florida photographer 2013 #4

www.burrellimaging.com

Jo in the

Florida Professional PhotographersSee membersh ip Appl icat ion on www.fpponl ine .org

Best of ShowIllustrative

Hibiscus

JaneConner-ziser,

Cr.Photog.,API

Florida Photographer 3

Is the official publication ofthe Florida Professional

Photographers, Inc. Permission to reprint

contents on this publication isgranted to similar publicationsof the photographic industry,provided that the author and

THE FLORIDA PHOTOGRAPHERare recognized as the sources.

The opinions expressed in anyarticle or column are those of

the author and does not neces-sarily represent the official posi-tion of the Florida Professional

Photographers, Inc.

The Florida ProfessionalPhotographers exists solely for

the good of its members. The association provides toolsand educational opportunities

for its members to achieve theirbusiness and artistic goals. It is

committed to an ongoingexchange of information and

experiences between allmembers in an open and

friendly atmosphere.

Florida Photographer

Luis Melendi828 Narragansett LaneKey Largo, FL 33037Tel 305.453.5441Fax [email protected]

publishing editoradvertising and design

President’s Message 5FCON 2013 Competition Results 7Photo Competition Awards 10FPP Awards and Degrees 11Convention Wrap-Up 13Door Prizes 16FPP Committee Reports 17Oh What a Night 18Portrait Lighting Ratios 21Design for Perpetual Marketing 24Meet President Martin Gudz 26FPP Fall Seminar 28The Power of Personal Projects 28

www.reedyphoto.com


Revolution… Evolution… Change the World.

Words and phrases from the firstverse of a famous song written by acouple of lads from Liverpool in1968. They used their--what at thetime was considered radical musicand beliefs--to highlight the prob-lems of their time. They went on tonot only change the way we lookedat music, but revolutionize bothpopular culture and the music

industry itself. Hence revolution,evolution and they really didchange the world.

I am honored to be the incomingpresident of the FPP for 2013/2014, An organization that we all love sodearly. We are truly more thanfriends;we are family. We share notonly our successes, but also ourstruggles, and we have all workedvery hard to support and maintainthis wonderful organization.However, we have to accept beinga professional photographer is nolonger the same as it was 5 yearsago, let alone in 1968, and I amvery honored to spearhead thechanges that are upon us.

REVOLUTIONThe FPP is strong on tradition.Tradition is notably what keeps anygroup of people together. However,our organization has suffered overthe last several years because wedid not embrace the changes in ourindustries dynamic fast enough. Ifwe want to survive we must changesome of our traditions and welcomeanyone who has an interest inphotography. We all started asamateurs and made the leap. Wemust embrace photographers of alllevels and make them feel the sameway I did 19 years ago; like family.Changing this will take all of us.Your Board has already changed thedays of convention so that we mayinclude photographers who other-wise would not have been able toattend, but it is your job, as individ-uals, to extend the welcoming hand

of friendship.

EVOLUTIONEverything changes. Within the pastten years more things have changedin this industry than at any othertime in history. The way we operateon a daily basis would have beencompletely alien 10 years ago.Image capture, retouching, printingand marketing of our products andservices have been changed bymodern technology. These changeshave been difficult for some whowant to continue to hold onto the“traditional” methods of working.These changes have also been diffi-cult for newer photographers whodo not have the training and historyof the past as a base for their busi-nesses. It is time for both genera-tions to come together so that wemay pass on the traditional waysand embrace the new.

CHANGE THE WORLDAs President, may I suggest you“Change the World.”In order to evolve for the better, wemust make changes so that we cansucceed in the business of photog-raphy. We must continue to learn,grow and support each other andthe art of this industry. It is notabout new or old, it is aboutquality, professionalism andcommunity. It’s time to “ComeTogether.”

I look forward to being yourPresident. Lets start the Revolution,evolve and all together changeYOUR world. n

MARTIN GUDZ, PHOTOG.CR, FSA, FED, LBIPP

President’s Message

If you want. . .

Prestige, Knowledge, Business

Development, Continuing

Education, Personal Growth,

Degrees, Development of

Ethics, Friends and Fellowship,

Fun, Awards, Leadership

Development, Annual

Convention and Trade Show,

Award Winning Publication,

Photographic Competition,

Seminars, PPA Affiliate School

and more!

Join theFlorida ProfessionalPhotographers

Application information ison www.fpponline.org

FPP, Inc.Board of DirectorsPRESIDENTMartin Gudz, FSA, FED 20146174 SW CR 360Madison, FL [email protected]

VICE PRESIDENTJackson Koontz III, FSA, FED 2015PO Box 6878Ocala, FL [email protected]

SECRETARY TREASURERCindy Strickland, FSA, FED 20135750 CR 12Tallahassee, FL [email protected]

DIRECTORSGary Hughes 20141603 Wilson Ave.Orlando, FL [email protected]

Britney Kirby Fullgraf, 2013302 East Belvedere StreetLakeland, FL [email protected]

Carol Walker, FDPE, FSA, FED 20157925 4th St. NorthSt. Petersburg, FL [email protected]

Patrick Van Dusen, FSA 20153539 Bareback TrailOrmond Beach, FL [email protected]

Robin Adams, 2016565 Hickory St.Monticello, FL [email protected]

Past Pres identSandra Pearce, FDPE, FDAE, FED 20141122 SW 15th StreetOkeechobee, FL 34974863.763.2684

FPP Office - Executive DirectorKaye NewsomeFlorida Professional Photographers, Inc.11738 North Dale Mabry Hwy.Tampa, FL [email protected]

Our FPP Websi te - www.fpponline .org

F P P S E C T I O N ’ S W E B S I T E S

Bay – BPPA: www.bppafl .comFt . Myers – SWFPPA: www.ppswf .comGainesvi l le – PPNCF: www.ppncf .com

Jacksonvi l le – JPPG: www.jppg.orgLakeland – PPGMF: www.ppgmf.org

Melbourne– SCPP: www.spacecoastpp.comMiami – PPGF: www.ppgf .com

Ocala – OMCPPA: www.omcppa.comOrlando – PPSCF: www.ppscf .com

Palm Beach – PPGPB: www.prophotogui ld .comPensacola – NWSFPP: www.nwsfpp.com

Tallahassee – TPPG: www.tppg.wordpress .comTampa – TAPPA: www.tappa.org

FPP Dalegate Chair: Marty Grivjack, Cr.Photog., FSA17114 123rd Terr . N. , Jupi ter , FL 33478-5211

Mobile 561.714.6443 • e Mail [email protected]

Keely Deuschle904.403.9553

Britney Kirby Fullgraf863.686.4980

Marybeth Hamberger954.426.2562

Gary Hughes321.279.0077

Kevin Newsome813.968.2810

Sandra Pearce863.763.8684

Robin Phillips863.682.6958

Kim Warmolts727.934.4456

PPA COUNCILORS

Convention - 727.481.9329Debbie Alcorn [email protected]

Trade Show - 305.453.5441Luis Melendi [email protected]

School Director - 954.426.2562Marybeth Hamberger [email protected]

FPP MANAGERS


T h e R o s e n P l a z a H o t e lH o m e o f t h e 2 0 1 4 F C O N

8 0 0 . 6 2 7 . 8 2 5 8

Director of Affiliates Jackson Koontz, FSA, FEDPO Box 6878 Ocala, Florida 34478

352-369-4257 [email protected]


As another Convention comes to aclose, I find myself more proudthan ever of our membership andour organization. The number ofentries this year was fantastic, 394,down just a bit from last year. Butwhat’s so very impressive is thepercentage of merits; our membersmerited 166 images for 42%.Florida should be proud of suchoutstanding results – congratula-tions to all the makers!

