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editorial offices

Professional Photographer229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S

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Subscription orders/changes: Send to Professional Photographer, Attn: CiDept., P.O. Box 3606, Northbrook, IL 60065-3606; 800-742-7468

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Copyright 2011, PPA Publications & Events, Inc. Printed in U.S.A.

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Professional Photographer or any of its authors do not necessarily reflect positions of Pr

Photographers of America, Inc. Professional Photographer, official journal of the Pr

Photographers of America, Inc., is the oldest exclusively professional photographic publicat

Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abe

graphic Weekly, St. Louis & Canadian Photographer, The Commercial Photog-

rapher, The National Photographer, Professional Photographer, andProfessional

Photographer Storytellers. Circulation audited and verified by BPA Worldwide.

4 • www.ppmag.com

PROFESSIONAL

senior editor

JOAN SHERWOOD

[email protected]

features editor

LESLIE HUNT

[email protected]

editor-at-large

JEFF KENT

[email protected]

contributing editors

DON CHICK, LORNA GENTRY,

ROBYN L. POLLMAN,

ELLIS VENER

art director/production ma

DEBBIE TODD

[email protected]

manager, publications sales/strategic allianc

KARISA GILMER

[email protected]

sales/strategic alliances as

CHERYL PEARSON

[email protected]

circulation

MOLLIE O’SHEA

[email protected]

director of sales & strategic alliances

BILL KELLY

404-522-8600, x248; [email protected]

western region ad manag

BART ENGELS

847-854-8182; bengels@ppa

publications sales staff

EDITORIAL

Full valueFOSTERING A SELLER’S MARKET

You’ve spent years building your business. So what do you do with

your photographic empire when it’s time to move on? Thinking she

was ready for a change, portrait photographer Kalen Henderson,

whose Danville, Iowa-based retail studio was at the peak of its

earnings, decided to sell the business—vegetables fly off the shelf

when they’ve reached their peak, don’t they?

Even for a pro like Henderson, with past lives as a sportswriter,

marketing director and stay-at-home-mom, the selling experience

came with some surprising lessons, which she shares in Jen

Christensen’s article, “How to Sell Your Studio” (p. 40). The article

also covers what to avoid and how to protect your interests

throughout the transaction.

“For many small-business owners, selling a business they raised

from a pup is extremely difficult,” says Henderson. “The business is

an extension of your life, your family. … I took the big step and

thought I’d never look back. But I did look back and what I saw

changed my life.”

Henderson eventually found that a life without a photography

business was no life for her, and she re-launched as StudioK. (Keep an

eye out for Henderson’s account of starting over in upcoming issues.)

While we’re talking buying and selling, don’t miss Jeff Kent’s

profile of real estate photographer Iran Watson on p. 96. Between

the housing market’s near-total dependence on Web-based listings

and the brutal financial climate of the past few years, well-executed

real estate photography has become more essential and effective

than ever.

So real estate. I’d be remiss not to mention this month’s article

on home studios. Turn to p. 48 to see how four photographers

created a practically perfect balance between their professional and

their personal spaces. n

Cameron Bishopp

[email protected] Director of Publications

director of publications

CAMERON BISHOPP

[email protected]

Join us on Facebook at

facebook.com/PPmagazine

Follow us on

twitter.com/PPmagazine



Exposure brings all the creative tools of film photography to the dig

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PETER LIK An ordinary bloke with a big camera

By Lorna Gentry

MATERNITY: SWEET AS SUGAR

Brandy Anderson’s natural

approach to maternity portraits

By Stephanie Boozer

BOUDOIR: FEMININE PERSUASION

Chelsea LaVere brings whimsy and creativity to boudoir

By Stephanie Boozer

CHILDREN: WHO’S THE BOSS

Angie Weedon proves takingcharge creatively pays off

By Jeff Kent

ARCHITECTURAL: SHOW AND SELL

Iran Watson builds a profitableniche in real estate photography

By Jeff Kent

IMAGE BY: ANGELA WEEDON

78

86

90

96

104

Features

PROFESSIONAL PHOTOGRAPHER JUNE 2011

CONTENT



DepartmentsCONTACT SHEE T

20 Look3: Festival of the Photogr

24 Giveaway of the month

24 Facebook poll: Your studio

26 Lillian Bassman: Elegance an

28 Tom Muñoz: Vendor relations

PROFIT CENTER

31

What I think: Brandy Anders32 Ask the experts

36 Living the dream:Finding a balanceby Kimberly Wylie

40 How to sell your studioby Jen Christensen

48 4 Home-based studios that woby Stephanie Boozer

THE GOODS

57 What I like: Iran Watson

58 Pro review: AF-S Nikkor 24-12 f /4G ED VR lensby Ellis Vener

62 Color management: X-Rite i1Pby David Saffir

66 Pro review: Nik Silver Efex Proby Marianne Drenthe

70 Pro review: Vagabond Mini Litby Don Chick

72 Roundup: Boudoir & maternby Robyn L. Pollman

ON THE COVER: Titled “Ghost,” this imag

taken by Peter Lik in the underground caves

Antelope Canyon, Ariz. Lik’s Navajo guide h

thrown a handful of dust into the beam of l

but, says the photographer, “It wasn’t until

later when I finally got to see the results of

shoot that I was able to see the ghostlike h

form that had emerged.” Canon EOS-1Ds M

1/4 second at f/8.

8 • www.ppmag.com

14 FOLIO

114 AFFILIATE SCHOOLS

115 PPA TODAY

130 GOOD WORKSPROFESSIONAL PHOTOGRAPHER | JUNE 2011 | WWW.PPMAG.COM

Chelsea LaVere knows that a woman is most beautiful when she is

comfortable and confident. She designs her Persuasion Boudoir sessions to be an experience that

her clients can relax and luxuriate in, as if they’re in a place where time doesn’t exist, says LaVere.

CONTENTS

86

©C h el s eaL a

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Professional Photographersof America229 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 DICKSONM.Photog.Cr., [email protected]

vice president*TIMOTHY WALDENM.Photog.Cr., [email protected]

treasurer*RALPH ROMAGUERA SR.M.Photog.Cr., CPP, API,[email protected]

chairman of the board*LOUIS F. TONSMEIRE, JR.Cr.Photog.Hon.M.Photog., [email protected]

directorsSUSAN MICHALM.Photog.Cr., CPP, [email protected]

DOUG BOXM.Photog.Cr., [email protected]

DON MACGREGORM.Photog.Cr., [email protected]

MICHAEL GANM.Photog.Cr., [email protected]

CONSTANCE S. RAWLINSM.Photog.Cr., [email protected]

ROB [email protected]

LORI [email protected]

MICHAEL TIMMONSM.Photog.Cr, [email protected]

industry advisorKEVIN [email protected]

PPA staffDAVID TRUST, CAEChief Executive Officer

[email protected]

SCOTT KURKIAN, CPA,Chief Financial [email protected]

THERESE ALEMANDirector of Marketing [email protected]

CHRISTEL APRIGLIANODirector of Member Value& Experience

[email protected]

CAMERON BISHOPPDirector of [email protected]

BILL KELLYDirector of Sales &Strategic [email protected]

WILDA OKENDirector [email protected]

DAWN ROBBDirector of [email protected]

COREY B. SHELTONDirector of IT &Online [email protected]

LENORE TAFFELDirector of [email protected]

CLAIRE WHITE

Director of Allied [email protected]

SANDRA LANGExecutive [email protected]

*Executive Committeeof the Board

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©Camille Lesoine


f olio| Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sampleof award-winning photography by PPA members. The Loan Collection is a select group of some500 photographs chosen annually by the PPA print judges from more than 5,000 entries.

CAMILLE LESOINEHaving recently sewn a new princess dress, and re-upholstered a complementary chair, Camille Lesoine, of Lesoine

Photography in Parrish, Fla., was excited to try them out in a portrait session. With a Canon EOS 5D camera and

Canon 24-105mm f/4 L IS USM EF lens, and a borrowed dog, Lesoine exposed “Princess Times Two” for 1/125 second

at f/5.6, ISO 100. A 1600WS White Lightning X1600 flash and a 3x4-foot Larson soft box provided the main light,

and a 600WS White Lightning X1600 with a 4x6-foot Larson soft box provided fill. A 39x72-inch Photoflex LitePanel

Kit reflector bounced fill, and an 800WS White Lightning X800 flash with a 10x36-inch Larson soft box shone on the

hair. A 160WS AlienBees B400 flash with barn doors lit the background. lesoinephotography.com



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, ,Matthew Jordan Smith on controlling light:I love striking imagery. Something that makes you wonder how it was

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the main for f/11 and adjusted the fill for f/5.6-two stops under. Then for

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to achieve the perfect look and right amount of background separation.

Being able to measure and control my lights, makes it all work together

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Photography.It’s all about light.

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JENNIFER MCCARTY-PALUMBO

“I photograph babies and children all day long,” says Jenn

McCarty-Palumbo, of Baby Boo Photography in Nicholas

Ky. “So photographing flowers—which don’t move—is a

artistic release for me.” With a Canon EOS 5D Mark II cam

and Canon 24-105mm f/1.4 L USM EF lens, McCarty-

Palumbo exposed “Watercolor Dahlia” for 1/125 second a

f/4.5, ISO 400, in the light of early evening. She processthe image in Adobe Photoshop CS5 and used a Topaz plu

to enhance the watercolor effect. babyboophotography.co

GAVIN SEIM

Gavin Seim, of Seim Studios in Ephrata, Wash., created

“Midnight Seattle,” above, with a Canon EOS 5D Mark II

camera and Canon 70-200mm f/2.8 L IS USM EF V1 len

exposing for 0.6, 2.6 and 10 seconds, at f/5.6, ISO 640.

“gently processed” the images in Adobe Lightroom, then

moved to Photomatix Pro to merge the three images, usi

Adobe Photoshop to burn and dodge and enhance details

Seim also used the Hill of Lucas action from Hollywood

Effects2, a set of digital tools he designed and sells, to

intensify the edges and give the scene more pop.

seimstudios.com

Gavin Seim

©Jennifer McCarty-Palumbo



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You learn to speak without words.

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JIM LASALA

“‘Forgotten’ is an image very

close to me,” says Jim

LaSala, of Jim LaSala Fine

Art Photography in

Flemington, N.J. The portrait

of LaSala’s father was takenwhile he was recuperating

from a near-fatal heart

attack, and the loss of a

daughter. With a Nikon D700

camera and Nikkor 70-

200mm f/2.8 G ED-IF AF-S

VR Zoom lens, LaSala

exposed the image for

1/1,600 second at f/5, +0.3

EV, ISO 1600. He used

Adobe Lightroom and

Photoshop for minor post

processing and to remove a

distracting zipper, and used

tonal contrast in Nik

software to enhance the

weathered skin. The image

won a Fujifilm Masterpiece

Award. jimlasala.com

ichard Trummer


RICHARD TRUMMERWhile on a Cameracraftsmen of America cruise around picturesque Alaska, Richard Trummer, M.Photog.Cr., CPP, of The Image Design Grou

Madison, Wis., captured this breathtaking scene. Using a Canon EOS 5D camera and Canon 70-200mm f/2.8 L IS USM EF lens, Trummer

exposed “Alaskan Solitude” for 1/125 second at f/8, ISO 200. The image was named a PPA Top Ten Image in the commercial category, and

earned a Fujifilm Masterpiece Award. thegeekstour.com

©Jim LaSala



CONTACT SHEETWhat’s New, Cool Events, Interesting People, Great Ideas, Etc.

P E A C E , L O V E &

PHOTOGRAPHY

W hat started as an annual back-

yard meet-up hosted by

National Geographic magazine

Editor-at-Large Michael “Nick” Nichols has

grown into a three-day nonprofit, inter-

national photo festival in Charlottesville, Va.

Now in its fourth year, Look3, the Festival of

the Photograph good-naturedly takes over

downtown Charlottesville June 9-11 with

workshops, photo exhibitions, legendary

photographers, and enthusiastic image-

makers, seasoned and young alike.

“We strive to link the new generation of

photographers with the heroes of photography

who have shaped the medium,” says Look3

Managing Director Andrew Owen. “That’s

how we’re unique. This is a noncommercial,

peer-to-peer setting where curators, photog-

raphers, photo editors and media pros meet

face to face. It’s an inspiring, rewarding

experience for everyone.”

For years Nichols organized an informal

tribal photo love fest called Hot Shots in and

around his home in Charlottesville.

Photographers of all disciplines gathered to

show their work and talk photography.

Word spread, and in 2005 when 500 people

showed up Nichols knew it was time to

move downtown. Look3 got its name f

its triptych of three featured photograp

artists. This year it’s Massimo Vitali, N

Goldin and Antonin Kratochvil, found

the VII photo agency.

Also every year photo professionals

asked to guest curate, and this year it’s

Thode, editor of VII magazine, and Ka

Ryan, director of photography for The

York Times Magazine. Mary Ellen Mar

Christopher Anderson, Alex and Rebec

Web, and Steve McCurry, among other

give workshops and talks.

Everywhere you look there will be

mages ©George Steinmetz

Look3, the Festival of the Photographin Charlottesville, Va., gathersphotophiles from around the world.

BY LORNA GENTRY



photographs—in galleries, exhibits, outdoor

screenings, even projected on buildings.

Look3 draws an international crowd and

Andrew Owen estimates 25,000 people see

at least some of the three-day event. Even

though it has grown, Look3 is still all about

connection, says Owen. Among the tangible

offshoots of festival connection is Burn

magazine (burnmagazine.org).“There is a budding group of innovative

photographers who are pushing the medium

and publishing in new ways,” he says.

“They’re meeting each other at Look3 and

forging new ideas because it’s a space for

new ideas to evolve. That hooks into Nick’s

idea of Look3 being a hub and catalyst.”

For more information on Look3, the Festival of the Photograph, visit look3.org.

A staple of Look3 festival is the TREES exhibit in

which photos printed on 7x10-foot vinyl banners

are hung in the trees that line downtown

Charlottesville. This year’s TREES artist is

George Steinmetz, whose stunning aerial

photographs of remote regions of world have

been published in books and magazines,

including Professional Photographer .

June 2011 • Professional Photograph



G R O W Y O U R S T U D I O

mika beth edwards| fort smith, arkansas



The two loves of my life are my family and my business,

and just as my relationship with my daughters is vital

so is my relationship with my lab.

Miller’s is an extension of my studio and has been for almost a decade.

They never fail when it comes to the quality of my creations, always

delivering the best possible product to our clients.

I am Miller’s because they are essential to the

success of my business.

TO SEE HOW MIKA BETH USES MILLER’S TO GROW HER STUDIO,

PLEASE VISIT WWW.MILLERSLAB.COM/MIKABETHEDWARDS


http://slidepdf.com/reader/full/professional-photographer-2011-06 24/13224 • www.ppmag.com

CONTACT SHEET

PP ASKS …We love hearing from all of

you on our Facebook page.

We ask the questions, you

provide the brilliant answers.

