Professional Photographer - 10 2011 US-Slicer

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OCTOBER 2011 | $4.95
Image by Emily Nathan
Visual poetry: Our profile of
editorial and commercial photographer
Emily Nathan starts on p. 126.
C1-octcover_Layout 1 9/20/11 11:03 AM Page 1
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editorial offices
Professional Photographer
229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A.
404-522-8600; FAX: 404-614-6406
Professional Photographer (ISSN 1528-5286) is published monthly
subscriptions
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FAX 847-291-4816; email: ppmag@omeda.com; Web site: www.ppmag.com
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Copyright 2011, PPA Publications & Events, Inc. Printed in U.S.A.
Article reprints: Contact Professional Photographer reprint coordinator at
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Microfilm copies: University Microfilms International,
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Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA
Publica tions and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta,
GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices.
Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by
Professional Photographer or any of its authors do not necessarily reflect positions of Professional
Photog raphers of America, Inc. Professional Photographer, official journal of the Professional
Photog raphers of America, Inc., is the oldest exclusively professional photographic publication in the
Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abels Photo-
graphic Weekly, St. Louis & Canadian Photographer, The Commercial Pho tog -
rapher, The National Photographer, Professional Photographer, and Profes sional
Photographer Storytellers. Circulation audited and verified by BPA Worldwide.
4 www.ppmag.com
PROFESSIONAL
senior editor
JOAN SHERWOOD
jsherwood@ppa.com
features editor
LESLIE HUNT
lhunt@ppa.com
editor-at-large
JEFF KENT
jkent@ppa.com
art director/production manager
DEBBIE TODD
dtodd@ppa.com
sales/strategic alliances assistant
CHERYL PEARSON
cpearson@ppa.com
circulation
MOLLIE OSHEA
moshea@ppa.com
director of sales & strategic alliances
BILL KELLY
404-522-8600, x248; bkelly@ppa.com
eastern region ad manager
KARISA GILMER
404-522-8600, X230; kgilmer@ppa.com
central region ad manager
BART ENGELS
847-854-8182, bengels@ppa.com
western region ad manager
AMY WALLS
404-522-8600, X279 awalls@ppa.com
publications sales staff
EDITORIAL
director of publications
CAMERON BISHOPP
cbishopp@ppa.com
Attention to detail
BRINGING THE SMALL TOUCHES TO LIFE
Images of wedding details not only help tell the story of the
wedding day, they also tell the tale of the bride and groom: the
choice of colors and themes to encapsulate a forever love of a certain
hue, the textures and bouquets and centerpieces, the favors and
place cards, all painstakingly crafted to be a visual narration of the
unique story and the things that matter most to the couple.
Not only do you want to deliver the most breathtaking images
you have in your portfolio, you also want to include dozens of steal-
worthy detail shots that will excite and inspire your potential
customers, says Abby Larson, editor and founder of Style Me
Pretty, one of the leading online resources for all things wedding.
As an added layer to the importance of detail shots, these little
gems give your clients a scrapbook of memories of the day they
worked so hard to craft Whether it was the perfect menus hand -
made by an amazing letterpress artist or the favors the bridesmaids
crafted together in the nights before the wedding. Its the tiny
details that will come together and give your client a complete look
at the day that they built with so much TLC, says Larson.
In preparing for this issue, our editorial team looked at literally
thousands of detail images by very talented wedding photographers;
a singular quality distinguished our favoritesin that top tier of
punch bowls and interlocked rings and gowns hanging from door
jambs, the photographer had managed to imbue the subject matter
with emotion, making the inanimate rich with life. A table set with
sumptuous desserts made our mouths water, a pair of white
wedding slippers practically danced before our eyes.
The ability to awaken these objects and capture all the nostalgia,
whimsy, love and thought that had gone into choosing them in the
first place, renders your camera nothing short of a magic wand.
Turn to page 96 for Pete Wrights tips on creating your own
compelling detail images.
And dont miss Lorna Gentrys profile on page 126 of one of our
favorite editorial and advertising photographers, Emily Nathan.
After discovering Nathan through her amazing work with Martha
Stewart Weddings (the commercial worlds stunning version of
details), we were introduced to the rest of her oeuvre, picturing
some of this countrys biggest corporations (Apple, Yahoo!) and
most respected magazines and ad houses. n
Cameron Bishopp
cbishopp@ppa.com
Director of Publications
Join us on Facebook at
facebook.com/PPmagazine
Follow us on
twitter.com/PPmagazine
contributing editors
DON CHICK, LORNA GENTRY,
ROBYN L. POLLMAN, ELLIS VENER
4-editorial_MAGAZINE SHELL 9/14/11 11:05 AM Page 1
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USER MAGAZINE
EAT,
PHOTOGRAPH,
LOVE
Innovative photography in the
landmark cookbook, Modernist
Cuisine, shows cooking
chemistry and food in seductive
and mind-blowing ways
By Lorna Gentry
POETRY,
EMOTION
Emily Nathan uses natural light
and poetrys emotional precision
to encapsulate life in her editorial
and commercial photography
By Lorna Gentry
21 WORKFLOW WONDERS
If time is money, these pro
ideas will help you save both
By Stephanie Boozer
SENIORS: JOB ONE
Read Photography,
a business built on quality
By Jeff Kent
WEDDINGS: DELIGHTFUL DETAILS
11 Tips for sweating the
small stuff
By Pete Wright
IMAGE BY CARRIE PATTERSON
126
83
88
96
116
Features
PROFESSIONAL PHOTOGRAPHER OCTOBER 2011
CONTENTS
7,8-contents_MAGAZINE SHELL 9/16/11 9:01 AM Page 1
Departments
CONTACT SHEET
20 I am me: Karen Carey
22 Giveaway of the month
22 PP Asks: Autumn promos
24 Faking it, making it
by Andrea Dennis
PROFIT CENTER
29 What I think
32 Ask the experts
34 Living the dream: The big clean
by Kimberly Wylie
40 Determining your right of refusal
by Jen Christensen
44 Starting over: The disk debate
by Kalen Henderson
46 Taking care with business
by Scott Elder
THE GOODS
49 What I like
50 Roundup: Wedding ideas
by Robyn L. Pollman
58 Pro review: Olympus PEN E-P3
by Joan T. Sherwood
62 Pro review: My Photo Impression
by Betsy Finn
64 Pro review: X-Rite
ColorMunki Display
by Ellis Vener
68 Pro review: Quantum Qflash
Trio Basic
by Ellis Vener
70 Pro review: Adorama Flashpoint II
620M Portrait Wedding
Monolight Kit
by Ellis Vener
74 Pro review: Fujifilm FinePix X100
by Ellis Vener
ON THE COVER: Emily Nathans image was cap-
tured on a warm, lovely day on the steps of San
Francisco City Hall at high noon. Not a time I like
to take pictures, Nathan says. But something
about the light and her dress made it perfect.
Nathan photographed the light-hearted urban
wedding on assignment for Martha Stewart
Weddings with her Canon EOS 5D and a
Hasselblad H1 with Phase One P25 digital back.
Cover credit: Martha Stewart Weddings/Summer 2010
8 www.ppmag.com
16 FOLIO
103 IMAGING USA
139 PPA TODAY
154 GOOD WORKS
PROFESSIONAL PHOTOGRAPHER | OCTOBER 2011 | WWW.PPMAG.COM
The recently published six-volume Modernist Cuisine: The Art and Science
of Cooking is a masterpiece of cooking science, design and photography. Using a variety of angles,
lenses and innovative techniques, chief photographer Ryan Matthew Smith achieved exquisite detail in
many of the books 3,216 photographs, including this photo of Shanghai soup dumplings.
CONTENTS
116
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7,8-contents_MAGAZINE SHELL 9/19/11 2:37 PM Page 2
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Professional Photographers
of America
229 Peachtree St., NE, Suite 2200
Atlanta, GA 30303-1608
404-522-8600;
800-786-6277
FAX: 404-614-6400
www.ppa.com
2011-2012 PPA board
president
*DON DICKSON
M.Photog.Cr., CPP
ddickson@ppa.com
vice president
*TIMOTHY WALDEN
M.Photog.Cr., F-ASP
twalden1@mac.com
treasurer
*RALPH ROMAGUERA SR.
M.Photog.Cr., CPP,
API, F-ASP
rromaguera@ppa.com
chairman of the board
*LOUIS F. TONSMEIRE, JR.
Cr.Photog.Hon.M.Photog., API
ltonsmeire@ppa.com
directors
SUSAN MICHAL
M.Photog.Cr., CPP, ABI
susanmichal@aol.com
DOUG BOX
M.Photog.Cr., API
dougbox@aol.com
DON MACGREGOR
M.Photog.Cr., API
don@macgregorstudios.com
MICHAEL GAN
M.Photog.Cr., CPP
m_gan@meritageonmain.com
CONSTANCE S. RAWLINS
M.Photog.Cr., CPP
constancerawlins@att.net
ROB BEHM
CPP
info@robbehm.com
LORI CRAFT
Cr.Photog.
loricpg@aol.com
MICHAEL TIMMONS
M.Photog.Cr, F-ASP
tmt@mich1.net
industry advisor
KEVIN CASEY
kcasey@collages.net
PPA staff
DAVID TRUST, CAE
Chief Executive Officer
trustd@ppa.com
SCOTT KURKIAN,
CPA, CAE
Chief Financial Officer
skurkian@ppa.com
THERESE ALEMAN
Director of Marketing and
Communications
taleman@ppa.com
CHRISTEL APRIGLIANO
Director of Member Value
& Experience
caprigliano@ppa.com
CAMERON BISHOPP
Director of Publications
cbishopp@ppa.com
BILL KELLY
Director of Sales &
Strategic Alliances
bkelly@ppa.com
WILDA OKEN
Director of
Administration
woken@ppa.com
DAWN ROBB
Director of Education
drobb@ppa.com
LENORE TAFFEL
Director of Events
ltaffel@ppa.com
CLAIRE WHITE
Director of Allied Associations
cwhite@ppa.com
SANDRA LANG
Executive Assistant
slang@ppa.com
*Executive Committee
of the Board
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12-board_MAGAZINE SHELL 9/14/11 11:06 AM Page 1
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folio|
Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sample
of award-winning photography by PPA members. The Loan Collection is a select group of some
500 photographs chosen annually by the PPA print judges from more than 5,000 entries.
NICHOLE VAN VALKENBURGH
I wanted to shoot this old Masonic Hall in rural Montana for quite some time, says Nichole Van Valkenburgh, of NicholeV Photography in
Woodland Hills, Utah. It just took finding the right bride and convincing her to drive to the middle of nowhere. With a Canon EOS-1Ds Mark III
camera and Canon 85mm f/1.2 L II USM EF lens, Van Valkenburgh exposed Swept Away for 1/1,600 second at f/1.4, ISO 200. The image is a
composite of two from the session, to get the desired perspective of the building, mountains and the bride. Van Valkenburgh used Adobe
Photoshop to combine the images, add texture and a vintage treatment. nicholev.com
Nichole Van Valkenburgh
16,18-folio_MAGAZINE SHELL 9/14/11 11:06 AM Page 1
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AUSTRALIAN MERCURY MEGALOUDIS
Australian Mercury Megaloudis, of Megagraphics Photography in Strathmore,
Victoria, created The Artist and His Dream during an engagement session
with a Canon EOS 20D camera and Canon 50mm f/8 II EF lens. Capitalizing on
the abundant natural light, Megaloudis needed only to add sepia, grain and
texture to create the final image. mega.com.au
Mercury Megaloudis
LUKE EDMONSON
While shooting a destination wedding at Lulu
Vanderbilts plantation in South Carolina,
Luke Edmonson, of Edmonson Weddings in
Plano, Texas, photographed Prince
Fredericks Chapel in front the remains of a
1730s-era church. Edmonson used a Nikon
D3 camera and Nikkor 14-24mm f/2.8 G ED
AF-S lens, exposing the portrait for 1/40
second at f/5.6, ISO 640. A 100WS Lowell
ID-Light provided the main lighting, and a
Sony HVL-LBP LED video light lit the
background. Edmonson set the color
temperature on the camera to tungsten to
force the daylight to appear blue.
edmonsonweddings.com
Luke Edmonson
16,18-folio_MAGAZINE SHELL 9/14/11 11:06 AM Page 2
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V I S I T M I L L E R S L A B . C O M
CONTACT SHEET
Karen Carey of Norristown, Pa., specializes
in child and family portraiture. Her images,
she says, celebrate the blissful chaos of
childhood.
Whether its a portrait of a crying baby or
a set of giggling siblings, you can always find
that intangible essence of Karen Carey
shining through. We asked Carey how she
created her business identity:
How would you describe your style?
Intimate, genuine, uncluttered, somewhat
humorous and soulful. When I describe my
personality, I use words that are quite
similar. It wasnt until I wrote down the words
in my journal that I noticed the correlations.
How did your style develop?
Ive learned to let life unfold around me, and
Ive come to see the beauty in it. I chose to
continue to shoot film when everyone in the
industry told me I had to go digital. That was
a critical decision, and a tough one to follow
through on, but I stayed true to my passion
and released the struggle to the universe. I
gave myself permission to fail and, ironically,
that freedom opened the door to my success.
Tell us about your approach
I conceptualize the story I want to tell about
20 www.ppmag.com
Whats New, Cool Events, Interesting People, Great Ideas, Etc.
Aligning your personality
and your photography
All images Karen Carey
i amme.
20-22,24,26-CS_MAGAZINE SHELL 9/14/11 11:07 AM Page 1
my clients before I pick up my camera. I
visualize the styling, mood, lighting and
tone, and I choose the toolscamera, film,
lightingthat I need to bring the story to
life. I use my instincts and tone of voice to
elicit gesture, but once I pick up the camera,
I let the story unfold naturally.
How do you maintain a signature style, yet
create something unique for each client?
I ask my clients questions about their goals,
their desires and their reasons for calling on
me. I carefully record their answers, and when
the appointment draws near, I make time to
be still and recall their words. I consider what
I want to say or reveal about them, based on
our conversations. Every clients story is
different, so the concept for each is, too.
How do you bring your signature style into
your branding, marketing and selling?
Because my signature style is a direct reflec -
tion of who I am, Im able to be authentic with
my clients and that helps me gain their trust.
My personality, my photography and my
business strategy are all based on the same
principles: honesty, integrity and artistic merit.
How would you advise another photographer
to bring such passion and success into her
own business?
I try to help other photographers identify
their own unique gifts and articulate that
which makes them special as people first,
photographers second, and then as business
owners. I think its critical to work in this
order so you come to see all you have to offer
clients aside from pictures.
Get out a notepad and start a list about
who you are, rather than what you do.
Ask yourself what matters to you, what
moves you? What do you do thats
different, unique, special, peculiar?
Who are you? Write down your answers.
Then dig further into that, writing down
I am statements. Then identify things like: I
love , I feel best when , Its important to me
that , I am good at , I need to work on .
Then you can start to develop a statement
about how that is reflected in the way that you
work with your clients, the way that you create
their images, the way that you do business.
And thats what becomes distinctive about
your brand. If you complete this exercise
you come to recognize your own voice.
Learn more about Karen Carey at
karencareyphotography.com.
October 2011 Professional Photographer 21
22 www.ppmag.com
CONTACT SHEET
PP ASKS
We love hearing from all of
you on our Facebook page.
We ask the questions, you
supply the insights from
the front lines. This month,
were discussing fall promotions. These are
just a few of the responses posted on our
wall. Click the Like button to join the
conversation at facebook.com/ppmagazine.
This months post:
FALL IS HERE! WHAT CREATIVE
PROJECTS AND FALL PROMO-
TIONS ENLIVEN YOUR
AUTUMN SEASON?
Fall mini-sessions. Theres a local orchard that
allows photographers access for a flat $30
fee. Im thinking baskets of apples, using their
barn and rusty old tractor, and I like the idea of
a hammock strung between trees in the orchard.
Amy Van Riessen
Doing photo shoots at a farm with a pumpkin
patch, hay rides, and a petting farm.
Angela Little Miller
All the little munchkins come in their costumes
for a Halloween mini-monster bash.
Deborah Johnson
Ill be doing special Halloween shoots for pets
and their peeps in full costume, complete
with all the props that make this such a fun
event: skeletons, grave markers, witches,
jack-o-lanterns and lots of pet-safe treats.
Tail Snaps
My creative project this fall is a Halloween
shoot with a bride in a vintage dress at an
old plantation home.
Amber M. Phillips
Im planning to recreate a traditional African-
American wedding, from the pre-Civil War era.
Tobie Hickey
A campfire engagement shoot complete with
smores, a tent made out of wood and sheets,
and cowboy boots and hats.
Samantha Lynn
To see our next question and be eligible for future
giveaways, connect with Professional Photog -
rapher on Facebook: facebook.com/ppmagazine.
PPs Giveaway of the Month
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two 9.5-foot air-cushioned light stands, two 40-inch umbrellas,
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When Alexi Shields dove into wedding
photography, everything about it excited
her. At every turn she found fun, creative
angles and locations for photo shoots.
More than three years and 100
weddings later, Shields has seen trends
come and go, not to mention a world of
venues. Now shes found fresh territory to
explorein her own imagination.
I spot an amazing location and auto -
matically imagine a bride standing in the
ray of light, says Shields. Ive started envi -
sioning so many possibilities, beyond even
what my brides are bringing me.
As good professional photographers
know, ones artistic touches should be
applied judi ciously. Clients bring certain
ideas to the table, and they want what they
want; and brides especially want every -
thing to be just so.
Still, Shields can hardly disregard the
creative opportunities her visions bring, as
both wedding photographer and artist. Her
latest inspiration followed from the 2010
movie directed by Tim Burton, Alice in
Wonderland. The colors, costumes and
characters spoke to her so clearly that one
day on a whim, she began to create images
of her own version of Wonderland.
I wanted to dive into the crazy makeup
and styles in the movie, says Shields says.
It wasnt until after that first shoot I
realized I could turn it into a faux wedding
CONTACT SHEET
Faking it,
making it
24 www.ppmag.com
All images Alexi Shields
When Alexi Shields feels
creatively stifled, she gets back
on trackand noticedby
organizing styled wedding shoots
BY ANDREA DENNIS
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theme. When inspiration hit again, it was
a twist on the vintage wedding style, staged
la the era of The Great Gatsby. Her
photo graphs of that pseudo wedding went
into her portfolio.
Now styled wedding shoots are trendy.
For the photographer, they are an oppor -
tunity to showcase his or her talent and
artistic style, and an effective way to attract
the attention of bridal media.
Maybe you could start a trend, as well
revive your creativity.
CONTACT SHEET
LOCK DOWN THE BASICS.
Schedule the date and time and book
the location. Decide how detailed you
want to get, from a tight focus on the
wedding gown to a grand overview of
the setting. Will you act out part of
the wedding ceremony, or stage the
entire event?
Having some basic details in place
helps you flesh out your vision, and
forces you to follow through with the
shoot, Shields says. Plus, it makes it
easier for fellow wedding professionals
in your network to participate.
BUILD YOUR TEAM. Definitely
work with other wedding vendors to
stage your faux wedding. Call everyone
you know and ask them to join in. Many
will jump at the opportunity, even
though they wont be paid. After all, the
shoot will spark their creativity, too, and
theyll get professional photos of their
work to use in their own marketing.
I asked [the management] of a
prestigious new resort in Palm Beach if I
could use the venue for my shoot, and
they agreed on the spot, says Shields.
Then the coordinator I was working
with mentioned Badgley Mischka, the
couture gown maker. Never in a million
years did I think theyd say yes to our
borrowing a few gowns, but they did,
and it took the shoot to a totally
different level.
