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Florida Photographer Is the official publication of the Florida Professional Photographers, Inc. Permission to reprint contents on this publication is granted to similar publications of the photographic industry, provided that the author and THE FLORIDA PHOTOGRAPHER are recognized as the sources. The opinions expressed in any article or column are those of the author and does not necessarily represent the official position of the Florida Professional Photographers, Inc. The Florida Professional Photographers exists solely for the good of its members. The association provides tools and educational opportunities for its members to achieve their business and artistic goals. It is committed to an ongoing exchange of information and experiences between all members in an open and friendly atmosphere.

publishing editor advertising and design Luis Melendi 828 Narragansett Lane Key Largo, FL 33037 Tel 305.453.5441

Fax 305.453.5448

Best of Show Illustrative Hibiscus Jane Conner-ziser, Cr.Photog., API

President’s Message


FCON 2013 Competition Results


Photo Competition Awards


FPP Awards and Degrees


Convention Wrap-Up


Door Prizes


FPP Committee Reports


Oh What a Night


Portrait Lighting Ratios


Design for Perpetual Marketing


Meet President Martin Gudz


FPP Fall Seminar


The Power of Personal Projects


Join the

Florida Professional Photographers See membership Application on Florida Photographer 3


Revolution… Evolution… Change the World. Words and phrases from the first verse of a famous song written by a couple of lads from Liverpool in 1968. They used their--what at the time was considered radical music and beliefs--to highlight the problems of their time. They went on to not only change the way we looked at music, but revolutionize both popular culture and the music

If you want. . . Prestige, Knowledge, Business Development, Continuing Education, Personal Growth, Degrees, Development of Ethics, Friends and Fellowship, Fun, Awards, Leadership Development, Annual Convention and Trade Show, Award Winning Publication, Photographic Competition, Seminars, PPA Affiliate School and more!

Join the Florida Professional Photographers Application information is on

industry itself. Hence revolution, evolution and they really did change the world. I am honored to be the incoming president of the FPP for 2013/2014, An organization that we all love so dearly. We are truly more than friends;we are family. We share not only our successes, but also our struggles, and we have all worked very hard to support and maintain this wonderful organization. However, we have to accept being a professional photographer is no longer the same as it was 5 years ago, let alone in 1968, and I am very honored to spearhead the changes that are upon us. REVOLUTION The FPP is strong on tradition. Tradition is notably what keeps any group of people together. However, our organization has suffered over the last several years because we did not embrace the changes in our industries dynamic fast enough. If we want to survive we must change some of our traditions and welcome anyone who has an interest in photography. We all started as amateurs and made the leap. We must embrace photographers of all levels and make them feel the same way I did 19 years ago; like family. Changing this will take all of us. Your Board has already changed the days of convention so that we may include photographers who otherwise would not have been able to attend, but it is your job, as individuals, to extend the welcoming hand

of friendship. EVOLUTION Everything changes. Within the past ten years more things have changed in this industry than at any other time in history. The way we operate on a daily basis would have been completely alien 10 years ago. Image capture, retouching, printing and marketing of our products and services have been changed by modern technology. These changes have been difficult for some who want to continue to hold onto the “traditional” methods of working. These changes have also been difficult for newer photographers who do not have the training and history of the past as a base for their businesses. It is time for both generations to come together so that we may pass on the traditional ways and embrace the new. CHANGE THE WORLD As President, may I suggest you “Change the World.” In order to evolve for the better, we must make changes so that we can succeed in the business of photography. We must continue to learn, grow and support each other and the art of this industry. It is not about new or old, it is about quality, professionalism and community. It’s time to “Come Together.” I look forward to being your President. Lets start the Revolution, evolve and all together change YOUR world. n

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FPP, Inc. Board of Directors PRESIDENT Martin Gudz, FSA, FED 2014 6174 SW CR 360 Madison, FL 32340 850.973.6376 VICE PRESIDENT Jackson Koontz III, FSA, FED 2015 PO Box 6878 Ocala, FL 34478 352.369.4257 SECRETARY TREASURER Cindy Strickland, FSA, FED 2013 5750 CR 12 Tallahassee, FL 32312 850.545.3110 DIRECTORS Gary Hughes 2014 1603 Wilson Ave. Orlando, FL 32804 321.279.0077 Britney Kirby Fullgraf, 2013 302 East Belvedere Street Lakeland, FL 33803 863.686.4980 Carol Walker, FDPE, FSA, FED 2015 7925 4th St. North St. Petersburg, FL 33702 727.577.5626 Patrick Van Dusen, FSA 2015 3539 Bareback Trail Ormond Beach, FL 32174 386.677.4897 Robin Adams, 2016 565 Hickory St. Monticello, FL 32344 850-591-3364

Director of Affiliates Jackson Koontz, FSA, FED PO Box 6878 Ocala, Florida 34478 352-369-4257 FPP Dalegate Chair: Marty Grivjack, Cr.Photog., FSA 1 7 1 1 4 1 2 3 rd Te rr. N . , J u pit e r, F L 3 3 4 7 8 - 5211 Mobile 561.714.6443 • e Mail B a y – B P P A : w w w . b ppa f l. c o m F t . M y e rs – S W F P P A : w w w . pps w f . c o m G a in e s v ille – P P N C F : w w w . ppn c f . c o m J a c k s o n v ille – J P P G : w w w . j ppg . o rg L a k e la n d – P P G M F : w w w . ppg m f . o rg M e lb o u rn e – S C P P : w w w . s pa c e c o a s t pp. com M ia m i – P P G F : w w w . ppg f . c o m O c a la – O M C P P A : w w w . o m c ppa . c o m O rla n do – P P S C F : w w w . pps c f . c o m Pa lm B e a c h – P P G P B : w w w . pro ph o t o g u ild.c om P e n s a c o la – N W S F P P : w w w . n w s f pp. c o m T a lla h a s s e e – TP P G : w w w . t ppg . w o rdpre ss.c om Ta m pa – TA P P A : w w w . t a ppa . o rg



Convention - 727.481.9329 Debbie Alcorn

Keely Deuschle 904.403.9553

Kevin Newsome 813.968.2810

Britney Kirby Fullgraf 863.686.4980

Sandra Pearce 863.763.8684

Marybeth Hamberger 954.426.2562

Robin Phillips 863.682.6958

Gary Hughes 321.279.0077

Kim Warmolts 727.934.4456

Trade Show - 305.453.5441 Luis Melendi School Director - 954.426.2562 Marybeth Hamberger