This month we’re talking

about the special identity that defines youness. These are just a few of the respon

posted on our wall. Click the Like button

join the conversation at facebook.com/

ppmagazine. This month’s question:

TELL US ABOUT YOUR STUD

—WHO YOU ARE AND WHAT

YOU TO THAT SPECIAL IDEN

THAT FITS YOU SO WELL.

My mother and I own a photography and

planning company called Magnolia Belle S

We’re originally from Alabama, genuine

in every way. In New York, where we noeverything is fast-paced and sometimes i

sonal. We wanted our brand to immedia

show the warmth, hospitality and genui

heart that we bring to our work. Moms

bring their newborns into our studio app

the Southern charm, while brides appre

the classic femininity our brand encomp

—Ashley Lof

For me, the biggest thing is being recog

able. My materials are all based on my o

logo design with earthy colors and a tou

whimsy, although not too girly. I want m

brand to say me, because that’s really w

I’m trying to sell, my personal style.—Kelly M

My brand is my personality: honest, tru

passionate. My work represents reality w

touch of dreaminess. It’s taken me a few

to figure out my brand and how to stay

to it. I’m finally on the right track becau

see myself in my work and my website.

know that what I create comes from ins

and not from what I’ve seen others do.

—Carolin

My business is Belvedere Photography.

Italian, the word belvedere means beautview, and in architectural terms a belved

refers to a structure built to take advant

such a view. That’s what I want for my

tography; when clients look at their pict

want them to see a beautiful, meaningf

I hope that they can look back at those

memories and relish the beautiful view.

—Hannah B

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At age 94, Lillian Bassman, doyenne of fashion

photography, is compiling a book of new

work, her third following “Lillian Bassman:

Women” (Abrams). Published in 2009,

“Women” includes previously unpublished

work and re-interpreted photographs from

the halcyon days of her career in the 19

and 1950s. Recent retrospectives of her

tography have been exhibited in gallerie

coast to coast, as well as in the Deichtorh

Museum in Hamburg, Germany.

Despite frail health, Bassman contin

to photograph her vision of the femini

mystique. At age 87, Bassman replaced

darkroom in her Upper East Side carri

house in New York with Photoshop. “I

Photoshop the same way I used to prin

the darkroom, which was using bleach

swabs and paint brushes,” she said in a

interview. “My aim isn’t to erase imperfe

it’s to be painterly and to create a mood

Bassman began her career as a desig

protégée of the legendary Alexey Brodo

at Harper’s Bazaar , where she champio

the work of life-long friend Richard Av

Her highly stylized photographs skirte

fine line between artistic and commerc

pleasing both editors and advertisers. B

1960s, turned off by the fashions and t

supermodels, she turned her attention

photographing personal projects and r

a family. In the 1970s she destroyed m

her negatives, never dreaming she wou

one day return to the genre.

A keen-eyed houseguest in 1990 no long-forgotten trash bags filled with neg

in the coal room of the carriage house. Ba

ignored them at first, but gradually revi

the work, reinvigorating her career. Comm

and editorial assignments followed, alo

with gallery shows and books. Bassman

nonplussed about her rise from obscur

noting in one interview, “The same way

skirts go up and down, the way that ph

raphers see women goes up and down.

“I think the reason she is popular ag

the same reason why Audrey Hepburn

Grace Kelly are icons, because they’re el

stylish and graceful,” says longtime frie

and art dealer Peter Fetterman. “Those

ities are missing in our contemporary l

Her work is sophisticated and beautiful,

tive of an era that doesn’t exist anymor

CONTACTSHEET

Elegance anew Lillian Bassman’s mid-20th-century photos of femininity and haute couture inspired two generations of designers.

BY LORNA GENTRY


an Bassman courtesy of Peter Fetterman Gallery



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Wedding photographers are well aware of the

value of vendor referrals, particularly those

from high-end wedding venues. Couples usually

book the venue first, so venue managers are

in a prime position to refer photographers.

Tom Muñoz understands that better

than most. The fourth-generation proprietor

of South Florida’s Muñoz Photography has

revitalized an already-busy studio by focusing

on relationship-building with key venue

managers. The result is a transformed client

base and a marked increase in both business

volume and overall revenue—the last five

years have been the busiest in the 100-year-

old studio’s history.

Muñoz endears himself to managers by

looking out for their needs, respecting their

processes, and collaborating on images that

showcase the venue. “I am capturing a story

for my clients’ albums, and part of that

includes covering the setting and the décor,”

says Muñoz. “The way you handle the day

matters. If you respect the venue’s timeline

and help the bride and groom enjoy their

day, it reflects positively on the venue.”

Muñoz always provides images to the venues

gratis; his logo and contact info are always

included. He also donates his time to do an

occasional extra shoot for special promotions.

The goodwill goes a long way; in addition to

receiving referrals, he avoids paying commis-

sions at some high-end venues and establishes

strong relationships with key managers.

Muñoz’s donated images find their way

onto venue walls, showcase books and other

venue marketing materials. When a couple

searches South Florida for the ideal wedding

location, they see his studio’s photographs

everywhere. “The majority of brides I meet tell

me that everywhere they went, they saw our

images,” says Muñoz. “By the time these brides

walk into my studio, they are already s

Muñoz concentrates on high-qualit

lighting. He lights each table in the ban

hall individually. He matches his lighti

the ambient color temperature, specifi

the space and any special requests from

venue managers. When he moves on t

individual detail shots, Muñoz uses the

lighting sources. The key is consistency

not mixing color temperatures. “The im

need to have the same look and feel so

work together in the client’s album, as

as in venue advertising pieces,” he says

Muñoz stresses that it’s important t

approach venues that operate on par w

your photography. “This all comes dow

your skills and professionalism,” says

Muñoz. “If your photography isn’t ther

or your time management during an ev

isn’t there yet, maybe contacting some

these high-end venues isn’t a great ide

you do a bad job, you could get black-b

You need to work as a team with the o

vendors. We’ve built great relationship

because we want to be team players.”

To see more from Munoz Photography,out munozphotographyonline.com.

A sense of placeTom Muñoz builds big business through vendor relations I BY JEFF KENT

A l l i mag

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http://slidepdf.com/reader/full/professional-photographer-2011-06 31/132June 2011 • Professional Photograph

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

What do you wish you’d known when you were

starting out? More about balance. I worked so

hard those first few years and got burned out a

number of times before realizingI needed to

make my business life and family life work

together harmoniously.

What’s the biggest risk you’ve ever taken?

Stopping spending money on traditional

forms of advertising. I’ve spent the last two

years developing marketing ideas that have

nothing to do with print, focusing on alter-

natives like working with other businesses,

having a healthy Web presence, including

social media, and concentrating on my current

clients. The move had potential for less visi-

bility, but it’s created clients that are a much

better fit for my business, at a much lower cost.

What will be the most significant changes to

pro photography in the coming years? Middle-

of-the-road photographers will have a harder

time. The people with talent, drive and great

business sense will just have to get better. The

newer photographers without training will

battle it out among themselves.

What’s your secret to running a successful pho-

tography business? My biggest advantage is that

I am myself, and clients feel comfortable with that.

IMAGE BY FRESH SUGAR

PHOTOGRAPHY

FRESHSUGAR.COM

What I think Brandy Andersonkeeps the fire alive



Q. I’m interested in developing a financial

incentive program for my staff. Any models

you’d recommend?

A. Incentives can be a great motivator for

employees. It helps build excitement about find-

ing new and better ways to get the job done,

and can even spur friendly competition among

your team. You mentioned financial incentives,which can be highly effective, but I encourage

you to find out what motivates each member

of your team. One may be motivated by a Friday

off once a month, another by a day at a spa.

You might have an employee who loves designer

accoutrements, but would never buy them for

herself. My staff loves to go on trips with me,

so we set up a reward system based on that. And

yes, some are motivated only by money. Ask

them, then design and implement a system of

goals, expectations and rewards with them. You

can and should do it with everyone you work with.

Examples of goals and rewards include abooking bonus for keeping your schedule

filled; a bonus for bringing in a new partner

business; sales and order total bonuses; and

perhaps for your digital team, choose a

reward for making no mistakes on lab orders.

And it’s always good to give random rewards

for outstanding customer service. Be encour-

aging and appreciative of their efforts.

Be sure any financial incentives are based

on boosting revenue for your business. The

very act of setting goals together as a team is

a reward in itself!

—Lori Nordstrom, M.Photog.Cr., CPP

Q. I have an immediate need to figure out

pricing for weddings. I’m suddenly gettingcalls for them, and given the economy, I’m

taking whatever I can get. I need some solid

what-people-are-doing-today information

about reprint prices for family members,

images on discs, albums, etc.

A. There are many approaches to creating and

selling wedding packages. It’s good to know

what the market is telling the consumer, but

the ultimate factor is how much you nee

make beyond covering the company’s ov

and owner’s compensation. Weddings a

events are time-consuming, so it’s impo

to account for the labor and production

and especially for the time you won’t be

to spend on creating more images to se

Determine exactly what you want to

clients. Your services only? What kind o

finished products—albums, wall prints,

products? Look for examples of pricing

tures in your area; collect price lists at a

show, request the info from other studio

search online. However, I caution you to

them as guides only to help you determ

what you do and do not want to offer. It

critical to do your own math calculations

based on your particular variables—man

photographers don’t know how to price

profitability, and are under-pricing in a wthat will undermine long-term success.

Once you decide what to include, cal

the costs for producing every item in yo

packages. Assume you’ll be paying some

(even if you plan to do the work) for the

it takes to photograph, edit, sell, design

produce the products. The PPA-recomm

markup for home-based studios is three

times the total costs; for retail locations

four times the total costs. That might so

high, but you can do only so many event

year. Your operating expenses and your

have to come out of that money.PPA members can refer to the PPA B

mark Survey Analysis and the PPA Busi

Handbook, all available online at ppa.com

—Jennifer Roggi, Cr.Photo

Got a question? The SMS team wants t

from you. E-mail our panel of experts c

editor Cameron Bishopp at cbishopp@pp


PROFIT CENTER

Ask the experts Work incentives and rewards, how to calculate pricing

MENTORS FROM PPA STUDIO MANAGEMENT SERVICES ANSWER YOUR BUSINESS,

MARKETING AND SALES QUESTIONS. FOR INFO ON WORKSHOPS, GO TO PPA.COM.

STU DI O MANAG E ME NT SE RVI C E S

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It’s good to know what the market is telling the consumer, but the ultimatefactor is how much you need to mak

beyond covering the company’soverhead and owner’s compensatio



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Balance. It’s is one of the hardest things for

entrepreneurs to achieve. When to say no?

Can this wait? Can I let it wait until tomorrow?

Am I spending my time wisely? Am I

spending enough time on the business?

Most photographers do the job because

they love it. But should you love it so much

that you’re letting it overrun important parts

of your life? When I started out, I was headed

down that path, and it took making some

hard choices to get my life on track. Here are a

few ideas that might help you gain control.

REDEFINE SUCCESS. At one time, all

my success indicators were based on session

counts, sales averages and profit margins.

Now my measure of success includes a non-

quantifiable happiness index as well. It’s

based on how much time I get to be with my

friends and family and doing things for me.

Before I added this to my model of success,

it was easy to get off track. Now I feel m

success as a photographer isn’t so impo

if my happiness index reads near zero.

BLOCK YOUR SCHEDULE. Thi

made a huge difference in my life. If yo

designate days or weeks for shooting o

selling only, you’ll be much more produ

We use different parts of our brain and

personality when we shoot than we do

we sell, and it can be hard to switch be

them several times a day. I book my

appointments close together so that I c

maintain momentum and be more effi

It also helps to block in time in your

schedule for editing and other workflow

functions so you don’t take on more wo

than you can manage.

HAVE A FAMILY MEETING. Ha

problems an entrepreneur has with his

family stems from lack of communicat

My husband, an entrepreneur as well,

have a meeting at the beginning of the

to look at our calendars month by mon

We schedule trips we want to take toge

as well work commitments. This sets u

for success every year because we put oufirst. It also allows for teamwork, great

communication and clearer expectatio

of which helps me feel less guilty and

therefore more efficient while at work.

BRAIN DUMP. Write it all down.

so many lists it’s crazy. But it helps me

up space in my brain when I’m feeling

whelmed and stressed. I make separat

for my personal and work life. I star the

that have to get done today and priorit

the other items on the list. As I do this

becomes clear what’s most important,

my day is always more focused and produ

I also have a clearer head, which has an

impact on the creativity I bring into ses

DELEGATE. Analyze your lists and

what you can delegate at work and at h

PROFIT CENTER

Finding a balance A few ideas to help you gain control

LIVING THE DREAM BY KIMBERLY WYLIE, M.PHOTOG.

In her monthly column, Kimberly Wylie discusses the business of photography, how the model

is changing, and how photographers can adapt. Wylie left her career as a successful financial

analyst for her dream job, photography. She joined Professional Photographers of America and

took advantage of the association’s Studio Management Services, and embraced the culture of

learning, mentoring and teaching others. Wylie now has a 3,500-square-foot studio in Dallas,

and her business is among the highest grossing in the nation.

mberly Wylie




At one point I realized I didn’t need an employee

at work, I needed one at home. I wanted to

believe I was supermom, but after work, I’d

be doing the laundry and cleaning and all

the other chores and not able to spend

quality time with my family. Hiring some-

one to help keep on top of the housework

costs less per week than I charge for one

session fee, and gives me about eight hours

back. It’s well worth the cost and has

dramatically changed my life.

OUTSOURCE. In the beginning of my

career, I was a film shooter. The lab did the

majority of the work of getting our images

to come out as we envisioned. When I switched

to digital, I found myself spending a lot more

time on each image, even though we weren’t

charging more. It didn’t take long for me to

realize that wasn’t what I wanted to do in

life. I searched for and found a company I

could work with to create my signature look

and do my retouching, and I build the cost

into my prices (digitalimagingfirm.com). I

still take the time to make sure each final

image meets our signature look and quality

standards. This was a huge move for us. We

could do more shoots per week, keep up the

quality, and get home at a decent hour.

SIMPLIFY. Look at every step in your

day to find opportunities to simplify.

Sometimes an extra 10 minutes spent on

setup will save hours every week. When you

find yourself repeatedly doing something,

look for a simplified solution. For instance,

we were constantly typing the same answers

to e-mails, so we created more than a dozen

custom signatures that included not only the

customary contact information, but the

entire reply. We named them descriptively,

and now we simply pick the appropriate

signature to use as a reply.

TURN OFF YOUR COMPUTER.

Rome was not built in a day, and what you

did not finish today is okay to put off until

tomorrow. If you create a pattern where it

becomes acceptable to work during family

time, you’ll wake up one day and realize you

missed so much of life that you can’t do

tomorrow. Tomorrow your kids will be older,

they will grow into adults, and you can’t

reverse the process.

