Professional Photographer 2011 07
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JULY 2011 | $4.95 ©Elizabeth Etienne
Transcript of Professional Photographer 2011 07
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JULY 2011 | $4.95
©Elizabeth Etienne
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editorial officesProfessional Photographer
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Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed byProfessional Photographer or any of its authors do not necessarily reflect positions of ProfessionalPhotog raphers of America, Inc. Professional Photographer, official journal of the ProfessionalPhotog raphers of America, Inc., is the oldest exclusively professional photographic publication in theWestern Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photo-graphic Weekly, St. Louis & Canadian Photographer, The Commercial Pho tog -rapher, The National Photographer, Professional Photographer, and Profes sionalPhotographer Storytellers. Circulation audited and verified by BPA Worldwide.
4 • www.ppmag.com
PROFESSIONAL
senior editorJOAN [email protected]
features editorLESLIE HUNT
editor-at-largeJEFF KENT
contributing editorsDON CHICK, LORNA GENTRY,
ROBYN L. POLLMAN, ELLIS VENER
art director/production managerDEBBIE TODD
sales/strategic alliances assistantCHERYL [email protected]
circulation MOLLIE O’[email protected]
director of sales & strategic alliancesBILL KELLY
404-522-8600, x248; [email protected]
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EDITORIAL
director of publicationsCAMERON BISHOPP
[email protected] talkPLENTY OF SUCCESS TO GO AROUND
We’re happy to announce that Professional Photographer wasrecognized as the best business-to-business/association magazine inthe Southeast by the Magazine Association of the Southeast(MAGS) at its 2011 awards ceremony. These awards wouldn’t meanmuch without you, our amazing featured photographers andinspiring readership. We thank you for visiting and sharing with usevery month! Turn to page 28 to see a list of the awards.
Of special note at the MAGS gala was PP’s first-place win in ServiceJournalism, awarded for the PPA Business Handbook, the nuts-and-bolts guide we published last December*, based on the latest ProfessionalPhotographers of America (PPA) Studio Financial Benchmark SurveyAnalysis, the only study of its kind in the photographic industry.
Every two years or so, PPA’s team of financial experts tabulatesand analyzes financial data from some 150 to 250 portrait andwedding photographers, to arrive at real-world financialbenchmarks photographers can use to measure and adjust theirbusiness perform ance.
Among other things, the benchmarks can tell you how muchmoney you should be spending, and in which areas; if you’re pricingprofitably; how many employees you can afford; and the tasks thatshould be outsourced.
Nowhere near enough photographers take advantage of thisastonishingly useful resource. After examining how and why theirnumbers didn’t match up, we’ve seen studios make just a few minortweaks to their operations that resulted in vast increases in theirprofitability and that most precious of all resources: time. n
Cameron BishoppDirector of Publications
*The PPA Business Handbook is one of the top benefits of PPAmembership, and was only mailed to members. If you’d like to get youreyeballs on a copy, head over to ppa.com and join today.
WANT A FREE FINANCIAL ANALYSIS?
PPA’s Benchmark Survey team is looking for its next batch of test bunnies.
All it takes is your demographic business information, your 2010 business tax
return, and a few supporting financial files. You don’t have to be a PPA member
to participate in the study, and you’ll get a free, personalized financial analysis
of your studio out of the deal. Participate by August 31, and you could
win prizes. Go to ppa.com/benchmark to see if your studio qualifies.
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© Matthew Jordan Smith
,,
Matthew Jordan Smith on controlling light: I love striking imagery. Something that makes you wonder how it was done. In this case, I want the main light to be the hero. I want the spot to overpower everything else to create just the right mood. I metered the main for f/11 and adjusted the fill for f/5.6-two stops under. Then for a pleasing balance, I metered and set the backlight on the model’s hair to achieve the perfect look and right amount of background separation. Being able to measure and control my lights, makes it all work together to make a beautiful shot.
Photography. It’s all about light.
See video at Sekonic.com/Smith
THE ART OF CANDORPage Bertelsen follows the light, and her unique artistic vision, to success
Interview by Jeff Kent
SENIORS: MISSION: LONGEVITY
Eric and Shawna Anundi maintain a premier status
By Jeff Kent
WEDDINGS: FROM INDIA WITH LOVE
Amish Thakkar taps a market with bountiful opportunity
By Stephanie Boozer
LA FEMME ETIENNE
Pure enchantment in any languagefrom Elizabeth Etienne
By Stephanie Boozer
IMAGE BY: AMISH THAKKAR
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PROFESSIONAL PHOTOGRAPHER JULY 2011
CONTENTS
DepartmentsCONTACT SHEET20 Daydreamer: Robert Zuckerman24 Giveaway of the month24 PP Asks: Website videos26 Royal wedding photographer28 NILMDTS Charity Model Search28 PP wins industry awards
PROFIT CENTER31 What I think: Eric Anundi32 A tale of use most foul
by Jack Reznicki36 Winning bids with charity auctions
by Carl Gray Nelms38 Ask the experts40 Living the dream:
Are you worth it?by Kimberly Wylie
46 Starting over: Design a business clients craveby Kalen Henderson
THE GOODS51 What I like: Page Bertelsen52 Roundup: Products your
clients will loveby Robyn L. Pollman
60 Pro review: Epson StylusPhoto R3000by Mark Levesque
64 Pro review: iDC Gearless Follow-Focusby Ron Dawson
66 Pro review: Corel Painter 12by Melissa Gallo
70 Pro review: Spider Holster by Joan Sherwood
ON THE COVER: This image by cover artistElizabeth Etienne was taken at a wedding in thesouth of France in a village called Mandelieu LaNapoule, along the French Riviera. “The couple wasvery young, very much in love and the wedding wassmall and private because certain members of theirfamily did not approve,” Etienne says. “The image wasshot beneath the rocky caverns off the MediterraneanSea where the light bounced off the ocean creating anatural reflector. No additional light was necessary.It was just perfect,” she says.
8 • www.ppmag.com
16 FOLIO
106 AFFILIATE SCHOOLS
107 PPA TODAY
122 GOOD WORKSPROFESSIONAL PHOTOGRAPHER | JULY 2011 | WWW.PPMAG.COM
Eric and Shawna Anundi built their business success with planning
and long-term goal setting, and by creating an exceptional customer experience. It builds return
business, and keeps the referrals flowing in.
CONTENTS
72©
Eric Anundi
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Professional Photographers of America229 Peachtree St., NE, Suite 2200Atlanta, GA 30303-1608404-522-8600; 800-786-6277FAX: 404-614-6400www.ppa.com
2011-2012 PPA boardpresident*DON DICKSONM.Photog.Cr., [email protected]
vice president*TIMOTHY WALDENM.Photog.Cr., [email protected]
treasurer*RALPH ROMAGUERA SR.M.Photog.Cr., CPP, API, [email protected]
chairman of the board*LOUIS F. TONSMEIRE, JR.Cr.Photog.Hon.M.Photog., [email protected]
directorsSUSAN MICHALM.Photog.Cr., CPP, [email protected]
DOUG BOXM.Photog.Cr., [email protected]
DON MACGREGORM.Photog.Cr., [email protected]
MICHAEL GAN M.Photog.Cr., CPP [email protected]
CONSTANCE S. RAWLINS M.Photog.Cr., [email protected]
LORI [email protected]
MICHAEL TIMMONSM.Photog.Cr, [email protected]
industry advisorKEVIN [email protected]
PPA staffDAVID TRUST, CAE Chief Executive Officer [email protected]
SCOTT KURKIAN, CPA, CAEChief Financial [email protected]
THERESE ALEMANDirector of Marketing [email protected]
CHRISTEL APRIGLIANODirector of Member Value & [email protected]
CAMERON BISHOPP Director of [email protected]
BILL KELLY Director of Sales &Strategic [email protected]
WILDA OKEN Director of [email protected]
DAWN ROBB Director of [email protected]
COREY B. SHELTON Director of IT & Online [email protected]
LENORE TAFFEL Director of [email protected]
CLAIRE WHITEDirector of Allied [email protected]
SANDRA LANGExecutive [email protected]
*Executive Committee of the Board
12 • www.ppmag.com
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16 • www.ppmag.com
folio| Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sampleof award-winning photography by PPA members. The Loan Collection is a select group of some500 photographs chosen annually by the PPA print judges from more than 5,000 entries.
TIFFANY SCHMITTWhile photographing her cousin’s Morgan breed horses, Tiffany Schmitt, CPP, of Graphic Impressions, LLCin Schofield, Wis., was enamored with this animal’s watchful eye. With a Canon EOS 5D camera and Canon70-200mm f/2.8 L IS USM EF lens, Schmitt exposed “The Classic” for 1/80 second at f/2.8, ISO400. “I loved the expression in his eye and quickly took the shot,” she says. picturesattiffanys.com
©Tiffany Schmitt
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RANDY PETERSONEvery year, Countryside Photographers challenges its pho tog -raphers to create a PPA merit image somewhere near thestudio. Randy Peterson, M.Photog.Cr.MEI., of Seymour, Wis.,found a winner with “Frostbitten” (above). With a CanonEOS 5D Mark II camera and Canon 24-105mm f/4 L IS USMEF lens, Peterson exposed the tree for 1/250 second at f/10,ISO 100. He performed only minor retouching to removedirty snow, mailboxes and clutter. countrysidephoto.com
CORTEZ AUSTIN“Birds are the major focus of my photography,” says CortezAustin, of Natural Visions Photography in Marlboro, Md.“Bald eagles are impressive birds just sitting still—inaction, they are awe inspiring,” says Austin. With a CanonEOS-1D Mark III camera and Canon 500mm f/4 L IS USMEF lens with 1.4x converter, Austin exposed “Eagle TakeOff” for 1/400 second at f/5.6, ISO 800. Austinphotographed the eagle at the Blackwater National WildlifeRefuge in Maryland. cortezaustinphotography.com
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CONTACT SHEETWhat’s New, Cool Events, Interesting People, Great Ideas, Etc.
Film director Jon Turteltaub calls photographer
Robert Zuckerman “irreplaceable,” while actor
Jeff Goldblum strings together adjectives to
describe him: “Striking, smart, kind, generous,
sweet, sensitive.” But it’s actress Annabeth
Gish who seems to know what makes
Zuckerman tick. “His heart is behind his
intentions,” she says. You can watch these
heartfelt recommendations yourself in a
video testimonial at robertzuckerman.com.
For more than two decades Zuckerman has
been a film and TV still photographer whose
images have been used for movie posters,
advertisements and publicity campaigns for
such movies as “The Sorcerer’s Apprentice,”
“Transformers,” “Terminator 3,” “National
Treasure,” “The Pursuit of Happyness” and
“The Crow.” He lives a bicoastal lifestyle in
L.A. and Miami, where he has family. In 2003
he was diagnosed with neuropathy, which
has weakened his legs and causes him to limp.
It hasn’t slowed him down much, though.
Recently on a Miami afternoon, Zuckerman
took a break from shooting stills for the TV
series “Burn Notice” to reflect on his life in
the movies. “I love photography,” he says. “I
get to meet famous people and people who
are not famous but interesting. Photography is
a vehicle for professionalism, respect for others
and myself, and for being a good person.”
Six years ago Zuckerman published
“Kindsight,” a book of photographs and stories
about extraordinary ordinary people. “To me,
everything and everyone is interesting,” he says.
“Kindsight is an ongoing project. I’ll be doing
it the rest of my life.” He has inter viewed and
photographed plumbers, cab drivers, volun -
teers, and waitresses, to retell their unique
stories. He established a nonprofit foun dation
based on the Kindsight principal of
encouraging people, especially children, to notice
the good in others and the richness of life.
A graduate of the American Film Institute,
Zuckerman always wanted to be a filmmaker.
He spent a decade working in film in New
York before moving to L.A. and becoming a
movie still photographer. His first big break
came when Oliver Stone hired him to shoot
the poster for his 1991 film, “The Doors.”
When Zuckerman was a kid he was a day -
dreamer, and even now he often finds himself
in a kind of fog. “It enables me to be open to
whatever comes up. That’s my M.O.: be aware
and focused, but stay in a [creative] fog.”
To see more of Robert Zuckerman’s workvisit robertzuckerman.com.
Photographer Robert Zuckermanlives a life rich in creative peopleand volunteer work, helpingothers see the beauty around them.
BY LORNA GENTRY
DAYDREAMER
20 • www.ppmag.com
Robert G. Zuckerman/© FX
July 2011 • Professional Photographer • 21
Robert G
. Zuckerm
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Robert G
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Robert G
. Zuckerm
an/©Tw
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nichol krupp | bay city, michigan
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24 • www.ppmag.com
CONTACT SHEET
PP ASKS …We love hearing from all ofyou on our Facebook page.We ask the questions, youprovide the answers. Thismonth, we’re talking aboutvideo intros for websites—those brief videoclips that introduce you and your style to yourprospective clients. Do you have one? Do youwant one? How does it work for your business?These are just a few of the responses we got.Click the Like button to join the conversationat facebook.com/ppmagazine.
HAVE YOU MADE A VIDEO FORYOUR WEBSITE THAT INTRO -DUCES YOU TO YOUR CLIENTS?HAS IT MADE A DIFFERENCE INYOUR INQUIRIES AND BOOKINGS?
I made a video and it was very successful. Italso included client testimonials, which havebeen very powerful for drawing in new clients.
—Joanne Lee
An introduction video is a fantastic idea.Cross publish it on your site, blog andYouTube to increase exposure. It will add apersonal element to your business thatpeople will relate to, and then feel morecomfortable booking your services.
—Crafty Eye Mike
I’ve been working on ideas to put a video onmy site of a typical shoot so that people knowwhat to expect. I also want to embrace thefact that I am what makes my businessunique. Why not capitalize on the fact thatI’m the only me?
—Jessica at CaptureLife
Yes. I’ve made the leap to video. I’m using atest trial with Animoto and loving it. Thevideo shows an added dimension to myphotography. I see the senior and weddingmarkets heading in this direction.
—Kristin Schmit
I have indeed made an introductory video forjefffoley.com. Whenever I get an e-mail inquiry,the video is one of the things I drive the prospectto, so he or she can see that we laugh a lotduring my shoots. It has been quite helpful.
—Jeff Foley
To see our next question and be eligible for future giveaways, connect at:facebook.com/ppmagazine
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Sitting astride a bicycle in a fine suit on the
morning of April 29, London photographer
Hugo Burnand led his crackerjack team of
seven assistants—all on bicycles—through
Hyde Park to Buckingham Palace. Along the
way they weaved through thousands of royal
watchers who had gathered to witness HRH
Prince William marry Kate Middleton. “Cycling
over was exhilarating,” Burnand recalled on the
phone from his Notting Hill studio in London.
Days before, Burnand and his team had
set up the equipment in the Throne Room in
Buckingham Palace, where Burnand took the
couple’s official and personal wedding photos.