P a s t President Sandra Pearce, FDPE, FDAE, FED 2014

1122 SW 15th Street Okeechobee, FL 34974 863.763.2684 FPP Office - Executive Director

Kaye Newsome Florida Professional Photographers, Inc. 11738 North Dale Mabry Hwy. Tampa, FL 33618 813.760.1933

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Our FPP Website - The Rosen Plaza Hotel

Home of the 2014 FCON 800.627.8258


As another Convention comes to a close, I find myself more proud than ever of our membership and our organization. The number of entries this year was fantastic, 394, down just a bit from last year. But what’s so very impressive is the percentage of merits; our members merited 166 images for 42%. Florida should be proud of such outstanding results – congratulations to all the makers! Our judges in 2013: Bert Behnke, Cindy Benke, Ed Booth, Jane Conner-ziser, Greg Daniel, Frank Frost, Betty Huth, Tim Kelly, Sandra Pearce, Christine Reynolds, Richard Sturdevant, and Paul Wingler. Our moderators were Al Audleman and Michael Landis. A big thank you to all the judges and the moderators; you were all professional, fair and oh so witty... my team and I enjoyed working with you all those long hours. Thank you! ProofCast was again a critical component of Florida’s Print Competition. I’d like to thank Jeff Burton for his calm, cool attitude no matter the level of crises I (thought) was arising. Jeff rolled out some great features to ProofCast’s website this year just for us. His great ideas and his ability to think outside the box made our jobs so much easier. ProofCast continues to get better every year and we love working with Jeff!

Finally, a big thank you to the entire Salon Committee. You guys rock and Salon would not have happened without all of you working so hard. The committee this year: Marty Grivjack, Julie Johnson, Linda Long, Trish Mcfarlane, Karen White, Carol Walker, Becky Jordan, A. Spencer Schwartz, Olyn Long, Enrique Munoz, III, Alberto Munoz, Paul McDermott, Frances Gillard, and Darla Sharp. New this year was ProofCast Lounge, a place where FPP members and guests could hang out and watch the judging without observing the usual rules of decorum in Salon. Translation: ProofCast Lounge rocked the house! With energy and excitement, Carol Walker, Randy Van Duinen and Gary Hughes answered questions, played some lighthearted “guess the score games” and made sure that everyone learned a whole bunch about competition in a great venue as it was happening upstairs. Thank you to a wonderful crew that brought education, fun and energy to the mysterious and often confusing world of Salon. We can’t wait for next year! And now, for the statistics and awards: 2013 ENTRIES Electronic Art Digital Art: Restoration: Manipulation-Art:

12 10 23

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

2 0

Commercial Advertising Illustration: Architectural: Industrial: Photojournalism:

9 7 1 9

Illustrative Abstract: Landscape: Open: Wild Animals:

6 27 79 15

Portrait Child: Environmental: Group: Man: Pet: Woman:

45 23 20 22 9 51

Social Event Formal Portraiture: Open:

8 15

Total Entries: Total Merits: Percentage of Merits: Digital entries judged: Physical entries judged: Print Scoring: 100: 0 95-99: 2 90-94: 4 85-89: 22 80-84: 138 75-79: 218 70-74: 10

394 166 42% 325 69

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Following are the awards presented: Electronic Imaging Electronic Art:

First Place: Death in The Afternoon, MICHAEL ZERIVITZ Distinguished: The Early Bird, JULIE FIORETTI Distinguished: Ugh (Grunting Noise), WILLIAM DZWONKOWSKI Best of Show Commercial: SeeSure, JOHN JERNIGAN

Restoration First Place: Mildew Memories, JULIE JOHNSON Distinguished: Danceline Dandies, JULIE JOHNSON Distinguished: Scratched Siblings, JULIE JOHNSON


Digital Art First Place: Bent Wing, JULIE JOHNSON Distinguished: Conceptual Equilibrium, MARINA PROSKURINA Distinguished: Sweet Sixteen, CATHERINE NOCERA

Abstract First Place: Great Sand Dunes, Colorado, CHERILYN NOCERA Distinguished: No Award Given Distinguished: No Award Given

Electronic Manipulation

Landscape First Place: Fire Fog, Julie Johnson Distinguished: Let There Be Light, REG GARDNER Distinguished: The Sentinel, RANDY VAN DUINEN

Digital Illustrative Art First Place: Hatched, RANDY VAN DUINEN Distinguished: Metal Craftsman, CATHERINE NOCERA Distinguished: Dark Angel, RANDY VAN DUINEN, Best of Show Electronic Imaging: Mildew Memories, JULIE JOHNSON Photographic Open Commercial:

Wildlife First Place: Lagoon Landing, STEVEN BLANDIN Distinguished: Gotcha, CHRISTINE REYNOLDS Distinguished: Push Harder, PAT LOWE Open First Place: Hibiscus, JANE CONNER-ZISER Distinguished: Young Dancer, ARNOLD (AJ) ABELLERA Distinguished: Dream Catcher, CATHERINE NOCERA

Advertising Illustration First Place: See Sure, JON JERNIGAN Distinguished: GPS Guided Personalized Surgery, SHEILA HARTLEY Distinguished: Hybrid OR, MICHAEL POTTHAST

Social Event

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

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

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

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


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Best of Show Illustrative: Hibiscus, JANE CONNER-ZISER

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

Albums Event Album (Single-Maker) First Place: Jasmine and Matthew, TOMAS MUNOZ Distinguished: Keep Calm and Marry On, MARIO MUNOZ, JR. Distinguished: No Award Given Event Album (Multi-Maker) First Place: No Entries Best of Show Album: Jasmine and Matthew, TOMAS MUNOZ

Best of Show Portrait: Redneck Yacht Club, CHERILYN NOCERA Special Awards Section Awards: First: JPPG/Jacksonville with 15 entries, score 86.73 Second: OMCPPA/Ocala/Marion County with 29 entries, score 84.34 Third: BPPA/Bay with 25 entries, score 82.76 CPP Award: The Art of Love, TOMAS MUNOZ ASP Award: The Garden of Eden, TOMAS MUNOZ

Portrait Portrait of a Man: First Place: Top Gear, SHEILA HARTLEY Distinguished: The Champ, MICHAEL POTTHAST Distinguished: Distinguished Gentleman, SCOTT MEINCKE

People’s Choice Award: Heir to the Throne, BARB SPRATLIN Lexjet Sunset Award: Evil Eyes, PETER BURG Fuji Masterpiece Award: Fire Fog, JULIE JOHNSON