Our judges in 2013:Bert Behnke, Cindy Benke, EdBooth, Jane Conner-ziser, GregDaniel, Frank Frost, Betty Huth,Tim Kelly, Sandra Pearce, ChristineReynolds, Richard Sturdevant, andPaul Wingler. Our moderators wereAl Audleman and Michael Landis.A big thank you to all the judgesand the moderators; you were allprofessional, fair and oh so witty...my team and I enjoyed workingwith you all those long hours.Thank you!

ProofCast was again a criticalcomponent of Florida’s PrintCompetition. I’d like to thank JeffBurton for his calm, cool attitudeno matter the level of crises I(thought) was arising. Jeff rolled outsome great features to ProofCast’swebsite this year just for us. Hisgreat ideas and his ability to thinkoutside the box made our jobs somuch easier. ProofCast continues toget better every year and we loveworking with Jeff!

Finally, a big thank you to theentire Salon Committee. You guysrock and Salon would not havehappened without all of youworking so hard. The committeethis year: Marty Grivjack, JulieJohnson, Linda Long, TrishMcfarlane, Karen White, CarolWalker, Becky Jordan, A. SpencerSchwartz, Olyn Long, EnriqueMunoz, III, Alberto Munoz, PaulMcDermott, Frances Gillard, andDarla Sharp.

New this year was ProofCastLounge, a place where FPPmembers and guests could hang outand watch the judging withoutobserving the usual rules ofdecorum in Salon. Translation:ProofCast Lounge rocked the house!With energy and excitement, CarolWalker, Randy Van Duinen andGary Hughes answered questions,played some lighthearted “guess thescore games” and made sure thateveryone learned a whole bunchabout competition in a great venueas it was happening upstairs. Thankyou to a wonderful crew thatbrought education, fun and energyto the mysterious and oftenconfusing world of Salon. We can’twait for next year! And now, forthe statistics and awards: 2013 ENTRIES

Electronic ArtDigital Art: 12Restoration: 10Manipulation-Art: 23

Albums-Event Album (Single-Maker): 2Album (Multi-Maker): 0

CommercialAdvertising Illustration: 9Architectural: 7Industrial: 1Photojournalism: 9

IllustrativeAbstract: 6Landscape: 27Open: 79Wild Animals: 15

PortraitChild: 45Environmental: 23Group: 20Man: 22Pet: 9Woman: 51

Social EventFormal Portraiture: 8Open: 15

Total Entries: 394Total Merits: 166Percentage of Merits: 42%Digital entries judged: 325Physical entries judged: 69Print Scoring:100: 095-99: 290-94: 485-89: 2280-84: 13875-79: 21870-74: 10

ROBIN ADAMS, COMPETITION MANAGER

2013 FCON Photo Competition Results


Following are the awards presented:Electronic Imaging

Electronic Art:

RestorationFirst Place: Mildew Memories, JULIE JOHNSONDistinguished: Danceline Dandies, JULIE JOHNSONDistinguished: Scratched Siblings, JULIE JOHNSON

Digital Art First Place: Bent Wing, JULIE JOHNSONDistinguished: Conceptual Equilibrium, MARINAPROSKURINADistinguished: Sweet Sixteen, CATHERINE NOCERA

Electronic Manipulation

Digital Illustrative Art First Place: Hatched, RANDY VAN DUINENDistinguished: Metal Craftsman, CATHERINE NOCERA Distinguished: Dark Angel, RANDY VAN DUINEN,

Best of Show Electronic Imaging: Mildew Memories, JULIE JOHNSON

Photographic Open

Commercial:

Advertising Illustration First Place: See Sure, JON JERNIGANDistinguished: GPS Guided Personalized Surgery,SHEILA HARTLEYDistinguished: Hybrid OR, MICHAEL POTTHAST

Architectural First Place: Embry Riddle University, RANDY VAN DUINENDistinguished: Aero Clave Lobby, RANDY VAN DUINEN Distinguished: Dog House, PETER BURG

Industrial First Place: Super Clean Robotic Arms for Stackingand Placing IT Wafers, CHRISTINE REYNOLDS Distinguished: No Award GivenDistinguished: No Award Given

Photojournalism

First Place: Death in The Afternoon, MICHAEL ZERIVITZ Distinguished: The Early Bird, JULIE FIORETTIDistinguished: Ugh (Grunting Noise), WILLIAMDZWONKOWSKI

Best of Show Commercial: SeeSure, JOHN JERNIGAN

Illustrative:

Abstract First Place: Great Sand Dunes, Colorado, CHERILYNNOCERA Distinguished: No Award GivenDistinguished: No Award Given

Landscape First Place: Fire Fog, Julie JohnsonDistinguished: Let There Be Light, REG GARDNERDistinguished: The Sentinel, RANDY VAN DUINEN

Wildlife First Place: Lagoon Landing, STEVEN BLANDIN Distinguished: Gotcha, CHRISTINE REYNOLDS Distinguished: Push Harder, PAT LOWE

Open First Place: Hibiscus, JANE CONNER-ZISERDistinguished: Young Dancer, ARNOLD (AJ) ABELLERADistinguished: Dream Catcher, CATHERINE NOCERA

Best of Show Illustrative: Hibiscus, JANE CONNER-ZISER

Social Event

Social Event Formal Portraiture: First Place: Mi Armor, TOMAS MUNOZDistinguished: Garden of Eden, TOMAS MUNOZDistinguished: Bonnie & Clyde, ALBERTO MUNOZ

Social Event OpenFirst Place: Art of Love, TOMAS MUNOZ Distinguished: Biltmore Romance, TOMAS MUNOZ Distinguished: Blown Away, MARIO MUNOZ, JR.

Best of Show Social Event: The Art of Love, TOMAS MUNOZ


Albums

Event Album (Single-Maker) First Place: Jasmine and Matthew, TOMAS MUNOZDistinguished: Keep Calm and Marry On, MARIOMUNOZ, JR.Distinguished: No Award Given

Event Album (Multi-Maker)First Place: No Entries

Best of Show Album: Jasmine and Matthew, TOMAS MUNOZ

Portrait

Portrait of a Man: First Place: Top Gear, SHEILA HARTLEYDistinguished: The Champ, MICHAEL POTTHASTDistinguished: Distinguished Gentleman, SCOTTMEINCKE

Portrait of a Woman: First Place: The Heiress, MICHAEL POTTHASTDistinguished: Spellbound, BILL BARBOSADistinguished: A Man’s Dream, PETRA PRION

Portrait of a Child:First Place: Heir to the Throne, BARBARASPRATLINDistinguished: Cloaked In Wonder, RHEA LEWIS, Distinguished: First Communion, KEVIN NEWSOME

Portrait of a Group: First Place: Duet, JANE CONNER-ZISER Distinguished: Reservoir Dogs, MARIO MUNOZ, JR. Distinguished: Wet, MARIO MUNOZ, JR.

