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When Amber McAdoo opened McAdoo Photo
Artistry in Benton, Ark., in 2005, her business
took o immediately. She had so many clients,
though, she couldn’t keep up. Instinctively,
she hired help. Then she hired another per-
son, then another. By 2006 she had three
sta ers, but when she inally made time to
do the bookkeeping, she saw that despite all
the orders, her business wasn’t pro itable.
“For every session I photographed, I real-
ized I was losing money,” says McAdoo. “
hired employees because I was really busy
not because the money I made justi ied it.
paid them, but in the end I couldn’t a ordpay mysel .”
The manager o PPA Studio Manage-
ment Services, Bridget Jackson, says
McAdoo’s circumstances are not unusual.
“For whatever reason, when photographer
get busy, they panic, and they hire some-
one, but they tend to pay others be ore
they pay themselves,” she says. “That’s ju
not good business.”
Jackson, a certi ied public accountant
has been helping studio owners break this
bad habit. Be ore you can hire anyone, y
need to be realistic about what it costs.
“There’s the health insurance, the payroll
taxes, the unemployment insurance—the
list goes on and on,” said Jill Liebhaber,
who runs jookie, A Portrait Boutique, in
Chicago. “You’re not paying just salaries.
I wish everyone knew just what an invest-
ment this is.”
Jackson says the cost o a studio’s empees alls into one o two categories, pro-
duction or non-production (o ice work,
sales). I you hire someone to do tasks
such as Photoshop retouching, color cor-
recting or raming, his or her wages woul
be accounted or under the cost o produ
ing the products you sell.
According to the PPA Studio Financia
Benchmark Survey, a studio needs to
achieve annual gross sales o $100,000
be ore it can a ord to hire some one ev
part time or non-production duties. Citin
the survey, Jackson says at that point, a
home studio could a ord to spend 4 to 6
percent o their gross sales ($4,000 to
$6,000) on a non-production employee.
Studios located in a retail space can alloca
42 • www.ppmag.com
Employee review
BY JEN CHRISTENSENPROFIT CENTER
How to know i you can aford hired help
©Veer
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10 percent of their gross sales ($10,000) for
a non-production employee. That roughly
equates to hiring a part-time employee to
help during the studio’s busy season. “Most
photographers overspend in this category,”
Jackson says, and for a variety of reasons:
“They don’t like to answer phones. They
aren’t good with
e-mail. One woman told me she was lonely,
so she hired someone,” she says. “Can you
believe she paid someone to distract her
from her work? That’s crazy!”Even if you work in a city with a high cost
of living, the percentage shouldn’t change.
“Sometimes I will get people in California
who argue that they won’t be able to hire
someone for that salary, but I remind them
that a person working at J. Crew in Atlanta
makes about the same salary as one at
J. Crew store in Los Angeles. Even the high-
est grossing studios pay non-production
employees no more than $15 an hour.”
With costs in mind, Liebhaber employs
only part-time help. “That means I spend
only about 20 percent of my work time on
the actual photography,” she says. “This
week I also mopped the studio’s hardwood
floors, did the laundry for my newborn
sessions, and tried to assess one of my
lenses that needs work. These things all
take time.”
When Liebhaber did hire a part timer in
2010, she brought him in as a paid intern.
“It is a great arrangement, because he gets
to learn the profession while being paid. If,
for some reason, I decide he isn’t a good fit,
I can say, ‘Thanks for the great internship,’
and let him go without having to fire him.”
Before looking for help, Jackson advises
studio owners to write out a clear, detailed
job description and your expectations of theemployee’s productivity or performance. If
your employee meets or exceeds expecta-
tions, you can reward him with time off, a
gift certificate, or a bonus tied directly to
your profits rather than a raise. “Just remem -
ber, no one is going to work as hard for your
business as you do,” Jackson says.
Jen Basford, who runs 3 Girls Photogra-
phy in Edmond, Okla., used the PPA bench-
marks when she hired her three employees.
“At first, I hired production staff because
I was overwhelmed, and it’s easy and quick
to train in that area,” says Basford. “I didn’t
add a non-production employee until a few
years ago, when I was sure I could afford it.”
Basford is doing a booming business. “Some -
times I think I’d like more employees, but
managing people takes up so much time,
time I’d much rather spend working on
other aspects of my business,” she says.
After McAdoo looked at her finances with Jackson, she realized she couldn’t ke
three people on staff. The big picture also
showed her prices were far too low. “So I
nearly doubled my pricing,” she says, althou
she was anxious about what her clients
would think. She did end up doing less wo
that year, dropping from 211 sessions in
2007 to 107 sessions in 2008. But with the
higher prices, she made more money wi
half the sessions. “I felt almost bored in th
beginning, but Bridget kept telling me I w
fine,” says McAdoo.
What wasn’t fine was that with fewer s
sions, the staff wasn’t nearly as busy. By th
end of 2009, she decided to hire people on
as needed. Outsourcing—a less expensive
alternative—worked best for her. She out-
sourced mainly bookkeeping and some pro
duction work. “The other good thing about
outsourcing versus hiring employees is tha
they do exactly what you want them to, an you aren’t stuck with them,” McAdoo say
“And you don’t have to find something for
them to do in your off-season.”
During that off-season, Jackson recom-
mends evaluating your workflow and stem
ming inefficiencies. “Often, photographers
take this time to collapse after all the work
they’ve done, but make sure you look at th
big picture,” she says. “If you can take ma
adjustments, you can work smarter rather
than harder and be very successful.” n
Jen Christensen, [email protected] a Peabody Award-winning producer who worked for several years in the CNN Special Investigations and DocumentarieUnit in Atlanta. She is a freelance speechcoach and writer.
44 • www.ppmag.com
PROFIT CENTER
“For every session I photographed, I realized
I was losing money . I hired employees because I was really busy , not because the money
I made justified it. I paid them , but in the
end I couldn’t afford to pay myself.”—AMBER MCADOO
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A well-edited slideshow can be rouse the
emotions of the audience. The transition
from one engaging image to the next builds
anticipation as a story unfolds. Slideshows
can enhance wedding receptions, anniversary
parties and other events, and can be used as
a customer bonus or a lucrative add-on, and
they’re especially effective in sales sessions.
But before you create slideshows for clients
or promotion, know your legal responsibilities
regarding the images and the music you use.
For example, if your client supplies images
that are not your own, you have a duty to
obtain the necessary permissions to use
those images. If you set the show to music,
you must obtain the proper license from the
representatives of the artists who created it.
DISCOVER THE WORK’S ORIGINS.
Ask your client a couple of important ques- tions about the images’ origins: Are they
family photos taken by a friend or relative,
or were they made by a professional photog-
rapher? If they were, you need to get a writ-
ten licensing agreement signed by the
photographer, even if that person is also a
friend or relative of your client.
The client might not be accurate about
the origin of an image. Use your instincts in
assessing the image quality and composi-
tion. If your hunch is that it’s a profession-
ally made image but the client says
otherwise, it might be prudent not to use it.
If the client can’t produce a licensing
agreement, or the photographer denies the
request, simply ask the client to select another
image that you can use. Let her know that
you are respectful of works created by a fel-
low professional, and you hope others will
be equally responsible with your work.
If the client does present a licensing
agree ment, call the studio or photographer
to verify the accuracy of the document,
particularly if the document is not printed
on a business letterhead or if you doubt it’s
a binding agree ment. You could find your-
self in the middle of an infringement dis-
pute if you don’t verify that you have
permission to use it.
LICENSED TO ORCHESTRATE. If you
plan to use music in any aspect of your busi-
ness, you need the proper licenses. When you
purchase music for personal use, be it MP3
or CD, you have only an end user license,
and you may not use the music in any other
application. If you want to use mainstreammusic for business purposes, even during
sessions, you need a license. There are three
kinds of licenses you might need to legally
use music in the studio or in a slideshow.
A performance license allows you or your
client to play song(s) in other than a social
setting. In general, this is the kind of license
you need to play a CD or digital music in a
session or on your website. Even a private place
of business is considered public under copy-
right law, so if you play music for employees
or customers, it’s considered a public per-
formance. You can purchase a performance
license through ASCAP, BMI, and SESAC
(ascap.com, bmi.com, sesac.com). Each
agency represents different songwriters and
publishers, so you may need licenses from all
three to cover the musical spectrum.
A synchronization license is necessa
you want to use music in your slideshows
This license allows you to manipulate thesong(s) to create a compelling slideshow
much in the same way a sound editor on a
movie will time a chase scene to a heart
pounding or exciting song.
A master use or mechanical use licen
gives you the right to copy or reproduce a
sound recording or “master.” You can use
the original sound recording of song (voc
and instrumentals), but you may still need
a synchronization and/or performance
license to lawfully use the piece of music
Master use licenses are necessary if you
plan to copy or make multiple reproduc-
tions of a recording.
Both mechanical and synch licenses ca
be purchased from two main sources: the
music publisher and the record label. Sync
licenses are most often secured directly fro
the music publisher, while mechanical
licenses are typically purchased through th
record label. Unlike performance licenses, which are easily secured by a business of
size, for small-scale businesses, a master o
mechanical use license is likely too difficu
and cost prohibitive to get just to license a
single song for one-time use.
If you don’t want to hassle with the lice
ing red tape associated with mainstream
music, try royalty-free music. These songs
are purchased from a music library and
come with varying licensing terms for a sin
fee. Royalty-free music is often an originacomposition that can be used to create the
effect you want in your slideshow.
Whether you’re using music with
slideshows as a promotional tool on your
website or as a product to entice a client in
buying, legally protect yourself first. n
46 • www.ppmag.com
Pay to play
BY MARIA MATTHEWSPROFIT CENTER
The ground rules of slideshows
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Professional Photographer P R E S E N T S Products, Technology and Services
What I like Laura Tillinghast trusts gear that’s wash ‘n’ go reliable
What makes your workflow flow? I’m a big
fan of the onOne Perfect Photo Suite. This
portrait retouching software saves me tons of
time. And I don’t know what I’d do without
my amazing website provider, Zenfolio. I love
the clean and elegant display, and my clients
love the ease of use and digital delivery system.
The final step is my lab, MpixPro. They have
the fastest turnaround of any lab I’ve ever
used, and the quality is always spot on.
Little thing, big difference … Reflectors! I
can’t live without them. I have a number of
pieces I made myself, but the one I use the
most is a five-in-one Photoflex MultiDisc.
When you’re on the move, what’s your most valuable piece of gear? I always have pock-
etfuls of SanDisk CompactFlash cards.
They’re the most reliable memory cards
available. I had one go through the washing
machine, and it still did not fail.
Has a piece of equipment ever changed your
approach to photography? My Canon 70-
200mm f/2.8 lens opened up a new world. I
can shoot wide open and keep my subject
tack sharp. Once I realized I could use the lens compression to turn a boring back-
ground into a lovely, blurred atmosphere, I
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GOODS ROUNDUP BY ROBYN L. POLLMAN
Try thes e tools and tips for clothingand li gh ting to make high style a bree ze
Flair for fashion
Whatever the shoot, clients are lookingfor your guidance in what to wear.Help them select wisely, then light formaximum impact.
50 • www.ppmag.com
OFFERED BY: JOYCE SMITHThe Joyce Smith WHAT TO WEAR guide is 13 pages of
wardrobe suggestions for maternity, newborn, children and
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GOODS
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June 2012 • Professional Photographer • 53
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In this era of camera releases for small niche
markets, Nikon counters the trend with the
new D800. This breakthrough camera is the
one to own if you’re a professional portrait,
wedding, event, school, still life, landscape,
fine art or any other kind of pro photogra-pher who doesn’t shoot action sports or in
extreme weather. You should reassign the
digital camera you currently own to your
backup. The D800 really is that good.
Much is being made of the video capabil-
ities of the D800; we’ll look at those in the
July issue, as well as the D800E body when
it’s released. This article centers on the still
capture capabilities of the D800.