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

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

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

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

Portrait of a Group: First Place: Duet, JANE CONNER-ZISER Distinguished: Reservoir Dogs, MARIO MUNOZ, JR. Distinguished: Wet, MARIO MUNOZ, JR. Environmental Portrait: First Place: Redneck Yacht Club, CHERILYN NOCERA Distinguished: Nikolay 3 Time World Aerobatic Champion, JOHN JERNIGAN Distinguished: Young and Artsy, JOHN JERNIGAN Portrait of a Pet: First Place: Chocolate-Vanilla-Swirl, JENNIFER O'DEA Distinguished: Mr. Bentley, MICHAEL POTTHAST Distinguished: No Award Given

Kodak Gallery Award: Heir to the Throne, BARB SPRATLIN

Top 10 Photographers: 1. Tomas Munoz 2. Jane Conner-ziser 3. Sheila Hartley 4. Michael Potthast 5. John Jernigan 6. Steven Blanding / Joann Munoz (tie) 7. Julie Johnson 8. Manny Cruz 9. Randy Van Duinen 10. Jennifer O’Dea Photographer of the Year: TOMAS MUNOZ Artist of the Year: JULIE JOHNSON Robert Becker Memorial Award for Creative n Photography: Duet, JANE CONNER-ZISER

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2013 Photographic Competition Awards MARTI NEWKIRK

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

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

First Place Winners: Michael Potthast, Barbara Spratlin, Cherilyn Nocera, Jane Conner-ziser, Randy Van Duinen, Julie Johnson, Steve Blandin and Christine Reynolds. People's Choice Award “Heir to the Throne” by Barbara Spratlin

ProofCast Most Improved Photographers: Julie Johnson and Linda Long

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


For a bunch of photographers we sure do clean up nice. Everyone looked gorgeous for the night of recognition for our best of the best. Congratulations to all! The Florida Service Award is awarded when a member earns 30 merits for service given to the FPP. Only 253 such awards have been earned since 1966. This year we add 2 more: Kaye Newsome, FED and Christine Reynolds, FDPE. Thank you ladies for you continued service. The Florida Education Award is earned by continuing your education to achieve a higher level and better understanding of our craft. We have awarded 142 since 2001. This year we add 6 more: Patrick F. Ciatto, Jane Conner-ziser, Darryl Jarmon, FDPE, Linda Long, Carmen Schettino, FSA and Melissa Sewell. Great job! The Florida Degree of Photographic Excellence is awarded after 30 print merits have been earned. Only 188 have been earned since 1966. This year we add 2 more: Patricia M. Macfarlane and Michael Potthast. Great job, be proud! The Educational Scholarship Award sends the recipient to our fantastic Florida School in 2014. This year’s recipient is Lou Gillard. Congratulations, Lou! The Past Presidents Award, established in 2008 is voted on by the PP’s, of FPP. This prestigious award is presented to someone

within our industry, who has gone above and beyond the call of duty in service to our association, our industry and our profession as a whole. This year’s recipient is the vivacious Jane Conner-ziser. Thank you so much Jane!

FSA Recipients: Christine Reynolds and Kaye Newsome

The Southeastern Award was established in 1967 and up until 1974 was always given for print merits. Since 1974 it has been given for service and dedication. This year’s recipient is Debbie Whitmer of Museum Bond. Congratulations, Debbie! The National Award was created by the PPA in 1958. It is the highest award presented to a PPA Affiliate. It is presented in recognition of hard work and dedication to our association and industry. This year’s recipient is our new President Martin Gudz. Way to go Martin!

Receiving their FDPE Degree: Michael Potthast and Patricia Macfarlane.

The Outstanding Service Awards are chosen by the FPP Affiliate Sections to honor their individuals who consistently go the extra mile. Congratulations go to: BPPA: Donna Williams SWFPPA: Barbara Spratlin PPNCF: Tammy Griffin-Vincent JPPG: Karen Joseph PPGMF: Marti Newkirk PPGF: Lou Gillard OMCPPA: Jackson Koontz III PPSCF: Ellyn Siviglia PPGPB: Helen and Ray Haruben NWSFPP: Mari Darr-Welch SCPP: Karl Leopold TPPG: Olyn Long TAPPA: Rick Lewis n

FPP Past Presidents Award was presented to Jane Conner-ziser by current president Sandra Pearce.

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

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

Florida Memorial Service Award was bestowed to Ramfis Campiz by President Sandra Pearce.

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

Theresa Saylor Scholarship Award was given to Julie Johnson.

Richard Fowler Scholarship was presented to Darla Sharp.

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Jim Arbrish Memorial Award went to Marty Grivjack.

FPP 2013 Convention Wrap-Up DEBBIE ALCORN, FSA, FED, FPP CONVENTION MANAGER It is so very hard for me to believe FCON 2013 is actually over. All the planning and working all year and “poof” it’s over. Sort of like Thanksgiving Dinner! Thank you sounds like such a small thing to say to everyone who worked so hard to make FCON 2013 a success. When I say thank you I truly mean it from the bottom of my heart. To our Speakers and Sponsors, great job by all, thank you for sharing your time and knowledge with us. I am just sorry it all went by so fast, would have loved to have more time with all of you. Thank you to Bridget Robertson for being the invaluable Convention Assistant. All the “undercover” things you did all year were such a huge help. Putting together the program and getting it ready to print was monumental, it looked fabulous!

Well deserved my friend. It was great seeing you. Robin Adams, what can be said. Constantly working and getting everything done. You handled all challenges with dignity and grace. Thank you to you and your great committee.

squirrels! WebMaster Kevin Newsome, thank you for all the eblasts and changes you made to our website to keep everyone informed. I’m not really sure if everyone knows how hard you work, so let it be said here. Thank you for all your long hours and hard work!

Proof Cast Lounge. Yahoo, what a fun gathering! Thank you Jeff Burton, and Dir. Carol Walker for keeping it rockin and rollin! Super duper job.

Most important of all are FPP’s members, without the help and support of all of you none of this would have happened.

Thank you to Exec. Dir. Kaye Newsome for “reminding” of something I had forgotten. Quite the power house we have in her. Thank you for keeping me on track and stopping me from chasing

Time to get started on FCON 2014. Call me 727-481-9329 or email me with any ideas and suggestions. Looks like we are gonna have a Revolution! See you at the Fall Seminar! n

My two Lts., Dir. Britney Kirbey Fullgraf and Dir. Cindy Strickland. You guys were fantastic, never missed a beat and if there were any glitches they were handled without anyone knowing. Thank you so very much. All of the Committee Chairs picked the best people for the job and all went off without a flaw. Many were new Chair People this year and you all proved without a doubt, you could not only handle the job but soared! Thank you, thank you, you people are the best. Luis, great Trade Show again and thank you to Yvonne for stepping up and helping. Not sure how many of you know this but Yvonne Melendi is one of the very few people to receive an Honorary FSA!