PERFECTION IS NOT ALWAYS

GOOD. Not everything is black and w

A little gray every now and then can h

make life come into a more perf ect bal

So, turn off your computer and go

home, and be mentally, physically and

spiritually present in your life with fri

and family. n


©Kimberly Wylie



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Kalen Henderson, M.Photog.MEI.CR., CPP,

API, had been in professional photography

for 20 years when she had to say no to friends

who asked her to photograph their families.

She had sold her successful studio in southeastIowa, and the sales contract had a non-

compete clause. She would not violate the

agreement, even though it broke her heart.

“I had all this expertise and experience, but

the only way I could shoot something was to

drive 100 miles away. By the time I got there,

I’d be too crabby to shoot anything,” she laughs.

Buying or selling a studio will result in

inevitable life changes, but it doesn’t have to

be painful. Here’s what the experts advise.

IS SELLING RIGHT FOR YOU? John

F. Dini, a business consultant and author of

the book, “11 Things You Absolutely Need to

Know About Selling Your Business,” says

you’ve got to ask yourself what is it that

someone can buy?

“If you’re a good photographer and all

your business will walk out the door with

you, or if all of your weddings come from

word-of-mouth referrals, chances are there

isn’t much to sell,” he says. “If, however, you

can somehow prove the business name orphone number or all those years of adver-

tising will continue to provide steady clients,

even if you won’t be there any more, then

and only then, you’ve got something.”

It won’t be easy because you’ve poured your

life into your business, but step back and do

a fair assessment. See if it’s worth the hassle.

Henderson decided to sell when she was

about to have all three kids in college and

her studio was doing exceptionally well.

“Selling your studio is a lot like selling a

car,” Henderson says. “If you drive it 300,000

miles, you won’t get much for it. Sell it at

75,000 and you’ll still get a good value back.

My business was at its peak, so I thought I

could get a good price.”

FIND THE RIGHT BUYER. Often, the

best buyer is someone who’s working fo

says Connie Behnke, a studio sales consu

“They really understand the business a

understand where to take it,” she says.

Henderson had hoped an employee

would buy her studio, but it didn’t wor

Dini advises researching potential buye

just as they will research you, so you d

waste your time with someone who ca

never will buy your business.

Henderson says she eventually sat d

with her family and went over a list of

potential buyers. As it turned out, one

their contractors was interested, and it

sounded like a good fit.

GO TO THE EXPERTS. While th

are still cases where photographers sell

studios on a handshake—especially if i

internal sale—most transactions are co

cated enough to need a lawyer and accou

“It’s good to have the professional h

since there is a lot of juggling involved

this big of a financial transaction,” Din

An attorney can also assure the buyer t

your business is what you say it is. For

instance, an attorney can verify that thcontract you have with the high school

good standing, and that your studio do

have hidden problems.

“Everyone needs a lawyer, no matte

well you can Google things,” Henderso

she learned in this process. “Those guy

know how to do things the legal way an

make them stick. I know those tax peo

take these things very seriously, and wh

there are plenty of prison jump suits to

wear, I don’t look good in orange.”

Finally, an attorney will protect you

guaranteeing a note if that is how the b

is purchasing your business. He or she

also help you with any kind of recourse

God forbid, the buyer fails to fulfill the

agreement.

PROFIT CENTER

How to sell your studio What you need to know to avoid selling yourself short

B Y J E N C HRI STE NSE N


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GET YOUR FINANCIAL RECORDS IN

ORDER. Your lawyer and accountant can help

you. When Behnke helps studios sell, she looks

at a number of financial documents. Be ready

for a buyer to ask for the last three years’ tax

documents, profit and loss statements, and

furniture, fixture and equipment statements.

All that will help when you draw up the

sales agreement. This contract lists all pur-

chase and payment terms: the seller, buyer

and business names; the assets being sold;

the purchase price and asset allocation; the

terms of the agreement and payment; con-

tingencies; fees; a list of inventory; any repre-

sentation and warranties; the terms of access

to business information; the determination

as to how the business should run prior to

the sale; any necessary adjustments that

need to be made; non-compete terms;

the date of the closing.

Henderson’s banker father and secu

broker husband made her mindful of the

cials from the beginning of her business.

not always a studio owners’ strong suit

“Your records need to be very clean,

says. “The person buying your business

probably never bought one before. You


BUYER, BE WARYWhat to consider when you’re

purchasing a studio

Jennifer Roggi, Cr.Photog., API, will neverforget her 24th birthday. On that day back

in 1997, she and Dan Roggi, then her fiancé,

bought Stephen Charles Photography in

Veron Rockville, Conn., and the house that

went with it. “For my birthday, Dan gave me

this really fancy pen that we intended to

use to sign all the documents, but it had

black ink and it turns out we needed blue

ink. We hoped it wasn’t a bad sign,” she says.

Dan Roggi had been working for Stephen

Charles, and when Charles died unexpectedly,

his widow, Sondra, didn’t want to run the

business any more. The timing was a little

off, but the Roggis decided to buy the

studio and the house that came with it. “All

of a sudden we had a new house, a new

business, and a new future together—it

was so exciting,” says Roggi.

Roggi had been a school teacher and had

absolutely no business experience. “I knew

how to balance my checkbook, but that’s

about it,” she says. Fortunately, the business

purchase went well, but she did learn some

serious lessons along the way.

LOOK FOR POTENTIAL: In addition to

the usual financial documents, Roggi

advises looking at the studio’s pre-paid

contracts for the next year. “There were 59

weddings lined up, so we knew there was

potential,” Roggi says. Be sure to learn how

many outstanding debts there are as well,

so there won’t be any surprises.FIND A BUSINESS THAT FITS YOUR

STYLE: Roggi’s one regret was that the

studio space they bought didn’t really suit

their taste. The studio was in a Victorian

home with lots of lace. “It was very beautiful

and very bridal, but my husband was a

little more contemporary,” she says. They

eventually moved the studio across town,

changed its look, and downsized the staff

and the number of contracts when they

were hoping to start a family. “Changing it

was not easy. It was expensive, it was hard

to let people go, and it took time.”

BUY WHAT YOU KNOW: Roggi’s hus-

band was Stephen Charles’ protégé. “We

knew who all the players were and where the

business stood. That insight was essential,”

Roggi says. If you work for someone

nearing retirement age and the business is

strong, talk to him or her about your future.

If you’re not in such a position, do as much

research as you can about the business.

RETAIN INTERNAL EXPERTS: “We

were just in our 20s,” Roggi says. “The

office manager had more seniority than we

did.” Sondra Charles stayed during a 10-

month transition. She was a reassuring

presence for existing customers and a

guide. If the seller is willing, ask him to

help, but set a time limit so you can tak

over when the time is right.

GET YOUR OWN COUNSEL: Don’tthe seller’s lawyer. “You want someone

will work on your behalf,” Roggi says. “

might also think of things you’ll miss.”

SECURE YOUR DIGITAL FOOTPR

Don’t forget to buy the domain name,

Facebook page, and the Twitter account,

should be spelled out in the sales cont

THE PERSON BEHIND THE NAM

The Roggi’s kept the “Stephen Charles

name because of its reputation.

“Fortunately, we do have a logical

connection to the original owner,” Rogg

says, but people do ask where Mr. Cha

is. Be ready with a story. “We joke that

should name our children Stephen and

Charles,” she says.

FRIENDS AND FAMILY: The Roggi

confidence they could do this because o

their network. “We were lucky we had

wonderful friends and family who could

us in if we failed,” Roggi says. “Thankfu

didn’t come to that, but no matter how

busy your business makes you, mainta

your personal relationships—they’ll kee

you sane and give you perspective whe

you most need it.”

—Jen Christ



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make them nervous if things look fishy

because of sloppy record keeping. If you

were selling a house, you would cut the front

lawn and trim the shrubbery. Do the same

things with a business. Get your paperwork

as organized as you can.”

ASSESS THE DÉCOR. The paperwork

isn’t the only thing that should look good. Your

business space should be as clean and up-to-

date as possible. “Design is a big piece of our

business,” Behnke says. What kind of curb

appeal does the studio have? Are the photos

on display current? “We do a lot of staging before a sale because it’s going to attract

more interest,” Behnke says. An interested

buyer may ask for interior and exterior

photos of your studio, so have those ready.

KNOW WHAT YOUR EQUIPMENT

IS WORTH. In the digital age, equipment

isn’t worth what it used to be. Behnke

suggests consulting a reputable dealer to get

an approximate value. Another option is to

check your insurance company. “Everything

of value should be insured, so that should

give you a pretty good idea of what it’s

worth,” she says.

PROTECT YOUR GOOD NAME.

Behnke says when photographers sell their

studios, the name is often the one thing photog-

raphers over-value most. “You may have a name,

but that doesn’t mean your clients will stay,”

she says. Have an up-to-date biography ready,

so the buyer has a real sense of your reputation.

Henderson says while it’s common practice,

she should never have included her name with

her studio. “There’s something exceptional about

selling the rights to my own name,” she says.

Behnke says some studio owners insert a

clause in the sales contract specifying that

the business’s name gradually change. The

first year, the old name stays; the second

year, the business becomes the former name

and the new owner’s name; the third year, the order of the names reverses; the fourth

year, the old name is discarded.

WHAT’S YOUR WORTH? Appraisers

and valuation specialists can help you get an

accurate sense of your studio’s worth.

Someone from the American Society of

Appraisers can give you an “opinion light,”

as Dini calls it, not something you could

take to court, but a good ballpark figure.

Typically, says Dini, a small business in

the United States sells for two and a half to

three times the owners’ cash flow—what he

or she is taking out in salary and benefits.

It’s not gross revenue (every dollar that comes

in the door).

Henderson also totaled up the contracts

that would be good for the next year and

estimated whatever outstanding order

there were. “Honestly, the business wa

ning so well, all someone had to do was

in and they were all set,” Henderson sa

BE PREPARED TO HEAR A PR

YOU DON’T AGREE WITH. “This

business,” says Mark Thorsby, president

International Business Brokers Associa

“Don’t get your ego bruised when poten

buyers offer you something far below w

you think [your business] is worth. Mem

of Thorsby’s organization are experts a

brokering business sales. “I know it’s h

do, but this is just part of this process,

especially in a small business or creativ

industry,” he says. “Sellers always think

business is worth more than it is.”

SIGN A CONFIDENTIALITY

AGREEMENT. You may like the pers

who is buying your studio, but remem

you are sharing a list of your assets, th

years worth of tax statements, and ev

thing else you’ve done with your work

Dini says a confidentiality agreement

should protect you and a serious buye

will sign one.

YOU KNOW WHAT THEY SAYABOUT PATIENCE. Dini says you’ll

patience in mass quantities. “Most peo

have never sold a business before and t

buyer most likely has never bought on

before,” Dini says. “It is a rough proces

learn to like each other along the way;

both walk away happier.”

While Henderson says she doesn’t r

selling her studio, she couldn’t shake the

tography bug. A year ago she opened Stu

after buying her way out of the non-co

and making some concessions.

“Selling made me a much smarter

ness person,” Henderson says. “Everyo

needs to step back and look at what w

and what doesn’t. This process certain

did that.” n


“Don’t get your ego bruised when potential

buyers offer you something far below what

you think [your business] is worth. This is

just part of this process, especially in a small

business or creative industry. Sellers always

think their business is worth more than it is.”—MARK THORSBY



Close-Minded Photographers Are O

Best Customers.

For the past several years,

we’ve booked the entire

upcoming year before it even

started. Collages.net’s online

presentation, albums, books,

cards, and gallery wraps help

us ‘close’ more prospects

early and often! Collages.net

isn’t just a supplier; they are

our partner.

“

”

When you’re ready to be more

close-minded, give us a call.

(877) 638-7468

TM

– Mike Fulton

TriCoast Photography LLC

Collages.net Customer Since 2005

©Collages.net Inc. © TriCoast Photography LLC All rights reserved.



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PROFIT CENTER

Divine design4 HOME-BASED STUDIOS THAT WORK

BY STEPHANIE BOOZER


hink working out of your home will c

your style? Time for some fresh food f

thought. With planning, resourcefuln

and creativity, you can run a successfu

home-based studio without comprom

your professionalism. The owners of t

four successful home-based studios h

found a balance between work place a

home space. If they can do it—even w

kids and pets—maybe you can, too.

JEN THOMPSON PHOTOGRA

BEND, ORE.

SQUARE FEET: 2,600,

AND FIVE ACRES OUTDOORS

Jen Thompson designed her home stu

(jenthompsonphotography.com) to b

purely creative space, one that her fam

also happens to live in. Downstairs is

bathroom featuring a lounge and fun

couch, and an open area for shooting

Upstairs is the main living space and

another bathroom, a kitchen and a si

area, all overlooking the Cascade Moun

“It’s small, but it’s perfect and intim

she says.

Specializing in portraits, Thompson

in both natural light and studio lightin

depending on the weather and the nat

the session. Throughout the studio an

rounding grounds Thompson has inst

an array of backdrops, including distre

wood doors, brick and galvanized met

walls, and a chalkboard graffiti wall. S

barn doors double as room dividers an

backdrops. Her extensive collection of

furniture and vin tage accessories is at

to pull into the setting.

The indoor shooting area is perfect fo

sentations as well, with its ceiling-mou

projector and retractable screen. Two l

workspace islands hold storage basket

mounted tissue paper rack, and a stock

en Thompson Photography



wrap, tags and ribbons. The multipurpose

laundry room is large enough to house

camera gear and equipment when not in

use, as well as a digital server.

“When I started working on the sketches

for the studio, I wanted something unique,”

says Thompson. “I wanted the space to be

wide open, but still warm and inviting. And

I wanted nooks and corners for potential

shooting spots. My clients need to be com-

fortable here, in a homey way, but they also

need to be wowed in a creative way.”

Living in the country gave Thompson

the freedom to build without many zoning

and permit hassles, though one corner of

the studio is a mere 100 feet outside a

restricted zone.


Jen Thompson combines living space and studio space, creating a comfortable, fun and homey atmos

Her backgrounds are built into the structure, including brick, galvanized metal and chalkboard walls.



PHOTOUMBRA STUDIOS

SALT LAKE CITY, UTAH

SQUARE FEET: ABOUT 800 OVER

FOUR AREAS

Monica Burby (photoumbra.com) works in

several areas in her home, which was built

in 2003 with that purpose in mind. The

front “view and choose room,” as Burby

refers to it, is for presentations and ordering.

Post production and packaging are handled

in a separate office, while a large basement

houses the camera room, and no fewer than

nine sets are ready to use. “The trick is using

every square inch to the max,” says Burby.

Adjacent to the camera room is the dressing

area, where Burby swapped a shower and

tub for a more useful bench. A basket on the

counter holds toiletries, such as face powder

and mini bottles of mouthwash. Burby

made the space cozy with curtains, throw

pillows and moody accent lighting. A border

of hats on pegs keeps her popular props on

display and close at hand. “We always get

compliments on how clever that is,” she says.

Clients have to walk through part of the

family’s living area to get to the basement

camera room, and Burby turns that into an

advantage by displaying large, emotional

portraits of her daughter, including a

48x62-inch print above the stairway.