“We had backup equipment for our backups,”
he said. Even though he had royal wedding
experience—Burnand photographed the
2005 wedding of HRH Prince Charles and
Camilla Parker Bowles—the pressure was
great. He had exactly 28 minutes to shoot
before the bridal couple made their balcony
appearance. He swears he wasn’t stressed. “I
was very well prepared,” he said, thanks to
strict adherence to the military adage of the
seven Ps (“Proper planning and preparation
prevents piss-poor performance”).
It took 32 hours preparation for the 28-
minute shoot. “We rehearsed everything,
including what to do if things didn’t go
according to plan. I said my prayers before -
hand and every single prayer was answered.”
The Throne Room is cavernous and
dark, so a great deal of work went into the
lighting. The bride wanted the pictures to
look as if they were bathed in bright spring
sunlight. To achieve it, Burnand used a Profoto
lighting system overseen by a team member
who is a lighting specialist.
His favorite photo is the one of the bride
and groom surrounded by children. “Every
individual in that picture shows their real
character. I knew what I wanted so there was
photographic direction, but you can’t direct
that kind of spontaneity and naturalness.”
Asked how he can possibly top this accom -
plishment, Burnand said he sympathizes
with Colin Firth when he won the Oscar.
“He said, ‘I’ve got this feeling my career just
peaked.’” He added, “Actually, I’d like to
photograph Colin Firth.”
CONTACT SHEET
Stuff of fairytalesOnce upon a time there was a prince who needed a photographer for hiswedding. He found Hugo Burnand, a portraitist with royal experience.
BY LORNA GENTRY
26 • www.ppmag.com
All images ©Getty Images/Hugo Burnand
Joe McNally and PorcketWizardLocation shooters depend on PocketWizard radios. After spending more than 30 years behind the lens – working for National Geographic, Time, Life and Sports Illustrated – Joe is the master. Armed with speedlights, brackets, and cameras triggered by PocketWizard MultiMAX radios, Joe captures the excit.ement of racing to .a fire as only he c.an.
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CONTACT SHEET
The Now I Lay Me Down to Sleep Foundation
(NILMDTS) announced the winners of its
annual Charity Model Search, chosen from
thou sands of entries from the United States
and Canada. The contest raises funds for the
non-profit, whose mission is to provide
professional portraits to families mourning
the loss of an infant.
NILMDTS named 50 finalists, based on
the number of public votes (made with finan -
cial contributions) and voters’ free “favorite
points.” Then a panel of photo industry
experts assessed the images of the finalists.
First place went to “Crawford” by Portrait
Stories by Ginger, second to “Badger” by Bella
Photography and third to “Cox” by Island Style
Images. The first place child’s family won a travel
package valued at $2,500, a $2,500 savings
bond, a Nikon camera and a $100 Target gift
card. Second and third place winners went
home with a $500 savings bond, a Nikon
camera and a $100 Target gift card. The pho -
tographers who submitted the winning images
took home prize packages with items from
Kubota Image Tools, Pexagon Technology,
Wicker By Design, Asukabook, ExpoImaging,
Color Inc., Alien Skin Software, Photoflex,
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The contest raised more than $44,000
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Cute kids, capturedNILMDTS holds its Charity Model Search
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ortrait Stories by G
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First place winner “Crawford” by Portrait Storiesby Ginger (above). Second place “Badger” byBella Photography (far left). Third place “Cox”by Island Style Images (left).
Professional Photographer was namedbest business-to-business/associationmagazine in the Southeast at the MagazineAssociation of the Southeast’s GAMMAAwards, held in May in Atlanta. PP wasalso awarded first place in six additionalcategories: single issue, service journalism,design, cover, photography and feature.
PP’s nod for service journalism was for“The PPA Business Handbook,” a practicalguide for photographers based on the PPAFinancial Benchmark Survey, the only surveyof its kind in the industry, conducted byPPA’s Studio Financial Services arm.
2011 GOLD GAMMA AWARDSGeneral Excellence – Best overall pack -aging, content selection, writing, report - ing, design and illustration.Best Single Issue – May 2010Best Single Cover –
July 2010Best Feature – January 2010Best Photography –
June 2010Best Design Best Service Journalism –January 2010 / “The PPABusiness Handbook”
PROFESSIONAL PHOTOGRAPHER WINS INDUSTRY AWARDS
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July 2011 • Professional Photographer • 31
Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies
What advice would you give someone new to
the photography business? One word:
Education. Most beginners don’t understand
how a camera works, let alone how to run a
business. It takes years of education and
practice to get good at lighting, posing and
building relationships with clients, let alone
making profits.
How do you think the business of profes sional
photography will evolve? We’ll go back to
the basics. I’ve already started to use less
digital manipulation. Nothing beats the
look of true skin tones, old school poses and
quality lighting.
What issues will professional photog raphers
face over the next few years? Our society
seems to be becoming less and less loyal to
one specific business, so we’ve worked
diligently to provide exceptional customer
service to keep clients coming back.
What are your secrets to running a
successful business? Don’t disappoint. Do
what you say. Be honest. Provide
exceptional customer service. My clients pay
for the entire experience. In the
background, I’m setting goals, crunching
numbers and investing in education.
IMAGE BY ERIC ANUNDI
ERICJOHN.COM
What I thinkEric Anundi engenders loyalty through service and quality
Here’s a tale that will shock you, scare you,
and then delight you. Imagine if you can,
someone taking one of your photographs,
copying it, blowing it up very large, and then
selling it for a six-figure sum. Wait, that’s six
figures without the decimal point! Yes,
hundreds of thousands of real dollars. And
then a prestigious auction house, Christie’s,
auctions off another one of those copies of
your photo for $1.3 million. Just when you
think it’s as horrible as can be, you find out
that 41 of your images have been copied and
put into a big gallery show, and subsequently
sold and traded for a sum of more than $16
million! That’s Lotto money in most states.
And throughout all this, not only do you
not see a dollar or even one thin dime from
the sale of what are copies of your photos, you
don’t even get a thank you from the “artist”
who stole, excuse me, “appropriated” your work.
I can hear a chorus of readers screaming, “Sue
the bum!” Not so fast. Some of the photog -
raphers in this tale sold their copyright, which
gave them exactly no rights at all to their
photos. To make matters worse, the copyright
holders, who also didn’t get a penny from
the copied work, have no intention of suing.
Think this is a fairy tale? One to scare
you and get you to maintain your copy -
rights? Nope. It’s all sadly true. Artist
Richard Prince has made a successful and
extremely profitable career doing all of the
above. And it’s no secret that the work he
creates is copied from others. It’s called “appro -
priation art” in the art world. In my humble
opinion as a photographer, I call it simply
stealing. In the fine-art world “appropria -
tion art” has slowly become an accepted
practice. Artists like Prince have tried not to
make the line between influence and outright
copying fuzzy, but to erase that line altogether.
The first works Richard Prince created in
the late ’70s did sell for hundreds of thousands,
and Christie’s did auction a print for $1.3 mil -
lion, and again a few years later for $3.4 million.
They were all images of Marlboro ads. Prince
took ads he liked and blew them up. That’s
it—cut them out, copied them, and made
large prints. By his own admis sion, he never
even went into a darkroom; he just took
them to a cheap lab and had them blown up.
And here we are, struggling trying to
create original, creative works of our own.
Who knew? Through all that, the photog -
raphers of those Marlboro cowboy ads could
not do a thing. The Phillip Morris Company,
which owns the Marlboro brand, always
negotiated for copyright transfers. That’s
why for years I’ve advocated that, if they’re
paying you enough, license as much as you
need to, including exclusive use licenses and
forever rights, but maintain the copyright
yourself. In the Prince case, I’m making the
assumption that Phillip Morris decided that
the ads were no longer running, and that
made it free advertising. There was no upside
P.R.-wise for Phillip Morris to sue. So Prince
just continued cranking out blowups of the
ads. It was easier than printing money.
In 2008, Richard Prince had a show, and
this time he appropriated the work of not
ads, but of fine-art French photog rapher
Patrick Cariou.
In 2000, after many years of living with,
getting to know, and gaining the hard earned
trust of a group of Rastafarians, Cariou had
published 2,000 copies of a book titled “Yes,
Rasta!” (Powerhouse). Prince used 41
images from that book for a show titled
“Canal Zone” at the famous Gagosian Gallery.
(For what it’s worth, Prince was born in the
Panama Canal Zone.) Cariou sued for the
copyright infringe ment of his work. The art
pundits all said, “What a waste of time.” No
way could Prince lose the case, as
appropriation art was “fair use,” an overused
defense made by those who steal the work of
others, with all sorts of rationalizations.
Well, turns out the Federal judge presiding
over the case, Judge Deborah Batts, didn’t
see it that way. She gave her ruling (see box,
p. 35) in late March of this year. Judge Batts
knocked out all the fair use defenses Princes
threw up and ruled for Cariou.
Prince’s show did sell $10.5 million-worth
of work, and the gallery traded some of the
pieces for other artwork, valued between $6
million and $8 million. To top it off, the
PROFIT CENTER
Use most foulA tale of fair use abuse and redemption
BY JACK REZNICKI , CR .PHOTOG.HON.M.PHOTOG. , AP I
32 • www.ppmag.com
“Appropriation art” in the art world, but “I callit stealing,” says Reznicki. An image fromRichard Prince’s “Graduation” top, and Cariou’s“Yes Rasta!” above.
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Pow
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34 • www.ppmag.com
“Fair use” is a category of works that are,
in effect, exempted from the regular rules
of copyright. In plain English, the courts
permit a work that fulfills the require ments
set by the law to be classified as a fair
use, and thus it can be used without
infringing upon the rights of the copyright
holder (creator) under the Copyright Act.
If the work is classified as a fair use, it means
that the persons using it need not pay a
licensing fee to anyone, or pay a judgment
for losing a case of copyright infringement.
Big bucks are frequently at stake.
Some claim that fair use simply legit -
imizes a special category of stealing. Others
assert that fair use is sensible and allows
for freer discourse. There are attorneys
on each side, and many who switch sides
from case to case. The concept and the
term are frequently, in fact almost always,
misunderstood by attorneys who do not
practice copyright law, as well as by
photographers. While most lawyers will
admit their uncertainty when pressed, by
and large, photographers do not.
The courts have applied a four-part
test to any work where a claim for a fair
use exception to the Copyright Act is
made. This test is not employed with the
simplicity of a mileage chart or the
precision of a light meter.
Here are the four factors the courts
need to consider on a case-by-case basis
to determine whether a specific use falls
under this exception to the copyright laws.
As you read each factor, keep in mind that
no one criterion alone clinches anything.
1. PURPOSE/CHARACTER OF
USE. The court looks to whether the
use is nonprofit, educational or flat-out
commercial. Is the work “transformative,”
or merely a substitute for an existing and
presumably registered original. A book or
movie review that quotes original
dialogue is likely to be determined more
fair and transformative than a mere copy
of the original that’s claimed to be fair
use simply to avoid paying for a license
to use the original.
2. NATURE OF ORIGINAL WORK.
One cannot protect an idea or fact, only
an expression of an idea. Simple sample:
Ed can’t protect—register—the idea of
Lady Gaga in modern football gear running
over Madonna in an old fashioned leather
helmet and holding a football merely by
thinking it up. Jack can with his camera
create an expression of the above—a
photograph—and that expression can be
registered. A painter can create an oil
painting of the idea, and that expression
—the painting—can be registered.
The more “facts” in the original, the
greater the chance that the work seeking
protection will qualify as fair use. A mere
compilation of only facts and statistics
might not qualify for copyright registra -
tion at all. Think of a compendium of
weather data for Las Vegas. If the layout,
organization, design and so forth are unique
and original, then the “original” might
qualify. However, if the “new” work is a
photograph strikingly similar to the
original, like those of the famous, unique
photos of say, Richard Avedon, a claim of
fair use is more likely to be classified as
we lawyers like to say, as mucho lame.
3. HOW SUBSTANTIAL, HOW
MUCH OF THE ORIGINAL WAS
TAKEN. There is no percentage of
taking, stealing, appropriating from the
original that marks the legal boundary
line. It is not like a breathalyzer test
where you are either under or over the
limit. That such a percentage exists is a
myth that simply will not die. Courts look
to whether the “heart of the original
work” was appropriated by the work
seeking the fair use exception. The
amount taken is indeed relevant, but it is
not the Holy Grail of the fair use test as
some people wrongly assume.
4. THE EFFECT OF THE “NEW”
USE ON THE COMMERCIAL
MARKET OR UPON THE VALUE
OF THE ORIGINAL. Does the new
work serve to reduce the demand for the
original in the commercial marketplace?
Does the new work serve to devalue or
dilute the price of the original in the
commercial marketplace?
Courts will also look at things like the
behavior of the parties, the motive of the
lawsuit (e.g., to squelch criticism or kill a
competing movie or book), and whether
one party is simply attempting to
outspend the other to force the party in
the right to simply give up the good fight
or risk bankruptcy. A successful claim is
not dependent upon satisfying any one
or more of the above factors.
Ed Greenberg has been a litigatorpracticing in New York City for over 30years and has represented some of thetop photographers in the industry. He hasbeen on the faculty and a guest lecturerin the Masters Program in DigitalPhotography at The School of Visual Artsin New York and has lectured nationwideon photographers’, artists’ and models’rights on behalf of PPA as well as otherindustry associations.
FAIR USE, IN PLAIN ENGLISH4 factors that determine fair use I BY ED GREENBERG
Gagosian Gallery sold over $6,000-worth of
the show brochure.
Judge Batts ruled that any unsold
pieces, any prints, catalogs, negatives, files,
anything that Prince or the gallery had that
might con tain any of Cariou’s images had
to be turned over to Cariou. And any
buyers of the work (you really have to
wonder who pays that kind of money for
this type of work) must be informed that
the work is in viola tion of the U.S. copy -
right law, and cannot be publicly displayed
without the permis sion of Patrick Cariou.
The good guys win a big one, one that
establishes case law and will put fear into
the hearts of those who think stealing work
is “fair use” and an OK thing to do.
There will be a settlement hearing
before this article goes to press. In my
opinion, all we’ll ever hear of it, as is in
most of these cases, is that the matter was
settled to the satis faction of both parties.
That translates from legalese into the fact
that one party was a lot happier than the
other party, who wrote a very large check
and got a non-disclosure agreement as
their part of the settlement. See, I knew the
redemption in this story would delight you
in the end. nJack Reznicki is a renowned commercial peopleand child photographer based in New YorkCity and has served as president of PPA,president of the New York chapter of Adver tis -ing Photographers of America (APA), sat onthe JEC (Joint Ethics Committee) in New York,and served as a board member of theAmerican Society of Media Photographers.