Environmental Portrait:First Place: Redneck Yacht Club, CHERILYN NOCERA Distinguished: Nikolay 3 Time World AerobaticChampion, JOHN JERNIGAN Distinguished: Young and Artsy, JOHN JERNIGAN

Portrait of a Pet: First Place: Chocolate-Vanilla-Swirl, JENNIFER O'DEADistinguished: Mr. Bentley, MICHAEL POTTHAST Distinguished: No Award Given

Best of Show Portrait: Redneck Yacht Club, CHERILYN NOCERA

Special Awards

Section Awards: First: JPPG/Jacksonville with 15 entries, score 86.73Second: OMCPPA/Ocala/Marion County with 29entries, score 84.34Third: BPPA/Bay with 25 entries, score 82.76

CPP Award: The Art of Love, TOMAS MUNOZ

ASP Award: The Garden of Eden, TOMAS MUNOZ

People’s Choice Award: Heir to the Throne, BARBSPRATLIN

Lexjet Sunset Award: Evil Eyes, PETER BURG

Fuji Masterpiece Award: Fire Fog, JULIE JOHNSON

ProofCast’s Most Improved Photographer:JULIE JOHNSON and LINDA LONG (tie)

Kodak Gallery Award: Heir to the Throne, BARB SPRATLIN

Susan & Stewart Power’s Award - Album of the Year:Jasmine and Matthew, TOMAS MUNOZ

Top 10 Photographers:1. Tomas Munoz 2. Jane Conner-ziser 3. Sheila Hartley 4. Michael Potthast 5. John Jernigan 6. Steven Blanding / Joann Munoz (tie) 7. Julie Johnson 8. Manny Cruz 9. Randy Van Duinen

10. Jennifer O’Dea

Photographer of the Year: TOMAS MUNOZ

Artist of the Year: JULIE JOHNSON

Robert Becker Memorial Award for CreativePhotography: Duet, JANE CONNER-ZISER n


2013 Photographic Competition AwardsMARTI NEWKIRK

The Robert Becker Memorial Award for CreativePhotography “Duet” by Jane Conner-ziser.

Top Ten Photographers attending the Banquet: Michael Potthast, JaneConner-ziser, Randy Van Duinen, Julie Johnson and Steve Blandin.

First Place Winners: Michael Potthast, Barbara Spratlin, Cherilyn Nocera,Jane Conner-ziser, Randy Van Duinen, Julie Johnson, Steve Blandin andChristine Reynolds.

Best of Show Winners: Cherilyn Nocera, JaneConner-ziser, Julie Johnson

People's ChoiceAward “Heir to theThrone” by Barbara Spratlin

ProofCast Most ImprovedPhotographers:Julie Johnson

and Linda Long


FPP 2013 Awards NightDEBBIE ALCORN, FSA, FED, CONVENTION MANAGER

For a bunch of photographers wesure do clean up nice. Everyonelooked gorgeous for the night ofrecognition for our best of the best.Congratulations to all!

The Florida Service Award isawarded when a member earns 30merits for service given to the FPP.Only 253 such awards have beenearned since 1966. This year weadd 2 more: Kaye Newsome, FEDand Christine Reynolds, FDPE.Thank you ladies for youcontinued service.

The Florida Education Award isearned by continuing your educa-tion to achieve a higher level andbetter understanding of our craft.We have awarded 142 since 2001.This year we add 6 more: PatrickF. Ciatto, Jane Conner-ziser,Darryl Jarmon, FDPE, Linda Long,Carmen Schettino, FSA andMelissa Sewell. Great job!

The Florida Degree ofPhotographic Excellence isawarded after 30 print merits havebeen earned. Only 188 have beenearned since 1966. This year weadd 2 more: Patricia M. Macfarlaneand Michael Potthast. Great job,be proud!

The Educational ScholarshipAward sends the recipient to ourfantastic Florida School in 2014.This year’s recipient is Lou Gillard.Congratulations, Lou!

The Past Presidents Award, estab-lished in 2008 is voted on by thePP’s, of FPP. This prestigiousaward is presented to someone

within our industry, who has goneabove and beyond the call of dutyin service to our association, ourindustry and our profession as awhole. This year’s recipient is thevivacious Jane Conner-ziser.Thank you so much Jane!

The Southeastern Award wasestablished in 1967 and up until1974 was always given for printmerits. Since 1974 it has beengiven for service and dedication.This year’s recipient is DebbieWhitmer of Museum Bond.Congratulations, Debbie!

The National Award was createdby the PPA in 1958. It is thehighest award presented to a PPAAffiliate. It is presented in recogni-tion of hard work and dedicationto our association and industry.This year’s recipient is our newPresident Martin Gudz. Way to goMartin!

The Outstanding Service Awardsare chosen by the FPP AffiliateSections to honor their individualswho consistently go the extra mile.Congratulations go to:

BPPA: Donna WilliamsSWFPPA: Barbara SpratlinPPNCF: Tammy Griffin-Vincent JPPG: Karen JosephPPGMF: Marti NewkirkPPGF: Lou GillardOMCPPA: Jackson Koontz IIIPPSCF: Ellyn SivigliaPPGPB: Helen and Ray HarubenNWSFPP: Mari Darr-WelchSCPP: Karl LeopoldTPPG: Olyn LongTAPPA: Rick Lewis n

FSA Recipients: Christine Reynolds andKaye Newsome

Receiving their FDPE Degree: MichaelPotthast and Patricia Macfarlane.

FPP Past Presidents Award was presentedto Jane Conner-ziser by current presidentSandra Pearce.


FED was awarded to: Carmen Schettino, Melissa Sewell, Jane Conner-ziser, Linda Long and Darryl Jarmon.

SEPPA Award was presented to Debbie Whitmer fromMuseum Bond by Kavin Jiminez and Sandra Pierce.

Florida Memorial Service Award wasbestowed to Ramfis Campiz by PresidentSandra Pearce.

PPA President Ralf Romaguera presented the coveted National Award to VP MartinGudz, flanked by FPP President Sandra Pearce and Cindy Romaguera.

Theresa Saylor Scholarship Award wasgiven to Julie Johnson.

Richard Fowler Scholarship waspresented to Darla Sharp.

Jim Arbrish Memorial Award went toMarty Grivjack.


DEBBIE ALCORN, FSA, FED, FPP CONVENTION MANAGER

FPP 2013 Convention Wrap-UpIt is so very hard for me to believeFCON 2013 is actually over. Allthe planning and working all yearand “poof” it’s over. Sort of likeThanksgiving Dinner!

Thank you sounds like such a smallthing to say to everyone whoworked so hard to make FCON2013 a success. When I say thankyou I truly mean it from the bottomof my heart.

To our Speakers and Sponsors, greatjob by all, thank you for sharingyour time and knowledge with us.I am just sorry it all went by so fast,would have loved to have moretime with all of you.

Thank you to Bridget Robertson forbeing the invaluable ConventionAssistant. All the “undercover”things you did all year were such ahuge help. Putting together theprogram and getting it ready toprint was monumental, it lookedfabulous!

My two Lts., Dir. Britney KirbeyFullgraf and Dir. Cindy Strickland.You guys were fantastic, nevermissed a beat and if there were anyglitches they were handled withoutanyone knowing. Thank you sovery much.

All of the Committee Chairs pickedthe best people for the job and allwent off without a flaw. Manywere new Chair People this yearand you all proved without a doubt,you could not only handle the jobbut soared! Thank you, thank you,you people are the best.

Luis, great Trade Show again andthank you to Yvonne for steppingup and helping. Not sure howmany of you know this but YvonneMelendi is one of the very fewpeople to receive an Honorary FSA!

Well deserved my friend. It wasgreat seeing you.

Robin Adams, what can be said.Constantly working and gettingeverything done. You handled allchallenges with dignity and grace.Thank you to you and your greatcommittee.

Proof Cast Lounge. Yahoo, what afun gathering! Thank you JeffBurton, and Dir. Carol Walker forkeeping it rockin and rollin! Superduper job.

