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Spring 2012

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| Professional Photographers of California

www.ppconline.com


Spring 2012

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President Cayce Newman, S–PPC (951) 737-7310 cayce@goldmarkgallery.com

O F F I C E R S

1514 N. Elm St Escondido, Ca 92026 (800) 439-5839 www.ppconline.com

First Vice President Marcy Dugan, CPP, F-PPC, S-PPC (310) 322-2917 marcy@marcyduganphoto.com

Second Vice President Michael Sauer (530)-276-8404 sauerphotography@gmail.com

Secretary Penny Palumbo, CPP (626) 826-1836 pcubed@ sbcglobal.net

Treasurer Robin Swanson, CPA (818) 790–6333 robinswan@mac.com

Chairman Of The Board Phillip Abel (619) 435–0583 peabel@mindspring.com

Staff Business Manager

Roger Daines

M.Photog, Cr, CPP, ASP, API,, F–PPC, S–PPC (800) 439–5839 roger@prophotoca.com

Conference Manager

Dea Meyer

(805) 933-0464 dea_bach@hotmail.com

Trade Show Manager

Bill Thomas

M.Photog, Cr, CPP, F–PPC, S–PPC (951) 780–2627 rivphoto@att.net

West Coast School Director

Kathy Metz

(626) 915-4449 PBKPIX@AOL.COM

Pro Photo West Editor

Rodney Ninow

editor@prophotowest.com

Professional Photographers of California, Inc. is a non–profit, 501(c)6 trade association of professional photographers, employees, suppliers and others allied to the profession. Professional Photographers of California offers a variety of opportunities and benefits to its members and is one of the largest state affiliates of the Professional Photographers of America. Pro Photo West is the official publication of Professional Photographers of California, and is published quarterly for the purpose of keeping members informed of photographic information, news and activities of the state. Subscription is included with member dues, or is available for $26. per year. Articles, with or without photographs, are welcome for review for inclusion in this publication; however the Editor reserves the right to edit and use articles on a space–available basis. Materials will not be returned unless a postage paid envelope is provided. Letters and contributions must include a phone number. Send all communication, articles or advertising to the Editor. Articles appearing in Pro Photo West reflect the opinions of the writer. They do not necessarily represent those of the editor or Professional Photographers of California. Permission to reprint contents of this magazine is granted to similar photographic publications, provided the author, Professional Photographers of California and Pro Photo West are credited as the source. Printed by Marathon Press, Norfolk, Nebraska .

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| Professional Photographers of California

www.ppconline.com


Contents Features

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Columns

PPA Western District Photographic Competition Marcy Dugan

4 Affiliate Directory 5

Contributors

Charlie Laumann: PPC Photographer of the Year Rodney Ninow

7

Editor

8

President

PPA Western District Photographic Competition Winning Images

22 Membership Message 27 Conference Manager

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Creating a Winning Image Michael Collins

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Lightroom: Making Corrections and Fixing Images Part II Troy Miller

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Photoshop: Layer Masks 101 Suzette Allen

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Connecting the Dots Between Marketing, Pricing and Selling Ann K. Monteith

42 The End

Cover by

Charlie Laumann

“Professor Gizmo” is a portrait of Jay Davis’ character, Professor Phineas J. Flockmocker III, a member of The Legion Fantastique. Like most of the individuals involved with the “steampunk” genre, Davis is very talented and incredibly creative. Many steampunk aficionados are as passionate about what they create as we are about our photography.

Your favorite PPC magazine is now available online! That’s right! You can now view the most current issue of ProPhotoWest magazine at www.prophotowest.com Click on the “current issue” link at the top of the page. Click on the cover to access the pages inside, and navigate from one page to the next by clicking on the arrow buttons on either side of each 2 page spread. You can also click on the pages to zoom in automatically and read the print quality text. Enjoy!

I met Davis at the grand opening of Steampunk - History Beyond Imagination at the Muzeo museum, in Anaheim, California. This image was created outside the museum with available light. There weren’t a lot of backgrounds to choose from and with the crowd of people there, it became even more challenging. So I decided to use the building’s exterior wall and see what could be done in post production to make the portrait more interesting. The looming dark clouds for the background were chosen from an image I took on a story day while waiting to photograph the Point Vicente Lighthouse. The final image was composited in Photoshop CS4. I used my Canon 5D Mark II and 24-105mm lens set to 70mm. Exposure was set to f4 at 1/250, ISO 160. -Charlie Laumann Spring 2012

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Your Local Affiliates Affiliate AIM – Associated Image Makers, Fairfield