JUDGE BATT’S RULINGThat Defendants shall within ten days of the date of this Order deliver up forimpounding, destruction, or other disposition, as Plaintiff determines, all infringingcopies of the Photo graphs, including the Paintings and unsold copies of the Canal Zoneexhibition book, in their possession, custody, or control and all transparencies, plates,masters, tapes, film negatives, discs, and other articles for making such infringingcopies. That Defendants shall notify in writing any current or future owners of thePaintings of whom they are or become aware that the Paintings infringe the copyrightin the Photographs, that the Paintings were not lawfully made under the Copyright Actof 1976, and that the Paintings cannot lawfully be displayed under 17 U.S.C. § 109(c)
July 2011 • Professional Photographer • 35
Many community groups, schools and non -
profit organizations hold fundraising events
that feature an auction of donated goods and
services, such as luxury vacations, sports tickets,
personal services and artwork. Auctions can
generate significant financial support for a
cause, and usually both the donor and
purchaser can use the price of the item as an
income tax deduction.
Auctions can take several forms. In an
online auction, photographs and descrip -
tions of the goods are posted on an inter -
active website where people register to browse
and enter their bids. Though online auc tions
can reach a vast audience, partici pants may
not necessarily be in your target market.
Silent auctions are held at a fundraising
gala or other event. The donated goods are
displayed around the venue, each with a
sheet of paper on which attendees write
their bids. Throughout the event, guests
check on the latest bids on the items
they’re interested in, and can make a
higher bid if they choose. As the bidding
deadline approaches, the compe tition for
the most popular items heats up and
excitement builds. This kind of event can
get a lot of the right eyes on your display of
products. Traditional live auctions with an
auctioneer at the helm can build excited
buzz, too.
The benefits of auctions to the selected
charity are obvious. The benefits for the
buyers can go beyond feeling good about
making a contribution. Sometimes they’ll
get something they desire at a bargain. If
they pay the full price or more, they get the
thrill of winning out over their peers, not to
mention hearty cheers.
For photographers who donate their
ser vices, the publicity and good will can
have lasting benefits. Auctions can bring
in any number of new clients, and spread
your name into new neighborhoods and
friend ship circles. Besides the winning
bidders, many qualified potential clients
will be exposed to your work during
the event and take home your promo-
tional materials.
Your reputation as an artist and as
someone who cares about the community
can only be enhanced.
Charity auctions have been highly
profit able for our studio. Over time,
we’ve picked up some strategies to maxi -
mize our efforts.
CHOOSE A FIELD. Target an auction
event likely to attract people in your target
market. Call charities and schools in affluent
areas of your community to inquire about
upcoming events. Ask about the price of tickets
to the event. At $75 and more, the attendees
will be qualified prospects; people who will
pay $150 per couple for an evening’s enter -
tainment can afford your work. Ask how
many patrons are expected to attend—
several hundred would be great!
We donate to Go Red for Women, which
supports women’s heart health; six schools;
two Rotary clubs; The Children’s Museum;
Camp Comfort Zone for grieving children,
and others. We never donate to charity
raffles because there’s no way to qualify the
prospects and no guarantee that the winner
will even be interested in your services.
People who bid on your services are
definitely interested.
ENRICH THE SOIL. Write a letter to
the auction committee, explaining in detail
how you want your donation or sample
displayed. Provide the exact wording to be
used to describe your business and your
donation in the event promos and auction
program or catalog. Our short version
reads, “A custom portrait session and
20x24-inch unframed portrait will be
created for you by Master Photographer
Carla Nelms of Nelms Photographic
Artistry.” If there’s space, provide more
detail. Don’t leave this all-important
description to the event planners.
Make the look of your certificate of
award reflect your branding. Don’t take
the easy route with a generic certificate.
Imprint a redemption deadline, such as,
PROFIT CENTER
Winning bidsCharity auction donations boost your image
BY CARLA GRAY NELMS, M.PHOTOG.CR.
©Getty Images
“Charity auctions have been
highly profitable for our studio.”36 • www.ppmag.com
“Redeem prize within seven days. Please
call [studio’s phone number] to activate
today.” That gives you the opportunity to
collect the new client’s contact informa -
tion. Ideally, you will book the client
during that first call. If not, be sure to call
later with a reminder.
PLANT HIGH-GRADE SEEDS. I
display a 20x24-inch framed montage of
my work with my logo and website promi -
nently placed. I use a high-quality table
easel and display my 5x7 info cards in a
cardholder. Make sure each of your items is
marked with a sticker on the back display -
ing your contact info. Showing a rotating
gallery of your work on a laptop is an eye-
catcher, too.
DON’T GIVE AWAY THE FARM.
My donation depends on the quality of the
event, the attendees and my perception of
the nonprofit cause. For expensive private
schools, I donate a 20x24 gallery wrap and
a portrait session for a live auction, and
four sessions and 8x10 certificates for a
silent auction. The first time with a group,
I might donate one session and an 8x10
and see how it goes. You don’t want to give
away your most expensive item and see it
go for far less than face value; that will
only devalue the per ceived value of your
work. In a slow economy, auctions don’t
draw as many bidders, and the ones who
do attend could be bargain hunting, so be
choosy about your events.
TEND THE CROP. Go to the auction
yourself to check your display and see what
the crowd is like—a vibrant young crowd,
elderly bargain hunters? It’s always worth -
while to meet people and be seen at com -
munity events.
HARVEST. Get a list of all the winners
if the charity will release it. Call to con grat -
ulate them, and thank them for supporting
the charity. Send follow up information
and make a personal connection. Enter
them into your client database.
We usually make very nice sales from
our auction clients—in fact, these account
for some of our biggest sales. If you don’t
get the sales you expect from an auction,
try another group. Vary the kinds of
charities and plant those seeds again. n
See more from Carla Gray Nelms,M.Photog.Cr., CPP, atnelmsphotography.com.
July 2011 • Professional Photographer • 37
Q: What’s a fair price to pay an event coor -dinator for a referral? Someone proposed torefer me as a photographer for bat and barmitzvahs for a 20-percent referral fee. Tome that sounded outrageous, but mycontact said other businesses are payingthem that much for their referrals.A: Each region of the country has its owncustoms and acceptable practices. It’s commonmostly in metropolitan communities for aphotographer to pay a referral fee to a vendor.The photographer has to be comfortable bothfinancially and emotionally with payingsomeone else for a particular job.
We all spend money on marketing, whichto some degree is a referral fee. The amountof the referral fee is really the question here.To determine if a campaign is successful, welook at the numbers. Generally, the return onan investment in marketing should be about 10times the cost. So if we send a direct-mail piecewith an out-of-pocket cost of $800 (employeepay, design time, printing and postage), weconsider the effort successful if we see grosssales of $8,000 as a result. Of that $8,000, weaim for the cost of goods sold to be 35 percent.If we have to add a cost of 20 percent for areferral fee, then the return on our invest mentis below the PPA benchmark for profitability.
By the numbers, at a cost of 20 percentper referral, the vendor will make more profitfrom the event than you will; after all, thereferral cost him nothing. If you’d like to workwith this vendor, I encourage you to have aface-to-face meeting. You can certainlyexplain your position, that 20 percent is morethan your business can afford to obtain a newclient. You might suggest a smaller flat feethat would cover each event, whether theyreserve your smallest or largest packages/collection. Maybe start with an offer of 5percent of what you charge for your smallestcollection, and see where the negotiations gofrom there. At the very least, you need toevaluate the offer from the viewpoint ofwhether or not it’s good for your business.
—Jeff Dachowski, M.Photog.Cr., CPP
Q. I have a full calendar, and I’m strugglingwith rescheduling. When people reschedule
a session a day or two before their appoint -ment, that slot goes unfilled and I effectivelyuse two or more slots to get one sessioncompleted. That’s unfair to clients who hadto take appointments several weeks out,and it reduces my revenue. How can Imanage this?A. I’m going to guess that you’re not charginga significant fee or collecting a minimumpurchase amount in advance. When there’s noupfront financial commitment from your clients,your business actually drops down on theirlist of priorities. The more money you collectwhen the appointment is made, the higheryour priority in their mind. It’s that simple.
We implemented a $300 reservation fee;$150 goes toward the session fee, $150toward the total purchase. Keeping theirappointments became a lot more important toour clients when we implemented the policy.Now something else on their schedule getsbumped when there’s a conflict.
The chaos of cancellations andrescheduling nightmares are generally out ofcontrol in a business that’s not pricingprofessionally—in other words, too cheaply.Low pricing says, “We are running a high-volume studio like the major discounters.”The business is therefore attracting bargainbuyers, who therefore treat you like adiscount business.
Perhaps in rethinking the type of businessyou do want, you will decide to restructureyour pricing and upfront fees. You will attracta higher level of clientele, who will respectand respond to your business policies. Whileit takes courage to grow to this level, that’swhat established professional photographersdo in order to balance their creativity,production and profitability. n
—Carol Andrews Jensen, M.Photog.Cr., ABI
Got a question? The SMS team wants to hearfrom you. E-mail our panel of experts c/o PPeditor Cameron Bishopp at [email protected].
38 • www.ppmag.com
PROFIT CENTER
Ask the expertsPaying for referrals, discouraging rescheduling
MENTORS FROM PPA STUDIO MANAGEMENT SERVICES ANSWER YOUR BUSINESS,MARKETING AND SALES QUESTIONS. FOR INFO ON WORKSHOPS, GO TO PPA.COM.
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Why can some photographers charge more
than twice the norm? Why do some photog -
raphers book more sessions than others who
run the same promotion? What do con -
sumers base their decisions on?
Consumers buy based on their perceived
value of a product rather than its intrinsic
value. That’s why Prada can sell a purse for
10 times the price of a regular purse.
As photographers, what can we do to
increase our value? Looking back at our
journey, I see five key components:
ARTISTIC VISION: This defines how
you see light, pose your subject, compose
the frame, tell a story or pose a question
with the image—every detail the photog -
rapher makes a decision about, however
small the detail or automatic the decision.
We are not paid to push a button. No two
photog raphers will photograph a given
subject and setting the same way. When
you have unique visions for your art and
business, you create value that can’t be
replicated by anyone else.
ATTITUDE: You have the power to take
your customer to a better place than he was
when he entered your studio. You do it by
being positive, helpful, calming and authentic.
It’s amazing how the smallest things you do to
make your cus tomer’s day better can
generate irreplaceable value.
Recently, friends excitedly told me how
they fell in love with a new restaurant. When
asked, the waiter said no, the pasta there
was not gluten–free, but he’d be happy to
hop out and buy some. His whole attitude
showed he cared about what was important
to these two diners, that he’d do what he
could to make their experience exceptional.
That restaurant has two passionate cus -
tomers for life. Attitude can carry you while
you continue to learn and perfect the other
elements of your art.
LOYALTY: The key to building a loyal
client base is to turn your clients into
friends. Photography is a personal business.
Clients must be able to trust us. It’s no small
deci sion to pick the person who will photo -
graph your wedding or your newborn baby.
Embrace the work as an honor rather than a
trans action. In other words, demonstrate
your loyalty to your client, and continue to
do so with each experience with that client.
After the sale, write a thank-you note.
Refer to conversations you’ve had, ask
questions and follow up. At the minimum,
deliver on time. Go above and beyond to
solve problems.
UNIQUENESS: Let your style be authen -
tically you. It’s essential because it needs to
remain consistent to distinguish you in the
marketplace. Find ways to show it not only in
your art, but your branding and marketing
PROFIT CENTER
Are you worth it?How to increase your perceived value
L IV ING THE DREAM BY K IMBERLY WYLIE , M.PHOTOG.
In her monthly column, Kimberly Wylie discusses the business of photography, how the model
is changing, and how photographers can adapt. Wylie left her career as a successful financial
analyst for her dream job, photography. She joined Professional Photographers of America and
took advantage of the association’s Studio Management Services, and embraced the culture of
learning, mentoring and teaching others. Wylie now has a 3,500-square-foot studio in Dallas,
and her business is among the highest grossing in the nation.
©Kimberly Wylie
40 • www.ppmag.com
Albums I Books I Professional Printing I Cards I Sell Images Online I Gallery WrapsFor pricing and information on Collages.net’s complete product line, visit www.collages.net/products
©2011 Collages.net Inc. Photo © Michelle Arlotta Photography All rights reserved.
y p p
TM
Relax. The hard part is over.
Albums I Books I Professional Printing I Cards I Sell Images Online I Gallery WrapsFor pricing and information on Collages.net’s complete product line, visit www.collages.net/products
©2011 Collages.net Inc. Photo © Michelle Arlotta Photography All rights reserved.
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as well. Your unique position in the
market will boost customers’
perceived value of your work.
EDUCATION: Although
the digital age brings numerous
challenges to professional
photographers, those who
continue to educate themselves
in the techniques of business and
art will continue to rise on the
value curve. Education is one of
the best ways to differ entiate
yourself from the newer “profes -
sional” photographers in your area.
Every year I pick two areas I want to
explore more fully—not 10 areas, but
two. I am taking the time to master my
field and that separates me from the studio
down the street.
Topping the value curve doesn’t
happen over night. For the next year,
pick one thing to focus on from
each of these five areas, and I
promise that next year
you’ll place higher up on
the value curve. Your
work will be more
highly valued,
and customers
will pay more
for it. n
©Kim
berly Wylie
42 • www.ppmag.com
Close-Minded Photographers Are Our Best Customers.
For the past several years, we’ve booked the entire upcoming year before it even started. Collages.net’s online presentation, albums, books, cards, and gallery wraps help us ‘close’ more prospects early and often! Collages.net isn’t just a supplier; they are our partner.
“
”
When you’re ready to be more close-minded, give us a call.
(877) 638-7468TM
– Mike Fulton TriCoast Photography LLC
Collages.net Customer Since 2005
©Collages.net Inc. ©TriCoast Photography LLC All rights reserved.
“With MpixPro’s amazing knack for providing productgs that sell, and thgeir amazingly fast gturnaround, I am abgle to get back to mgy most important rgelationships - my husband and chilgdren - all while progviding my clients wigth products they wigll have for generatigons.”
Where discerning p hotographers belon g.
Kalen Henderson never thought when she
retired from photography that she would
miss studio life enough to return. Here, and
in the next few issues, Henderson shares
what she's learned starting over in an
industry dramatically different from the one
she first entered more than two decades ago.
In the grand scheme of things, life wasn’t
supposed to be like this. I had sold my
photography studio, and less than a year
later, I was looking for something to do.
Only what I really wanted to do was to
eat Chick-fil-A. No other chicken sandwich
was going to satisfy my craving for that
yummy chicken in a soft bun dressed with
only a dill pickle and served by a nice person
in a clean restaurant that’s closed on
Sundays. Chick-fil-A was 45 minutes away.
One day while making the drive I began to
think wouldn’t it be wonderful to have a pho -
tography business people craved enough to
drive 45 minutes to reach? The concept for
a new pho tography busi ness was emerging.
I might have retired, but I was more
curious than ever about the work ings of
the photographic industry, especially with
the current influx of part-time photog -
raphers. I began to study successful studios
and how they adapted their business plans
to ride the ebb and flow of the econ omy
and ever-changing trends. One thing for
sure: If a studio was going to thrive, the
owner had to run it like a business.
Even if you have more than enough
cash for a business start-up, without the
founda tion of a sound business plan, the
enterprise will not survive.