Thank you to Exec. Dir. KayeNewsome for “reminding” of some-thing I had forgotten. Quite thepower house we have in her.Thank you for keeping me on trackand stopping me from chasing

squirrels!

WebMaster Kevin Newsome, thankyou for all the eblasts and changesyou made to our website to keepeveryone informed. I’m not reallysure if everyone knows how hardyou work, so let it be said here.Thank you for all your long hoursand hard work!

Most important of all are FPP’smembers, without the help andsupport of all of you none of thiswould have happened.

Time to get started on FCON 2014.Call me 727-481-9329 or email [email protected] with anyideas and suggestions. Looks likewe are gonna have a Revolution!See you at the Fall Seminar! n

www.pbi-photo.com


More Pics from FCON Events! More Pics from FCON Events!


Images by: Marti Newkirk, BillBarbosa, Vasilena Balabanovaand Pedro Carrillo.


Some volunteers stay on the samecommittee for decades at the FPPand some, like me, bounce aroundeach year. Whether that is due tosome sort of hyperactive disorderor an unquenchable thirst for newand exciting experiences is irrele-vant. Bottom line is that every yearI get to know different members ona new level and I have the greatpleasure to say that as this year’sDoor Prize Chair I got to know mycommittee, even the ones Ithought I knew well, a lot better.Thank you to my awesomecommittee, I can’t thank youenough for picking up the slack, Iam very grateful for all of you.

As the door prize chair, thegenerosity of our sponsors can beoverwhelming at times. It almostgets to the point where you feellike you might be buried under anavalanche of prizes! Luckily thereare plenty of attendees to grabthem up! I would like to take thisopportunity to list and thank all ofthe sponsors who donated door

prizes this year, they wereoutstanding! So in no particularorder, our most humble thanks forthe continued support of:

Reedy PhotoBurrell ImagingMuseum BondDale LaboratoriesInto the DarkroomLarson EnterprisesArtsy Couture H & H Color LabCollages.NetWhite House Custom ColorTim Kelly Pro Photo CasesProfessional Photographers ofAmericaBig Folio

It was a pleasure serving as DoorPrize Chair this year and I lookforward to bouncing aroundconvention again next year! MaybeI will show up at the early morningclasses just to get the party started!See you in November at the FallSeminar! n

When Theresa left this earth forHeaven, I said I would write anarticle for her. It has been thehardest thing I have ever promisedto do. Many folks have given metheir input and to some degree itmade the job harder as I foundmyself trying to speak for them.So, I decided to speak of her as shewas to me, my friend.

My Friend Theresa Saylor:Nothing candescribe theheart and soulof Theresa.You could feelthat part ofher. We canlist her workand accom-plishmentsuntil we areblue in theface (and thelist is thatlong... truly)."Who" she was, evokes the mostpositive emotions, and thinking ofher brings a smile to my face andcovers me with a warmness I canfeel. The profound laughter wehave shared will never beforgotten. She was truly myencourager, confidant, and hero.

The wisdom, blessings and lessonsI received from having known andloved her will be with me for therest of my life. Those that lovedher will mourn because her earthlypresence has been removed andwe will be robbed of her touch. But the joy and love she gave, willmake us smile at the mention ofher name, and her memory willlive on in us. If you speak of her,do it as she would speak of you ...in love and kindness, with honorand respect, and most importantly,with a smile. Forever friends, InGod's Love, Nancy. n

Theresa SaylorNANCY SOLES, PAST PRESIDENT

Theresa, Nancy and andPast President HelenCiallella - PPA 1992

FPP 2014 Board of Directors

Standing: Carol Walker, Patrick Van Dusen, VP Jackson Koonz, President MartinGudz, Gary Hughes, Britney Kirby-Fullgraf. Seated: Sec.Treas. Cindy Strickland,Past Prez Sandra Pearce, Executive Director Kaye Newsome and Robin Adams.

GARY HUGHES

Door Prize Committe

Well, we had another amazing yearat FPP Convention in Orlando!Committee heads were busymaking sure every detail was inplace!

AV Chair, Jackson Koontz did anamazing job assuring that everyword could be heard and everyslide could be seen at each of ouramazing sessions. His support teammade up of Lee Burgess, PaulFinkelstein and Sam Brill left nostone, or pc cord, unturned!

Speaker Equip. Chair, A.J. Abaleraand Props Chair, Bill Cadzow wereone step ahead of any speakerrequests or special needs...back-drops, saw horses, you name it andA.J. and Bill can make it happen!A.J. was even there to make surethere was replenished water torefresh our hard working speakers!Equipment Chair, Ed Robinsonpulled together a fine crew of JesusCabrera, Lou Gillard, RobinPhillips, Larry Carpenter, PaulFinkelstein, Durga Garcia, DarrylJarmon and Nikkia Reed. Oftentimes working behind the scenes orsequestered in the equipment room,this hard working team made surethat everything had a place andeverything was in its place before,during and after our convention.

The old saying "a picture is worth athousand words" is never more truethan within our industry, and thatincludes seeing a speaker workhands on with a model during asession. This year, Models Chair,Charlie Coury made sure ourspeakers had some great models towork with, making it all the moreinteresting and educational for therest of us.

It goes without saying ourConvention wouldn't be completewithout our speakers and Host

Chairs, Darla Sharp and NikkiaReed insured they got back andforth from the airport on time andin good health! Equally important ateach Convention is knowing whereto find our speakers and various

gatherings, and our Signs Chair -Karen Barnett made that possible.

Thanks for all the many hands thatmade this Florida Convention 2013a wonderful and memorable one! n


BRITNEY KIRBY FULLFRAF

FPP 2013 Convention Committee Report

www.hhcolorlab.com

The Past President’s Award forOutstanding Service to the Industry;The Florida Education Degree forDedication to Education; First PlaceIllustrative Open; First Place Portraitof a Group; Best of Show Illustrative;and the coveted Becker Award forCreative Excellence. A once in alifetime experience! And a prettygood night for my first foray intoprint competition!

But most of you know that’s notentirely true … I’ve been a profes-sional photographer and retouchingartist for (gasp!) over 35 years. Abig part of my freelance businessspecializes in retouching otherphotographers’ work for competi-tion … and I’ve learned and grownas an artist along with many of myMaster friends. It might have beenthe first time I entered my ownphotographs, but I know what looksgood and I’m pretty familiar withthe process (I messed up on all ofthe forms and had to do them acouple of times before I got it right.)

I wanted to share my favoriteimage, Hibiscus (PPA Loan), withyou, because it’s a pretty goodexample of my creative thoughtprocess. I wanted to also share myfull case of images so you can seethat although my top two imageswere awesomely received, I hadtwo that scored in the low 80’s andtwo that even got the dreaded(shudder) 79. Hibiscus began when Mike Potthast

and I decided to schedule a play-time together. He brought in thedancer, I drove to Winter Havenand we took turns setting up shots.Mike photographed her jumping andspinning. I posed her on a small setof steps. We did some posing of herreclined upon a curved bench … Iwas drawn to her skirt, but from theside, it just looked like a horizontalline. When my turn came backaround, I asked for a ladder. I wantedher lit from behind so there wouldbe a sense of mystery in the shadows.I wanted a large light source so thefall off of light would be soft. I askedour model to bow down as if shemight be adjusting her shoe and Imade one exposure. Then I movedthe camera angle slightly and madeanother. That’s it, two exposures. Ishot it low key, RAW.

