes the studio in beautiful
natural light. Mautner added a two-zone
lighting system on rails and state-of-the-art
sound and projection systems.
He was the first wedding photographer
to test the Nikon D3 digital SLR, and his blog
commentary generated an impressive response,
getting 250,000 page views the first week it
was posted. In addition to shooting, Mautner
devotes time to speaking and teaching for
Nikon, and helping fellow photographers
lighting and style development.
With all the teaching and speaking and
representing, says Mautner, Im still a
photographer who shoots each and every
weekend. I love what I do. Its not just what
I do for a living, its in me.
Despite his initial reluctance, Mautner
says now hes exactly where he wants to be. continue creating beautiful images. After
His photojournalism experience was the all, he says, youre only as good as your
perfect training for wedding photography, last wedding. I
and his style and demeanor attract brides Visit Cliff Mautner online at Cliff Mautner presents Standing Out From the Crowd
from all over. Above all, he wants to www.cmphotography.com. at Imaging USA 2008 in Tampa, Fla., January 6-8.

94 www.ppmag.com
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 The Extreme Ice Survey team is capturing changes on a global scale.
"I want to help people understand the reality of the moment we're in,"
says James Balog. "Photographers are like the antennae of civilization."
NAT U R E By Jeff Kent

during the climbing trips he took in the

Chilling effect White Mountains of New Hampshire, while

he was studying at Boston College. He would
go on to scale peaks in the Alps, the Himalaya
James Balog documents the accelerating glacial pace
and the Rockies, all the while building his

G
lobal warming is the environ-
mental issue of our lifetime.
The skeptics have conceded, the naysayers
quieted. The earth is heating up, dramatic
changes coming.
For James Balog, scientist
turned professional pho-
tographer, its impossible to
ignore the problem. His career began in
geomorphology, the study of landforms and
the processes that shape them, but he
realized his future would hold endless
statistical analysis, computer modeling and
number crunching, and that hed rather
experience nature than tabulate it.
Balogs affinity for photography began
skills in nature photography. When he
abandoned his career in science, Balog
began taking magazine assignments to
shoot documentary photographs. He moved
on to large-scale book projects on such
topics as big-game hunting, endangered
species and the rapidly disappearing old-
growth forests of North America.

All images James Balog

96 www.ppmag.com
 NAT U R E
Balog sees his career as a braided river, its
channels crossing and re-crossing like the waters
of the shifting flood plains of Alaska. The
constants have been the disparate influences
of science, nature, mountain climbing and
photography. When they converged,
everything made sense. Looking back, my
career has been one big organic outgrowth of
all these elements coming together.
Balogs current pursuit is the Extreme Ice
Survey (EIS), a project that began with a
couple of assignments to photograph glaciers.
Hed been studying the effects of retreating
glaciers for several years, and thinking about
how to cover the topic photographically. The
New Yorker asked him to ship out to Iceland
to capture glacier images, and he jumped at
the chance. It completely transformed my
98 www.ppmag.com
conception of how to photograph climate
change, says Balog.
I suddenly realized how you could photo-
graph [so as] to animate these glaciers. The
key was the termini of the glaciers. In Iceland,
you get these huge tongues of ice, with intricate
shapes, and you can really feel the depth of
the ice, he says. Looking at the glaciers from
the bottom turned the paradigm around for
me. I went from the typical approach of photo-
graphing glaciers in their upper sections,
where they are scenic and beautiful, to
shooting at the bottom, where they are
changing, moving, melting and disappearing.
To me, this was a revolutionary change of view.
Balog realized that the best way to
document the glaciers fading story was
through time-lapse photography. Here,
things get difficult. Balog and a team of
other professionals, including researchers
and volunteers, set out to place 25 elaborate
camera setups in glacial regions of
Greenland, Iceland, Alaska, the U.S. Rocky
Mountains and the Alps. They would
capture one image per camera, per every
hour of daylight, over this vast territory.
Nobody whos not working with satellites
has ever been so ridiculous as trying to
capture something of this scope, says Balog.
In setting up the cameras, Balog and his
team have flown, trekked, dog sledded and
climbed into some of the most remote, forbid-
ding environments on the planet. Powered by
solar panels, the camera contraptions weigh
more than 70 pounds and require meticulous
(continued on p. 102)
 NAT U R E
Extreme Ice Survey
PROJECT TALK WITH JASON BALOG
Professional Photographer: From a
photographic perspective, what have you
learned from your experiences working on
the Extreme Ice Survey?
James Balog: Ive come to appreciate the
camera like I never have before. Sure, we
all know that cameras are a great way to
preserve memories. But this project has
given me a new appreciation. When I pull
out a flash card from one of the cameras,
I think this landscape is gone. The only
place its preserved is on that flash card.
Thats an amazing thing. They will never
be the sameat least not in our lifetime.
That is not hyperbole, its truth. Looking
through the camera has forced me to under-
stand that truth. For two years, I just shot
ice in cool shapes. Not until this summer
did I finally understand what I was seeing.
One of the most wonderful things
about photography is that it makes you
stop, be there, look, look some more, see
the thing, and feel it. Looking at blocks
of ice would be the last experience youd
think would evoke some sort of feeling.
But they have really come alive for me
100 www.ppmag.com
through the forced concentration of the
photographic process.
How do you see this project, and your
images, within the broader context of the
movement to reverse climate change?
Were going to play a substantial role in
helping people understand the reality of
global warming. So much of the global
warming story has been told through
computer models and when hurricanes
hit or in miniscule changes to the sea
level. But when you see the changes in
front of you in pictures, its alive. The
camera makes all the difference.
What is the potential of photography to
influence decisions about the future of
our planet?
Ive believed for a long time that photogra-
phers are like the antennae of civilization.
We are an integral part of the sensing
mechanism of the human animal. Were
out there feeling in the darkness, trying
to see whats around us and reveal what
hasnt been revealed before. Not all pho-
tographers work that way, but to me
thats one of the central elements of
photography. I would like to think that
passionate, involved photographers
would be looking at the world and trying
their hardest to speak about the
important things that are going on today.
What would be your message to other pho-
tographers who want to make a difference?
Theres no easy path. You have to take
tremendous risks. You have to wake up
in the morning and say, Im going to do
what needs to be done. There are so
many environmental projects out there
today and no one is doing them. There
could be at least five major projects on
coal. There are lots of stories about climate
change. These can be portfolio stories.
Even if you cant find a client who is
willing to pay for it, sometimes you just
have to do it anyway. I have never been
able to describe in advance to prospective
clients why they should fund these
things. You just have to say Im going to
shoot the picture and get on with it.
 Eastman Kodak Company, 2007. Kodak and Kodak Professional are trademarks of Eastman Kodak Company. Photo Alisha and Brook Todd.

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 NAT U R E

(continued from p. 98)

setup. Inside protective Pelican hard cases,
Nikon D200 digital SLRs on Bogen tripod
heads are mounted to a configuration of
aluminum and steel anchors that are
secured by stainless steel aircraft cable guy
wires. Electronic timers trigger the shutters
every daylight hour, factoring in the
seasonal changes. The images are recorded
on flash cards that are retrieved at certain
intervals. The camera rigs must endure
extreme coldtemperatures below minus-
40 degrees Fahrenheit in some locations
brutal winds up to 170mph, tremendous
snowfall and frequent avalanches. If every-
thing works, Balog will collect more than
300,000 images, to be presented in a variety
of media that will vividly illustrate the
constant and irreparable retreat of the ice. thrilled with the results. The cams are changed, but your brain doesnt really hold
The first rigs were placed in March capturing incredible things, he says. You the memory. The time-lapse recordings
2006. For the mostpart, the complicated could look at the landscapes day after day show the changes in vivid detail, in a way
engineering has held up, and Balog is and have a sense that something has that the human mind cant preserve.
Funded by philanthropic and research
organizations, the Extreme Ice Survey is
one-half documentary of the globes
disappearing ice, one-half public outreach.
Balog has planned television shows, media
coverage, traveling museum exhibitions and
a lecture series. One of the biggest tragedies
of this generation will come when our
children look back and ask, What were you
thinking? says Balog. So with the EIS
pictures, I would like to create the forensic
evidence that will let them know that
somebody at least was paying attention. I
want to help people understand the reality
of the moment were in, not stick their heads
in the sand and say they didnt know. I

To see more from James Balog, visit

www.jamesbalog.com. Learn more about the
Extreme Ice Survey at
www.extremeicesurvey.org.

102 www.ppmag.com
 After Hurricane Katrina, nearly all of John-Michael Hannans contacts
in the New Orleans wedding industry were gone. He considered
moving, then thought again. This is the place where he belongs.
WEDDINGS By Lorna Gentry

I
All images John-Michael Hannan

ts all about relationships for wedding and

portrait photographer John-Michael
Hannan of Metairie, La. In Hurricane
Katrinas horrific wake, his house was
destroyed and his business ravaged.
Colleagues and friends beseeched the New
Orleans native to relocate to Texas, where the
photo industry hums with prosperity. Facing
the stark reality that nearly all his contacts
in the New Orleans wedding industry were
gone, Hannan considered moving, then
focused on his priorities: first, his family. He
chose to apply his boundless energy, fierce
determination and deep affection to rebuild
his house, his business and his community.
Two-and-a-half years after one of the
worst natural disasters to hit the nation,
Hannons business is picking up. Its far
from normal, but then, these days in New
Orleans, normal is relative. Hannan has a
new house, with a 24x36-square-foot
camera room illuminated by a north-facing
7-foot window. Using the carpentry skills he
learned as a teenager, he rebuilt not only his
own house and studio, but the homes of
family and friends as well.
It was carpentry that got Hannan into
photography in the first place. In high
school, hed help build a studio for a
wedding photographer. He peppered the
photographer with questions about the
equipment until he taught him lab work.
Before he was 18 years old, Hannan was
running the lab and shooting weddings.
Later, working in a professional photo lab