A business plan doesn’t need to read like
a doctoral thesis, but it does need to answer
these questions:
• What is my overall objective? Examples:
to develop into a great photographer, to
make a huge profit, to provide a valuable
service while making a modest profit.
• What am I going to photograph?
Examples: seniors, weddings, children,
school groups, families, pets. List everything.
• Who is my market? Who will actually
shop and pay for your services? Example:
If you’re doing senior portraits, you’ll need
to reach both the students and parents.
• When do I want to work? If you
won’t work on Saturdays, you’d better
not be a wedding photographer in the
Midwest. If you can’t work on weekdays
in the fall, don’t plan on being a school
photographer.
• Where am I going to do the work?
Location, location, location. It isn’t always
the most visible location, especially in the
business of photography. Examples: in my
home studio, in my clients’ homes, in a
retail location, outdoors, 45 minutes’ drive
outside the city.
• How will I get clients? Get a grip
on your marketing and plan how you’ll
drive people to your door. Marketing
includes knowing the demographics of
your location, having a finger on the
pulse of your desired clientele, and much,
much more.
Then come the really hard questions:
• What makes me different?
• How can I capitalize on my strengths?
• What does the public want and need?
• What already exists and what are the
weaknesses of those competitors?
Your plan also needs to include
everything you’ll need to purchase to put
this plan into action. What actual products
will you sell? Put a price tag on each item,
and you’ll begin to understand how you’ll
need to price those products to balance
the equation. Remember, though, a new
business usually doesn’t make back the
initial investment in the first year. It takes
time, even when you do it the right way
from the start. n
Next issue: The New Studio Diet.
PROFIT CENTER
Starting overStep 1: How to design a business clients crave
BY KALEN HENDERSON, M.PHOTOG.MEI .CR. , CPP
46 • www.ppmag.com
©20
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July 2011 • Professional Photographer • 51
Professional Photographer P R E S E N T S Products, Technology and Services
What I likePage Bertelsen builds oncomposition & exposure
What’s the best equipment invest -
ment you’ve ever made? I bought a
Hasselblad 501CW camera when I
started to fall in love with photog -
raphy. That camera forced me to be
intentional with my composi tion
and focus, and to measure light
with an external light meter. Now
I also shoot with a DSLR, but the
Hasselblad keeps me connected to
the excitement of photography.
When you need to move fast, what’s
your most valuable piece of equip -
ment? My GoBee Hip Clutch mem -
ory card belt pack allows me to swap
cards on the fly. It looks great, too.
What one piece of gear could you
simply not live without? Adobe
Lightroom. After weddings, I process
thousands of images. Lightroom is
easy to use and allows me to edit the
images efficiently. I use the Collec -
tions feature constantly to manage
my images files, allocating groups
within jobs for different outputs
and uses.
IMAGE BY PAGE BERTELSEN
PAGEBERTELSEN.COM
GOODS
Innovative products straight from the lab
Latest and greatest
OFFERED BY: MILLER’S PROFESSIONAL IMAGING
Miller’s FOLDED LUXE CARDS come in 5x5 and 5x7 inches. Paper selection
includes smooth, linen, and pearl finish. PRICE: STARTS AT $1.80 PER CARD.
New FLAT LUXE
CARDS give you fresh
reasons to swoon. Luxe
Cards are finished in
scalloped, leaf and ornate
edges, and in rectangular, square and circle shapes. PRICE: STARTS AT 97 CENTS
PER CARD. New LUXE STICKERS help you spread the word, turning studio packaging
into a powerful branding tool. Sizes include 1.375x3.5, 2.5x3.5 and 3x3 with ornate edges. You
can order stickers in sets of 50 with a different design for each sticker in the set. PRICE: STARTS
AT $20 FOR A SET OF 50. millerslab.com
OFFERED BY: MOO
Moo never cuts corners, but they made an exception for this new line of
business cards. They’re printed on thick Moo Classic Stock, which has a smooth
satin feel. ROUNDED CORNER BUSINESS CARDS have full color on
both sides and the option of Printfinity, a different image on every card front.
Dare to be memorable with these stylish rounded corners. Little details can
make the biggest impression. PRICE: STARTS AT $23.63. moo.com
OFFERED BY: PIXEL2CANVAS
Innovation comes to the fore with the new Pixel2Canvas GEOMETRIX line of canvas
prints. The hex-shape makes designing a wall grouping fun and easy. Your customers
have never seen anything like it. These pieces can be grouped vertically, horizontally,
or in organic designs that will fit any wall area; just download the templates.
PRICE: AVAILABLE WITH REGISTRATION. pixel2canvas.com
PRODUCT ROUNDUP BY ROBYN L . POLLMAN
This month photo labs and printers share theirnewest products. Stay ahead of the curve byadding these items to your lineup.
Images by Jessie Baldwin of speckled bird art (speckledbirdart.com).
52 • www.ppmag.com
NEW RELEASESIGMA LENS for DIGITAL
50-500mm
F4.5-6.3DG OS HSM
APOHigh ratio ultra tvelephoto zoom lensv covering from standvard range of focal vlengths to telephovto and incorporativng Sigma’s original OS function
Lens Hood and Lenst Case supplied
This lens is equipped with Sigma’s unique OS (Optical Stabilizer) function. This system enables hand held photography for many types. Four SLD (Special Low Dispersion) glass elements provide excellent correction of color aberration throughout the entire zoom range. Incorporation of HSM (Hyper Sonic Motor) ensures quiet and high speed AF, while allowing full-time manual focus override. The addition of the optional APO TELECONVERTER produces a 1000mm ultra telephoto zoom lens.
Sigma Corporation oft America 15 Fleettwood Ct. Ronkonkoma,t NY 11779 (631) t585-1144 USA 3 Yetar Service Protectiotn
www.sigma50th.com
Payan
gan
, Bali, In
do
Bn
esia
| CA
ME
RA
: BS
IGM
A S
D14
: ISO
100
B, F
6.3
, 1/60
sec | B
LE
NS
: SIG
MA
AP
O 5
0B
-50
0m
m F
4.5
-6.3
DG
BO
S H
SM
: 22
6m
m(5
0-5
00
)
OFFERED BY: WHCC
CUSTOM IMAGE BOXES from WHCC hold 4x6 and 5x7
prints and 6x6, 8x8, 10x10 and 12x12 albums—nine sizes in all.
A custom photo cover, printed on luster or metallic photographic
paper with a matte laminate, is wrapped around the Image Box,
and you can customize the cover, spine, and back. Also available
for covers, a variety of fabrics, leathers, and suede, and an optional
stretchy black latch. Complete your box with an inside panel in black
fabric or a photo print. Risers are available to fit in the bottom of your box when you have fewer than the full
capacity of prints. You can also include a riser and CD insert together.. PRICE: $61.50 AS SHOWN. whcc.com
OFFERED BY: MCKENNA PRO
New ACCORDION BOOK sizes and papers: 2x3, 3x3, 3x3.75, 4x4, and 4x5 inches,
covered in shimmering pearl media with a soft-touch matte surface, and finished with a
magnetic clasp. Use the company’s design templates or a custom spread. Matching
presentation tins are available for all sizes. PRICE: $7.50 TO $8.50.
METAL TINS come in 10 sizes with your image printed directly on the
metal. There’s a tin to accommodate prints of 8x10 inches and smaller, as
well as CD and DVDs, and five accordion album sizes. The metal print line
extends to large-format aluminum, which can be mounted close to the wall,
raised, or suspended. The whites and highlights in your image allow the natural metal
finish to show through. PRICE: STARTS AT $5.99. LUNCH BOXES have a printable
Mylar sticker with a white base that beautifully reproduces vibrant colors, shadows or highlights.
Sizes: snack box, standard lunch box, briefcase, mini-top and side-opening. CHROMALUXE IMAGE BOXES feature black leather binding
and back cover, and custom-printed front covers with a scratch-resistant Chromaluxe coating. These elegant yet sturdy boxes close nicely with
magnetic clasp. PRICE: TBA. mckennapro.com
54 • www.ppmag.com
OFFERED BY:
MPIX PRO
ACCORDIAN MINI
ALBUMS make big
impressions in small pack-
ages. The Minis are the perfect
presentation for 2.5×3.5 and 3×3
photographs, and are printed on
pearl or linen paper. Art Cloth
covers come in black, brown,
cream, blue, pink, and red, and custom photo covers with a satin finish. Concealed magnet clasp. Frosted slip cover available.
PRICE: STARTS AT $9 FOR 1 OR 2. mpixpro.com
OFFERED BY: PRODPI
ProDPI adds BAMBOO PANEL MOUNTING to its lineup. Crafted of
carbonized, vertical-grain bamboo, an FSC-certified renewable crop. With a pre-
drilled keyhole on the back, the ¾-inch thick bamboo panels are ready to hang.
Available on Fuji luster, pearl and matte papers, as well as Kodak metallic paper.
PRICE: STARTS AT $40.
Using the latest ECO printing technology ProDPI prints GALLERY
WRAPS on white poly-cotton canvas. The canvas is free of optical
brighteners and fluorescent whitening agents. The canvas and ink combo is
rated for 100+ years of display life. PRICE: STARTS AT $51.50. Books
with FUSION COVERS are printed on an HP Indigo press on recycled
paper. The single-sided option allows you to design the front of the cover,
with the rest covered in beautiful fabric. PRICE: STARTS AT $37
(PAGES SEPARATE). prodpi.com
OFFERED BY: COLLAGES.NET
Brand new to Collages.net is the METAL
ALBUM with MATTE PAGES. The cover image
is printed on metal, and the spine, back cover and
corners are covered in distressed brown leather.
PRICE: $380.75 AS SHOWN. In the Glam
Collection, you’ll find the CROCODILE LEATHER
ALBUM, (embossed for the look of crocodile). All
Collages.net albums and books can be designed by
the photographer with his or her software of choice;
by the Collages.net design team; or with free
design software by Collages.net, featuring over 150
templates. PRICE: $427 AS SHOWN. collages.net
56 • www.ppmag.com
Photographed on Genuine FREEDOM CLOTH® by Kay Eskridge. www.dennymfg.com 1.800.844.5616
OFFERED BY: COLOR INC. PRO LAB
The brushed aluminum 3/4-inch STANDOUT MOUNT is a lightweight backing
with a thick plastic edge to display unframed images. The board comes with holes on
the back, ready to hang. SLIM FLOAT MOUNTS are solid wood and ready to hang
with the look of floating from the wall (3/4-inch clearance). Studio mounts are
professionally finished with a smooth black laminate beveled edge and your choice of
four finishing details. PRICE: STARTS AT $14.50. colorincprolab.com
OFFERED BY: H&H COLOR LAB
H&H offers a variety of METAL PRINTS in two finishes. Aluminescence has a
transparent aluminum base; Brilliant has a bright, clear glossy white base. PRICE:
AVAILABLE WITH REGISTRATION. hhcolorlab.com n
See more from Robyn L. Pollman at paperieboutique.com andbuttonsandbowsphotography.com.
OFFERED BY: BLACK RIVER IMAGING
Inspired by French flea market mirrors and vintage labels,
SPECIALTY SHAPED METAL PRINTS blend the vibrancy
of metal prints with the ornament of contoured shapes. With
30 designs, ranging in size from 5x7 to 36x45, photographers
and their clients can experiment away from traditional rectangular
wall art. Specialty Shaped Metal Prints can be personalized with
your own ribbon or hardware using the optional drill holes. PRICE: TBA. blackriverimaging.com
OFFERED BY: MERIDIAN PROFESSIONAL IMAGING
Meridian’s CRYSTAL SUMMIT ALBUMS sport clear acrylic covers in which you insert
your own image. They have heavyweight lie-flat pages, gilded edges, deluxe leather-
wrapped presentation box, and your choice of Kodak Endura or Endura Metallic papers.
PRICE: FROM $89. MeridianPro.com
© 2011 onOne Software, Inc. All rights reserved. onOne Software is a registered trademark of onOne Software, Inc. The onOne Software logo and Perfect Layers are trademarks of onOne Software. Adobe, Photoshop and Lightroom are either registered trademarks or trademarks for Adobe Systems Incorporated in the United States and/or other countries. Aperture is a trademark of Apple. All other trademarks are the property of their respective owners.
Perfect Layers is the fast and easy way to create layered fi les in Lightroom and Aperture. With Perfect Layers you can create and edit multi-layered Photoshop fi les directly within Lightroom or Aperture or use it to combine images from within other applications. Use it to change skies, composite multiple images together and retouch portraits using the fibuilt-in blend modefis and masking brushfi.
Try Perfect Layers today and experience how easily you can add layers functionality to your Lightroom or Aperture workfl ow.
DOWNLOAD PERFECT LAYERS TODAY AT onOneSoftware.com
THE GOODS: PRO REVIEW
The low-volume professional and photo
enthusiast market for 13-inch printers has
seen a number of advancements over the
last few years. Epson’s latest in this class
reflects a commitment to respond to user
feedback with improved operation and
output. The new Epson Stylus Photo R3000
proves a worthy successor to the Epson
Stylus Photo R2880, with some nice
upgrades and feature enhancements.
Much of the technology of the R3000
was lifted from the R2880, a wonderful
printer in its own right. The eight-channel,
180-channel-per ink MicroPiezo AMC print
head is derived from the same design, but
the minimum droplet is down by 33 per -
cent to 2 picoliters. The inkset is the same,
UltraChrome K3 with vivid magenta. Like
the R2880, the R3000’s print head has
Advanced Meniscus Control to control
droplet placement and an ink-repellent
coating to reduce clogging. The result is
hassle-free printing and gorgeous prints
with the archival longevity of pigmented inks.
The R2880 had a tendency to require
frequent ink cartridge replacement, especially
during large print runs. The charging
sequence draws ink from all of the cartridges,
so replacing one color can cause another
cartridge to run low. The result is wasted ink
due to repeated charging cycles. The larger
(25.9ml) and more economical new ink
cartridges help alleviate the problem. I’ve
used the R2880 extensively, so this development
—less frequent cartridge changes and the
resultant increase in productivity and
economy—is a most welcome upgrade.
Rounding out the ink-delivery improvements
with the R3000 is having both black inks
available simultaneously—no stopping to
swap cartridges when you change from
glossy to matte media and vice versa. As in
higher-end printers, you simply select the
media type in the driver interface and let the
device activate the correct cartridge.
The R3000 also marks the introduction
of both wireless and wired Ethernet con -
nectivity, which has a couple of major advan -
tages over the traditional USB 2.0 connection.
There’s the flexibility in where you can situate
the device, and with the printer installed
directly on your network, you can print from
any computer on the network. (Note to
those interested in wireless installation: the
printer supports only the 802.11n protocol,
not the older, slower versions.)
The build quality of the R3000 is notice -
ably better, too, especially the paper trays and
guides; more robust, they slide without binding.