President

www.aim.homestead.com

3rd Th

Robert Pierce (707) 528–0850

www.allvalleypp.com

2nd W

Penny Palumbo (626) 826-1836

www.cippa.org

2nd M

Dan Holmes

www.goldcoastppa.com

3rd M

Michael Collins (805) 733-5197

www.ieppv.com

3rd W

Troy Miller

www.ncpponline.org

2nd Tu

Kevallyn Paskos (925) 766–3121

http://norcalppa.com

3rd M

Nicole Roberts

PPLAC – Los Angeles County

www.pplac.com

4th Th

Bob Young

PPNV – North Valley, Redding

www.ppnv.com

3rd Th

Michael Sauer (530) 276-8404

www.ppoc.org

2nd W

Anthony Holguin (949) 728-2955

PPSCV – Santa Clara Valley

www.ppscv.com

2nd W

Linda Krakow Eaman(408) 979–9179

PPSDC – San Diego County

www.ppsdc.com

2nd Tu

Jeff Davidson (619) 244–6841

PPSV – Sacramento Valley

www.ppsv.org

3rd W

Traci Kinney (916) 717-1874

SPP – Stanislaus, Modesto

www.stanprophoto.com

3rd Tu

Marian Miller (209) 847-0540

www.svpip.com

2nd W

Rod Thornburg (661) 827–8710

AVPP – All Valley, La Canada CIPPA – Channel Islands, Camarillo GCPPA – Gold Coast, Pismo Beach IEPPV – Inland Empire NCPP – Northern California NorCalPPA - Chico

PPOC – Orange County

SVPIP – South Valley , Bakersfield

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Mtg

| Professional Photographers of California

(805) 701-5559

(951) 737–7310

(530) 895-8000 (310) 338-9385

www.ppconline.com


Contributors Robin Swanson is a professional photographer and CPA (Certified Public Accountant) who realized her accounting and business skills could be combined

with her photography skills to create a successful photography business. Swanson has always loved photography, and several years ago became a professional photographer. She is a member of San Fernando Valley Professional Photographers (SFVPP), Professional Photographers of California (PPC), and Professional Photographers of America (PPA) and attends every photography convention, seminar, and class she can fit into her busy schedule. She photographs anything that gets in front of her camera. Her great rapport with adults, children, and even pets creates an environment conducive to capturing beautiful images. Several of Swanson’s photographs have earned merits in regional print competitions and in PPA’s International Print Competition. Robin has easily adapted her business and accounting skills to her growing photography business. During these past few years she learned a lot about photography from her peers, but also noticed that some of them could benefit from her accounting and business knowledge. As a Certified QuickBooks Professional Advisor, Robin is helping other professional photographers use QuickBooks software to accurately account for their finances.

Donna Jirsa, owner of Lasting Impressions Portraiture & Photographic Art located in Redlands, CA is a creative entrepreneur, profes-

sional photographer and graphic artist, exercising her inventive talents for set design, portrait enhancement, new product development, artistic portrait design and photo restorations since the studio opened in 1980. As a member of Inland Empire Professional Photographers (IEPPV) Jirsa has received the following awards: 2003, 2005, 2006 “Illustrative Photographer of the Year”; 2005 IEPPV “People’s Choice Award”; and the first “IEPPV Chuck Jones Memorial Presidential Award for Service” in 2006. She has served as IEPPV secretary and membership chair. As a member of Professional Photographers of California (PPC) she has earned the following: Fellowship Degree (F-PPC); Service Award (S-PPC); 2007 Top Ten Photographer; and is an Evans-Kingham Service Award Recipient. She been a speaker at Western States Conventions, served as Digital Cafe Chair for Western States Pro Photo Expo, Convention Committee Member, magazine editor of Pro Photo West, and currently serves as Membership Chair.

Dea Meyer is a professional photographer who has traveled the world in search of history, art, diverse cultures, and challenging

topography. She holds a Bachelor of Arts in art history, literature and music and brings a wealth of experience in non-profit and corporate management to her position with Professional Photographers of California as their Conference Manager. Currently a member of Professional Photographers of California and Channel Islands Professional Photographers Association, she has been actively involved as a PPC volunteer for many years through the Expo, Conference, Silent Auction, West Coast School and Print Competition; and was a member of the board of directors of Professional Photographers of Santa Barbara County for three years. Meyer has worked in the photographic industry for over twenty-five years, most currently with Meyer Photography alongside her husband Tim Meyer. Her decades of photographic experience and images spanning many photographic medium illustrate an abiding love of the craft of photography.

Suzette Allen is the “in-demand” Photoshop instructor in the photographic industry and is well known for her down-to-earth

and easy-to-understand teaching style. She has a remarkable talent for simplifying Photoshop down to understandable terms and easy-to-master techniques, and consistently gets rave reviews from her students! She has been an international speaker for Photographic Conventions, as well as a teacher at many of the PPA-affiliated schools. She is the recipient of the Fuji Masterpiece Award for Digital and Commercial Photographer of the Year for California in 2002. She’ll be teaching her class: Photoshop, Basis and Beyond at West Coast School this year.

Troy Miller is the current president of Inland Empire Professional Photographers and Videographers (IEPPV) and has been a

member of PPC for several years. He has been a professional photographer for nearly 20 years and together with his wife, Marjorie, runs Imagery Concepts, a wedding and portrait studio in Corona, CA. A late adopter to shooting digitally, Miller has now fully embraced digital capture and prides himself on his knowledge of image editing software. He has written close to 100 actions to improve his workflow in Photoshop and is always eager to get his hands on the latest raw editing software. Switching to Adobe Lightroom from Adobe Camera Raw for his raw conversions last year, he has immersed himself in the program, learning everything he can about it.

Michael Collins retired from Law Enforcement at the rank of Sergeant after 30 years of service.