That evening as I went through myimages from the day, the only one Ifelt had potential was the one Iphotographed from the ladder. Ibrought it into ACR and, as is myhabit, I looked at it for a few minutes.I rotated it so I could see it from allangles. I zoomed in to check for

details. I took the exposure sliderand shot it all the way down toblack and then all the way up towhite, and “Hello Beautiful!” (ourcover photo) was in the soft dovegray value range, securely held inplace by the deep black velvet ofher waist band and the little whitehighlights on her back.Because itwas already close to being mono-chromatic, I tried it b/w and it waseven more powerful.

Image adjustment is criticallyimportant so I took my time andmade sure that there was detail inthe specular highlights and in allblacks, except the velvet. I remembertoning down a patch of skirt underher chin in order to show off thereflected rim light running downher jawline and neck. I zoomed in,zoomed out, looked and refineduntil I felt it was as perfect as possible.Then I opened it in Photoshop.

There was very little retouching onthis image. By this time it had aname, Hibiscus, and my goal wasto present her as a flower. I rotatedthe image until I could see theflower clearly without it lookingcontrived. In the final composition,I particularly like the way the blacknet creates edges around the skirtthat look like they were drawn inwith a pencil. I had to fill in somebackground in order to perfect thecomposition and added the slightestglow to boost the feeling of gentleelegance I was feeling with this


JANE CONNER-ZISER, CR.PHOTOG, API

Oh What a Night!

Florida Professional Photographers Association 2013

image. I love this image; I feel goodabout my creative experience withit. I made it for myself.

On to the competition, I give 80%credit for me entering to Rick Bauerwho has encouraged (pestered) meto enter for many years – as havemany of my other friends. I guess Inever entered before because … Idon’t know … I just never did. Ihave shared excitement foreveryone else’s success and Iconfess I LOVE making competitionimages and seeing how they dowith the judges … I make lots ofimages for myself … but anyway,this year I thought “Why not? Let’sdo it!” and picked out six of myimages that might represent differentstyles of photography that I like to do.

Preparing Hibiscus for competitionrequired that I consider whether ornot my image would benefit from amat or border. I decided it would,and chose a simple piping, delicateand simple, just like my image.Also, it was important to find outhow the image would be displayedduring the judging. I asked and wastold that it would project on a blackbackground, which was fine forHibiscus, but three of my otherimages had black mats so I droppedin a light gray inner glow at theoutside edges so my crop andborders could be seen. As it turnedout, my information was incorrect;the viewing background color wasgray, but I was lucky because mychoice of gray coincidentlymatched the background so theonly visible clue of my misinforma-tion was that the outside edges onmy black mats were a trifle soft; Idon’t think anyone noticed. I saythis just to point out that you haveto consider every angle on acompetition image and then gowith your best information!

My two favorites from my case areHibiscus and Duet and I’m gladthey did well. I took a chance withthem in competition because bothof them are “quiet” images that feelbetter the longer you look at them –and judges usually score within

three seconds. Duet (below) is alsoa bit “nude” for a PPA salon. I gotlucky – both of them were chal-lenged and as the judges talkedabout them, they grew bigger than

they were originally; even up to thefinal judging I hear.

I think what gives me the most

happiness in Hibiscus and Duet isthat both of them are pretty muchstraight photography, and I lovebeautiful photography! Both images

are heavily adjusted plus Duet hassome extensive Puppet Warp forthose of you who suspected :-) Bothof them have the slightest bit ofglow (NIK) but at such low settings

you should feel it more than see it. In my opinion, competition is ouroutlet to share ourselves as artists.It’s a good reason, for those of us

who need one, to step away frombabies with little knit caps and families on the beach to exploreourselves, connect withour feelingsand use our knowledge to moresuccessfully produce part of whatwe carry inside into tangibleexternal creations that we can share


with others. It’s been my experi-ence that the images that win arethe ones where you successfullyexpress feelings that make you cry,laugh, love, -or dream out loud.

Am I there yet? NO! I’m not even

close! I feel like a little bird learninghow to fly in a flock of thousands!I’m old enough to realize what I’mnot – I’ll never be an illustrator, norwill I create the powerful imageryof dark clouds and heavy metal thatI admire in other artists’ works.

Right now I’m exploring beauty ofline, grace of composition andsimplicity. As I strive for perfection,I see why people want it. What anexquisite feeling to participate increating a universe in perfectharmony; not a flaw nor hint ofdiscord … yet I’ve also learned thatit’s the imperfections that steal ourhearts and our imaginations - andI’m learning how to carefully craftthem.

So here’s to our flock, the thou-sands of us learning to fly, learningto fly better, learning to soar.Though our personal journeys areimperfect, as we occupy our placein the sky, receiving a word ofencouragement here, extending an

outstretched wing to help there, ourcommon journey becomes anastonishing river of flight and aperfect symphony of wings. Wegrow individually and we growcollectively through our schools,our associations, our friendshipsand our competitions.

See you next year I hope – I’malready working on some images,are you?

Jane Conner-ziser is a professionalphotographer, freelance retouchingand painting artist, author andteacher. She is an AdobeInfluencer, A Corel Painter Master,X-rite Illluminati, CraftsmanPhotographer and fine artist, whoteaches classes all over the world.Visit Jane’s websitewww.janecz.com to check out herclass schedule, online and DVDtraining and samples of her work.Email Jane at [email protected] n


The following people have applied for membership in the FLORIDA PROFESSIONAL PHOTOGRAPHERS, Inc. Their names are published forall members to review in accordance with the membership rules. If no objections are received within thirty days of this publication, these indivi- duals will be accepted pending approval from the FPP Board of Directors.

NAME CITY STATUSAbby Liga Winter Park ProfessionalIsaac Hadid N. Miami Beach ServiceWendy Maillard Orlando MemberLori Hoekstra Ormond Beach StudentPilar Ojeda Ferenus Bradenton StudentPetra Prion Venice ProfessionalMatthew Genuardi Orlando MemberSteven Blandin Tampa ProfessionalTerra Yates Sanford ProfessionalTanya Brown St. Petersburg StudentBruce O’Rourke Winter Park StudentNicolette Lindsey Stuart MemberDiana Jaramillo Hialeah ServicePaul McDermott Lauderdale by the Sea AssociateAmber Wielgorecki Ormond Beach StudentEmily Pattillo Cocoa Beach ProfessionalDiane Arsenault Jacksonville MemberBeverly Caparella West Palm Beach MemberOlivia Ginn Eustis ProfessionalDalton Hobbs Dunnellon MemberElisa Lizt Orlando MemberNick Palomba Tampa ProfessionalLilybet Sepulveda Orlando ProfessionalJessica Shaw Lecanto Student

New FPP Members

A “lighting ratio” is the ratio of themain (or key) light to the fill light.The main light (often called the keylight) is the primary light used tocreate shadows on the subject.Shadows are critical to a goodimage as shadows are what createshape and texture ... the “key” to agood portrait. The fill light is usedto fill the shadow areas so theyhave detail and are not so dark theyare distracting.

In a studio lighting situation, theexposure value (EV) is controlled bythe output strength of the lights.While the true EV is the combina-tion of both shutter speed and f-stop, when using strobes indoorsthe shutter speed is not an overlyimportant consideration. Justremember two things regardingshutter speeds in the studio: 1) If itis set too high, in most cases over1/250th of a second, the strobeswill not synchronize (sync) with theshutter. This means that you willnot get a consistent exposure overthe sensor, leaving parts of theimage under-exposed. 2) If you setit too low, say less than 1/15th of asecond, you may pick up back-ground lighting that will contami-nate your color and also allow forsome subject movement, giving youa blurred image in some cases.This, of course, depends on theambient lighting in the cameraroom. It is like “dragging theshutter.” Keeping the shutterspeed at 1/60th to 1/125th is agood range, allowing good synchro-nization and eliminating any effectfrom ambient lighting.