Building back in New Orleans, Hannan realized he was at

least as good at photography as the professionals

In post-Katrina New Orleans, John-Michael Hannan builds anew

104 www.ppmag.com
FeZ\X[`^`kXc`dX^\`j^fe\#jf`jk_\dfd\ek% Pfli[`^`kXcg_fkfjXi\Xki`jbf]Y\`e^cfjk]fi\m\in_\ek_\pi\YXZb\[lg[`^`kXccp%
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 WEDDINGS

whose film he was processing. He joined PPA

and gained enough confidence to open a
studio of his own, John-Michael Photography.
I surrounded myself with mentors from
PPA, he says. I went to all the meetings and
attended the Texas School of Professional
Photography. They taught me everything,
from basic to advanced photography. Without
PPA I would have had to learn on my own
through books, and I cant learn that way.
The business grew through referrals and
relationship marketing, and getting to know
everyone in the wedding industry in New
Orleans, one of the most popular destina-
tion wedding locations in the country. For 15
years, Hannan averaged about 120 weddings
annually, shooting with two other photogra-
phers. Now he books about 40 weddings a
 WEDDINGS

year, in part because of Katrina, but also

because its more manageable. I scaled back
by steadily raising my prices.
About 30 percent of his clients find Hannan
on the Web. The phone does not ring a
fraction as much as it once did, he says. We
used to get 10 calls a day requesting bridal
consultations. Now its five to 10 a week.
Brides are doing their homework on the
Web now. Photographers all over the country
tell me theyre upset because they cant get
brides in their doors. Last year I got 30
leads from two bridal shows I did, and was
lucky to get four of them in the door.
Still honing his Internet skills, Hannan
admits his Web site could be stronger. But
hes confident that solid photography trumps
Web wizardry in clinching contracts. My
Web site guides brides to my online gallery.
Im known for taking normal everyday
locations and situations and making them

extraordinary. Photographers with a couple
of years of experience tell me they think they
need to move to places like Hawaii, New
Orleans or big cities to get exceptional shots,
and thats not true. They can do it in their
hometowns. Its all technique. They need to
learn the skills to do it.
Hannan teaches about a dozen wedding
and portrait photography classes a year at
PPA events and affiliated schools. He also
teaches photographers how to do what he
does best: build relationships. He has a knack
for holding onto bridal clients as their families
grow. After 27 years of wedding photography
in New Orleans, hes now photographing his
clients childrens weddings, a new
generation of photo customers.
Hannan is a stickler for old school pho-
tography, basic techniques seemingly unknown
to the digital generation, he says. In Hannans
workshops, students dont even open Photo-
shop on their laptops. Todays photogra-
phers shoot first and fix it later. But you
have to light, shoot and crop it properly
first, Hannan instructs. In my classes, we
meter properly and learn to do custom
white balance instead of relying on the
auto mode. Photoshop is for fixing what
you cant fix in-camera, like erasing under-
eye bags, he says. The difference in the
final prints is what separates the amateurs
from the professionals.
Hannan went digital five years ago.
After using medium-format Bronica
cameras for 20 years, he made the leap to
digital with the Canon EOS 5D and Canon
EOS-1D Mark II cameras. Once I
understood that the same basic principles
applied it wasnt hard. I was a precise
shooter with film, and it was second nature

108 www.ppmag.com
 WEDDINGS

to me. It took a year before I was able to

achieve as good or better results with
digital. I got comfortable once I learned
how to make a one-step custom white
balance that gives me consistent results.
Three Canon lensesthe 16-35mm
f/2.8L, EF 24-70mm f/2.8L, and EF 70-
200 f/4Lare indispensable, he says,
adding flatly, I couldnt live without them.
As for lighting, Hannan uses Larson Soff
Boxes on Photogenic lights. And when he
does need Photoshop, he launches CS3 on
his Apple iMac with a 24-inch monitor.
When the New Orleans levee broke after
Katrina hit, Hannans home, located just a
mile away, took in 6 inches of water, destroying
much of the equipment in his studio. The
PPA Charities Katrina Relief Fund was a
lifesaver while he waited for woefully
inadequate insurance compensation.
Hannan is optimistic about the city,
although he knows it will take years for New
Orleans to be going strong. Im a firm
believer in not getting stuck in ruts. The
only difference between a rut and a grave are
the dimensions. Change is good. I

See John-Michael Hannans gallery at

www.john-michaelphotography.com.

A freelance writer based in Atlanta, Lorna

Gentry has covered the professional
photography industry for 15 years.

John-Michael Hannan presents Kick It Up a

Notch, a program in the Essentials track, at
Imaging USA in Tampa, Fla., January 6-8.

110 www.ppmag.com
 SENSE &
SENSIBILITY

For Kevin Kubota,

success came by
listening to both
head and heart
BY JEFF KENT
All images Kevin Kubota
verything in my career has been guided by little
intuitive bursts. I just think, This is going to
be the future, and I go for it. So says Kevin Kubota, Cr.Photog., the well-
known wedding photographer, marketing expert, educator, and digital
imaging tools developer. Hes nearly ubiquitous at industry events, and
is the U.S. rep for the popular AsukaBook the time, he shot actor and model portfolios After that one gig, Kubota went solo,
album company. You might assume Kubotas for about three years before moving into wed- developing his style as he went. He wasnt
motivation is financial, but a closer look dings. The switch was instinctive, as so many aware of PPA or any other trade organiza-
reveals that he follows a path of inspiration. decisions would be over the years. Kubota tions, and hadnt taken any classes in wedding
Kubota entered professional photography liked the photographer who shot his wedding, photography. Without anyone to guide him,
about 18 years ago. Living in Los Angeles at so he asked if he could follow him on a job. Kubota created a style of his own. It caught
on. Kubotas bookings increased and he
acquired more upscale clients.
About 11 years ago, again trusting his
instincts, Kubota moved to Bend, Ore. Going
from the showbiz capital of the world to a
town of 35,000 was an enormous transition.
Would he have a great enough client base
locally to support his business?
He concentrated on marketing and design-
ing a dynamic Web site. He built an online
image sales system with a shopping cart feature.
He promoted to clients wedding guests and
out-of-town visitors. Instead of shrinking in the
smaller environment, his business prospered.
Gaining recognition in the industry,
Kubota began teaching seminars, and Nikon
asked him to become a Nikon-sponsored
convention speaker. Students began asking
for further information, take-home lessons,
readymade tools. Kubota produced an
Adobe Photoshop training CD and began to
release a series of his own Photoshop actions.
Sold as Artistic Tools and Production Tools,
the actions are runaway best sellers.
These days, Kubota shoots about 15 to 20
weddings a year, and a few portrait sessions
and commercial jobs. The rest of the time
hes on the lecture circuit or presenting his
products and AsukaBook at tradeshows.
The key, he says, is his ongoing love affair with
his work, deep respect for fellow professionals,
and the drive to continue to improve.
We caught up with Kubota to ask his
opinions on the creative and business sides
of professional photography today.

Professional Photographer: In todays

market, how can photographers innovate in
ways that separate them from the masses?
Kevin Kubota: I think photographers tend
to find other photographers whose work
they admire, and then emulate their style. If
you want to have a unique style, you need to
step out of this model. Its better to be inspired
by others than to emulate them.

116 www.ppmag.com

It takes a general honesty about who
you are as a photographer. Once
youve developed your business to a
certain point, you need to identify
the clients that are right for you.
When I give workshops, I discourage
people from standing over my shoulder and
copying what Im doing. I encourage them
to push themselves to develop their own
styles. Look at the big picture of what the
instructor is saying. Look at concepts. Go
beyond writing down the f/stops and shutter
speeds the instructor uses.
How do you step out of your box and follow
your passion? Listen to your intuition when
youre photographing. That has worked well
for me from day one. If an idea pops into my
head, I suggest it to the client. I dont think
about it too much; I just try it. Your true
creativity comes from your intuitive side.
Once you find that unique style, how do
you market it?
I like to do an exercise in my classes called
key wording. Print seven images that best
represent what comes from your intuitive,
creative space. These are the kinds of images
you would always make if you could. Look
at them and come up with three key words,
then have others look at them and give you
three key words. See what the common
denominators are. People are often surprised
at what they learn. A light bulb goes off, and
they realize that they never thought of them-
selves in a certain way. Maybe thats the
photographer theyve really been all this time.
Use those key words in your marketing.
Everything you produce should support those
words, from the music you play during a session
to the studio dcor to your marketing pieces.
Get those thoughts out there and then start
drawing the right kinds of clients to you.
What other ways can photographers accom-
plish that objective?
It takes a general honesty about who you
are as a photographer. Once youve
developed your business to a certain point,
you need to identify the clients that are
right for you. You need to be able to tell
people that maybe theyre not the right fit. should be the images on your walls. If an photographer and every type of style. The
Have the guts to display the images that image is powerful to you, you shouldnt challenge is convincing those clients that
support your key words, not just the images make excuses for it. youre true to that style and a good match
you think will sell. The images you love Theres a client out there for every for what they want.

Whats your prediction for the next major

issue pro photographers will face?
Its going to come back to the core: customer
service. Its going to come back to good
business practices. Good business and good
service will distinguish those who will be
successful and stay in the game. Photographers
who have gotten into this line of work for
the wrong reasons will fall off.
I believe we need to keep educating
ourselves on the creative side. How will we
push ourselves and expand our perspectives?
Overall, I think our focus will move increasingly
to the non-technical side of photography.

What keeps you inspired day in and day out?

Doing what I absolutely love and nothing
else. I love teaching. I love getting feedback
from photographers who say they used my
actions and theyre making better images
and more money. I love getting out there
and shooting. I love being able to give some-
body something valuable. I wish everyone
could derive the same kind of joy from their
work. I wouldnt trade it for anything else
in the world. I

To see more from Kevin Kubota, visit

www.kkphoto-design.com or
www.kubotaimagetools.com.

Don't miss the presentation from Kevin Kubota

and Doug Gordon, "See It Happen, Make It
Happen: Two Approaches to Wedding
Photography," at Imaging USA in Tampa, Fla.,
January 6-8.

For more info on the premier conference and

expo, visit www.imagingusa.org.
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 OUT ON
THE TABLE
John Harrington
shares everything
he has learned
about business
and leaves
nothing out
BY JEFF KENT

All images John Harrington

If you are not proud of your prices, and you don't
stand behind them, people will question them.