GO WITH THE FLOW. As in
actual weddings, things might not go
exactly as planned,
or perhaps a col -
league will share a
brilliant twist. Be
prepared to adapt.
These things
change and evolve.
Be open to it, and
let others take the
reins some, too,
Shields says. You
dont have to give
up your vision, but
your flexibility could
very well make the
results even more
amazing.
INDULGE
YOURSELF. Put
aside thoughts of
bringing in new
clients. PR is an
exciting possibility,
but the person you
want to impress is
you. Ultimately, it
will make you a
better photog -
rapher and your
work more sought
after. You cant go into it thinking its
going to be some huge task full of
roadblocks. Its got to be enjoyable. If
its not, youre not doing it right, says
Shields. Just embrace being the bride
for once, and jump into whatever
inspires you. Youll be amazed where it
will take you creatively.
See more of Alexi Shields work at
alexishields.com.
Andrea Dennis is a freelance copywriter
in Bradenton, Fla.
26 www.ppmag.com
4 STEPS IN PLANNING A FAUX WEDDING SHOOT
CORRECTION:
In our August issue, p 50, we made an error
in Roundup: Youve Been Framed. The
Organic Bloom (theorganicbloom.com) uses
only high-quality acrylic (not glass) in its
picture frames. We regret the error.
Photographed on Genuine FREEDOM CLOTH by Janice Lane Crabtree. www.dennymfg.com 1.800.844.5616
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Where the Pros Co
Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies
Whats the greatest challenge your business has
faced in recent years? When we began, a vin -
tage style in commercial photography was almost
non-existent, so our greatest challenge through
the years has been keeping our imagery fresh
and unique in this market.
What were the most effective steps you took in
establishing your business? Establishing our
LLC early on, as well as hiring an accountant,
really legitimized our business.
How do you think the business of profes sional
photography will evolve in the coming years?
We are in love with art, so we would love to see
artists nurturing a wider array of photo graphic
styles and editing techniques. The world is
beautiful because we all differ, so if we keep
pushing ourselves as artists, we could see some
unbelievable things in the future.
If you had to do it all over again, what would you
do differently? When we started out,
photography workshops and learning tools were
more rare and inaccessible. If we began our
business now, we would be more involved in
forums, workshops and leaning from other,
better-established photographers.
IMAGE BY SIMPLYBLOOM
PHOTOGRAPHY
SIMPLYBLOOMPHOTOGRAPHY.COM
What I think
Vania Barbieri and Christine
Berry believe in the value of art
and the power of sharing
29-pcsplash_MAGAZINE SHELL 9/14/11 11:08 AM Page 1
Q: After a wedding, the couple called to thank

me, and said they loved the photos. The
bride called later to make sure Id given them
all of the proofs because her mother didnt
see a good photo of herself with the bride.
Id given her every photo I made that day,
and cited specific images of her and her
mother, thinking they may have overlooked
them. Two days after, the bride called to say
Mom was still unhappy, and shed like to
schedule a re-shoot. A couple of weeks
later, I got an angry e-mail from the bride,
saying shes very unhappy with my services,
that its unacceptable that I neglected to
take photos of the bride and her family, and
questioning my reasoning in my picture
editing. Our exchange escalated until I got a
letter from a lawyer demanding a re-shoot,
due to new reasons for the clients
dissatisfaction. What do I do?
A: If youre a PPA member, I recommend
seeking assistance from the PPA Indemnification
Trust program (mmatthews@ppa.com). In
cases of client dissatisfaction like this one,
the attorneys associated with the trust can
advise you on how to respond to the clients
or their attorney. Its usually best to call on
the trust as soon the transaction starts
heading south.
The advice you get might include hearing
out the clients. Whether or not you agree
with their reasoning, learning the exact reason
for the clients dissatisfaction will help you
find a way to make them happy.
In this case, the bride, or her mother, was
looking for a specific shot that exactly matched
her criteria. Offering a re-shoot under these
circumstances is an appropriate response.
However, be aware that re-shoots can include
picking up the tab for things like dry-cleaning,
tuxedo rentals, flowers and whatever else
goes into recreating the scene. It might sound
expensive, but it can prove to be the least
costly, most reputation-saving remedy.
Theres no one-size-fits-all advice as to
what to offer your clients next. If the client
refuses the re-shoot, keep steering them
toward a resolution that works best for both
of you. You want to be com fortable with the
solution while ensuring the client walks away
with positive feelings.
Whatever the outcome, make sure to
thoroughly document every exchange between
you and the clients. After a face-to-face or
telephone conference, follow up with an e-mail
summarizing what was said. If your clients
rattle off a list of demands, ask them to put
them in writing. The same applies to any resolu -
tion you agree on. Accurate written records will
be invaluable if you do end up in a courtroom.
If you do go to court, be prepared with the
initial contract, the documentation and the facts
to go before a judge. Youre putting the out -
come in the hands of the judge and/or jury.
Lastly, this scare merits revisiting your
contract. Remember that contracts are two-
way streets and are your opportunity to set
(as well as determine) your clients expecta -
tions from the outset. You want to make sure
the agreement is clear and easy for the client
to understand as a means of reducing the
potential for dissatisfaction down the line. n
Maria Matthews, PPA Copyright &
Government Affairs
Q. I want to offer customized products, but
how do I simplify pricing when customers
want to substitute one item for another?
A. These guidelines should help. First, product
development should take time. The baseline
might be to introduce just one new product a
year. If possible, implement the product during
a slow season. The new product should com -
plement your brand. Definitely consider
something that several clients have
mentioned being interested in. I recommend
that the new product have a purpose in your
sales strategy. If you want to increase your
sales averages, create a product thats more
expensive than your current fare.
If you want to allow for flexibility and cus -
tomization with your products, price the new
product according to your most expensive option.
For example, one of our popular products is a
series of three 16x16-inch prints, each framed
and matted; thats how we display them in
our studio. The customization we offer with
this product is vast, but the price does not
change. The unchanging specs on the product
are: the images are printed on 20-inch paper,
so the dimensions can be 16x16, 13x20, or
16x20; the prints will be finished with a 2inch
molding, a 3-inch mat, or as a gallery wrap.
Ive priced the product based on the option
with the highest cost of sales.
The price changes only if the client
upgrades the framing and/or matting; the
price increases are simplea set price for
adding a fillet, larger molding, or a suede
mat. These prices are all listed on the back
of the frame corners, so theres little chance
of error in calculating the invoice.
My frame corners are divided into four cate -
gories, 1 inch to 4 inches, and theres just one
price per category, based on the most expensive
frame in that category. Each category has several
styles, from simple to ornate, so theres flexibility
in customization without complicated pricing. n
Julia Woods, Cr.Photog.
portraitlife.com
Got a question? The SMS team wants to hear
from you. E-mail our panel of experts c/o PP
editor Cameron Bishopp at cbishopp@ppa.com.
32 www.ppmag.com
PROFIT CENTER
Ask the experts
Recourse with an angry mother of the bride, simplifying custom orders
MENTORS FROM PPA STUDIO MANAGEMENT SERVICES ANSWER YOUR BUSINESS,
MARKETING AND SALES QUESTIONS. FOR INFO ON WORKSHOPS, GO TO PPA.COM.
STUDI O MANAGEMENT SERVI CES
Getty Images
32-SMS_MAGAZINE SHELL 9/14/11 11:08 AM Page 1
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You might have noticed how some people feel
the need to clean and organize their surround -
ings before starting a big project. It seems easier
to focus and be efficient when things around
you are in order. Cleaning up can also entail
taking a critical look at your workflow and
business systems to pinpoint any inefficiencies
or problems. The results can be huge.
This year were celebrating our 10th
anniver sary, and we couldnt be more
grateful for the growth and progress weve
made. We feel this is a good time to revisit
some of the routines weve grown comfort -
able with, and decided this year would be
about cleaning house to give us more room
to grow and to become the best we can be.
BRAND. Ive been feeling our brand is
no longer a perfect fit for who we are now. It isnt
good to change your brand often, but after
10 years, its time for us to freshen it up. Re-
branding is a discovery processwho you
are, what feeling you want to evoke, and
what message you want to communicate.
This discovery exercise is enlightening; it
forces you to dig deep to get the answers.
We hired an incredible award-winning
graphic design firm, Banowetz + Company,
to help us. The staff s expertise and skill
combined with our self-scrutiny resulted
in a new logo and a brand look that makes
me giddy just to see it (Take a look at
kimberlywylie.com). If you plan to re-brand,
invest in a professional who will work with
you and know how to build your new
brandit will be with you for some time.
SPACES AND SYSTEMS. Re-branding
brought other issues to light. Looking around
the studio, we began to identify things we
wanted to update or change. In day-to-day
business, its easy to overlook elements you
dont need anymore. Take a week off to analyze
every aspect of your business. See what can
be simplified, updated or removed altogether.
Then think about whats missing, what things
youve wanted to do but hadnt found time for.
Allocate the time to make these things happen.
Its a wise investment in your future success.
CULTURE CHANGE: We found parts
of our workday culture we wanted to change.
That culture, particularly when you have
employees, affects everyone. We called a cul -
ture change meeting to discuss things we felt
were no longer healthy or productive. We
explained our goal was to question everything
to make sure it still made sense. We asked
our employees for input on things we could
change that would make them happier and
more productive. I had a feeling the meeting
would be great, but the resulting empower -
PROFIT CENTER
Time to clean house
Revisit your routines, freshen up your operation
LI VI NG THE DREAM BY KI MBERLY WYLI E, M. PHOTOG.
Kimberly Wylie
We called a culture meeting to
discuss things we felt were no
longer productive. We explained
our goal was to question everything.
34,36-LTD_MAGAZINE SHELL 9/14/11 11:08 AM Page 1
ment it gave each of us was astounding.
Even if its just you, sit down and examine
the assumptions you make in your daily
routine to see if something needs changing.
PRODUCTS. We studied our product
menu to make sure we offered the right
selection, and added new products that
excited us. We removed a few things that
were no longer relevant. If a long-time client
still wants it, no problem, but we wont
show outdated products to new clients.
COSTS. We sat down with our financials
(oh joy!) and identified where we were spending
too much. We found lots of areas where, with
some research, we could save money, such as
our phone bill. My love for texting made the
plan we had a bad fit for us, and changing it
is lowering our expenses. Consider your
lease, your supply sources and all your other
expenses. Are they right for your current
needs? Are there updates available? You
might be surprised at the money-saving
opportunities you can find.
SOFTWARE UPDATES. Software pro -
grams are being created and updated every
day. Some changes can dramatically improve
the way you do business. ProSelect and
SuccessWare make frequent updates, and if
you dont read the update notices, you might
miss some important changes. For instance,
ProSelect can now produce gallery wraps, so
we added them to our lineup. Frequent
updates may be annoying, but they make
your processes run faster.
EMPLOYEE ROLES. Its important to
review your employees roles frequently. Some -
times theyre doing something solely because
thats how they were trained, not realizing
there are easier, more productive methods.
Look at the whole spectrum of what they do.
Sometimes they develop skill sets and goals
that combine well with your growing needs,
and you can create new challenges for them.
Dont be afraid to shake things up a bit; it
will keep your business on its toes and your
employees motivated and happy.
We feel this studio cleaning has been the
most healthy investment we could have made
to set us up for more joy and success. The
only thing well do differently next time?
Not wait 10 years! n
Kimberly Wylie
34,36-LTD_MAGAZINE SHELL 9/14/11 11:09 AM Page 2
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About four years ago, Vanessa Willock sent
Elane Photography an e-mail to ask Elane
Huguenin to photograph her wedding. It
seemed like business as usual. But Huguenins
response would launch a debate that still rages,
and has led many photographers to recon -
sider howand with whomthey do business.
Willocks message included the sentence,
This is a same-gender ceremony. If you are
open to helping us celebrate our day, wed
like to receive pricing information.
Huguenin had an unwritten rule in her com -
pany. She never asked her photographers to
work on something that made them uncom fort -
able. Because same-sex marriage was counter to
her beliefs, Huguenin replied to Willock,
We do not photograph same-sex weddings,
but again, thanks for checking out our site!
That was the wrong answer, according to
New Mexicos Human Rights Commission,
which ruled that Huguenins refusal to work
with a gay couple violated the states non-
discrimination law. The law includes non-
heterosexuals as a protected group.
Unless they went to law school, hated it,
and decided to become a professional photog -
rapher instead, Im not surprised that most
photographers dont know what the law is,
says Jennifer Pizer, legal director for The
Williams Institute at UCLA School of Law.
That Human Rights Commission ruling has
left some photographers, who, like Huguenin,
are uncomfortable with same-sex marriage,
wondering what they should do. The answer
begins: It depends on where you do business.
While customers can decide whether or
not to do business with a particular company,
under public accommodation laws, a business
cannot always exclude particular customers.
Sometimes in a bar or store youll see a
sign that says, We reserve the right to refuse
service to anyone, says Pizer. Its perfectly
legal for a business to buy that sign, but [the
message is] not entirely true. Legally, you can -
not actually reserve the right to refuse service
to most people. Sure, you can refuse to serve
loud obnoxious people or people who cannot
pay, but you cant pick and choose customers
based on grounds that are forbidden by law.
In the U.S., those grounds are the protected
categories listed under federal, state and local
non-discrimination laws. Those laws grew out
of the Civil Rights era and were meant to
compel businesses to cease the practice of refus -
ing service to people because of their race.
The protected categories vary across the
nation, but typically include race, color, creed,
age, national origin, gender, marital status and
disability. Now a growing number of state and
local laws include sexual orien tation, and some
even include gender identity. Currently, 21 states
and the District of Columbia include sexual
orientation as a protected class. But check
your local city or county laws as well. While
the state of Georgias public accommodation
laws do not include protection based on
sexual orientation, the ordinances in the
states capitol city, Atlanta, do. A number of
other cities ordinances extend protection
based on sexual orientation as well. (Among
them are Louisville and Lexington, Ky.;
Austin, Texas; Pittsburgh, Pa.; and New
Orleans, La.)
So, if a same-sex couple asks for a price
quote from a business in any of the geo -
graphic areas governed by such laws, send
them a quote or risk being sued, says Pizer.
Huguenins lawyer, Jordan Lorence, argued
PROFIT CENTER
Determining your right of refusal
Public accommodation and anti-discrimination laws
BY J EN CHRI STENSEN
40 www.ppmag.com
All images Carla Ten Eyck Photography/carlateneyck.com
40,42-samesex_MAGAZINE SHELL 9/20/11 11:07 AM Page 1
that the states non-discrimination law should
not apply in this case, and appealed the ruling
to a district court. His organiza tion, the
Alliance Defense Fund, took the case
because they felt Huguenins rejection of this
gay couple was within her right to free
speech as guaranteed by the First Amendment.
I think this ruling totally diminishes the
artistic expertise involved in professional
photography, Lorence says. By his reasoning,
photography is more than a business, its an
art. Compelling Huguenin to photograph
such a service, he says, implies she agrees
with its validity. This isnt someone shoot -
ing a photo for the DMV. This is a pro -
fessional who is being asked to use [her]
expressive skills to enhance a message
and basically publicize it in the most posi -
tive manner, which is what she would
have been doing had she taken this couples
photographs.
The district court disagreed. It ruled
against Huguenin and ordered her to pay
Willocks attorneys fees. Huguenin has
appealed that decision, too.
Pizer doubts the case will be over -
turned. Even if someone displays a con -
siderable artistic talent, this is ultimately a
business, Pizer argues. It offers services
and goods in the classic sense. And if you
offer a service in the marketplace, you have
to offer them equally.
To date, sexual orientation is a protected
class in 21 states, but check your local laws
as well. To see whether sexual orientation is
a protected class in your area, view the list of
each states policies on the Human Rights
Commissions website, hrc.org/issues/
workplace/workplace_laws.asp. n
Jen Christensen is a freelance writer in Atlanta.
42 www.ppmag.com
A growing number of state and local
laws include sexual orientation,
and some include gender identity.
40,42-samesex_MAGAZINE SHELL 9/20/11 11:07 AM Page 2
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They say theres a time and place for every -
thing. From my experience, I believe thats
true. They also say hindsight is 20-20, and
I think I can prove it scientifically.
In starting a business for the second
time, we again struggled with the dilemma
of will we or wont we sell our digital image
files. In my previous business, I decided in
2001 that it made complete sense to sell
clients digital files, and in hindsight, I decided
it was prudent to do it again. Whoa! Before
you start scolding me, please let me explain.
Our business model is about the same
as it was in 2001; we offer clients the oppor -
tunity to purchase the image, a digital file
print able up to 8x10 inches at 300 dpi. They
pur chase the image just once, then let us make
prints at a discounted price, or take it on CD
to any printer. This puts us in the business
of selling our work rather than selling paper
or canvas. Our print price is competitive with
discount chain stores in our area, but we
clearly illustrate the differ ence between prints
from our professional color lab and prints
from a discount machine or online retailer.
We also stress that our clients time is
worth something, and that they have better
things to do than stand in line at a discount
store to make photos. So why not let us order
the prints for themwe do it every day
and simply call them when theyre ready
for pickup. We call this customer service.
As a business person, I feel selling
digital files is a no-brainer. If you collect a
session fee to create the file, then the price
of the file should include a 95-percent
profit. As a true professional photographer,
you understand light and exposure, and
after you capture the image, it needs little if
any color correc tion, expo sure compensation
or cropping. Therefore, you spend only the
amount of time it takes to get the file from
the camera to the com puter to CD, and
your only cost in goods is the CD itself.
Now youll probably accuse me of being
a shoot-and-burner. I am, and proud of
it. Im a photographer whos good enough
to capture an image and immediately burn
it to CD without being tempted to polish it
in Photoshop. Heck, Ill even shoot it in
JPEG format. Mentally turn back the clock
to the days of film, when we loaded a roll
of trans parency film into the camera. We
were shoot-and-burners then, because we
had to capture the image right on the film
the first time and every time.
What about the customers who buy the
file and output it on their home inkjet printer
onto typing paperarent they ruining my
great work? There are things in life we
cannot control and thats one of them.
Think of a five-star chef who takes half a
day to create an exquisite meal, only to see
the consumer cover it with ketchup. If I know
Ive made a great image and copied it onto
high-quality media, then the customer will
have to do a bit of work to ruin it.
I met a photographer once who tried to
control every aspect of his image-making
workflow. He created it, did a projected
sales presentation, hand-printed it on canvas,
framed it, then went to the clients home to
proudly hang it over the fireplacethe right
location under the right lighting. A few
months later, he returned there to deliver
Christmas cards and the print was missing.
Where did it go? he asked. The lady of the
house told him theyd always planned to
hang it in the bathroom in the basement.
The moral of the story is: Once the sale
is made, you essentially relinquish control
of your work, and you either accept that or
never agree to sell the work at all. If Im in
the business of selling my work, then I
need to learn to relinquish control of it,
confident that when it leaves my hands, it
is absolutely the best work I can produce,
served up with top-notch customer service.
I continue to encourage clients to buy
prints, and to explain how 50 years from
now theyll still be able to enjoy looking at
them, whereas todays disc will be as
obsolete as eight-track tapes.
Hopefully, youve decided not to holler
at me, and have started to think about how
the sale of digital images could fit into your
own business plan. Just remem ber, theres a
time and place for everything, and todays
technology changes every minute. n
Kalen Hendersons and Kate Ridingers
StudioK is in Danville, Iowa (thestudiok.net).
PROFIT CENTER
Starting over
Step 4: To sell or not to sell pixels
BY KALEN HENDERSON, M. PHOTOG. MEI .CR. , CPP, API
V
e
e
r
44 www.ppmag.com
44-startingover_MAGAZINE SHELL 9/14/11 2:06 PM Page 1
Fast Standard Zoom Lens with VC Image Stabilization
See website for $50 mail-in rebate details.