This is assuming that you are usinga somewhat “normal” ISO setting --400 or less hopefully. As youmove up in the ISO ratings, youpick up noise and may find thatthere is some color contaminationfrom ambient lighting.

Now if you wonder why therewould even BE any ambient light,here’s a tip and a good one toremember. If your camera room isdark, the pupils in the subject’seyes will dilate (open up wide) andyou will lose most of the color inthe eyes. It is also not very flat-tering since there are a few otherthings that cause the eyes to dilateand some of them are consideredinappropriate for general portraits,depending, of course, on client andthe situation.

Lighting ratios are expressed as X:Ywhere “X” is the highlight side ofthe face and “Y” is the shadow side.Ratios are important to understandsince the correct ratio is importantto portraying the subject in a flat-tering manner. For example, alower ratio, like 1:1, means thatboth sides of the face are lit equallyand there are no shadows. This isoften used in photographingglamour shots. At 2:1, the amountof light from the main is close tothe amount of light from the fill,actually a one stop difference,creating very light shadows. This isvery acceptable and often used forsmall babies and children. A 3:1ratio is considered the “catch-all” ofratios since it is a universallyaccepted ratio with good highlights

and lots of detail in the shadowareas but with still plenty of shapeand form for the subject’s face.This is a generally accepted ratio forlighting women.

As the ratios go higher, 4:1, 5:1 ormore, the shadows get progres-sively darker and the less detail youwill have in them. Higher ratioswork better on men than they doon women but they also help createa “mood” or feeling. Also higherratios can be used to “hide” prob-lems, like scars, on a subject’s face.

You will deal with the ratio of mainto fill to create flattering portraits,whether the fill is another light or areflector. In the case of using twolights, the ratio can be determinedin two different manners.

The two methods, when usingtwo lights are:1) Metering the main and fill sepa-rately. In this case, the fill is turnedoff and the main metered. Then themain is turned off and the fill ismetered. In both cases, the effecton the final exposure of thecombined lights is not considered.It is simply used to obtain a specificratio. I term this the “Light Ratio.”2) Metering the highlight andshadow side of the face when boththe main and fill lights are beingused. To help you understand, Iuse the term “Lighting Ratio” in thiscase. This is often referred to as“Layered Lighting.”

While the “Light Ratio” is easiest todemonstrate, the “Lighting Ratio” is


AL AUDLEMAN M.PHOTOG.CR., CPP, API, FDPE, FSA, FED, GFD

Portrait Lighting Ratios


more appropriate since we do notmake two exposures using the mainand fill separately. It is important toknow that there are two separatemethods to determine the ratios.However, it has been a source ofconfusion on the CPP Exam. InJune of 2013, the exam waschanged so that candidates will betested on only one method …layered lighting where both lightsare used to determine the exposureand ratio.

Light Ratio -- Metering mainand Fill Separately:Set up your main lights at the angleyou want, depending on what typeof lighting you want to use. Wewill examine portrait lightingpatterns in another article. Fornow, assume a basic lightingpattern where the main is thesmaller light source to produceshadowing and is placed high andabout 45º off the axis of thecamera-to-subject line. The fill istraditionally a large, soft lightsource placed behind the camera. The actual placement of the fill lightconsidered to be the most correct iswhere the fill is lined up with thenose of the subject but that meansthat both your main and your fillmust be moved each time thesubject is directed to turn his or herhead one way or the other. Manycamera rooms have the fill light“attached” to the back wall andnever moved. It works so don’tstruggle with the concept. In theinstances shown here to determineratios, the subject will be facing thecamera and the fill will be behindthe camera.

In determining the light ratio, the

ratios are shown in “units.” Unitswill vary but will always have arelationship with each other, calleda ratio.

In the diagram, we meter the filllight with the main light turned offand determine that the exposurewould be f5.6. We will use thisamount of light as ONE UNIT. Itdoes not matter how much light itis, just how it relates to the ISOsetting we have pre-determined. Bythat I mean if we set a low ISO (like100), it will take much more lightto get to f5.6 than if we use a muchhigher ISO (like 800). Don’t beconfused at this point with ISOsettings, simply what the f-stop readson your meter with the set ISO.

Next, we turn on the main and turnoff the fill and read the highlightside of the face (the one toward themain light), and we get a meterreading of f8. Considering the rela-tionship between “stops” of light,we know that f8 is one stop moreof light ... twice as much. Dealingwith “units” for determining ratiosand knowing that in this case f5.6 isone unit, f8 is twice that amount oflight ... or two units.

Now it is simple math. On theshadow side of the face, only oneunit of light reaches it. On thehighlight side of the face, we gettwo units of light from the main butwe also get one unit from the fill.Adding them together (2+1), weget three units of light on the high-light side. So we compare threeunits on the highlight side to oneunit on the shadow side ... or three

to one, written3:1 ... for a threeto one ratio.So the basicconcept here isthat if the mainis ONE STOPbrighter than thefill, the ratio is3:1 ... providedyou measurethem separately!

As we expand this concept, no

matter what the meter reads fromthe fill light, it will ALWAYS be oneunit (the lesser of the two lights)and the ratio is determined by howit compares to the main light. Forexample, if the fill reads f2.8, thethe main must meter at f4 for a 3:1ratio. If the fill is f16, then in a 3:1ratio, the main must meter at f22.

Going a bit farther with this versionof light ratios, what is a 5:1 ratio?When we meter the fill, we alwaysget one unit. In order to get fiveunits on the highlight side of theface and understanding that wealways get one unit there from thefill, how much more light do weneed from the main? To get to five,we need four more units (4+1 fromthe fill = five). Four units would befour times as much light. Howmany “stops” is four times theamount of light? TWO STOPS. Soit takes two more stops of light fromthe main as from the fill to make it5:1. In number terms, if the fill isf5.6 as in the diagram (right), themain now must read f11 to give usa 5:1 ratio.

Layered Lighting -- Meteringcombined effect of both:You should also understand whatthe lighting ratio is if you turn boththe main and fill on and then meterthe shadow and highlight side ofthe face. Please understand that thefinal exposure is based on meteringthe combined effect of both lights.

So does this make any difference inexposures? Absolutely!

Looking at the diagram, think aboutthe “question” presented. If youmetered the main separately andgot a reading of f8 and the fill,metered separately, was f5.6, whenthey are both on, there is a cumula-tive effect -- layered lighting. Thereading of the shadow side of theface will be unaffected by the main,so the reading will still be f5.6. Butthe reading on the highlight side ofthe face will include the light fromboth the main AND the fill. Butnow you have to compare the lightactually reaching the highlight side

to the light reaching the shadowside of the face.

In the diagram, you are getting f5.6on the shadow side while the high-light side is f8 PLUS f5.6 and themeter should read closer to f9.5(also incorrectly called f8-1/2 but itis still universally acceptable). Sowhat is the lighting ratio in thiscase? You have to break it down abit differently

Here is a break-down of ratios,differences and usages:In a 1:1 ratio, the “highlight” and“shadow” side of the face are thesame. Technically there is no high-light or shadow side of the face.

In a 2:1 ratio, the highlight side ofthe face receives twice as muchlight as the shadow side of the face.This is a one-stop difference.