“It demonstrates to our clients how p

ful large wall portraits can be in your hom

also opens conversations about our fa

which helps clients feel at ease,” says B

Though she has a variety of sets at t

ready, Burby prefers to keep the lightin

setup simple, typically using just three

four lights. For a mere $50, she built a

hanging backdrop system that holds th

rolls of seamless paper.

“We get the question all the time, ‘D

actually live here?’ which I take as a hu

compliment,” says Burby, who says she

mindful to subdue cooking odors befor

clients arrive. “I don’t think people exp

what they see when they get to the cam

room. It’s rare that we don’t get a surp

‘wow!’ out of a first-time client.”

PROFIT CENTER


“The trick is using every square inch to th

max,” says Monica Burby. She uses a larg

basement space as the camera room, and

separate office for post production and pac

©Kenny Munce

©Photoumb

©Photoumbra Studios



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KATELYN JAMES PHOTOGRAPHY

RICHMOND, VA.

SQUARE FEET: ABOUT 420

It was love at first sight when newlywed Katelyn

James (katelynjames.com) and her husband

found a 1980s Cape Cod-style house in the

West End of Richmond, Va. The house had

enough room upstairs for her studio, where

she could meet with clients, and a casual

space for her husband, a youth pastor, to

provide for the teens he mentors.

The interior was a bit dated, so James had it

painted while the couple was away on their

honeymoon. In the studio, she had the off-

white walls coated in a Sherwin Williams

paint called Watercolor, a hue three shades

brighter than the teal on her website, and

the dark trim painted a crisp white. For

furnishings, she combed budget-friendly

stores like Target, IKEA, Pottery Barn,

HomeGoods, Marshalls and Pier 1, and

threw in a few lucky vintage finds.

“One wall is full of empty vintage frames

to mirror the design on my website,” says

James. “I love this! Branding to the extreme?

Yes, maybe a little, but it’s fun and it makes

my brand cohesive. Consistency is the key.”

Because James prefers shooting in natural

light on location, she doesn’t need a camera

room. A well-organized closet is dedicated to

branding materials and supplies, and a dedi-

cated bathroom for clients secures the privacy

of the living space during consultations. At

the end of the workday, James can simply

shut the door and leave work upstairs.

“Having a home studio that reflects my

brand also allows couples to get a better sense

of who I am as a photographer, and they get to

see a little into my personal life,” says James.

“Because I run my business in a very personal

way, I feel this is a huge deciding factor for my

clients. They must connect with me, my style

and my personality in order to be a great fit.”


PROFIT CENTER

Katelyn James designed her studio space to reflect her branding, from the paint shade to the empty

vintage frames on the wall that mirror the design of her website.

©Katelyn James Photography

©Katelyn James Photography



K ai t l i n V anR o s s m ann

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Oering superb optical performance,this lens is among mthe finest in its clmass. A medium telephoto lmens witha large maximum aperture of F1.4 and compatible with fulml frame SLR cameras.

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UNIQUELY YOU PHOTOGRAPHY

LINCOLN/OMAHA, NEB.

SQUARE FEET: ABOUT 400

When Sarah Ulrich started Uniquely You

Photography (uniquelyyouphoto.com) six

years ago, she photographed mainly

newborns and expectant parents in their

homes, toting lights and backdrops along

with her. But as word of mouth boosted her

popularity, she needed a dedicated space of

her own.

“As my business grew, the prop collection

also expanded,” says Ulrich. “It became more

of a challenge to go on location and produce

the type of images I wanted to create.”

After looking into retail spaces, Ulrich

opted to convert her home basement into a

space that worked for her. “I asked a few of

my very good clients whose opinions I value

how a home studio would be perceived, and

surprisingly, the consensus was that my work

speaks for itself, so where my images are

created matters very little to them,” says

Ulrich. “With that in mind, I tried to cr

space that was professional, but also co

and welcoming.”

Ulrich’s converted basement houses

shooting area for newborns and matern

clients. (Family and child portraits are

done on location.) Mounted from the ce

are three rolls of seamless paper, and U

keeps fabric pieces and panels around a

well. Closed off by double doors is a sto

area; Ulrich’s office is upstairs out of sig

clients. In a separate downstairs sitting

Ulrich placed a TV and DVD player, as

as magazines, wireless Internet access a

refreshments to keep everyone comfort

during newborn sessions, which last tw

three hours. She made a conscious effor

decorate the space with furnishings tha

double as props.

“I’ve had my space for a little over tw

years now, and my clients have given no

but positive feedback,” says Ulrich. “Eve

dads are impressed.” n

Look for more home studio examples o

at ppmag.com in the Current Issue sec


PROFIT CENTER

Sarah Ulrich’s basement space features ceiling-mounted rolls of seamless paper in the shooting area and a

separate sitting area with TV, DVD player, wireless Internet access and magazines for the parents’ comfort.

quely You Photography

©Uniquely You Photography


http://slidepdf.com/reader/full/professional-photographer-2011-06 57/132June 2011 • Professional Photograph

Professional Photographer P R E S E N T S Products, Technology and Services

What I like Iran Watson goes for a bird’s eye view

What’s the best equipment invest -

ment you’ve ever made? The Canon

EF-S 10-22mm f/3.5-4.5 USM ultra-

wide zoom lens. For interior pho tog-

ra phy with an APS-C sensor body,

it doesn’t get much better than this.

Little thing, big difference? The

Promote Control by Promote

Systems. I can change all the

camera functions necessary to

move from shooting with strobes to

insanely wide brackets without

ever touching the camera.

What hot new product are you

going out of your way to use? I love

the light tracking apps for iPhone

and Android. It’s invaluable to

know when the property

—my subject—will have optimal

lighting, especially exteriors.

What’s your best equipment secret? I

love the slip-on grids for my

Speedlites. By accenting various

parts of the image with focused

light, I achieve a stylized look few

of my competitors can match.

IMAGE BY IRAN WATSON

IRANWATSONPHOTO.COM



THE GOODS: PRO REVIEW

Someone at Nikon really loves the 24mm focal

length. Currently there are four fixed focal

length 24mm Nikkors, the fantastic 24mm

f/1.4G ED, the great shift/tilt PC-E 24mm

f/3.5D ED, and both auto- and manual focus

f/2.8 versions. There are also 14 Nikkor zoom

lenses that cover this focal length: eight

designed for the DX format, six for FX format.

On a DX camera, a 24mm lens takes in

the same angle of view as a 35mm lens on a

Nikon FX (24x36mm) camera, but with

much greater depth of field at any given

aperture. The AF-S NIKKOR 24-120mm

ƒ/4G ED VR lens has a 5X focal length

range, maintains a relatively fast maximum

aperture of ƒ/4 at all focal lengths, and has a

minimum focus distance of 18 inches.

This is the third iteration of this lens, and

the first to deliver: a fixed maximum aperture

at all focal lengths in its range; Nano Crystal

coating on the internal elements; and nine

aperture blades in place of seven. It’s a few

ounces heavier and slightly larger in diameter

than its predecessors. As you zoom from shorter

to longer focal lengths, the inner barrel extends.

The included lens hood attaches to the end

of the inner tube instead of the main b

the lens. Given some joggling, the barr

slowly extend itself a bit; the weight of

lens shade probably doesn’t help, but it

nowhere near the problem it was with

earlier versions. When shooting with th

camera pointing straight down, I encoun

minimal unexpected focal length creep

The improvements go beyond the

mechanics of moving elements in and

the optical performance is much better

well. All wide to telephoto zooms need

complex optical path; the 24-120mm f

A high-quality wide-to-long lens gives you a lot of latitude to make great photographs.

BY ELLIS VENER

Utilitarian beast AF-S NIKKOR 24-120MM F /4G ED VR LENS

A l l i mages©E l l i sV ener

This action portrait, left, was made with a mix of available light and an off-camera Nikon SB70

Speedlight. The AF Nikkor 24-120mm f/4G lens was at 120mm, and the exposure was for

1/4,000-second at f/4, ISO 640.




PACIFICa l b um s



Nikkor has 17 elements arrayed in 13

groups. Two of the lens elements are made

of Nikon’s Extra-low Dispersion (ED) glass,

three elements are aspheric to control chro-

matic aberration and resolving power at all

focal lengths, and one of the internal ele-

ment has Nikon Nano Crystal coating to

suppress flare and improve fine detail resolu-

tion. One group moves laterally to combat

camera shake. For most of my shooting with

the 24-120mm f/4G, I left the vibration reduc-

tion (VR) function turned on, and I could

extend my handheld range for acceptable

sharpness by at least two shutter speeds at

120mm. With the camera on a tripod, seeing

the image slightly jitter in the viewfinder was

the clue that I had forgotten to turn off the VR.

Although fixed focal length lenses have

advan tages, zoom lenses, especially wide-to-

long zoom lenses, are utilitarian beasts. With

any lens, compromised performance is most

evident at extreme settings, but even consider-

ing the compromise in ultimate quality, a

really good zoom—and this is one of them—

used with good shooting and processing

technique, yields more than adequate photos.

Working with the 24-120mm f/4G

mounted on a Nikon D7000 body, I shot a

range of assignments: portraits, kids sports,

events, and carefully set up still life and product

shots. Some of the captures ended up as 20x30-

inch prints, and I placed at least three in my

portfolio. The 24-120mm ƒ/4G would not be

my first choice for shooting interiors or copy

work, but it is suitable for all the other kinds

of photography I make a living with. Typical

of lenses created primarily for autofocus cam-

eras, it’s a short throw between minimum focus

distance and infinity, but it’s precise enough

for manual focus work, especially when you

focus with the camera’s live view tools.

I did not test this lens with an FX-f

body, but the tighter pixel pitch of the

of-the-art, high-resolution APS-C-form

sensor requires more from the lens tha

lower resolution full-frame camera. (H

Nasse at Zeiss, in his white paper on

interpreting MTF curves, thinks so, too

The Nikon 24-120mm f/4G lens on

D7000 camera is a versatile pairing, an

step up from other zooms covering this

range. If you’re looking for a high-qual

low-distortion, general purpose, everyd

lens for your Nikons and you don’t nee

faster maximum aperture, this lens sho

be at the top of your list. n



The AF Nikkor 24-120mm f/4G lens is equ

suitable for still life images. In this shot, ta

with the DX-format Nikon D7000, the foca

length is 34mm (51mm equivalent).

In this shot, I tested the VR capabilities to increase the range of acceptably sharp handheld exposures.

With the lens set to 120mm in subdued light, this exposure was made for 1/50-second at f/8, ISO 800.



THE GOODS: COLOR MANAGEMENT

X-Rite i1Profiler provides calibration and

profiling tools for displays, printers (includ-

ing CMYK+ in the i1Publish version), and

projec tors. I was involved in beta-testing

X-Rite’s new i1Profiler software, and now

I’m using the first release. It’s a snap to

operate in the basic mode with its wizard-

driven interface—quick, logical and effective

—though customization is limited. In the

advanced mode, the workflow options are

good, and there are a number of additional

controls as well as capabilities, yet it’s not

always intuitive. It assumes the user already

has some knowledge of some processes,

and has a modest learning curve. The

results are worth the effort, though.

The software can be purchased as an

upgrade to X-Rite products such as i1Match,

ProfileMaker or Monaco PROFILER, and

bundled with hardware such as the i1Pro

spectrophotometer and projector calibration

stand; capability and cost vary. i1Display 2 is

not supported at this time.

The i1Profiler has more functionality

than we can cover here, so we’ll focus on the

two areas most relevant to photographers:

display and inkjet printer profiling. One

thing I noticed from the start was the change

in the appearance of my display and prints

after calibration and profiling; colors looked

smoother, particularly in transitions. Tonality

and gray balance are also improved, and I

often see more detail in highly saturate

shadow areas. X-Rite attributes the im

ment to the new color engine, i1Prism.

DISPLAY CALIBRATION

I use a wide-gamut display that has, ac

ing to the manufacturer, a wider color g

than Adobe 98 RGB. I’ve used an i1Pr

spec trophotometer and i1Match to cal

this display with satisfying results; the

screen-to-print match is quite good. U

the i1Pro with i1Profiler is a different s

My first reaction to the results was, “W

that’s smooth!” It’s not night and day

different, but the tonality, transitions a

shadow detail are noticeably better, an

grayscale is clean and neutral.

The basic mode has only three step

with little customization available othe

than a choice of automatic display con

manual con trast and brightness adjust

The advanced mode provides modifica

for chromatic adaptation, ICC profile

version, gamma, and contrast. The adv

mode for display calibra tion and profil

provides a QA module for testing color

accuracy. Accessed from the home scre

Display QA provides a test of the displa

performance vs. the ColorChecker Clas

target, measuring the color onscreen w

the current display profile, then compa

it to the color values in the chart.

The report provided includes a pass

X-Rite’s new color management solution has broad,sophisticated functionality. Here we review display calibration and printer profiling.

BY DAVID SAFFIR

Color control X-RITE i1PROFILER

Figure 1




indication, and the measurements of DeltaE

(variance) in a table and color graphic.

PRINTER PROFILING

There are a number of options for printer

profiling, including profiling with a preset patch

set; a customizable number of color patches;

printer optical brightener compensation (OBC)

profiling, which requires the i1iSis spec-

tropho tometer; and printer profile optimiza -

tion, including spot or targeted colors. The

i1Profiler also includes a new ColorChecker

Proof for visual assessment purposes.

Printer profiling from the basic mode

begins with creating and printing a profiling

test chart (Figure 1). In this screen, you can

specify the printer you’re using and the size

of the paper and test chart. The latter also

controls the number of patches in the test

chart; medium is about 800 patches,

sufficient for printing most photography.

Large is roughly double the number of

patches, but usually I see little difference

between the two in the output. Always

the same paper for the test chart that y

be printing the job on. It’s wise to let th

Figure 2




printed test chart dry fully before measuring

it. The drying time differs among printer

and media combinations.

When you click Measurement, you get direc-

tions for scanning the printed target. The

software follows along as you scan each row;

the easel guide X-Rite provides keeps the

spectrophotometer aligned. Once the profile

is created, you can use the optimization

tools to analyze it and create a second, or

“iterative,” profiling target.

Under Lighting you can select a standard

temperature (Figure 2). For example, you

might choose 3800K, knowing that your

gallery uses Solux bulbs of this color tempera -

ture, but you’ll probably get better results if

you actually mea sure the light (Figure 3).

Using a color temperature preset assumes

an expected spectral distribution. Measuring

on-site ensures that the information

matches the actual lighting.

Profiling complete, name the profile and

save it to use again; e.g., use it for printing in

application-managed color in Photoshop. If

you develop a profile based on a lighting adap-

tation, be sure to indicate it in the file name.

ADDITIONAL CAPABILITIES

In the advanced mode, more options appear

in Printer Profiling (Figure 4). You can specify

400 to 6,000 patches for your printer profile

test chart. You can choose to scramble the

patches—a good idea sometimes, particularly

if you suspect your printer does not perform

evenly across its width. You can also use an

industry-standard chart.