Loading fine-art media in the R2880
could be tricky, as it was all too easy to skew
a sheet enough to prevent the printer from
Creating art prints just got easier and more economical
BY MARK LEVESQUE, CR.PHOTOG., CPP
High quality for low quantityEPSON STYLUS
PHOTO R3000
60 • www.ppmag.com
New wireless and wired Ethernet connectivity allow for flexibility in networking and printer location.
accepting it. The process is considerably
simpler with the R3000. Now you load
fine-art paper from the front, aligning it
against a clean edge. Simply open the
manual feed tray, slide in the paper up to
the line, snug it up against the right hand
guide, click OK, and the printer takes over
the loading, then indicates when you can
return the manual feed tray to the retracted
position. It’s a breeze and a time-saver.
Skewing problems are essentially nonexistent.
The R3000 has a reasonably wide color
gamut. Skin tones are realistic, and the
overall accuracy is quite good. This printer is
especially adept at producing monochrome
prints. With three “shades” of black in the
UltraChrome K3 ink set, the printer makes
exquisite neutral and toned black-and-white
prints. You can do your black-and-white
conversions in Photoshop or other applica -
tion, or do it in the print driver’s Advanced
Black and White Photo Mode. It’s easy to
use and produces excellent results. You can
control the toning of the print, but it
requires some trial and error to dial in a
print, as there’s no preview to guide your
tweaking. There is a small thumbnail of a
default image that shows the results of your
settings in broad strokes, but that’s a far cry
from a color-managed view of the actual
image with real-time onscreen updates.
Direct printing to inkjet printable CDs and
DVDs continues to be supported. The
polished look of a custom-designed CD
rarely fails to impress.
The R3000 stands at the acme of the
line of 13-inch printers meant for the
advanced amateur and low-volume
professional. It not only yields museum-
quality output, it’s a joy to use. n
62 • www.ppmag.com
THE GOODS: PRO REVIEW
With the Epson Stylus Photo R3000, you won’t have to swap black ink cartridges
between glossy and matte media uses.
specs:Epson Stylus Photo R3000
PRINTING TECHNOLOGY: Advanced MicroPiezo AMC print head with ink-repelling
coating; 8-channel, drop-on-demand, inkjet print head; pigment-based Epson
UltraChrome K3 inkset with Vivid Magenta
DROPLET: 2 picoliters, up to three droplet sizes per print line
RESOLUTION: 5,760x1,440 dpi
PRINT SPEED: 8x10 prints, approximately 1 minute 33 seconds; 13x19 prints,
approximately 2 minutes 30 seconds
SUPPORTED OS: Macintosh OS X 10.5.x - 10.6.x; Windows 7 (32- and 64-bit), Vista
(32- and 64-bit), XP and XP Professional x64 Edition
INTERFACE: Hi-speed USB 2.0, 100Base-T Ethernet, Wi-Fi Certified (802.11n only)
DIMENSIONS: 24.2(W) x 32(D) x 16.7(H); 35 pounds
BORDER FREE: from 3.5 x 5 to 13 x 19 inches
MEDIA HANDLING: Manual top-loading feeder; front media path to accommodate up
to 1.3mm thick; CD/DVD tray
MSRP: $849.99
THE GOODS: PRO REVIEW
When you begin DSLR filmmaking from a
pho tography background, you quickly learn
that any movement of the camera or subject
makes it a challenge to stay in focus. You
need to keep the subject in focus as you
follow it with the camera, thus the product
term “follow focus.”
A traditional follow focus has a round
knob with grooves that mesh with the
grooves of a gear that you wrap around the
lens. The knob can move back and forth to
adjust the focal length of the lens. On set, an
assistant cameraman (AC) is assigned to
pull focus: he or she stands to the side of the
camera and adjusts the focus of the lens as
the camera moves through the shot. Focus
points are set by drawing little marks along
the surface of the knob. The marks are set
by getting the right focus at the beginning
and end points of the shot, then marking
along the knob where those points are. As
the camera or the subject moves, the AC
slowly adjusts the focus accordingly, evenly
turning the knob from mark A to mark B.
It takes skill to be an effective focus
puller. If you don’t have the luxury of having
a dedicated focus puller, you can still
simplify the focusing task by having a follow
focus, such as the iDC System Zero Gearless
Follow-Focus, on your DSLR. It’s much
simpler than angling your hand under the
lens and changing focus the regular way.
This device was created by award-winning
photographer and former Hollywood
cinematographer, Bruce Dorn, who brings
years of experience to the design.
Two aspects of the iDC Follow-Focus make
it unique among such devices. First, it’s gearless
—nothing needs to be wrapped around the
lens. The rubber edges of the device create
enough friction to turn the lens. It’s quite
ingenious. I used it on a Canon EF 28-70mm
f/2.8 L lens, and it worked well the entire
time, moving the lens fast or slow. There’s
no way for me to test how long the friction
will hold up over time, but assuming the knob
stays smooth for the life of the device, the
gearless operation is pretty terrific (putting
gears on a follow focus can be a pain).
Many follow focus devices have a white sur -
face you can mark on with a grease pen. With
the iDC device, if you need to make focus
marks, you have to affix a thin strip of graphic
tape along the metal knob to write them on.
The other unique feature of iDC’s follow
focus is the camera-specific base plate that
holds it to the camera. There’s a base plate
for a Canon EOS 5D Mark II, 7D, and 60D
The iDC System Zero Gearless Follow-Focus eases theeffort of keeping your subject sharp through the whole shot
BY RON DAWSON
Smooth operatoriDC GEARLESS FOLLOW-FOCUS
iDC offers an accessorymounting bracket forattaching microphones,small monitors and othergear along with theFollow-Focus.
camera, and one for a Nikon D7000; a Canon
Rebel T3i base plate is in the works. The benefit
of the custom fit is the ease of mounting the
device to the camera. The downside is that if
you have different models of HD DSLRs,
you’ll need a base plate for each of them. iDC
makes an extended follow focus for longer
lenses, such as 70-200mm, and an accessory
mounting bracket for attaching microphones,
small monitors, and other gear. (See the iDC
video demo at vimeo.com/17579181.)
One frustrating glitch in my tests was that
the screw for the handle would get stuck in the
hole, but iDC tells me they’ve fixed this problem.
The instructions are IKEA-like—illustrations
rather than words. My first assembly took
about an hour, from opening the boxes to
having the follow focus up and running with
the accessory mounting bracket. The product
comes with all the screws and Allen wrenches
you need. Once the main pieces are put
together, you won’t need to take them apart
again, so subsequent setups are relatively quick.
With a list price of just $399, the iDC
Follow-Focus costs at least half the amount
of other name-brand follow focus rigs.
Moreover, this system won this year’s
coveted DV Magazine Black Diamond
Award for excellence. n
Go to idcphotography.com for more information.
Gearless operation and a camera-specific baseplate make the iDC System Zero GearlessFollow-Focus unique among such devices.
July 2011 • Professional Photographer • 65
THE GOODS: PRO REVIEW
Having worked for 22 years as an illustrator
for romance novels, I know all about the
pressure of hand-painting artwork on
deadline. When I took up photography, I
vowed I’d never paint again. Then I met
Corel Painter 11 software and began turning
select images into digitally mastered oil
paintings and pastels for my photography
clients. Aiming to achieve the look and feel
of real oils and pastels, I could execute the
work in a fraction of the time it would take
to render it in traditional media.
After trying Corel Painter 12, all I can say
is wow! This software outshines all others—
including Photoshop—in drawing and
painting effects. It works like butter. It has
an extremely intuitive interface, func tions at
lightning speed, and tackles even the largest
raw files photographers can produce.
Painter 12 is a vast program with an aston -
ishing array of art techniques, and it offers
endless possibilities to the artist. Here, I’ll
focus on the features that most interest me
as a portrait painter. I was eager to try out
the aspects I was already familiar with from
using Painter 11, and I found several enhance -
ments that greatly improve my workflow.
The toolbox is significantly larger, mak -
ing it much easier to find the tools you’re
looking for. The Navigator panel is fantastic,
“All I can say is wow! This software outshines allothers—including Photoshop—in drawing andpainting effects. It works like butter.”
BY MELISSA GALLO
Painter gains speedCOREL PAINTER 12
©M
elissa Gallo
The Navigator panel enables you to move to dif -ferent areas of your work without switching tools.
enabling you to move to different areas of
your work without switching tools or adjusting
the zoom. That’s especially handy for working
on large canvases.
The behavior of panels and palettes has been
streamlined. Now you can drag and group
panels, and open and close them with ease. I
especially love the new option to place the
palettes anywhere on your workspace, and even
resize them horizontally rather than vertically.
You can easily create custom palettes for your
workflow, so you can quickly access your most
frequently used brushes and papers. For
example, to group all of your oil brushes and
canvas types together, simply hold down the
shift key and drag a brush or paper/canvas
onto the workspace. It automatically forms a
nice little palette, which you can name and
save for future use. In the previous version,
it was too easy to accidentally create a
custom palette; having to hold down the
shift key eliminates such accidents.
Another pleasant surprise is the new
Temporal Colors palette. It’s similar in
appearance to the Color panel, having a hue
ring and saturation/value triangle. But now
you can slide the little color ring over any
spot on your painting to make minute
comparisons between the color you want to
apply in that space and the color that’s
already there. That gives the artist the ability
to make precise changes to hues and tones.
The high-quality display option is another
new feature. Zooming in close on a portion
of your image in Painter 11 dis played
frightening little stair-step edges. I often
wondered if my work would look that way
when I printed it. In Painter 12, go up to the
Property bar, click on the high quality
display button, and the jagged, pixilated
edges will be smoothed out.
One of my favorite enhancements in Painter
12 is the happy addition of a tracing paper
slider, located on a small floating clone-
source panel. Cloning photos and using the
tracing paper option is an important part of
my workflow because it saves me precious
time. It allows me to draw out the colors
and shapes in the image rapidly and with
ease, while adding the finesse and emotion I
convey through my brushstrokes. That’s one
of the best features unique to Painter, saving
you time and money by avoiding weeks of
rendering. In Painter 11, clicking the tracing
paper on and off to compare your painting
to the original underneath was rather tricky.
The designated button might or might not
work. Now with the tracing paper slider, you
can easily adjust the opacity of your painting
to see any percentage of the image below.
Corel has developed wonderful, realistic
brushes. In v.12, they’re more luscious than
ever. The oil brushes are rich and creamy and,
oh, the pastels—don’t get me started. The
artist can work with amazing speed. Here’s
where the velocity of Painter 12 is manifested.
If you want to recall the brushes you were using
most recently, no problem. Now they are con -
veniently displayed at the top of your work -
space along the right side of the Property bar.
This review would not be complete
without giving kudos to the wonderful Real
Wet Oils feature. These brushes can simulate
the mixing of real oil paints with solvents,
creating surprisingly realistic effects. You
can, for example, create an under-painting
of pale oil washes before adding layers of
thicker and thicker paint, a procedure used
in traditional oil painting. I wish the Real
Wet Oils would work in cloning—perhaps
my only disappointment in Painter 12.
I am not complaining. This new version
is without comparison. You need only jump
in and start painting to be converted. It
affords photographers exciting options for
creating masterpieces that will astound and
delight clients. I am convinced that
Michelangelo would have abandoned the
ceiling of the Sistine Chapel and his paints if
he’d had a computer and this software.
The full version of Corel Painter 12 sells
for $429; the upgrade sells for $229.
Volume commercial and education licenses
are available. corel.com/painter n
Melissa Gallo is a classically trainedillustrator and painter who specializes inportrait and family photography. See moreat melissagallophotography.com, and visitinapainterlyfashion.blogspot.com for helpwith technical aspects of digital painting.Gallo’s webinars on digital oil and pastelpainting are available at marathonpress.com.
68 • www.ppmag.com
THE GOODS: PRO REVIEW
Create custom palettes to access your mostfrequently used brushes and papers.
The brushes you’ve used most recently are now displayed at the top of your workspace.
The Temporal Colors palette lets you make precisecolor comparisons and changes to hues and tones.
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THE GOODS: PRO REVIEW
Earlier this year, Spider Holster introduced
the Black Widow Camera Holster, a smaller,
lighter version of the Spider Holster SpiderPro,
this one suitable for carrying camera
systems weighing less than four pounds.
The pro system has all-metal mounts for the
holster and a thick, stiff thigh protection pad
that’s integral to the belt. The Black Widow has
a narrower, simpler belt and a smaller, softer
pad, both of which can be removed and
mounted on any belt that’s up to the load
you plan to carry. The holster is made of a
com bin ation of lightweight resin and
stainless-steel components. The Black
Widow pin attaches with a standard wrench
rather than a hex wrench.
The basic design of both models includes
a belt and a holster with a locking mechanism.
Firmly secure the pin or the SpiderPro’s pin
plate to the bottom of the camera body and
the pin slips easily into the holster. The camera
hangs upside-down from the hip, lens pointing
to the rear. To unholster the camera, you must
release the lock, which prevents the camera
from acci dentally coming loose. The lock is
released by simply lifting the lever, which requires
your other hand. With the pro style, you can
set it in an unlocked position for fast access.
The Black Widow comes with a thin plate
so you can keep a quick-release tripod plate
attached to the camera and still use the holster.
The plate also helps keep the orientation of the
lens rearward and parallel to the ground, com -
fortably distributing the weight of the camera.
The beauty of the Spider Holsters is their
versatility. For travel and events, I tend to carry
cameras ranging in size from the Olympus E-
P1 to mid-level DSLRs like the Nikon
D7000, so I love the new smaller, lighter
design. With an untucked shirt draped over
the belt, it’s unobtrusive and extraordinarily
handy. The camera secured, I don’t have to
use my hands to keep it from bouncing
around as I do when I use a neck or shoulder
strap. Once you find the position on your
hip where the holstered camera feels com -
fortable, the bounce issue is resolved.
Photographers who shoot with two bodies
can take a huge strain off their neck and
back simply by keeping the primary camera
on a strap and the secondary camera on their
hip. Spider Holster sells a two-camera holster
belt in the pro style for those who’d prefer to
carry a camera on each hip. Our SpiderPro
belt tester, wedding photographer Cheryl
Pearson, was thrilled with the lightening of
the load around her neck when she could
carry her second camera, a Canon EOS 5D
and 70-200mm lens securely and bounce-
free on her hip, though she likes to keep a
long camera strap attached to the body as a
failsafe when she’s shooting.
The basic single-camera Spider Holster
SpiderPro belt system retails for $135. The
Black Widow Camera Holster and pin, sold
separately, sells for $49.99. The Thin Plate
and belt sell for $15.99 each, the pad for
$8.99. spiderholster.com n
The holster system spares your neck, frees your hands,and gives you better control over your second camera.
BY JOAN T. SHERWOOD
No handsSPIDER HOLSTER BLACK WIDOW AND SPIDERPRO
70 • www.ppmag.com
The Spider Holster SpiderPro can handle the weightand bulk of pro camera systems and lenses.
The new modular Black Widow holster is madefor camera systems weighing under 4 pounds.