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More Pics from FCON Events!

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Images by: Marti Newkirk, Bill Barbosa, Vasilena Balabanova and Pedro Carrillo.

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Door Prize Committe

Theresa Saylor



Some volunteers stay on the same committee for decades at the FPP and some, like me, bounce around each year. Whether that is due to some sort of hyperactive disorder or an unquenchable thirst for new and exciting experiences is irrelevant. Bottom line is that every year I get to know different members on a new level and I have the great pleasure to say that as this year’s Door Prize Chair I got to know my committee, even the ones I thought I knew well, a lot better. Thank you to my awesome committee, I can’t thank you enough for picking up the slack, I am very grateful for all of you. As the door prize chair, the generosity of our sponsors can be overwhelming at times. It almost gets to the point where you feel like you might be buried under an avalanche of prizes! Luckily there are plenty of attendees to grab them up! I would like to take this opportunity to list and thank all of the sponsors who donated door

prizes this year, they were outstanding! So in no particular order, our most humble thanks for the continued support of: Reedy Photo Burrell Imaging Museum Bond Dale Laboratories Into the Darkroom Larson Enterprises Artsy Couture H & H Color Lab Collages.Net White House Custom Color Tim Kelly Pro Photo Cases Professional Photographers of America Big Folio It was a pleasure serving as Door Prize Chair this year and I look forward to bouncing around convention again next year! Maybe I will show up at the early morning classes just to get the party started! See you in November at the Fall Seminar! n

FPP 2014 Board of Directors

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

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When Theresa left this earth for Heaven, I said I would write an article for her. It has been the hardest thing I have ever promised to do. Many folks have given me their input and to some degree it made the job harder as I found myself trying to speak for them. So, I decided to speak of her as she was to me, my friend. My Friend Theresa Saylor: Nothing can describe the heart and soul of Theresa. You could feel that part of her. We can list her work and accomplishments until we are blue in the face (and the Theresa, Nancy and and Past President Helen list is that long... truly). Ciallella - PPA 1992 "Who" she was, evokes the most positive emotions, and thinking of her brings a smile to my face and covers me with a warmness I can feel. The profound laughter we have shared will never be forgotten. She was truly my encourager, confidant, and hero. The wisdom, blessings and lessons I received from having known and loved her will be with me for the rest of my life. Those that loved her will mourn because her earthly presence has been removed and we will be robbed of her touch. But the joy and love she gave, will make us smile at the mention of her name, and her memory will live on in us. If you speak of her, do it as she would speak of you ... in love and kindness, with honor and respect, and most importantly, with a smile. Forever friends, In God's Love, Nancy. n

FPP 2013 Convention Committee Report BRITNEY KIRBY FULLFRAF Well, we had another amazing year at FPP Convention in Orlando! Committee heads were busy making sure every detail was in place!

Chairs, Darla Sharp and Nikkia Reed insured they got back and forth from the airport on time and in good health! Equally important at each Convention is knowing where to ďŹ nd our speakers and various

gatherings, and our Signs Chair Karen Barnett made that possible. Thanks for all the many hands that made this Florida Convention 2013 a wonderful and memorable one! n

AV Chair, Jackson Koontz did an amazing job assuring that every word could be heard and every slide could be seen at each of our amazing sessions. His support team made up of Lee Burgess, Paul Finkelstein and Sam Brill left no stone, or pc cord, unturned! Speaker Equip. Chair, A.J. Abalera and Props Chair, Bill Cadzow were one step ahead of any speaker requests or special needs...backdrops, saw horses, you name it and A.J. and Bill can make it happen! A.J. was even there to make sure there was replenished water to refresh our hard working speakers! Equipment Chair, Ed Robinson pulled together a ďŹ ne crew of Jesus Cabrera, Lou Gillard, Robin Phillips, Larry Carpenter, Paul Finkelstein, Durga Garcia, Darryl Jarmon and Nikkia Reed. Often times working behind the scenes or sequestered in the equipment room, this hard working team made sure that everything had a place and everything was in its place before, during and after our convention. The old saying "a picture is worth a thousand words" is never more true than within our industry, and that includes seeing a speaker work hands on with a model during a session. This year, Models Chair, Charlie Coury made sure our speakers had some great models to work with, making it all the more interesting and educational for the rest of us. It goes without saying our Convention wouldn't be complete without our speakers and Host

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Florida Professional Photographers Association 2013

The Past President’s Award for Outstanding Service to the Industry; The Florida Education Degree for Dedication to Education; First Place Illustrative Open; First Place Portrait of a Group; Best of Show Illustrative; and the coveted Becker Award for Creative Excellence. A once in a lifetime experience! And a pretty good night for my first foray into print competition! But most of you know that’s not entirely true … I’ve been a professional photographer and retouching artist for (gasp!) over 35 years. A big part of my freelance business specializes in retouching other photographers’ work for competition … and I’ve learned and grown as an artist along with many of my Master friends. It might have been the first time I entered my own photographs, but I know what looks good and I’m pretty familiar with the process (I messed up on all of the forms and had to do them a couple of times before I got it right.) I wanted to share my favorite image, Hibiscus (PPA Loan), with you, because it’s a pretty good example of my creative thought process. I wanted to also share my full case of images so you can see that although my top two images were awesomely received, I had two that scored in the low 80’s and two that even got the dreaded (shudder) 79. Hibiscus began when Mike Potthast

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and I decided to schedule a playtime together. He brought in the dancer, I drove to Winter Haven and we took turns setting up shots. Mike photographed her jumping and spinning. I posed her on a small set of steps. We did some posing of her reclined upon a curved bench … I was drawn to her skirt, but from the side, it just looked like a horizontal line. When my turn came back around, I asked for a ladder. I wanted her lit from behind so there would be a sense of mystery in the shadows. I wanted a large light source so the fall off of light would be soft. I asked our model to bow down as if she might be adjusting her shoe and I made one exposure. Then I moved the camera angle slightly and made another. That’s it, two exposures. I shot it low key, RAW.