SP 17-50mm F/2.8 Di II VC(Model B005)
With a fast F/2.8 aperture over its entire 17-50mm zoom range, this lens is perfect for
shooting in low light or creating esthetic images. To take it to a higher level, weve added our
exclusive VC (Vibration Compensation) system to control blur and ensure crisp handheld
shots. The result: A new standard in real-world optical performance.
With flower-shaped lens hood. Compatible mounts for Canon and Nikon. This lens is not designed for use with
35mm film cameras and digital SLR cameras with image sensors larger then 24 X 16mm
When a wedding day is going poorly, a pho -
tographer once told me, he keeps telling himself,
Just a few more hours and Im done. He
seemed to be saying that wedding photography
is no more than a single day of interaction
with the clients. But building a relationship
with your clients can be so much more reward -
ing, in both personal satisfaction and revenue.
Client relationships are our highest
priority at Midwest LifeShots Photography.
Weddings are the bulk of our business, but
we also photograph newborns and families.
We practice several techniques to ensure we
leave our wedding clients with an enduring
impression that brings them back for years
to come. Heres how we do it.
SHOW YOUR APPRECIATION.
Wedding clients have plenty of photographers
to choose from, so when they choose us, we
feel truly honored. Within a few days of making
the booking, we give the bride a gift as a
token of our appreciation. A thank-you card
goes alongside. Show your clients you appre -
ciate them, and watch your relationship bloom.
WEAR OTHER HATS. Planning and
scheduling a wedding can be overwhelming
for the bride, especially for those who dont
employ a wedding coordinator. From day
one, we emphasize our knowledge of the
wedding timeline, to ensure the bride has
confidence in coming to us for advice on
structuring her wedding day. Such assis -
tance is incredibly valuable to both the pho -
tographer and the wedding couple. Weddings
have many moving pieces, so being helpful in
more than the expected way shows that the
success of the day is vital to you.
PRACTICE, PRACTICE, PRACTICE.
We require our photographers to attend the
rehearsal. For a few minutes the night before
the wedding, we say hello to the bride and
groom, introduce ourselves to the minister,
and watch the initial walk-through. We
spend the next moments scouting the
facility and grounds. Seeing us at the
rehearsal assures the bride that we care
enough to thoroughly prepare ourselves for
her day. Its also an opportunity for us to
discover a number of shooting locations for
the following day, a boon should we
encounter a rushed schedule.
BE A STRESS RELIEVER. The prep
session for the women and girls of the wed -
ding party can set the tone for the entire days
events. We arrive about a half hour before
they do to get armed and ready. We rearrange
furniture and other articles throughout the
room to suit our needs, reserving the spot
where the best light falls for the brides
preparations. We bring along a bride kit
containing everything from aspirin to safety
pins, and invite the women to help them -
selves to anything they need. Not only is our
bride pleased, but the bridesmaids see how
we take care of our clients, and that
launches a relationship with them.
SOCIAL-IZE. Social networking sites
present unprecedented possibilities to con -
nect with clients. The bride who in the past
would be known as Client 234 is now our
bride who loves Glee. Grooms go from being
known as Client 234b to Chicago Bears fan;
suddenly the couple finds it easy to let their
guard down when its time to step before the
camera. We spend hours commu nicating with
our clients prior to the wedding day, though
its impossible to calculate the value of those
hours on the wedding day. Knowing your
client has never been so easy or so much fun.
Some time ago, as a newlywed was exiting
the viewing appointment, she said, Im sad
to see our relationship end. It became our
goal to ensure it doesnt. Many of our clients
become friends, not just business acquain -
tances. Having been with them through
some of the most important moments in
their lives, were truly honored to retain that
friendship over the years.
Relationships are vital to success in our
industry. Through magazines, blogs, social
networking and forums, we make full use of
every resource we can to inspire our creativity
so that our clients love to work with us.
A year from their wedding, a bride and
groom will be looking at their wedding pho -
tographs and remembering us, and theyll
talk about how they should recommend us
to their newly engaged friends. If theyre not
revisiting the photographs? Well, the happy
anniversary card they get from us in the
mail will pleasantly remind them. n
Midwest LifeShots Photography is in
Rochester, Minn. (midwestlifeshots.com).
PROFIT CENTER
Taking care with business
Evoke sweet memories at every opportunity
BY SCOTT ELDER
46 www.ppmag.com
Relationships are vital to
success in our industry.
Through magazines, blogs,
social networking and
forums, we make full use
of every resource we can
to inspire our creativity
so that our clients love
to work with us.
46-customerservice_MAGAZINE SHELL 9/14/11 11:09 AM Page 1
community | resources | products | happiness
With a community of photography connoisseurs behind you, access
to unlimited products and services is easy. So, go on, open up
Pandoras box. You never know what youll nd.
Stop by. Stay awhile. See the possibilities.
Your new online photo printing resource
www.clickpixx.com
unlimited
products & services
OPENING UP A WORLD OF POSSIBILITIES
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Professional Photographer P R E S E N T S Products, Technology and Services
Has a piece of equipment ever changed the
way you approach photography? The honest
answer is the digital camera. The things I could
do with images on a computer went light years
beyond anything I could do in the darkroom.
When youre on location and need to be nimble,
whats your most valuable piece of equipment?
The Quantum Qflash. Its like a studio strobe
I can carry with me. I use the Quantum Pilot
and Trio systems with the Qflash, which lets
me compensate for overpowering sunlight,
and shape the light for clean, crisp location
portraits with off-camera lighting.
What hot new product are you going out of
your way to use? Nik Viveza 2 softwareI
can fully use every pixel.
If money were no object, what equipment
would you run out and buy? A supercom puter
that wouldnt need to be upgraded every
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take a Hasselblad H4D-200MS.
The one piece of gear you simply couldnt live
without Canon L series lenses. Weve been
in so many scenarios where if wed used
anything less, our images wouldnt have had
the quality were used to producing.
IMAGE BY PETE WRIGHT
PWPHOTOGRAPHY.COM
What I like
Pete Wright goes for good
glass and digital power
49-goodsplash_MAGAZINE SHELL 9/14/11 11:27 AM Page 1
GOODS
Love these fabulous wedding ideas?
We do!
ROUNDUP BY ROBYN L. POLLMAN
Take a look at these items that can make
your wedding images, presentation and
experience even more memorable.
OFFERED BY: MOO
Half the size of standard business cards and printed in color on both sides, MOO
MINICARDS make perfect wedding save-the-date reminders. Customize a MOO template
with your own designs and images or choose from thousands of MOO patterns, colors and
images. The sturdy card stock has a smooth matte finish and excellent color rendition.
PRICE: Starts at $19.99/pack.
Endlessly customizable and printed on both sides, MOO BUSINESS CARDS made
super reception ice-breakers for one bride we know. She came up with a 50-
question, multiple-choice quiz about the couple, and had one of the 50
questions printed on one side of each card in the batch she ordered,
to get guests from both sides of the aisle talking. Another great
suggestionhave images from the engagement session printed
on one side and ask guests to write in marital advice for the
couple on the other. Every card in your order can be unique.
PRICE: Starts at $19.99/pack. moo.com
OFFERED BY: DESIGN AGLOW
The WEDDING CLIENT WELCOME PACKET helps
your clients make decisions about the kind of photog raphy
to invest in for the momentous occasion. For the photographer,
its a unified, professional sales campaign in a box. The
packet includes a studio welcome card and booking thank you
(5x7 flat card with appropriate wording), the photographers
business card, mini-guides on wedding day hair and
makeup and coupons for profes sional services from the
photographers partner vendors (4x5.5 accordion card), a
wedding planner dry-erase board (8x12), a 5x5 tri-fold
insert for grooms (plus studio policies and online gallery
info), engagement session info card (an up-sell oppor -
tunity for pho tographers), preferred vendor card and a
purse-size planner. For the photographer, there are fully
layered PSD templates, plus InDesign easy versions of each template; compatible with most pro labs and Windows and Mac OS. PRICE: $125.
The 10-inch-square INTERACTIVE GUEST BOOK, so much more fun for wedding guests than the usual sign-in book, is something
the couple will always cherish. It features images of the couple, thought-provoking questions and space for the guests responses and personal
notes to the couple. The kit comes with 28 easily edited, dynamic questions and easy templates. PRICE: $60. designaglow.com
Wedding Client Welcome Packet
Moo Minicards
50,52,54-pollman_MAGAZINE SHELL 9/14/11 11:10 AM Page 1
Growing your business
is just a click away
YOUR ONLINE STORE ANYWHERE. Its a HTML5 ready
website and online store all in one. This is much more than just
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Searchable Shopping Carts Fully Customize Works On Any Device SEO Multiple Templates
Scan me!
OFFERED BY: RENTGLASS
Try out a macro lens for those close-up wedding detail shots before you buy. RENTGLASSmakes
it easy with weekly rates and simple round-trip shipping to your door. Rent the newly released
AF-S DX MICRO NIKKOR 40mm f/2.8 and see the fine detail this compact and affordable
lens can capture. PRICE: $21/week for AF-S DX Micro Nikkor 40mm f/2.8. rentglass.com
OFFERED BY: H&H COLOR LAB
The personalized half-inch CELL PHONE CHARM
from the H&H jewelry line is a super little add-on or
bridal client gift. PRICE: $12.50
The FILIGREE OVAL RING featuring the clients
favorite image (3/4 inch) is an elegant upgrade (ring
sizes 7 and 8). PRICE: $55. hhcolorlab.com
52 www.ppmag.com
OFFERED BY: WHITE HOUSE CUSTOM COLOUR
WHCC PRESS-PRINTED MAGNETS are perfect save-the-
date reminders. The magnets come in sets of 25 or 50, and in all
standard flat card sizes (from 2x3 to 8x10 inches) and in all WHCC
Boutique Card shapes. PRICE: Available on request. whcc.com
Adam Czap Photography
OFFERED BY: SIMPLY COLOR LAB
SIMPLY COLOR LABs custom die-cut press printing helps you
sell more by creating unique personalized packages featuring your images.
Get the maximum number of eyes on your work with WEDDING
SEATING CARDS (pictured: cards made from Ashe Design folded
and flat design templates; ashedesign.com). Simply Colors free, cus -
tomizable design templates include more than 70 shapes, but you can
even customize the die-cut of your card. Choose a size from 2x3.5
to 5x7 inches, and one of eight papers in various hues and finishes.
PRICE: Available to registered users. simplycolorlab.com
OFFERED BY: SMILEBOOTH
The SMILEBOOTH is like having an automated assistant to capture the spontaneous antics of
the wedding guests, freeing you to get the most important shots. Guests use a clicker to trigger
the camera, and instantly view the image on an LCD screen. Hi-jinx recorded, guests pick up your
card with online viewing and ordering infoat just $1 for a 4x6 print, theyll place an order. Rent
out your booth to other photographers, too, customizing the rental fee to the demographics. The
more photos that keep popping up on social media sites, the more people will see them, and in
turn want a Smilebooth for their own events. The self-contained booth itself is sturdy, sleek and
highly portable. Give it your own custom touches like backdrops, props and dress-up accessories.
PRICE: Contact Smilebooth for rental and purchase prices. smilebooth.com n
See more from Robyn L. Pollman at paperieboutique.com and buttonsandbowsphotography.com.
OFFERED BY: SASSY DESIGNS &
MILLERS PROFESSIONAL IMAGING
SASSY DESIGNS has designed a beautiful wedding thank-you
card template for the 4x8 ORNATE LUXE CARD by
MILLERS PROFESSIONAL IMAGING. Millers high-
end Luxe Cards are a must-have for any studio. They are
printed on premium press papers and die-cut into stylish
shapes that add an element of elegance to your product line.
Luxe cards are available in several paper types and finishes. Return-
address printing is available on envelopes for an extra charge. PRICE:
Starts at $1.10/card (minimum 25). sassy-designs.net, millerslab.com
OFFERED BY: ACI/AMERICAN COLOR IMAGING
Available in circular and rectangular outlines and a choice of edges, ARTISTRY WALL SHAPES
are laser-cut from clear or black Plexiglas and imprinted with your image. The product comes block-
mounted and ready to hang. Square-format shapes are available in sizes from 8x8 inches through
16x16 inches; rectangular format shapes are available in sizes from 7x10 inches through 17x24
inches. Templates for formatting your images are available online in a ZIP file. PRICE: Provided to
registered users. acilab.com
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2011 Collages.net Inc. Photos Bugs and Butteries Photography, Unique Design Studios, and Heirloom Studio. All rights reserved.
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2011 Collages.net Inc. Photos Dustin Meyer Photography, MacGregor Studios, ABM Wedding Photography, Justin DeMutiis Photography,
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The Olympus Pen E-P3 can quickly turn
into your carry-everywhere, favorite camera.
It cant compete with the iPhones back-pocket
size, but it can give you fantastic captures,
blazing fast autofocus, and creative features
you wont find in similarly priced cameras.
Youll find out the extent of control you have
when you dig into the menu and turn on some
of the settings set to Off in the defaults.
Super-fast autofocus is one of this models
highlights. Olympus named it Frequency
Acceleration Sensor Technology (FAST). It
uses a grid of 35 separate focus points that
cover all but the outside perimeter of the
sensor. You can select 3x3 groups for a little
more coverage if your subject is active. The
AF tracking can follow subjects and contin -
uously adjust focus, even if the subject momen -
tarily disappears behind something. The shutter
response is down to less than 60 milliseconds,
which is great because your fast autofocus
wont mean much if theres a shutter lag.
Youll also see accurate color reproduc -
tion and speed, thanks to the new TruePic
VI processing engine. At press time, Adobe
had not released the official version of Adobe
Camera Raw with support for the E-P3, but the
ACR 6.5 beta version showed very accurate
color reproduction in the OCR raw files in
our tests.
I put the low-light performance and auto -
focus through a grueling trial, using a not
entirely cooperative hen as my subject, and
shooting in heavily filtered, fading late-after -
noon light. The E-P3 autofocus didnt nail it
every time, but considering both photographer
and subject were moving objects, I was
impressed. My sample image, left, looked
great printed at 100 percent (12.6x16.8 inches).
The touch screen is another innovation
in the PEN line. With this feature turned
on, you can select its function to focus where
you tap and automatically release the shutter,
or to choose the position and size of the
focus frame. If you frequently turn the touch
function on and off, assign it to one of the
function buttons. Its a neat feature, but I
found it a little awkward to hold the camera
THE GOODS: PRO REVIEW
The Olympus PEN line releases a new flagship
with arty talent and plenty of control.
BY JOAN T. SHERWOOD
58 www.ppmag.com
The impressive autofocus speed and quick shutter
response were exactly what I needed to capture a
sharp frame of this hen. She would hold her head
still for only a moment. Even though I had to
adjust hard for underexposure in Adobe Camera
Raw, this frame looked great in a large print.
Ellis Vener
Its a smash
OLYMPUS PEN E-P3
Joan T. Sherwood
58,60-olympus_MAGAZINE SHELL 9/14/11 11:11 AM Page 1
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Join a FREE webinar at blog.collages.net/
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www.collages.net/albums for more information
on our complete collection. Order your sample
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(877) 638-7468
customerservice@collages.net
2011 Collages.net Inc. Photos Nick Corona Photography, Tony Gajate Photography, and Heirloom Studio. All rights reserved.
Acrylic
Metal
Masquerade
body and touch the screen rather than just
depressing the shutter. On the other hand, it
was much easier to quickly designate a
specific area of focus than it was to select the
area with the arrow pad on the main dial.
Though there are two function (Fn)
buttons, you can reassign or refine the func -
tion of nearly every button on this camera in
some way. The depth of the controls is so
great that you can forget where to change a
setting back to the way it was. If you press
the info button while youre in the menus,
the display will tell you the function of the
setting youre on. And theres always reset,
which takes you back to factory defaults.
I love the design of the PEN seriesits
style is much more appealing than the
typical lumpy black plastic camera body.
The all-metal E-P3 body comes in silver,
black and white, with a detachable grip. The
cameras com pact ness makes it easy to slip
into a non-camera bag. If you cant live
without a view finder, you can get the new
EVF-2 optional electronic viewfinder with
adjustable diopter and articulation up to 90
degrees for waist-level shooting ($179.99).
If you have a playful, creative side, the art
filters will be a selling point of the PEN line.
The E-P3 has two new ones: Dramatic Tone
with a faux heavy-HDR look, and Gentle
Sepia. The E-P2 introduced Diorama, which
is a tilt-shift effect, and Cross Process. The
camera live view displays how your image will
look with the filter as you compose the shot.
You can make changes to most of the art fil -
ters to adjust the look or add effects like a frame
or white edge. If you have a few fav orites, you
can even set up a bracket of art filters: click
once and have multiple filters applied to the
same shot to give you different versions to
choose from. You can use art filters in any of
the shooting modes, even HD movies.
With the PEN E-P3, you can shoot up to
29 minutes of full 1080i HD video. The
audio is 16-bit 44.1kHz Linear PCM stereo
recording or AC3 Dolby Digital Audio.
There are many features I love in this cam -
era, some new with this model. I like having
an in-camera level to measure the X and Z
axes. The art filters are a kick. The variable
aspect ratio lets me compose for 6:6. The
size4.8 x 2.72 x 1.35 inches sans lensis a
great fit for my location and everyday needs.
The M.Zuiko lenses are smooth, light -
weight, and high quality. The E-P3 comes
with either an M.Zuiko MSC Digital ED 14-
42mm f/3.5-5.6 zoom lens, or a 17mm f/2.8
lens. Also newly released is a fantastic
M.Zuiko 12mm f/2 lens, well suited for low-
light, street photography and landscapes. At
$799.99, this lens is for truly devoted Micro
Four Thirds PEN system shooters.
The PEN system has been a solid, well
designed line of live view digital cameras
with interchangeable lenses, and the E-P3
steps it up a notch. n
60 www.ppmag.com
specs: Olympus PEN E-P3
SENSOR: High-speed Live MOS
RESOLUTION: 12.3 effective megapixels (4,032x3,024 pixels)
MOVIE: Full HD Fine 1,920 x 1,080, 60i recording, 20Mbps, 16:9; AVCHD or AVI Motion
JPEG format; Stereo mic, Dolby AC3 - AVCHD and Linear PCM WAV - AVI sound formats
AUTOFOCUS: Imager contrast detection system, 35-area multiple AF, 9-group target,
face priority, eye detection, magnified spot AF, AF illuminator
ISO RANGE: 200 to 1600 native, custom (ISO 12,800)
LENSES: M.Zuiko Micro Four Thirds
INPUT/OUTPUT: USB 2.0, HDMI, USB/Video, Mini HDMI, AP2 accessory port
STREET PRICE: $899 with 14-42mm f/3.5-5.6 or 17mm f/2.8 lens
The new M.Zuiko Digital ED 12mm (24mm equiv.)
f/2.0 has 11 lens elements in 8 groups, including
elements for high accuracy, and spherical and
chromatic aberration correction. The lens surfaces
have extra-low reflection optical coating, and
the movement is extremely smooth and quiet.
The Olympus Pen E-P3 can quickly turn into your
carry-everywhere, favorite camera ... it can give you
fantastic captures, blazing fast autofocus, and creative
features you wont find in similarly priced cameras.
58,60-olympus_MAGAZINE SHELL 9/14/11 11:11 AM Page 2
Perfect Portrait is the completely new product for simple yet powerful portrait
retouching that works directly with Lightroom, Aperture and Photoshop or even on
its own. Automatic face detection helps you quickly get to the critical work of retouching
images so no time is wasted on complicated steps to locate your subject's eyes, nose
or mouth. The smart retouching tools in Perfect Portrait provide just the right controls
to reduce blemishes, smooth skin and enhance eyes.