When John Harrington started out in
freelance photography in the early 1990s, he
was lost in a sea of confusing business
issues. The Washington, D.C.-based
photographer had launched into editorial
shooting straight out of college, landing a
job as a staff photographer for The World
and I magazine. When the magazine went
through cost-cutting measures and
downgraded Harrington to part time, he
decided to start a freelance business doing
editorial and commercial images. But how?
The most disconcerting part of the mystery
was that no one would help him.
There wasnt a single photographer who
would talk about it, says Harrington.
Everyone told me I should figure it out on
my own. I decided that if I could figure it
out, I would tell every person whod listen. I
would share with other photographers. I
would be as transparent as possible about
how I run my business.
Harrington learned the business
through trial and error, and diligent study
in the school of hard knocks. He shared
what he learned. He talked openly about
pricing and licensing and hourly rates. At
first, photographers seemed to be taken
aback that he was divulging such prized
information, but he began to gain a
reputation as a business expert. Emerging
photographers would seek him out, and
before long, photographic organizations
asked him to give seminars.
Harringtons business has expanded into
a full-service outfit offering everything from
editorial portraits to event coverage to wed-
ding photography. He continued to share
what he learned, and he wrote a book, Best
Business Practices for Photographers
(Thomson Course Technology, 2006). His
Web site features a pricing calculator so that
both clients and other photographers can
see his pricing structure.
Next he entered the blogosphere. Last
January, Harrington started to record his
observations on the Photo Business News &
Forum (photobusinessforum.blogspot.com).
Several times weekly, he posts comments,
videos and other info about finding success
in professional photography. By the end of
the year, the blog was getting about 40,000
page views per month and growing at a
10-percent clip.
The success of Photo Business prompted
Harrington to start a second blog, Assignment
Construct (www.assignmentconstruct.com),
backfilled with case studies of actual jobs.
Hes uploaded more than 100 of them so
far, including images, details on lighting,
pre-and post-production, and project
assessments.
(Continued on p. 130)
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 You shouldn't have to learn
all the legalese necessary
to put together a contract
or the intricacies of the
tax system. Focus on
making pictures.

6 CRUCIAL BUSINESS TIPS

John Harrington keeps the spirit
of sharing alive with these lessons
1) Never underestimate the value you
bring to the project. Far too many people
negotiate themselves down. Dont put
your price out there and then say, If thats
too high, let me know. If you are not
proud of your prices, and you dont stand
behind them, people will question them.
2) Never quote a price over the
phone. Verbal quotes sound negotiable.
If you tell someone that youll work up a
quote and send it on, the price seems
more legitimate. Get off the phone, think
about the job, and then prepare a real
estimate. Put the numbers in writing;
it says you put serious thought into
the project.
3) Recognize your strengths and
outsource the rest. You shouldnt have
to learn all the legalese necessary to put
together a contract or the intricacies of
the tax system. Hire a lawyer to create a
basic contract that you can adapt, and
outsource your accounting as well. Focus
on making pictures, interacting with
clients and growing your business.
4) Dont act like a know-it-all. Even
Tiger Woods gets coaching. Seek profes-
sional counsel when needed. If you dont
know something, admit it and move forward.
5) Be professional in your commu-
nications. From e-mails to contracts to
thank-you notes to phone etiquette
your clients first and lasting perception
of you is based almost exclusively on
how well you communicate.
6) Recognize the critical component
of family. Its easy to put off domestic
relationships when making pictures is
what you love to do. Find the time to be
with your family and dont let resentment
build. A successful business means
nothing if it destroys your home life.

128 www.ppmag.com
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(Continued from p. 126)
All of this has grown out of a desire to help
other photographers, says Harrington. I
enjoy doing the blogs, and I get a great deal
of feedback privately thanking me. That is
rewarding in itself. I am glad to know that
Im helping.
Even so, Harrington feels there are
many photographers in need of business
proficiency. Many photographers dont
take into consideration all the costs
associated with their business, and as a
result, are doomed to fail, he says. Its not
just that they arent deducting enough
expenses on their taxes; they are basing
their rates on something thats not a real
calculation. They are not factoring in such
costs as professional dues, insurance,
utilities, subscriptions and other things they
purchase to operate the studio. They dont
charge enough, and they dont save enough.
When tax time rolls around, they owe the
IRS more than they should, money that
they dont have.
Harrington is optimistic about the future
of professional photography, largely because
of the environment of sharing and collabora-
tion that exists today. The Internet has pro-
vided a broadening of communication, says
Harrington. Plus, people are starting to
understand that for the long-term profitability
of the industry, its important to talk about
these issues. That bodes well for the future
of the profession. I only wish I had those
resources available when I started! I

For more information on John Harrington, visit

him online at www.johnharrington.com.

John Harrington presents The Business of

Photography in a pre-convention program (Jan. 5)
at Imaging USA in Tampa, Fla., January 6-8.

130 www.ppmag.com
A masters
 All images Frank E. Cricchio

PPAs 2008 Lifetime

master
Achievement
Award honors
Frank E. Cricchio
BY DON DICKSON
I took my first image with a Sparta
box camera. I was 11 years old.
I made my first print in the bathroom
of my parents small home.
At Imaging USA this month, Professional
Photographers of America presents The
Lifetime Achievement Award to Frank E.
Cricchio, M.Photog.Cr., Hon.M.Photog.,
CPP, F-ASP, Hon.F-ASP, a member of the
prestigious Cameracraftsmen of America
and recipient of the 2004 Leadership
Award, presented by the United Nations
Photographic Council.
Cricchio, a past president of PPA as well as
the American Society of Photographers, opened
his first studio of photography in Port Arthur,
Texas, in 1958 (www.frankcricchio.com). Since
then, the internationally lauded portrait artist
and author has garnered just about every award
and citation in professional photography. But
dearer to his heart is his reputation as a teacher,
mentor and friend to fellow photographers.
Cricchio has been a technical consultant
and instructor for Fujifilm USA for the last
10 years, and continues to conduct his own
seminars and workshops. Recently, Cricchios
long-time friend Don Dickson, M.Photog.Cr.,
CPP, of Don Dickson Photography in
Plainview, Texas; PPA Board Member and
director of the Texas School of Photography,
asked him to reflect on his career.

Don Dickson: When did your interest in

photography begin?
Frank E. Cricchio: It was 1944 when I took
my first image with a Sparta box camera. I
was 11 years old. With a Kodak ABC devel-
oping kit, I made my first print from this
camera in the bathroom of my parents small
home. The impact of seeing the image appear
in the developer remains with me today.
What was your first studio like?
It was 1958 and I can still see my first customer
walking into the front door of my studio.
That was an exciting moment. The studio
was small, 15x30 feet, which included the
reception area, work area, and camera room.
Whenever I had an appointment, Id move
things out the back door to make room. When
it rained, I had to cancel the appointment.
What is the favorite portrait that youve
created and why?
This is going to be the hardest question to
answer. The images Im partial to are those
taken in adverse weather or low lighting
conditions. These images have an unspoken
emotion attached. Although I do not consider
myself a figure study photographer, the two
Im proudest of are images of the female form,
taken outdoors. One was taken in the sand
dunes with the sun setting low in the sky and
strong winds blowing the models hair back
not ideal conditions to make photographs,
but of the three I was able to make, one was
perfect. She hit a perfect pose and the sun
rimmed her body with pencil highlight. The
impact of this image stays with you.
The second image was taken late in the day.
We were working in the forest and came across
a carved-out log with a golden burnt-orange
coloring inside. The model was lying on her
side in the log and the low light was coming
from above and highlighted her body to
accentuate her beauty. This image required
two additional exposure stops to compensate
for reciprocity and the low sensitivity of the
film to the blue light of late day.
What do you predict in the industry in the
next 50 years?
Who can say for sure? But looking back to
1839, the birth of photography with Louis
Daguerres Daguerreotype process at the
Academia des Beaux Arts et Science, Paris,
well have the same excitement for an image
in some form of art.
It wasnt true back in 1839 when people
said photography would make everyone an
instant artist, and its not true now. Fifty
years from now the capture technique will be
different, but the art will remain the same.
The one thing we can predict is that the style
will change with each generation.
We shot 10,000 photos at a
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Who was or is your mentor in photography?
Leo Stern of Kansas City was the teacher
who inspired me the most. I was a student
at Winona School of Photography in Winona
Lake, Ind., where Leo was the lead instructor.
He took me under his wing and polished my
lighting for classical portraiture.
Paul Linwood Gittings studios would be
the second. I would drive 100 miles to Houston,
Texas, to look in the display windows of his
studio and study the lighting of his dye
transfer images.

Who do you admire and why?

I admire those who are quiet geniuses,
those who go about their everyday life
improving our profession and our society. It
is those who dare to dream who make a
difference in the world. They are
everywhere amongst us. Not all of them get
recognition for their accomplishments.

What advice can you give the new
[My first] studio photographer just starting out?
raphy, and I want to make him proud of me.

was small, 15x30 feet, A young photographer must remember that Any plans to retire?
greatness does not come from living in a I do not plan to retire. My dream is to be able
which included the large city or having the greatest amount of to teach someone something the last day of

reception area, work education. It comes from being dedicated to my life. I admire Frank Christian from Canada.
your dream, making a plan to reach your I witnessed him teaching to a full auditorium
area, and camera goals and never giving up. the week before his death. He had to sit and

room. Whenever I I always tell my students to do three

things: Give credit to those who taught you;
rest between thoughts. But he was as brilliant
during his last lecture as he was at his first.
had an appointment, teach someone else what you have learned; My dream is to follow in his footsteps and
become better than your teacher. those who have taken their time to teach me. I
Id move things out
the back door to What projects are you currently working on?
Learning all there is to know about Photo-
make room. When it shop. Now, to do it will take me another

rained, I had to cancel lifetime. Im presently challenged to teach with

my Photoshop mentor, Don Emmerich
the appointment. [M.Photog.M.Artist.MEI.Cr., API, F-ASP]
at the Texas School of Professional Photog-
Frank Cricchio will receive the Lifetime
Achievement Award at the Awards and Degree
Ceremony, Tuesday, January 8, at 6:45 p.m.,
at Imaging USA. All are welcome to attend.