That evening as I went through my images from the day, the only one I felt had potential was the one I photographed from the ladder. I brought it into ACR and, as is my habit, I looked at it for a few minutes. I rotated it so I could see it from all angles. I zoomed in to check for

details. I took the exposure slider and shot it all the way down to black and then all the way up to white, and “Hello Beautiful!” (our cover photo) was in the soft dove gray value range, securely held in place by the deep black velvet of her waist band and the little white highlights on her back.Because it was already close to being monochromatic, I tried it b/w and it was even more powerful. Image adjustment is critically important so I took my time and made sure that there was detail in the specular highlights and in all blacks, except the velvet. I remember toning down a patch of skirt under her chin in order to show off the reflected rim light running down her jawline and neck. I zoomed in, zoomed out, looked and refined until I felt it was as perfect as possible. Then I opened it in Photoshop. There was very little retouching on this image. By this time it had a name, Hibiscus, and my goal was to present her as a flower. I rotated the image until I could see the flower clearly without it looking contrived. In the final composition, I particularly like the way the black net creates edges around the skirt that look like they were drawn in with a pencil. I had to fill in some background in order to perfect the composition and added the slightest glow to boost the feeling of gentle elegance I was feeling with this

image. I love this image; I feel good about my creative experience with it. I made it for myself. On to the competition, I give 80% credit for me entering to Rick Bauer who has encouraged (pestered) me to enter for many years – as have many of my other friends. I guess I never entered before because … I don’t know … I just never did. I have shared excitement for everyone else’s success and I confess I LOVE making competition images and seeing how they do with the judges … I make lots of images for myself … but anyway, this year I thought “Why not? Let’s do it!” and picked out six of my images that might represent different styles of photography that I like to do. Preparing Hibiscus for competition required that I consider whether or not my image would benefit from a mat or border. I decided it would, and chose a simple piping, delicate and simple, just like my image. Also, it was important to find out how the image would be displayed during the judging. I asked and was told that it would project on a black background, which was fine for Hibiscus, but three of my other images had black mats so I dropped in a light gray inner glow at the outside edges so my crop and borders could be seen. As it turned out, my information was incorrect; the viewing background color was gray, but I was lucky because my choice of gray coincidently matched the background so the only visible clue of my misinformation was that the outside edges on my black mats were a trifle soft; I don’t think anyone noticed. I say this just to point out that you have to consider every angle on a competition image and then go with your best information! My two favorites from my case are Hibiscus and Duet and I’m glad they did well. I took a chance with them in competition because both of them are “quiet” images that feel better the longer you look at them – and judges usually score within

three seconds. Duet (below) is also a bit “nude” for a PPA salon. I got lucky – both of them were challenged and as the judges talked about them, they grew bigger than

are heavily adjusted plus Duet has some extensive Puppet Warp for those of you who suspected :-) Both of them have the slightest bit of glow (NIK) but at such low settings

they were originally; even up to the final judging I hear. I think what gives me the most

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

happiness in Hibiscus and Duet is that both of them are pretty much straight photography, and I love beautiful photography! Both images

who need one, to step away from babies with little knit caps and families on the beach to explore ourselves, connect withour feelings and use our knowledge to more successfully produce part of what we carry inside into tangible external creations that we can share

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Right now I’m exploring beauty of line, grace of composition and simplicity. As I strive for perfection, I see why people want it. What an exquisite feeling to participate in creating a universe in perfect harmony; not a flaw nor hint of discord … yet I’ve also learned that it’s the imperfections that steal our hearts and our imaginations - and I’m learning how to carefully craft them.

with others. It’s been my experience that the images that win are the ones where you successfully express feelings that make you cry, laugh, love, -or dream out loud. Am I there yet? NO! I’m not even

close! I feel like a little bird learning how to fly in a flock of thousands! I’m old enough to realize what I’m not – I’ll never be an illustrator, nor will I create the powerful imagery of dark clouds and heavy metal that I admire in other artists’ works.

So here’s to our flock, the thousands of us learning to fly, learning to fly better, learning to soar. Though our personal journeys are imperfect, as we occupy our place in the sky, receiving a word of encouragement here, extending an

New FPP Members

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




Abby Liga Isaac Hadid Wendy Maillard Lori Hoekstra Pilar Ojeda Ferenus Petra Prion Matthew Genuardi Steven Blandin Terra Yates Tanya Brown Bruce O’Rourke Nicolette Lindsey Diana Jaramillo Paul McDermott Amber Wielgorecki Emily Pattillo Diane Arsenault Beverly Caparella Olivia Ginn Dalton Hobbs Elisa Lizt Nick Palomba Lilybet Sepulveda Jessica Shaw

Winter Park N. Miami Beach Orlando Ormond Beach Bradenton Venice Orlando Tampa Sanford St. Petersburg Winter Park Stuart Hialeah Lauderdale by the Sea Ormond Beach Cocoa Beach Jacksonville West Palm Beach Eustis Dunnellon Orlando Tampa Orlando Lecanto

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outstretched wing to help there, our common journey becomes an astonishing river of flight and a perfect symphony of wings. We grow individually and we grow collectively through our schools, our associations, our friendships and our competitions. See you next year I hope – I’m already working on some images, are you? Jane Conner-ziser is a professional photographer, freelance retouching and painting artist, author and teacher. She is an Adobe Influencer, A Corel Painter Master, X-rite Illluminati, Craftsman Photographer and fine artist, who teaches classes all over the world. Visit Jane’s website to check out her class schedule, online and DVD training and samples of her work. Email Jane at n


A “lighting ratio” is the ratio of the main (or key) light to the fill light. The main light (often called the key light) is the primary light used to create shadows on the subject. Shadows are critical to a good image as shadows are what create shape and texture ... the “key” to a good portrait. The fill light is used to fill the shadow areas so they have detail and are not so dark they are distracting. In a studio lighting situation, the exposure value (EV) is controlled by the output strength of the lights. While the true EV is the combination of both shutter speed and fstop, when using strobes indoors the shutter speed is not an overly important consideration. Just remember two things regarding shutter speeds in the studio: 1) If it is set too high, in most cases over 1/250th of a second, the strobes will not synchronize (sync) with the shutter. This means that you will not get a consistent exposure over the sensor, leaving parts of the image under-exposed. 2) If you set it too low, say less than 1/15th of a second, you may pick up background lighting that will contaminate your color and also allow for some subject movement, giving you a blurred image in some cases. This, of course, depends on the ambient lighting in the camera room. It is like “dragging the shutter.” Keeping the shutter speed at 1/60th to 1/125th is a good range, allowing good synchronization and eliminating any effect from ambient lighting.