With an effective 36.3-megapixel sensor
and most of the technology of the Nikon D4,
the D800 delivers. Housed in a magnesium
alloy body similar to the D700’s, the sensor
captures detail to rival all but the highest
resolu tion Phase One medium-format backs
such as the iQ180, with which I’m very familiar from shooting in-studio still life.
Shooting at maximum resolution, those
36.3 megapixels translate into a 7,360x4,912-
pixel image file; that’s a 103.4MB, 8-bit TIFF
file and, without interpolation, a 30.7x20.5
inkjet print at 240 pixels per inch. Other
resolutions are available: a 1.2X crop, an 8x10
proportion crop, and a 1.5X DX crop. The
DX crop delivers an image of 15 megapixels
(4,800x3,200 pixels), which should be popular
for photographing wildlife and non-professional sports, especially since the autofocu
array covers nearly the entire DX crop are
Unlike the D3S and the D4, however, the
viewfinder does not “gray out” to the edge
of the crop areas. Instead, the crops are ind
cated only by a darker black outline that ca
become invisible in certain lighting situation
Because I’m accustomed to using a
Nikon D3X and its predecessors and a D3
it took me some time to become comfortab
THE GOODS: PRO REVIEW
Nikon’s new DSLR rivals medium-format cameras infine detail and resolution. It’s that good.BY STAN SHOLIK
New best NIKON D800
A
m
©
56 • www.ppmag.com
This is a full-frame capture, left, from the D800with the 17-35mm f/2.8 Nikkor, handheld at1/60 second, ISO 6400, set fully automatic.Above is a 1:1 crop with no noise reduction andonly slight sharpening. Noise is visible, butI don’t find it objectionable. Resolution is highenough that you can see I didn’t hold thecamera completely steady.
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with the location of the controls on the
D800. I prefer to have access to ISO, qual-
ity, and white balance on the back of the
camera rather than on the top deck’s release
mode dial, where they are on the D800, but
I’ll learn to live with it. The rest of the back
of the camera has a familiar look and feel.
The recommended ISO sensitivity of the
D800 ranges from 100 to 6400 in 1/3, 1/2
or 1 EV increments. I welcome the return of
native ISO 100 to a professional Nikon
camera. ISO settings of 50 and as high as
25600 are also available. With the wide
dynamic range of the D800, I found little
quality loss at ISO 50.
At the other end of the ISO range, image
quality is far better than you’d expect. Nikon
is the leader in in-camera noise reduction,
and the D800 is excellent proof. While noise
begins to be visible at 1:1 at ISO 400, I found
ISO 6400 to be perfectly usable and far better
than with my D2X, even without post-pro-
duction noise reduction. With noise reduction
applied in Lightroom 4 or other third-party
software, noise is not an issue until well beyond
ISO 6400, and even then I found it accept-
able for any size print short of 16x20 inches.
What turned out to be the biggest issue
for me lies in my collection of older manual-
focus Nikkors, such as my beloved 24mm
f/2, 35mm f/1.4 and 105mm f/2.5 lenses.
These lenses are all usable on the D800, but
you get obvious color fringing in images at
1:1 in high-contrast transitions, even near the
center of the frame. I was really disappointed
until I realized I was viewing images at nearly
three times the resolution I was accustomed
to with my D3S. When I down-sampled the
images to 12 megapixels, the fringing was no
worse than I was accustomed to.
To get the most out of the D800, using
the latest Nikkors is essential. Nikon sent
the new AF-S Nikkor 85mm f/1.8 G and
AF-S Nikkor 24-70mm f/2.8 G ED lenses
with the D800 for my review. No color
fringing with these lenses. The 85mm was
superb in a portrait session. The 24-70mm
is one of the very best lenses that Nikon pro-
duces and better than ever on the D800.
Good photo technique is also essential to
get the most out of the D800, as it is with a
medium-format digital back. I found that
mounting the camera on a tripod and using
the mirror-up mode with a remote release
delivered far better results than handheld
shooting, even at the fastest shutter speeds
could use at ISO 100.
Accurate focus is also essential and anoth
reason to use a solid camera support, parti
ularly with large apertures and long lenses
Focusing inaccuracies that might go unnotic
in cameras with lower pixel counts are
painfully obvious in D800 images at 1:1. I
found the autofocus system in the D800 to
be very accurate when I was careful to pla
the focus position exactly where I wanted
hold the AE/AF lock button on the back of
the camera with my thumb, and recompos
This care is mandatory if you plan on mak
ing large prints from the captures.
I did feel that the warm tones were ove
saturated, even with the Picture Control set t
Neutral. I first noticed it when photograph
ing artwork, and I had to lower the saturatio
in post production. It was the same when I
58 • www.ppmag.com
THE GOODS: PRO REVIEW
Color accuracy is excellent, but I did have to backoff on the saturation of the red and orange hues.Even so, they are well saturated.
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We’ve all heard tales about how great those really,really expensive European lights are supposed tobe – super accurate, fast, consistent color, digitalcontrols and all that. Fact is , most mono ashunits now on the market are outgrowths of Paul
Buff’s game-changing 1986 White Lightning™Ultra design. Digital controls and packagingchanges were added, but the core technology isfundamentally the same.
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Einstein™ features plug-and-play global
powering, absolutely constant color over an ex-traordinarily wide nine f-stop power variabilityrange, ultra-fast t.1 ash durations for razor sharpaction stopping, fan cooling, and a bright, voltage-regulated 250W quartz modeling lamp preciselylocated in a frosted Pyrex dome for smooth-as-silklighting 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 LCDdisplay is fully integrated with our 2.4GHz CyberCommander™ to display and control virtuallyevery aspect of the system - ash durations,color temperatures, Wattseconds, EU Numbers,model-to- ash ratios and more, either from therear panel or from your camera. With the CyberCommander™ (CyberSync™ system componentssold separately), you can control and meter up to16 lights, bracket in camera f-stops, create in nitegroups and more. No more calculating WS and lightratios – you can do it all in actual camera f-stopsand even store complete setups on the suppliedMicro SD Card.
Of course, you can turn the recycle beeper andslave eye on or off, and meter, control and examineevery parameter of each light (up to 16 lights) fromthe palm of your hand. Fast 0.08 to 1.7 secondrecycle and crash proof power supplies allow upto 12 fps shooting and reliable operation from our
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In short, no mono ash on earth even beginsto come close to the All American Einstein™ 640.You’ll truly be singing:
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• Constant 5600° Color atany power setting
• Color LCD Display • 12 fps Capability • 250W Modeling Lamp• Pyrex Diffusing Dome
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from Paul C. Buff, Inc.
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shot portraits, but changing the Picture
Control setting to Portrait helped. As with
all Nikon digital SLRs, there is an abundance
of settings and custom settings available to
cover more photographic situations than I
can imagine. It has the multiple exposure
control I often use in my other bodies and
the full range of auto bracketing I appreci-
ate for my HDR landscape and architec-
tural images.
It has a USB 3.0 interface, which should
move 41.3MB, lossless compressed, 14-bit
raw files from camera to computer quickly
enough. Unfortunately, neither Nikon
Camera Control nor Lightroom 4 supports
direct connection of the D800 for imagecapture yet, so I couldn’t test it. Both Light-
room 4 and the version of Nikon View sup-
plied with the D800 allow you to view the
captured images. The D800 is compatible
with Eye-Fi cards and I was able to trans-
mit images with an Eye-Fi Connect X2.
I was a little disappointed in the battery
life, especially compared to the D3S. With
this much data to store and display and a
modest capacity, it’s no surprise that battery
life is limited to four to six hours in the stu-
dio. An optional MB-D12 multi-power bat-
tery pack is available.
I found nothing else seriously lacking in
the D800 other than a high frame rate.
My studio strobes don’t recycle at 4 frames
per second and I don’t shoot professional
sports, so this isn’t an issue for me. After
I test the D800E, I’ll decide whether to
buy the $2999.95 D800 or the $3299.95
D800E. n
Stan Sholik is a commercial and advertis-ing photographer in Santa Ana, Calif.,specializing in still life and macro photogra- phy. His new book on Lightroom 4 for Wiley Publishing will be available this summer.
THE GOODS: PRO REVIEW
Specs Nikon D800
EFFECTIVE PIXELS: 36.3 millionIMAGE SENSOR: 35.9x24mm CMOSsensor (Nikon FX format)TOTAL PIXELS: 36.8 millionDUST-REDUCTION SYSTEM:Image sensor cleaningIMAGE SIZE: FX image area,7,360 x 4,912 pixels; DX image area,4,800 x 3,200
FILE FORMATS: NEF (RAW) 12 or 14 bit;lossless compressed, compressed, or
uncompressed TIFFPICTURE CONTROL SYSTEM: Standard,Neutral, Vivid, Monochrome, Portrait,Landscape, all modifiable, custom savableMEDIA: SD and UHS-I compliant SDHCand SDXC; Type I CompactFlash (UDMAcompliant), dual card slotsSHUTTER: Electronically-controlled vertical-travel focal-plane shutter Speed 1/8,000 to 30seconds in 1/3, 1/2, or 1 EV stops, bulb, X250FLASH SYNC SPEED: X = 1/250 seconds;synchronizes with shutter at 1/320 secondsor slower (flash range drops at speedsbetween 1/250 and 1/320 second)DIMENSIONS: Approx. 146 x 123 x 81.5mm(5.7 x 4.8 x 3.2 inches)WEIGHT: Approximately 1,000g (2 pounds,3.3 ounces) with battery and SD memorycard but without lens or body cap.STREET PRICE: $2,999.95, body only
Coupled with the new 80mm f/1.8 Nikkor, theD800 becomes the perfect studio portrait sys-tem. For this photo I set the D800 for a 4:5 pro-portion crop so that I could compose for 8x10s inthe camera. Above, cropped to 100 percent, theunretouched portrait has enough resolution to showskin pores and flyaway hairs. Careful focusing isrequired with the D800 or the eyes will not besharp in the final output. Model: Amelia.
60 • www.ppmag.com
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PocketWizard is virtually synonymous with
wire less triggering. The venerable Pocket -
Wizard Plus II has been a staple in photog-
raphy for years for its reliability and versatility.
But the competition has been growing in
recent years, and most are taking shots atPocketWizard’s premium price. In response,
now comes the PocketWizard Plus III with
significant upgrades and a lower price tag.
That’s right, it’s both better and cheaper. Sweet .
The unit is clearly a descendent of the
Plus II in design, with a few notable differ-
ences. The antenna is now enclosed, which
will come as a relief to every photographer
who ever had to bend the Plus II’s flexible
antenna to cram it into the little remaining
space in his camera bag. The Plus III sits in
side profile on the camera, a departure from
the face-on orientation of the Plus II, which
lessens the visual obstruction for the user.
The Plus III is jam-packed with features.
The available channels have increased fromfour to 32 (mimicking the Multi-Max). That
allows more photographers in the same area
to simultaneously use PocketWizard wireless
triggering without interfering with one
another, a welcome improvement. Now single
channels can accommodate multiple zones,
affording the flexibility to activate or deacti-
vate flashes or remote cameras from the
camera position. For example, by pressing a
single button, you can activate a kicker or a
camera that’s mounted in a church balcony
while you are shooting near the altar.
The user interface is intuitive and well
designed, providing easy control of the unit.
The backlit LCD screen displays a visual
confirmation of the mode, active channel,
active zones within the channel and battery
charge, a long-needed addition. With no
battery life indicator, you might discover
that a bank of lights had stopped firing in
the middle of a session. Now it’s simple to
tell which batteries need to be replaced before
the session. Thank you, PocketWizard. The
backlit display also deserves special mention,
as it really helps in low-light environments.