He has been a professional photographer for over 15 years and served on the board of directors for the Professional Photographers of California becoming President in 2007-2008. He has also served as President of the Gold Coast Professional Photographers Association 7 times. Collins’ passion in photography is mostly photographing high school seniors. As he says, “I am at the same maturity level as they are.” He has written several articles, published in both photographic and law enforcement magazines.

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From The Editor

I

am always excited to put together the issue you hold in your hands. Inside, you’ll find the award winning images from the Western Division Print Competition held in March. Professional Photographers of California was proud to host this PPA event. The winning images are nothing short of stunning in my opinion. You’ve already seen one of these award winning images on the cover.

side my comfort zone. I’ve taken a couple shooting trips since then and I tried new techniques on both trips. Well, new to me, anyway. I was in Zion National Park with my friend Robert Plotz and he had this funny tripod mount. It was a device designed to simplify the process of creating panoramic images. He showed me how he uses it

It was created by Charlie Laumann, PPC 2012 Photographer of the Year. Charlie explains the background and creative process for his cover image on our table of contents page. It’s an interesting read to be sure. On page 12 read about Charlie and how he feels about the honor. If you’ve used Photoshop for any length of time you have probably seen that icon at the bottom of the layers palette that looks like a hole cut into a square. Have you ever wondered what the heck that thing is? Well on page 32 Suzette Allen as the answer. Troy Miller shows us how the new tools in Lightroom 4 helped him salvage an image that might not have been usable otherwise. Turn to page 28 for his article. I’ll let you explore the rest of the magazine on your own. For now, I want to revisit the challenge I made in my last issue. I challenged myself to shoot out-

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to create files that far exceed the megapixels in one single frame. Sure, I have shot panoramics before, but he taught me that you don’t have to shoot in a panoramic format to stitch images. The idea is to maximize your pixels for making really large prints. I am talking LARGE. I saw images hanging on his wall when we got back that were 90 inches and were as sharp as much smaller images made from a single frame. I wondered why I hadn’t thought of this technique when I was shooting with a six megapixel camera seven years ago. A month later, in Death Valley, I stepped out of my comfort zone again by shoot-

| Professional Photographers of California

ing in a way I usually don’t. In so doing, I created an image that I feel is one of my all-time best. I wish I could share it here, but I plan to enter it in competition and I am pretty sure that most of the judges my local affiliate uses are PPC members. One last thing that I have been doing my best to improve is my post processing. I’ve always relied on the colors my Nikon DSLR gave me when set to vivid (for my landscape work) and processed in their proprietary software, and for the most part, I have been happy. But I have several gigabytes of older, Canon raw files that I’ve never been able to process to my satisfaction. I just recently purchased Lightroom 3 (at a deep discount, I might add) and thanks to Adobe’s generous upgrade policy, was granted a free upgrade to Lightroom 4. The control over my Canon raw files that Lightroom is giving me is simply amazing. I am seeing colors that I never knew I could get from that camera. Colors that are similar to what I get from my Nikon and, even more exciting, to those I got when I shot Fuji Velvia. One thing I remembered to do when I was out shooting was have fun. Fred Blood III (PPC Commercial Photographer of the year 2012) reminded me of that when we were shooting the arch in the Alabama Hills. You can see the result of some of that fun in the image on this page. Yes, we were freezing, and no outtakes not included! -Rodney Ninow www.ppconline.com


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From the

President I

t’s already April and for the Professional Photographers of California I have two things on my mind. Wait; does the Lakers upcoming acquisition of Dwight Howard count? Should I go with 3 things? What’s really at the top of my excitement (and anxiety) scale is West Coast School, which is June 17th - 22nd and right around the corner, and Pro Photo Expo and Conference August 9th - 12th, just a few short months after. For PPC these are our two showcase events. The two that take by far the most man hours to produce and the two that offer our best outreach and benefit to our members. With that in mind I would like to lay out “my story.” I don’t feel it’s a very unique one, and that’s really kind of the point as I hope you’ll see. Please bear with me in the early establishing bits. I am going to attempt to make them relevant to a few of the “problems” that many of us see in our industry today. Like many people with a passion for photography my interest started early. My first “real” camera was a Minolta SRT 201 that was a birthday present in my sophomore year in high school. I spent most of my high school years working on the newspaper and yearbook staff and in my senior year was photo editor for both. Nearly every photo that year (and several illustrations) in our yearbook were mine: photographed, developed and printed by me. Fresh out of high school I was taking a full course load at a local college studying fine art and photography and also working a full time job to pay for it. The job was a good one, remember those? I had benefits, a great wage for that time, lots and lots of “mandatory” overtime, but unfortunately, it was not challenging. Just menial, repetitive tasks, and although I had worked my way up to a supervisory position it was a job, not a career. In the beginning I had taken it in order to work my way through college but the 60 hour work weeks were making that difficult. I started idly thinking about and looking for a more serious creative outlet and ideally something photography related. So in 1987 I decided to start a part time photography business. No doubt exactly like people today who make that same decision. I worked my swing shift job from 3:00 PM to 12:00 AM, sometimes 2:00 AM with overtime which was often, and worked my photography job during the day and on any weekends my regular job didn’t schedule hours. Proper pricing, forms, legalities, posing, studio lighting, light ratios, marketing, promotion, smart policies and procedures and hundreds of other things a business owner really needs to know were not subjects that got a lot of coverage in the photography courses I’d taken. I guess it helps to be a business major who likes photography rather than a photography major who later decides to start a business. Where was that advice when I was 18? Still, I muddled through and by 1990 I was doing well enough to leave my old job behind and I spend the next few years doing commercial, industrial, and editorial with a little mix of portrait and wedding. At some point in the early 90’s I heard about this photography group that met at the Riverside Art Museum. I was dragged to a couple open houses but didn’t see anything in particular that motivated me to want to join. At yet another open house in 1994 the incoming president actually made a particularly persuasive argument for membership, (not that I remember what it was now) and I finally joined the Inland Empire Professional Photographers. That president was John Goolsby who also went on to be president of PPC. Hi John! Being involved at IEPPV soon brought me to the Professional Photographers of California. I learned that you could volunteer to work at