You can customize page margins, orienta -

tion, and patch size. In the Measurement

dia logue, you can specify additional printer

and paper information, such as details

about the paper in use. The Lighting

module is unchanged.

Using the advanced mode and the i1Isis

device, you have the option of adjusting your

profile to compensate for optical brighteners,

and to “optimize” the profile. Optimiz

the profile can involve adding patches

chart, importing selected Pantone colo

importing an image and extracting its

inant colors and adding them to the pr

Any of these potentially improves perform

of the profile based on those key color

Extracting color patches is a particularl

ful for portrait and product photograp

COLORCHECKER PROOF

ColorChecker Proof uses a modified Col

Checker Classic target—each patch has

in the middle so you can place it over a t

print, and evaluate the color for accurac

(Figure 5). From the home screen, open

ColorChecker Proof. Choose an ICC pro

and drag it to the ColorChecker icon. Prin

target, and usethe ColorChecker target t

evaluate the results. If you see variances,

can make corrections; X-Rite provides s

gestions in the training videos. The i1Ph

Pro version of i1Profiler includes X-Rite

Pantone ColorManager software and

ColorChecker Passport software.

EVALUATION

The X-Rite i1Profiler gives you a robus


THE GOODS: COLOR MANAGEMENT

Figure 3

Figure 4



sophisticated, full-featured combination

of software and hardware useful in many

applications. It produces results that are,

in many cases, superior to its predecessor.

The basic mode provides essential func-

tionality in a very useable manner, with a nearly

linear workflow and clear options. Help screens

are provided along the way, and there are

several basic and advanced training videos

embedded in the home screen.

The advanced mode provides near-total

control over processes and results. I found

the training videos to be helpful, but I’d also

like to see the workflow evolve into a more

intuitive version.

Bear in mind that this review is focused

on a specific segment of the application. There’s

much more under the hood. I’ve been

pleased with my experience and results thus

far, and I’m particularly looking forward to

creating optimized printer profiles for some

of my more challenging fine art papers.

X-Rite offers a series of video tutorials

for the product, accessible via the open

dialogue box and on the X-Rite websit

(xritephoto.com). n

Figure 5





Nik Silver Efex Pro software is already the

software choice of professional digital pho-

tographers for black-and-white conversion,

and the Pro 2 version has even more func-

tionality. A sleek plug-in for Adobe Photo-

shop, Lightroom or Apple Aperture, it’s

endlessly customizable and easy to use.

Silver Efex Pro 2 now incorporates GPU

processing to take advantage of the faster

performance of the latest display technology,

so processing speed isn’t an issue. Other

enhancements to v. 2 include:

• An always-on history browser so you

can compare previous edits and variations of

the look of your images, as well as undo any

adjustments.

• Selective colorization to easily restore

color elements to the image, using U Point

technology with precise selection.

• Soft contrast to apply contrast even

more selectively to image details. You can

achieve less harsh contrast and more

stylization of the details.

• A Fine Structure feature to bring out

minute details and textures without over-

sharpening the image.

• New controls for highlights, midtones,

shadow brightness and structure, plus black

and white amplification control to mak

subtle and specific refinements.

Though Silver Efex Pro 2 abounds w

sophisticated adjustment controls, its u

interface is a clean, no-nonsense contr

panel. In Photoshop, simply select the

in under the Filter menu, and let the so

ware take care of the rest. It automatic

creates its own Photoshop layer, opens

A winning application gets even better with morecontrol, faster processing and an improved interface.

BY MARIANNE DRENTHE

A black-and-whitemust haveNIK SILVER

EFEX PRO 2

A l l

i mages©Mar i anneD r ent h e

With Control Points, you can adjust bright

contrast, structure and fine structure, amp

whites, amplify blacks, and make selective

adjustments, all to the tonal range within a

diameter that you select.




user interface, and displays a sneak peek of

each variation in the Silver Efex preset

library. You can also create and save your

own customized presets, even upload your

own presets to the Nik website and

download other users’ shared presets

(niksoftware.com/presets).

Select a preset you like to open a larger

preview in the main display pane. Of

course, you can fine-tune presets with the

sliders and selective adjustments in the

right-hand panes to vary the film grain,

contrast, tonality, simulated lens filters,

dark roomstyle borders—the adjustment

options are extensive.

Silver Efex Pro 2 still delivers the

reliability and software stability that made

the original version so successful. Nik’s U

Point controls allow you to easily make

selective adjustments in an image. I love the

control points because they let me sele

lighten, darken or smooth areas that I

to alter, without tying myself up in mu

layers in Photoshop.

What I love most about the softwa

the variations I can apply to complete

customize a preset. As in film photog

you can use filters to change how the

black-and-white version responds to

various colors in the original color im

Sometimes a low-key preset can make

skin tone in a portrait overly dark, bu

simply applying a red filter, you can li

the skin. You can tweak even further b

adjusting the density and hue through

Silver Efex interface.

The Film Type selection provides 18

specific simulations, making the range

image customization practically limitle

Film grain often sets the mood of an im

Silver Efex Pro 2’s grain reproduction

algorithm not only layers on grain, but

recreates the image with the grain setti

you choose. The result is natural-looki

images that evoke your favorite classic

black-and-white films. To get precise g

control, simply move the Grain slider o

select a Film Type setting, and choose t

number of grains per pixel you desire a

the level of grain softness.

This is an extremely versatile applic

with a lot to offer. I encourage readers



It’s easy to fine-tune the custom presets to suit your own preferences.

“Silver Efex Pro 2 now

incorporates GPU proc

ing to take advantage o

the faster performance the latest display tech-

nology, so processing

speed isn’t an issue.”



download the free 15-day free trial version

from niksoftware.com. Silver Efex Pro 2 is

priced $199.95. for the full version, or

$99.95 for an upgrade. n

Marianne Drenthe is a professional

children’s photographer serving the

Chicago area. See more of her work at

marmaladephotography.com.

There are extensive toning options in the Finishing Adjustments tab.

www.LumiQuest.com

BecauseThey Work

©Raul Kling www.raulklingphotography.com/

“For me, it’s all about the light...the intensity, color,direction and...the shadows. I use the LumiQuest

Softbox III, it’s the right tool for the job.”

—Raul KlingWinner 2010 LumiQuest Photo Competition

BecauseBecauseThey W

aul Kling©R

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Every now and then a product comes along

that gets you all excited about its possibilities

in location portraiture. That’s how it is with

the new Paul C. Buff Vagabond Mini. When

the Vagabond Mini arrived, I was amazed at

its 3.5-pound weight, knowing its older

sibling, the Vagabond II, weighed in at 18.5

pounds. Its overall dimensions are about a

fifth smaller, too (Figure 1).

I’ve been using a Vagabond II for loca -

tion work for a couple of years, including

weddings and events. It’s great if you can

park it someplace with a light stand and

strobe and not have to move it very often.

Moving the entire setup is a bit cumber-

some. Around the holidays, I was asked to

photograph couples attending an event. I

wanted the lighting to look nicer than on-

camera flash, so I set up a single strobe and

a small umbrella on a light stand and

powered it with a Vagabond II. I mounted

my camera on a tripod so I could drag the

shutter and pick up ambient light, and

triggered the light wirelessly. Moving that

setup was difficult and awkward. The results

were worth the effort, but you can see why

I’m so excited about the 3.5-pound Mini. It

has a carrying strap and a bracket to hold it

on a light stand as well, which eliminat

the need to carry it separately (Figure 2

To test the flash capacity of the fully

charged unit, in one socket I plugged in

Paul C. Buff White Lightning X800, an

X1600 in the other, for a total of 990-w

seconds of flash power (according to the

specs). Now, this test is based on practic

rather than strict scientific methodolog

didn’t measure the voltage drop as each

drew power from the source. I simply

attached CyberSync receivers to each st

and used a CyberSync transmitter and

stopwatch to trigger the strobes at roug

10-second intervals. I achieved a total o

full-power flashes in 61 minutes.

One aspect of the test that surprised

was that the recharging never slowed d

significantly. Even at 333 flashes, it full

charged the strobes in about 6 seconds.

flash No. 334 though, the unit shut do

completely and would not charge the st

I conducted the test outside in the brigh

with the air temperature about 55 deg

which provided cooling for the unit. It

get warm during the test, but not as wa

as I expected with so much current. Af

some 8 minutes, the internal fan came

and remained on for the rest of the test

When I started triggering the strob

took about 4 seconds to fully recharge

one. The ready light on both strobe un

seemed to turn on at about the same ti

one was slightly faster, it was the X800

followed quickly by the X1600. By the

the unit provided 300 full-power flashe

difference between the two units was n

able, yet still less than 1 second. By the

of the test, recharge took only about 6 sec

The Vagabond Mini has three LED

the top to indicate the available charge

three-quarters charge light began blink

after just 30 cycles, and shortly thereaf

stayed off. After 75 cycles, when I let th

The new battery-pack and charger from Paul C. Buff delivers steady performance at a bargain price.

BY DON CHICK, M.PHOTOG.CR. , CPP

Big charge, little package

VAGABOND

MINI LITHIUM


Figure 1

A l l i mages©D onC h i c k



go 30 seconds between cycles, the three-

quarters charge light came back on. I’m not

sure there was an exact correlation between

the available power indicated by the lights

and the test progress. I can say that when

the one-quarter charge light went out and

stayed out, I was nearing the end of available

power. At about 300 flashes, it took about

30 seconds for the light to come back on.

Following the test, I attached the unit to

the charger. According to the PCB specs, a

recharge cycle should take three to four

hours. However, it took 4:20 to charge, and

the battery charger got rather hot. I think

it’s important to note that for this test I used

two strobes set on maximum output. For my

location portrait work, duplicating my

studio setup, I rarely use a strobe set to full

output. A lower setting would allow many

more flashes from this unit.

While I’m excited about the possibilities

of the Vagabond Mini, there are three areas

I would like to see improved in future

revisions. The biggest issue for me was the

bracket design used to mount the unit to a

light stand (Figure 3). You simply loop the

bracket over the stand and tighten down on

the knob, which provides pressure and ten-

sion from the spring. On my first location

shoot with the unit, it fell off the light stand

onto the floor. A more secure and compact

solution would be welcome. The second

issue is illustrated in the inset in Figure 3.

The battery release tab on the bottom

doesn’t allow the unit to sit squarely on

flat surface. Every time I put it down o

table I thought it would tip over. Third

recharge connector wire needs to be m

durable; currently, it has to be treated

delicately so it doesn’t fail or break.

I love that the Vagabond Mini also

built in USB port, and I can use it to c

electronic devices that require USB ch

ing without having to attach them to a

computer. The unit could also be used

power con tinuous-drain devices. Read

accompany ing specs carefully before

attaching any device.

This unit could be a great battery p

for any portable flash user. Consider th

Quantum T5 flash and battery can cost

$1,200. And, yes, you do get TTL capa

bilities with the Quantum unit, but yo

only one flash and one battery. For the

$1,200 you could purchase two Alien B

strobes ($225 each), two Vagabond M

($240 each), and buy some light stand

umbrellas with the left over money.

At $240, I think the Vagabond Min

great value. (alienbees.com/vmini.htm

Figure 2




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Brandy Anderson’s goal is to capture the energy and joy of the woma before her camera. She says the best compliment she hears is that the whole portrait experience made the subject feel beautiful.

Sweet as sugarBrandy Anderson’s natural approach to maternity portraits

resh. That’s what comes to mind when

look through Brandy Ander

maternity portraits. For that m

her child and family portraits too. Her

describes her photographs as “simple a

sweet,” and it’s borne out in vibrant col

natural settings, and plenty of giggles.

“The great thing about baby and ma

portraits is that everyone’s always so ha

says Anderson, whose studio is in Calg

Alberta. “I think my clients hire me sp

ically for my style. I encourage women

wear dresses, fun t-shirts and jeans—m

a fashion feel instead of being so seriou

main goal is to get laughing photos.”

And let’s face it, not all pregnant w

are comfortable replicating that notori

Demi Moore cover pose. Anderson tak

light-hearted approach that feels natu

and relaxed. Maybe that’s because Fresh

Photography grew organically out of And

love of photographing her own childre

Anderson worked for a country musi

vision station before it moved to the ot

side of the country. Rather than pick u

family and move with the job, Anderson

right where she was, and poured her e

into other things. That creative drive fo

its way to portraits, and before long, sh

covered a market hungry for her kind of

As she built her portfolio with images

early clients, Anderson let them know the

getting introductory rates, and that those

would increase when she went full-time

way she didn’t worry about losing anyone

the time came for her full investment. Th

worked. Fresh Sugar Photography bloss

All images ©Brandy Anderson

F

MATERNITY By Stephanie Boozer



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A busy blogger and savvy social networker,

Anderson developed an avid following on

Facebook and Twitter. Most clients feel they

already know her before they ever meet, and

that’s exactly how she likes it. With such a

bub bly personality, it’s almost impossible

not to like Anderson. An easy conversation-

alist, she makes mommies-to-be comfort-

able and relaxed, like they’re hanging out

with an old friend.

Adding to that is Anderson’s policy of

shooting only on location, either outdoors or

in homes, places that are familiar and

fortable to her clients. Though she doe

them beforehand with a what-to-wear

Anderson always arrives early enough

through the client’s closet for some dress-u

“I ask my clients what clothes they’re

fortable in,” says Anderson. “What mak

happy? My goal is total comfort, no surp

In one of her favorite poses, she’ll h

the woman lie on a couch or bed, so sh

shoot from above at a flattering angle,

the mom feels super relaxed. Anderson

shoots maternity a little earlier than us

aiming somewhere between week 31 an

The baby bump isn’t huge enough to b

burdensome for the pregnant woman,

her energy level is still pretty high.

“They’re usually a little happier,” she

“They can still fit into their old jeans, e

they can’t button them, and they’re fee

good. They have cute little bellies that

fun to look at.”

Anderson tailors her maternity ima

the mother’s personality. In one image

mother-to-be was expecting twins and

looking for a fun way to express that

photographically. The couple had an

abundant apple tree in their yard, and

several different posing ideas, Anderso

directed her to simply hold the two gre

apples in the palm of her hand. It woun

as one of her favorite images.

“It’s always about the woman when

maternity photography,” says Anderso

about her personality, how happy she

about what’s happening, not just abou

baby belly. It’s about her and her energ

that whole idea of making a woman fe

good about herself. She’s bigger of cou

but she wants to recognize herself.” Th

includes flaws and all.

“I don’t do a lot of touching up,” say

Anderson. “I prefer to get everything r

in the camera first.” The exception is st

MATERNITY




marks. Anderson asks up front whether the

mom wants those in or out.

“Some people really want that completely

real look, but most would rather I touch them

up,” she says. “One of my best compliments

was from a gorgeous woman who did not

feel like she was. She was so worried in the

shoot, but when she got the album, she was

thrilled. That’s the biggest compliment.