This is assuming that you are using a somewhat “normal” ISO setting -400 or less hopefully. As you move up in the ISO ratings, you pick up noise and may find that there is some color contamination from ambient lighting. Now if you wonder why there would even BE any ambient light, here’s a tip and a good one to remember. If your camera room is dark, the pupils in the subject’s eyes will dilate (open up wide) and you will lose most of the color in the eyes. It is also not very flattering since there are a few other things that cause the eyes to dilate and some of them are considered inappropriate for general portraits, depending, of course, on client and the situation. Lighting ratios are expressed as X:Y where “X” is the highlight side of the face and “Y” is the shadow side. Ratios are important to understand since the correct ratio is important to portraying the subject in a flattering manner. For example, a lower ratio, like 1:1, means that both sides of the face are lit equally and there are no shadows. This is often used in photographing glamour shots. At 2:1, the amount of light from the main is close to the amount of light from the fill, actually a one stop difference, creating very light shadows. This is very acceptable and often used for small babies and children. A 3:1 ratio is considered the “catch-all” of ratios since it is a universally accepted ratio with good highlights

and lots of detail in the shadow areas but with still plenty of shape and form for the subject’s face. This is a generally accepted ratio for lighting women. As the ratios go higher, 4:1, 5:1 or more, the shadows get progressively darker and the less detail you will have in them. Higher ratios work better on men than they do on women but they also help create a “mood” or feeling. Also higher ratios can be used to “hide” problems, like scars, on a subject’s face. You will deal with the ratio of main to fill to create flattering portraits, whether the fill is another light or a reflector. In the case of using two lights, the ratio can be determined in two different manners. The two methods, when using two lights are: 1) Metering the main and fill separately. In this case, the fill is turned off and the main metered. Then the main is turned off and the fill is metered. In both cases, the effect on the final exposure of the combined lights is not considered. It is simply used to obtain a specific ratio. I term this the “Light Ratio.” 2) Metering the highlight and shadow side of the face when both the main and fill lights are being used. To help you understand, I use the term “Lighting Ratio” in this case. This is often referred to as “Layered Lighting.” While the “Light Ratio” is easiest to demonstrate, the “Lighting Ratio” is

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more appropriate since we do not make two exposures using the main and fill separately. It is important to know that there are two separate methods to determine the ratios. However, it has been a source of confusion on the CPP Exam. In June of 2013, the exam was changed so that candidates will be tested on only one method … layered lighting where both lights are used to determine the exposure and ratio. Light Ratio -- Metering main and Fill Separately: Set up your main lights at the angle you want, depending on what type of lighting you want to use. We will examine portrait lighting patterns in another article. For now, assume a basic lighting pattern where the main is the smaller light source to produce shadowing and is placed high and about 45º off the axis of the camera-to-subject line. The fill is traditionally a large, soft light source placed behind the camera. The actual placement of the fill light considered to be the most correct is where the fill is lined up with the nose of the subject but that means that both your main and your fill must be moved each time the subject is directed to turn his or her head one way or the other. Many camera rooms have the fill light “attached” to the back wall and never moved. It works so don’t struggle with the concept. In the instances shown here to determine ratios, the subject will be facing the camera and the fill will be behind the camera.

In determining the light ratio, the

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ratios are shown in “units.” Units will vary but will always have a relationship with each other, called a ratio. In the diagram, we meter the fill light with the main light turned off and determine that the exposure would be f5.6. We will use this amount of light as ONE UNIT. It does not matter how much light it is, just how it relates to the ISO setting we have pre-determined. By that I mean if we set a low ISO (like 100), it will take much more light to get to f5.6 than if we use a much higher ISO (like 800). Don’t be confused at this point with ISO settings, simply what the f-stop reads on your meter with the set ISO. Next, we turn on the main and turn off the fill and read the highlight side of the face (the one toward the main light), and we get a meter reading of f8. Considering the relationship between “stops” of light, we know that f8 is one stop more of light ... twice as much. Dealing with “units” for determining ratios and knowing that in this case f5.6 is one unit, f8 is twice that amount of light ... or two units. Now it is simple math. On the shadow side of the face, only one unit of light reaches it. On the highlight side of the face, we get two units of light from the main but we also get one unit from the fill. Adding them together (2+1), we get three units of light on the highlight side. So we compare three units on the highlight side to one unit on the shadow side ... or three to one, written 3:1 ... for a three to one ratio. So the basic concept here is that if the main is ONE STOP brighter than the fill, the ratio is 3:1 ... provided you measure them separately! As we expand this concept, no

matter what the meter reads from the fill light, it will ALWAYS be one unit (the lesser of the two lights) and the ratio is determined by how it compares to the main light. For example, if the fill reads f2.8, the the main must meter at f4 for a 3:1 ratio. If the fill is f16, then in a 3:1 ratio, the main must meter at f22. Going a bit farther with this version of light ratios, what is a 5:1 ratio? When we meter the fill, we always get one unit. In order to get five units on the highlight side of the face and understanding that we always get one unit there from the fill, how much more light do we need from the main? To get to five, we need four more units (4+1 from the fill = five). Four units would be four times as much light. How many “stops” is four times the amount of light? TWO STOPS. So it takes two more stops of light from the main as from the fill to make it 5:1. In number terms, if the fill is f5.6 as in the diagram (right), the main now must read f11 to give us a 5:1 ratio. Layered Lighting -- Metering combined effect of both: You should also understand what the lighting ratio is if you turn both the main and fill on and then meter the shadow and highlight side of the face. Please understand that the final exposure is based on metering the combined effect of both lights. So does this make any difference in exposures? Absolutely! Looking at the diagram, think about the “question” presented. If you metered the main separately and got a reading of f8 and the fill, metered separately, was f5.6, when they are both on, there is a cumulative effect -- layered lighting. The reading of the shadow side of the face will be unaffected by the main, so the reading will still be f5.6. But the reading on the highlight side of the face will include the light from both the main AND the fill. But now you have to compare the light actually reaching the highlight side

to the light reaching the shadow side of the face. In the diagram, you are getting f5.6 on the shadow side while the highlight side is f8 PLUS f5.6 and the meter should read closer to f9.5 (also incorrectly called f8-1/2 but it is still universally acceptable). So what is the lighting ratio in this case? You have to break it down a bit differently

About the author: Al Audleman is past president of the FPP and has earned the credential of Master Photographer, Photographic Craftsman, Certified Professional Photographer, Approved Photographic Instructor, Florida Degree of Photographic Excellence, Florida Service Award, Florida Education Degree, Georgia Fellowship Degree. He has been teaching at PPA affiliated schools since 1996. He is past chairman of the PPA Certification group and involved in the development of CPP exams since 2000. He recently authored a comprehensive CPP Study Guide available by emailing him at n

Here is a break-down of ratios, differences and usages: In a 1:1 ratio, the “highlight” and “shadow” side of the face are the same. Technically there is no highlight or shadow side of the face. In a 2:1 ratio, the highlight side of the face receives twice as much light as the shadow side of the face. This is a one-stop difference. At a 4:1 ratio there is four times as much light on the highlight side of the face -- a two stop difference. If you want more drama and contrast, using an 8:1 ratio, there will be a three-stop difference between the meter readings on the highlight and shadow side of the face respectively. As shown in the chart above, the popular 3:1 ratio (the most important ratio for the CPP Image Submission process), there will be a meter reading difference of one and one half stops (1½ stops) between the highlight and shadow.