The versatility of the Plus III is enhanced
by the many modes of operation. The nor-
mal mode is TxRx, in which the unit auto-
matically senses whether it should transmi
or receive. You can also choose transmit-
only or receive-only modes, which are
advantageous in certain situations, such as
when multiple photographers are working
in close proximity. Auto-relay mode allow
you to trigger a remote camera and sync it
with a remote flash by automatically retran
mitting a received signal on the next highe
channel. If you set your handheld radio an
the radio controlling the camera to channe
1, the radio controlling the camera would
reissue the command to fire on channel 2.
The receiver for your strobes would be set
channel 2, completing the sequence.
Long-range modes dramatically increa
the range of the system. Long-range mode
(LR) can nearly double the effective range
Repeater mode (RP) is similar to auto-rela
mode, except the command to fire is issued
on the same channel rather than the next
channel up. Placing a radio in repeater mod
THE GOODS: PRO REVIEW
Major improvements and a lower price make thisnew PocketWizard model extremely desirable.BY MARK LEVESQUE, M.PHOTOG.CR., CPP
Raising the bar POCKETWIZARD PLUS III
62 • www.ppmag.com
New features of the PocketWizard Plus III trans-ceiver include an internal antenna, backlit LCDscreen and large buttons. Two AA batteries willpower up to 50 hours of use.
©M
k L v
qu
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between the transmitter and receiver greatly
increases the range, with a slight impact on
x-sync speed.
PocketWizard Plus IIIs are typically pow -
ered by two AA batteries, which provides up
to 50 hours of use. For economy, rechargeable
AAs work well. A compatible AC adapter that
plugs into the Mini-B USB interface on the
unit can power long-term use, eliminating
the hassle of changing batteries. The USB
interface also enables firmware upgrades with -
out having to send off the unit for servicing.
The new design seems even more robust
than its predecessor, which set the standard.
The new battery door is sturdier and easier
to operate. The enclosed antenna reduces its vulnerability. All the buttons work easily
and feel like they’ll stand up to longtime use.
The triggering performance is terrific. Each
mode I tested worked as promised, and it
was easy to set up the radios. With an ACC
pre-trigger cable, it’s simple to control a
camera remotely. The two-stage test button
works the same way as the shutter release on
your camera: half-press to wake up the cam-
era, focus, and meter, and fully depress the
button to release the shutter and trigger the
lights. Same with the multi-zone shooting.
Set up is a snap, and it just
works. The only limitation is
that multi-zone operation is
available only for channel 17
and above.
The PocketWizard Plus III
marries unmatched versatility
with high reliability in a well-designed package that
addresses virtually any need for
syncing strobes and remote cameras. A
lower price than its predecessor makes it
especially attractive for
both photographers
wanting to upgrade and
those new to wireless
triggering of remote
flashes. n
The new mounting orientation reduces visualobstruction.
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There are several important factors in choos -
ing lighting equipment among the many avail -
able options. For one, you want to invest in
lighting equipment that will last for years. When you’re evaluating the various lines,
look beyond the initial investment you’ll
make in the lights themselves. Find out the
variety of the available accessories in each
line, and how expensive they are. The initial
investment in the lights might be reasonable,
but then a simple compatible accessory like
a honeycomb grid could cost you more than
$100. The material and construction of the
equipment is important too. Will you be taking it on the road? Traveling can take a
toll on inexpensive equipment, but on the
other hand, more costly and robustly built
equipment might be harder to lug around.
I recently had the opportunity to check out
a Speedotron DM402 CC 3-Light System,
which sells for $1,240. From the Speedotr
Brown line, this kit consists of a 400-watt
power pack, three lights, two with fixed-
mounted, 8.5-inch parabolic reflectors and
one with a 5.5-inch parabolic reflector, and
some accessories: three light stands, two
8.5-foot air-cushion stands and one 4-foot
air-cushion light stand, a snoot for the 5.5-inc
head and a carrying case. The equipment
seems well constructed; the parabolic refle
tors are made of heavy gauge metal that
shouldn’t easily dent or deform. Air-cush-
ioned light stands are desirable, as they hel
prevent accidental damage if you lose you
grip while adjusting the height of the standCompact, the kit fits nicely into the supplie
soft case (too bad it doesn’t have wheels).
If you added an umbrella for each of th
two 8.5-inch parabolic reflectors, one for t
main light and one for a fill light, this kit
would be ideal for a photographer who neede
a simple portrait lighting setup, perhaps fo
school photography or location shoots. Th
5.5-inch head could be used to illuminate
the background and to delineate the subjec
from the background.
If you do more advanced creative portr
ture, the kit would serve only as a starting
point. For additional control over the lightin
you’d want a set of barn doors (two leaf ba
doors for 8.5-inch reflectors, $56). To use t
main light without an umbrella, you could
combine the barn doors with a clip-on Myl
diffuser ($14), and Mylar covering, which
would create a small but diffused light for
individual portraits with defined shadows.
Because the parabolic reflector is perm
nently mounted to the heads, the use of add
tional modifiers is limited to umbrellas or
mod ifiers that mount with a shaft like an
umbrella. You could control the spread of
light with a barn door, and soften it with a
THE GOODS: PRO REVIEW
This basic kit is a good starter for a portraitist. Just add two umbrellas, and you’ll have a setup to build on.BY DON CHICK, M.PHOTOG.CR., CPP
EssentialsSPEEDOTRON DM402 KIT
64 • www.ppmag.com
The Speedotron DM402 CC3-Light System kit includes a400-watt power pack, threelights, two with fixed-mounted,8.5-inch parabolic reflectorsand one with a 5.5-inch para-bolic reflector, and some acces-sories: three light stands, two8.5-foot air-cushion standsand one 4-foot air-cushionlight stand, a snoot for the 5.5-inch head and a carrying case.
m
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panel between the light and subject. For
example, if you illuminate a 4x6-foot panel
as a main-light modifier, you’ll have a large
light source, and therefore soft light on the
subject. Panels take a bit of getting used to,
but they can function like soft boxes.
The strobe head cord length is fixed, limit-
ing the distance between the strobe and the
other heads. If you have a very large set, that
could be an important factor. If you can’t
achieve the desired f/stop (light output), and
the distance between the light and the sub-
ject cannot be changed, then to reduce the
light to the desired f/stop, you’d need to use
neutral density filters in a variety of densities.
The pack will accept up to four heads.
However, the output of each will decrease,
either symmetrically or asymmetrically,
depend ing on the switch setting on the power
pack. It’s important to know, too, that the
modeling lamps do not have individual on/off
switches. If you cannot isolate a single light,
it can be difficult to see where the light isstriking the subject. The workaround is to
turn the other lights away from the subject.
This pack has 400 watts of power, which
should be sufficient for a small studio setting of
individuals and small groups. For large groups
and large spaces, you may find the pack insuf -
ficient. If you want to add additional wattage
through multiple packs or invest in higher
wattage packs, note that the flash tubes su
plied with this pack will handle only 400
watt-seconds and cannot be used with a
higher rated pack.
Is the Speedotron D402 kit a good
invest ment for you? That depends on you
answers to several other questions: Do you
want a lightweight, portable system for
portraiture or small products? Do you like
working with umbrellas and panels? Do you work well using parabolic reflectors
with barn doors? If you answer yes to tho
questions, take a serious look at this kit.
If you prefer to use soft boxes, octoboxes
beauty dishes and other removable light
modifiers, or if you need to light a large
area or groups of people, this is not the
lighting kit for you. n
66 • www.ppmag.com
THE GOODS: PRO REVIEW
With non-removable parabolic reectors, your
on-light modiers will be limited to those that
mount with a shaf, like umbrellas. The 400-
watt pack, below right, is suitable to power
lighting or a small studio setting.
There are several important factors in choos ing lighting equipment among the many avail able options. For one, you want to invest in lighting equipment that will last for years.
©Don Chick
©Don Chick
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The light modifier you choose is the decid-
ing factor in the quality of the light in your
photograph. When asked to review the new
Photogenic Glamour Reflector, I jumped at the opportunity. I literally wrote the book on
light modifiers, so I have experience with
many kinds, each with unique qualities
that are evident in the captured images.
The Glamour Reflector is compatible with
Photogenic and Norman Monolight sys- tems. For the images shown here, I used a
Photogenic PowerLight PL1250 monolight
with a Quick Change speed ring adapter,
plus a 24-inch Glamour Reflector with a
brushed silver interior that yields a specula
hard-light quality. The project I was work-ing on required producing images with sev
eral different looks in a short period of tim
THE GOODS: PRO REVIEW
The brushed silver finish and broad surface area give the bounced light of this beauty dish a special character.
BY ALLISON EARNEST
Glam light PHOTOGENIC GLAMOUR REFLECTOR
Figure 1: The Photogenic Glamour Reflector’s brushed silver interior createsa hard light that’s pleasing in certain applications.
Figure 2: The Photogenic Light Sox, sold separately, softens and cools thereflector’s light.
A m
©A
nE
n
m
S h
y
K n h
68 • www.ppmag.com
Image courtesy of Photogenic
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The photographs would be used in the port-
folio of aspiring model Shelby Knight.
I created the photo in Figure 1 in my stu-
dio. For the main light setup, I placed the
Photogenic Glamour Reflector above Shelby
to get nice butterfly lighting, also known as a
paramount lighting pattern. Because the
reflector’s interior has a brushed silver fin-
ish, the quality of the light it produces is quite
hard yet pleasing in this fashion image. I
placed a small white card under the subject’s
chin to softly fill the shadows. I gray-bal-
anced the image to get a pleasing, realistic
skin tone. I love the quality of the light.
The one drawback to the Glamour Reflector
is its size. I typically use a similar but smaller
reflector made by another manufacturer. The
24-inch reflector created a larger field of light
than is desirable for a head-and-shoulders
por trait, so I placed a black flag over a quarter
of the reflector to block or reduce the amount
of light spilling onto the background.
Without changing the position of the main
light, I placed the optional Photogenic Light
Sox over the reflector to soften and diffuse
the light, which created a softer shadow-to-
highlight edge transition ( Figure 2 ). The
Light Sox is made of a translucent white
material that fits snugly over the reflector
with a sturdy elastic band.
I highly recommend investing the addi-
tional $46.95 to get a Light Sox with the
Glamour Reflector. It will add versatility to the
reflector, and the soft quality of the light it deliv -
ers is quite pleasing for traditional portraiture.
I incorporated a silver reflector card under
Shelby’s chin to add sparkle to her eyes and
fill in the shadows.
For review purposes, I did not change the
gray balance for this image. Placing the
Light Sox over the Glamour Reflector pro-
duced a cooler light temperature. You can
see the difference between Figures 1 and 2.
It’s best to place a gray card on each lighting
setup to get accurate color. I was quite
happy with both studio images.
For my final test, I took the Glamour
Reflector on location. Here, the size of the
reflector worked to my advantage (Figures
3, 4 and 5).
Overall, I am pleased with the quality o
the light produced by the Photogenic Glamo
Reflector. I like the pop and contrast of the
brushed silver interior. If your style of ligh
ing is on the softer side, the Light Sox is a
solid investment. The only negative aspect
this reflector is its lack of portability. A pr
tective carrying case would be an ideal sol
tion for location shooting. n
Allison Earnest is the author of the Sculptiwith Light series of books, “Sculpting with Light: Techniques for Portrait Photographer“The Digital Photographer’s Guide to Ligh Modifiers,” and “Lighting for Product Photography,” available later this year. Seemore of her work at aearnestphoto.com.
June 2012 • Professional Photographer • 69
Figure 3 Figure 5Figure 4
The large field of light that the Photogenic GlamourReflector puts out is suitable for full-body andthree-quarter shots.
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What kind of a portrait could you create with
one light? What flexibility would you have if
you were limited to a single light? Actually, the
possibilities are limitless, with a little knowl-
edge and a lot of imagination. A single light
source used as a main or key light, dependingon the modifier attached to it, will provide
an abundance of light, which you can then
redirect or bounce onto the subject with
reflectors to create a magnificent portrait.