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| Professional Photographers of California

by Cayce Newman

PPC’s Pro Photo Expo and Conference and attend the programming as a benefit. I jumped on that bandwagon and was soon assembling easels, hanging prints and moving boxes at my first conference. The keynote speaker that year was a photographer named Tim Kelly from Florida. As I watched his slideshow, which was of course real slides and a projector back then, and listened to his presentation, I have to say, without being overly dramatic, that my life was changed. At the very least my entire direction and interest in photography was altered completely. The way Tim used light and his portraiture style spoke to me to such an extent that I wanted to completely change everything that I was doing. Good planning and foresight in PPC leadership had Tim doing a full week class at West Coast School later that same year. You better believe I signed up and it was absolutely the best money I’ve ever spent in anything involving photography. I learned more about studio lighting and how I now wanted to light people and portraits in that week than my entire time in photography up to that point. It wasn’t about copying Tim Kelly, it was about being exposed to something that I hadn’t seen before, and this can’t be stressed enough, I wouldn’t have seen at all without IEPPV and PPC. That experience inspired me to view my work in a whole new way and move it in a direction that I wasn’t even aware existed. All of this developed from my very first experience with PPC. It’s a no brainer for me why membership in organizations like local affiliates and PPC are an irreplaceable value. They offer incredibly inexpensive educational and networking opportunities. Of course, not every experience is as meaningful as my example, but you won’t know when you’ve found that one until you are in it, will you? People do not know what they do not know, and you can’t win a game you aren’t even playing. “Nothing ventured, nothing gained” is a truism for a very good reason. The real question is, at what point in my story was I not a good candidate for membership in a professional group? When should I have been judged as not ready or worthy? Every person who’s interested in becoming a member of our organizations is a potential photographer of the year, and a potential affiliate or PPC president, or maybe both. It’s impossible to tell based on where a photographer starts out, or even where they are right now, where they might wind up and where their journey will take them. I know two photographers who swore they would never join a group like our affiliates, but eventually did. Once members, they swore they would never join the board of directors. One of them is now a president and the other is a vice president of their respective groups. Where is the wisdom in what we do when we judge people as not ready or not “professional” enough, or welcoming everyone and working towards getting everyone on the same playing field? I think you know where I stand. Also, go to Pro Photo Expo and Conference and West Coast School. The potential for growth both personal and professional is only limited by your involvement and receptiveness. As always, please don’t hesitate to contact me with questions, feedback, suggestions, comments, complaints, differences in opinion or taste, and most importantly, what you would like to see here at PPC to help you get the most from your membership. My email is president@ppconline.com. -Cayce Newman

www.ppconline.com


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PPA Western District Photographic Competition Hosted By The Professional Photographers Of California

by Marcy Dugan

B

y now many of you have gone through the PPC Imaging Academy. Did it give you the insight to judging photographic competitions? Do you find yourself sitting in the back of the room silently judging images at your local competition? Do you agree with the judge’s scores?

Prints were judged first, then the digital images. It was pretty much the same process except that there were two monitors sitting back to back with three judges on one side and two judges and an alternate on the other side scoring the images. A moderator at the end of the table facilitated the competition.

From March 3rd through the 5th, the Professional Photographers of California hosted the PPA Western District Photographic Competition. This was the first time PPC hosted a print competition under the new PPA system.

Also, we arranged for a live feed to the hotel lobby so that people could sit and watch the judging in a more relaxed atmosphere.

The print competition was handled in the same manner as in the past with a few minor changes. The prints still made their way around a turnstile and appeared to the judges. A title was read and judges punched their scores into an I-Touch, a change for 2012. The scores were automatically processed and posted to each image file.