When a woman feels good about herself.”

Anderson books maternity sessions only

on condition of doing a newborn session

later, which has actually boosted her average

sale. Maternity sessions typically lead to pur-

chases of a few prints and maybe an album,

as most expectant mothers aren’t looking for

large canvases or wall portraits. Anderson

offers what she calls a combined session fee.

“People feel they’re getting a deal,” she

says. “I’m also giving them incentive to spend

more. Nobody wants this portrait on the

mantel. They want a nice album.” Anderson’s

maternity albums coordinate with her newborn

albums, a subtle nudge to purchase it later.

“I’m giving them what they want, which

is a record of this time,” says Anderson. “They

are also giving me what I want. It wouldn’t

make much financial sense to do maternity

otherwise. I don’t expect maternity clients to

buy everything, and that’s been key.”

With two children of her own, And

knows how strongly her mothers need

feel beautiful, and that’s the focus of th

maternity sessions, not product sales a

“It’s important to me to give these w

this special bit of time,” she says. “Whe

you’re first pregnant, you think it’s goin

be this magical time, but it’s not like th

entire time. You can lose your perspect

yourself. It’s not just about being a mo

it’s also about feeling special.” n

See more of Anderson’s work at freshsug

Stephanie Boozer is a freelance writer iCharleston, S.C.

MATERNITY

“I encourage women to

wear dresses, fun t-shirts

and jeans—more of a

fashion feel instead of

being so serious.”




We’ve all heard tales about how great those really,

really expensive European lights are supposed to

be – super accurate, fast, consistent color, digital

controls and all that. Fact is, most mono ash

units now on the market are outgrowths of Paul

Buff’s game-changing 1986 White Lightning™Ultra design. Digital controls and packaging

changes were added, but the core technology is

fundamentally the same.

Recently, Paul set about to create all new,

next generation technology that will surely be the

standard against which future mono ash units will

be judged.

The core of Einstein™ lies in its IGBT ashtube

control (in place of more primitive analog methods),

true digital control, and tightly integrated radio

remote control with full color LCD display system.

Einstein™ features plug-and-play global

powering, absolutely constant color over an ex-traordinarily wide nine f-stop power variability

range, ultra-fast t.1 ash durations for razor sharp

action stopping, fan cooling, and a bright, voltage-

regulated 250W quartz modeling lamp precisely

located in a frosted Pyrex dome for smooth-as-silk

lighting patterns. Adjustable in exact digital 1/10fstops, its accuracy is unsurpassed by any otherlight on earth.

But that’s just the start...the brilliant color LCD

display is fully integrated with our 2.4GHz Cyber

Commander™ to display and control virtually

every aspect of the system - ash durations,

color temperatures, Wattseconds, EU Numbers,

model-to-ash ratios and more, either from the

rear panel or from your camera. With the CyberCommander™ (CyberSync™ system components

sold separately), you can control and meter up to

16 lights, bracket in camera f-stops, create innite

groups and more. No more calculating WS and light

ratios – you can do it all in actual camera f-stops

and even store complete setups on the supplied

Micro SD Card.

Of course, you can turn the recycle beeper and

slave eye on or off, and meter, control and examine

every parameter of each light (up to 16 lights) from

the palm of your hand. Fast 0.08 to 1.7 second

recycle and crash proof power supplies allow up

to 12 fps shooting and reliable operation from our

brand new 3.5lb Vagabond MiniTM Lithium batterysupplies.

In short, no mono ash on earth even begins

to come close to the All American Einstein™ 640.

You’ll truly be singing:

“What The World Needs Now is Einstein™,

Sweet Einstein™”

EINSTEIN™ E640Self-Contained Studio Flash(re ector not included)

$499.95***

• 9f Variability (2.5 to 640WS)

• Global Voltage

• 0.08 to 1.7 Sec. Recycle

• 1/1700 to 1/27000 Second

t.5 Flash Duration(1/580 to 1/13500 Sec. t.1)

• Constant 5600° Color at

any power setting• Color LCD Display

• 12 fps Capability

• 250W Modeling Lamp

• Pyrex Diffusing Dome

• Fan-Cooled• Audible Recycle Beeper

• Optional CyberSync™

Plug-in Radio Remote

• Ultra Compact - 4.25lbs

• Rugged Lexan Housing*** Factory-Direct Price

from Paul C. Buff, Inc.



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Forget what you’ve heard about boudoir photography. The modernapproach captures the substance behind the sex appeal. Chelsea LaVeuses the whole experience to make every woman feel beautiful.

Feminine persuasionBringing whimsy and creativity to boudoir photography

ehind the bedroom eyes

come-hither looks, Ch

LaVere’s boudoir ima

are more than intimat

photos. They are unabas

portraits of real women who want to loo

feel beautiful. We’ve arrived at a new a

boudoir photography, and it’s about ti

Shrugging off the clichéd and vacuous p

that can make boudoir a little silly, La

genuine take is still sexy, but also natur

“My style is classic and timeless,” sh

“I want the woman to feel she’s in a pla

where time doesn’t exist.”

Based in Hampton Roads, Va., LaV

the creative eye behind Bit of Ivory Ph

raphy, her portrait and wedding busin

well as the niche-market Persuasion Bo

Both were named in homage to Jane A

LaVere is, in fact, a bit of an Austenop

who proclaims she was born about 20

years too late. An English major with

on 18th and 19th century British litera

LaVere has made her literary passion a

running theme on her website and blo

also has a deep-rooted love of photogr

which was fostered by her mother, wh

happened to be a photographer.

“I’m a huge Ansel Adams fan,” says

LaVere. “I’ve always believed what he s

about the most important component

camera being the 12 inches behind it.”

LaVere cites Adams and John Sing

Sargent as artistic influences, as well as th

well-known Julia Margaret Cameron o

Victorian era, who took up photograph

BOUDOIR By Stephanie Boozer

mages ©Chelsea LaVere

B



the age of 47 and became a driving force behind

the recognition of photography as an art form.

“My clients aren’t Victoria’s Secret models,

so I don’t go there for inspiration,” says LaVere.

“Much of my inspiration comes from my own

background in fine art and drawing. I know

what’s flattering for different bodies. You have

to know about angles, and your own body, too.”

LaVere’s foray into the bedroom setting

wasn’t immediate; she launched Persuasion

Boudoir just a year ago. She wasn’t 100 percent

comfortable with the idea at first, which began

with a request from a client and friend. For

her husband’s wedding gift a few months

prior, LaVere had a boudoir photography

experience, so she knew what it entailed and

how she wanted to portray the classic side of

women, but ultimately, she wanted to make

sure she would make a difference.



“I had self-confidence issues, and I wasn’t

sure if this was the way I could make a differ-

ence,” she says. “Then shazzam! It was like

God’s confirmation that I needed to do this,

to help women see themselves as the crowning

jewels of creation. It ended up being the best

experience for me, because the photographer

did not make me feel at ease, so I learned

that I need to talk to my clients and give

them positive affirmation.”

After being on the other side of the

camera, LaVere was motivated to mak

her boudoir sessions be about the ent

experience.

“I never want to seem like I’m putt

people in boxes,” says LaVere. “But I j

don’t do this to make women feel like

sexual objects, which is the social stig

boudoir has acquired. I want women

feel beautiful and know their worth.”

LaVere shoots boudoir sessions in

luxury hotels, preferably those with

fabulous windows and bountiful natu

light. For her marathon sessions, whi

she undertakes several times a year,

LaVere brings in a hostess to keep the

clients comfortable, as well as hair an

makeup artists.

“I love it,” says LaVere. It’s cost-effec

for me, and it’s fun for the clients. They

bring in a group of friends, kind of a g

bonding thing.”

In her next session, she’ll venture t

new location, a beautifully decadent p

location that makes LaVere feel like sh

taken a step back in time. The second

of the marathon will be done outdoor

definitely with an earthier feel, and de

nitely for women wanting something

more bold. Regardless of the setting,

LaVere’s goal is consistent, to create

beautiful portraits of beautiful women

all shapes and sizes.

“I do look at the human form throu

rose-colored glasses,” she says. “It’s har

me not to see the beauty in anyone.” n

See more of LaVere’s boudoir portraits a persuasion-boudoir.com and check outwedding and portrait work at bitofivoryphotography.com.

Stephanie Boozer is a freelance writer iCharleston, S.C. Visit her online at stephanieboozer.com.

BOUDOIR

“Noteveryone

wants

to weara silk chemise.”




To help her boudoir mesdames and mademoiselles get inspired, LaVere

created a weekly blog post titled Thematic Thursday, showing her fun but

sexy wardrobe themes. LaVere culls a handful of images from fashion

websites and blogs to help her clients visualize looks they may not

have originally thought of. “Not everyone wants to wear a si

chemise,” says LaVere, who’s often inspired by her own clients.

is not an everyday experience, and I think everyone should have

outfit and try something new.”

COSTUME PARTY I For more themes, visit persuasion-boudoir.com/search/label/thematic thursda

CLASSY COWGIRL

To make the cowgirl look classy, a little

sassy, and not cheesy, LaVere pairs a classic white

shirt with a bit of lace, adds rugged leather boots and

a straw hat. “What I love most about the classic rustic look

is how the natural beauty really shows through,” she says.

PRETTY PARISIAN

Without a doubt, the sophistication of

Paris continues to reign supreme over the

fashion world. And you can’t talk about boudoir

without at least thinking along Parisian lines. For t

combo, LaVere emphasized the colors yellow and purp

celebration of spring. “With pastel colors, classic stripe

these complementary colors … swoon!” says LaVe

MADAME MASQUERADE

Inspired partly by “Phantom of the Opera,”

partly by the David Bowie movie, “Labyrinth,”

and partly by her own wish to attend a masquerade

someday, LaVere pulled together this mysterious, seductive

look. “Masks have graced fashion and dance for centuries,”

she says. “Since portraits are all about the eyes, what better

way to bring attention to them than with a gorgeous mask?”

SPORTY SWEETHEART

Acting on the premise that a huge

number of husbands and boyfriends are either

watching “the game” or talking about it, the sporty

look is a hands-down classic. “What breathing man c

ever resist his lady in his favorite team’s colors?” sa

LaVere. “Many of my clients have donned jerseys and ta

surefire guarantee of a visual touchdown.”




Angela Weedon Photography has been booming, thanks to her discov that customers want to be guided by an expert to the best products ancreative solutions. They love seeing their images in wonderful new ways.

Who’s the boss Angela Weedon proves taking charge creatively pays off

ork-life balance was a

top of the list when Ang

and Matt Weedon of Dall

planned to expand their ho

based portrait business, Ang

Weedon Photography. The bu

began 11 years ago in a spare room in t

back of the couple’s first house. Some t

years later, the Weedons moved into a

house, where they devoted an entire w

the studio. As the business grew, they

on two employees, and the space felt cra

When the lot next door became availab

the Weedons purchased it as the site fo

free-standing building for their busine

It might have cost less to outfit a co

mercial space, but the site’s proximity t

Weedon’s home would allow more face

with their kids. Besides, they could cust

the new space from the ground up. Bank

the project required them to combine

personal and business finances—the si wasn’t technically zoned for commerci

so a commercial loan was out.

Another motive for the investment

the potential for increased sales, which

they’d experienced after the first move

“There was a greater perceived value to

work because of the more upscale sett

says Angie. “Clients were suddenly mo

interested in higher-end items, which w

were able to display and sell more effe

in the larger space. We counted on a si

bump after moving to the new studio.”

Shortly after moving into the new stud

which featured a larger camera room w

lovely natural light, a meeting/sales ro

images ©Angela Weedon

W

CHILDREN By Jeff Kent



an office, a kids’ playroom, storage closets

and a dedicated bathroom, the Weedons’

sales exploded. In fact, the amount of the

average sale nearly doubled. There was even

more room to display large prints, gallery

wraps and collections. They had space as

well to show off high-end albums from

Leather Craftsman, so album sales became a

greater focus. Clients are more inclined to

buy what they can see and touch, and the

impressive new setting boosted the Weedons’

credibility as high-end service providers.

All that wouldn’t have happened, of

course, if the couple hadn’t also been steadily

building their sales, marketing, service and

business strategies for the last dozen years.

The Weedons rely on low-pressure selling

and emphasizing high-end display options.

They schedule just one client at a time for

sittings and sales sessions so they can give

every client their undivided attention. Matt

does the sales projection presentations, held

about a week after the session. He also gives

clients bound proof booklets, in which Angie

has noted her recommendations for display -

ing certain images as hanging single portraits

or collections, and in specialty products.

Top-of-the-line products have been a corner-

stone of Angela Weedon Photography since

Imaging USA 2003, when Angie met David

Willis of Leather Craftsman. She was impressed

by the quality of the albums she saw, but

unsure her clientele would invest in such

high-end products. “David told me to n

underestimate my client,” Angie recalls

said you have to remember that you ar

your clients, and should never underse

them. On his advice, I began to introd

new, high-end products, one at a time.




my clients be the decision-makers, without

my insinuating limits. People started buying

the new products like crazy, and they loved

me for it. They appreciated seeing their

images presented in new ways, much more

so than I ever imagined. That was a real

turning point for the business.”

The studio does not offer packages. Says

Angie, “I never want to create a ceiling for

my client’s order. I produce unique wall

displays for each family depending on the

space they have. If I’d sold a preset package,

last year I might not have sold all the canvas

gallery wraps that now fill two enormous

hallways. You just never know.”

Even with two employees, it’s the Weedons

who personally engage every client. Matt

handles the scheduling as well as the sales,

CHILDREN


“For the longest

time, everyone

showed up in

white shirts and

blue jeans and

wanted to be

photographed

on a plain background,

and it was

driving me nuts.”



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while Angie attends to the artistic conversa -

tions, including pre-session consultations,

giving each new client an artful packet holding

product descriptions, clothing guidelines, advice

on planning for the session, and a hand written

message. The portrait sessions are open ended

to ensure Angie gets everything she needs.

The couple tends to shy away from the

kind of set-in-stone deadlines and policies

that could make clients feel like cogs in the

studio’s machinery. Instead, they tailor every

detail to the client’s unique situation. Such

personal touches have engendered brand

loyalty and the kind of trust that makes clients

seek and follow the Weedons’ suggestions.

That didn’t happen overnight, either, says

Angie, but through incremental price increases

of about 10 percent a year, along with the

expansion of services. Just three years ago,

the studio’s average sale was about a third of

the present average, and even less than the

starting price of one Leather Craftsman album.

Artistically, too, Angie has grown, and the

exciting work she’s doing now resonates

with her clients.

“I’ve learned that the best way to serve my

clients is to provide options that they’ll truly

love, things they’d never even thought about.

Creatively, if I feel stifled, I have to stop and

figure out a better way to do it, and not told by

my clients—they don’t really know,” she says.