PACIFIC a l b u m s
Eric Anundi says much of what makes Eric John: Fine PhotographicStudio the premier studio in town is the customer experience. Today, 90 percent of his business comes from repeat clients and referrals.
Eric and Shawna Anundi of Sublimity, Ore.,
have watched the landscape of professional
photog raphy changing since they opened
their busi ness in the 1990s. Shooting part
time, they gradually built a clientele until
they could afford go full time in 1998. They
worked out of an addi tion to their home and
dreamed of operating the portrait studio of
their dreams in a retail location.
“Making the move was part of our long-
term plan,” says Eric. “When I’d go through
Salem, I’d see the retail locations and the studios
in this pleasant town, and I’d think someday.”
Someday arrived in 2005, when Eric
John: Fine Photographic Studio moved into
new digs just outside downtown Salem. The
couple customized the retail space to appeal
to senior portrait clients and modern
families. The Anundis figured they’d arrived.
Then something strange happened. The
studios in the area began to disappear. One
by one, Salem’s retail photography businesses
fell victim to the economic downturn and closed.
By 2011, only one other retail studio remained.
How did the Anundis weather the storm?
In part, by setting themselves apart—and
above—the competition. “From day one, I
SENIORS By Jeff Kent
Mission: longevityEric and Shawna Anundi maintain a premier status
All images ©Eric Anundi
wanted to do it right,” says Eric. “I wanted to be
the top photographer in the area, not neces -
sarily the most expensive, but the one con -
sidered the exclusive photographer in our area.”
To get there, Anundi immersed himself in
photography, soaking up information from
every seminar that he could find. He joined
professional organizations, including PPA, and
eventually became president of the Professional
Photographers of Oregon. Meanwhile, he and
Shawna were continually thinking of ways to
improve the customer experience at their studio.
With a focus on senior portraits, a little less
so on child and family portraiture, they knew
that referrals would be critical to their growth.
“A lot of what makes us the premier
studio in town has been the customer’s
experience,” says Eric. “Today, 90 percent of
our business comes from referrals, and we
credit that to the experience we provide.”
“Eric does a great job of making clients
feel good about themselves,” adds Shawna.
“Even the senior guys, who might not want
to do these sessions at first, walk out talking
about how fun it was. He makes the
experience all about them and builds them
up so they get excited about the images.”
The enthusiasm continues through the
post-processing and into the image pres -
entation. The Anundis are adamant about
showing clients only finished, digitally
enhanced images, and no image is posted
online until the client has purchased it. “It’s
all about the emotional reaction to the pho -
tographs,” says Eric. “The only way we’re going
to get a sale is if the clients are excited the first
time they see the fully retouched photo graphs.
Dumping the raw files into a slide show isn’t
going to do it. I want to ensure they have
impact, which means doing every thing right
at capture, enhancing it right with Photoshop,
and making the slideshow pres en tation. We
want to control the whole experience.”
The Anundis are always looking for ways
to keep things fresh, especially for the high
school seniors. Recently, Eric has been inte -
grating video with his senior portrait presenta -
tions. He takes video of certain segments of
the session, capturing the candid moments
between shots and the casual conversations
with the senior. His goal is to get subjects to
relax, laugh, cut up. After the session, he
weaves short clips and music into the sales
presentation using Animoto software. The
addition helps elicit the emotional reaction Eric
wants from both the subjects and their parents.
“I’m trying to capture a little bit of the subject’s
personality in motion,” he says. “That’s what
SENIORS
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makes parents laugh—when their teenager
goes from acting serious and grown up, like
a model posing in a fashion shoot, to giggling
and showing the child within. That quick
transition, that glimpse of the child who’s still
in the teenager, gets the parents every time.”
Despite their success and resiliency in
this changing market, the Anundis face the
same challenges that haunt other pro pho -
tographers in this age of weekend warriors,
Uncle Bobs and moms with cameras.
“Everyone is a photographer these days,”
says Shawna. “Unfortunately, the public isn’t
educated about pro photography. There are
a lot of people who don’t know the difference
between Uncle Bob and a real pro.”
That’s why the Anundis try to educate their
audience. They have links to infor mation about
professional photography on their website, and
when talking to clients, they explain the portrait
process, the products they offer and the logic
behind their prices. When they host parties
for their senior reps, they put on a multimedia
display that demon strates the difference
between average photography and pro fes sion -
ally crafted images. They can’t reach everyone,
and some prospects just aren’t going to see
the difference, but they don’t need to impress
everyone. “I don’t want to photograph every
senior in town,” says Eric. “If we can reach
just 150 or so every year, we’ve done our job.”
That focus is a big reason the Eric John
studio has stayed the course. As far Eric and
Shawna Anundi are concerned, that course
will continue, even if there’s only one retail
studio left in town. n
See more from Eric and Shawna Anundi atericjohn.com.
76 • www.ppmag.com
SENIORS
“Eric does a great job of
making clients feel good
about themselves. Even
the senior guys, who might
not want to do these sessions
at first, walk out talking
about how fun it was. He
makes the experience all
about them and builds
them up so they get
excited about the images.”—SHAWNA ANUNDI
78 • www.ppmag.com
Arriving in New York just two days before 9/11, Amish Thakkar turned an uncertain future into the beginnings of an empire, using his determination to work hard and plan years in advance.
From India with loveAn untapped market offers a bountiful opportunity
he story of Amish Thakkar’s rise to suc -
cess in America begins in his home town
of Baroda (also known as Vadodara),
India, a bustling town of two million
people, located about 300 miles north of
busy Mumbai. While earning an electrical
engineering degree, Thakkar was also appren -
ticing with one of Baroda’s most respected
photographers, Ramesh Thakkar (no relation).
“When I finished college, I was already a
professional photographer,” says Thakkar,
who soon gained enough experience to
shoot independently, while continuing to
work with his mentor. He took out a small
loan to buy a camera setup, a Cosina 35mm
with a 24-70mm lens and Vivitar flash.
“My first wedding covered the cost of my
equipment; there my journey began,” says
Thakkar. In 1998, he’d set aside enough
money to open a studio of his own. “It was a
one-of-a-kind studio with all professional
equipment, one of the best in Baroda at that
time,” says Thakkar.
Thakkar spent time in Mumbai learning
cinematography under Bollywood cine matog -
rapher Gopal Shah. He began to produce docu -
mentaries for industrial clients, which took
him throughout India and as far away as
Germany. With commercial projects, weddings
and portraiture, Thakkar’s business was
booming. “I had a good name in my city and
a lot of confidence in what I was doing,” says
Thakkar, who noted an uptick in non-
resident Indian wedding clients.
The Indian population in America was
burgeoning. Many of those individuals
traveled to their homeland to meet and
WEDDINGS By Stephanie Boozer
All images ©Amish Thakkar
T
marry a spouse, but the number of Indian-
Americans choosing to marry in the States
was growing. It was a largely untapped
market. Traditional Indian wedding cere -
monies can stretch over 10 days, and the
rituals vary widely with the family’s religious
beliefs. For American wedding photographers,
while capable enough, these ceremonies
were difficult to fit into the workflow.
Thakkar knew a niche market awaited
him in America. He took an exploratory trip
to see friends in Iselin, N.J., in 2000, and
spent a month with a photographer in the
area learning about the American approach.
The following year, Thakkar left his studio in
the hands of trusted assistants and flew to New
York with his pregnant wife and 5-year-old
daughter. They arrived on September 9, 2001.
“We were still suffering from jet lag. The
friends we were staying with didn’t have a
television,” says Thakkar. “Early in the morn -
ing on September 11, a friend called to tell
me what had happened, and the whole
world changed.” It was chaos, but Thakkar
still needed to work, and work fast.
“Nobody was in a position to support
me in any way,” he says. “I had only $2,000
with me and we were living day by day. I
started to get small jobs, a few weddings to
help us survive.”
The family limped along until February,
when Thakkar’s wife went into labor. He
bor rowed a car to get her to a hospital on
Long Island. There were complications,
WEDDINGS
We’ve all heard tales about how great those really, really expensive European lights are supposed to be – super accurate, fast, consistent color, digital controls and all that. Fact is, most mono ash units now on the market are outgrowths of Paul Buff’s game-changing 1986 White Lightning™ Ultra design. Digital controls and packaging changes were added, but the core technology is fundamentally the same.
Recently, Paul set about to create all new, next generation technology that will surely be the standard against which future mono ash units will be judged.
The core of Einstein™ lies in its IGBT ashtube control (in place of more primitive analog methods), true digital control, and tightly integrated radio remote control with full color LCD display system.
Einstein™ features plug-and-play global powering, absolutely constant color over an ex-traordinarily wide nine f-stop power variability range, ultra-fast t.1 ash durations for razor sharp action stopping, fan cooling, and a bright, voltage-regulated 250W quartz modeling lamp precisely located in a frosted Pyrex dome for smooth-as-silk lighting patterns. Adjustable in exact digital 1/10f stops, its accuracy is unsurpassed by any other light on earth.
But that’s just the start...the brilliant color LCD display is fully integrated with our 2.4GHz Cyber Commander™ to display and control virtually every aspect of the system - ash durations, color temperatures, Wattseconds, EU Numbers, model-to-ash ratios and more, either from the rear panel or from your camera. With the Cyber Commander™ (CyberSync™ system components sold separately), you can control and meter up to 16 lights, bracket in camera f-stops, create innite groups and more. No more calculating WS and light ratios – you can do it all in actual camera f-stops and even store complete setups on the supplied Micro SD Card.
Of course, you can turn the recycle beeper and slave eye on or off, and meter, control and examine every parameter of each light (up to 16 lights) from the palm of your hand. Fast 0.08 to 1.7 second recycle and crash proof power supplies allow up to 12 fps shooting and reliable operation from our brand new 3.5lb Vagabond MiniTM Lithium battery supplies.
In short, no mono ash on earth even begins to come close to the All American Einstein™ 640. You’ll truly be singing:
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from Paul C. Buff, Inc.
and his new born son had to stay in the
hospital for a few days.
“I was on my own with no help,” says
Thakkar. “We rented an apartment in New
Jersey, and when we were finally able to bring
my son home, my wife said, ‘This is enough.’
That was the toughest time of our lives.”
Thakkar saw only one way out. “This was
it. From this moment I am not going to
stop.” Thakkar registered his company, Fine
Art Productions, in 2002. That year he
booked 25 weddings, enough to afford a
house. A friend loaned him some starter
money, and Thakkar set up a studio in a
retail space he shared with an Indian wed -
ding decorator, who sent him a few clients.
Thakkar’s bookings doubled in 2003, and in
2005, he opened a second location in nearby
Edison. With 2,000 square feet, the studio
could house enough equipment to do
everything in-house, from printing to
framing, and eventually album assembly.
“The bigger space helped me get bigger
clients,” says Thakkar. “That took our name
nationwide. No Indian photographer had ever
done this or had the courage to be this big.”
Today, Thakkar owns three more loca tions,
one in Manhattan, one in Lake Mary, Fla., and
a small satellite office in Houston. These one-
stop shops sell both photography and cine -
matography. Production is kept mostly in-
house, and the business is com pletely debt-free.
“I believe in investing every dollar back
WEDDINGS
82 • www.ppmag.com
Thakkar has takenin a six-digit sum fora single booking,a 10-day, no-holds-barred event.
“I JUST CAN’T SEEM TO GET AHEAD!”
Ever yelled that in a moment of sheer frustration? That’s what draws many photographers to PPA’s Studio Management Services (SMS). You’re a good photographer. But if you can’t manage your business, you’ll end up
bankrupt or burned out. Or both. Let us help you get ahead…and go farther than you may have dreamed.
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GOAL: guidance for goal-sectting and fine-tuning your plansQUALIFY: complete a One-Time Consultation or attend a 3-Day WorkshopCOST: $400 - $600 per quarter
into the business,” he says. “Being an Indian,
I hate to pay interest—I like to earn it,
though. I plan every dollar coming into the
studio and how it will be spent.”
Thakkar shoots wherever clients need him
to, even back in India. He even books a
couple of non-Indian weddings a year. “No
matter how many weddings I do, they are all
so different,” says Thakkar. “Every family
believes differently, which is something I just
don’t find with American weddings. They
don’t have the same energy.”
Fine Art Productions’ wedding bills
range from $8,000 to $25,000, depending
on the complexities of the shoot and the
inclusion of cinematography. Thakkar has
taken in a six-digit sum for a single booking,
a 10-day, no-holds-barred event. He doesn’t
brag about it, though. “Our studio policy is
honesty, dedication, and commitment,’” says
Thakkar. “We are there to give good memories
to everyone, we’re not just there to take their
money. It’s not about the dollar value.” n
See more of Thakkar’s portfolio andcinematography at fineartproductions.net.
WEDDINGS
84 • www.ppmag.com
86 • www.ppmag.com
French-American photographer Elizabeth Etienne proves you can be a fine artist and a working photographer without compromisingartistic integrity. She’s an absolute romantic and it shows.
La femme EtiennePure enchantment in any language
aybe it’s her love of vintage
French postcards and
Hollywood movie stills.
Maybe it’s her self-confessed
hopeless romanticism. Maybe
it’s her French upbringing. It’s
probably all these things. What -
ever the source, Elizabeth Etienne’s images
are some times haunting, often whimsi cal, and
always evocative. She has a way of inviting
your eyes to linger over a shadow, a silhouette,
or the bright curve of a beach umbrella.
“A picture could be a quiet whisper, a
shout, a giggle, a tender moment, even just
something cute,” says Etienne. “All of these
are part of a couple’s relationship. A good
portrait needs to capture something truly
authentic and uncontrived.”
That principle has remained the driving
force behind Etienne’s style, her pho tographic
raison d’être throughout her 20-year career.
Like many artists, Etienne discovered it after
much experimentation and a few mistakes in
her early career. A graduate of the prestigious
Brooks Institute of Photography, Class of 1989,
Etienne started out shooting stills for the
film industry. Retracing her French roots—
her father is French—she moved to Paris for
a few years, where she shot every thing from
album covers to travel stock to fine art. Back
then, her work was good, but nothing stood
out as her signature, her trademark style.
“I launched myself into the universe back -
wards,” says Etienne. “I was shooting from the
outside in, instead of the inside out. I wasn’t
shooting from my heart, but my head, trying
to land specific kinds of jobs. One week I
was cross-processing, another week I was Annie
WEDDINGS By Stephanie Boozer
All images ©Elizabeth Etienne
M
Leibovitz. My work was all over the map.”
After struggling to identify who she was
as an artist, Etienne decided to give up on
being a photographer. “That was the day I
became one,” she says. “The day I stopped
trying to be a photographer.” Unbound by
self-doubt, there was no stopping her.
Today, based in the Los Angeles area,
endorsed by Nikon and Kodak, with three
books to her credit, Etienne caters to high-
end local and worldly clients, traveling to any
destination in the world to fulfill her commis -
sions. She continues to shoot a variety of genres,
from weddings and portraits to travel, stock
and advertising, fine art and architectural
interiors. Having been focused initially on
commercial assignments, Etienne was reticent
to shoot weddings until the art director at a
client ad agency asked her to cover his.