In this portrait of Phillip, I’m using a
strobe, but the principles readily apply to
window light. The main light source is a
Photogenic 1250DR strobe, and it’s modi-fied by a 48x72-inch Photogenic soft box.
The large soft box gives the light falling on
THE GOODS: TUTORIAL
What can you possibly do with one light?BY DON CHICK, M.PHOTOG.CR., CPP
One-light wowLIGHTING
©Wade Payne, thepurplelens.com
This is the setup (above) with the soft box tilteupward to feather the light across the model’s arand provide background light, and the reflectoplaced to provide fill and accent light. The po
trait (below) appears to have been lit with foulights to provide main, background, fill and accelight, but all were achieved with one poweredstrobe, a large soft box and two reflectors.
©D
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my subject a pleasing soft quality, as well as
lots of extra light to reflect or bounce back.
On this occasion, I was teaching a class on
studio portraiture on a Destination Photo
Education cruise and had nothing on hand
to serve as a gobo between the subject’s right
arm and the main light. So to reduce the
light striking the arm, I feathered the light
by tilting the modifier upward. In using the
edge of the light from the soft box, I created
a natural falloff of light from Phillip’s face to
his arm. I could have chosen not to angle the
soft box, but then I’d have to do post-pro-
cessing work. I’d much rather capture the
image correctly with the camera.
With the main light positioned just a few feet in front of the background, there was
enough light to illuminate it without using
secondary lighting. Feathering, or turning
the soft box toward the background,
increases the brightness of the background;
and feathering it away from the background
decreases the brightness. In this way the
main light does the work of two lights.
Using a circular white reflector for the fill
light, I redirected light onto the subject’s
shadow side. Fill light is used primarily to
control the amount of contrast between
highlights and shadows. With a reflector
setup you can see how the light will look, so
you don’t have to meter the output of the
strobe to obtain a particular ratio—if you
like what you see, shoot it!
Note, however, that your camera will see
a bit more contrast than your eyes will. If
you’re going for a low-contrast look and thescene looks right to your eyes, move the
reflector in just a little to get the desired
result in your capture. The ability to see all
this comes with experience, so practice,
practice, practice the technique before usin
it with your clients.
I used a silver circular reflector to prov
accent lighting. Look carefully at the light
the left side of Phillip’s head, especially arou
the ear and temple. Just above the ear, you
can see the ear’s shadow on his head. That
accomplished with accent light. It provides
just a kiss of light. Done correctly, it is the
finishing touch of the portrait.
I’ve accomplished the look of a four-lig
setup with just one powered strobe, a soft
box and two reflectors. Beautiful portrait
lighting doesn’t have to be complicated or
difficult to achieve stunning results. What
you do need are knowledge, the right equiment and the determination to practice
until you get it right. n
Chick Photography is located in East Rochester, N.H. (chickphotography.net).
June 2012 • Professional Photographer • 71
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THE GOODS: PRO REVIEW
At last, dress slacks for working female photographers.BY BETSY FINN, M.PHOTOG.CR., CPP
Pants that workPHOTOPANTZ
Pocket A is big enough to hold a lens; zippered
Pocket B is sized well for memory cards or
money; Pockets C and D are for your cell phone
and business cards; Pocket E zips up and can
keep your lens caps secured.
A
B
CD
E
It’s been tough to find women’s dress pants
with the fit and appropriate pockets for the
working pho tographer. Unlike men’s slacks,
women’s pants tend to have tiny pockets that
serve solely as design elements. And forgetabout actually working in them; the cut and
fabric seldom provide the necessary coverage
and flexibility.
I was excited to test the new PhotoPantz,
slacks that every woman photographer should
own. They have lots of pockets, and I’m a pocket kind of person. I need them to stow
A
m
©B
72 • www.ppmag.com
A
B
E
C/D
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my cell phone, wallet, keys and miscella-
neous items, such as my light meter and a
lens cap. PhotoPantz come in summer and
winter styles. For summer, the fabric is a
lightweight, rip-stop material, and the pants
sport five pockets. For winter, the fabric is a
heavyweight, two-way stretch material, and
there are nine pockets. Both have two frontpockets deep enough for a camera lens, and
a zippered pocket on the upper thigh for valu -
ables. I liked using that one for memory cards.
On the side of each leg are two more pockets,
one for a cell phone, the other for business
cards. The winter version has two roomy back
pockets, and at the inside of the calf, a zippered
pocket on both legs for items like lens covers.
For practicality and modesty, Photo Pantz
are designed to sit at the natural waistline.
In the back, the waistband is discreetly elas-
ticized to ease bending over and to prevent
gaping. The positioning of the back pockets
makes it look like you’re wearing low-rise
pants when you wear a standard length top.
There’s a side zipper and button closure.
(The very pretty buttons in the original pants
were made of shell, and one of them cracked
in the first washing. The problem has been
addressed, and all new PhotoPantz will have
durable matte black plastic buttons.) When you order a pair, your PhotoPantz
are custom hemmed to your specified
length. As circumstances would have it, I
acquired unhemmed pairs for review, but I
assured the owner I could hem them myself.
Due to my short stature, I had to shorten the
ankle pockets of the winter pants because they
extended further than my hemline. Good
news: there’s a line of petite PhotoPantz in
the works. PhotoPantz are machine wash-
able and dryer-safe, and they come out
wrinkle free. (I prefer to line dry some cloth-
ing to extend the life of the fabric.)
Over the course of a couple weeks, I wore both styles of PhotoPantz extensively, indoors
and out, and I enjoyed them immensely. The
winter version was comfortable even outside
on an unusually warm spring day. I enjoyed
using the many pockets, and it was nice to
concentrate on my clients instead of worry-
ing about what I was exposing when I bent
over. I’m not usually a high-rise waist fan,
but in this case I approve. In fact, I found
myself making excuses to wear the Photo -
Pantz even when I wasn’t working with
clients because they’re so comfortable. I did
find the summer fabric a bit noisy. Despite
my best efforts to be stealthy, they made a
faint swishing sound as I moved about.
My sole complaint is the design of the
cell phone pocket. It’s so easy to access, I
worried about my phone tumbling out. It
never did, but I think the PhotoPantz design
could be improved to perfection with the
added security of a closure of some kind.PhotoPantz are stylish, modest, comfortable
and highly utilitarian. Both styles look
dressy enough to suit any occasion. Photo -
Pantz come in misses sizes 4-20; a petite line
is forthcoming. Summer and winter styles
retail for $149.99. (photopantz.com) n
I wore both styles of PhotoPantz extensively, indoors and out,and I enjoyed them immensely. ... I enjoyed using the many
pockets, and it was nice to concentrate on my clients insteadof worrying about what I was exposing when I bent over.
June 2012 • Professional Photographer • 73
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or the past 19 years, Jamie Hayes, M.PhotoCr., ABI, API, of Hayes & Fisk
The Art of Photography in Rich
mond, Va., hasn’t changed a thing when it
comes to lighting. He found a simple syste
early on, and it hasn’t failed him yet.
“I can match any portrait I’ve ever cre-
ated because I do the same thing every tim
and use the same light every time,” says
Hayes. “It’s the only way to create a brand
and a recognizable style.”
Hayes has been in business long enoug
to have worked out the kinks. He shot his
first wedding when he was 15, having bee
dropped off around the corner so the bride
wouldn’t see he couldn’t even drive. A few
years into building a reputation and learn-
ing the business, he met Mary Fisk-Taylor
M.Photog.Cr., CPP, ABI, API, and a dream
partnership was launched.
“We really have the perfect day marriag
says Hayes. “We use each other’s strengthand weaknesses to create the perfect team,
business and photography.”
Because the majority of the portrait wo
the studio produces is traditional in style an
created to be framed and hung on a wall, it
makes perfect sense for Hayes to stick with
his proven lighting scheme. He’s changed
equipment over time, but not his approach
“It’s good, clean lighting,” he says. “I nee
a system that frees me from thinking abou
the technical part so I can concentrate on th
subject’s expressions and the client experi-
ence. That’s what it’s about, our relationsh
with our clients.”
Hayes worked out his lighting techniqu
back when he couldn’t make a large inves
ment in lighting equipment. “I only had
If Jamie Hayes has one opinion about lighting, it’s that additive lightingis a must for establishing your style and simplifying everything.His technique works in any environment and hasn’t failed him yet.
LIGHTING
FBy Stephanie Boozer
Light to build onBranding through consistency
74 • www.ppmag.com
mages ©Jamie Hayes
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TOP LIGHTING TIPS
Hayes is a strong proponent of additive
which he says ensures consistent color b
ance and minimized retouching later. W
asked to boil down his top lighting tips f
photographers, Hayes dictated the follow
• Create a simple lighting concept tha
works in every situation, indoors and ou
and stick with it.
• Invest in the best equipment. You o
buy strobes, lenses and speedlights once
but cameras every three years. You will
more professional with amazing gear, an
perception is everything.
• Choose a lighting mentor and studyhim or her as much as you can.
• Work on your technique, learn to ge
right in the camera instead of planning t
it on the computer.
• Finally, never trust your camera’s m
Use a handheld light meter. I meter the l
falling on the subject instead of the light
reflect ing off the subject. Incident light
read ings are not influenced by the color
tonality or reflectivity of the subject, allo
you to pho tograph any color of skin w
exact same light.
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LIGHTING
PHOTO CHALLENGE 1:
When available light needs a boost
SITUATION: A bridal shoot scheduled onlocation at a newly renovated train sta -tion. Hayes planned to use available light
spilling in from a second-floor balcony,but scaffolding surrounding the build -ing on the shoot day foiled his plans.
SOLUTION: Hayes opened the full-length doors all the way to bring in asmuch daylight as he could (Figure 1).
Next, he bounced daylight on theshad ows with a 42x72-inch LarsonReflectasol with Super Silver fabric(Figure 2).
He then placed a Profoto Acute 600Bstrobe and 3x4-foot Larson soft box inthe doorway, raised 3 feet higher thanthe railing, and added a final boost witha Profoto Compact 600 strobe and9x24-inch Larson Soft Strip slightlybehind the bride to give separation tothe veil and dress bodice (Figure 3).
CAMERA: Canon EOS-1Ds Mark III
LENS: Canon 35-350mm f/3.5-5.6 L EFEXPOSURE: 1/40 second at f/9,ISO 800
enough money for four lights,” he says. “After
messing around with them, I found a method
that works every time, in a studio of any size.”
The simplicity of the system is its beauty.
In a moment of experimentation, Hayes bounced light off the white ceiling rather
than aiming it directly at the subject and
background, which is the more common
approach. That was the eureka moment.
“It turns the ceiling into a big soft box,”
he explains. “It’s so simple. We bounce twostrobes off the ceiling, and it makes the
background light so smooth and clean. Th
gets the biggest ‘wow’ of anything we teac
in our workshops.”
Hayes says the biggest challenge photo
raphers are facing today is the volume of information readily available on the Intern
Figure 1 Figure 2
Figure 3
Figure 4: Additive light setup
76 • www.ppmag.com
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LIGHTING
PHOTO CHALLENGE 2:
April showers bring problems
SITUATION: Hayes needed to matchlighting in a sibling’s portrait to the originalportrait of the client’s first child, whichwas taken on a sunny morning outdoors.On the shoot day, cloudy skies and rainyweather presented a challenge (Figure 1).
SOLUTION: First, Hayes set up thesame main light he used in the previousportrait, matching the same soft boxand strobe to match the contrast andshape of the subject’s face. Next, heplaced a 3x4-foot soft box and Profotostrobe behind and slightly left of thesubject at one stop brighter than the
main light to create the highlight on theback wall and separate the subject,matching the sunlight in the originalportrait (Figure 2).