Try Perfect Portrait today to experience how easily you can create stunning portraits.
DOWNLOAD PERFECT PORTRAIT TODAY AT onOneSoftware.com
2011 onOne Software, Inc. All rights reserved. onOne Software is a registered trademark of onOne Software, Inc. The onOne Software logo and Perfect Portrait 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 Portrait 1
New from onOne Software
My Photo Impression will imprint your
photograph onto a framed translucent
panel that makes your image look like its
etched in marble; switch on the backlight,
and the image is illuminated with photo -
graphic clarity. The framed panels fall into
three categories: illuminated frames;
nightlights; and window viewers
something like stained glass window hangers.
Getting two completely different looks in
one product intrigued me. Plus, its like com -
missioning a bas relief sculpture from my
photographs. For this review, I ordered an
18x24 translucent panel and a nightlight. I
display portraits of my family in our residential
studio for my clients to see, and I chose images
by Keith Howe of Photographic Images for
my demo (photographicimages1.com).
Ordering was easy and more personal
than were accustomed to these days. Trent
and Jill Jones, the owners of My Photo
Impression, prefer person-to-person
customer service, so you simply send your
files to the company by e-mail. Turnaround
is typically about two weeks, not bad when
Etching adds another dimension to backlight displays.
BY BETSY FINN, CR.PHOTOG., CPP
62 www.ppmag.com
Emotional
imprint
MY PHOTO IMPRESSION
Left: photo panel fully illuminated.
Above from top: original print by Keith Howe,
the unlit etching, the panel backlit.
Betsy Finn
Keith Howe
62,63-photoimpressions_MAGAZINE SHELL 9/14/11 11:12 AM Page 1
you consider it took 12 hours of machine
etching for my 18x24 piece.
In the set of images here, you see the
original image, the unlit bas-relief image,
and the backlit translucent image. Im afraid
its not possible to capture just how impressive
these pieces look in person, but trust me. The
first people in my studio who saw the unlit
piece thought it was really cool, and when I
turned on the light, they were blown away.
On the suggestion of My Photo
Impression, we upgraded the standard
frame for one with wider molding. There is
the question of what to do about the AC
power cord trailing from behind the framed
piece. Although I didnt try it, the company
recommends installing a recessed outlet box
behind the piece to hide the cord. I simply
concealed most of the cord behind furniture.
I can carefully slip my fingers behind the
frame to access the on/off switch.
Mounting hardware is included with the
large panels, but you should expect to install
the hardware yourself. Mine shipped with a
heavy-duty picture hanger that went on
nicely with a screwdriver. The hardware is
engineered to support 75 pounds on half-
inch-thick drywall.
The larger translucent pieces have a wow
factor, and the nightlights are adorable. I would
definitely consider selling them, or offering
them as incentives for clients with babies or
young children. The nightlight has a flat front
and a curved back panel, which helps to
evenly illuminate the translucent front panel.
Overall, I was impressed with the My Photo
Impression products and service. This line is
definitely one I would be happy to offer
clients looking for something different. The
illuminated framed panels include a one-
year warranty and an ultra-slim LED panel
that will yield 80,000+ hours of light. The
durable surface is stain resistant, and can be
cleaned with everyday household cleaners.
Illuminated translucent panels are
available in 5x7, 8x10, 11x14, 16x20 and
18x24; prices start at $99. Nightlights are
$25 each, and 5x7 window viewers are $45
each. My Photo Impression offers specially
priced studio sample packages for new
clients. For more information, visit
myphotoimpression.com. n
Betsy Finn, Cr.Photog., CPP, has a portrait
studio in Dexter, Mich., bphotoart.com; she
shares tips and ideas for photographers at
learnwithbetsy.com.
We have been an authorized Canon dealer for over 20 years
and we sell more 5D Mark IIs than anything else. We offer
unparalleled advice and support for the 5D Mark II, and all
of Canons cameras, lenses, speedlites and printers.
Get your 5D Mark II at www.calumetphoto.com
PERFORMANCE
THAT EXCEEDS
EXPECTATION

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62,63-photoimpressions_MAGAZINE SHELL 9/14/11 11:12 AM Page 2
This summer X-Rite introduced two new
colorimeters, the ColorMunki Display and
the i1 Display Pro. Either will do an excellent
job of calibrating and profiling displays and
digital projectors, but there are real-world
differences between the two. Both are alter -
natives to the discontinued Eye-One Display
2 and work well with wide-gamut displays,
including those with LED backlighting. We
tested each with a 2010 27-inch iMac with
white LED backlighting with a gamut near,
when not exceeding, the limits of the Adobe
RGB (1998) color space. In this two-part
review we first look at the ColorMunki Display.
The goal of profiling a display is to get an
honest vision of the tonal and color content
of your images, so you can make reliable
judgments in your image processing. A well-
profiled display is the foundation of the
digital imaging process post capture. Basic
color management is not difficult, but it does
require attention to detail. The ColorMunki
Display is meant for new or mid-level pho -
tographers, and those with limited time or
patience for technology. Its an easy entry to
a solidly color managed workflow, with options
for advanced control over the pro filing
process as your knowledge and skills grow.
As with all profiling tools, there are two
parts: software and hardware. ColorMunkis
hardware element is a small device with a
specialized sensora colorimeterthat con -
nects to your computer via USB cable.
Roughly the size of a small computer mouse,
its light weight makes it ideal for travel and
laptop computers. A U-shaped arm rotates
around the long dimension to protect the
sensor optics when its not profiling, and
also serves as a base for profiling projectors.
In the base of the U is a diffusing disk used
when evaluating ambient light. A standard
size female tripod-mount socket is located
on the end opposite the sensor optics.
The software is straightforward to use;
the help button opens a small wizard window
explaining the process in the stage youre in,
and offers a short video tutorial for that step.
There are two user modes in the soft -
ware, Easy and Advanced; in either mode
the entire calibration and profiling process
takes about 9 minutes from start to finish.
Easy mode does a pretty good job of generating
an all-purpose profile. In Easy mode the
luminance target is automatically set to 120
cd/m
2
and the white point target value to
CIE Standard Illuminant D65 (the standard
spectral distribution values for midday
sunlight in Western and Northern Europe).
First you take a reading of the light condi -
tions near your display for the ALSC
(Automatic Light Smart Control), then you
go through the step-by-step process of build -
ing, naming and saving the profile. You can
choose from six images created by X-Rites
Coloratti for before-and-after comparison,
or use one of your own images. Youre limited
to one custom image at a time, so set up a small
folder of the different image types you regu -
larly deal with so you can test them efficiently.
You get a final option to set the ALSC fea -
ture to automatically check the light condi -
tions around your display. If theyve changed,
it can tweak the profile to maintain accurate
color and tone relationships. This will tie up
a USB port. Ideally, you should do critical
color work in low to moderate light that remains
consistent throughout the work session. If
thats impossible, ALSC is worth exploring.
We found that if the environ mental lighting
changes beyond a certain point, a warning
pops onscreen and advises you to re-profile.
The Advanced mode has more options,
beginning with calibration settings. Unless
The ColorMunki offers simple color display profiling for
busy photographers who dont need a complex system.
BY ELLIS VENER
64 www.ppmag.com
Adept, adaptable
profiling
PART 1
X-RITE COLORMUNKI DISPLAY
Settings used for a 27-inch white LED backlit iMac
and an Eizo CG222W display.
64,65 colormunki_MAGAZINE SHELL 9/14/11 11:12 AM Page 1
you have a good reason not to use D65 for
the white point, such as working in pre-press
at an offset printer, the best policy for most
photographers is to use this standard. You
can choose a brighter or darker luminance
value. (I tend to use 90 cd/m
2
, as it makes
for better display-to-pigment print matches.)
In the next step, you have the option of
turning off ALSC, and to enable a new
option, Flare Correct. Flare Correct is useful
if you work in a space where light coming from
behind you bounces off the screen. This kind
of glare does an effective job of lowering the
perceived contrast range of the image youre
working on.
Another Advanced mode option lets the
ColorMunki automatically determine the
best value for matching your display to the
conditions in which you judge prints. X-Rite
specifically recommends using this option if
you have a viewing booth or use SoLux lights
in the viewing environment. We tested this
option in a GTI Soft-View D5000 SOFV-1e
viewing booth and were quite pleased with
the screen-to-print match. (The ColorMunki
Display can match a second screen to the
first and profile digital projectors, but we
didnt test those features for this review.)
One aspect not covered by the wizard or
video tutorials is the preferences settings. Go
to Preferences and check one setting first,
your display type, which will be CCFL or
White LED unless you have an unusual
display. You can find which type your display
is in its specs.
ColorMunki Display software determines
the preference settings based on information
it pulls from your operating system and display
hardware. It chooses the settings most likely
to be the best for your setup. In our tests,
ColorMunki selected the wrong type for the
27-inch iMac we were profiling. Likely this error
will be corrected in an update, but you might
want to look up your displays specs to see if it
uses CCFL or White LED backlight and check
the setting in Preferences before you begin.
When set up correctly, the ColorMunki
Display does a terrific job profiling wide-
gamut displays and, assuming you have a
good profile for the paper and printing
process youre using, helping you achieve a
very good display-to-print match. Its cur -
rent street price of about $166 makes it very
attractive. If your studio needs even more
capabilities and precision, the X-Rite i1
Display Pro may be just the ticket; well review
that solution in the November issue. n
We offer the complete range of Canon lenses at the lowest
authorized dealer prices. Our experts at 1-800-CALUMET are
available to help you select the perfect lens for your next project. Explore Canon lenses at www.calumetphoto.com
FLEXIBILITY
THAT FUELS
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64,65 colormunki_MAGAZINE SHELL 9/14/11 11:12 AM Page 2
Last year we reviewed the Quantum Turbo
3, a high-voltage, high-capacity battery that
can power assorted flashes and cameras,
including Quantum Instruments own
flashes. Quantum makes four Qflash lights.
The heaviest hitter is the bracket and stand
mounted high-powered X5d-Rup to 400
watt-seconds (WS), which is powered by a
Qpaq-X battery. The others are the Turbo-
powered, 150WS T5d-R and hot shoe
mounted 80WS Trio and Trio Basic flashes.
All four work with a range of OEM
reflectors and soft boxes; Chimera Lighting
also makes a Speedring adapter for a
Quantum flash for use with both their and
other makers soft boxes. Quantum also
makes its own wireless radio systems, the
Freewire and RadioSlave 4i, and various
other accessories. For this review of the Trio
Basic, we used the Canon version of the Trio
Basic Flash and a Turbo 3 to power it.
The primary difference between the Trio
and Trio Basic is the built-in Freewire
receiver in the original Trio; their
performance is identical. In terms of
capacity, a Trio Qflash has about 30 percent
more stored electrical capacity than the Nikon
SB900 or Canon 580 EX II, but because of
the difference in flashtube and reflector
design, the difference in energy output is
minimal. If the zoom is set to a tight-angled
beam, the maximum measured output over
a small area favors the Nikon and Canon
flashes. Unlike the competing Canon and
Nikon smart flashes, the Trio flash tube is
easily removable.
Powered by an external high-voltage
battery, the Trio Basic is ideal for long bursts
of rapid-fire shooting. Nikon SB800, SB900
and Canon 580 EX II smart flashes can be
powered by a Turbo battery, but theyre not
really designed to rapidly and continuously
push out full or near-full power flashes every
couple of seconds. If you work one of those
smart lights hard enough, a built-in
thermostat will shut down the flash until it
cools off. If youre a Canon shooter, you may
already know about the problem of high
localized electronic noise thats generated by
the 580 EX II when it interferes with the
reception of signals from a PocketWizard
ControlTL. There have been unrelated
problems linked to the very tight internal
sealing in the 580 seriesit causes greater-
than-normal ozone concentration around
the flashtube, which can lead to arcing from
the flashtube to the metal-coated reflector
when the flash is triggered quickly and
repeatedly. Those problems are non-issues
with the Trio.
I was initially doubtful of the reliability
of the Trio Basic flash in QTTL mode in
integrating with Canons E-TTL metering
The Qflash Trio Basic gives you fast, powerful
and accurate performanceat a price.
BY ELLIS VENER
68 www.ppmag.com
Flash decision
QUANTUM QFLASH TRIO BASIC
Here we used a single Qflash Trio Basic with a stan -
dard reflector and diffuser, about 18 feet from the
camera, and synced with a PocketWizard ControlTL.
Ellis Vener
68,69-QFLASH_MAGAZINE SHELL 9/14/11 11:13 AM Page 1
system. But once I began using it in the
field, my concerns evaporated, The camera
and flash combination worked reliably, both
connected with a Canon OCE-2 cable, also
when far off camera and wirelessly triggered
by the PocketWizard ControlTL system.
This held up in standard sync speed range,
at higher shutter speeds in Canons HSS
(High Speed Sync) mode, and in the
ControlTLs HyperSync mode.
The downside of the Quantum Trio flashes
is their bulk and expense in comparison to a
580 EX II or SB900considerably more
expensive if you dont already own a Quantum
Turbo battery. But for some users, the
expense might be outweighed by its high-
pressure performance and the way it works
with a wide range of OEM and non-OEM
light modifiers. n
specs: Quantum Qflash Trio Bacis
MAXIMUM ENERGY: 80WS
MODELING LIGHT: No
POWER SOURCE: Proprietary to
Quantum Turbo batteries
NUMBER OF FLASHES: 630
(full power) to 7,500 (1/8 power)
with Turbo 3 battery
FULL POWER DISCHARGE
RECYCLE SPEED: 1 second
with Turbo 3 battery
SIZE: 4.09 x 3.33 x 5.85 inches
(not including reflector or flashtube)
WEIGHT: 20 ounces
STREET PRICE: $645
68,69-QFLASH_MAGAZINE SHELL 9/14/11 11:13 AM Page 2
Adorama markets three lines of monolights
under the Flashpoint brand. The Flashpoint
II 620M Portrait Wedding Monolight Kit
comes with two 300-watt-second (WS) mono -
lights that can be AC- or DC-powered, two
battery packs, a pair of 10-foot light stands,
two 40-inch umbrellas, a cone-like snoot with
two grids, and a carrying case, all for $729.94.
Along with the older 1200WS Flashpoint
2420, there are two Flashpoint II lines. Models
range in maximum capacity from 150WS to
900WS. The Flashpoint II line suffix letter
A behind the model number denotes AC-
only. The model numbers ending in M have
an interesting trick up their sleeve: they can
be powered by either a 110v AC source or
directly by the FP2PPN battery power pack,
a DC source. There are also 220v models,
but no bi- or floating-voltage models.
Adorama claims the user-swappable nickel-
hydrogen battery in the FP2PPN is good for
200 full-power flashes with an 620M, and if
thats not enough juice, the battery itself is easy
to swap out for a fresh one, and recharged
separately from the pack. The DC-powered
option makes the M models suitable for use
in the field, but can also speed up work in
locations where AC is available but not
quick or easy to access, which is often the
case in offices, chapels and industrial
locations. When its AC powered, the 620M
runs a continuous cooling fan, and the
150-watt quartz-halogen modeling light
is functional. The DC option bypasses
these features.
The lights themselves are fairly straight -
forward. Overall construction quality is nice
and solid, and the flash body is made of
heavy-gauge metal. The 620Ms five controls
are in a cluster on the rear panel. Four are
the rocker type; the energy setting is a stepless
rotating control. Each setting is clearly marked.
The connection for AC power is at the six
oclock position on the back, and the separate
connection for the Flashpoint FP2NN battery
pack is on the bottom. Crowning the rear panel
is a very nice handle for carrying or aiming
the flash. The slave eye is on top of the flash,
but we were unable to get the slave feature to
work during an outdoor shoot, even with one
flash directly in front of the other. The sync
connection is a standard .25-inch monopole
phone jack. The flashtube and modeling
light are changeable without special tools or
expertise. Theres a built-in shallow sub-
reflector just behind the flashtube. The
modeling light has three settings: off, full
and dimming, with flash output setting.
The different reflectors and speedring in
the Flashpoint II series lock into the body of
the monolights with a four-prong bayonet.
You get the light-modifying options most used
by photographers. To control beam angle
This low-priced light kit gives you versatility with a DC
twist, but its low-power flash performance isnt up to spec.
BY ELLIS VENER
70 www.ppmag.com
Variety pack
ADORAMA FLASHPOINT II 620M PORTRAIT WEDDING MONOLIGHT KIT
70,73-Flashpoint_MAGAZINE SHELL 9/14/11 11:13 AM Page 1
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with the standard 8-inch-diameter reflector
theres an optional four-leaf barn door, which
you can also use to hold a 40-degree honey -
comb grid for a soft-edged spotlight effect.
For even tighter beam angles, you can get a
tapering cone-shaped snoot with two grids.
Adorama sells the Flashpoint II Soft
Reflector, Beauty Dish in three diameters: 16,
21 and 27 inches. All sizes come with either
a soft white or brushed silver finish and accept
a 20-degree grid. The Flashpoint II speed -
ring works with most makes and sizes of
rectan gular and octagonal soft boxes. When
used with a broad-angle reflector or modifier,
the model ing light and flash patterns match
well, but if youre using the flash as a
narrow-angle focused hard light sourceas
when you use the included snootdo not
expect true tracking for flash pattern, as the
flashtube circles only the base of the
modeling lamp.
Although the unit is marked and marketed
as having a six-stop range, from full to 1:32, or
300WS down to 9.38WS, we were unable to
achieve the lowest claimed output at the mini -
mum power setting. Setting up a Sekonic
L-758DR flash meter at a distance of 5 feet
from either 620M, each fitted with a standard
8-inch reflector, and the meter set to a
shutter speed of 1/125 second, ISO 100, we
measured the full power setting to be f/32 + .8
and the minimumsetting as f/8 +. 5, about a
5 1/3 f/stop range.
As you lower the flash power, the color
temperature drops from 5500 Kelvin to 5250K
over the full range, but this happens in three
stages. From 1:1 (full) to 1:2 (half ) power,
there is barely any change, then theres a
200K drop in the 1:4 to 1:8 range, and
finally another 100K fall in the 1:16 to 1:32
range. Adorama claims the t0.5 flash duration
ranges from 1/600 second at full power down
to 1/1,000 at minimum; that translates to a
t0.1 range of 1/200 to 1/334 second, if youre
interested in how well the flash can freeze
motion. These measurements arent bad for
a low-priced non-IGBT type monolight, but
the difference between marked and
measured power at the low end is a concern.
In general, the Flashpoint II 620M Portrait
Wedding Monolight Kit produces nice light
quality. If youre wading deeper into the lighting
pool and find yourself needing a little more
energy to work with, or want to explore lighting
options beyond low-powered speedlights, this
could be a good starter set. If youre an
expe rienced pro, the direct-DC option is a
really nice feature. A single 300WS
Flashpoint II 620M, with speedring, FP2PPN
battery power pack and a spare kit costs
about $500. n
For this portrait, author Ronald Gauthier was lit
by a single Flashpoint II 620M modified with a
40-inch white Adorama umbrella. Exposure:
1/160 second at f/13, ISO 125.
Ellis Vener
70,73-Flashpoint_MAGAZINE SHELL 9/14/11 11:13 AM Page 2
Fujifilm has a long history of making won -
derful medium-format rangefinder cameras
and a shorter history of making very fine
DSLRs. With the new FinePix X100, are the
two merging? The X100 is basically a high-
end point-and-shoot masquerading as a true
rangefinder like the Leica M9, sometimes
with out success. Its a great idea, but only a
first draft. We tested the camera first with
the shipped version of the firmware, then
updated to the latest version available. If you
have an X100 with v1.01 installed, update
immediately. At press time, the latest
version was v1.10.