140 www.ppmag.com
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Pools of

Light Howard Schatz and his

remarkable life aquatic

BY STEPHANIE BOOZER
All images Howard Schatz
ilk gracefully rippling underwater. Tiny
bubbles clinging to submerged cheeks,
lips and eyelashes. Hair curling and winding as water
ebbs and flows around it, over it, through it. These are things
that Howard Schatz is willing to get to the
bottom of. To explore and perfect in front of
his lens. To dissect and understand, and
above all, to delight both himself and his
audience. Schatz has spent years studying
how various fabrics, textures and bodies
behave underwater. How light reflects and
refracts. How his camera translates beauty
through that simple combination of
elements that is so essential to our being.
Over his photographic career, Schatz has
published 17 books, each exploring various
elements of humanity, from a luminous
series on redheads to delicate first images of
newborns to his probing underwater work.
His latest release, H20 (Bulfinch Press,
2007), is his third devoted to water, an
infatuation which began innocently enough
in 1992, while shooting hoops in his pool
back in Marin County, California.
When the ball bounced on the water, it
splashed, and I learned I had to wear
goggles, says Schatz. Having on goggles
meant I could open my eyes and see
underwater, see a whole new world.
The idea was born. For the next six
months, Schatz turned his indoor pool into
a lab, experimenting with exposure and
lighting, methodically noting what worked,
what didnt, and what surprised him. Using
rangefinder cameras, he slowly worked out
the subtle details of composition, focus,
water clarity, color, film, subject, lighting,
and shadows, and how these elements

146 www.ppmag.com
worked with him or against him.
My first pictures were blue, cloudy, out of
focus, underexposed, and awful, says Schatz.
But I slowly figured it out. I learned about
making the water look clear, controlling the
light, about focus and composition. I began
to make pictures that I had control over, the
pictures that I had in my mind.
From there, Schatz discovered that he
needed a special kind of subject. Someone
who could move gracefully underwater, and
handle the challenges that water poses. Models
had to have more than an interesting look.
They had to understand buoyancy and control,
feel comfortable opening their eyes underwater,
and understand how to gracefully hold or
release air from their lungs. Immediately,
Schatz thought of dancers.
The adversary for dancers is gravity, says
Schatz. They leap, and gravity pulls them
down. But underwater, theyre weightless.
Katita Waldo, a prima ballerina with the
San Francisco Ballet who had been a
previous subject for Seeing Red: The
Rapture of Redheads (Pomegranate
ArtBooks, 1994), instantly sprang to mind.
I called her up and asked if she could
swim, says Schatz. The first pictures I made
of Katita underwater literally took my breath
away and brought tears to my eyes. I came
up gasping. She could perform and express
motion slowly, beautifully, confidently, with
control, and not be pulled down by gravity.
This early work evolved into the book
Waterdance (Graphis Press, 1995). Buoyed
by his success and consumed with the idea
of an underwater studio, Schatz took on
beauty and fashion underwater projects,
creating enough images for Pool Light
(Graphis Press, 1998), his ninth photography
book. Though he was quickly becoming a
master of his aquatic realm, Schatz increasingly
felt the confines of his pool. He needed a
pool designed not for recreation or parties,
but one with a single purpose as an under-
water studio. One he could light from any
angle, and use any equipment he needed.
With that concept in mind, he and his wife
and business partner, Beverly Ornstein,
moved to New York City in 2001, then pur-
chased a home in Connecticut, and imme-
diately set to work on the pool studio. It was
completed in 2002, and Schatz wasted no
time. He was in the pool at least one day a
week, sometimes two or three, often working
late into the night. His passion and curiosity
were insatiable.
This pool wasnt for swimming or
basketball, just pictures, says Schatz. I
started making all the images that I had in
my mind, images that I couldnt make at the
pool back in Marin.
To find models, Schatz and Ornstein
began casting. They looked at thousands of
potential bodies and faces. As part of their
evaluation, each model had to swim the
length of the pool underwater.
Thats easy if youre comfortable, says
Schatz. If someone went in and came up
right away, I knew it wouldnt work. But
once I found the ones who were comfortable,
I trained them, taught them how to manage
their bodies, breathing, and eyes underwater.
There was a huge majority of people who
were not able to do this kind of work.

After five years, Schatz had made close to
I wanted to 200,000 frames of subjects in the water.
make the He worked with models and dancers,
members of the cast of Cirque de Soleils
pictures fulfill O from Las Vegas, and Olympic
synchronized swimmers. With his next
my fantasy. water-themed book in mind, Schatz edited
as he worked, narrowing down his list of
favorites and eliminating anything that
didnt completely embody his vision.
We got it down to about 1,000 pictures
and worked on them, explains Schatz, who
enlisted the help of Ornstein and three
highly esteemed photo editors. We worked
on composition, color, all sorts of things. I
wanted to make the pictures fulfill my
fantasy, to show what I wanted to say, what
was in my heart and mind.
The result is H20, a multi-faceted
collection representing Schatzs experi-
mentation. From the contortions of nudes
into letters of the alphabet, to playful beach
balls hovering in the water, to the pageantry
of the Cirque de Soleil, each turn of the
page reveals the artistry and ardor of
Schatzs inquisitive mind.
I like chance and the unexpected, says
Schatz. I photograph to surprise and delight
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myself. Thats why I do what I do. When I
can do that, it makes my life rich and happy.
I experiment a lot. All of my work has to do
with finding new ways to see things.
Schatz began his professional career as a
physician, specializing in retinal problems.
He spent years helping his patients see better,
writing textbooks, teaching and researching
breakthroughs in medicine.
I had patients with serious problems, but
it was challenging, interesting, and rich,
says Schatz. I loved my patients and I loved
writing, and making new discoveries. But I
had this other part of me.
Realizing his need for creative explora-
tion, Schatz took a sabbatical from his
practice and moved with Ornstein to New
York for a year. He never looked back.
I believe medicine has given me many
tools, say Schatz. Its allowed me to
understand methodology and testing, in a
scientific way. I also had a care for my
patients and learned to behave in such a way
that the patient felt better, felt they were with
the right person. That helps me with the
portraiture, knowing how to get the most
from [someone] and get them to relax.
Its clear that Schatzs bedside manner sets
his subjects at ease. You can see it in his
work. Schatzs boundless fascination with
people feeds his amazing ability to create
honest, true, emotional portraits of just
about anyone. The Works In Progress section
of his Web site shows just how diverse his
subjects are. From pregnant women splattered
in paint to studies in projected light bathing
nude bodies to showcasing the strange and
unusual in American counterculture, Schatz
doesnt shy away from anyone. He follows his
curiosity wherever it leads, whether its put-
ting anti-gravity boots on gymnasts to study
motion or setting up a booth for portraits at
San Franciscos Folsom Street Fair.
I think you can get inspiration from every-
where, says Schatz, who never goes anywhere
without a pad of paper and a pencil. When
something sparks, I write it down. Most of the
time, things dont go anywhere, but some are
worth exploring. The studio is a laboratory and
anything is worth trying. Opposite of medicine,
where its important to behave perfectly, in
photography I try to make mistakes.
As for the future, Schatz hopes to continue
to surprise and delight himself, whether in
the water or elsewhere. I still have many
ideas I want to try, and so many things to
explore, he says, not wanting to commit
himself to any one idea. I want to climb this
creative tree and try a fruit on each branch. I
To see more work by Howard Schatz, visit
www.howardschatz.com.
Don't miss Howard Schatz's dynamic Super
Program presentation at Imaging USA in Tampa,
Fla., January 6-8.
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calendar
Submit your organizations convention, work-
shop, seminar or exhibition dates to Professional
Photographer at least six months in advance.
Editors reserve the right to select events to be
announced on these pages, and to determine
when announcements will appear. Editors are
not responsible for conflicting or incorrect dates.
For readers convenience, each event is identified
by a code preceding its name: C=Convention,
W=Workshop, S=Seminar, C/E=Approved PPA
Continuing Education Seminar, E=Exhibit. Send
all Calendar of Events additions or corrections
to: Sandra Lang, Professional Photographer,
229 Peachtree St., NE, Suite 2200, Atlanta, GA
30303; FAX: 404-614-6404; slang@ppa.com.
Current Events
February 1-5
C: PP of Michigan, Marriott Ann Arbor/Ypsilanti
at Eagle Crest Conference Resort; Scott Green,
248-318-5182; edir@ppm.org; www.ppm.org
February 2-5
C: PP of Iowa, Airport Holiday Inn, Des Moines,
Iowa; Christy Brinkopf, P.O. Box 108, Sumner, IA
50674; 563-578-1126; ppichris@iowatelecom.net;
www.ppiowa.com
PPA EVENTS
Professional Photographers of America (PPA)
has a proud tradition of providing its members
with outstanding educational opportunities
through its annual events, PPA-Merited classes
and its PPA Affiliate School Network. Dont
miss out on the vital knowledge youll gain at
these events! For information on PPA events,
call 800-786-6277 or visit www.ppa.com.
January 11-13, 2009
Imaging USA, Phoenix
PPA-Approved Continuing
Education Seminars
PPA members receive both merits
and the best-published prices.
February 3-10
C/E: A week in Cancun with Bob & Edna
Lloyd; Krystal Hotel, Cancun, Mexico;
217-627-3511; seminars@rlloyd.com
February 6
C/E: Extreme Portraiture: The Great North-
west Edition; Tacoma, Wash.; 630-761-2990.
February 8
C/E: Extreme Portraiture: The Great North-
west Edition; Portland, Ore.; 630-761-2990.
156 www.ppmag.com
February 8-11
C: Connecticut PPA, Crowne Plaza Hotel,
Cromwell, Conn.; Harvey Goldstein,
203-430-8276; ppanepub@aol.com;
www.ctppa.com
February 16-20
C: Southwest PPA, Sheraton Hotel, Arlington,
Texas; Michael Scalf, Sr., Box 1779, Blanchard,
OK 73010-1779; 405-485-3838;
michael@swppa.com; www.swppa.com
February 17-18
C: Arizona PPA, Phoenix Airport Hilton, Phoenix,
Ariz.; Wendy Newman, 602-908-0359;
www.arizonappa.com
February 22-25
C: Western States Convention, Pasadena Con-
vention Center, Pasadena, Calif.; Michael Gan,
925-462-9364; m_gan@meritageonmain.com;
www.prophotoca.com
February 22-25
C: PP of Massachusetts, Crowne Plaza Hotel,
Natick, Mass.; Steve Meier,
smphoto@comcast.net, www.ppam.com
February 22-27
C: Virginia PPA, Portsmouth, Va.; Bill Piacesi,
703-406-0664; bill@whenthemomentscount.com;
www.vppa.org
February 11-14
C/E: Painter Panache Master; Jeremy Sutton,
San Francisco, Calif.; 415-626-3971;
www.jeremysutton.com
February 24-29
C/E: Exploring Composition & Light
Mentoring Program, Lincolnton, Ga.;
800-483-6208; pwphoto@mindspring.com
February 28
C/E: Teaching Old Tricks to New Dogs; Bloom-
ington, Ill.; Jackelyn Haggerty; 309-530-9899
February-March
C/E: New Hampshire PPA Photofestival
2008; 603-627-7563; www.nhppa.com;
dspaz@comcast.net
March 3-8
C/E: Painter Panache Master; Jeremy Sutton,
San Francisco, Calif.; 415-626-3971;
www.jeremysutton.com
May 5-9
C/E: From Traditional to Digital; Jeremy
Sutton, San Francisco, Calif.; 415-626-3971;
www.jeremysutton.com
July 12-18
C/E: Copan Honduras Study Abroad Excursion
with Paul Wingler, Suzette Allen & Jon Yoshinaga;
800-483-6208; pwphoto@mindspring.com;
www.suzetteallen.com/copan
March 7-11
C: 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 7-12
C: PP of North Carolina, Inc., Sheraton Imperial
Hotel, Durham, N.C.; Loretta Byrd, 459 Greenleaf
Road, Angier, NC 27501; 888-404-7762;
ppnc@earthlink.net; www.ppofnc.com
March 16-20
C: Mid America Regional, Decatur Conference
Center, Decatur, Ill.; Kathryn Northcott,
fotografer@sbcglobal.net
March 28-30
S: PP of Oklahoma, Quartz Mountain Resort,
Lone Wolf, Okla.; Ted Newlin,
tednewln@aol.com; www.ppok.org
April 4-8
S: PP of Washington, Wenatchee, Wash.; Radley
Muller, 360-676-9279; radley@yaryphoto.net;
www.pw.org
April 6-9
C: PPSNY, Hilton Rye Town, Rye Brook, N.Y.;
Barbara Bovat, 518-851-2187; bovat@aol.com;
www.ppsnys.com
August 1-4
C/E: Oxford Painter Workshop; Jeremy
Sutton, San Francisco, Calif.; 415-626-3971;
www.jeremysutton.com
September 12-17
C/E: Great Gatsby Impressionist Workshop;
Jeremy Sutton, San Francisco, Calif.;
415-626-3971; www.jeremysutton.com
October 20-23
C/E: Painter Creativity; Jeremy Sutton, San
Francisco, Calif.; 415-626-3971;
www.jeremysutton.com
November 2-6
C/E: The College! Master Biennale; Jeremy
Sutton, San Francisco, Calif.; 415-626-3971;
www.jeremysutton.com
Certification Exam
April 27
North Conway, N.H.
Image Review
Online submission:
May 9, August 8, & October 10