For the hair light, Hayes used a zoomreflector on a Profoto 600R, coveredwith a warm Amber Rosco gel to addwarmth and detail to the hair, plantsand flowers. Later, in post processing,he used Nik Viveza 2 and applied ColorEfex Pro White Neutralizer and Skylightfilters to add more warmth (Figure 3).
CAMERA:Mamiya 645AFD with Kodak645M digital backLENS: Mamiya 105-210mm f/4.5EXPOSURE: 1/90 second at f/8,ISO 400
Figure 1
Figure 2 Figure 3
78 • www.ppmag.com
with a mere click or two. With so many
philosophies on lighting to ponder, photog-
raphers can go into overload and make it
more complicated than it needs to be.
“I learned by doing. Today, many new
photographers learn by listening to someone
else or from the Internet,” says Hayes. “I can’t
tell you how many times a photographer has
come up to me after a seminar to tell me
how simple I make lighting.”
Catch Jamie Hayes and Mary Fisk-Taylor athe East Coast Photographic Workshops in Raleigh-Durham, N.C., July 29-Aug. 2,eastcoastschool.com. Visit hayesandfisk.c
Find Stephanie Boozer at stephanieboozer.co
Figure 1: The final portrait of the older sibling (right)compared to the available light on the day scheduled tophotograph her sister (above).
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hese days there are too many good pho- tographers out there,” says Bill Gekas.
“The key is to be in the smaller bucket o
extraordinary photographers.”
Since teaching himself photography on
the 35mm film format in the 1990s, Gekas h
become a respected portrait artist with admir
ers around the globe. Based in Melbourne
Australia, the photographer has accumu-
lated a cache of photography awards. The
way to earn such awards, he says, is to ded
cate yourself to the craft, enter competition
regularly, and produce work that makes th
good photographers look twice. “In most
cases, if it impresses your peers, it’s bound
impress your potential clients,” says Geka
Gekas’ style changed in 2005, when he
switched from film to digital, and he could
experiment with his capture techniques in
completely new ways. It was also about th
time he began to seriously study the portra
ture of Diane Arbus, Yousuf Karsh, IrvingPenn, Cecil Beaton and other greats of pho
tography. He’d been shooting a bit of ever
thing up to then, but portraiture, not so much
Inspired anew, Gekas began to focus on po
traiture with a fine art aesthetic.
Gekas relies heavily on visualization.
Everything is scripted in advance, includin
the lighting, the setting, the composition, th
clothing and the way the colors and tones w
interact in the frame. “I take the photo befo
I execute the shot,” he says. “I picture the f
ished shot in my mind days or hours befor
click the shutter. The process is thought ou
from the technical to the artistic. When it’s tim
to shoot, I know exactly how to set the scen
Gekas keeps a scrapbook of ideas and rou
sketches that inspire him to create new setup
It may be true that there’s nothing new under the sun, but innovativephotographers like Bill Gekas who dare to push the boundariescan find their signature style. Next step up: Extraordinary.
LIGHTING
TBy Jef Kent
Look twiceSelf-taught portrait photographer Bill Gekas
80 • www.ppmag.com
mages ©Bill Gekas
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It’s critical for him to figure out every tech-
nical detail in advance so he can create
freely. “I’ve always believed that once you
have the technical side of photography
under your belt, that’s when the fun really starts. Then the strength of your imagina-
tion becomes the only limiting factor.”
The lighting, of course, is central to Gekas’
careful composition. For indoor sessions, he
prefers to modify the light with soft boxes. He
often affixes gaffer’s tape in a cross pattern on
the external diffuser of the main light to mimic
sunlight streaming through window panes.
He takes advantage of the inverse square law
(an object positioned twice as far from a light
source will receive one quarter of the illumi-
nation) as a lighting control. He uses two
lights and a large circular bounce reflector.
One light serves as the main light, and it’s
usually modified by a 28-inch soft box. He
places the bounce reflector on the opposite
side of the composition to reflect a bit of fill
light onto the subject. He often modifies the
second light with a grid spot and aims it at
the background, or he places it on the back-
ground axis to create a shaft of light. With a slightly larger set, he forgoes the bounce reflec-
tor and uses another light for fill, typically plac -
ing it on the camera axis and bouncing the
light off the ceiling. He finds this a more pre-
cise method of controlling the amount of detail
in the shadow areas. Typically, he shoots at
the max sync speed to make sure the ambient
light doesn’t contaminate the studio lighting.
In contrast, ambient light plays a promi-
nent role in Gekas’ outdoor shoots. He employs
a single artificial light source, usually in tan-
dem with a circular modifier, such as an
umbrella, and sometimes with a mid-size
octabox to give the impression of direct sun-
light falling on the subject. He harnesses the
ambient light for fill by selecting a shutter
speed just slow enough to admit a soupçon
“I’ve always believed that once you have the technical side of photography under your belt, that’s when the fun really
starts. Then the strength of your imagi-nation becomes the only limiting factor.”
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of natural light without overexposing the
image or blurring the subject.
Though he’s enjoyed his current stylistic
approach, Gekas is always looking to
evolve. “As artists, I don’t believe we canstay in a stagnant state producing the same
style of work continuously,” he asserts. “In
order to evolve, we have to get out of our
comfort zones whether we like it or not,
and push the boundary further each time.
Otherwise our work starts sounding like a
LIGHTING
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broken record, constantly repeating itself.”
The ideal in portraiture is to go for a look
that’s unique, appealing and interesting, says
Gekas. That style will define you as a photog -
rapher. Keep your eyes open, analyze images
that move you and images that don’t, he
recommends. “Don’t be scared of taking
certain elements from different works and
molding them into something to call your
own. You might like the lighting from a
photo you saw somewhere, a prop from
another photo, colors from another. The key
is not to limit yourself with the excuse, ‘It’s
all been done before.’ Yes, many things have
been done before, but with some careful
thought you can adjust a concept to give it
your signature. Experiment! ”
Looking at other photographers’ work,
trying to one-up your peers with new
approaches—these are important parts of the
processes in Gekas’ mind. “As in any other
industry, competition is a healthy thing,” he
says. “It pushes the boundaries. Pro photog-
raphers need to differentiate themselves
from the rest, to find new ground.” Standing
out from the crowd gets you noticed. In a
field full of practitioners doing good work,
only the extraordinary will stand out. n
See more from Bill Gekas at billgekas.com.
84 • www.ppmag.com
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ixie Dixon’s father was a photrapher, and so was her grand-
father, but not professionally.
Those practical gents didn’t beli
there was a career in taking pictures
they went into more traditional fields.
But Dixon grew up in a different gener
tion, one with perhaps a less risk-averse
world view, one that embraces creative en
preneur ship. When the photography bug
her in high school, she embraced it, and
built a career with it.
Dixon is no hapless artist. A one-time
member of the PPA Student Photographic
Society and a full PPA member now, she
always understood that making a living in
photography requires business knowledge
Rather than majoring in art or photography a
Texas Christian University, she chose to maj
in entrepreneurship—with a minor in pho-
tography. On weekends, she’d assist vario
photographers to accrue experience in the fieStill in school, Dixon shot portraits of
friends, experimenting with lighting and
posing styles, honing her skills. She continu
after graduation, and earned her first wage
as a professional photographer doing high
end portraits in a rented studio in Dallas.
One of her subjects was a model, and Dixo
made a variety of stylized portraits for her
portfolio. Those images were a big hit wit
the modeling agency, which hired Dixon t
photograph all their new faces.
“That series of shoots opened the door
fashion photography,” says Dixon. “They
gave me free range to shoot whatever I want
with these new models. I would create dif-
ferent concepts and storylines for the shoo
building a fashion-oriented portfolio in the
Give it time. With the right preparation you can create a businessniche out of practically anything you have a passion for. You justhave to put a strategy in place for making that work pay.
FASHION
DBy Jef Kent
Fashion forwardDixie Dixon shows entrepreneurship is always in vogue
86 • www.ppmag.com
mages ©Dixie Dixon
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process. Those images led to more work for
more modeling agencies, for boutiques, apparel
companies and a range of commercial clients.”
Dixon’s career began to snowball into big-
ger, more involved jobs. A referral from a videoeditor friend led to commissions to photograph
two modeling reality shows, “Doheny Models”
and “Get Out.” Dixon was jet-setting from
Miami to Vancouver to Ibiza, picking up
substantial advertising jobs back home, not
to mention catalog photography, designer
look books, brochures, magazine editorials
and the occasional high-end portrait session.
One of the catalysts Dixon cites for the
rapid growth of her career is a tight focus on
her personal brand and a chosen specialty.
At first, while she shot lots of portraits and
weddings, she promoted only her fashion
work. “It’s important to relate yourself and
your brand with the kind of work you want,”
she explains. The tricky part is getting to do
that kind of work in the first place. Dixon
would stage portfolio-building shoots on her
own dime, assembling a small production
team, and then shooting fashion-oriented
products in a commercial advertising style.She continues to do such projects even now,
to demonstrate her ability to work in a par-
ticular style or brand.
“A lot of fashion photography is story-
telling,” she says. “You tell a story about
how it feels to wear the product. What is the
story behind the brand? What image does
the client want to portray with the products
and adver tising? Your job is to tell that
story in the images. It doesn’t have to be a
complicated story; it could be about the
movement of the clothes, the color, the
interactions of the models—as long as the
story represents the brand well.”
Before every shoot, Dixon creates a vision
board with inspirations for the images.
Sometimes the clients come up with their
own inspirations, and sometimes Dixon is
left to find her motivation, often through
movies, magazines and art. She collects pic-
tures and ideas for hair, makeup, posing and
styling, and then shares them with both the
client and her production team. “This process
helps the whole team get on the same page
before the shoot,” she says. “It’s a very visu-
ally oriented industry, and I’ve found that it
helps to show rather than just tell.”
The personal interactions Dixon had wi
the subjects in portrait sessions helped her
relate to the models and to direct them effec
tively in fashion shoots. And the process o
developing storylines for fashion shoots help
her expand her portrait style. She began to off
hair and makeup services for her portraits,
and scripting basic storylines to guide the
FASHION
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FASHION
subject during the session. She would Google
search her clients and friend them on Fa ce-
book to learn more about them and their
personal tast es. That information helped her
create customized experie nces. All of this work went into furthering her brand a s a
fashion-fo cused photographer with an eye
for bringing out the m ost in each subject.
“You can make a niche out of wh atever
you want, as long as you focus on what you
want to do,” she says. “There’s not hing wrong
with shooting the work that pays, but make
sure to keep doing the work you love. If you’re
not passionate about it, you ge t burned out.
If you are passionate about it, there’s almos t
no limit to where it could take you.” n
See more from Di xie Dixon at dixiedixon.com.
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or photographer Susan Teare, architec-
ture is about light. The shifting of natural
light throughout the day can change the
aesthetics of a room in subtle and dramatic
ways. Whenever possible, Teare sits in a house
or commercial building she’s been hired to
photograph and observes the light for hours.
“Many of the houses I photograph are vacation
homes, so I can go and stay there,” she says
on the phone from her home office in Essex
Junction, Vt., a charming village outside
Burlington. “I’ll take my laptop so I can work
and watch the light. Architects typically design
to bring natural light into a house, and I
want to capture it in the best possible lightNatural light is an important feature of
the photographs in her first book, “Salvage
Secrets” (W.W. Norton), on which she col
laborated with designer Joanne Palmisano
The book is a practical guide to retrofitting
and re-purposing salvaged and recycled
materials into furniture, lighting fixtures
and architectural accents. Most of the book
photographs illustrate how repurposed
materials look in practical applications,
mostly in homes. The two are at work on a
sequel to be published in 2013.
Susan Teare brought her observation and vision to documenting theartistry of reuse in Salvage Secrets . Now she’s at work on a second book and happily ensconced in light-filled buildings, Hasselblad in hand.