With an integrated and terrific single
focal length lens and a really good APS-C
size, 12-megapixel CMOS imaging sensor,
the cameras image quality is outstanding.
From the front element to the 2,848x1,288-
pixel sensor, the entire imaging system works
together perfectly, yielding terrific resolution
with the lens in the f/4 to f/8 range.
Although its impossible to evaluate the lens
separately, the Fujinon 23mm f/2 lives up to
its distinguished heritage. Unlike wide-angle
lenses for SLR cameras, theres no need for a
complicated retro-telephoto optical path,
and Fujinon keeps it simple here: eight
elements, including one molded glass
aspherical element arranged in six groups.
On the receiving end is the 12.1-megapixel
15.8x23.6mm sensor that doesnt push the
limit on how many millions of photo sites
can be crammed into it. As with many
digital cameras, a micro-lens array corrects
for light falloff and chromatic aberrations of
light striking the imaging chip assembly at
off-axis angles. These tiny photo-site size
lenses redirect the light straight down into
the wells of the indi vidual photo-sites.
Because the X100 is designed with a fixed
focal length lens, the array could be
specifically built for the lens.
Like a true old-school Canon, Contax,
Leica or Nikon rangefinder, the body of the
camera is small, inconspicuous, quiet and
relatively lightweight compared to an SLR.
The size makes it easy to carry with you, and
to capture photos that would be awkward if
not impossible to get with a larger and
heavier camera.
If the image quality is high and the
With an imaging system that works perfectly from
the front element to the sensor, the Fujifilm
FinePix X100 could be the niche camera for you.
BY ELLIS VENER
74 www.ppmag.com
Its a hit
FUJIFILM FINEPIX X100
The Fujifilm FinePix X100 captures the extraordinary color gradients of this lotus blossom. Exposure:
1/500 second at /11.
Ellis Vener
74,76,78-fujifilm_MAGAZINE SHELL 9/14/11 11:14 AM Page 1
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body is the right size, why isnt it the great -

est digital camera ever made? The first
Achilles heel is the small body size, prob -
lematic in three photo-taking ways. With
less real estate, some of the controls are
awkwardly placed or combined in ways
that can cause errors in the heat of shoot -
ing. The most grievous example is the
meter-biasing dial; its located on, and
slightly overhangs the right rear corner of
the top deckexactly where you place your
thumb if youre using the viewfinder
instead of the rear preview screen. Its way
too easy to accidentally turn the non-
locking dial and unintentionally over-
or underexpose without quite realizing
whats going on.
Making matters worse, at least on the
camera Fuji loaned to Professional Photog -
rapher for review, the dial spins too easily.
Stopping to analyze and fix the problem
means you have to stop paying attention to
making photos and pay attention to the
camera. Adding a lock or detents to the
movement should help, but moving this
control would eliminate the problem.
The second problem is one you learn to
deal with as you work with the camera.
The main control center on the back is a
circular four-way button switch combined
with a rotating ring. Push down the left
button to choose either standard or macro
working distance, and rotate the ring to
choose which of the two you want to work
in. Push the right side button and you can
choose between forced flash, no flash, or
having the flash fire at the end of the
exposure for a more natural looking, frozen
subject with trailing blur effect. The top
button accesses a screen of capture options,
and the bottom button opens the white
balance menu. All well and good, except
that it takes only a very light and fast touch
when rotating the ring to select the mode
you want, and its easy to inadvertently
sink into sub menus with the press of the
wrong button.
Open the hatch on the right end of the
body to reveal an HDMI connection, along
with what is apparently a proprietary USB
2.0 port. If it isnt proprietary, then it
certainly is rarethe owners of two well-
stocked computer and peripheral stores had
never seen one like it. (Word to the wise, buy
a backup cable before you need one.)
76 www.ppmag.com
specs:
Fujifilm FinePix X100
SENSOR: 23.6mmx15.8mm CMOS
RESOLUTION: 12.3 effective megapixels
(4,288 x 2,848 pixels)
MOVIE: HD 1,280 x 720, 24fps,
H.246 (MOV); 10-minute clip maximum,
built-in stereo mic
AUTOFOCUS: TTL contrast, AF illuminator;
25 focus points with OVF, 49 with EVF
ISO RANGE: 200 to 6400 native,
custom (ISO 100, 12800)
LENS: Fujinon 23mm f/2 single focal length
INPUT/OUTPUT: USB 2.0, HDMI mini
STREET PRICE: $1,200
Control locations and easily rotating dials can
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And there are problems with the electronic
viewfinder (EVF). I recommend you use it
in EVF instead of OVF mode. but I found
two disconcerting flaws with it. The worst
is that in EVF mode, as soon as you snap
a photo, you lose sight of what youre
photographing, and in its place you get a
preview of the photo you just snapped.
Pressing the shutter release lightly gets you
back to picture-taking mode, but your
concentration is broken, and you lose a
second or two.
More viewfinder issues: You dont get an
entire view of the frame through the viewfinder
window, whether you are in standard or
EVF mode, more like around 90 percent.
Also, as long as the EVF viewfinder mode is
the preferred method of using the camera
(think of EVF as Live View, but on a smaller
and more private screen), why cant we
use the magnify buttons to zoom in and
check critical focus before or after we
click the shutter as we can when using
the rear screen?
Finally, theres something missing from
the X100 box: A lens shade. Given an
average street price of $1,199.95, a simple
thing like a lens hood might be included. If
you want one, be prepared to drop another
$129 to 139 for a hood and adapter ring.
In comparison, Leicas metal hood for both
35 and 50mm Summicrons sells for $146.
The X100 Fuji has an excellent imaging
system buried inside a camera body with
real ergonomic problems. These are not deal
killers, and the non-physical ones might be
fixable in a future firmware update. The
Fujifilm FinePix X100 is a niche product to
be sure, but it fills a useful professional
niche as a small and light, high-quality
camera that doesnt cost a fortune.
Because it is a terrific idea, I hope
Fujifilm will not only remedy current
problems, but also extend and expand the
concept to embrace a digital version of
the old GA645 6x4.45cm format film
cameras. Portrait, wedding, still life, adver -
tising and landscape photographers would
find it a real boon to have a medium-
format digital rangefinder with a real
range finder mechanism for manual focus -
ing in addition to a larger EVF screen in a
larger viewfinder, manual focus that actually
works but also incorporates tack sharp and
fast AF, built around a 39-megapixel
sensor, and sporting a less awkward, more
spread out control layout. n
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ACCESSORIES
78 www.ppmag.com
American Color Imaging
You could win any four Artistry Wall Shapes. An
ACI-exclusive, Artistry Wall Shapes are laser cut
from lengths of Plexiglas. They come ready to hang
with a mounting block attached. Available in square
format (8x8 to 16x16) and rectangular format (7x10
to 17x24). Includes premium black acrylic backing
and metallic photographic paper.
acilab.com/win
Win this October 18
Bay Photo Lab
Win a Pacic Albums from Bay Photo Lab are true
ush-mount albums. Get creative with an ocean of
possibilities, including full-wrap photo covers, metal
covers, or mix-and-match colors and materials
in assorted sizes. Create unique albums perfectly
suited to your clients tastes. Pacic Albums feature
an amazingly narrow gutter, providing peerless
visibility for spreads with a clean style, and are fully
assembled and ready to ship in three business days.
bayphoto.com/pacic-albums
Win this October 19
Adoama
This is your chance to take home a Flashpoint
Background Wedding Kit! The Flashpoint
Background Wedding Kit (SKU: FP320MWBK)
has everything you need to remove distracting
clutter so the people youre photographing get
all the attention. The kit consists of a 10-foot
background stand, a 10-foot muslin cloth, a small
light stand and an adjustable strobe to light up the
background. Improving the background in your
photographs will greatly improve the overall look of
your images.
adorama.com
Win this October 17
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SPE CI AL PROMOT I ON
21 days of giveaways!
21 chances to win!
ENTER AT PPMAG.COM/WEDDINGEVENT
R1-10-weddingadvertorial.indd 1 9/19/11 2:06 PM
CPQ Professional Photo Lab
Showcase every moment of the special day in style
with a CPQ custom-bound wedding book. These
books are a lasting keepsake and a perfect addition
to any coffee table. Choose a cover option and up
to 60 interior pages printed on e-surface or metallic
photographic paper with heavy-weight mounting.
Design options are virtually unlimited with CPQ
ROES software and custom templates. Our website
features this and many other unique products for
todays professional photographer.
cpq.com
Win this October 26
Denny Manufacturing Co.
Giving away an EZ-Stand (EZ-HD) and a Medium
Gray Solid Freedom Cloth (SFC-MG), together
valued at nearly $260. The heavy-duty EZ Stand
adjusts up to 13 feet high and folds down to 44 inches.
The feet expand out to 40 inches in diameter and
weigh 6 pounds. This stand will hold large light sources
and soft boxes and is great for weddings. Dennys
Solid Color Freedom Cloth backdrops are great for
both studio and location photography. The cloths
are lightweight, machine washable, dryer/steamer
safe, wrinkle resistant and available in 15 colors.
Best of all, they alleviate seamless paper hassles.
dennymfg.com
Win this October 27
Collages.net
Win a 20x8 Acrylic Album with a value of up to
$450! Collages.nets Acrylic album is the perfect
product for the modern bride and a huge hit with
photographers at the recent PPA Tour stops. Select
one of three acrylic typesclear, linen, or cascade
then match it with a color from the Premium
Leather or Glam Leather Collection to adorn the back
and spine. Semi-lustre, metallic, or matte photo-
graphic paper is available to order with the Acrylic
album. Design the album yourself, use Collages.nets
free drag-and-drop software, or let them create a
custom design for you. Collages.nets albums are
made in the USA and ship in two weeks or less.
collages.net/albums
Win this October 25
Burrell Imaging
Burrell is giving away a 15-page, 10x10-inch
Designer Album with an acrylic cover. Designer
Albums are true ush-mount albums that showcase
photographic panoramas, and feature four cover
materials in 28 colors. This line of designer albums
adds an element of extreme elegance to your wed-
ding images. Destined to look stylish for years to come.
burrellimaging.com
Win this October 21
ClickPixx
Take home a 24x30-inch Canvas Print Wrap from
ClickPixx. We wrap em around a wooden frame so
the image continues on all sides. We actually strip
your photographic image from its paper backing
and heat-mount it to the canvas. Result? The rich
canvas texture really shows through in an image-
attering way. The special backing ensures your
image wont warp, wave or ripple. Yeah, its old
school and labor-intensive, but its one super-ne
wrap! Were condent youll nd our Print Wraps to
be the absolute best in quality.
clickpixx.com
Win this October 24
Black River Imaging
Win two 24x30-inch Specialty Shaped Metal
Prints, a $290 value. Inspired by the mirrors
and vintage signs found in French ea markets,
Specialty Shaped Metal Prints blend the modernity
of metal with Old World charm. We use high-heat
technology to fuse your image onto the metal for
incredible visual depth and luminosity. Comes in 30
designs and seven sizes, from 5 to 45 inches. Eco-
friendly construction from 100-percent recycled
aluminum. Available in Vibrant or Metallic Fade
surface, gloss or matte nish. Add drilled holes for a
hanging ribbon or chain.
blackriverimaging.com
Win this October 20
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Millers Professional Imaging
Win $250 worth of ne-art products from
Millers Professional Imaging. Millers continues its
strong tradition of high-quality products with a line
of ne-art products that includes Fine Art Acrylics,
Fine Art Canvas, Fine Art Metals, Fine Art Murals,
Fine Art Paper, Gallery Wraps and Print Wraps.
Place your order for a high-end Gallery Wrap or
modern Fine Art Acrylic, Metal or Muralyour choice.
millerslab.com/neart
Win this November 3
Multiblitz
Founded in 1948 in Cologne, Germany, Multiblitz
Professional Lighting is one of the worlds leading
manufacturers of state-of-the-art studio ash light-
ing. Multiblitz USA is giving away a 250-watt-
second Starter Kit consisting of one PROFILUX
250-watt-second studio ash, one Standard Reector
(silver), one Reective Umbrella (white), one Umbrella
Reector, one Multiblitz Backpack and one air-cush-
ioned Standard Light Stand. Everything you need to
light a wedding beautifully and professionally. Multiblitz,
the most experienced manufacturer of professional
lighting equipment worldwide. Made in Germany.
multiblitzusa.com
Win this November 4
H&H Color Lab
Take home an Extreme Pano Album. H&H Color
Lab enhances an already impressive line of
incredibly priced albums with the addition of the
Extreme Pano album. The unique top hinge allows
for impactful designs that truly set your work apart.
Panoramic sizes are available in 8x20, 6x15 and
4x10 inches. Vertical side fold and horizontal top folds
are available. Our beautiful photo cover consists of
one-piece album cover construction in your choice
of a brilliant pearl glossy or soft velvet-touch matte
nish. Our Gallery lay-at binding has one of the
smallest gutters in the industry.
hhcolorlab.com
Win this October 31
Metz
Whatever your lighting needs, Metz has the answer.
For decades, Metz has played a leading role in
professional wedding photography, whether its a
shoe-mount ash or powerful handheld ashguns.
Were giving away a state-of-the-art new 58AF-2
Digital Flash with a secondary reector with three
partial lighting levels, high-performance power man
agement, multi-zone AF measuring ash, 24-105mm
zoom head and a full-swivel reector system. Available
in ve camera versions, the 58AF-2 Digital comes
with a USB interface for effortless software updates
via the Internet, ensuring the highest performing
ash for each shot. Ask for the best, ask for Metz.
metz.us
Win this November 2
ExposureManager
Win online proong and sales from
ExposureManager. ExposureManager prides itself
on its focus on the photographer and providing
what todays pro needs to operate a protable
business. Your brides will love using the integrated
slideshow feature, favorites markers and easy-
to-use social media and sharing buttons. From
redeemable print credits to easy photo selection for
albums, ExposureManager supplies business tools
and print services to keep your brides happy and
your business running efciently.
exposuremanager.com
Win this October 28
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Meridian Professional Imaging
Our giveaway, the Crystal Summit Album, is an
upscale 10x10 wedding album with 20 pages/40
sides that comes in a beautiful leather-bound
presentation box. The album includes 40 profes-
sional prints on Kodak Endura paper with your choice
of lab-correction or no correction, and well even
assemble the album. The Crystal Summit Album
has a clear acrylic cover that holds a photo insert
for a custom photographic cover. It is a library-
bound album with lay-at pages. Valued at $265.
meridianpro.com
Win this November 1
Vision At
Manufacturers of the highest quality ne art books.
Featuring museum quality matte pages and inks that
will last a lifetime. Receive one 12x12, 8x8 and a
4x4 Original Fine Art book with 15 spreads
(must be clones) as well as your choice of a
Signature Clutches for each. A $665 value!
Every book is an heirloom made to last generations.
The pages lay completely at with no cuts, so every
spread is an uninterrupted panorama of the images.
The covers support full wrap around images, and
leather and book cloth options are also available. Our
line of products should satisfy your most sophisticated
client because Vision Art is Fine Art Bound in a Book.
visionart.com
Win this November 11
White House Custom Colour
Receive a free 10x10 Press Printed Album
with Custom Image Box. Our Albums are ush
mounted with pages printed as full spreads with no
gutter. Your free Press Printed Album includes 10
spreads printed on your choice of paper, nished
with a traditional or padded Custom Photo Cover.
Present your album in a complementary 10x10
Custom Image Box! Your free Image Box includes
a Custom Photo Cover on lustre or met allic paper
with optional inside image panel and closure. Image
boxes look great displayed on a coffee table or
bookshelf while storing and protecting your album.
whcc.com
Simply Color Lab
Simply Color is giving away a Roundout Sample
Pack with a 24x30 Roundout, a 16x20 Roundout
and an 11x14 Roundout. Total value is $272.50.
Stand out with these new and exclusive Roundouts.
Its a completely different take on traditional framing
where your professionally mounted print is the star
as it rests on top a solid, 1.5-inch thick, earth-
friendly wood base that makes your image pop. This
solid wood display is a product you will be proud
to offer your clients. Select any of our traditional or
ne Art Papers and choose black, white or brown
wood grain for your base.
simplycolorlab.com/roundouts
PhotoBiz
Win a PhotoBiz.com Store site, valued at $250.
PhotoBiz.com sites are the most innovative and
customizable HTML5-compatible e-commerce
solutions for small- to medium-size businesses.
They can be used to sell virtually anything with a
remarkably reliable and secure platform for you and
your customers.
photobiz.com
Win this November 8
Photodex
Take home ProShow Web, an online video creation
tool thats simple, fast and professionally polished.
It turns your photos and video clips into beautiful,
client-ready slideshows in just a few clicks. ProShow
Web features clean and simple effects that put the
focus on your photography; a royalty-free music
library; the ability to embed nished videos on blogs,
websites, Facebook and YouTube; and video playback
capability on iPads and iPhones. Love HD? Download
DVD and Blu-ray ISO les to burn discs. ProShow
Web offers full 1080p HD downloads for all videos
at no extra cost. Try it free. Mac and PC compatible.
proshowweb.com
Win this November 9
PCL West Imaging
This is your chance to win our most popular album
from the Avant Garde Collection: The Eterna.
It comes in two styles: all leather or photo and
leather. The album has a modern square spine with
the availability of a photo laminated front cover. All
PCL West Imaging album pages come UV Coated for
the best protection available. Our albums are great
for weddings, engagements, portraits or families,
and they come in a budget for every photographer.
pclwest.com
Win this November 7
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I wasted time, and now doth time waste me. WILLIAM SHAKESPEARE
Time is a great teacher, but unfortunately it kills all its pupils.HECTOR BERLIOZ
Ah! The clock is always slow; it is later than you think. ROBERT W. SERVICE
WORKFLOW By Stephanie Boozer
21 Workflow wonders
If time is money, these pro ideas will help you save both
Y
IT IS SO NICE TO LOOK AT
A FLOWCHART AND INSTANTLY
KNOW WHAT HAS BEEN
COMPLETED AND WHAT
NEEDS TO HAPPEN NEXT.
I SET TIME
LIMITS ON
PROJECTS.
I CANT
OVERSTRESS
HOW IMPORTANT
KEYWORDING IS.
I CHECK MY
E-MAIL AND
SOCIAL NETWORKS
TWICE A DAY ONLY.
Continued on p. 84
ou became a photographer because
you love making images. But before you
knew it, you were faced with a million dis trac -
tions, administrative tasks and tedious routines.
Like any small businesses, photog raphy busi -
nesses seem rife with time drains. What if it
didnt have to be that way? We asked our readers
to share their best time-saving strategies. Take
a look and see if you can use some of these
suggestions to shave time off your routine,
and free you to do what you love doing,
creating beautiful photographs.
83,84,86-workflow_MAGAZINE SHELL 9/20/11 10:40 AM Page 1
9 Tips
POST PRODUCTION
By far the biggest reported time
drain is post-produc tion. With
editing and enhance ments,
photographers often become victims of their
own high standards. Says one reader, I am
a perfectionist, so no matter how super the
picture is when I start, I always have to
edit and edit again. It has to be perfect or it
doesnt go out. Thats great for a small portrait
session, but not with 500 or 600 pictures
from a big shoot. How do I stop?
1. One of my biggest time savers is setting a
specific time for image-editing, and getting
up at the designated time, finished or not. It
keeps me from playing with individual images
for too long. When I get back to editing
the next day or an hour laterI have a fresh
perspective on the images and usually finish
the job quicker. The gap allows me to focus
more acutely when I restart. This method
worked well for Hemingways writing and it
works well for my editing.