After all the images were scored and judged we compiled the results into the trophy categories and made our awards to the winning entries. And this year’s winners are:

Photographer of the Year: Charles Laumann Best of Show California: “The Argentine Dancer” by Jim Paliungas Canon Par Excellence Award: Karen Nakamura Best of Show Western District: “Sleepless in Seattle” by Mark Fitzgerald Kodak Gallery Award Western District: “Trinity” by Pete Rezae, “Lakeside” and “Lily” both by Marv Heston Kodak Gallery Award California: “The Argentine Dancer” by Jim Paliungus, “Annie” by Anne Hutton and “San Diego Nightscape” by Paul Speaker Fuji Masterpiece Western District: “Ariel & Peter” by Michelle Stevens and “The Hunting Family” by Rachel O’Neil. Fuji Masterpiece, California: “Sisters” by Laurie Sachs Heidi Mauracher Award: “Dream Day, Day Dream” by Alisha McGraw ASP: “Wind and Sea” by Tashia Peterman Certified Professional Photographer: “Dennis the Menace” by Cheri MacCallum

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| Professional Photographers of California

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Top 10 Cases 1. Charles Laumann 2. Anne Hutton 3. Jim Paliungus 4. Karen Nakamura 5. Tashia Peterman 6. Janel Pahl 7. Jim Doyle 8. Amy Dawnelle 9. Laurie Sachs 10. Fred Blood III

PPC print competition crew

Category Winners:

PPC Photographer of the year: Charlies Laumann Animal: Alisha McGraw Architecture: Jim Doyle Children: Anne Hutton Commercial: Fred Blood III Family: Laurie Sachs Illustrative: Charles Laumann Landscape: Tashia Peterman Nature: Janel Pahl Photojournalism: Doug Gifford Portrait Environmental: Biljana Milasin Portrait HS Senior: David Nicholson Portrait Studio: Jim Paliungas Wedding: Troy Miller

Judges view images on high resolution monitors

Judges Choices: Judge Randy McNeilly Michael Timmons Jon Allyn Ken Meade Rich Newell Patty Geist Janel Pahl Andrew Jenkins

Image Title The Argentine Dancer

The Young Romantic Wind and Sea Neglected Professor Gizmo Dinner is Served The Morning The Artist Macabre

Maker Jim Paliungas Kristi Elias Tashia Peterman Sean Capshaw Charles Laumann Diane Costello Biljana Milasin Sean Capshaw

The People’s Choice, and the Larry Award will be announced at our Pro Photo Expo and Conference, August 10, 2012. Congratulations to all our winners! I would like to thank all the people that make this event happen. They are: Mike Collins, Julie Diebolt-Price, Mike Dugan, Babs Gieachetto, Anne Hutton, Sharon Lobel, Tim Mathiesen, Kathy Metz, Karen Nakamura, Jim Paliungas, Penny Palumbo, Robin Swanson and Michael Sauer. Our judges were Randy McNeilly, Michael Timmons, Jon Allyn, Ken Meade, Rich Newell, Patty Geist, Janel Pahl, and Andrew Jenkins. I could not put on this event without them. THANK YOU! Turn the page to see 2012’s award wining images. Spring 2012

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PPC Photographer of the year

Charlie Laumann

P

PC Photographer of the Year for 2012, Charlie Laumann, says that winning this award “...has given me more confidence in my work,” and he admits, “[As] a person with ADHD, I’m always questioning myself. If you have ADD or ADHD, you know what I mean; we make mistakes all the time and forget things.” The award winning photographer certainly hasn’t forgotten what it takes to create merit winning images, scoring a 91 for his image, “Professor Gizmo” (top L) as well as an 87, 81 and 78 for the remaining prints in his case (shown on these pages). This isn’t the first time he has been honored for his work. In 2009 he was named PPOC (Professional Photographers of Orange County) Portrait Photographer of the Year, and PPA (Professional Photographers of America) has chosen several of his images for their General Collection as well as their Loan Collection. So where did this prestigious career begin? The year was 1994 and Laumann opened Blue Moon Photography in Tustin, CA, where he was shooting primarily weddings and portraits. In the year 2000, he decided to concentrate on boutique portraits

For Professor Gizmo: Illustrative Photographer of the Year Judge’s Choice Award 12

| Professional Photographers of California

A Solitary Stroll

Spring Storm On The Homestead

www.ppconline.com


catering to clients looking for a more artistic style of photography. A year later, in 2001, he won a scholarship to West Coast School and joined PPC. He has been a member ever since. He has also served as treasurer for PPOC, where he helped the organization increase its assets and reduce costs. When asked to describe the feeling of being chosen as PPC Photographer of the Year, Laumann says, “I was totally surprised to win this award, especially with all the extremely talented photographers we have here in PPC. I still find it a little hard to believe.” He continues, “Watching the print judging on Sunday, I knew we had a tough but fair panel of judges. They seemed to be especially critical of lapses in the technical aspects, especially on the Photoshop work. I think that’s actually a good thing. We as professionals have to be able to stand out from all the guys/ girls with cameras. With the new features being added to point and shoot cameras, almost anybody can get a good exposure today.” Laumann says that choosing images to enter in competition is an ongoing process. He explains, “As I shoot throughout the year, there are certain images that stick in my mind, certain ones I really like. Those are the ones that I consider submitting in competition.” He adds, “In talking with other photographers I ask them what they think of the image before entering them in print competition. I start most of my competition images at the local level. If they do well there, I adjust the image according to the comments made by the judges and others and go from there.” Laumann says he enjoys shooting landscapes and seascapes, but his favorite type of photography is portraits. “Knowing that I have created a portrait that the client falls in love with just makes my day,” he says. Laumann’s image, “After the Diagnosis” (shown) holds a special place in his heart. The client, Marianne, had been diagnosed with cancer and saw his work online. She wanted