“I was shocked,” she says. “I had this
vision of what I thought wedding photog -
raphers were. I’d seen mostly traditional
(Continued on p. 90)
WEDDINGS
“Engagement shoots are a launching pad
for any photographer because they allow
you the freedom, time, and space to plan
and prepare,” says Elizabeth Etienne. “You
get the opportunity to get to know your
client better, and you can create some really
stylized images that make your portfolio
look like more than just a wedding portfolio.”
Etienne’s most recent book, “The Art
of Engagement Photography: Creative
Techniques for Photographing Couples in
Love” (Amphoto Books), hit the shelves
last month. It gives step-by-step instruc -
tion on producing stylized engagement
photographs, and is illustrated with some
200 images.
A few points she’s found indispensable
over the past 20 years:
• Make them want it. Some clients
don’t think of engagement sessions until
Etienne shows them sample images
during the consultation.
“I’ve had clients downsize their
wedding so they have more money for
photography and an engagement shoot,”
she says. “I always pitch my session as a
chance to feel like celebrities, to be
totally pampered in every way.”
Etienne has two engagement session
packages, one of which includes profes -
sional hair and makeup styling, two loca -
tions and set styling. When she meets a
couple, she’s got ready-to-sign contracts to
close the deal while their excitement is high.
• Plan B. “It is absolutely imperative
to have a backup plan,” says Etienne.
“You do not want to re-shoot, because it
costs you money. What if it rains? What
if your assistant doesn’t show up? If
your camera breaks, what will you do?
Get clients as enthusiastic about plan B
as they were about A. Improvise. Once,
it was raining on a beach shoot, so we
found a surf shop and I photographed
the couple between two surfboards.
They loved it.”
Etienne arrives on the scene with back -
ups for everything, a stash of umbrellas,
and the serenity of knowing that she can
handle it if something goes awry.
• Do your homework. Etienne always
scouts the location. “I want shoots to be
about 15 percent spontaneity and the rest
is planned,” she says. “I always bring an
assistant when I scout and do test shots.
It takes away the sting and anxiety if you
already know you can do it.”
Etienne goes for outdoor locations as
often as she can, and prefers to shoot in
natural light. Scouting tells her how to
prepare if the light isn’t adequate.
• Don’t rule out seemingly mundane
locations. “There are a million cool
locations in every town,” says Etienne.
“Look around their own neighborhood.
Ask older residents about the history of
your town; maybe there’s a story there.
Always expand your horizons.”
• Recycle. “I use images from my
engagement shoots for my ad portfolio,
recycle them into stock, and feature them
in my portfolio of fine art,” says Etienne.
“These images can create additional
income for you.”
Make sure to capture detail shots of
locations and props, which can become
useful as stock and portfolio pieces. It’s
an easy way to generate residual income
on work you’ve already done.
RULES OF ENGAGEMENTEtienne’s words of wisdom on stylized engagement sessions
88 • www.ppmag.com
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(Continued from p. 87)
wedding photography that was very cookie
cutter. But the art director said that’s why
he wanted to hire me, because I was not that.”
She approached the shoot just as she
would a large-scale ad campaign, a mindset
she adheres to still. “I give the same care,
thought, preproduction and research to
every job I shoot, whether it’s a simple
portrait, a million-dollar wedding or a big
budget ad campaign,” she says. “I create a
shot list of my ideas and scout locations,
usually centered around a theme. I'll even
create storyboard sketches sometimes.”
Determining that theme is a collaborative
effort between Etienne and the couple.
Etienne takes time just talking with the clients.
“If our communication is by e-mail, some -
times I’ll just send them a questionnaire.
Where did they meet? How did he propose?
“People love to talk about themselves and
reminisce about how they met. All sorts of
things come out, like he’s a classical gui -
tarist, so we’ll bring along a guitar. These
make great props,” says Etienne. “Sometimes
I look at a couple and it’s instant, other
times they have a specific idea.”
For a Francophile couple who appreciated
good wine, Etienne set up a picnic in a
California vineyard. She brought along an
old European bicycle and two berets, and
instructed the bride to wear a bright red
dress to pop out against the greenery. She’ll
send couples in elegant cocktail attire to the
beach. For vintage themes, she’ll hit local
prop shops and secondhand stores.
“It’s like prepping for a full-blown ad shoot,”
says Etienne. “That’s what’s so great. I can stylize
them to look like vintage postcards, movie stills,
or a celebrity editorial spread for a magazine.”
And it doesn’t wrap with the shoot. For the
vine yard couple, Etienne packaged their prints
in a suitably old wooden wine crate. One side
held a bottle of wine from the vineyard, the
WEDDINGS
90 • www.ppmag.com
other side the prints. A hand some corkscrew
affixed to the top of the crate became a handle.
“Everything is based around the couple,”
Etienne says. That and her classic style are a
big part of her success. Coming from the old
school of film, where you had to get every -
thing right in-camera, gives weight and con -
fidence to Etienne’s photography. She con -
tinues to shoot in both film and digital format.
“[Film shooters] come from a place where
you had to be very cautious about what you
shot,” she says. “You couldn’t just start pushing
buttons, you had to know what you were doing
and what the results were going to be.”
That’s the crux of what Etienne teaches
other photographers. A member of the Nikon
platform, Etienne is a busy speaker and teacher.
“In some ways, technology has made things
easier, but people have become lazy,” she says.
“They don’t under stand that the journey is an
exploratory one. Slow down, take your time,
explore light, explore composition. Light really
is the voice of the photographer. A subtle shift
left or right, in pattern, intensity or direction
can change the emotion and mood completely.”
Understand that, and you understand
how Etienne works—deliberately and
emotively. “I do this for creative expres -
sion,” she says. “There’s so much behind all
of my images and how I create them.” n
See more of Etienne's portfolio at eephoto.com.
PP readers receive an exclusive 15 percentdis count to a workshop or coaching session con ducted by Etienne. Go todestinationphoto-workshops.com and enterpromo code PPA-007 at check out.
WEDDINGS
GIVEAWAYKeep an eye on PP’s Face -book page this month towin one of three copies ofEtienne's book, “Pro fit ableWedding Photog raphy”(Allworth Press). Become afan at facebook.com/ppmagazine.
Inspiring packaging: Afterphotographing a couple at avineyard, Etienne deliveredher images in a vintage winecrate along with somethingto sip while they lookedthrough their prints.
92 • www.ppmag.com
Prices, specifi cations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2011 B & H Foto & Electronics Corp.
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Page 1
18-200/3.5-5.6 DXI G AF-S ED-IF VR II Digital Lens• Exclusively designed for Digital SLRs• 35mm equiv.
27-300mm• VR II Vibration Reduction• SWM (Silent
Wave Motor)• 3.5-22 f/Stop Range.• Focus 1.6' to Infi nity• Weight 19.8 oz
SB-900 Speedlight i-TTL Shoe Mount Flash• Guide No. 131' • Recycling Time
4.5 Seconds • Bounce & Swivel Head• Zoom Head (17-200mm)• Stroboscopic Effe.ct• AF-Assist Illuminator• Safety lock on fl ash shoe• Weight 14.6 oz
AF Flashes (USA)SB-400 .......................................................SB-700 .......................................................SB-900 .......................................................R1 Wireless Twin Flash .................................R1C1 Wireless Twin Flash System .................
DX ED-IF Lenses for Digital Only (USA)10.5/2.8 Fish-Eye ........................................85/3.5 G VR Micro (52ø) ..............................10-24/3.5-4.5 G AF-S (77ø) .........................12-24/4 G AF-S (77ø) ..................................16-85/3.5-5.6 G AF-S VR (67ø) ....................17-55/2.8 G AF-S (77ø) ...............................18-55/3.5-5.6 G AF-S II (52ø) ......................18-55/3.5-5.6 G AF-S VR (52ø) ....................18-105/3.5-5.6 G AF-S VR (67ø) ..................18-200/3.5-5.6 G AF-S VR II (72ø) ...............55-200/4-5.6 G AF-S (67ø) ..........................55-200/4-5.6 G AF-S VR (67ø) .....................55-300/4.5-5.6 G AF-S VR (58ø) ..................
D-Type AF Lenses (USA)14/2.8 D ED ................................................16/2.8 D (39ø) with Hood .............................20/2.8 D (62ø)..............................................24/2.8 D (52ø)..............................................24/3.5 D ED PC-E (77ø) ...............................28/2.8 D (52ø)..............................................35/2.0 D (52ø)..............................................45/2.8 D ED PC-E Micro (77ø) ......................
50/1.8 D (52ø)..............................................50/1.4 D (52ø)..............................................50/1.4 G AF-S (58ø) ....................................60/2.8 D Micro (62ø) (1:1) ...........................60/2.8 G AF-S ED Micro (62ø) ......................85/1.8 D (62ø) with Hood .............................85/1.4 D IF (77ø) .........................................85/1.4 G AF-S (77ø) ....................................105/2.8 G AF-S ED-IF VR Micro (62ø) ...............105/2.0 DC D with Hood (72ø) .....................180/2.8 D ED-IF (72ø)..................................200/4 D ED-IF Micro (62ø) ...........................300/4.0 D AF-S ED-IF (77ø) .........................300/2.8 G AF-S VR (52ø-R) ..........................14-24/2.8 G AF-S ED-IF ...............................16-35/4.0 G AF-S ED VR (77ø) .....................17-35/2.8 (77ø) ..........................................24-70/2.8 G AF-S ED-IF (77ø) ......................24-85/2.8-4.0 D (72ø) .................................24-120/4.0 G AF-S ED VR (77ø) ...................28-300/3.5-5.6 G AF-S ED VR (77ø) .................70-200/2.8 G AF-S ED-IF VR II (77ø) ..................70-300/4.5-5.6 G-AFS VR (67ø) ...................80-200/2.8 D with Collar (77ø) .....................80-400/4.5-5.6 D VR (77ø) ..........................200-400/4 G AF-S ED-IF VR II (52ø) ..............TC-14E II (1.4x) Teleconverter .......................TC-17E II (1.7x) Teleconverter .......................TC-20E III (2x) Teleconverter .........................
EOS Flash System (USA)270EX .........................................................430EX II ......................................................580EX II ......................................................MR-14EX Ringlight .......................................MT-24EX Twin Flash .....................................
EF-S Lenses For Digital Only (USA)Note: Compatible with the 20D, 30D,
40D, 50D & Digital Rebel only60/2.8 USM Macro (52ø) ..............................10-22/3.5-4.5 USM (77ø) ............................15-85/3.5-5.6 IS USM (72ø) ........................17-55/2.8 IS USM (67ø) ...............................18-55/3.5-5.6 IS (58ø) ................................18-135/3.5-5.6 IS (67ø) ..............................18-200/3.5-5.6 IS (72ø) ..............................55-250/4.0-5.6 IS USM (58ø) ......................
EF Lenses (USA)15/2.8 ........................................................20/2.8 USM (72ø) ........................................28/1.8 USM (58ø) ........................................35/2 (52ø) ...................................................50/1.8 (52ø) ................................................50/1.4 USM (58ø) ........................................50/2.5 Macro (52ø)......................................85/1.8 USM (58ø) ........................................100/2.8 USM Macro (58ø) ............................28-135/3.5-5.6 IS USM (72ø) ......................70-300/4-5.6 IS USM (58ø) .........................
75-300/4.0-5.6 III (58ø) ...............................75-300/4.0-5.6 III USM (58ø) .......................
EF “L” Lenses (USA)14/2.8 USM II ..............................................24/1.4 II (77ø) .............................................35/1.4 USM (72ø) ........................................50/1.2 USM (72ø) ........................................85/1.2 USM II (72ø) .....................................100/2.8 IS USM Macro (67ø) ........................135/2.0 USM II (72ø) ...................................180/3.5 USM Macro (72ø) ............................200/2.0 IS USM (52ø) ..................................300/4.0 IS USM (77ø) ..................................300/2.8 IS USM (52ø rear) ...........................400/5.6 USM (77ø) ......................................16-35/2.8 USM II (82ø) ................................17-40/4.0 USM (77ø) ..................................24-70/2.8 USM (77ø) ..................................24-105/4 IS USM (77ø) ................................28-300/3.5-5.6 IS USM (77ø) ......................70-200/4.0 USM (67ø) ................................70-200/4.0 IS USM (77ø) .............................70-200/2.8 USM (77ø) ................................70-200/2.8 IS II USM (77ø) ..........................100-400/4.5-5.6 IS USM (77ø) ....................1.4x II Teleconverter .....................................1.4x III Teleconverter ....................................2x II Teleconverter ........................................2x III Teleconverter .......................................
EOS-60D DSLR• 1920 x 1080 HD Video Capture• DIGIC 4 Image Processor• SD/SDHC/SDXC Card Slot• Works with all Canon EF & EF-S Lenses• Vari-Angle Clear View 3.0" Flip-Out LCD• 5.3 fps Continuous Shooting• ISO 6400 - Expandable to 12800• HDMI Output to HDTV
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072011
Page 2
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Flash SystemFL-36R Flash ......................................................... $229.95FL-50R Flash ......................................................... $499.95
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Octacool-6 Front
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All images ©Page Bertelsen
THE ART OF
CANDORPage Bertelsen follows thelight, and her uniqueartistic vision, to success
INTERVIEW BY JEFF KENT
ith her distinctive style, Page Bertelsen is carving out aniche of her own in wedding photography. One of SanFrancisco’s most sought-after photographers, Bertelsencombines fine art inspiration with a distinctive documentary style that’s rooted in her
Northern California upbringing. Her images speak to the particular aesthetics of the
denizens of the Bay Area. The look is very California, but the images also reflect the
influence of her classical training at the
International Center of Photography
(ICP) in New York, as well as the Santa
Fe Photographic Workshops. The clients
she draws are progressive, artistically
inspired couples, who treasure the out -
doors and the timeless cast of natural
light. Professional Photographer talked to
Bertelsen about the process of discovering
her vision and building her business in
wedding photography.
How did your artistic vision develop?
During my time at ICP, I studied the history
of photography, looking at all the great
portrait, landscape and photojournalistic
icons. I would walk the streets, and still do,
looking at light and form, and then com -
posing photographs. I’ve also taken work -
shops with professionals whose photography
and technique I admire, and not necessarily
because they shoot weddings. With this
foundation, I come to each wedding with a
focus on light, composition, color and
design, and I understand how to lead the
viewer’s eye to tell the story of the day.
How does this come to life for your clients?
Weddings have become creations by and
about the couple. I photograph to provide my
clients with a visual storyline that represents
their personality and style. I include scene-
setting photographs that give the story a sense
of place, with both wide-angle scenic photos
and detail shots. I use ambient light whenever
possible, and emphasize composition, light
and emotion in all my images. Clients appre -
ciate my ability to unobtrusively capture candid
moments and emotions.