Teddy Carroll
2. I had a habit of thinking, Ill Photoshop
that later, instead of fixing things during the
shoot. Move, clean, adjust or fix it in-session.
We have enough work to do in Photoshop.
Wendy White
3. Ive wasted too much time editing
pictures I shouldnt have chosen in the first
place. I have a hard time narrowing down
the session to 60 proofs. Nobody needs to
see that many pictures; they end up buying
only 15 or so. I keep reminding myself that I
have to pick the best ones and not waste
time on images that the client will reject.
Maria F. Moore
4. I take fewer pictures than I used to during
the session and edit them on the spot when
theres a lull in the shooting. If I delete a few
images on site, there are fewer photos to
sort through later.
Amy Springer
5. The best strategy for cutting down my
workflow is limiting the images I show
clients to the best 30 from the session, with
just one fully edited. No more wasted time
editing the images they dont buy.
Noelle Bell
6. Until recently, I dumped every photo
into Photoshop and edited every one. I
couldnt figure out why I had no spare time.
I finally tried Adobe LightroomI cant
believe it took me so long. Now I send only
certain photos to Photoshop for specific
effects (I find it has the better Healing
brush), then send them back to Lightroom
for final touches. I have a life outside my
computer now, and its wonderful.
Lauren Madison
7. Lift and Stamp in Apple Aperture saves me
time. I do a few basic adjustments to one image
and apply those adjustments to the others from
the same shoot. The others may need tweak -
ing still, but it takes a lot less work and time
than fully adjusting each image individually.
Dave Golden
8. The ExpoImaging ExpoDisc is an amazing
tool for custom white balance so I dont have
to correct the white balance for every photo.
Melody Lee Kristensen
9. Create a custom camera profile with the
X-Rite ColorChecker Passport to apply to
your images in Lightroom, Bridge or
Aperture and use it to pre-process your raw
files before you touch any adjustment
sliders. By applying that first, along with
the custom white bal ance, most of your
color relationships and con trast adjust -
ments will snap into place as you begin the
enhancement, reducing the amount of time
you need to spend adjusting sliders.
Jim DiVitale, M.Photog.MEI.Cr., API, A-ASP
5 Tips
IMAGE
ORGANIZATION
With volumes upon volumes
of images accumulated over
the years, todays photog raphers face an
organizational nightmare. Our readers
share some of their best tips for staying
organized.
1. Keywords! I use Lightroom and I cant
overstress how important keywording is. It
saves so much time when Im looking for cer -
tain photos or ideas, or even specific clients.
Nicky Schneider
2. I may not get to editing the photos right
away, but I always try to do my initial
culling while the session is fresh in my mind.
That way I remember why a particular
picture was important. This method also
helps me get a balanced gallery with both
candid and posed images.
Angela Smith
WORKFLOW
I KEEP REMINDING MYSELF
THAT I HAVE TO PICK THE
BEST ONES AND NOT WASTE
TIME ON IMAGES THAT THE
CLIENT WILL REJECT.
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like us
800 348 8732
www.burrellimaging.com
800 348 8732
www.burrellimaging.com
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3. I bought Camera Bits Photo Mechanic
for culling. With Photo Mechanic I dont
have to import/export any images. I can
view all my raw images right in their folder.
To me, its an incredible tool.
Jackie Ellison
4. I find Apple Aperture both efficient and fast
for cataloging, keywording, and initial adjust -
ments. If I want to do some advanced manip -
ulation, I export the photo to Photoshop.
Dick Beery
5. I renumber edited images before posting
them to a gallery. That way I get them in the
correct order and, more important, my
image numbers will match the images in the
gallery. No more searching and comparing
pictures for ordering.
Kristy Hamilton
3 Tips
TIME
MANAGEMENT
One exhausted reader put
it best: My biggest struggle
is balancing time for shoots, editing, phone
calls, e-mails, client meetings, bridal
consults, marketing and more editing. Its
so hard to find a balance of all of them.
1. I figured out my energy cycles during the
day and now schedule accordingly. It makes
all the difference in the world. I shut off my
e-mail and phone ringer during certain
times of the day and return messages for
one hour in the morning and one hour in
the late afternoon. Its amazing how much
more productive I am this way.
Kate Callahan
2. I check my e-mail and social networks
twice a day only. I set time limits on proj -
ects, which helps me focus more acutely on
them and get them done quicker.
Roxanne Herres
3. Write out the tasks you want to accom -
plish at the beginning of the day. Draw a work
column and a personal column. Scratch off
items as you complete them. When new
tasks that you need to do before you forget
come to mind, no matter how insignificant,
just write them down on your list. You can
do it after you complete the task at hand. If
youre on a Mac, using Hide Others (opt-
cmd-H) to hide all your open applica tions
other than the one youre working on does
wonders to help concentration.
Joan Sherwood, senior editor
4 Tips
BUSI NESS
WORKFLOW
Paperwork. Accounting.
Sched uling. Order tracking.
These tasks can eat up a photographers
day to the point where theres no time for
actually making images. Here are some
tips to get organ ized and get back to the
actual photography.
1. I book everything at once. I schedule
the pre-session consultation, the photo
session and the ordering session at the
same time. It definitely saves time trying to
track down busy clients to schedule each
appointment individually.
Molly Van Wagner
2. For office organization, I have clearly
labeled binders for everythingbook -
keeping and sales figures, current clients
and contracts, forms for customers,
price lists, consultations and potential
clients to follow up with. Before this
system, it wasted time and drove me
nuts having to search for price lists and
financial paperwork.
Jenni Kulp
3. Each family gets a folder as soon as they
book a session. All of their info, model
releases, payment receipts, orders and other
paperwork go in this folder. I keep the
folders on a rack on my desk and organize
them according to session dates.
Maureen Connellan
4. Having a client workflow in addition to
a post-processing workflow has made a big
difference. Being able to check off each step
in the process of working with a client
saves me not only time, but mental energy
as well. Its so nice to look at a flowchart
and instantly know what has been com -
pleted and what needs to happen next. It
keeps me calm and organized. n
Ryann McKinley Laden
WORKFLOW
94 www.ppmag.com 86 www.ppmag.com
HAVING A CLIENT WORKFLOW
IN ADDITION TO A POST-
PROCESSING WORKFLOW
HAS MADE A BIG
DIFFERENCE.
THE BEST STRATEGY
FOR CUTTING DOWN MY
WORKFLOW IS LIMITING
THE IMAGES I SHOW CLIENTS
TO THE BEST 30 FROM
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88 www.ppmag.com
Education, technical excellence, and fresh looks have helped Jon Read
stay on top of the game for 35 years. In-house artists and superior
products help take images and sales to the next level.
Job one: Seniors
Read Photography, a business built on quality
or the last 35 years, Jon Read,
M.Photog.Cr., has been navigating
the ever-changing current of
senior portrait photography, and doing it with
aplomb. Relying on high-quality production
and reasonably high-volume shooting (about
550 seniors a year), Read has built a success -
ful business with 10 staffers, including four
digital artists and two more shooters.
Located in Cedar Rapids, Iowa, a city of
about 125,000, Read Photography has been
a local mainstay for decades. That can be both
a good thing and a bad thing. Were well
established, which helps with referrals and
word-of-mouth promotion, says Read. The
challenge is not being seen as too old or static.
The key thing is keeping ourselves on the edge
and constantly coming up with new ideas to
differentiate ourselves from the competition.
To keep things fresh and diverse, Read
aggressively pursues continuing education.
In addition to being a longtime member of
PPA, hes active in the local associations
Professional Photographers of Iowa and Senior
Portrait Artists, as well as several online com -
munities. Hes a regular at Imaging USA,
the Senior and Youth National Conference
and other conventions, and he continues to
study the work of his contemporaries.
Reads practice of photographing clients
in several locations is a differentiator for the
business. His main studio has indoor and
outdoor shooting areas, and his downtown
loft affords an urban setting. Remarkably
different from the main studio in architecture
and scenery, the loft features exposed brick
walls, seasoned wood floors and phenomenal
All images Jon Read
F
SENIORS By Jeff Kent
88,90,92,94-jonread_MAGAZINE SHELL 9/14/11 11:15 AM Page 1
90 www.ppmag.com
window light. In addition, Read offers sessions
in a variety of locations around town.
Indoors at both studios, Read employs
antique props, unusual backgrounds and
unusual furniture, such as an oversized bean
bag that seniors launch into for mid-air
action shots. Read tries out unconventional
shooting angles, such as shooting upward at
the subject from under a glass box.
Technical, specially constructed lighting
is a hallmark of Reads work, something that
he feels definitely distinguishes his work from
the legions of amateurs eating away at the
senior portrait market. Read uses multiple-
light setups both indoors and out. When
working outside, most of my competitors use
natural light, or maybe one flash in conjunction
with a reflector, says Read. My multiple-
light setups are distinctive. Its one of the
things that sets my work apart in this market -
place and in photographic competitions.
Another differentiator is the digital artistry
of four in-house graphic designers, led by
Adam Hunter. They all use a specific set of
enhancements, working closely with the
photographers, including Reads son Brian
and Deb Landon, to create customized looks
for each client. These days, image creation
is a combination of photography and digital
mastery, says Read. Im fortunate to have
these artists on staff to take the images to
the next level.
Read is always on the lookout for new
SENIORS
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Available in Canada early 2011
products to pique the interest of his senior
portrait clientele. At the moment, the two
most popular add-ons are art prints and art
strips. Art prints are fully enhanced
portraits, framed and matted. The staff
makes the prints on spec in conjunction
with the art strips, 12 to 18 heavily
manipulated images that follow a theme.
When clients come in for their proofs, they
are surprised to be presented with a print
and a strip. So many clients cannot resists
buying them that they practically sell
themselves. (To offset costs, the studio will
reuse the frame and mat from art prints that
dont sell.) Other popular products include
custom-designed four-image collages,
canvas wraps, image boxes featuring an
image on top and four styles of albums and
press-printed books.
SENIORS
The challenge is not being seen as too old or static.
The key thing is keeping ourselves on the edge
and constantly coming up with new ideas to
differentiate ourselves from the competition.
PACIFIC
al bums
Offering high-quality products is another
differentiator, says Read. We concentrate on
presentation, and help our customer through
the ordering process with a system of incen -
tives and bonuses. You do have to educate
customers on their options, but I think people
understand the difference between good quality
and bad quality. Eventually the superior
level of quality and service will prevail.
The key to moving the industry back
toward a point of superior quality is education
for both clients and professional photographers,
says Read. The more knowledge you gain,
the better your images are going to be, and
the more effective youre going to be at
explaining the advantages offered by high-
quality products, he says. Those clients
who understand and appreciate that quality
will emerge as the backbone of your
business for years to come. n
See more from Jon Read at
readphotography.com.
SENIORS
88,90,92,94-jonread_MAGAZINE SHELL 9/19/11 3:03 PM Page 4
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96 www.ppmag.com
Every bride, caterer, florist, wedding planner and magazine editor
knows there's big money in small details. Know what to look for,
and what to do with the shots that showcase the little things.
Delightful details
11 Tips for sweating the small stuff
hen you cover a wedding,
you know how important it is
to capture all the details that
the couple, their families and the
vendors put so much effort into
getting just right for the wedding day.
Years ago my wife and I started competing
to bring back the most subjects for wedding
detail shots, the best single shot and the
coolest twist on photographing something
we see at every wedding. It inspired us to see
the details in new ways.
Here are 11 tips for getting down to details.
1. HAVE A CHECKLIST. At the end of
the wedding planning stage, give your client,
or her planner, a checklist of all the items that
a wedding typically has, making it easy for
her to be sure shes not forgetting anything.
Provide space for her to write in additional
items. Ask for the size, color and location of
these details so you can begin thinking
about how to shoot them.
2. ZOOM-IN ON THE OVERLOOKED.
Time and thought went into picking out
every detail, so dont let them get lost in larger
compositions. When you photograph the
groom, zoom in to capture the boutonnire
on his lapel. During a toast, get a shot of the
couples hands holding the champagne flutes
to showcase both the glasses and the rings. Be
efficient by scanning for details as you shoot.
3. BEAT THE GUESTS TO THE
RECEPTION. Call vendors to ask when
things are being set up. Visit the reception site
and capture the details already in place. If
nothings ready yet, find the party favors and
other items waiting to be staged, and come
WEDDINGS By Pete Wright, M.Photog.Cr.
All images Pete Wright
W
96,97,98-wright-details_MAGAZINE SHELL 9/14/11 11:16 AM Page 1
up with innovative ways to photograph them.
With two shooters on site, Liliana can leave the
ceremony immediately after the bride and
groom kiss and head to the reception site, while
I take the formals. When I arrive, the bridal
party is forming the reception line, and we
work as a team to light and capture the details.
4. PROTECT THE RINGS. Always make
sure the bride, groom or a family member is
present and responsible for the rings while
you photograph them, and that they under -
stand they are responsible for taking the
rings back to the bride and groomnot you!
Its not worth the liability to risk losing or
damaging the rings to get an image.
5. BRING APPROPRIATE LENSES
AND LIGHTING. A macro lens is essential
for getting crisp close shots, and allows you
to get an extremely shallow depth of field. If
you cant afford a good macro lens yet, look
into close-up filters for your lens, but dont
make it a permanent solution. Video lights
and small, inexpensive LED lights are fan -
tastic for details. Theyre lifesavers when its
too dark to get a steady shot. Theyll also allow
you to be more creative with directional light.
6. AVOID ON-CAMERA FLASH. If
its your only option, go ahead and use it
you have to get the details. On-camera flash
creates flat light with no depth and dimen -
sion. Good directional light from a con tin -
uous light source gives the image a warmer,
more elegant look.
7. SHOOT VARIOUS ANGLES AND
PERSPECTIVES OF THE ITEMS. You
dont want to later realize the photo would
have looked much better if only youd gone
with a lower angle or taken a step to your left.
8. LEARN FROM OTHERS. Look for
photographers who are doing new things, and
challenge yourself figure out how they do it,
then put your own spin on it. Bridal magazines
and blogs are great resources. If you see wedding
details in a magazine that you love, look up the
photographers website and view the galleries.
9. SHARE WITH VENDORS. Sites
like twobrightlights.com makes it easy. You
can upload up to 100 images marked with
your copyright from each event, then send a
gallery invitation to each vendor, who can
then download the appropriate images. It
will get your work and your name in front of
lots of potential brides, and endear you to
many vendors. Its important to keep your
promise to share. Theyre much more likely
to refer photographers who come through.
10. DONT FORGET THE FOOD.
Get images for the caterer that show
individual hors doeuvres, plated meals and
each course. We find an unused seat and
have the caterer bring one of each meal to
that spot to be photographed at a place
setting (from multiple angles, seated and
standing). The caterers will show these images
to brides, putting your name and logo in
front of them while dazzling her senses
96,97,98-wright-details_MAGAZINE SHELL 9/20/11 11:14 AM Page 2
with the beautiful images of party food.
11. HUNT FOR DETAILS. ITS UP
TO YOU TO FIND YOUR OWN. Some -
times the venue has appealing ambiance with
gorgeous detailscrystal wall sconces, fine fur -
nishings, beautiful flowers, excep tional artwork.
Details are the key to getting your wedding
work published in bridal magazines. Know
the kinds of weddings the magazine or blog
tends to publish, too. Do your research.
Your clients will be so pleased when you
show you appreciate the time they spent on all
of the little things that made their wed ding
special, and youll be rewarded with the
images that could get you published, bring
in referrals, and ultimately help you book
more and better weddings. n
PW Photography is in Richmond, Va.
(pwphotography.com).
WEDDINGS
98 www.ppmag.com
96,97,98-wright-details_MAGAZINE SHELL 9/19/11 2:47 PM Page 3
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WEDDINGS
DIVINE DETAILS
Were pleased to showcase a few of our
favorite creative detail shots by some
talented wedding photographers.
Steve Steinhardt
Patricia Lyons
Jen Lynne
Carrie Patterson
Simply Bloom
100,102-details_MAGAZINE SHELL 9/14/11 11:22 AM Page 1
WEDDINGS
102 www.ppmag.com
WHERE TO FIND THEM:
Jen Lynne jenlynnephotography.net // Patricia
Lyons patricialyonsphotography.com // Carrie
Patterson carriepattersonphotography.com //
Simply Bloom simplybloomphotography.com
// Steve Steinhardt stevesteinhardt.com
Jen Lynne
Aaron Delesie
Jen Lynne
Patricia Lyons
Patricia Lyons Simply Bloom
Steve Steinhardt Simply Bloom
100,102-details_MAGAZINE SHELL 9/14/11 11:22 AM Page 2
All images Ryan Matthew Smith
eat, photo
Innovative photography in the landmark cookbook,
Modernist Cuisine, shows cooking chemistry
and food in seductive and mind-blowing ways.
BY LORNA GENTRY
116-120,122-mod.cuisine_MAGAZINE SHELL 9/14/11 11:17 AM Page 1
graph, love
go beyond gastroporn, writes John Walsh in The
Independent. They show us food transformed
into metaphor: a segment of grapefruit that
looks like a tiny [embryo] a stainless-
steel sculpture that turns out to be a
mackerel tail.
Clearly, this is no ordinary cookbook.
With 3,216 photographs, 1,522 recipes
and 2,438 pages in six volumes that
together weigh nearly 40 pounds,
Modernist Cuisine is unlike anything
on the cookbook shelf.
From the start, co-author Nathan
Myhrvold knew that compelling,
artistic photography would be
critical to this technical book of
cooking. The former chief
technology officer of Microsoft,
Myhrvold is now CEO and founder
of Intellectual Ventures, an invention
company in Bellevue, Wash. A serious
amateur photographer, he believed that
he and an assistant could do all the
photography. Nearly four years ago he posted an
ad on Seattle-Tacoma Craigslist for a photo assistant and
digital editor. Ryan Matthew Smith got the job.
Smith had just graduated from the Art Institute of Seattle with
a degree in photog raphy. He fancied architecture and nature
photography, but had no real-world experience. Smith had never photographed food before, and
thought of studios as foreign environ ments. But as the scope of the project expanded, Smith
yan Matthew Smiths eye-popping photography in Modernist
Cuisine: The Art and Science of Cooking, a six-volume epic cook -
book published in March, has launched and defined his career.
After an exhibition of searing images from the book in Hong Kong in August, inter -
national critics lauded the book as a visual stunner. The pictures in Modernist Cuisine
took over more and more of the shooting,
and became chief photographer as well as
photo editor. Over three and a half years the
project generated more than 140,000 raw
photos. Smith edited the cache down to
3,216, including 200 stock images.
INSIDE OUT
One of the main goals of Modernist Cuisine
is to demonstrate how and why food cooks
the way it does using traditional methods.
To illustrate, Myhrvold had cookware and
tools cut in half; this included a grill, a wok
and meat grinders. The chefs actually
cooked in these half-size vessels, which often
lead to messesand sometimes a small
blazein the teams Bellevue cooking lab.
The team employed some visual tricks, like
glass attachments and wires, and later
removed them in Photoshop. Some images
proved too tricky to capture all at once, so
Smith created photo composites.
The cutaway photos were probably the
most difficult photos to take, says Smith.
You need to visualize the different setups
and exposures youll need to get one composite
image, and you have to be very careful to
keep the light consistent throughout the
shots. I would often get into Photoshop to
finish an image and realize something wasnt
quite right and have to reshoot. The kitchen
team refined the process fairly well by the
end of the project. Some of the later cutaways
were done with just a couple of exposures.
One of the most intriguing photos in the
book shows burgers cooking on a cut-away
grill. Its so realistic that its like having
X-ray vision. The base photo of the grill
cutaway was the burgers slightly browned
on the Weber with some lit coals, including
a row of cut-in-half coals, Smith explains.