At a 4:1 ratio there is four times asmuch light on the highlight side ofthe face -- a two stop difference.If you want more drama andcontrast, using an 8:1 ratio, therewill be a three-stop differencebetween the meter readings on thehighlight and shadow side of theface respectively.

As shown in the chart above, thepopular 3:1 ratio (the most impor-tant ratio for the CPP ImageSubmission process), there will be ameter reading difference of one andone half stops (1½ stops) betweenthe highlight and shadow.


About the author:

Al Audleman is past president of the FPP and has earned thecredential of Master Photographer, Photographic Craftsman,Certified Professional Photographer, Approved PhotographicInstructor, Florida Degree of Photographic Excellence, FloridaService Award, Florida Education Degree, Georgia FellowshipDegree. He has been teaching at PPA affiliated schools since1996. He is past chairman of the PPA Certification group andinvolved in the development of CPP exams since 2000. Herecently authored a comprehensive CPP Study Guide availableby emailing him at [email protected]. n

www.electricavenue.net

Would you be interested in a busi-ness model that was inherentlydesigned to reduce marketing costs,increase profits and perpetuallybuild the buz over time? This hascertainly been our experience forover 33 years. We have success-fully stood the test of many fads,economic rollercoaster rides andthe digital revolution withoutchanging our basic business model.Hopefully some of the followingthoughts will generate some ideasand a review of your current busi-ness model and help with the

development of an action plan forthe future.

Third party display marketing hasbeen one of the most powerfulinstitutional marketing tools thephotography industry has touted fordecades. We all know that landinga display at the local children’sboutique or in the premier mallentrance can be one of the bestforms of keeping your name in frontof potential clients. As wonderfulas this sounds, landing thesedisplays are not always easy and

can be extremely costly. Over theyears I have experienced difficultyin finding just the right businessmatch that not only loves a GregoryDaniel Portrait but also is willing todisplay the portrait on their mostvaluable merchandizing wall. Thepredominate wall for a localmerchant is typically prime realestate that needs to be graced withincome producing productsbringing large profits to the table.This is why partnership marketing isso very important to the merchantand ultimately cost you throughkickbacks or shared profits viacertificates sold or honored fromthe generation of sales as a directresult of the display. There aremany other types of displays thatwe have successfully used in thepast and still employ today. Thisarticle is not to address all of thenormally taught standard practicesin our industry today but have youexplore the idea of a proven muchmore sustainable approach to longterm powerful marketing.

Consider setting up a photographybusiness that is focused on creatingtimeless classics that are designedto hang on the predominate wallsof all your clients. These are clientsthat have purchased your artworkbecause they love what you do.Naturally their portrait is somethingthey are emotionally attached toforever. Typically it was createdduring a very special time in theirlife capturing their family, as theywant to see them today and in thefuture. They have displayed thistimeless, priceless portrait in themost desirable place in their home


GREGORY DANIEL FDPE, FSA, M.PHOTOG.CR., F-ASP

Design for Perpetual Marketing

www.photoscoopstayintheloop.com

to be seen everyday.

Let’s say you work with 100 clientseach year for over 5 years youwould have over 500 wall displaysin the target homes of yourmarketing sweet spot. These aredisplay holders of people that loveyou because of the wonderful giftand treasure you have given them

for a lifetime. These are homeswere parties are held each weekendthroughout the year every year.Where new potential clients areimmersed in conversations centeredaround the most important topics ofthese families. Can you imagine theperpetual marketing buz thisproduces? The type of third partymarketing from having one of your

clients share theirexperience duringthe creation of theirtimeless master-piece is priceless.

I believe a businessdesigned to create atimeless recogniz-able brand ofpersonal art that isdisplayed on thewow walls of yourclients is a blueprintfor a sustainable,successful business.I would suggestperpetual marketingthat is built into

your products is a valuable conceptthat can and will reduce your directmarketing costs and continuallyincrease your profits... Thisconcept is one of the foundationblocks of our business and hasproven itself worthy and standingthe test of time. n


The FloridaPhotographerNEXT ISSUE DEADLINE

November15th

www.showcaseinc.com


Martin Gudz. Photog.Cr., FSA, FED,LBIPP Born in Staffordshire, England.Martin attended West BromwichCollege where he received hisLBIPP, the British equivalent to ourCPP. Coming to America in 1984working as a cruise ship photogra-pher he settled shore side in 1988.Moving to Florida in 1991 heopened Tudor Rose Photography in1992. Visited by his album rep StanRhoden in 1993, Stan suggested hejoin FPP. Visiting the FPP TradeShow in 1994 he decided to returnas a member the following year. Thefirst people he met were Ramfis andDonna Campiz. Encouraged by theirwelcome and friendship the FPP hasbeen his second family ever since.

Martin is a three time president ofthe Tallahassee guild and receivedthe outstanding service award threetimes for TPPG. Has served on manycommittees for the FPP, AssistantSalon Manager, Convention SpeakerSupport Chairman, ConventionManager. Forum Moderator, SectionDelegate , Speaker and Judge. FPPSeminar Chair and served as a PPACouncilor from 2010 to 2012. Hewas awarded the Teresa SaylorAward in 1999, earned his FSA in2001, FED in 2006 and his PPACraftsman in 2008. 1 merit awayfrom his FDPE and 4 from his PPAMasters. Martin has served on theboard since 2009. He was justaward the National Award from PPA.

Married to Brigitte, a school teacher,for 25 years, he has 3 boys. Adam,24, who is currently serving in theAirforce as a TACP (Tacp’s are theguys based on the ground who callin the airstrikes and blow stuff upwith really big bombs). Adam ismarried and has a 9 month olddaughter, Madisyn. “Her smile lights

up my world.” He is currently basedat Fort Benning, GA. Bladen, 22,currently studying at JacksonvilleUniversity and the kicker for theirfootball team. Bladen is stillexploring his options for a career.Cullen, 18, who just graduated andis finishing his AA at NFCC and willtransfer to FSU in the spring to studymusic before doing his doctorate inmedicine. He plays the tuba andhopes to play with in the FSUMarching Chiefs. It is his dream toone day be a surgeon.

Outside of photography Martinenjoys gardening. Describing it ashis “Zen place” he loves mowing thegrass and tending to his studio andvegetable gardens. Food andcooking are also a big part of his life.Taking inspiration from chefs off thefood network, he loves to try newthings. He’s English, so he will eatanything and lists his favourite foodas steak and kidney pie. Football(our soccer) is his favourite sport.Coaching the High School soccerteam, he has been a WolverhamptonWanderers fan all his life..

Martin credits his mentors BruceEvensen and Michael Redford forhelping him define his style, whichhe describes as a combination oftraditional and contemporary.

Although he says he has received alot of encouragement and supportfrom other master photographersalong the way, he also expressed hisgratitude to the many friends whohave supported him these last few,as he describes, them “difficult andtrying”years. Amongst those areCarol Walker, Kaye and KevinNewsome, Debbie Alcorn andReedy Photo, Randy Van Duinen,Cindy Strickland and Robin Adams. n

Meet PresidentMartin Gudz

The birth of my grandaughter Madisyn

The most interesting men in the world!

With Bruce Evensen and Carol Walker atPPA Craftsman Awards presentation.

At Florida School party.


We always seem to find a pub!

FPP Friends at someone 50th.

Above: Friends at Florida School,from left to right... oh never mind.

Left: At PPA Imaging in New Orleans.

With friends before Florida School begins.

Blanden

Cullen’s Graduation.