LIGHTING By Lorna Gentry
Drawn to lightIn architecture, light brings design to life
Fmages ©Susan Teare
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‘‘Teare’s mesmerizing lighting throughout
makes everything look fresh and natural.
“Almost all of the pictures in the book were
photographed in natural light. I looked for the
right time of day to shoot.” Occasionally she
used a diffuser and fill lights, she says, “But Ialways try to have the luxury of time to learn
what time of day is best to photograph.”
She works in medium format with a Has-
selblad H3D-31 camera, and in 35mm for-
mat with Nikon D700 and D200 digital
SLRs. On the Hassselblad, Teare uses 28mm
and 80mm lenses, and on the D700 a tilt-
shift lens to help correct distortion and a 70-
300mm lens to shoot architectural details.
“The nice thing about using the medium-
format system is that there is so much infor-
mation in shadows and highlights. It allows
us to take some risks using natural light and
still have beautiful, detailed images.”
Teare works with architectural design
firms, builders and craftsmen nationwide.
She shoots for DIY Network, is a contribut-
ing photographer to houzz.com, and shoots
stock for Getty Images. Her work has been
published in Better Homes and Gardens ,
This Old House, Fine Homebuilding , and SKI magazine, among others.
She got into photography through a bit
of cunning and good fortune, she says. An
undergraduate in art history at Bowdoin
College in Brunswick, Maine, she wanted to
take a photo course but couldn’t get in. So
she snuck in. A family member gave her a
camera for graduation and later she inher-
ited her grand father’s Hassleblad. Although
the camera had been stowed in a closet for
16 years, it was in perfect condition, and she
used it to shoot some architectural jobs,
launching her career.
In 2007, she switched to a digital Hassel-
blad and hired a consultant to help with work -
flow. “I have an amazing editing person and
an equally amazing photo manager. Between
’ Architecture appears for the first time
when the sunlight hits a wall. The sunlight di
not know what it was before it hit a wall .—LOUIS KAHN, AMERICAN ARCHITECT (1901-
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the three of us, we get the job done well and
on time. This hasn’t always been easy, par-
ticularly with the transition from film to dig-
ital. We developed a successful workflow
that took years to figure out. I am extremely
grateful to these women who work with
me. Workflow in the digital age of photogra-
phy is key and it’s different for everyone.”
Before the switch, she had maintained a
darkroom, also inherited from her grandfa-
ther. He was an English teacher who took
up photography in his later years. Discover-
ing his basement darkroom as an adult was
emotional for Teare. “On the darkroom wall
were his handwritten notes and test shots of
me when I was little.” In a way, her becom-
ing an architectural photographer fulfills the
natural progression of her heritage: Her
great grandfather was an architect. “We’ve
come full circle in an eerie way.”
For Teare, architectural photography is
spiritual. “Documenting a house is capturin
its spirit. When I take great photos I feelcomplete. It’s a very satisfying way to live
When I’ve been in a house all day and seen
it sunrise to sunset, I have a full experience
of it. I love hearing from architects their
abstract thoughts about a house because I
can bring those ideas out in my photos.
Photos are usually all an archi tect or bu
has to share and keep of his or her artistic
creation. Whenever I hear, ‘We trust you,’
from a client, that’s terrific, and more so
when I bring back photos of things that the
maybe didn’t see. One architect told me, ‘It
your craft on our craft.’ These images show
their legacy. Sometimes it’s only one or tw
shots that capture the essence of the design,
but for them that’s everything.” n
To see more of Susan Teare’s work visit susanteare.com.
94 • www.ppmag.com
LIGHTING
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SOMEONE’SNOT
HAPPY
Sometimes things just go wrong, things considered the photographer’snegligence (like equipment malfunctions or even missing the event).>OLU [OH[ OHWWLUZ [OL 0UKLTUPÄJH[PVU ;Y\Z[ PZ [OLYL [V WYV[LJ^VYZ[ JHZL ZJLUHYPVZ 6US` 77( WYV]PKLZ [OPZ WYVNYHT RLLWPUWYLWHYLK HZ WVZZPISL MVY ^OH[ SPML VY )YPKLaPSSH [OYV^Z H
“I WOULD NEVER PHOTOGRAPH AWEDDING WITHOUT THE PROTECTION OFTHE INDEMNIFICATION TRUST.”Daniel Doke, Cr.Photog.
PPA.COM/INSURANCE
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All images ©Laura Tillinghast
Sublime
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Fashion and beauty photographerLaura Tillinghast talks abouther love of playing with light.
BY STEPHANIE BOOZER
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n any given day, Laura Tillinghast could be trying to makea smoothie look sexy, draping a model wearing a delicatesilk dress over a prickly tree limb, or finding the perfect sparkle on a diamond poised
next to a nearly flawless fa ce. As a fashion and beauty commercial photographer,Tillinghast is a specialist in defeating challenges.
“No matter what I shoot, I’m never bored,”
says Tillinghast. “I really like problem solving,and just about every shoot has something. A lot
of the clothes on fashion shoots aren’t very prac-
tical, so there’s always a challenge in that.”
Based in San Francisco, Tillinghast has been
producing art in one form or another for as long
as she can remember. She’d touched on paint-
ing, sculpture, even jewelry-making before find-
ing her groove in photography in college. After
finishing her degree, Tillinghast shopped her
portfolio in the real world and found her work
didn’t quite fit any given mode.
“Galleries would say my work was too
commercial,” says Tillinghast. “I’d try the
commercial avenue, and they’d say my work
was too artsy.”
Clearly, she needed to learn all about the
busi ness of photography and to find a fulfilling
niche that would be suitable as a career. So
Tillinghast moved to the opposite side of the
country to attend an intensive two-year pro-
gram at the Miami Ad School. The experiencepaid off. It wasn’t long before she was landing
clients and joining the network of photogra-
phers in the Miami area. Fashion photography
came naturally for her, and the South Beach
scene was a perfect venue.
“One reason I love shooting fashion is that I
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can tell a story,” she says. “It can be com-
pletely outlandish. I’m always thinking
about an adven ture, and the models are my
characters. Sometimes it’s an interpretation
of some thing literal, and sometimes it’s more
abstract, loosely inspired by a play or some- thing I read.”
Besides, Tillinghast admits, it’s kind of
cool to be among the first people to see and
handle a pair of $3,000 Dior sandals or a
hot-off-the-runway Prada handbag.
“I’m not really a fashionista myself, but
it’s so fun to get these incredible bags andshoes and dresses to play with,” says Tilling-
hast. “Like these sandals no one had yet, an
my model is biting them.”
Tillinghast is also fond of playing with
lighting. “It’s the most important tool at m
disposal,” she says. “I love that I can create
something out of nothing, just by putting the light anywhere I want.” Her signature
look is high-key, with the highlights pushe
until they’re on the verge of blowing out.
“My images tend to be bright and
clean—still with shadows and depth—but
always polished and clear,” she says. “I u
light to communicate the feeling of an
image. If I want a soft and feminine feelin
I’ll go dreamy with the lighting, maybe
overexpose a small amount. If I’m workin
with a male subject and want an edgier fe
I may add a rim light or use a ring flash
and turn up the contrast. Versatility with
lighting is very important.”
For close-up beauty images, usually focus
on make-up, hair or jewelry, Tillinghast
overexposes by a half stop, which she feels
gives the skin tones a creamier look, while
minimizing the imperfections that are so
evident in digital images. Since she keeps
the image capture in raw mode, she canalways dial back the exposure later if neede
“I enjoy working in the studio, but I als
love the challenge of shooting on location wi
natural light—so many elements to conten
with,” she says. “I’ve done some of my favo
work on days when I didn’t really have a pl
I just headed out with the model and my
camera to see how we could make it work.
On location, Tillinghast uses shade to h
advantage. She often positions the model o
the very edge of a shady patch, with a little
the light spilling into the frame. If there isn
any shade, she’ll create the effect by raisin
scrim, especially early in the day when the su
too bright. When using strobes in the field
she will often add light to the foreground
and underexpose for the background.
7/27/2019 Professional Photographer 2012 06
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fantastical one. I’m always thinking about an
adven ture, and the models are my characters
“This can create a dramatic background
when you need one,” she says. “It also does
wonderful things to the sky, making the col-
ors richer and more saturated. If I’m stuck
with having to shoot in the middle of the
day, this technique allows me to get the look
I want. Making sure the key light on the
model is nice and strong minimizes any
unflattering shadows.”
Tillinghast cites Profoto as her current
favorite lighting system; indoors she uses
Profoto lights with a beauty dish and lots of
soft boxes. Outdoors, she prefers the Profoto
Acute B portable lighting line. She shoots
with Canon EOS 5D and EOS 5D Mark III
cameras, pre ferring the EOS 5D for portrait
and beauty shots because it’s a little softer in
the details. She doesn’t like to spend much
time retouching, and that streamlines the
workflow.
“I don’t want every single pore and the
peach fuzz,” she says. “When I retouch, I pull
back so that real skin and cheek bones are
all there. I never change someone so much
that they’re unrecognizable; I just want the
best version of that person.” n
See the rest of Tillinghast’s portfolio at lauratillinghast.com.
7/27/2019 Professional Photographer 2012 06
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Brian Smith photographs superstars formagazines and ad agencies.
In a new book, the Pulitzer Prize-winning photographershares his secrets for taking successful portraits.
BY LORNA GENTRYAll images ©Brian Smith
Taraji P. Henson
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Soulful PORTRAITS
Ta
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here’s a smile in his voice when Miami Beachportrait photographer Brian Smith recalls a day he spent in New York City a couple of years ago. “It was a magical day. We
photographed Anne Hathaway in the morning then headed over to Tony
Bennett’s apartment in the afternoon to photograph him in his art studio.Hathaway and Bennett were among the 123 celebri -
ties Smith photographed for “Art & Soul” (Filipacchi
Publishing, 2011), his first book and the brain child of
The Creative Coalition, a nonprofit social and political
advocacy organization backed by prominent enter
tainers, including Alec Baldwin, Tim Daly and Robin
Williams. With support from Sony, Art & Soul p
ect leaders asked celebrities to be photographed and
Jack & Elaine LaLanne
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Tony B
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share their thoughts on art. In the coffee
table book, the celebrities’ handwritten notes
are paired with Smith’s portraits. A portion
of the proceeds from book sales—and the
sales have been brisk, according to Smith—
go to The Creative Coalition to help support
advocacy for arts funding and education.
“Originally the shoot was scheduled for
three days only in Los Angeles during Oscars
week in 2009,” says Smith. “But we were
only a few portraits into it when we realize
we had to keep it going because we got su
a great response” from the artists, he says.
Soon afterward, Smith and project leaders
flew to New York to photograph entertain-
ers who didn’t attend the Oscars. Two yearand 25,000 photographs later, the project
was complete.
For consistency, Smith used a classic
black background and a key light. “It was
elegant lighting but simple. If I had five
minutes with a celebrity, I didn’t want to
spend four minutes on the lights. I wanted
to concentrate on interacting with them.”
Smith typically keeps lighting simple and
strongly advises others to do the same.
“Sometimes emerging photographers g
bogged down with lighting diagrams and s
up a lot of lights all over the place. Not to s
that I don’t sometimes have complicated
lighting, but I always start with a key light
and get everything I can out of that before
adding more light. You make a mistake if
you have too many variables; you miss wh
you need to do. For a lot of environmental
portraits I start with daylight and blend in
one artificial light, whether it’s a big bank something smaller. If at that point I see I
need to add I will, but there’s an awful lot
you can do with a single light.
“One of the good things about having o
main source of light on the subject is that i
enables you to move very quickly,” Smith
continues. “Sometimes I’m photographing
someone who is uncomfortable in front of
the camera so I need to reposition them. B
a lot of the time I’m photographing someo
who moves very well and the last thing I
want to do is interrupt the flow because I
have to move six lights. That’s one of the l
sons I learned early on, knowing when to
give myself enough room to move.”