“For the longest time, everyone showed

up in white shirts and blue jeans and wanted

to be photographed on a plain backgro

and it was driving me nuts. A popular

like that, you can get it anywhere. Whe

started suggesting and showing more op

it opened up new possibilities for client

show their personal tastes and distinct id

I’m so much more pleased with the im

make now, our sales have increased, an

have great clients who are fun to photog

To me, those are the real signs of succe

To learn more about Angie and Matt We

take on portraiture, visit weedonphoto.


CHILDREN

It’s subliminal selling: At Angela Weedon

Photography, the high-end photo products are

richly displayed as they might be in a home.



If a property’s photography isn’t exciting online, it’ll never lurepotential buyers. One agent and pro shooter devoted himself tocreating irresistible photos using good lighting technique and HDR

As with most industries, the Internet revolu-

tionized real estate marketing. Online property

listings are the first stop for both agents and

home buyers, and if a property isn’t exciting

online, it won’t get so much as a walk

through. That spells fresh opportunities for

professional photographers to expand into

architectural and landscape photography.

Iran Watson, a licensed real estate agent

as well as a photographer, watched the trend

develop from the inside. By his estimate,

about 90 percent of his business transactions

originate with online listings, and that’s what

moti vated him to gain skills in architectural

photography, lighting and digital image

processing. He studied websites like

photographyforrealestate.net, joined on

communities of real estate photograph

invested in his own DSLR and lights, a

started taking pictures of his listings as

educational exercise.

Within a year, Watson’s peers were no

the quality of the photography in his pr

listings, and when they began to tap hi

shoot their sites, Watson saw lucrative

sibilities in photography as a sideline. P

of companies were offering quick photog

ARCHITECTURAL By Jeff Kent

Show and sellIran Watson builds a profitable niche in real estate photography

mages ©Iran Watson



and video property tours in a volume-based

model, so Watson decided to focus on per-

sonalized service. He limits the number of

weekly shoots he’ll do so he can spend time

at each site, and the results have earned him

a loyal following among real estate agents.

“My approach is to show each property in

the best possible light,” says Watson. “Most

real estate photography just documents the

property. I want to create an emotional

attachment that spurs people to want more.

As a real estate photographer, that’s your

goal: Get more eyeballs on the property to

generate more business for the agent.”

Watson says buyers of professional real

estate photography are primarily individual

agents, so to photographers interested in this

marketplace, he recommends talking with

agents who already use professional photo ser-

vices, and showing them how you can do it bet-

ter. “You have to find out how your clients want

to represent their listings,” he says. “It’s impor-

tant to be able to communicate with people who

aren’t photographers to determine what they

need. If you can do that, you’ll be successful.”

To distinguish his work, Watson focuses

on three main elements, composition, lighting

and processing. Composition is critical not

only for aesthetics, but also for conveying

size and scale. Often, an interior photographer

will automatically pop on a wide-angle lens

and crank it out to the widest setting to show

the expanse of a space. But that can distort

the geometry of the image and confuse

viewers. Rather than getting one out-of-

whack panorama, Watson prefers to focus

on appealing design elements individu

and present multiple well-composed im

Lighting is one of the most difficult

ments of real estate photography, espec

interiors. Watson uses lighting to both

minate the space and control color cast

(Continued on p

REAL ESTATE

PHOTOGRAPHY

ONLINE

If you’d like to learn more about reestate photography, head over to

photographyforrealestate.net, and

associated Flickr group found there

flickr.com/groups/photographyforreale

as well as realestatephotographers



UP THE CLICKS

The goal of real estate photography is to get

buyers to click on an online image of a house

and, ultimately, set up a showing. Here aresome of Iran Watson’s techniques for getting

more clicks:

ELEVATE YOUR GAME. Shooting a

house from the bottom of a hill skews the

angles. Use a ladder or riser to elevate your

perspective.

GET IN THE TWILIGHT ZONE.

Twilight shots of a house with all the interior

and exterior lights on can be very dramatic.

Displayed alongside a regular daytime view,

the twilight shot gets more clicks every time.

PAINT YOUR LIGHT. Working at night

or in twilight, you can paint light with

halogen lamps for the dramatic effect of a

commercial look that viewers can’t resist

clicking on.



(Continued from p. 97)

To create depth in a space, he uses off-camera

lighting set up in an adjacent room or placed

behind objects. Shooting with what he calls

a “hybrid approach,” he brackets a wide series

of images in ambient light, then a series with

off-camera strobes illuminating dark areas

and providing strong, even light. In post-

processing, he blends each pair into a final

image that presents the best of both worlds.

Watson gives clients Web-ready fil

along with image files large enough to

print in marketing pieces. He typicall

shoots in a horizontal orientation bec

the online MLS listing for residential

estate butchers vertical shots by forcin

them into a 4:3 aspect ratio. For this

expertise, his average fee for a typical

is about $250, versus the usual $100

virtual tour companies charge.

“This is a field with a lot of potentia

photographers,” says Watson. “Proper

aren’t selling as easily as they did a few

years ago, but even in a good market,

agents are always looking for ways to

distinguish their listings from all the o

choices out there. Photography can be

differentiator. It’s also a selling point

agents when talking to prospective cli

something tangible that shows they’re

willing to go the extra mile to sell the

house. If you can make these agents l

good, get them more clients, secure m

contracts, you will always be busy.” n

Learn more at iranwatsonphoto.com.


High Dynamic Range (HDR) imaging has

become a popular technique for representing

real estate in the most flattering light. HDR

imaging involves capturing multiple photographs,

typically with exposure bracketing, and then

merging them into one image with a greater

dynamic range of luminance between thelightest and darkest areas. The goal is to

bring detail to both the shadow and highlight

portions of the final image so that it more

closely represents what the human eye sees.

Many of today’s DSLRs have an auto

bracketing feature that will produce three

images with different shutter speeds, bracketed

around one central exposure. Some real estate

photographers also suggest metering on the

darkest part of an image, as well as the light-

est part of the image, and then bracketing

between light and dark in one-stop intervals.

In post-processing, HDR photographersusually adjust contrast ratios and make other

modifications to produce a final image with

ideal lighting characteristics. There are multiple

software applications, such as HDRsoft

Photomatix, and the free command-line

software, Enfuse, that automate the post-

processing task of combining the ima

To effectively produce HDR images

estate, it’s important to keep the fina

realistic. Viewers need to be able to

themselves in these rooms, so the li

needs to be idealized, but not overly d

There are numerous books on HDR including “The HDRI Handbook” by C

Bloch and “Mastering HDR Photogra

Michael Freeman. Photographyforreales

also has a Flickr discussion group on t

On flickr.com, search for PFRE, then

groups, and then search for HDR.

SUPER PHOTOS I High Dynamic Range imaging in real estate photography



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lik An ordinary bloke with a big camera

BY LORNA GENTRY

YOSEMITE CL



n 2010 PPA

awarded the

Master of

Photography

title to

Australian

landscape photographer

Peter Lik, who is also a Master

in the Australian Institute of

Professional Photography and a

Fellow of the British Institute of Professional Photography. He has won nearly every international

photography award there is, and now has his own adventure-reality

TV show on The Weather Channel, “From the Edge with Peter Lik.”

In the weekly show, the affable Australian landscape photographer

carries a long-legged tripod over one shoulder in a casual,

jaunty manner, much like Frank Sinatra with his suit jacket.

When the TV camera isn’t panning the wildernesses he’s

photographing, it is so tightly focused on Lik that his sizable

stature dominates the screen. He occasionally has to duck a

little to get the entirety of his head in the shot. He talks directly

to the camera with earnestness and anima tion, the stubble on

his square jaw nearly palpable. He regularly implores American

viewers to “get off the couch and get out here.”

“Out here” is 14,000 feet in the air on top of Mauna Kea in

Hawaii; or 200 feet below sea level in Death Valley; or on the

craggy shore of the Pacific Northwest; or under the big sky of

snowy Montana; or through the red rock canyons of the

106 • www.ppmag.com HOPETOUN FALLS


http://slidepdf.com/reader/full/professional-photographer-2011-06 107/132CORAL SEA DREAMING G



American Southwest. Lik is photo instructor,

adventurer and travel guide all rolled into a

barnstorming artist. His American boosterism

is second only to his awe of nature, lovingly por-

trayed in luminous limited-edition photo-

graphs that sell world wide for thousands of

dollars. Even so, Lik collectors are legion,

and some are famous: Alex Rodriguez,

Antonio Banderas, Paris Hilton and

Shaquille O’Neal, among others.

Last December Lik sold his first $1 million

photograph to an anonymous art collector.

He considers the photo, titled “One,” to be

“the best shot I have taken in my lifetime.”

Taken on the banks of the Androscoggin

River in New Hampshire, the photograph

captures dawn’s light on the fall foliage

reflected in the water. Before the exquisite

light faded, Lik had time to press the shutter

only once, and he made only one print. “I

will never forget this morning for the rest of

my life,” Lik said after the sale.

“It was calm, and the scent of the fall forest

filled my lungs. The mist cleared, and a

magical reflection in the river briefly appeared.

White birch trees, black trunks, a kaleidoscope

of foliage combining to reveal an illusion of

three dimensions. I pressed the shutter—

once—and then the scene vanished with the

morning breeze, never to be seen again.”

BLOODY LUCKY

From his worldwide headquarters in Las

Vegas, Lik runs LIK USA, a multimillion-

dollar business that employs more than 250

people. The operation consists of a state-of-

the-art facility where Lik’s photographs are

printed, framed and signed by the master in

limited editions of up to 950 prints. Pr

are sold in 13 galleries in Australia and

America, and online at peterlik.com. Ed

typically sell out quickly, but his most r

bestseller, “Tree of the Universe,” taken

Hawaii during filming of the first episo

the TV series, set a record when 95 per

of the edition sold out in just 33 hours

“It’s just incredible news,” Lik blogg

early April from New York, where he w

winding up The Weather Channel’s me

blitz for “From the Edge with Peter Lik

“Everyone’s been so stoked about the T

show … and then I get a call that ‘Tree

Universe’ is my best-ever seller. I just fe

bloody lucky to be doing what I love an

have so much success with it.”

In many ways Peter Lik’s ascension

young entrepreneur to one of the top l

Last December Lik sold his

first $1 million photograph to

an anonymous art collector.

He considers the photo, titled

“One,” to be “the best shot Ihave taken in my lifetime.”

ONE



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scape photographers in the world is a classic

American story. Lik’s parents, who emigrated

from Czechoslovakia to Australia, gave 8-

year-old Peter a camera, which he used to

photograph the abundant nature around

him. In his 20s he twice traveled halfway

around the world to America with his

camera and keen talent, but without formal

training or work. He gravitated toward the

country’s most beautiful wildernesses,

including Alaska and Yosemite National

Park, and sold his photos to businesses.

Lik returned to Australia to shoot for the

tourism department of Queensland, and in

the mid 1990s opened a postcard stand and

began Lik Publishing, which has produced

postcards, calendars, and coffee table fine-

art books of his work. In 1999 he opened his

first gallery in Cairns, his hometown. Other

galleries followed as his popularity grew and

the photographic awards piled up. In 2003

he finished a five-year photography project

that culminated in the book “Spirit of

America.” He returned to the States to open

more galleries, beginning in Maui, Hawaii.

Now there are Lik galleries from coast to

coast—from Manhattan to Key West and

California. This year he launched his own

iPad app with images and text from his

“25 th Anniversary Book.”

Lik shoots digital and film, primarily

with a Linhof Technorama 617s III, Canon

EOS-1Ds, Canon EOS 5D Mark II, Ca

EOS 7D, and Phase One P65+ digital b

His prints are renowned for their glow

which comes from silver halide crystal

his medium of choice, Fujicolor Crysta

Archive paper. When asked about digit

manipulation he quips, “I use an alarm

clock filter.” In other words, if you wan

best photography, you’ll sacrifice sleep

it, maybe even risk your neck.

“I was almost killed in a helicopter

in Australia and by the collapsing of th

fields in Hawaii,” he says. In one of his

episodes he nearly succumbed to quick

trying to bag the perfect photo. “Nothi

worse than missing the shot. It just burn


“Shoot first and ask questions later.”

SYDNEY SKYSCAPE

THE JOURNEY



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he growls at the TV camera while shaking the

muck from his boots. Lik braves hypothermia,

heat, sand, ice, snow, narrow spaces and

head-spinning heights to capture nature at

its most beguiling and dramatic. With

infectious exuberance he says, “You don’t

really care. You’ve just got to get the shot.”

“The show is not as much about pho tog-

raphy as it is about Peter,” says Sharon Scott,

executive vice president of NBC’s Peaco

Productions, noting his adven turous li

and love of nature. His energetic artisti

spirit makes Peter Lik a Pied Piper lea

urbanites outdoors. “Mother Nature is

embedded in our DNA,” Lik says, “and

guess that’s why I have been successful

To see more of Peter Lik’s work visit peterliand weather.com/tv/tvshows/peter-lik.

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17” Designer Edition Inkjet

Printer, 2880 x 1440 dpi,

USB 2.0 and Ethernet Port

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Color Inkjet Printer - Roll

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studio photo printers

Pixma Pro 9000

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Resolution, USB 2.0

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imagePROGRAF

iPF6350

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Z2100 Designjet

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Free roll (200 prints) of

8”x10” media.

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Photosmart Pro

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June 5-9Florida School of Professional Photog-

raphy, Daytona State College, Daytona

Beach, Fla., Marybeth Hamberger, 954-

426-2562, [email protected],

fpponline.org

June 5-9Kansas Professional Photographers

School, Bethel College, Newton, Kan.,

Ron Clevenger, 785-242-7710,

[email protected], kpps.com

June 5-9Mid-America Institute of Professional

Photography, University of Northern

Iowa, Cedar Falls, Iowa, Charles Lee,

641-799-8957, [email protected],

maipp.com

June 12-16Illinois Workshops, Pere Marquette,

Grafton, Ill., Bret Wade, 217-245-5418,

[email protected], ilworkshops.com

June 12-17West Coast School of Photography,

University of San Diego, San Diego,

Calif., Kip Cothran, 951-696-9706,

[email protected],

westcoastschool.com

June 19-23Great Lakes Institute of Photography, Ann

Arbor, Mich., Gregory Ockerman, 248-946-

1193, [email protected], glip.org

July 10-14Image Explorations, Shawnigan Lake,

British Columbia, Don MacGregor, 604-

731-7225, [email protected],

imageexplorations.ca

July 17-22PPSNYS Photo Workshop, Hobart/

William Smith Colleges, Geneva, N.Y.,

Linda Hutchings, 607-733-6563,

[email protected],

ppsnysworkshop.com

July 31-August 4East Coast School Photographic Works

Raleigh, N.C., Victoria Kelly, 919-466-

[email protected]

eastcoastschool.com

August 1-4Long Island Photo Workshop, Sher

Long Island Hotel, Smithtown, N.Y

Jerry Small, 516-221-4058,

[email protected], liphotowor

shop.com

September 11-16Georgia School of Professional

Photography, North Georgia Techn

College, Clarkesville, Ga., Kevin Jim

706-854-8885, [email protected]

gppaschool.com

Send all additions or corrections to: Affiliated Schools, Professional Photographers of America, 229 Peachtree Str

N.E., Suite 2200, Atlanta, GA 30303


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PROFESSIONAL



Life is good, and it is getting better every day…

Summer is here, and

I think we all know

what that means for

photographers—wedding

season! I’ve had my pho-

tography studio for over 30

years, and in that time I’ve

photographed thousands of

weddings across the nation. As a photographer, I’ve seen all

sorts of weddings. I’ve shot everything from small wed-

dings in backyards to huge weddings with more guests than

you could count. But this summer I’m in for a whole new

wedding experience: my little girl is getting married.