Coals generally burn hot inside but the
outside is covered in gray ashnot too
exciting and it makes the inside of the coals
look identical to the outside. To get the coals
glowing hot, we took a separate exposure of
each coal immediately after it was burned
with a MAPP gas handheld blowtorch.
These were added to the original photo
using Lighten layers in Photoshop.
Then we needed fat flare-ups because
that is a concept that is talked about in the
book as being key to the flavor of barbeque,
he continues. To get the flames, we dripped
cooking oil onto the hot coals and snapped
photos with the strobes off in a dark room.
Lastly, we needed more impressive smoke
because with the grill cut in half, there was
too much heat loss to really get the burgers
cooking enough to make the heavy smoke
and steam that would normally happen. To
get the smoke flowing we torched the under -
side of each burger in separate exposures.
The book was photographed with Canon
digital cameras (EOS-1Ds Mark II, EOS-
1Ds Mark III and EOS 5D Mark II) and
diverse lenses. To capture probing images
of food, and some food-borne bugs, the
team used Nikon microscopes with custom
lenses. Lighting was primarily Broncolor
studio flash. In general, I worked with two
to three heads with 9-inch reflectors and I
used walls, white cards and diffusers to
soften the light. To illu minate tight spaces,
like a cracked ostrich egg, Smith used fiber
optic lighting. The egg appears to be
glowing with light rays coming out of the
cracks. There was a large hole in the back
of the egg where we snaked in fiber optic
lighting. We used a soft fill light in front.
Some images in the book were made
with a Vision Research Phantom V12 video
camera, which shoots high-definition video up
to 6,200 frames per second (1,280x720
pixels). Smith and two team members took
the video camera to an outdoor shooting
range, where they used a .308 sniper rifle to
shoot a bullet through a block of ballistics
gelatin for the chapter on gels. For the heck
of it, Smith decided to also shoot through a
half dozen upright eggs (pictured left). We
were shooting video at 6,200 frames per
second and the resulting photo is five
consecutive frames exported from the video.
Smith continues to work with Myhrvold
and the cooking lab team. Were not ready
to announce anything officially yet, but
our team has a couple of exciting ideas
for potential future projects. Itll be hard
to top this. n
For more about Modernist Cuisine, visit
modernistcuisine.com.
122 www.ppmag.com
Prices, specifcations, 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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i-TTL S|ce |cu|| ||a|
u|de \c. 181'
Re:]:||| T|re
4.b Se:c|d
Bcu|:e & SW|.e| Head
Zccr Head (1/-200rr,
S||coc:cp|: E||e:|
A|-A|| |||ur||a|c|
Sa|e|] |c:| c| 1a| |ce
we||| 14.O c/
AF Flashes (USA)
SB-400 .......................................................
SB-/00 .......................................................
SB-900 .......................................................
R1 w||e|e TW|| ||a| .................................
R1C1 w||e|e TW|| ||a| S]|er .................
DX ED-IF Lenses for Digital Only (USA)
10.b/2.8 |||-E]e ........................................
8b/8.b VR ||:|c (b2c, ..............................
10-24/8.b-4.b A|-S (//c, .........................
12-24/4 A|-S (//c, ..................................
1O-8b/8.b-b.O A|-S VR (O/c, ....................
1/-bb/2.8 A|-S (//c, ...............................
18-bb/8.b-b.O A|-S || (b2c, ......................
18-bb/8.b-b.O A|-S VR (b2c, ....................
18-10b/8.b-b.O A|-S VR (O/c, ..................
18-200/8.b-b.O A|-S VR || (/2c, ...............
bb-200/4-b.O A|-S (O/c, ..........................
bb-200/4-b.O A|-S VR (O/c, .....................
bb-800/4.b-b.O A|-S VR (b8c, ..................
D-Type AF Lenses (USA)
14/2.8 O EO ................................................
1O/2.8 O (89c, W||| Hccd .............................
20/2.8 O (O2c,.............................................
24/2.8 O (b2c,.............................................
24/8.b O EO PC-E (//c, ...............................
28/2.8 O (b2c,.............................................
8b/2.0 O (b2c,.............................................
4b/2.8 O EO PC-E ||:|c (//c, ......................
b0/1.8 O (b2c,.............................................
b0/1.4 O (b2c,.............................................
b0/1.4 A|-S (b8c, ....................................
O0/2.8 O ||:|c (O2c, (1.1, ...........................
O0/2.8 A|-S EO ||:|c (O2c, ......................
8b/1.8 O (O2c, W||| Hccd .............................
8b/1.4 O || (//c, .........................................
8b/1.4 A|-S (//c, ....................................
10b/2.8 A|-S EO-|| VR ||:|c (O2c, ...............
10b/2.0 OC O W||| Hccd (/2c, .....................
180/2.8 O EO-|| (/2c,..................................
200/4 O EO-|| ||:|c (O2c, ...........................
800/4.0 O A|-S EO-|| (//c, .........................
800/2.8 A|-S VR (b2c-R, ..........................
14-24/2.8 A|-S EO-|| ...............................
1O-8b/4.0 A|-S EO VR (//c, .....................
1/-8b/2.8 (//c, ..........................................
24-/0/2.8 A|-S EO-|| (//c, ......................
24-8b/2.8-4.0 O (/2c, .................................
24-120/4.0 A|-S EO VR (//c, ...................
28-800/8.b-b.O A|-S EO VR (//c, .................
/0-200/2.8 A|-S EO-|| VR || (//c, ..................
/0-800/4.b-b.O -A|S VR (O/c, ...................
80-200/2.8 O W||| Cc||a| (//c, .....................
80-400/4.b-b.O O VR (//c, ..........................
200-400/4 A|-S EO-|| VR || (b2c, ..............
TC-14E || (1.4/, Te|e:c|.e||e| .......................
TC-1/E || (1.//, Te|e:c|.e||e| .......................
TC-20E ||| (2/, Te|e:c|.e||e| .........................
EOS Flash System (USA)
2/0E/ .........................................................
480E/ || ......................................................
b80E/ || ......................................................
|R-14E/ R|||||| .......................................
|T-24E/ TW|| ||a| .....................................
EF-S Lenses For Digital Only (USA)
Note: Compatible with the 20D, 30D,
40D, 50D & Digital Rebel only
O0/2.8 US| |a:|c (b2c, ..............................
10-22/8.b-4.b US| (//c, ............................
1b-8b/8.b-b.O |S US| (/2c, ........................
1/-bb/2.8 |S US| (O/c, ...............................
18-bb/8.b-b.O |S (b8c, ................................
18-18b/8.b-b.O |S (O/c, ..............................
18-200/8.b-b.O |S (/2c, ..............................
bb-2b0/4.0-b.O |S US| (b8c, ......................
EF Lenses (USA)
1b/2.8 ........................................................
20/2.8 US| (/2c, ........................................
28/1.8 US| (b8c, ........................................
8b/2 (b2c, ...................................................
b0/1.8 (b2c, ................................................
b0/1.4 US| (b8c, ........................................
b0/2.b |a:|c (b2c,......................................
8b/1.8 US| (b8c, ........................................
100/2.8 US| |a:|c (b8c, ............................
28-18b/8.b-b.O |S US| (/2c, ......................
/0-800/4-b.O |S US| (b8c, .........................
/b-800/4.0-b.O ||| (b8c, ...............................
/b-800/4.0-b.O ||| US| (b8c, .......................
EF L Lenses (USA)
14/2.8 US| || ..............................................
24/1.4 || (//c, .............................................
8b/1.4 US| (/2c, ........................................
b0/1.2 US| (/2c, ........................................
8b/1.2 US| || (/2c, .....................................
100/2.8 |S US| |a:|c (O/c, ........................
18b/2.0 US| || (/2c, ...................................
180/8.b US| |a:|c (/2c, ............................
200/2.0 |S US| (b2c, ..................................
800/4.0 |S US| (//c, ..................................
800/2.8 |S US| (b2c |ea|, ...........................
400/b.O US| (//c, ......................................
1O-8b/2.8 US| || (82c, ................................
1/-40/4.0 US| (//c, ..................................
24-/0/2.8 US| (//c, ..................................
24-10b/4 |S US| (//c, ................................
28-800/8.b-b.O |S US| (//c, ......................
/0-200/4.0 US| (O/c, ................................
/0-200/4.0 |S US| (//c, .............................
/0-200/2.8 US| (//c, ................................
/0-200/2.8 |S || US| (//c, ..........................
100-400/4.b-b.O |S US| (//c, ....................
1.4/ || Te|e:c|.e||e| .....................................
1.4/ ||| Te|e:c|.e||e| ....................................
2/ || Te|e:c|.e||e| ........................................
2/ ||| Te|e:c|.e||e| .......................................

EOS-60D OS|R
1920 / 1080 HO V|dec Cap|u|e
O||C 4 |rae P|c:ec|
SO/SOHC/SO/C Ca|d S|c|
wc|| W||| a|| Ca|c| E| & E|-S |e|e
Va||-A||e C|ea| V|eW 8.0" |||p-0u| |CO
b.8 |p Cc||||ucu S|cc|||
|S0 O400 - E/pa|dao|e |c 12800
HO|| 0u|pu| |c HOTV
Body Only................................................... #CAE60D 18
Mega
Pixels
EOS-5D Mark II O-S|R
Re:c|d HO V|dec 1080p |c.|e |cde
21.1 |eap|/e| |u||-||are Se|c| 8.0" H||
Re. |CO S|R .|eW|||de| ||.e V|eW |cde
Ue Ca|c| E| |e|e C|, |O Ca|d S|c|
Ou| & wea||e|-Re||a|| USB 2.0
Se|| C|ea||| Se|c| 8.9 |p Bu|| |cde
9-pc||| A| Se|c| A||a] |S0 Ra|e b0-2bO00
Body Only..................................................#CAE5D2
Kit with 24-105mm IS ...................... #CAE5D224105 21
Mega
Pixels
EOS-7D O-S|R
Re:c|d HO V|dec 18 |eap|/e| Se|c|
8.0" |CO 100 V|eW|||de|
Ue Ca|c| E| |e|e C|, |O Ca|d S|c|
Ou| & wea||e|-Re||a|| 8 |p Bu|| |cde
Se|e:|ao|e V|dec E/pcu|e a|d ||are Ra|e
\eW 19-Pc|||, A|| C|c-T]pe A| S]|er
|S0 100-O400 (e/pa|dao|e |c 12800,
Body Only............................................... #CAE7D
Kit with 28-135mm IS ................... #CAE7D28135 18
Mega
Pixels
EOS-1Ds Mark III O-S|R
|u||-||are C|0S Se|c| Se||-C|ea||| Se|c|
wea||e| Re||a|| Bcd] S|R .|eW|||de|
8" |CO |c|||c| W||| ||.e V|eW
Ue Ca|c| E| |e|e USB 2.0
SO/SOHC & C| :a|d |c|
UO|A-:crp||a|| Ccrpa:|||a|
P|:|u|e S|]|e Se|||| |S0 100-1O00
PcWe||u| Bu|d|ed Sc||Wa|e b |p Bu||
Body Only........................................... #CAE1DS3 21
Mega
Pixels
EOS-1D Mark IV O-S|R
HO V|dec Re:c|d||
Se|e:|ao|e V|dec E/pcu|e + ||are Ra|e
Se||-C|ea||| Se|c| S|R .|eW|||de|
8" |CO |c|||c| Ue Ca|c| E| |e|e
SO/SOHC & C| :a|d |c|
10 |p Bu|| |cde Ou| & wea||e| Re||a||
4b Pc||| A| S]|er USB 2.0
H|| Se||||.||] (|S0 102,400,
Body Only.............................................. #CAE1D4* 16
Mega
Pixels
Digital Rebel T3i OS|R
8' C|ea| V|eW Va||-A||e |CO
Ue Ca|c| E| |e|e (1.O/ |a:|c|,
SOHC/SO/C Ca|d S|c|
8./ |p Cc||||ucu S|cc|||
|S0 100-O400 RAw + JPE |||e
|u|| HO |c.|e |cde W||| |a|ua| E/pcu|e
O8 Zc|e Oua|-|a]e| S]|er/9 Pc||| A|
Body Only............................................... #CAEDRT3I
Kit with 18-55mm IS............................. #CAEDRT3IK 18
Mega
Pixels
Call for Available Rebates Call for Available Rebates
10-22/3.5-4.5
EF-S USM Digital Lens
t&YDMVTJWFMZEFTJHOFEGPS%JHJUBM4-3T
8brr e(u|..
1O-8brr
8 ap|e||:a|
|e| e|ere||
8.b-2/ |/S|cp Ra|e
||||rur |c:u 9.b"
//rr |||e| d|are|e|
we||| 18.O c/
580 EX II
S|ce |cu|| ||a|
u|de \c. 190'
Ou|- & Wa|e|-|e||a|:e
|e|a| Hc| S|ce
Supe||c| ou||d (ua|||],
||:|ud|| a re|a| |cc|
|c| |||e| |||d||]
Zccr Head (24-10brr,
we||| 18.2 c/
PEN E-P3 OS|R
8" Tcu:| S:|ee| 0|EO
T|ueP|: V| |rae P|c:ec|
4/8 |u|| ||are Zu||c |e|e
SOHC/SO/C/UHS-1 Ca|d S|c|
8 |cde |rae S|ao|||/a||c|
1080/O0| HO |c.|e Cap|u|e
A.a||ao|e || B|a:|, S||.e| c| w|||e
Kit with 17mm Zuiko Lens .................. #OLEP317*
Kit with 14-42mm Zuiko Lens ......... #OLEP31442* 12
Mega
Pixels
Lumix DMC-G3 OS|R
1920 / 1080/O0| HO V|dec Cap|u|e
8" ||ee A||e Tcu:| E|ao|ed |CO
E|e:||c||: E]e-|e.e| V|eW|||de|
||:|c |cu| T|||d |e| |cu||
SO/SOHC/SO/C Ca|d S|c| 8O Cap|u|e
Ou| |edu:||c| ]|er. upe|c||: Wa.e ||||e|
A.a||ao|e || B|a:|, B|cW|, Red c| w|||e
Kit with 14-42mm G Vario Lens ...... #PADMCG3K* 16
Mega
Pixels
102011
Page 2
The Professionals Source
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/20p HO V|dec
11 Pc||| SA|0/ |/ Au|c|c:u S]|er
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||S|rp|e ||||a|ed Oa|a T|a||e|
8" |CO rc|||c| W||| ||.e V|eW
Ue Pe||a/ A| |e|e (1.b/ |a:|c|,
SO/SOHC Ca|d S|c| O |PS ||are Ra|e
|S0 100-2b,O00
Body Only............................................... #PEKR*
D700 O-S|R
Se|| C|ea||| Se|c|
|u|| ||are Se|c| ||.e V|eW USB 2.0
8" VA |CO |c|||c| HO|| V|dec 0u|
Ue \||c| A| |e|e C| Ca|d S|c|
Ou| a|d wa|e| Re||a|| |S0 O400
A:||.e O-|||||| |cde b |p Bu||
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Body Only............................................. #NID700
Kit with 24-120mm VR .................#NID70024120
D3s O-S|R
RAw/JPE & /20p HO V|dec @ 24|p
|u||-||are C|0S Se|c|
||-Care|a RAw P|c:e||
8" |CO W||| ||.e V|eW Ue \||c| A| |e|e
Bu||e| Up |c 48 RAw c| 180 |a|e JPE
Bu||| Tcu|, |u||] wea||e|ea|ed
|S0 102,400 Oua| C| Ca|d S|c|
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Body Only............................................. #NID3S
Flash System
||-800R ||a| ....................................................... $169.95
||-8OR ||a| ......... $229.95 ||-b0R ||a| ......... $499.95
Zuiko 4/3 System Digital Lenses
8b/8.b |a:|c EO (b2c, .......................................... $229.95
b0/2.0 |a:|c EO (//c, .......................................... $499.95
/-14/4.0 EO (/2c, .............................................. $1,799.95
11-22/2.8-8.b EO (/2c, ......................................... $799.95
12-O0/2.8-4 EO SwO (/2c, .................................... $999.95
14-42/8.b-b.O EO (b8c, ......................................... $249.95
18-180/8.b-O.8 EO (O2c, ....................................... $499.95
EC-14 1.4/ Te|e:c|.e||e| ....................................... $439.95

AF Flash System
A|-8O0|Z ........................................................................
A|-b40|Z ........................................................................
SMCP-DA Digital AF Lenses
21/8.2 A| ||r||ed 'Pa|:a|e' (49c, ......................................
40/2.8 ||r||ed 'Pa|:a|e' (49c, ...........................................
/0/2.4 ||r||ed 'Pa|:a|e' (49c, ...........................................
10-1//8.b-4.b EO || (//c, ..................................................
1O-b0/2.8 EO A| || SO| (//c, ............................................
18-bb/8.b-b.O A| || (b2c, ....................................................
b0-18b/2.8 EO || SO| (O/c, ...............................................
b0-200/4-b.O EO wR (b2c, .................................................