some images created with her daughter before she started her chemotherapy. In describing the session, he says, “Needless to say it was a very powerful and moving portrait session. We laughed and we cried. In the end we had created some great images that she and her daughter loved. I was very thankful that I shot with the camera tethered to my laptop so she could see the images as they were created.” Less than two weeks later, the client unexpectedly passed away. “Knowing Marianne’s family now has some beautiful images of her means so much to me. I know her daughter is thankful that she had the opportunity to do this with her mom and that she’ll treasure the images forever,” Laumann says. In addition to his portrait work, the photographer describes landscapes as After The Diagnosis “another photographic passion.” He says, “It is especially rewarding when all the elements somehow magically come together and I catch the right weather with just the right light. “Spring Storm on the Homestead,” is an example of one of those times.” If he could go anywhere in the world to capture images, China would be his first choice Laumann says. He would love to shoot the Great Wall and even has shots in mind that he says, “…would require a lot of planning and working with the national and local governments to get [the] permits and permission [needed].” -Rodney Ninow, Editor

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PPA Western District 2012 Print Competition Winners

Bentley

Fred Blood III

Commercial Photographer of the Year

The Argentine Dancer

Jim Paliungas

Best in Show-ca Portrait Studio Photographer of the Year Kodak Gallery Award Judge’s Choice Award

Alisha McGraw Animal Photographer of the Year

Fetch Me a Stick

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Troy Miller

Classic Diva

Wedding Photographer of the Year

Annie

Anne Hutton

Children Photographer of the Year Kodak Gallery Award

Janel Pahl

Taking Flight

Nature Photographer of the Year Judge’s Choice Award Spring 2012

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Tashia Peterman

Landscape Photographer of the Year Judge’s Choice Award ASP Award

Paul Speaker

San Diego Nightscape

Kodak Gallery Award, Illustrative

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Wind and Sea

Camachos

Jim Doyle

Architecture Photographer of the Year

Heartbroken-Dance With His Ashes

Doug Gifford Photojournalism Photographer of the Year

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Dressed For Drama

David Nicholson Portrait High School Senior Photographer of the Year

Laurie Sachs

Sisters

Family Photographer of the Year Fuji Masterpiece Award

No Matter What-Love Your Life

Biljana Milasin

Portrait Environmental Photographer of the Year 18

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Dinner is Served

Diane Costello Judge’s Choice Award

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The Morning

Biljana Milasin

Judge’s Choice Award Dream Day, Day Dream

Alisha McGraw

Heidi Mauracher Award

Iris in Bloom The Young Romantic

Kristi Elias

Judge’s Choice Award

Karen Nakamura

President’s Choice Award Canon Par Excellence Award

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Neglected

Sean Capshaw

Judge’s Choice Award

The Young Romantic

Kristi Elias

Judge’s Choice Award

Sleepless in Seattle

Mark Fitzgerald Best in Show Western Division

The Artist Macabre

Sean Capshaw

Judge’s Choice Award

Cheri MacCallum Lexjet Award

Dennis the Menace

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Creating a Winning Image

by Michael Collins

P

aul Tsang was educated in the Bay Area majoring in photography and Fine Arts and his scope of talent is widespread. He has directed his creative talents towards family portraiture and wedding photography for over 25 years. During the last 10 years, as an animal lover, Tsang has created some memorable, prize-winning pet portraits as well as delighting the many owners whose pet portraits he has done. He says, “Pets are family too!”

This piece of photographic art is one of a collection of award winning composites created from images taken that day. Paul’s image, “Short of the Day” was the Best in Show for the Professional Photographers of California 2011 Print Competition. This image was Print Judge Chris Stillians’ choice for a Judges Award and was selected for PPA’s 2011 Loan Collection.

Tsang was given this assignment by a client, although he knew nothing about the game of polo. Because he never says “no” to an assignment, he researched it on the internet before going. When he actually arrived at Menlo Park Circus Club it was nothing like he expected. The background was extremely busy with trailers, people and horses and the game moved so quickly that it was impossible to get the perfect shot with all players at the same time. Paul decided to trace one player at a time and create a composite. Because the background was filled with items unrelated to the game he wanted viewers of the image to focus on, Paul used Corel Painter to delete the background and the result was more like a painting.

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Good Enough? Excellent?

by Donna Jirsa

YOU Make The Difference!

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s you may or may not be aware, Professional Photographers of California has been working hard to retain our current membership while finding new members from all areas of California to join. I stepped in as membership chair nearly a year ago and have enjoyed working with everyone to help PPC reach its membership goals. We all know budgets are much smaller than they were five, or even two years ago. Marketing materials and postage can be a massive expense, almost prohibitive for a non-profit organization. Active participation in member recruitment by all PPC members is necessary to keep our organization flourishing. In my fantasy world, every current PPC member would recruit just one new member this year - doubling our current membership! Think about it, more members equal a wider range of member benefits which means added value for everyone! It’s generally easy to sell a colleague on the benefits of PPC membership when you’re enthusiastic about the advantages of membership yourself. Your executive board has already implemented several new valuable member benefits this year, with even more in the works. It’s an exciting time to be a member! We now have a new recruiting brochure which is an excellent tool for sharing PPC with your colleagues. If you’re an affiliate member, you can pick up a few bro-