)RUWKHʏUVWWLPH,ȊOOEHH[SHULHQFLQJDZHGGLQJ

through a new lens as the father of the bride. Of course,

I won’t be photographing the wedding, and for once I’m

excited to go to a weddingwithout my camera! But

as I’m sure you’ve all

experienced, photograph-

ing a wedding involves

more than just showing

up to the church with your

camera.

As the photographer,

I’ve already helped plan

more weddings that I can

remember…everything

from when to cut the cake

WRZKHUHWRSXWWKHʐRZHUVDQGZKLFKIDPLO\PHPEHUVWR

put in which picture. Doing so has helped me develop a lot

of relationships with various wedding vendors. And if it’s

taught me anything, it’s that networking really is key to a

successful photography studio.

Considering the rising costs and the declining effec-

tiveness of traditional marketing efforts, networking with

other small-business owners is crucial to promote your

studio to new clients. Positive word-of-mouth marketing

always has been the most effective way to grow your busi-

ness. So, how do you cultivate these networks?

My favorite way to network has always been through

volunteering in the community. (In fact, my wife often

calls me a “volunteer junkie,” which may be true.) I’ve

served on the boards of many local organizations, from the

Chamber of Commerce to the YMCA, Rotary Club and the

Boy Scouts of America. While volunteering has given me

many opportunities to network and make new contacts, my

primary motivation has always been simple: to give back to

the community that has been such a blessing to my life and

business.

Another great (and easy!) way to network is through

33$*HWWLQJLQYROYHGZLWK\RXUVWDWHDQGORFDODIʏOLDWH

chapters can quickly build upa network of other pros

in your area who share

your love of photography.

And taking part in all the

educational opportunities

33$DQGWKH33$DIʏOLDWHV

offer helps expand and

strengthen those networks

(along with growing your

skills, which is also key to

a successful studio).

So, I encourage you to

JRRXWDQGQHWZRUNWRGD\,WȊVDVHDV\DVʏQGLQJDFDXVHRU

educational topic) you care about and getting involved!

Remember: We are PPA. May God bless you this year!

PPATODAYJUNE 2011

PRESIDENT’SMESSAGEDon Dickson, M.Photog.Cr., CPP - 2011-2012 PPA President

Your Success is Our Business.

“The way to behappy is to makeothers happy.”

~Anonymous

©

C h r i s H a n o

c h



PPATOUR2011:

ONE TO

GROWON

Do you put a limit on your personal growth? If you

don’t seek out education, that is exactly what you

are doing.

Education is essential for a person’s growth at any age

and at any stage. Professional photographers who have been

in business for decades still say there is always something

to learn. But education is never more critical than at the

beginning of a career.

Enter the PPA Tour 2011: One to Grow On. This, the

latest of PPA’s on-the-road workshops, is focused on help-

ing photographers get their businesses off the ground and

keep them growing strong.

The Accessibility to Help You GrowIf you’re starting a new photography business (or are try-

LQJWRJRIXOOWLPHLWȊVRIWHQGLIʏFXOWWRʏQGWKHWLPHDQG

money to attend anything. But without the right education,

you can limp along for years.A big perk of the PPA Tour is that the education is

coming to you (in eight different cities), so the time off and

the travel costs are minimized. Plus, you can choose your

time commitment—immersing yourself in the full day of

education or just the evening program on exceptional sales

and service. And at $79 for the full day (or $39 for the eve-

ning session only), it’s accessible from your pocketbook’s

point of view, too!

The Education & Networking to Help You GrowEven more important than its accessibility, this tour prom-

ises to help photographers grow strong roots in both artistic

and business fundamentals. From marketing to lighting and

SRVLQJSRVWFDSWXUHZRUNʐRZWRVDOHVDQGVHUYLFHNQRZ

KRZ\RXȊOOʏQGHYHU\WKLQJ\RXQHHGWRJURZKHUHȆDQG

from some of the most successful studios, to boot. And that

doesn’t even count the networking opportunities!

“If you’re new in the business, you need to talk with

your fellow photographers more than ever,” says Dawn

Robb, PPA’s director of education. “You’re not alone out

there. Others have gone through the same challenges you

DUHJRLQJWKURXJKDQGQRZȊV\RXUFKDQFHWRʏQGRXWKRZ

they handled it.”Along with learning from the instructors’ and other

attendees’ successes, photographers can meet with some

top-quality industry vendors during the tour. There will be a

mini trade show at each location, where you can learn more

about the latest products that can help your business.

The Foundation to Help You GrowAs if that weren’t enough, at the end of every tour event,

attendees will have the chance to win a PPA prize package

that will push their growth to new heights. Those lucky win-

ners will receive free PPA membership, free registration to

a PPA Studio Management Services (SMS) Business Basics

Workshop, a free SMS consultation and much more!

Helping your business—and you—grow is the point of this

PPA Tour. In fact, that’s the point of PPA itself.

GET GROWING WITH THE

PPATOUR2011ATLANTA, GA AUGUST 15

HOUSTON, TX AUGUST 22

PHILADELPHIA, PA SEPTEMBER 12

CINCINNATI, OH SEPTEMBER 19

ORLANDO, FL SEPTEMBER 26

KANSAS CITY, MO OCTOBER 3

SAN FRANCISCO, CA OCTOBER 10

RALEIGH, NC OCTOBER 17

WWW.PPA.COM /PPATOUR




THE RIGHT TURN:Creating a Quality Business

E

very time Debbie Riggs looks out her studio win-

GRZLQ$ELOHQH7H[DVLWVHHPVVKHVHHVʏYHPRUH

photographers. So, what sets her apart? What keepsher in business? Riggs quotes what another photographer

once told her: “The most important thing is to get as much

education as you can.”

Riggs’ friend told her to soak up photographic educa-

tion for at least four years, but she never stopped. She went

to everything she could, from conferences to PPA webinars.

Despite her smart educational focus, Riggs soon came to a

common turning point in most photographers’ careers: the

burnout edge.

“When I started Pure Photography, I made a decision

to be in this business for quality or not at all…and the time

was coming when I wouldn’t be able to do a quality job,”

Riggs explains. “I didn’t have a business plan and didn’t

know my cost of sales. I was busy and juggling too much.”

Sound familiar? It’s often not until we are at a break-

ing point that we realize action is needed. That prompted

Riggs to look for the education that changed her business

most profoundly—business education from PPA’s Studio

Management Services (SMS). “I’d heard of PPA’s SMS pro-

gram from a good friend, knew their background, and then

,ʏQDOO\UHDOL]HG,QHHGHGZKDWWKH\RIIHUHGȎVD\V5LJJV

of her decision to attend a three-day SMS Business Break-

throughs Workshop.On the way to the workshop, Riggs and her husband

made a pact. “My husband said, ‘We’re spending a lot of

time and money on this class. So, whatever they suggest

you do, you need to do it,’” she recalls. “That workshop

was pivotal. Our business took a sharp right turn. We spent

the whole drive home planning our changes.”

Pricing and budgeting (money and time) were the most

useful information she gleaned. In fact, she hired a sales

person and raised the prices of her portraits immediately. “I

thought people would stop coming,” Riggs says. “Instead,

I began to get my life back bit by bit.” And as she learnedbudgeting, she saw how everything worked together as a

plan, from how much to invest to how much to pay herself

and how much she could spend on new cameras, etc.

Since then, Riggs has signed up for repeat PPA

consultations—a continual resource. For example, before

she signed the lease on her new retail studio space, she went

to PPA and her SMS accountant mentor to see if it was rightfor her. “It was a great deal, but if they had told me to give

it another year, I would have,” she explains. “I know they

will guide me to that pot of gold hidden in the maze.”

When Riggs thinks about those amateur photographers

cropping up outside her window, she knows she did the

most important thing for her business. She knows that her

business education will keep paying her back and moving

her ever forward.

“I think that what you gain from being a real business-

person is longevity—staying in business 10 years down the

road. That takes advice and learning about sales, businessplans and more. It’s simply amazing how I existed without

that education for so long,” she admits. “But if I don’t do

my homework, I’ll be right there with the ones who don’t

make it.”


“The SMS workshop was pivot

Our business took a sharp righ



True professionalism

is in everything you

do and provide. It’s a

mindset, a moral compass.

“Professionalism is in the

way you conduct your-

self, treat your clients and complete your jobs,” notes Rob

Behm, CPP, one of PPA’s new board members.

Photography is a perfect example of the need for

professionalism. It’s easier than ever to get started in the

industry, but it takes so much more than a camera to do it

right…and that is why education is so important.

Growing Professional SkillsBehm started his professional journey by getting an applied

science degree in photography. Yet he didn’t stop with

formal education. He joined Professional Photographers

of Washington before he graduated and started networking

with pros in his area. “That was career-changing for me,”

Behm says. “I had people I could go to on a regular basis

and get feedback on my work and ideas.”

When Behm graduated, he also worked with a top

fashion photographer in Seattle. “I was paid hardly any-

thing, but that education on top of my degree was invalu-

able,” he recalls. At the same time, he worked evenings for

a volume portrait business, and his job included selling the

photos. That combination of experiences (quality versus

volume) birthed the philosophy for his own business: When

you shoot quality portraits, people will want to buy.And that’s what he did. At 23, Behm borrowed $5,000

to rent the studio space he’s still in today. He merged his

belief in shooting quality with the philosophy of treating

people right, something his grandfather (who spent 70 years

in the commercial creamery business) taught him. With

those two axioms, his model and fashion photography busi-

ness was booming.

However, when the modeling craze started dying

down, Behm needed more portrait and wedding work. He

ZHQWWRD33$$IʏOLDWH6FKRROZLWKWKDWJRDOLQPLQGDQGDseemingly simple observation changed his career. Pointing

to his modeling images, one of the instructors said, “When

you photograph your weddings, why aren’t you doing this?”

“That realization pushed my career forward,” adds

Behm. “I took my modeling style into everything I did.”

Sharing Professional SkillsNow, in addition to his studio, he works as a post-secondary

photography educator, giving others the traditional photo-

graphic education that made his own career possible. He’s

very busy but says, “I learn much more from my students—

through their trials and errors—than I would if I just stuck

to my routine.”

+HVWLOOEHJLQVKLVVWXGHQWVZLWKʏOPLQFOXGLQJSULQW-ing in a darkroom before working in Adobe® Photoshop®.

“It helps them learn how to make a quality image without a

crutch,” he explains. “And when they transition to digital,

it makes more sense. It builds on what they know, so they

don’t just shoot on ‘P.’”

Such understanding is one step towards increasing

the professionalism in the industry. In fact, that’s one goal

Behm looks forward to helping with while on the board:

bringing an awareness of the need for more education that

inspires professionalism. “When photographers are unpro-

IHVVLRQDOWKH\UHʐHFWEDGO\RQWKHPVHOYHVDQGWKHHQWLUHindustry,” he says. To help change that, he knows the best

place to start is by setting a good example.


“As much as I’ve learned

about photography, I always

feel I can still learn more.”

SETTING APROFESSIONALEXAMPLE

Rob Behm, CPP

PPA Member since 1992

Spokane Valley, Wash.

©

A l i c i a V a n d e n O e v e r



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Buyer’sGallery

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ESTABLISHED PHOTOGRAPHY BUSINESS FORMONTGOMERY COUNTY, PENNSYLVANIA. misfortune, selling established (13 years) and photography business. Substantial client base insport, dance, band, church, and portraits. contracts range from one year to multi year. Sale all photography equipment for multiple on-locatioset ups, professional photo and wide format novelty production equipment, interactive twebsite, and more. Great opportunity for someoning to expand an established name with ereputation. Only serious inquires need [email protected] or call 610-761-4205 anmessage.

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June 2011 • Professional Photographe



ometimes photography leads to vol-

un teer opportunities. And some

times volunteering leads to photo-

graphic opportunities.

Patricia A. M. Ingram (Pam), owner

of Ingram Portrait Design in

Sewickley, Pa., is a Pet Friends vol-

unteer at the Children’s Hospital of

Pittsburgh of UPMC. She and her standard

poodle, Charlie, visit sick children at the

hospital every Friday morning. Charlie

weighs about 50 pounds, wears sunglasses,

and is something of a star at the hospital.

He likes to jump into bed with the kids, and

if a child is critically ill, will lie down next to

the child and offer gentle affection. Kids like

to walk Charlie down the hallways, getting

much-needed activity. Ingram and Charlie

have walked with kids who have just had

heart transplants, little tykes who are under-

going chemotherapy. If a child in the inten-

sive care unit is unable to interact, Ingram

and Charlie visit with family members. “It is

such an overwhelming experience to have a

sick child, and to bring warmth to these

people through an animal is really

special,” says Ingram.

While visiting at the hospital, Ingram

met the gallery owner responsible for put-

ting up the artwork around the hospital,

who asked her to make portraits of kid

Pet Friends. Ingram jumped at the cha

and set up two days of photo shoots wi

children and their favorite pooches. Shcreated a series of images of kids posin

with dogs that ranged from a toy breed

fits in one hand to a 200-pound bull m

named Lil’ George. Ingram donated all

images to the hospital, and 12 large pri

were hung in the hallways to showcase

Pet Friends program and inspire visito

become volunteers.

Last September, the hospital’s volun

coordinator asked Ingram for permissienter three of her images in a national

petition designed to help children’s hos

showcase programs for improving the

rience of patients and their parents. The

petition judges selected 50 images, incl

Ingram’s portrait of a little boy in the in

sive care unit posing with a Chinese cr

dog named Ike. The prints were displa

March in Baltimore and will be shown

the U.S. Capitol building in WashingtoD.C., in July.

“This entire experience has been ext

dinarily fun and rewarding,” says Ingra

“The opportunity to photograph the do

with the kids was such a gift. I would l

see other hospitals do programs like Pe

Friends, or extend their programs. It b

so much happiness to the patients and

families. It’s incredible to be a part of it

To see more from Patricia A. M. Ingramvisit ingramportraitdesign.com. To leaabout the Children’s Hospital of Pittsbuand its volunteer programs, go to chp.e

Images wield the power to effect change. In this monthly feature,Professional Photographer spotlights professional photographersusing their talents to make a difference through charitable work. good works |

Share your good works experience witby e-mailing Cameron Bishopp [email protected]

Pet friendsDOG VISITS AND PHOTOGRAPHY HELP SICK KIDS

©Patricia A. M. Ingram

professional photographer 2011 06

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