PPA members receive both merits
and the best-published prices.
February 10-14
Evergreen State College, Olympia, Wash.; Sam Gardner;
360-961-2887; sam@samgardnerphotography.com;
www.ppw.org
February 24-28
Bahamas International School of Professional Photog-
raphy, Nassau Beach Hotel, Nassau, Bahamas;
Kenneth Love, 242-393-5683, eyesoflove@usa.net;
www.bispp.com; Rick English, 508-595-0075;
Rephotog@aol.com
March 30 - April 2
International Photographic Arts School, Mariott Hotel
& Conference Center, Indianapolis, Ind.; Janell
Spencer, 812-384-3203; spencerjanell@yahoo.com;
www.apag.net/ipasschool.html
March 30 April 4
Triangle Institute, Greentree Radisson, Pittsburgh, Pa.;
Samuel Pelaia, 724-869-5455; trianglephotographers@
verizon.net; www.trianglephotographers.org
March 31 April 4
California Photographic Workshops, Fishermans Wharf,
San Francisco, Calif.; James Inks, 888-422-6606;
CPWschool@sbcglobal.net; www.cpwschool.com
April 6-11
New England Institute, Ocean Edge Resort, Brewster,
Mass.; Sal Genuario, 401-738-3797;
salneipp@aol.com; www.ppane.com
April 27 May 2
Texas School, Texas A&M University, College Station,
Texas; Donald Dickson, 806-296-2276;
ddickson@lonestarbbs.com; www.tppa.org/school.htm
158 www.ppmag.com
2008 PPA-AFFILIATED SCHOOLS
May 4-9
Georgia School, N. Georgia Tech, Clarksville, Ga.; Tom
McCollum, 888-272-3711; gppaed@bellsouth.net;
www.gppa.com
May 4-9
MARS (Mid-Atlantic Regional School), Grand Hotel,
Cape May, N.J.; Adele Bastinck, 888-267-6277;
marschool@nac.net; www.marsschool.com
May 6-9 and May 11-14
Wisconsin Professional Photographers School, UW
Stevens Point-Treehaven, Tomahawk, Wis.; Phil
Ziesemer, 715-536-4540, philz@pzphoto.com;
www.wiprophotoschool.org
May 18-22
Florida School of Photography, Daytona Beach Com-
munity College, Daytona Beach, Fla.; Teri Crownover;
teri@fpponline.org; 800-330-0532; Marybeth
Jackson-Hamberger, MHamberger@comcast.net;
www.fppfloridaschool.com
May 18-23
Imaging Workshops of Colorado, Breckenridge, Colo.;
Jeff Johnson; 303-921-4454;
luna@originalimageco.com;
www.coloradoworkshops.com
June 1-5
Kansas Professional Photographer School, Bethel
College, Newton, Kan.; Ron Clevenger, 785-242-7710,
rnstudio@swbell.net; www.kpps.com
June 1-5
Mid-America Institute of Professional Photography,
University of Northern Iowa, Cedar Falls, Iowa;
Charles Lee, 641-799-8957; lees@pcsia.net;
www.maipp.com; Al DeWild, amdewild@iowatele-
com.net
June 8-12
Illinois Workshops, Grafton, Ill.; Bret Wade, 217-245-
5418; info@ilworkshops.com; www.ilworkshops.com
June 8-13
Great Lakes Institute of Photography, Northwestern
College, Traverse City, Mich.; Greg Ockerman, 313-
318-4327; gjodigital@aol.com; www.glip.org
June 15-20
West Coast School, University of San Diego
San Diego, Calif.; Kip Cothran, 951-696-9706;
kipphoto@aol.com; www.prophotoca.com
June 22-25
Golden Gate School of Professional Photography, Mills
College, Oakland, Calif.; Julie Olson, 650-548-0889;
ggs@goldengateschool.com; www.goldengateschool.com
June 22-26
PP Oklahoma School, St. Gregorys University,
Shawnee, Okla.; Glenn Cope, 580-628-6438;
gmcope@sbcglobal.net; www.ppok.org/school.html
July 13-17
Image Explorations, Shawnigan Lake, British
Columbia; Don MacGregor, 604-731-7225;
don@macgregorstudios.com;
www.imageexplorations.ca/
July 20-25
PPSNY Photo Workshop, Hobart/William Smith
Colleges, Geneva, N.Y.; Linda Hutchings, 607-733-
6563; ppsnyworkshop@pws1893.com;
www.ppsnysworkshop.com
August 4-7
Long Island Photo Workshop, Sheraton Hotel,
Smithtown, Long Island, N.Y.; Jerry Small,
516-221-4058; jerry@jsmallphoto.com;
www.liphotoworkshop.com
April 12-15
C: Heart of America, Mid America Center, Council
Bluffs, Iowa.; Stephen Harvey, 620-624-4102;
sharveymo@yahoo.com; www.hoappa.com
April 13-15
C: Montana PPA, Billings, Montana; Scott
Fairbanks, 406-761-2059;
info@montanappa.org; montanappa.org
April 14
S: Connecticut PPA, Crowne Plaza Hotel, Cromwell,
Conn.; Harvey Goldstein, 203-430-8276;
ppanepub@aol.com; www.ctppa.com
April 21
S: PP of Massachusetts; Steve Meier, smphoto
@comcast.net, www.ppam.com
April 26-29
C: New Hampshire PPA; North Conway,
N.H.; Lorraine Bedell, 603-743-5732;
lbedell@worldpath.net; nppa.com
April 27-29
C: PP of New Jersey, Ballys Hotel & Casino,
Altlantic City, N.J., Leslie Meltzer, 866-985-
4300; secretary@ppanj.com; wwwppanj.com
June 15-16
C: PP of Oregon, Mt. Bachelor Resort Bend,
Ore.; Arlene Welsh, 800-370-5657;
pporegon@teleport.com; www.pporegon.com
June 16
S: PP of Massachusetts; Steve Meier,
smphoto@comcast.net; www.ppam.com
June 22-23
S: Kentucky PPA; Embassy Suites,
Lexington, Ky.; Randy Fraley, 606-928-
5333; rgimage1@aol.com; www.kyppa.com
September 12-15
C: PP of Oklahoma, Radisson Hotel, Tulsa,
Okla.; Ted Newlin, tednewln@aol.com;
www.ppok.org
September 13-16
C: PPA of New England, Sturbridge, Mass.;
Roland Laramie, P.O. Box 316, Willimantic,
Conn. 06226; ppanerl@aol.com
October 3-7
C: Southwest PPA, Sheraton Arlington Hotel,
Arlington, Texas; Michael Scalf, Sr., Box 1779,
Blanchard, OK 73010-1770; 405-485-3838;
michael@swppa.com; www.swppa.com
October 5-6
S: Kentucky PPA; Hyatt Regency, Lexington,
Ky.; Randy Fraley, 606-928-5333;
rgimage1@aol.com; www.kyppa.com
October 20
S: PP of Massachusetts; Steve Meier,
smphoto@comcast.net; www.ppam.com
October 26-27
C: PP of Iowa, Airport Holiday Inn, Des Moines,
Iowa; Chris Brinkopf, P.O. Box 108, Sumner, IA
50674; 563-578-1126; ppichris@iowatelecom.net
November 9-10
C: PP of Ohio, Hilton Easton, Columbus,
Ohio; Carol Worthington, carol@ppofohio.org
Future Events
January 31 - February 3, 2009
C: PP of Iowa, Airport Holiday Inn, Des
Moines, Iowa; Chris Brinkopf, P.O. Box 108,
Sumner, IA 50674; 563-578-1126;
ppichris@iowatelecom.net
February 20-23, 2009
C: PP of Oregon, Mt. Bachelor Resort Bend,
Ore.; Arlene Welsh, 800-370-5657;
pporegon@teleport.com; www.pporegon.com
February 26-March 4, 2009
C: PP of North Carolina; Sheraton Imperial
Hotel, Durham, N.C.; Loretta Byrd, 888-404-
7762; ppnc@earthlink.net; www.ppofnc.com
March 28-31, 2009
C: Heart of America, KCI Expo Center, Kansas
City, Mo.; Stephen Harvey, 620-624-4102;
sharveymo@yahoo.com; www.hoappa.com
January 2008 Professional Photographer 161
 TODAY JANUARY | 08
PRESIDENTS MESSAGE
Jack Reznicki, Cr.Photog., API
2007-2008 PPA President