Cullen

Adam Madisyn Shooting at the Beach.


A Sexy Soirée with Stacie FrazierBuilding a Better Boudoir Business

Bou•doir (/ˈbuːd.wɑːr/; French:[bu.dwaʁ]): a lady's private bed-room, sitting room or dressing room.The term derives from the Frenchverb bouder, meaning "to be sulky."

So…what does that have to do withphotography? Everything, if you’retuned into trends or just lovemaking your female clients feelconfident and sexy. Boudoirphotography is back, and hotterthan ever! With the emphasis onthe aesthetic qualities of eachsubject and the craftsmanship of thephotographic process, Boudoirphotography can be a fun andlucrative way to build your busi-ness! No studio? No problem.Your ‘studio’ is your client’sbedroom, hotel room, or any loca-tion that creates an intimate settingto create classy and romantic images.

Our Fall Seminar speaker, StacieFrazier hails from Las Vegas, NVwhere she has built a loyal anddiverse clientele from all over theglobe. Stacie began her journey asa Boudoir photographer in 2009and has rapidly gained acclaim as atrue professional in her field withthe ability to bring out the beauty inevery woman, no matter her age,shape, or size. Her photography hasbeen described as "high-glossglamour and drama” but herfavorite response to her images is "Ican't believe that's me!"

Stacie has been featured in

“Boudoir Photography: The Quick-Start Guide for ProfessionalPhotographers” by Ed Verosky and“Canon Speedlite System DigitalField Guide” by Michael Corsentino.She also released her own ebookfor women preparing for their ownboudoir sessions, “How to be aBoudoir Bombshell”, as well as "5Boudoir Poses, 15 Sellable Images"for fellow photographers.

Stacie is thrilled to be sharing hersecrets with us in this all-day lectureand live demo workshop. Join uson Sunday, November 3rd atDaytona State College. Bonus: PPAmembers receive one EducationMerit for attending!

Sponsored by the FPP, Miller’s Lab,Post Edits, and PPA’s ContinuingEducation System, don’t miss thisopportunity to catch Stacie in anintimate setting before she speaks atPPA’s Imaging USA convention inPhoenix in 2014!

When: Sunday, November 3rdTime: 9:00am. – 5:00pm.Where: Daytona State CollegeCost: $59 for FPP Members; $79for Non-Members IF PRE-REGIS-TERED BY OCTOBER 27TH! (Add$10 after deadline and at the door).Lunch on your own.

Hotel: Daytona Beach Resort andConference Center. Call 386-672-3770 for reservations and use thecode PHOTO to get the specialroom rate of $79 per night. For more information, visitwww.fpponline.org. n

CAROL WALKER, FDPE, FSA, FED

FPP Fall SeminarSave the Date!November 3rd, 20139AM to 5PMDaytona State College

The Power of Personal ProjectsAs busy business owners, it’sincredibly difficult to take time forourselves. With so many photogra-phers working day and night,seven days a week, it might evenseem impossible. But there’s onearea where you need to get greedywith: your time. Drop the guiltand indulge yourself a little andbegin a personal project. Personalprojects are not only good for aphotographers soul, but can actu-ally help bring in more business.They can help grow your skills asa photographer and also help put aspotlight on your business.

A personal project can be some-thing you work on all year, or aone time shoot only. My mostsuccessful projects were also themost time consuming, rangingfrom a few months to a full year.The more you put into it, the moreyou will get out of it.

I began experimenting withpersonal projects when I added aspokesmodel to my team. In thebeginning we did a lot of testshoots for new ideas that I didn’twant to try out on paying clients,but wanted to perfect beforehand.These quickly inspired me and webegan to take on bigger and moreambitious projects, sometimesincluding past clients as well.

I have found that competitionscan be a great starting point forpersonal projects. You really get topush your boundaries by shootingto compete. For instance, I never

The Power of PersonalProjectsSTACIE FRAZIER


would have been able to talk aclient into doing her shoot asCleopatra or a creepy Ouija Boardspirit, for instance.

My first longterm project was withmy Pure Beauty project. The ideabehind this was showing womenthat they are beautiful even withoutmakeup on. We shot this for a yearbefore we ended with a no makeupshoot event. I even shot myself sans

makeup and it ended up being thecover for a local magazine that dida writeup on our project. Currently, my team and I are workingon a different sort of project. TheBoudoir Body Challenge. We areencouraging women to get healthy,fit and more confident by workingon our fitness, together for threemonths. So far, we have over 200women from all over the Worldparticipating in this challenge. And,while this is not exactly a photog-

raphy project per se, it certainly is apersonal one, and one that ties inbeautifully for my business.

Ready to embark on your ownpersonal project? Here are sometips to help get you going:

Select a topic that is close to yourheart. The more meaningful yourproject is to you, the easier it willbe to find time for it. And, becauseyou are passionate about it, peoplewill naturally be drawn to what youare doing.

Think outside of the box. Yourpersonal project doesn’t alwayshave to be photography specific.But it does need to speak to yourtarget audience.

Reach out to potential sponsors.

Businesses love collaborating onmeaningful causes so get out thereand scratch each others backs topull from an even larger audience.Open the project up to the public.They will be your greatest ambas-sadors and will send referrals to youlike crazy.

Get in on the action yourself!Don’t forget that you can also makea great subject yourself! And ithelps others feel more comfortablevolunteering for your project if theysee you were brave enough to do ityourself.

Use your projects as a gift for pastclients. This is a great way ofgetting the people who love youalready talking about you all overagain! Most of them are so happy toget to spend time with you again,working on something meaningfulfor both of you.

Give and ye shall receive.Consumers are becoming moremarketing savvy these days, andbecause of this they are turned offby traditional forms of advertising.They want to do business with onlythe most giving of companies. Thisis especially true of women consumers.So, be prepared to give them some-thing from their time spent helpingyou with your project.

Reach out to the press. This isexactly the sort of news the mediais looking for. So, don’t be afraid tosend out a press release about yourendeavor.

Honor your project with properclosure. Celebrate it with an eventor document it by creating a book.Selfpublishing is so simple thesedays, that there's no reason youshouldn't do this.

Most importantly, have fun! Takeyour time and enjoy the journey.Rediscover why you got intophotography in the first place withthese projects. You are sure to berewarded with a renewed sense ofpassion for your work but also withnew and returning business. n


Our HistoryIn 1933, A convention was orga-nized by Kodak and some of thesuppliers of photographic equipmentand chemistry (yes, chemistry), andheld on campus at the University ofFlorida. The attendees decided toform an organization to representthe professional photographers inattendance from all over Florida.The Florida PhotographersAssociation was officially formedduring that convention on May 3,1933, with approximately 30members, each paying $2 for theirannual dues.

During WWII, due to gas and foodrationing, the FPA did not hold aconvention for three full years ('42-'44). They resumed their conventionschedule in 1945, forever puttingthe number of conventions twoyears behind the actual age of theassociation. in 1985, the FPP cele-brated the 50th Convention, but theassociation was 52 years old.

In the 1950's, the organizationchanged its name to the FloridaProfessional Photographers and havecontinued to educate its membersthrough conventions, seminars, andschools. n

FloridaPhotographer

Next Issue Deadline

November 15thShare yourKnowledge,

Write anArticle!

www.mpex.com

www.millerslab.com

www.prophotoimaging.com

florida photographer 2013 #4

Documents

fpp awards

florida photographerare

revolutionthe fpp

fpp fall seminar

fpp committee reports

apiflorida photographer

ofthe author

revolution evolution