Florida Photographer 23

Design for Perpetual Marketing GREGORY DANIEL FDPE, FSA, M.PHOTOG.CR., F-ASP

Would you be interested in a business model that was inherently designed to reduce marketing costs, increase profits and perpetually build the buz over time? This has certainly been our experience for over 33 years. We have successfully stood the test of many fads, economic rollercoaster rides and the digital revolution without changing our basic business model. Hopefully some of the following thoughts will generate some ideas and a review of your current business model and help with the

development of an action plan for the future. Third party display marketing has been one of the most powerful institutional marketing tools the photography industry has touted for decades. We all know that landing a display at the local children’s boutique or in the premier mall entrance can be one of the best forms of keeping your name in front of potential clients. As wonderful as this sounds, landing these displays are not always easy and

can be extremely costly. Over the years I have experienced difficulty in finding just the right business match that not only loves a Gregory Daniel Portrait but also is willing to display the portrait on their most valuable merchandizing wall. The predominate wall for a local merchant is typically prime real estate that needs to be graced with income producing products bringing large profits to the table. This is why partnership marketing is so very important to the merchant and ultimately cost you through kickbacks or shared profits via certificates sold or honored from the generation of sales as a direct result of the display. There are many other types of displays that we have successfully used in the past and still employ today. This article is not to address all of the normally taught standard practices in our industry today but have you explore the idea of a proven much more sustainable approach to long term powerful marketing. Consider setting up a photography business that is focused on creating timeless classics that are designed to hang on the predominate walls of all your clients. These are clients that have purchased your artwork because they love what you do. Naturally their portrait is something they are emotionally attached to forever. Typically it was created during a very special time in their life capturing their family, as they want to see them today and in the future. They have displayed this timeless, priceless portrait in the most desirable place in their home

Florida Photographer 24

to be seen everyday. Let’s say you work with 100 clients each year for over 5 years you would have over 500 wall displays in the target homes of your marketing sweet spot. These are display holders of people that love you because of the wonderful gift and treasure you have given them

for a lifetime. These are homes were parties are held each weekend throughout the year every year. Where new potential clients are immersed in conversations centered around the most important topics of these families. Can you imagine the perpetual marketing buz this produces? The type of third party marketing from having one of your clients share their experience during the creation of their timeless masterpiece is priceless. I believe a business designed to create a timeless recognizable brand of personal art that is displayed on the wow walls of your clients is a blueprint for a sustainable, successful business. I would suggest perpetual marketing that is built into

your products is a valuable concept that can and will reduce your direct marketing costs and continually increase your proďŹ ts... This concept is one of the foundation blocks of our business and has proven itself worthy and standing the test of time. n

The Florida Photographer NEXT ISSUE DEADLINE

November 15th

Florida Photographer 25

Meet President Martin Gudz Martin Gudz. Photog.Cr., FSA, FED, LBIPP Born in Staffordshire, England. Martin attended West Bromwich College where he received his LBIPP, the British equivalent to our CPP. Coming to America in 1984 working as a cruise ship photographer he settled shore side in 1988. Moving to Florida in 1991 he opened Tudor Rose Photography in 1992. Visited by his album rep Stan Rhoden in 1993, Stan suggested he join FPP. Visiting the FPP Trade Show in 1994 he decided to return as a member the following year. The first people he met were Ramfis and Donna Campiz. Encouraged by their welcome and friendship the FPP has been his second family ever since. Martin is a three time president of the Tallahassee guild and received the outstanding service award three times for TPPG. Has served on many committees for the FPP, Assistant Salon Manager, Convention Speaker Support Chairman, Convention Manager. Forum Moderator, Section Delegate , Speaker and Judge. FPP Seminar Chair and served as a PPA Councilor from 2010 to 2012. He was awarded the Teresa Saylor Award in 1999, earned his FSA in 2001, FED in 2006 and his PPA Craftsman in 2008. 1 merit away from his FDPE and 4 from his PPA Masters. Martin has served on the board since 2009. He was just award the National Award from PPA. Married to Brigitte, a school teacher, for 25 years, he has 3 boys. Adam, 24, who is currently serving in the Airforce as a TACP (Tacp’s are the guys based on the ground who call in the airstrikes and blow stuff up with really big bombs). Adam is married and has a 9 month old daughter, Madisyn. “Her smile lights

Florida Photographer 26

up my world.” He is currently based at Fort Benning, GA. Bladen, 22, currently studying at Jacksonville University and the kicker for their football team. Bladen is still exploring his options for a career. Cullen, 18, who just graduated and is finishing his AA at NFCC and will transfer to FSU in the spring to study music before doing his doctorate in medicine. He plays the tuba and hopes to play with in the FSU Marching Chiefs. It is his dream to one day be a surgeon. Outside of photography Martin enjoys gardening. Describing it as his “Zen place” he loves mowing the grass and tending to his studio and vegetable gardens. Food and cooking are also a big part of his life. Taking inspiration from chefs off the food network, he loves to try new things. He’s English, so he will eat anything and lists his favourite food as steak and kidney pie. Football (our soccer) is his favourite sport. Coaching the High School soccer team, he has been a Wolverhampton Wanderers fan all his life.. Martin credits his mentors Bruce Evensen and Michael Redford for helping him define his style, which he describes as a combination of traditional and contemporary. Although he says he has received a lot of encouragement and support from other master photographers along the way, he also expressed his gratitude to the many friends who have supported him these last few, as he describes, them “difficult and trying”years. Amongst those are Carol Walker, Kaye and Kevin Newsome, Debbie Alcorn and Reedy Photo, Randy Van Duinen, Cindy Strickland and Robin Adams. n

The birth of my grandaughter Madisyn

The most interesting men in the world!

With Bruce Evensen and Carol Walker at PPA Craftsman Awards presentation.

At Florida School party.

We always seem to find a pub! FPP Friends at someone 50th.

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

With friends before Florida School begins.

Left: At PPA Imaging in New Orleans.

Blanden Cullen’s Graduation.




Shooting at the Beach.