Rod Brown

A PHOTOGRAPHY FAMILY
Reading Newsweek to catch up with
the weeks news, I came across a short
obit for Alexandra Boulat, a 45-year-old
French photojournalist contributor to
Newsweek and Time and a founding
member of the well-regarded
photojournalism group VII. Suddenly, I
was next door to mine and got blank
stares of non-recognition. How can you
not study your own professions history
and the giants that went before usnot
just in your specialty or area of interest?
All photography history is worthy of
study.
a theater; and loads of photographers
will be getting their hard-won ribbons
and accolades at the awards
presentation. There will be wonderful
parties and a sold-out tradeshow where
photographers from all corners of the
world will be looking, learning, and

PPA News & Notes

felt a real losseven though I cant say I
really knew her work. Why the sadness?
Our profession lost a talent in her prime.
She probably wouldnt show up on most
PPA members radars, and I feel more at
a loss for that because I believe we are
in the fraternity and sorority of F-stops,
shutter speeds, and pixels. We are a
community, a family of photographers.
Too often, though, we divide ourselves
up into rigid specialties: No, I dont
want to go to that lectureits a
wedding lecture. I only shoot portraits.
Mores the pity.
PPA stands for Professional
Photographers of America, not just
one or two photographic specialties.
We all do the same thingwhether
a war photojournalist, a wedding
photographer, an advertising shooter,
a family portrait specialist, a forensic
specialist, etc. (Although war and
wedding photographers could be
grouped together, judging by the similar
stories Ive heard about shooting under
enemy re.) We all capture what we
see, making a permanent record of
what is a eeting moment. We deal with
emotion, and we capture that emotion
in a xed image.
And as members of this photographic
family, we should know our historyour
ancestors, so to speak. I used to tell
assistants that the late Art Kanes studio
sharing.
In the late 60s, I followed Larry Burrows
images in Newsweek as he covered As for me, Ill be right in the middle of it
and was himself killed inVietnam. I all, appreciating the different hues that
learned about and became friends make up this wonderful family. Ill also
with the late, great Monte Zucker. Ill say a small prayer for Alexandra Boulat,
be giving an award at Imaging USA a distant cousin in a sense, a member of
to Frank Cricchio, whos contributed this family, a fellow photographer.
greatly to PPA and photography. And
a friend of mine, commercial and ne
art photographer Howard Schatz, will
give the Super Program in Tampa.
They are all different branches of the
photographic tree. While its a very Jack Reznicki, Cr.Photog., API
large and diverse tree, everything 2007-2008 PPA President
(including us) is connected and related.
I look forward this January to one
of photographys greatest events
for gathering and sharing what we
knowPPAs Imaging USA. While many
see it as just a convention, I see it as
a coming together, a great gathering
of the clan. And as Imaging USA has
evolved, it is a true family gathering with
all our various branches represented.
We have added commercial
programs for the CPI members and
co-located with SEPCON for sport and
event photographers. Another trade
association, the American Society of
Media Photographers (ASMP) will also
be providing speakers. The forensic
photographers of EPIC will gather for
the rst time under Imaging USA and
learn about blood splatters. Adobe will
have a digital track; Microsoft will have

Dick Goodan

news from the worlds largest professional photography association | Professional Photographers of America | www.ppa.com P1
 TODAY
2007 AN-NE AWARDS WINNERS
The results are inthose who entered the 2007 AN-NE Marketing Awards competition have duked it out to produce
winners and nalists. Judged on effectiveness, professionalism, and a host of other qualities, the AN-NE entries were tough
to score. Sometimes less than a point separated the winners! Listed below are those who fought their way to the top:

BEST E-MAIL MARKETING CAMPAIGN

Winner: Wendy Rouleau Finalists: Sandy Puc
Portraits by Wendy Expressions Photography
Buford, GA Littleton, CO

Loreen Liberty
TLM Studios
Devens, MA
BEST FAMILY & CHILDREN CAMPAIGN
Winner: Laura Novak Finalists: Sandy Puc
Laura Novak Photography Expressions Photography
Wilmington, DE Littleton, CO

Dan Brody
Dan Brody Photography
Bryn Mawr, PA
BEST IMAGE MARKETING CAMPAIGN
PPA News & Notes

Winner: Sarah Petty Finalists: Julia Woods

Sarah Petty Photography Portrait Life
Springeld, IL Washington, IL

Ann Markley
Ann Chase Photography BE A WINNER YOURSELF!
Woodinville, WA
BEST USE OF MULTIMEDIA The 2008 AN-NE
Winner: Paul Owen Finalists: Mona Kay Sadler Marketing Awards are
Paul Owen Photography Adrian Henson Photography earlier this year, due July 1,
New Berlin, WI Alliance, NC 2008. Rules will be online in
February, but you can start
getting ready now.

BEST HIGH SCHOOL SENIOR CAMPAIGN Named in honor of Ann

Winner: Sarah Petty
Sarah Petty Photography
Springeld, IL
BEST WEB SITE
Winners: Wendy Rouleau
(tied) Portraits by Wendy
Buford, GA
Farrah Braniff
Farrah Braniff Photographs
Houston, TX
BEST WEDDING CAMPAIGN
Winner: Christa Hoffarth
[studio]
South Lake Tahoe, CA
Finalists: Julia Woods Monteith (AN) and Marvel
Portrait Life Nelson (NE), both PPA past
Washington, IL presidents and marketing
gurus, this competition
Jeffrey Richardson helps you take a closer look
Richardson Studio
at what your customer
Bloomington, IN
sees before they see you:
your marketing.
Finalist: Jeffrey Woods
Portrait Life
Washington, IL
See how you stack up
against your peers in 2008.
Finalists: Albert Lewis
Mulberry Photography
Truckee, CA
Peter Holcombe
Peter Holcombe Photography
Lafayette, CO

P2 news from the worlds largest professional photography association | Professional Photographers of America | www.ppa.com

GRADUATING WITH SMILES AND MONEY
OUR FIRST SWEEPSTAKES WINNER
Roman Cooper from Saginaw,
Mich. was the lucky winner of the
2007 Graduate in the Drivers Seat
Sweepstakes, overcoming about
20,000 other entries. Thanks to entering
the sweepstakes with Randall Tucker
at Hicks Studio, Cooper received
the cash equivalent of a 2007
Jeep Wrangler Sahara.
Hicks Studio offered the Graduate in
the Drivers Seat Sweepstakes as a
member of the Sweepstakes Marketing
WHY SHOULD I BECOME CERTIFIED? David Mithofer
Most questions dont have an easy
answer, but this one does: to make
more money. Certication is an
excellent marketing tool and a great
way to justify your prices. When a
consumer opens the phone book
or searches online, there are literally
hundreds of photographers listed.
You need a one-sentence reason for
that consumer to consider you, and
Certied Professional Photographer is most of your free-spending clients do.
an excellent reason.
Its true that you must sell your
consumer on your prices, portfolio, and
personality. But rst, you have to get
them in the doorand certication
can help. Independent studies indicate
that certication is the most widely
recognized credential. It makes sense,
as certication programs can be found
in many professions. If your prospective
AFFILIATE COMMUNICATORS GET RECOGNIZED
Chances are, people stay connected
to local and regional organizations
thanks to a newsletter, magazine, or
Web site. But these publications dont
produce themselves! Have youthe
editors and Webmastersbeen
thanked?
If you are in charge of these
publications, you should
enter the 2008 Afliate
Communications Competition.
news from the worlds largest professional photography association | Professional Photographers of America | www.ppa.com
Cooperative, a member program
produced by PPA and SEP. Along
with the Graduate in the Drivers Seat
Sweepstakes, members also offered a
Family Destination: Disney Sweepstakes
and/or an Escape to Paradise Cruise
Sweepstakes (the winners of these
two sweepstakes will be announced
in January 2008). This exclusive
member-only benet enabled
photographers to conduct campaigns
with prizes and a prot-building
strategy that they couldnt offer on
client is a teacher, a technology
professional, an accountant, etc.,
they are intimately familiar with
certication and what it means about
the quality of your work. And these
are the types of clients you covet.
Those that understand certication are
usually professionals with disposable
income! So while not every consumer
understands the value of certication,
So if youre making enough money,
Certication can also help justify
prices. You have overhead, and you
need to charge a certain amount to
make the job worthwhile. Explaining to
clients that you undertook a rigorous
testing process, administered by an
independent commission, may be the
information that convinces them that
you are more than worth it.
All PPA Afliate editors and Webmasters
are invited to participate in this
competition, designed to encourage
excellence in Afliate 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. Youll earn
an achievement merit if your entry is
accepted into the competition and an
additional merit if you win!
TODAY
their own. And it paid out for Randall
Tucker and Roman Cooper!
In fact, PPA and SEP members can join
the 2008 Sweepstakes Marketing Co-
op to possibly see the smiles on their
own clients faces if they win, too.
Visit www.ImageSweepstakes.com for
more information and sign up before
January 31, 2008.
Consider this: Everyone knows that
CPAs make more money than
PPA News & Notes
non-certied accountants, but
it wasnt always so. Accountants
wisely explained the difculty and
importance of certication until
consumers became conditioned to
pay more for a certied professional.
You can do the same.
I dont recommend certication.
Why pay the fee? If you want to
increase your revenue, though,
certication is one of the most
important steps you can take.
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 awijesinghe@ppa.com.
P3
 TODAY
ADD PRIZES TO YOUR PROMOTIONS
You have until the end of January to give even more to your
clientsso dont forget to sign up for the 2008 Sweepstakes
Marketing Co-op at www.ImageSweepstakes.com.
Join the 2008 Co-op for only $100 per sweepstakes/studio
location (the only fee paid to PPA and SEP).
Get the right to offer prospects a cruise, a car, and/or a
Disney vacation (along with other prizes)without buying
the prizes outright.
Prestoyou have created an event, giving you something
to talk about in promotions!
Just imagine the excitement and publicity your studio
will receive if one of your clients or prospects wins.
Join by January 31, 2008 to be eligible.
Sign up at www.ImageSweepstakes.com.