chures at your next affiliate meeting; or, you can contact me and I’ll send you a supply (contact info below). Another great way to introduce a prospective member to the advantages of PPC camaraderie and networking is to invite them to attend a quarterly RoadShow with you. Saturday Shoot-Arounds and no-host dinner is open to everyone, as well as the Sunday evening social event with dinner, mini-program and so much more. RoadShows are held at locations throughout the state, giving all members an equal opportunity to participate. RoadShow dates and locations can be found on the “Member News” page at www.ppconline.com. It’s up to YOU to get excited about the value of your PPC Membership! It’s up to YOU to keep your membership current! Don’t risk missing out on any of the benefits membership has to offer by letting your membership lapse. It’s up to YOU to help us EXCEL! I encourage you to step up and find one new member to join our PPC Family. PPC is changing for the best ... pass it on! Donna Jirsa, F-PPC, S-PPC Membership Chairperson Phone: (800) 439-5839, Option #2 E-mail: membership@ppconline.com


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Quickbooks

for the

Professional Photographer Lesson 13:

Tax Time Reporting

by Robin Swanson

INTRODUCTION

Here it is…Tax Time (again). Now that you’ve spent a year entering all your transactions into QuickBooks, it’s time to send some reports to your accountant so he/she can do your taxes (or, in some cases, to assist you in preparing your tax returns yourself). WHAT REPORTS DO YOU NEED? Basically, you need three reports: 1. Profit and Loss for the fiscal year – This report will translate directly onto your Schedule C “Profit or Loss From Business (Sole Proprietorship)”. 2. Balance Sheet Previous Year Comparison (as of your fiscal year end) – this report will show you (and your accountant) changes in your fixed asset accounts. These changes could be a result of purchases and/or disposal of capital assets which will need to be reported on your tax return.

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3. Transactions by Account for each fixed asset account that changed. You/your Accountant will need this report so that any additions to Fixed Assets can be capitalized and depreciated and/or any Fixed Assets which have been sold or disposed of can be properly reported. PROFIT AND LOSS FOR THE FISCAL YEAR: There are two ways to get reports. You can either navigate to the report you want from the “Reports” menu, or you can click on the “Reports” icon in the Icon Bar, which opens the “Report Center”. I’m going to concentrate on the later method. 1. Click on the “Reports” icon on the Icon Bar. 2. Click on the “Standard” tab at the top of the window. (see image previous page) 3. In the “Company & Financial” section (located on the left side of the Reports window) choose “Profit & Loss Standard”. a. The default “Dates” is “This Month-to-date”. Click on that and choose “Last Fiscal Year” and then click “Run”. b. A “Profit & Loss” statement will open. 4. Click the “Print” button at the top of the window. This statement shows your income, expenses and net profit for the year (all the information you need for your Schedule C).

BALANCE SHEET PREVIOUS YEAR COMPARISON 1. Once again, go to the “Report Center” by clicking on the “Reports” icon on the Icon Bar. 2. Click the “Standard” tab, and the category “Company & Financial” on the left side of the Report Center window. 3. Scroll way down to “Balance Sheet Prev Year Comparison.” 4. Click on the “Dates” box and choose “Last Fiscal Year” 5. Click “Run” 6. This brings up the “Balance Sheet Previous Year Comparison” report. I like to modify this report just a little. I feel that the important information here is the $ Change. The % change is not helpful for tax reporting purposes. To remove the % change column: a. Click on the “Customize Report tab at the top of the report window. b. On the “Display” tab, un-check the % Change box. c. Click “OK” 7. Print this report by clicking the “Print” tab at the top of the window.

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If You Build it, They by Dea Meyer Will Come

“I

f you build it, they will come.” This famous line from the movie “Field Of Dreams” has been our mantra here at Pro Photo Expo and Conference Central as we’ve been working behind the scenes to put together the most amazing trade show and offering of classes for you! We’re building an event that promises to connect you, educate you, inspire you, and encourage you to grow your skills, your craft and your business. You’ve asked us to provide you with instructors who can teach you marketing, sales, workflow, lighting, posing, even sports and pet photography. This conference was tailor made for you! Here’s the sneak peak at our speaker lineup. Thursday, August 9th will find you learning with Kevin Kubota’s creative lighting simplification and post-production workflow. H&H Color Lab’s incredible sports team will join us for a day of Sports Boot Camp where you will learn how to incorporate team sports photography into your bread and butter business, or build out your current contracts. The Thursday classes are a separate admission price at $69 online/$99 on site, but well worth it! Friday, August 10, we are honored to host portrait lighting artist Joel Grimes. His extended program time will provide an outstanding opportunity for you to learn about his mastery of light and his ability to capture unique portraits of his clients. Saturday, August 11, just might be the day you stop struggling to find the words to speak with your clients, learn their needs and translate those desires into quality photographic work and quality sales. Dennis Nisbet will show you how to put the customer first in your communications thereby setting up an ideal environment for them to trust you and your ability to serve their needs. Successful sales will follow! Arica Dorff’s thriving boutique pet photography studio is testament to her ability to serve the needs of pets and their families. Learn her ways of dealing with pets in a shooting environment and also her unique strategies for marketing a pet photography business in today’s economy. Rebecca Ford-Soren is a second generation wedding photographer who has added families, maternity, and seniors to their successful business by targeting the market properly for the clients they want to attract. She will present a program on how you can attract your client. Joyce Wilson forged the way in professional photography for every woman to follow. She successfully maintained a business presence while nurturing her true artistic instincts. Her iconic life in photography will be chronicled through her program “Golden Thread.” We are delighted to have her join us! George Lepp, also iconic and wonderfully prolific, will be our special Saturday evening presenter, sponsored by Canon as an Explorer of Light. His work has spanned many renditions of technology and he has moved quite comfortably into the digital realm of outdoor and nature photography. His program “From Snowflakes to GigaScapes: Maximizing The Creative Power of Today’s DSLRs,” is sure to be a “can’t miss” opportunity to spend some time with the photographer as he offers a survey of the latest, greatest techniques. Whether you photograph nature in Lepp’s respected footsteps, or are a wedding or portrait photographer, in-studio or outdoors, his program will provide many insights into the complexity of our shared cutting edge technology. Sunday, August 12, will shed new light on how to find, retain