Florida Photographer 27

FPP Fall Seminar The Power of Personal Projects


Save the Date! November 3rd, 2013 9AM to 5PM Daytona State College

A Sexy Soirée with Stacie Frazier Building a Better Boudoir Business Bou•doir (/ˈbuːd.wɑːr/; French: [bu.dwaʁ]): a lady's private bedroom, sitting room or dressing room. The term derives from the French verb bouder, meaning "to be sulky." So…what does that have to do with photography? Everything, if you’re tuned into trends or just love making your female clients feel confident and sexy. Boudoir photography is back, and hotter than ever! With the emphasis on the aesthetic qualities of each subject and the craftsmanship of the photographic process, Boudoir photography can be a fun and lucrative way to build your business! No studio? No problem. Your ‘studio’ is your client’s bedroom, hotel room, or any location that creates an intimate setting to create classy and romantic images. Our Fall Seminar speaker, Stacie Frazier hails from Las Vegas, NV where she has built a loyal and diverse clientele from all over the globe. Stacie began her journey as a Boudoir photographer in 2009 and has rapidly gained acclaim as a true professional in her field with the ability to bring out the beauty in every woman, no matter her age, shape, or size. Her photography has been described as "high-gloss glamour and drama” but her favorite response to her images is "I can't believe that's me!" Stacie has been featured in

Florida Photographer 28

“Boudoir Photography: The QuickStart Guide for Professional Photographers” by Ed Verosky and “Canon Speedlite System Digital Field Guide” by Michael Corsentino. She also released her own ebook for women preparing for their own boudoir sessions, “How to be a Boudoir Bombshell”, as well as "5 Boudoir Poses, 15 Sellable Images" for fellow photographers. Stacie is thrilled to be sharing her secrets with us in this all-day lecture and live demo workshop. Join us on Sunday, November 3rd at Daytona State College. Bonus: PPA members receive one Education Merit for attending! Sponsored by the FPP, Miller’s Lab, Post Edits, and PPA’s Continuing Education System, don’t miss this opportunity to catch Stacie in an intimate setting before she speaks at PPA’s Imaging USA convention in Phoenix in 2014! When: Sunday, November 3rd Time: 9:00am. – 5:00pm. Where: Daytona State College Cost: $59 for FPP Members; $79 for Non-Members IF PRE-REGISTERED BY OCTOBER 27TH! (Add $10 after deadline and at the door). Lunch on your own. Hotel: Daytona Beach Resort and Conference Center. Call 386-6723770 for reservations and use the code PHOTO to get the special room rate of $79 per night. For more information, visit n


The Power of Personal Projects As busy business owners, it’s incredibly difficult to take time for ourselves. With so many photographers working day and night, seven days a week, it might even seem impossible. But there’s one area where you need to get greedy with: your time. Drop the guilt and indulge yourself a little and begin a personal project. Personal projects are not only good for a photographers soul, but can actually help bring in more business. They can help grow your skills as a photographer and also help put a spotlight on your business. A personal project can be something you work on all year, or a one time shoot only. My most successful projects were also the most time consuming, ranging from a few months to a full year. The more you put into it, the more you will get out of it. I began experimenting with personal projects when I added a spokesmodel to my team. In the beginning we did a lot of test shoots for new ideas that I didn’t want to try out on paying clients, but wanted to perfect beforehand. These quickly inspired me and we began to take on bigger and more ambitious projects, sometimes including past clients as well. I have found that competitions can be a great starting point for personal projects. You really get to push your boundaries by shooting to compete. For instance, I never

would have been able to talk a client into doing her shoot as Cleopatra or a creepy Ouija Board spirit, for instance.

makeup and it ended up being the cover for a local magazine that did a writeup on our project. Currently, my team and I are working on a different sort of project. The Boudoir Body Challenge. We are encouraging women to get healthy, fit and more confident by working on our fitness, together for three months. So far, we have over 200 women from all over the World participating in this challenge. And, while this is not exactly a photog-

Businesses love collaborating on meaningful causes so get out there and scratch each others backs to pull from an even larger audience. Open the project up to the public. They will be your greatest ambassadors and will send referrals to you like crazy. Get in on the action yourself! Don’t forget that you can also make a great subject yourself! And it helps others feel more comfortable volunteering for your project if they see you were brave enough to do it yourself. Use your projects as a gift for past clients. This is a great way of getting the people who love you already talking about you all over again! Most of them are so happy to get to spend time with you again, working on something meaningful for both of you.

My first longterm project was with my Pure Beauty project. The idea behind this was showing women that they are beautiful even without makeup on. We shot this for a year before we ended with a no makeup shoot event. I even shot myself sans

raphy project per se, it certainly is a personal one, and one that ties in beautifully for my business. Ready to embark on your own personal project? Here are some tips to help get you going: Select a topic that is close to your heart. The more meaningful your project is to you, the easier it will be to find time for it. And, because you are passionate about it, people will naturally be drawn to what you are doing. Think outside of the box. Your personal project doesn’t always have to be photography specific. But it does need to speak to your target audience. Reach out to potential sponsors.

Give and ye shall receive. Consumers are becoming more marketing savvy these days, and because of this they are turned off by traditional forms of advertising. They want to do business with only the most giving of companies. This is especially true of women consumers. So, be prepared to give them something from their time spent helping you with your project. Reach out to the press. This is exactly the sort of news the media is looking for. So, don’t be afraid to send out a press release about your endeavor. Honor your project with proper closure. Celebrate it with an event or document it by creating a book. Selfpublishing is so simple these days, that there's no reason you shouldn't do this. Most importantly, have fun! Take your time and enjoy the journey. Rediscover why you got into photography in the first place with these projects. You are sure to be rewarded with a renewed sense of passion for your work but also with new and returning business. n

Florida Photographer 29

Our History In 1933, A convention was organized by Kodak and some of the suppliers of photographic equipment and chemistry (yes, chemistry), and held on campus at the University of Florida. The attendees decided to form an organization to represent the professional photographers in attendance from all over Florida. The Florida Photographers Association was ofďŹ cially formed during that convention on May 3, 1933, with approximately 30 members, each paying $2 for their annual dues. During WWII, due to gas and food rationing, the FPA did not hold a convention for three full years ('42'44). They resumed their convention schedule in 1945, forever putting the number of conventions two years behind the actual age of the association. in 1985, the FPP celebrated the 50th Convention, but the association was 52 years old. In the 1950's, the organization changed its name to the Florida Professional Photographers and have continued to educate its members through conventions, seminars, and schools. n

Florida Photographer Next Issue Deadline November 15th

Share your Knowledge, Write an Article! Florida Photographer 30

Florida Photographer 2013 #4  

The FPP's Official Publication is more than just a vehicle for disseminating information to the membership, it is our calling card to attrac...

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