CONVERSATIONS ON OURPPA.COM
Do you have any money left after all the holiday presents? If so, how about buying your studio something nice? Create a
shopping wish list. Then ask your peers on the Open Forum at OurPPA.com which item is the most important. That should help
PPA News & Notes

you narrow down your decisions at any time!

http://www.ourppa.com/forums/showthread.php?t=8975

AFFILIATE SCHOOL SPOTLIGHT

TEXAS SCHOOL
April 22 May 2, 2008 | College Station, Texas
Contact: Don Dickson
ddickson@lonestarbbs.com
806-296-2276
Web site: www.tppa.org/school.htm
Tuition: $435 PPA members (meals included)
$520 non-PPA members (meals included)
Course Information:
We will have 34 classesfrom Hanson Fong with Weddings
to Helen Yancy with Painterand over 1,000 photographers
at this unbelievable school. Registration starts January 3 at
12:00am (midnight on the 2nd). Many classes ll up fast, so
register early and come enjoy the fun and education in
Texas. Check out the Web site listed above for course details.
M.A.R.S. (Mid Atlantic Regional School of
Professional Photography)
May 4 - May 9, 2008 | The Grand Hotel, Cape May, New
Jersey
Contact: Adele Bastinck
marschool@nac.net
888-267-MARS
Web site: www.marsschool.com
Tuition: $1025 (all inclusive, including hotel
accommodations, meals, tradeshow, parties, etc.)
Course Information:
The Photoshop Edge You Need Suzette Allen & Jon Yoshinaga
Portraiture - Seeing the Light Carl Caylor
Painter - Fundamentals for Photographers Jane Connor
Weddings - Mastering the Techniques Hanson Fong
Zen and the Art of Portrait Photography Randy McNeilly
Portraiture and Marketing - A Master Class Michael Redford
Creative Compositions with Nature Tony Sweet
Advanced Photoshop Eddie Tapp

SUPER MONDAY MADE EASIER

Its easier to search and easier to
see up-to-date content...its Super
Monday online! New in 2008, the
Super Monday booklet will be located
in the PPA Education Guide Online
(www.ppaEdGuide.com). Now when
you want to nd the nearby April Remember: classes are updated
2008 classes, all you have to do is visit often, so keep checking back at
the Web site and search via state, the website to see whats new.
category, instructor, etc. No more
page ipping, although you can
print it out if you really want to.

P4 news from the worlds largest professional photography association | Professional Photographers of America | www.ppa.com
WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES
LabTab

January 2008 Professional Photographer 171

LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

172 www.ppmag.com
January 2008 Professional Photographer 173
LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

PROFESSIONAL PHOTOGRAPHER
CLASSIFIED ADVERTISING RATES
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$2.00 per word/words with all caps or bold face.
$10.00 per issueConfidential Reply Box Ads
(Optional)$30 min. per ad
Closing date is 20th of the second month proceeding
issue date.
Remittance must be received with order.
NO ADS ACCEPTED BY PHONE.
Remittance to:
Professional Photographer Classified Ads
229 Peachtree NE, Ste. 2200, Atlanta, GA 30303

174 www.ppmag.com
January 2008 Professional Photographer 175
LabTab WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES

176 www.ppmag.com
January 2008 Professional Photographer 177
 Buyers
Gallery
THIS SECTION IS
THE MONTHLY
RESOURCE
PHOTOGRAPHERS
USE TO FIND
THE PRODUCTS
THEY NEED. PUT
YOUR MESSAGE
PROMINENTLY
IN FRONT OF
INDUSTRY PROS
AND START
TURNING
BROWSERS
INTO BUYERS.

178 www.ppmag.com
January 2008 Professional Photographer 179
180 www.ppmag.com
January 2008 Professional Photographer 181

PROFE SSIONAL
3D LightMaster (www.3dlightmaster.com)............................176
Adobe (www.adobe.com).....................................................119
Adorama (www.adorama.com) .......................................157,159
Advanced Photographic Solutions (www.advancedphoto.com)170
Album Crafters (www.albumcrafters.com) ............................177
Albums Inc. (www.albums inc.com) .......................................81
Albums Unlimited (www.albumsunlimited.com) ...................178
AlbumX/Renaissance Albums (www.renaissancealbums.com) ..7
Allied Photographic & Imaging Lab (www.alliedphoto.com)...170
All-Star Digital Lab (www.allstardigitallab.com)....................173
AllStar Photo Imaging (www.4allstar.com)............................171
American Color Imaging (www.acilab.com)................64-65, 172
American Photographic Resources Inc. (www.aprprops.com)..181
American Student List (www.studentlist.com).................12, 178
ARK-LA-TEX Color Lab (www.altcolorlab.com) ....................169
Asukabook (www.asukabook.com)........................................99
B & H Photo-Video (www.bhphotovideo.com) ...............154-155
BWC (www.bwc.net)............................................................117
Backdrop Outlet (www.backdropoutlet.com).........................176
Backgrounds by David Maheu (www.backgroundsbymaheu.com) 176
Bay Photo Lab (www.bayphoto.com) ..............................77, 169
Big Black Bag (www.bigblackbag.com) .................................179
Bogen Imaging Inc. (www.bogenimaging.us) .........................39
Brightroom Inc. (www.backprint.com) ..................................174
Buckeye Color (www.buckeyecolor.com).................................83
Paul Buff Inc. (www.white-lightning.com)..............................79
CPQ (www.cpq.net) .............................................................171
Canon (www.usa.canon.com) ..................................................7
Candid Color Systems Inc. (www.candid.com).......................175
Chimera (www.chimeralighting.com) .....................................43
Christopher Imaging (www.chrisimaging.com).......................171
Cindy Baxter Studios (www.cindybaxterstudios.com) ............177
Collages.Net (www.collages.net)............................13, 30-31, 67
Color Incorporated (www.colorincprolab.com) .......................170
Color Vision / Data Vision (www.spyder3.com) ......................61
Corel (www.corel.com/ppa) ...................................................87
Corporate Color/Prolab Express (www.prolabexpress.com)....169
Contemporary Photography/J. Hartman (www.jhartman.com) .178
Custom Brackets (www.custombracket.com) ........................178
182 www.ppmag.com
Custom Color Corporation (www.customcolor.com)...............169
Denny Manufacturing (www.dennymfg.com)...................42, 181
Denny Manufacturing (www.photonovelty.com) ....................181
Digineg (www.digineg.com/ppa) ..........................................105
Digiproofs (www.digiproofs.com).........................................178
Diversified Lab (www.diversifiedlab.com) ..............................171
Doug Gordon Workshops (www.douggordonworkshops.com).131
Draper Imagng (www.draperimaging.com)............................179
Dream Garden Album (www.dreamgardenalbum.com)...........177
Drive Savers (www.drivesavers.com) .....................................29
Durys (www.durys.com).......................................................63
Dynapix Photographic Imaging (www.dynapix.net)................174
Eastman Kodak Company (www.kodak.com) ........................101
Ed Pierce Seminars (www.edpierceseminars.com).................160
emotion Media Inc. (www.emotionmedia.com) .....................176
Epson (www.epson.com/1123) ...................................34-35, 49
Filmet (www.profilmet.com) ................................................173
Focal Point Studios (www.notecard.info) ..............................181
Forbeyon Design Studio (www.forbeyon.com) ......................107
Foto Figures (www.fotofigures.com).....................................181
Fredericks Photo Lab (www.fredericksphotolab.com) ............178
Fujifilm (www.fujifilm.com).....................................................3
Full Color (www.fullcolor.com)...............................................93
GP Albums (www.gpalbums.com).........................................95
Graphic Authority (www.graphicauthority.com) .....................121
Graphistudio (www.graphistudio.com) ............................109
Group Photographers Association
(www.groupphotographers.com) ..............................169
H&H Color Lab (www.hhcolorlab.com) .................................125
Hallmark Imaging (www.hallmarklabs.com) ..........................175
Herff Jones (www.hjpro.com)...............................................172
Imaging Spectrum (www.imagingspectrum.com) ............38, 150
Jonathan Penney Inc. (www.jonathanpenney.com) ................181
Kambara USA Inc. (www.kambara.com) ...............................179
Kubota Image Tools (www.kubotaimagetools.com)................44
The Levin Company (www.levinframes.com).........................177
Lexar Media (www.lexar.com/ppmag) ....................................85
Lustre Color (www.lustrecolor.com).................................12, 175
MPIX (www.mpix.com).........................................................57
McKenna Pro (www.mckennapro.com) .................................170
Mamiya (www.mamiya.com)...........................................45, 47
Marathon Press (www.marathonpress.com) ...........................91
Meridian Professional Imaging (www.meridianpro.com) ..Cover II
Michel Company (www.michelcompany.com) ........................179
Better than ever!
Professional Photographer
Online has exciting
new features for you
At ppmag.com, we dont simply
recreate the magazine online,
Professional Photographer Online
goes far beyond that with loads of
cool, useful and inspiring content.
And its all all yours free.
Go to www.ppmag.com today!
PRO FE S SIONAL
Michigan Photo (www.michiganphoto.com)...........................171
Midwest Sports (www.midwestsportslab.com) .....................172
Miller Professional Imaging (www.millerslab.com)..................55
Mitsubishi Imaging (www.mitsubishi-imaging.com) ...............75
Moab Paper (www.moabpaper.com) ......................................111
More Photos (www.morephotos.com)....................................32
Morris Group (www.themorriscompany.com) ........................179
MyPhotopipe (www.myphotopipe.com) .................................97
NAPP (www.photoshopworld.com)................................129, 151
National Direct Marketing Services (www.ndmservices.com) .179
Neil Enterprises (www.neilenterprises.com) ..........................48
Nik Software (www.niksoftware.com/ppadfine ......................89
Nikon (www.stunningnikon.com/challenge.com).....11, 24-25, 69
North American Photo (www.naphoto.com)...................173, 174
Noritsu (www.noritsu.com/M300)........................................59
Onlinephotofix.com (www.onlinephotofix.com) .....................181
PR Photo Lab (www.prphotolab.com) ..................................175
Pacific Mount (www.pacificmount.com)................................179
Photoprism Color Lab (www.photoprismcolorlab) .................174
Pictobooks (www.pictobooks.com) ................................176, 181
Profoto (www.profoto-usa.com)...................................Cover IV
Pure Country/Portrait Weavers (www.portraitweavers.com)...181
Quantum (www.qtm.com) ....................................................33
Reedy Photo (www.reedyphoto.com) ...................................174
Ron Nichols.com Digital Solutions (www.timexposure.com)....23
Simply Canvas (www.simplycanvas.com) ...................72-73, 173
Sony (www.sony.com/dpf) ..................................................103
Speedotron (www.speedotron.com).......................................41
Sto-Fen Products (www.stofen.com .....................................181
Student Marketing Group Inc. (www.studentmarketing.net)..178
Studio Dynamics (www.studiodynamics.com) .......................151
Studio Logic (www.studiologic.com) ......................................15
Studio Plus Software (www.studioplussoftware.com) ...........135
Studio Pro Group (www.studioprogroup.com).......................173
Successware (www.successware.net) ....................................117
Tamron (www.tamron.com) .................................................139
Unique Photo Supplies (www.uniquephoto.com) .....................4
Used Camera Buyer (www.usedcamerabuyer.com).................161
Veach Co. (www.veachco.com) .............................................177
White House Custom Color (www.whcc.com) ............8-9, 20-21
White Glove (www.wgbooks.com) ........................................176
Wicker by Design (www.wickerbydesign.com) .......................181
Zookbinders (www.zookbinders.com) ...................................141
Publisher not responsible for errors & omissions
ProductMall SOMETHING HERE
YOU NEED...