Flash System
HV|-|42A| ........... $299.99 HV|-|b8A| ........... $499.99
HV|-|48A| ........................................................... $349.99
Digital Lenses
b0/1.4 (bbc, .......................................................... $369.99
100/2.8 |a:|c (bbc,.............................................. $679.99
b00/8 Re1e/ ......................................................... $749.99
1O-80/8.b-4.b OT Ca|| Ze| (O2c, ......................... $749.99
11-18/4.b-b.O OT (//c, ......................................... $699.99
18-200/8.b-O.8 OT (O2c, ....................................... $529.99
/0-200/2.8 AP0 (//c, ..................................... $1,799.99
/b-800/4.b-b.O (bbc, ............................................ $249.99
58 AF-2 TTL
S|ce |cu|| ||a|
u|de \c. b8'
|u|| TT| |cde
Zccr Head (24-10b,
Upda|e .|a USB Pc||
we|||. 12.8 c/
=|Eb8A|2 ............................ $400.00
285HV Professional
Auto S|ce |cu|| ||a|
u|de \c. 120'
Au|cra||: e/pcu|e
|a|e |c /0'
4 au|c |/|cp e||||
Rerc.ao|e e|c|
Bcu|:e Head
Zccr Head (28-10b, we||| 14.9 c/
=V|28bHV .................................. $89.95
Qfash TRIO
Pa|aoc||: Re1e:|c| ||a|
u|de \c. 110'
Bcu|:e a|d
SW|.e| Head
Bu|||-|| ||ee/W||e
Rad|c w||e|e TT|
H|| Speed S]|:
USB Pc|| TT| :crpa||o|e
=0U0|8 ................................. $875.00
622 Super Pro TTL
Ha|d|e |cu|| ||a|
Re(u||e Head
TT| W||| app|cp||a|e rcdu|e
u|de \c. 200
Bcu|:e & W|.e|
Au|c |/S|cp |/2.0, 2.8,
4.0, 8.0, b.O, 11 & 1O
Va||-PcWe|
=SUO22S ............................... $196.95
D3100 DSLR
HO 1080p V|dec W/ Scu|d & Au|c|c:u
8' |CO ||.e V|eW
Ue \||c| A| |e|e (1.b/ |a:|c|,
SO/SOHC Ca|d S|c| 11-pc||| Au|c|c:u
8 ||are pe| Se:c|d S|cc|||
|S0 100 |c 8200 (E/pa|d |c 12800-H|2,
Se|| C|ea||| Se|c|
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Kit with 18-55mm VR .....................#NID31001855 14
Mega
Pixels
D3000 O-S|R
Se||-C|ea||| Se|c| 8" |CO |c|||c|
A::ep| \||c| A| |e|e (1.b/ |a:|c|,
|S0 100-1O00 |a| S|u||e| Repc|e
SO, SOHC Ca|d S|c| ||-:are|a Ed||||
8 |p Bu|| |cde
11-pc||| Au|c|c:u S]|er
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Kit with 18-55mm VR DX .............#NID30001855 10
Mega
Pixels
12
Mega
Pixels
D7000 DSLR
E/PEEO 2 |rae P|c:ec| 8" |CO |c|||c|
1080p HO V|dec Cap|u|e 89-pc||| A| S]|er
RAw + JPE S|||| |rae Cap|u|e
A::ep| \||c| A| |e|e (1.b/ |a:|c|,
TW|| SO/SOHC/SO/C Ca|d S|c|
RB 8O |a|||/ |e|e||| S]|er
|-TT| ||a| + Speed|||| Ccrpa||o||||]
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Body Only........................................... #NID7000 16
Mega
Pixels
12
Mega
Pixels
12
Mega
Pixels
Octacool Light Kit
W||| 29.b" 0:|coc/
0:|a:cc| O c| 9
|arp ||/|u|e
Rerc.ao|e
A|ur||ur
Re1e:|c|
28W |arp
|||e||a| O|||u|c| Ba|1e
Octacool-6 =||0COSB ........................................ 199.95
Octacool-9 =||0C9SB ........................................ 259.00

Tota Light 2-Light Kit
|u|| Rc|a||c|
Ad(u|ao|e Occ|
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2 Tc|a-||||
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2 Tc|a-B|e||a - w|||e
|rpa:| |||| ||| Ba =8
=|0T|| ...............................$367.95
W/c :ae =|0T||0 .............$349.95
Background System
Background Stands
E:c|cr] ........................... $64.95
Pc||-A-S|a|d ................. $112.95*
|u||| 8 Pc|e.au|| ........... $219.95
Paper Backgrounds
Available in 48 Colors
b8" / 12 ]d...................... $26.50
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Alpha SLT-A55 DSLR
T|a||u:e|| ||||c| |c| |a| |c:u
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|e|e (1.b/ |a:|c|, Bu|||-|| PS
|u|| HO 1080/O0| V|dec Up |c |S0 12800
8O SWeep Pa|c|ara |cde
0u|:| A| |c| |u|| HO |c.|e Cap|u|e
10 |PS Cc||||ucu S|cc|||
Body Only........................................... #SOSLTA55* 16
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Pixels
D5100 O-S|R
1080p HO |c.|e W||| |u|| T|re Au|c|c:u
8.0' Va||-a||e |CO SO/SOHC Ca|d S|c|
Ue \||c| A| |e|e (1.b/ |a:|c|,
||-Care|a Spe:|a| E||e:| |cde
||-Care|a HOR (H|| O]|ar|: Ra|e,
|S0 Se||||.||] 100-O400
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Body Only...............................................#NID5100
Kit with 18-55mm VR ..................... #NID51001855 16
Mega
Pixels
0:|a:cc|-O
||c||
0:|a:cc|-9
Ba:|
All images Emily Nathan
poetry,
emotion
126-130,132,134,136-emily_MAGAZINE SHELL 9/15/11 7:35 PM Page 1
Emily Nathan
uses natural light
and poetrys
emotional precision
to encapsulate life
in her editorial
and commercial
photography.
BY LORNA GENTRY
Otto was supposed to be asleep. His enthusiastic squeals
and wiggling made his mother, Emily Nathan, dubious that
the 4-month-old would nap at all that day. She placated him with a toy, he demurred, and
her attention continued to ping-pong between him and work. Nathan is a commercial
and editorial photographer in San Francisco. The week before, shed been in Hawaii on a
commercial shoot, one of a handful of assign -
ments shes taken since giving birth in April.
These days, Otto informs how Nathan spends
her time. Like any new mother, shes learning
to balance work and home life, on a fulcrum
that seems no bigger than the head of a pin.
I made choices in the past that Id hoped
would help me now with starting a family,
she says. I love to travel, and when I started
my career I wanted to do travel photography.
I put some personal travel pictures in my port -
folio, which lead to lots of jobs. I knew it
wouldnt be sustainable in a family lifestyle, so
I brought advertising into my career so I could
make money and travel, but in short spurts.
Nathans specialty, lifestyle photography,
is sought after by national magazines and
advertisers, including Apple, Real Simple,
TOMS Shoes, Travel + Leisure, The New
Yorker, Ogilvy & Mather and Yahoo! I have
designed many wedding stories, but some of
my favorites have been shot by the very talented
photographer Emily Nathan, Senior Art
Director Carolyn Veith Kreinke wrote on the
Martha Stewart Weddings blog earlier this
year. She always brings her fresh and
energetic style to her photos and our pages.
Nathans live-in-the-moment style has a
hyper-realistic quality that gives her
photographs an unposed, intimate feeling,
as if she just happened to stumble upon the
scene with her camera. Children and adults
alike seem to respond to her with relaxed
familiarity. Her choice of lighting, composition
and angle lend a vividness that arouses the
viewers sensory memory, conveying what it
might feel and smell like to be there. She
evokes romance but without nostalgia, so
her pictures feel new and grounded.
Perhaps thats because Nathan is a poet.
Early on, she says, A big part of my success
was that I was a good photographer and
Weve all heard tales about how great those really,
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cared about light and people, but I was also
a good photo editor. I think thats because of
my poetry background. For me, poetry is all
about editing. Keats could write a sonnet
perfectly, but most writers edit a lot.
Nathan has a talent for zeroing in on
human qualities essential to storytelling,
and that strikes a chord with clients. The
more real something is, the more commercial
appeal it has. Ideally, advertisers sell humanity.
PINOCHET AND CHUTZPAH
Nathan has a degree in English literature
and poetry from the University of Michigan
in Ann Arbor. After a junior-year photo -
journalism internship at a Chilean news -
paper, where she photographed Gen.
Augusto Pinochet and soccer matches,
Nathan wanted to be a photojournalist. But
it stressed me out because I wanted
everything to look like Sebastio Salgado.
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After college she worked in a photo lab,
photographed a few weddings, and assisted
some Bay Area commercial photographers,
including Allyson Thayer Gowdy (Professional
Photographer, September 2010). She then
worked as a feature photographer with a
Bay Area newspaper, later freelancing for
local and regional magazines. Before long
she had the portfolioand the chutzpah,
she addsto take her book to New York.
Impressed editors called with assign ments;
when one New York photo editor took a job
with Apple, she took along Nathans phone
number. Now that corporate juggernaut is
one of Nathans biggest clients.
Nathan shoots Canon EOS D5 Mark II
cameras with prime lenses. For years she
used her tech assistants digital cameras to
shoot assignments, but she didnt invest in
her own digital cameras until 2008. For
travel and editorial I used to shoot only film
with my Mamiya 7 and RZ67. But with the
rangefinder, I couldnt get close, and the RZ
is slow. The speed of 35mm is good for lifestyle.
Once I felt the quality was there, I switched
to digital. The file size of the 35mm felt
cramped to me, but now it feels more spacious.
She was drawn to the Canon 5D in part
because of its video capabilities, which she
uses for her other passion, short videos based
on her life and travels. She posted several on
her website, emilynathan.com. The videos have
artistic and commercial appeal, but Nathan
isnt sure she wants to explore filmmaking.
Nathan often draws on literature and art
for inspiration, including classic childrens
stories. For a personal project, she reinter -
preted familiar tales in a contemporary,
minimalistic style. Little Red Riding Hood,
in red high-top sneakers, is pictured with a
gray Australian shepherd, whose wolf
ancestry is amusingly evident. Cinderella
languishes atop a giant pumpkin wearing
shorts, T-shirt and a single silver high-
heeled shoe. One of the pictures in this
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series was recently selected to become part
of a show at a childrens museum.
Usually Nathan shoots on location, but
does work in the studio occasionally,
particularly when shooting fashion. In the
studio she strives to replicate the fresh feel
of the natural light she loves. Lately shes
been mixing HMI lights with natural light.
When the natural light shifts throughout
the day, you have to move the HMI lights
with it, but I just dont like the look of
strobe, she says, so its worth the extra
effort. Figuring out how to achieve that
light is an ongoing project.
She has traveled the world on assign -
ments, sometimes with large crews and tons
of equipment in tow. Big shoots dont intim -
idate her. Even if I have a 20-person shoot,
its just me and the camera. Whether shes
wrangling a big production or photo -
graphing the giggling, wide-awake Otto in
the backyard, she says, the goal is to make
real, human pictures. n
See more at emilynathan.com.
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SUCCESSWARE.NET | 800.593.3767
What do top studio
owners use to manage?
These owners have all chosen SuccessWare to help them manage their
businesses. Other software may track your business but they all fall short
when it comes to managing your business. SuccessWare is the only studio
management software that will assist you with; creating a business plan,
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with just tracking software.
TRACK. PRICE. PLAN. PROFIT. MANAGE.
Dont just take our word for it, see what Rebecca and other successful
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With the help of SuccessWare we doubled our gross income in our rst year
as SuccessWare clients. SuccessWare lets us track to see where we spend too
much or where we can afford to invest back into the business. I dont know
where my business would be today without SuccessWare.
Rebecca Zoumberos | Limelight Photography | Odessa, FL
Life is good, and
it is getting better
every day
E
ach of us is an entre-
preneur, and our suc-
cess depends on what
we do to make it happen.
We each create our own
destiny, so to speak. Are
you willing to take advan-
tage of opportunities and
new ideas that could help?
You never know where they
will lead.
When I opened my storefront studio, I looked at
several retail locations and chose one with a great location
and reasonable rent. As our studio grew, I needed to expand
into additional space, but my landlord wanted to retire. To
keep me from moving, he offered to sell me the space
and I took advantage of the offer. That real estate purchase
started a career of buying more rental property every year,
all funded by the studio. I set a goal not only to have a suc-
cessful studio, but also to invest the prots from said studio
into solid investments.
To keep that goal alive, I focused on increasing my
sales. There are many opportunities to add additional sales
in your studio, and they can seem relatively simple. You just
have to see what works in your market. For example, we
started selling $3 buttons to cheerleaders years ago. With
no prompting from us, the cheerleaders started giving those
buttons away and trading them among themselves. Demand
grew, and last year we sold over 4,000 buttons ($12,000 in
sales) to students at just one high school!
Another great product that added to our sales was the
press printed card. For years we offered traditional wedding
invitations and graduation announcements from third-party
vendors. When press cards hit the market about ve years
ago, we started converting all our sales into custom cards.
The sales price point was at least three to ve times higher,
and our cost was lowerwhat a great offering to the client
and a prot to the studio!
Since we are in a small town, our business model is to
offer many such products and product lines to make a prot.
It works for us! Weve offered frames, the announcements
and buttons I mentioned, mugs, and a general assortment
of dye-sublimation (dye-sub) printed products with great
success. The point here is that you shouldnt ignore the
potential of additional sales. Lower costs and higher sales
are the perfect combo for protable success!
Want more ideas on how to reach your goal for suc-
cess? Attend the inspirational and educational programs at
Imaging USA in New Orleans (January 15-17, 2012). If you
have not already planned on being there, you really need to
mark your calendar now. Talk about the perfect chance to
grab new ideas and techniques for increasing prots!
Remember: We are PPA. May God bless you this year!
PPATODAY
OCTOBER 2011
PRESIDENTSMESSAGE
Don Dickson, M.Photog.Cr., CPP - 2011-2012 PPA President
Your Success is Our Business.
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The important thing is not being
afraid to take a chance. Remember,
the greatest failure is to not try.
2QFH\RXQGVRPHWKLQJ\RXORYH
to do, be the best at doing it.
- Debbie Fields
ARE YOU OPEN TO
PHOTOGRAPHIC
OPPORTUNITIES?
T
heres power in specializing, but its not for everyone.
Yes, some studios focus on one specialty and nd
great success. Others choose not to put all their eggs
in one basket. They choose to diversify product lines like
nancial advisors want you to diversify your stock port-
folio. Sometimes recognizing and taking hold of different
opportunities like that can lead to better business all around.
Are such opportunities right for you? That decision is
different for each photographer, as is the way you choose to
diversify. Look at these three examples: Ireland photogra-
pher Maria Dunphy rebranded her familys well-known stu-
dio and added on new product lines. Along with weddings,
California-based Jessica Frey now shoots for a city maga-
zine. And Matt and Allison Ragsdale of Allison Ragsdale
Photography build on opportunities drawn from their senior,
wedding and portrait clients.
While their approaches differ, all those photographers
agree with Frey when she credits diversifying with ex-
panding her clientele and notoriety. Perhaps thats because
diversifying in photography often means building on what
you already do.
Build on What You Know
The fundamentals of pro photography are similar, regardless
of the genre. The Colorado-based Ragsdales use the same
skills in their senior shoots as they do for, say, a product/
fashion shoot for a local Western store (owned by a senior
clients parents). They also supply commercial photography
for many caterers and orists met at weddings.
Building on existing skills also helped Frey (owner
of Jessica Frey Photography) set her work apart during her
rst magazine assignment. Tasked with photographing eight
vehicles for a feature article, she researched lighting cars
and how to use her equipment to do it...before putting her
own spin on it. Her wedding experience helped her envision
a more creative way of giving a local avor to the yearly
shoot, and she photographed the cars in different historical
locations in the city.
Getting to know people and showcasing their per-
sonalities are two of the most important things I do for my
wedding clients, adds Frey. I use the same skills for the
magazine prole shoots. No matter the situation, all clients
want to look beautiful. (And just this year, she booked four
weddings from magazine assignment subjects.)
Dene Your Goals
Although there is no one-size-ts-all method when it comes
to diversifying your business, dening your goals is essen-
tial. You can go so in many different directions in photog-
raphy, explains Frey. But once you plan where you want
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to go, you can better recognize the opportunities that will
help you get there.
When rebranding her familys studio into Maria of
Kilkenny, Dunphys goal was a boutique studio brand, which
guided her to new product lines she loves. She introduced
newborn photography and exclusive pet portraiture, becom-
ing one of the rst studios in her area to do so. As a result,
she got good publicity (which only helped solidify her new
boutique image).
On the other hand, trying out new markets without
guidelines could be detrimental. When we started, we
took anything that came our way. We spread our resources
too thin, recall the Ragsdales. Thats why they narrowed
their marketing focus to seniors and word-of-mouth special
requests. Now, we can say no if it doesnt t our goals.
Make It Work
Lets say you decided to diversify. How do you spread
awareness of that fact and actually get the work?
Start with your current client base: The Ragsdales
focus most of their active marketing on seniors to whom
they give free family sessions. Within a year, 75 percent of
those senior clients turn into family clients!
Show interest in your clients workand ask: When
Matt talks to senior clients parents, he lets them know that if
they ever need commercial work, they can call. And they do.
Theres nothing wrong with saying, I want to do this with
my business. Any suggestions? Clients understand youre
running a business. Dont
be afraid to askyou
wont know until you do.
Join local groups:
You never know who
one person knows, adds
Frey. Case in point: After
joining the Chamber of
Commerce, she had lunch
with the head of a radio
station who was promot-
ing a Motorcycle Ride
for Veterans (which she
was asked to cover). A
%DNHUVHOG/LIH0DJD]LQH
saleswoman was a rider,
and she loved the photos
Frey took of her and her
husbandand that was how Frey was recommended for her
rst magazine assignment.
Get involved with local schools (and thus, the com-
munity): Find a way to help them, and youll connect,
says Allison, whose studio is a big supporter of the school
newspaper. Its a short jump from friend to client.
Display the type of work you want to sell on your
website(s), at your studio, etc: If they dont see it, they
cant want it, says Dunphy, who hangs her dog and new-
born images at her studio. Frey is even able to promote
her wedding work through her magazine work, thanks to
displays of her ownfull-page wedding ads (showcasing
local couples) alongside the articles she photographs.
While the Ragsdales, Frey and Dunphy have found that
diversifying is the way to go for them, the key is the phrase,
for them. They saw opportunities and used them to their
advantage, meeting clients needs. Will you be able to rec-
ognize (and take advantage of) what could be your next big
break?
Its easy to get caught up in trying to be everything to
everyone because opportunities are everywhere, cautions
Frey one last time. Just remember to use them in accor-
dance with your business goals!
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I JUST CANT SEEM TO
GET AHEAD!
Sound familiar? That frustration is what draws many photographers to PPAs Studio
Management Services (SMS). Youre a good photographer, but if you cant manage
your business, youll end up bankrupt, burned out or both. Let us help you get ahead
and you may just go farther than youve ever dreamed.
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PPAS STUDIO MANAGEMENT SERVICES
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TIMES:
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GOAL: guidance for goal-setting
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QUALIFY: complete a One-Time Consultation
or attend a 3-Day Workshop
COST: $400 - $600 per quarter
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES LabTab
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LabTab
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Publisher not responsible for errors & omissions
PROFESSIONAL
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154 www.ppmag.com
n 2007, Washington, D.C., wedding and
portrait photographer Neil Colton joined a
group of volunteers on a charitable mission
to Haiti. Their ambitious undertaking is
part of the Village of Hope Lazarus Project.
Founded by missionary Carol Herget, the
organization provides education and basic
health care to Ganthier, Haiti, a rural com-
munity east of Port Au Prince. The project
includes a school, a medical center and a
variety of support facilities.
At the time of Coltons visit, Village of
Hope was already providing a ray of hope to
the impoverished community. The school,
which started with just eight students, had
expanded to 600. Two classes had graduated,
and some students had gone on to study med -
icine, architecture and other professions.
The schools summer program teaches life
skills, such as carpentry and home building.
Coltons job was to photograph all 600
students in three daysall in a facility with
no electricity. He got it done, though, and
the result is an inspiring collection of por-
traits, The Children of Haiti: Portraits of
Hope. I wanted this project to have an
upbeat feel, he says. In the midst of all this
poverty, these people are the most resilient
youd ever meet. I just cant say enough
about their spirit. Instead of portraying this
destitute situation with these faces full of
sadness, I wanted to focus on the spirit of
hope. There are so many good, hopeful sto-
ries, and thats what I tried to capture.
When Colton returned to D.C., he held a
fundraiser and exhibition, which brought in a
few thousand dollars for the charity. He gained
additional promotion for the cause through
local media. Afterwards, he posted the images
on his website and then went on with his life.
Then, on January 12, 2010, the infamous
earthquake hit, the epicenter falling 16 miles
west of Port au Prince. The 7.0-magnitude
quake and aftershocks killed a reported
316,000 people, caused 300,000 injuries,
and left more than 1 million people displaced.
The Village of Hope survived, and its needs
are as pressing as ever. Colton plans a return
trip to Haiti this fall. Hell capture more images
of the children as a way of amplifying their
story, and will also help individual students
seek sponsorship from outside donors. He
plans another fundraising event in the D.C.
area sometime after he returns. Meanwhile,
hes provided images from his first trip to
various charitable organizations free of charge,
which led to their appearance everywhere from
aid fundraising materials to the backdrop of
a Haitian relief event featuring Wyclef Jean.
If you are interested in lending your talents
to the cause, Colton recommends checking
out the efforts of projects like Village of Hope
that inspire you. About 66 percent of the money
flowing into Haitis budget comes from non-
profits, he says. So there are incredible oppor -
tunities for people to work with charities. n
For more information on the Village of Hope
Lazarus Project, visit lazarusprojecthaiti.org.
View Neil Coltons Haiti images at colton-
photography.com/blog/category/haiti/.
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
cbishopp@ppa.com
Children of Haiti
PORTRAITS OF HAITIS HOPE FOR A BRIGHTER FUTURE
Neil Colton
I
154-goodworks_MAGAZINE SHELL 9/14/11 11:21 AM Page 1
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