This strategy worked beautifully with
Tony Bennett, who isn’t very comfortable
108 • www.ppmag.com
Don King
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front of a camera, he says. Yet in Smith’s por-
trait Bennett looks calm and happy. “The key
was to find a way to get him to relax. We
talked about a lot of things to take his mind
off photo directions, and I tried to give him
minimal direction. I wanted to capture the warmth I felt from him. We took a break
and I asked if we could take a picture of him
standing next to one his paintings. It was a
painting he had done of his daughter. His eyes
lit up. I asked if we could do one more for the
book and he said, ‘Absolutely.’ Finding the
spot that makes your subject glow is the key.”
Smith is a natural teacher. A Sony
Artisan of Imagery, he is often asked to Jef Gordon
Dwayne Wade
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speak at seminars and shows. He decided
to use his lectures as a launching point for a
new book, “Secrets of Great Portrait Pho-
tography: Photographs of the Famous
and Infamous,” which will be published in
the fall by New Riders, an imprint of Peachpit. “I talk about all the things that go
into a successful portrait,” Smith says.
“There are so many decisions you make
that set you up for success or failure even
before you get out a single light. This book
is about all the shoots we’ve done and the
process behind them all.”
Smith’s body of work spans three decades.He has photographed executives, athletes
and artists for magazines and advertising
agencies. He sold his first magazine photo
to Life when he was a 20-year-old journa
ism student at the University of Missouri.
Five years later he won the Pulitzer Prize
for Spot News Photography with his phot
graphs of the Los Angeles Olympic Game Although he continued to win awards,
Smith changed his mind about the course
of his career. He wanted to photograph
celebrities, and he found a clever way to
break into the market.
A TV interview with Dixie Evans, a
burlesque performer of a certain age, inspir
him to photographer her. He contacted her
she agreed and Smith and his wife drove
to Evans’ home in Helendale, Calif. After
spending an afternoon taking pictures,
Evans mentioned a reunion of burlesque
friends she was hosting. Smith returned to
photograph them and continued to return
until he had amassed an impressive portfo-
lio of portraits that opened doors with mag
azine photo editors.
“It started as a way to showcase how I
could work with celebrities, but it made me
realize that for some, fame is tossed around
freely and for others, the spotlight fades prmaturely. It seemed to me that burlesque
was a part of Americana that was dying ou
This was a chance for me to document it.
The goal has always been to have a book. I
have a few more things to shoot yet, but w
get there.” n
To see more of Brian Smith’s work visit briansmith.com.
BRIAN SMITH’S CAMERA BAG
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Dixie Evans
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A s a teenagerfollowing in mydad’s footsteps by
learning the craft of photog-raphy, I was encouraged toenter my work in our statephotographic competi-tion every year. I always
asked my dad’s opinion,and after a few discussions,we would decide togetherwhat to enter. Side by side,we’d labor over the images,perfecting them as much aswe could and then, sealing
the case, we’d sent them off! Yet as each competition datedrew closer and closer, my nerves would start to increase.:RXOG ZKDW , HQWHUHG VFRUH ZHOO RU ʐRS"
And the nerves only increase as you sit in a dark, quietroom, watching the judges score and critique the otherprints. When mine would come spinning around, I remem-ber how it felt like my heart was going to jump out of myFKHVW (YHQ WRGD\ WKRVH VDPH IHHOLQJV FRPH ʐRRGLQJ EDFNwhen I enter my images in competition and watch thembeing judged.
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that have made me the photographer I am today, I wouldput photographic competitions near the top. I compare itto being a marathon runner. If that runner sleeps in everymorning and never goes out to run, he gets out of shapevery quickly. Instead, he must exert himself, be disciplinedand work out every day to improve his pace in order to beable to run the race (and run it well). We must do the samething in our industry.
Photographic competitions are how we perfect ourcraft and become stronger. Not only does competing helpus, it helps our clients as we start to produce better work forthem. The things that I learned as I listened to the judgestalk about my early images were invaluable to me. Theypointed out both strengths and weaknesses that I didn’t seein myself, and I grew from each experience.
Plus, by staying with competition, I earned meritsneeded for my Master of Photography and PhotographicCraftsman degrees from PPA. Wearing those degree ribbonsaround my neck still gives me a great sense of pride.
My philosophy has always been to be the best I canbe—to excel at my craft and to give my clients 110 percent.Entering PPA’s International Photographic Competition(IPC) continues to help me accomplish all of my goals. So,I encourage you to compete if you never have before or tocontinue on if you have in the past: www.ppa.com/IPC . Tobe at our best, we can’t stop striving for excellence!
PPA TODAYJUNE 2012
PRESIDENT’S MESSAGETim Walden, M.Photog.Cr., F-ASP - 2012-2013 PPA President
© M o n
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www.ppa.com
Andie Goodman, Cr.Photog.Andrea (Andie) Goodman, Cr.Photog. , of Lancaster, Pa.,
passed away April 7 at the age of 67. The wife of F. Ed-ward McCue for 26 years, she was a well-known photogra-pher, jewelry maker and owner of Goodman & Associates.She was very active in the professional photography com-
munity with memberships in PPA and more local associa-tions like the Delaware Professional Photographers. In
fact, she and her husband were the 14th husband-and-wifeWHDP WR EHFRPH &HUWLʏHG 3URIHVVLRQDO 3Khearts go out to her family, friends and all the lives she hastouched.
IN MEMORY
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www.ppa.com
MM
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IS THE MASTER ARTISTCOMPETITIONRIGHT FOR YOU?
Did you know that there’s a special competitionIRU WKRVH LPDJHV WKDW DUH PRUH DUWLVWLF LQ QDWXUH"Whether submitting original artwork or an exten-
sively manipulated digital image, the best place to enteris the Master Artist competition category of the upcomingInternational Photographic Competition (IPC).
Art Is the Name of the GameNo, this isn’t a new competition. The Master Artist compe-tition was formerly known as the Electronic Imagingcompetition, but as time went on, people were confused
about what exactly to enter. “Members were combin-ing traditional art techniques and digital manipulation tocreate their images, and were then unsure of where thosecompetition images should go,” explains Randy McNeilly,
M.Photog.MEI.Cr., API , a PPA Photographic ExhibitionCommittee member.
The “Master Artist” name change was made in answer
to that confusion. The goal is to better connect this competi-tion category to its entries and the PPA merits* you can earnWKURXJK LW ZKLFK DUH HDUQHG WKURXJK Stechniques (and not necessarily just digital ones).
Make the Right Choice6R LV WKLV WKH ULJKW SODFH IRU \RXU LPDJH
are straight-up photography (with some retouching)…prob-ably not. But it IS the perfect place to submit images withphoto restoration, digital manipulation (like swapping outpeople), or that demonstrate fabulous retouching skills.It’s also for graphic illustrations and images with acrylics,watercolor, or surface treatments added.
It’s important to make the right category choicebecause the Master Artist entries are judged using differ-ent criteria than the “regular” photographic competitions
ZKHUH MXVW WKH ʏQDO LPDJH UHVXOW LV FR-LQJ D VFRUH :LWK WKLV VSHFLDO FRPSHWLWL
a factor, but the execution of artistic technique and degreeRI GLIʏFXOW\ DUH DOVR FRQVLGHUHG ,Q D VHmuch “art”-work you did.
In fact, an image that may be worthy of a merit inregular competition, may not be so in the Master ArtistFRPSHWLWLRQ LI WKH ʏQDO LPDJH GLG QRW UHartistic expertise to accomplish. As McNeilly notes, an
Sandra Pearce, M.Photog.MEI.Cr.
Sandra Pearce’s “Easy Prey”—in what will now be known as the Master Artist competition category—
became part of the 2012 Loan Collection and won second-place in its category for the 2012 Grand
,PDJLQJ $ZDUGV 7KH ʏQDO LPDJH ZDV FUHDWHG IURP IRXU RULJLQDO JXLGH SKRWRJ
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Ansel Adams image would probably score 100 in theUHJXODU 3KRWRJUDSKLF 2SHQ FDWHJRU\ EXW ZRXOG QRW HYHQmerit in the Master Artist category. “It wouldn’t show theskills that we try to showcase in that category.”
That’s why guide images are encouraged—to help the judges understand the process used and techniques involvedLQ FUHDWLQJ WKH ʏQDO LPDJH *XLGH LPDJHV DUH WKH VHW RIoriginal photographs the entry is created from.) They areespecially important for images where judges might beunaware of the work you put in and the skills it took.
Prepare for the Competition$UH \RX UHDG\ WR PDNH \RXU FRPSHWLWLRQ FKRLFH" <RX FDQenter in both the Master Artist competition category and thePRUH UHJXODU 3KRWRJUDSKLF 2SHQ FRPSHWLWLRQ DW ,3& 'RLQJso will test different skill sets, put you on the path towardtwo PPA degrees, and double your outlet for creativity! Tohelp you prepare, Sandra Pearce, M.Photog.MEI.Cr. , shares
tips she’s learned from creating her award-winning entriesfor both categories:
Keep a le of “Competition Maybes” all year long. It willsave you time in deciding what images to focus on.Be as creative as possible. “There really are no limits now,”Pearce says. So, wow the Master Artist jurors with a mar-riage of creativity and technique.Don’t rush. Pearce likes to work on a Master Artist com-petition image, leave it for a few days, and come back to itagain, which allows her to see it in a new light. “Be patientand ideas will come,” she adds.Go for complexity & show the guide images. Jurors lookIRU DQG IDFWRU LQ WKH GHJUHH RI GLIʏFXOW\ LQ \RXU DUWZRUN DQGtechniques, and they often need those guide images to doso.Seek advice & take it openly. “Everyone needs advice,”says Pearce. “You don’t have to do what they say, but listenwith an open mind. And remember that the judges aren’tthere to hurt you; they give opinions on what could makeyour image better.”
You have until July 2 to enter the IPC in either (or both)
categories. All the rules, registrations and details can befound at www.ppa.com/IPC .
COMPETITION HERWASandra Pearce, M.Photog.MEI.Cr., has been photography business full time for 18 years, but sstarted competing about ve years ago. What tooklong to start?
“It frightened me,” she says simply. “I didn’t knto do, how to enter, how to mat. Even if I had an im
enter, the question was…’now what?’ And whendon’t know, they don’t compete because they donto look like idiots.”
In fact, the rst year she competed, she addedinside her print case, telling the print handler thaher very rst time competing and to take pity on even gave her phone number and asked them to she could try to x any registration mistakes!
Obviously, Pearce made it through thcompetition just ne (if a little nervous) and hasn’tShe quickly earned her Master of Photography with the photography she does for her clients aMaster of Electronic Imaging degree (what would the Master Artist degree) with her composites anpaintings. She’s also earned rst- and second-placeImaging Awards for such art pieces!
“Competing gives photographers those credentials,” Pearce says. “Clients can read an about your awards and—though they may not undwhat the awards are—it shows that other people thwork is great, too. “
In addition, Pearce knows that the standacompetition judging have made her a better photog“I implement how I paint in Adobe Photoshop my everyday images better,” she explains. And ishe consistently gets better and quicker with “airbrushing and repairs, thanks to the work shto make such techniques seamless in her Mastecompetition images.
Plus, competing and posting her award-Master Artist entries on Facebook and on her webpeople know that she does paintings. She’s evencommission artwork out of it. Still, she would paishe didn’t get paid. She photographs for her clienpaints for love.
For Pearce, competing with the work shepassionate about is the only way to go. And that, shis why her artwork has done so well in competitiobecause I love what I do. And even if I don’t win,ruin my life or make me stop competing. I do it tobetter.”
Learn more about Sandra Pearce and her ahere: www.sandrapearcephotography.net
*The Master of Electronic Imaging degree name has also changed to the
Master Artist degree. All exhibition merits awarded in the Master Artist
competition are credited toward the Master Artist degree.