January 2008 Professional Photographer 183

ClassifiedAdvertising
CLASSIFIED ADVERTISING RATES
Classified rates: $1.50 per word; $2.00 per
word/ words with all caps or bold face.
$10.00 per issueConfidential Reply Box Ads
(Optional)$30 minimum per ad. Closing date
is 20th of the second month proceeding issue
date. Remittance must be received with order.
NO ADS ACCEPTED BY PHONE. Remittance
to: Professional Photographer Classified Ads,
229 Peachtree NE, Ste. 2200, Atlanta, GA
30303; 800-339-5451, ext. 221; FAX 404-
ACCOUNTING
CPAs FOR PHOTOGRAPHERS. Business set-up, tax
planning and preparation, business valuations and
consulting. Decades of experience. Darryl Bodnar, CPA,
(410) 453-5500, dbodnar@nlgroup.com. Visit our website
at www.nlgroup.com.
ALBUMS
GP ALBUMS (formerly General Products L.L.C.) is focused
on flush mount and digital offset albums along with our
NEW extensive line of self-mount albums and folios. GPs
Optimus, Quick-Stick, Digital Vision, Tempus, and Eclipse
albums are the products that will help take your photography
business into the future. You will experience the same great
quality with a whole new look. As a manufacturer, GP Albums
also has the ability to create custom photo packaging
products upon request. GP Albums continues to offer variety
and flexibility allowing photographers to design the perfect
product that will last a lifetime. For more information, please
visit us at www.gpalbums.com or call 1-800-888-1934.
BACKGROUNDS
THE DENNY MFG. CO., INC. is the Worlds Largest Manufacture
of Hand Painted Backgrounds, Computer Painted Backgrounds,
Muslin Backgrounds, Studio Sets, Props, Lift Systems, and
related Studio Accessories. Contact us today to receive our
FREE 180 page color catalog filled with exquisite products
and ideas to help you succeed in Photography. Write P.O.
Box 7200 Mobile, AL 36670; Call 1-800-844-5616 or visit
our Web site at www.dennymfg.com.
STUDIO DYNAMICS muslin and canvas backdrops offer
quality and value at outlet prices! Call 1-800-595-4273
for a catalog or visit www.studiodynamics.com
BOSS BACKDROPS-WRINKLE FREE, washable, dryer
safe, Diffused, light weight, easy to carry & store. Most
under $100. Free clamps. Call 630-254-1253 or visit us at
www.bossbackdrops.com
CHICAGO CANVAS & SUPPLYWide Seamless Canvas and
Muslin, Duvetyn, Commando Cloth, Theatrical Gauze, Velour,
Sharkstooth Scrim, Leno Scrim, Gaffers Tape, Primed Canvas,
Gesso, and Deka Fabric DyesFabrication Available. Curtain Track
& Hardware for Moveable Curtains and BackdropsEasily
installed. Quick turn around time. Our prices cant be beat. Visit
our website or call for a free catalog and samples. 773-478-5700;
www.chicagocanvas.com; Email@chicagocanvas.com
CAMERA REPAIR
HASSELBLAD OWNERS: David S. Odess is a factory trained
technician with 30 years experience servicing the Hasselblad
system exclusively. Previously with Victor Hasselblad. Free
estimates, prompt service, reasonable rates and a 6 month
guarantee. Used equipment sales. 28 South Main St., #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
184 www.ppmag.com
COMPUTER/SOFTWARE
SUCCESSWAREStudio Management Software available
for both Windows and Macintosh. Recommended by Ann
Monteith, the nations foremost studio management
consultant. 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 order
tracking and ignite your marketing fire with customized
software that knows whats going on in YOUR business
even when you dont! More professional photographers
trust Photo One Software, powered by Granite Bear
than all other studio management software combined! 5
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One to match your studio; personalized phone training for
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usable upgrades and a 365 day unmatched money back
guarantee! Zero-Risk. Only $299.00 deposit gets you
started. Call 888-428-2824 now for your free working
demo or visit www.photoonesoftware.com. Photo One,
Building better businesses, one studio at a time.
DIGITAL
DIGITAL PHOTOGRAPHERSKessler Color produces
STUNNING images from digital files. Try our rapid FTP site
and get a FREE 16 x 20. New ServiceE-Vents from
Kessler Color. Get 8x10 units for $.90.
info@kesslercolor.com. 800-KES-LABS.
SCHOOL PHOTOGRAPHERSKessler Colors digital units
start 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 of
international members and over 50,000 post about Corel
Painter, Essentials, and Photoshop.Forums include
tutorials, brushes, digital painting, art, and the business of
creating, marketing and selling digital art. This forum has
a small subscription fee that is well worth the education
gained. www.digitalpaintingforum.com
WALL PORTRAIT CONFERENCE. April 20th-25th, 2008. Six
day Wall Portraiture concept to completion. The original wall
portrait school. Has changed the lives of many! Emphasis on
public 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 AND
TRAINING. FINANCING$600 UP. DELIVERYINSURED.
WWW.DIRECT-RESOURCES.COM; 877-318-3015.
HELP WANTED
HELP WANTED: Assistant photographer for contemporary
photojournalistic wedding coverages in Orange County, CA
area. Must have digital equipment. E-mail John at
johnnam1@yahoo.com.
PORTRAIT PHOTOGRAPHER
NORTHEASTERN WISCONSIN
Harmann Studios is a progressive portrait company with
multiple locations with emphasis in seniors, children,
families, sport, and school photography. We have been in
business for more than 45 years and have unlimited
resources to make our portraits stand out. We are seeking
a candidate with 5 years of portrait experience, good
organizational skills, exceptional understanding of DSLR
cameras, and most of all, a fun and adaptive personality.
Health, vacation, and flexible scheduling are just some of
the benefits we offer. Please send resumes and sample
images and sample images to John Harmann at
jharmann@harmann.com.
INCORPORATION SERVICES
INCORPORATE OR FORM an LLC today! Your art is
a business. Treat it like one. The Company Corporation can
help you incorporate or form a limited liability company in as
little as ten minutes. We are fast, accurate and affordable.
Provide additional credibility to your photography studio or
business at the fraction of the cost of using an attorney.
Call 1-800-206-7276 or visit www.corporate.com today!
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Fully Assembled Albums-10x10 print included-9 to 18
pages from $149.99, (100s of templates available)
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UNITED PROMOTIONS, INC.
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January 2008 Professional Photographer 185

 good works |
Joan Brady
Fostering love
ONE PHOTOGRAPHERS MISSION TO HELP CHILDREN
F
ive years ago, photographer Joan
Brady became a volunteer tutor for
foster children in a group home in
the Washington, D.C., area. Having no
children herself, she was surprised at having to
persuade the kids to do their homework.
One day she brought in a point-and-shoot
digital camera and dangled the promise of
taking pictures as an incentive. The children
not only did their homework, but took on
extra reading as well.
Brady quickly realized that photography
was a novel experience for these children. While
she had grown up being photographed by
186 www.ppmag.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.
loving parents, these children had no one to
make pictures of the significant moments of
their lives. There is no photo album that
captures their first day of school, first lost
tooth, first report card, says Brady. The
pictures that help them remember mile-
stones and reinforce their sense of impor-
tance in the world simply dont exist.
Brady began producing small photo albums
for each child in the group home. She pho-
tographed them doing things they enjoyed,
and included pictures of the people who
were important to them. Every time she
added a picture, the kids got excited.
Bradys work with foster children led to
an association with the Wednesdays Child
program produced by NBC4, the NBC affili-
ate in Washington. Every Wednesday, local
newscaster Barbara Harrison introduces a
foster child or group of siblings to the TV
audience in hopes that a viewer will step for-
ward to adopt.
Sponsored by Freddie Mac, Wednesdays
Child also gives the kids dream days with such
activities as visiting the National Zoo, taking
an ice skating lesson, visiting a theme park,
touring a CSI lab or shooting hoops with NBA
players. Brady goes along to photograph the
children throughout the day. Her intent to
provide keepsake albums soon expanded to
providing digital images and photo books to
social workers, who show them to adults
looking to adopt. Last year, one adoptive parent
told me that when she saw the photo book,
she knew those were her children, says Brady.
Brady says that getting involved is as easy
as offering your services. Anyone who has
the time and the heart, I urge you to contact
your local family services agency and see if
there might be an opportunity for you to
make a child feel valued, she says. I have
met the most wonderful kids, photographed
the most moving adoption ceremonies, and
been witness to some heart-wrenching sto-
ries. People often ask me how I happened to
become the photographer for Wednesdays
Child. My answer is simple: I offered. I
To see more by Joan Brady, visit www.joan-
bradyphotography.com. Learn more about
the Wednesdays Child program at
www.adopt.org/wednesdayschild.
Share your good works experience with us
by e-mailing Cameron Bishopp at
cbishopp@ppa.com
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