Artistically, what sets you apart from other
photographers in your marketplace? I don’t
describe myself as a wedding photographer,
but as a photographer who shoots primarily
weddings. That’s a big distinction. I was
trained and educated at a fine-art photog -
raphy institution. From that base, I grew
into photographing people and events using
the same appreciation for light and com -
position and technical proficiency. Images
that are striking to me are always about
light. I mix digital capture with film capture
from a medium-format Hasselblad camera.
Taking images with that camera is a much
more deliberate process. The Hasselblad
images tend to be the ones my clients like to
print large and hang on their walls.
How does your other work—personal
projects, travel photography, landscapes,
architectural images—influence your
wedding work? Photographing subjects
other than weddings adds to the
sophistication of my wedding images. For
example, through a portrait project on
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‘‘ ’’cancer survivors, I learned not only to slow
down for intentional and meaningful
composition, but also the importance of
each area of the frame. I learned to appreciate
the power of focusing on eyes and hands to
add an emotional connection. All of that is
very relatable to wedding photography.
How do you feel that professional wedding
photography has evolved in recent years?
Wedding photography used to consist of
static, posed, formal images taken during
certain universal moments during the
wedding day. Several years ago, the field
moved into more photojournalistic and
candid coverage. I think both styles still
exist, but there is a new genre emerging that
is blurring the boundaries between editorial,
lifestyle and even fashion photography to
put more of an emphasis on the design and
details of the wedding day.
Today’s clients have more sophisticated
expectations of their wedding photography.
They’re more involved in the creation of their
wedding day, so photographers need to com -
plement that design in the style of the images.
What do you see as the biggest challenges for
the future of professional photography? With
the availability of inexpensive digital cameras
and the onslaught of digital filter applica tions,
As photographers, we need to continuallychallenge ourselves every time we
pick up a camera, rather than just sticking with what’s
comfortable. It’s in that challenge that we become better photographers.
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a big challenge will be educating clients about
the importance of a trained and talented eye
for making beautiful, timeless images. It will
become increasingly important to stay con -
scious and intentional while making images,
and to understand what makes a good
image as opposed to just taking a picture.
The challenge for photographers in an
image-saturated world is to stay true to
themselves and their unique vision. That’s
been said many times, but it will become
more and more critical in the coming
years—and more and more of a challenge.
As photographers, we need to continually
challenge ourselves every time we pick up a
camera, rather than just sticking with what’s
comfortable. It’s in that challenge that we
become better photographers. n
To see more from Page Bertelsen, visitpagebertelsen.com.
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July 10-14Image Explorations, Shawnigan Lake,British Columbia, Don MacGregor, 604-731-7225, [email protected],imageexplorations.ca
July 17-22PPSNYS Photo Workshop, Hobart/William Smith Colleges, Geneva, N.Y., Linda Hutchings, 607-733-6563, [email protected], ppsnysworkshop.com
July 31-August 4East Coast School Photographic Work shops, Raleigh, N.C., Victoria Kelly, 919-466-7478,[email protected], eastcoastschool.com
August 1-4Long Island Photo Workshop, SheratonLong Island Hotel, Smithtown, N.Y.,Jerry Small, 516-221-4058,[email protected], liphotoworkshop.com
September 11-16Georgia School of ProfessionalPhotography, North Georgia TechnicalCollege, Clarkesville, Ga., Kevin Jiminez,706-854-8885, [email protected],gppaschool.com
Send all addi tions or corrections to:Affiliated Schools, Professional Photog -raphers of America, 229 Peachtree Street,N.E., Suite 2200, Atlanta, GA 30303.
2011 AffiliateSchools Schedule
PPA Members receive both merits and the best published prices.
106 • www.ppmag.com
Life is good, and it is getting better every day…
I just returned from a wonderful meeting in Lyon, France, where I
was lucky enough to meet photographers from Ire-land, Italy, France, Belgium and Germany. As I spoke with them, I realized that
photographers all around the world face the same challeng-es. One Irish photographer said that he photographed 51 weddings two years ago and only eight weddings this past year. It is obvious that times are changing, and photogra-phers must be able to adapt to these changes. We must learn to do things differently than we have done in the past to survive in the new economy. We have to reinvent ourselves to satisfy the demands of our clients. We have to take action to ensure our studios are successful.
Take action by learning what you need to survive and grow. One great step would be to plan now on attending Imaging USA in New Orleans in January. We will have over 100 speakers, an overwhelming trade show focused on the needs of your business, and network-ing at social events that are unbeatable. It is designed to provide every photographer an opportunity to get an incred-ible education, learn new skills, make new friends in the industry and reconnect with old friends.
Take action by using the PPA Benchmark Sur-vey results as a financial success guide. Data is being collected for the new 2011 Benchmark Survey, and this information gives photographers target income
studios, including home and retail studios of varying sizes.
-
-
your business be more successful.
Take action by planning ahead. The fall business season is fast approaching, and now is the time to create your marketing plan for it if you have not already done so. Discuss with your staff your vision and ideas to continue growing your business. For instance, you might plan on
your business and make a contribution to Operation
Remember:
PPATODAY JULY 2011
PRESIDENT’SMESSAGEDon Dickson, M.Photog.Cr., CPP - 2011-2012 PPA President
Your Success is Our Business.
PPA
MEM
BER
NEW
SLET
TER
“Character is the force within each individual which
distinguishes that person from others. Character is achieved
and not received.”~National Honor Society
© C
hris
Han
och
“Sometimes it takes a nat-ural disaster to wake us up from our insulated world,”
-
say that lightly. She and numerous others were affected when Hurricane Katrina hit in 2005. Then came Hurri-
-
Imaging USA is headed back to New Orleans this
Where better to hold a convention that is focused on help-ing professional photographers thrive than in a place that experienced its own renaissance?
The Wake-Up Calls“The storm reminded us that things can happen…and if
M.Photog.Cr., CPP, API, F-ASPreality of being on food stamps and unemployment wakes
However, for a period of time, New Orleans was “virtually a ghost town,” according to Rick Najdzion, CPP,
through the city and businesses shut down. Due to the
-ally closed the city for more than a month. “The hardest part was not knowing what to expect when we did return to our homes and businesses,” says
Cr.Photog., CPP, ABI, CBM, of New
much more on their minds than their next family portrait session.”
-ally know how you react.
PPA
MEM
BER
NEW
SLETTER
REN
AIS
SAN
CEN
EW O
RLEA
NS
© A
lisha
+ B
rook
Pho
togr
aphe
rs
The Responses
what he preached and had at least three months of work-ing capital in a reserve account. In addition, he carried a 12-month business interruption insurance that covered documented business losses for the entire year. “That was
also lucked out in that conventions are the bulk of his busi-ness, and those clients remained loyal, paying for him to
-fects through sheer determination and smart business. Right away, the Romagueras had a family meeting and nailed down their response, including who would work on recon-struction and who would manage business…what business there was. “We wanted to make sure that when the schools came back, we would be there ready to serve them,” Romaguera explains. “We marketed more, made more samples, made changes…all things that we just get too complacent to do in a daily routine.” To survive and thrive in the aftermath, Najdzion also kicked complacency to the curb. He lived in Baton Rouge for a few months, picking up the pieces of his studio by transferring calls, getting in touch with clients and main-
I could,” he says. “Ninety percent of my business was weddings and people were canceling, delaying, moving locations.” That was one reason Najdzion took the time to
resulting in a full-service portrait studio by the end of 2006.
their rebuilt homes,” he says. Being able to see such opportunities during dishearten-
says, “Having work and life interrupted for many months certainly makes you think about the direction of your busi-
She saw her chance at a “new lease on life” and attended a workshop that led to her publishing “Statuesque New
experiences of her career.
The ResiliencyToday, New Orleans is ready to welcome you at Imag-ing USA with open arms. Hospitality and entrepreneurial spirits are rampant, the convention industry has returned in force…and the city never lost its old charm. “New Orleans
buildings, a friendly culture, architecture like no other city, musicians and something going on everywhere you look.”
depths of uncertainty and desolation to reinvention and new opportunities, what those photographers went through affected each one differently. But those who made it have at
We will all face personal disasters and maybe even natural disasters in the future. The strength of New Orleans and its people is the spirit we all need in our businesses. And as Imaging USA heads to New Orleans in January, that moxie may just infuse us all.
PPA
MEM
BER
NEW
SLET
TER
EATS, STREETS:WHAT TO DO IN NEW ORLEANSWhile at Imaging USA, there’s so much you can do to soak up the relaxing yet entertaining atmosphere that is the Big Easy:
FOOD - Start dieting now so that you can enjoy all the great culinary delights! Try the potato puffs at Antoine’s, the beignets at Café Du Monde, and Romageura’s favorite place in the French Quarter: The Court of Two Sisters.FAMILY FUN - Every local will tell you that this is a family-friendly place. Choose from nearly 20 museums within walking distance, an aquarium, insectarium, haunted history tours, IMAX theater, and even a zoo (a streetcar ride away). NIGHTLIFE - New Orleans has a saying: “Lais-sez les bon temps rouler,” which means, “Let the good times roll!” Take that to heart and stroll down Bourbon Street, enjoy live music every night, visit Harrah’s casino (one block away), and try the famous Hurricane at Pat O’Briens.
GET THE MOST OUT OF IMAGING USA
Is this the year for you? Are you going to join 10,000 oth-ers in soaking up the latest and greatest in professional photography at Imaging USA? If so, you need to know
how to make the most of your time. And who better to ask
Book EarlyCPP
on doing differently next time. She wants to ensure a place at a convention hotel because they are much more conve-nient and offer better opportunities to meet people.
Decide What Classes & Events to AttendM.Photog.Cr., CPP, of
they are most interested in. Just remember to “be open to
once listened to David Stoecklein, who specializes in pho-
his talk incredibly inspirational.”
Write Out a Schedule“I was so glad I had taken the time to pre-plan and set a schedule,” adds Dokken. “It would have been too easy to
Take “Smart” Notes
little thing the instructor says. Focus on the points most relevant to your business plan. “I eventually started mak-ing action item lists that were inspired by the content,
rather than trying to copy every word,” Dokken explains. -
ences of the best speakers.”
Visit the Imaging EXPO
a great way to get ahead of the curve with your business of-ferings, network and learn about actually using products via
Try a Portfolio Review & Browse thePhotographic Exhibit
-
-
Have a Plan for Implementation
overwhelmed with ideas, so she advises taking time after
a point to apply at least one thing when you get back home.
Experience the DifferenceTry this advice, and you could leave Imaging USA ener-
-
who discussed exactly what I needed to hear to refocus my business,” recalls Dokken. In the end, she was able to increase her wedding package pricing, refocus on quality
set herself apart. “Being in the same place with thousands of other
notP
PA M
EMB
ER N
EWSLETTER
WWW.IMAGINGUSA.ORGWWW.IMAGINGUSA.ORG
I learned that in the early’90s, and from then on, I never missed attending some sort of PPA or PPA Affiliate education. From the business workshops to the photographic competitions I entered to strengthen my weakest skills, everything was (and is) a learning tool. And I can’t forget how my involvement in the local and national affiliates led me to hang out with the right people—successful photographers and businesspeople became my peer group and encouraged me to succeed. Constant learning is my goal—it’s what got me to my studio in the first place and kept me there through the years. Last year I photographed my 1,200th wedding, but I will never stop trying to improve my offerings!
Sam Gardner, M.Photog.Cr., CPPImage Insight Professional Development / Sam Gardner PhotographyPPA member since 1992
YOUREDUCATIONGOES ONFOREVER.
Your Success is Our Business
Faces of PPA
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TAP (tappackagingsolutions.com) . . . . . . . . . . . . . . 17
Tyndell (www.tyndellphotographic.com) . . . . . . . . 118
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White House Custom Color (whcc.com) . . . . 10-11, 29
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PROFESSIONAL
BACKGROUNDS
THE DENNY MFG. CO., INC. is the World’s LargestManu facture of Hand Painted Backgrounds, Computer PaintedBack grounds, Muslin Backgrounds, Studio Sets, Props, LiftSystems, and related Studio Accessories. Contact us today toreceive our FREE 180 page color catalog filled with exquisiteproducts and ideas to help you suc ceed in Photography.Write P.O. Box 7200 Mobile, AL 36670; Call 1-800-844-5616 or visit our Web site at www.dennymfg.com.
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July 2011 • Professional Photographer • 121
122 • www.ppmag.com
very year, PPA member Megan
Borders of Richland, Wash., under-
takes a personal project to both
reawaken her creativity and benefit
the community. Last fall, she chose to
concentrate on a population
dear to her heart, teenage girls.
Borders planned to donate
a senior portrait session to a teenage girl
whose family couldn’t afford it. She’d make
her princess for a day, complete with deluxe
professional styling of her hair and makeup.
Then she got a message from the community’s
Boys and Girls Club about an alternative high
school for teenage parents called Brighter
Horizons. The school helps the young women
stay on track for high school graduation by
providing childcare and counseling. The
director of Horizons, eager to collaborate
with Borders, suggested holding an essay
contest; the prize for the author of the win-
ning essay would be a complimentary por-
trait session. That sounded great to Borders.
By the time she’d read the third essay,
says Borders, tears were running down her
cheeks. She was overwhelmed by the girls’
stories. Some had been through unspeak-
able experiences. Many were struggling to
get their lives back on track and return to a
state of normalcy. No way could Borders
choose just one girl. She resolved to accom-
modate all eight applicants.
The larger scope of the project was more
than Borders felt she could handle alone, so she
reached out to the local photographers, stylists
and artists in her network. The response was
impressive. On a snowy day in December, a
group of them joined Borders in hosting a full-
fledged photo shoot for the young mothers.
The day began at Victoria’s Academy of
Cosmetology, where the girls were pampered
and given professional hair styling and makeup.
Then, braving three inches of fresh snow,
the photographers set up a winter wonder-
land shoot in a nearby park. Eight photogra-
phers paired with the eight girls, while a
stylist applied final touches, and a videogra-
pher recorded the proceedings. Following
the brisk outdoor session, Borders and the
crew treated the girls to hot cocoa and pizza
to cap off the big day. Not long after, the pho -
tographers presented complimentary pack-
ages of prints and digital images to the teens.
“It’s a small thing we did, but I wanted to
give these girls something they may never have
had before—a day to be completely spoiled,
with positive memories to last a lifetime,” says
Borders. “Little things can go such a long way.
You have to fight off the nagging lie that
would have you believe you’re too insignifi-
cant to make a difference. I believe there’s no
greater force than love, and am often reminded
of just how easy it can be to give some away.” n
To see more from Megan Borders, visitmegborders.com. Find videos from the proj-ect by clicking on the media button on theiPhone graphic, or at youtu.be/P-5IM_HEm80.
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. good works |
Share your good works experience with us by e-mailing Cameron Bishopp at [email protected]
Senior portraits for MomMEGAN BORDERS GIVES TEENAGE MOMS A SPECIAL GIFT
©Megan Borders
E
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