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W
www.ppa.com
WHY HE STILL COMPETES
M ichael Timmons, M.Photog.Cr., F-ASP , hasbeen entering photographic competitions forover 20 years now. He’s a PPA board member, a
PPA-Approved Juror and has already won many awards forhis work. So, what keeps him coming back to competition\HDU DIWHU \HDU"
“It keeps me current and energized,” Timmons says.“I think if I quit competing, I’d become lethargic about myphotography and wouldn’t strive for excellence.”
Push for Excellence in Different Ways7LPPRQV HQWHUHG KLV ʏUVW 33$ SKRWRJUDSKLF FRPSHWLWLRQbecause the photographers he looked up to were entering.“I thought it must be a great way to put my best images infront of my peers to see where I stood and where I couldimprove,” he explains. “And it turns out that if you just
listen to the judges’ comments, you can’t help but learn!”To him, the best education still comes from sitting in
on the judgings to hear discussions on composition, posing,lighting—all the attributes that make images merit-worthy.“We can read about the 12 elements of a merit image, butlistening to judges discuss an image in those terms makesit more real,” notes Timmons. He then takes what he hearsinto his everyday photography. For example, he might bein the middle of a portrait session and remember a judge’scomment about the tilt of the subject’s head or the positionof the main light.
Competition also helps Timmons earn more cred-ibility as a professional. The International PhotographicCompetition (IPC) is, as the name states, an internationalcompetition. If you do well (merit, have your imageaccepted into the Loan Collection, etc.), you can marketyourself as an “internationally award-winning photogra-pher.” And since Timmons also sells his landscape andscenic images to commercial businesses, he ups his cred-ibility with those clients by discussing the awards he’s won.
ȍ8VH \RXU VXFFHVVHV DQG UHDS WKH EHQHʏWV RI DOO WKDWhard work you put into competition,” he advises.
Prepare YourselfFrom polishing photographic skills to improving market-ability, all of Timmons’ competition reasons involvepreparing himself to do better every day. Want to make thePRVW RI FRPSHWLWLRQ \RXUVHOI" +HUH DUH VRPH RI KLV WLSV
Enter Multiple Levels of Competition. Timmons always triesto enter his state and district PPA competitions because he
ends up with about 10 tested images from which to choosehis IPC submissions.Learn the Rules. This may seem an obvious piece of advice,yet Timmons says that the most common mistake they seein the IPC is people entering in the wrong category! ReadWKH RQOLQH UXOHV IRU ERWK WKH ȍUHJXODUȎcompetition AND the Master Artist competition to ensure\RX NQRZ WKH TXDOLʏFDWLRQV IRU HDFK *RLForums to ask questions can also help: ppa.com/commu-nity/forums/)Watch Your Presentation. Presentation is one of the 12HOHPHQWV WKDW 33$ MXURUV MXGJH E\ DQGthe impact of the image (another of those elements). “Evenif entering digitally, think about your presentation—will itLQFOXGH ERUGHUV NH\OLQHV HWF"Ȏ UHPLQGV
just let it be a ‘full bleed’ on the monitor because that oftenJLYHV WKH DSSHDUDQFH RI EHLQJ XQʏQLVKHG Ȏ
Don’t Get Discouraged. “Very few start out doing well incompetition,” Timmons says. “If your image scores a 77 ina district competition, listen to what the judges are saying:It’s above average—not a bad place to be, considering that
judges may look at up to 5,000 images a year!” And even ifyou don’t end up meriting at the IPC, treat it as a learning
process.
“The more you learn, the more you understand…and thebetter your results,” sums up Timmons. By the way, he’sFRPSHWLQJ LQ WKH ,3& DJDLQ WKLV \HDU :LOO
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A D V E R T I S E M E N T
The Tether Tools Wallee iPad Connect is part of a complete modular sysfor mounting and positioning the iPad in various ways. And with theversatile Wallee iPad Accessories, it’s easy to take the iPad from a locaphoto shoot to the studio, client meetings, presentations and more.tethertools.com/ipad
Keep your loved ones close to your heart! Check out Planet Jill’s sterlingsilver, waterproof and heirloom-quality photo necklaces, bracelets andcharms, as well as letter coins, birthstones and more! 10% off yourorder with discount code SHOPPP.planetjill.com
PROFESSIONAL
FIND new products. SHARE your favorites. JOIN the commShop with a simple click at PPmag.com/shop .
Save time and impress your clients with beautifully designed templatesby Check Art Studio. We have templates for all your studio needs, includingcollages, books, folios, cards, image blocks and more. Templates are fullylayered Photoshop files. Many designs now available with ProSelect files!checkartstudio.com
Design Aglow’s Essential Pre-Session Sales Kit is the key to guaranteethe sales you want with every session. The 25-page guide, studio templateprofessionally written content and consult script direct you through the entiprocess of client sales and education before your shoot ever takes placedesignaglow.com/store/the-essential-pre-session-consult-kit-p349.php
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES Lab Tab
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WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES Lab Tab
CLASSIFIED ADSCAN WORK FOR YOU!
Place a classified ad in the next issue ofProfessional Photographer
to reach over 55,000 qualified buyers.
For information contact:Professional Photog rapher / Classified Ads
229 Peach tree NE, Ste. 2200Atlanta, GA 30303800-339-5451, ext. 221
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Lab Tab 2012 ad rates:• AD SIZE: 3 1⁄ 2 X 2 1⁄ 2
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AMY WALLS, Western Region ,404-522-8600, x279; [email protected]
June 2012 • Professional Photographer • 125
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Buyer’sGallery
THIS SECTION IS
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2012 Affiliate Schools Schedule PPA members receive both merits and the best published prices.
June 3-7Florida School of Photography, DaytonaBeach, Marybeth Hamberger, 954.426.2562,[email protected], fpponline.org
June 3-7Mid-America Institute of ProfessionalPhotog raphy, University of Northern Iowa, CedarFalls, Iowa, Barb Grabill, 641.799.8957,[email protected], maipp.com
June 4-8Oklahoma School of Photography, Stillwater,Okla., Randy Taylor, 405.341.5088,[email protected], pposchool.com
June 10-14Illinois Workshops, Pere Marquette Lodge,
Grafton, Ill., Mike Voegele, 217.245.5418,[email protected],ilworkshops.com
June 17-20Winona School of Photography, Abe MartinLodge, Brown County St. Park, Nashville, Ind.,Judy Roberts, 574.849.7520,[email protected],winonaschool.org
June 17-22West Coast School of Professional Photography,University of San Diego, Kathy Metz,626.915.4449, [email protected], prophotoca.com
June 24-29Great Lakes Institute of Photography (GLIP),Washtenaw Community College, Ann Arbor,Mich., Gregory Ockerman, 248.946.1193,[email protected], glip.org
July 15-19The Lamarr School, University of SouthCarolina, Columbia, S.C., John Wrightenberry,803.238.2836, [email protected],thelamarrschool.com
July 15-19
Image Explorations, Shawnigan Lake, BritishColumbia, Don MacGregor, 604.731.7225,[email protected],imageexplorations.ca
July 15-20PPSNYS Photo Workshop, Hobart/WilliamSmith Colleges, Geneva, N.Y., Linda Hutchings,607.733.6563, [email protected],ppsnysworkshop.com
July 29 - August 2East Coast School Photographic WorkshopSheraton Downtown, Raleigh, N.C., LoretByrd, 919.796.4747, [email protected],eastcoastschool.com
August 6-9Long Island Photo Workshop, Sheraton LoIsland Hotel, Smithtown, N.Y., Jerry Small516.221.4058, [email protected],liphotoworkshop.com
August 12-16Evergreen School of Photography SummeSession, Ft. Worden, Port Townsend, WashRich Breshears, 509.586.6695,[email protected], www.ppw.org
August 26-31Georgia School of Professional PhotographNorth Georgia Technical College, ClarkesvGa., Kevin Jiminez, 706.854.8885,[email protected], gppaschool.com
Send all additions and corrections [email protected]
Buyer’sGallery
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AMY WALLS, Western Region404.522.8600, x279,
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BACKGROUNDS
THE DENNY MFG. CO., INC. is the World’s LargestManufacture of Hand Painted Backgrounds, ComputerPainted Back grounds, Muslin Backgrounds, Studio Sets,Props, Lift Systems, and related Studio Accessories.
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June 2012 • Professional Photographer • 1
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n the developing nations of Africa, the demandfor skilled labor is increasing, but due to wide -
spread poverty, many young people are not
getting the basic education that could enable
them to capitalize on the new opportunities.
Children in the poorest 60 percent of African
families are half as likely to attend school as
children of the wealthier 40 percent. Abundantly
clear in communities across the continent,
the problem is perhaps most evident in Likoni,
a poor urban suburb of Mombasa, Kenya.
To address the educational shortfall in
Likoni, a community-led nongovernmental
organization, Hatua Likoni, sprung up in
2007 under the leadership of American
Gabrielle Fondiller and Kenyan Peter
Kwame Mwakio. Hatua Likoni is dedicated
to helping young impoverished Kenyans
obtain the skills and credentials they need to build a brighter future for the region and
themselves. The organization provides schol-
arships, mentoring and career guidance, as
well as a community library and a youth soc-
cer league.
When New York-based photographer
Todd Shapera met Fondiller at an event a
couple of years ago, he was inspired by her
dedication. Fondiller had founded Hatua
Likoni straight out of college, and beginning
with almost nothing, had built the organiza-
tion into a vital community resource. “Through
her resourcefulness and passion, Gabrielle
was making a difference on a local level and
building something step by step,” says Shapera.
“As an independent photographer, I was
inspired because this was a cause to which I
felt I could contribute and raise awareness.
It was a small, community-based charity
that needed help, and every contribution
would have an impact.”
In February 2011, Shapera traveled toLikoni at his own expense to donate his tim
and his art over a two-week visit. He create
a series of images of the charity at work wi
the bene ficiaries in the community and
donated the photographs to Hatua Likoni to
use for promotional purposes. He also led
photography workshops for high school ch
dren who had never been exposed to photo
raphy, and gave them cameras that had bee
donated to the project. After returning to th
States, Shapera contributed 25 large prints
to a Hatua Likoni fundraising event in New
York, attended by Fondiller.
Months later, Shapera’s lab, Century Colo
informed him that Kodak was scouting for
images to display on its JumboTron in Tim
Square. Shapera sent in a photograph of a
Hatua Likoni scholarship recipient named
Masika Ali as she was studying by window
light in her modest home. He forgot about
the submission until a couple months later, when he learned that his image of Ali mad
the cut. It was displayed in December 2011
and remained in rotation for several months
The publicity generated by the Times Squa
display has not only helped Shapera’s busine
but also brought attention to the Hatua Likon
cause. “If an idea feels good, trust your instinct
and follow your passion, even if you don’t kno
where it might lead,” says Shapera. “Photogra
phy can be a passport to experiencing the worl
and giving back, in a special way.” n
To learn more about Hatua Likoni, visit hatualikoni.org. See more from Todd Shapera at toddshapera.com.
130 • www.ppmag.com
good works | Images wield the power to efect change. In this monthly eature,Professional Photographer spotlights pro essional photographersusing their talents to make a diference through charitable work.
Hatua LikoniKENYA PROJECT GOES FROM SMALL STEPS TO JUMBOTRON
Share your good works experience with usby e-mailing Joan Sherwood at
dd Shapera
I
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SUCCESSWARE.NET | 800.593.3767
What do top studioowners use to manage?These owners have all chosen SuccessWare to help them manage theirbusinesses. Other software may track your business but they all fall shortwhen it comes to managing your business. SuccessWare is the only studiomanagement software that will assist you with; creating a business plan,pricing your products, preparing financial reports and tracking clientinformation. SuccessWare manages all your day-to-day operations giving
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