and profit from a school contract. If you already have a school contract or have considered adding this to your existing studio business, Kathy Metz will share how she has successfully retained multiple contracts over many years and how she continues to develop additional business from these contracts. Next, you’ve heard it over and over: It doesn’t matter how talented you are, If you’re attempting to run a successful photographic studio, you need to have the business side of life down pat. Robin Swanson, saving the world one photographer at a time, has a mission to help you understand QuickBooks and develop your business savvy. In a very approachable fashion, she teaches you how QuickBooks actually simplifies your accounting life, makes your tax accountability more streamlined and ultimately makes your studio run smoothly. It’s the best step to making your business a business. Kirk Voclain is a man on fire. His approach to working with high school seniors in your town will take you from mundane to rock star with this target market. And, his program will have you cheering for yourself and all of your potential. Arthur Rainville, “the art and heart of our industry,” will inspire you to “craft powerful images that speak to the soul of portraiture and raise the bar on aesthetic artistic values” through “melodramatic poses, avant-garde lighting and the power of atmosphere.” Arthur will stir your passions back to life! Throughout Saturday and Sunday, our programs will feature the new-this-year Education Track. The presenters for these four classes will be Tony Corbell, Sarah Petty, Chris Orwig, and Doug Gordon. Between them, you will be offered the fundamentals of lighting, posing, marketing, workflow, and the power to become the professional photographer of your dreams. The Education Track was developed specifically to appeal to the emerging or aspiring photographer in our industry. However, the classes will be valuable to one and all. The Education Track is available as a separate ticket for non-PPC members, but a Full Registration ticket holder can attend all the classes as well. Please check out our vendor list online at www.ppconline.com. Bill Thomas is diligently adding new vendors all the time and we’ll keep the list updated along with their website links. Make out your dance card ahead of the event to decide who you’d like to talk with, learn from and buy from at the trade show. The Expo will take place on Friday, Saturday and Sunday, August 10-12, Noon - 5:00 p.m. on Friday and Saturday and from 11:30 - 4:00 on Sunday. We’re planning so many other things to do and see while at Pro Photo Expo and Conference - our annual Awards Program, the Welcome Reception and Silent Auction, and a Saturday Night Social following George Lepp’s program. Our Print Competition Display will be in full view, as will our Speaker and Affiliate Print Displays. The Mentor Lounge at the PPC Membership Booth will be a great place to make connections old and new. This is just the beginning. Share our event with your colleagues and friends on Facebook and Twitter. Get the word out! Watch for our iPad and iPhone apps. We’re building this event so all will come! See you at the Pro Photo Expo and Conference, August 9-12, 2012! -Dea Meyer

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Light Making Corrections and Fixing Images Part II

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room Text and Images by Troy Miller

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W

hen I finished my last article I was still using Lightroom 3. I intended to write this article showing corrections to an image using that version. However, with the recent introduction of version four, and the new tools introduced, I am able to edit an image quicker and easier than ever. Take a look at the photograph on the previous pages and compare it to the original image (inset). I shot it in Yosemite National Park and it’s a good image for this article because it has a great deal of dynamic range. With Lightroom 3, I wouldn’t have considered this a salvageable image. But with new tools in version four, I’m able to create the image shown, which I consider a great image. Before getting into how I edited this image, let’s cover some of the new features in version four that I used. One of the most significant changes is to the brush palette. (below, L) The auto mask feature has been improved, and we can now make selective adjustments to color temperature, tint, sharpness, noise, moiré, and all basic exposure adjustments. They’ve replaced the fill light and recovery slider with highlights, whites and shadows. These new sliders give better control over those areas of your images. To sum it up in one sentence, the changes made to Lightroom 4 are dramatic and impressive and you’re going to want to revisit images you’ve

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edited in the past. Now let’s get started with this image. The first thing I did was correct the slanted horizon which was off slightly. An increase in contrast was needed next as the image is a bit flat. This caused the highlights to blow out slightly, so I decreased those with the highlight slider in the negative direction. I also turned the blacks down a little to add more punch to the contrast without affecting the highlights. The previous adjustments caused a loss of detail in the clouds, so I turned down the white slider to bring that detail back. (below, R) Those adjustments were for the highlights and the sky, now I want to work on the shadows. I’m going to use a gradient on the lower half of the image (next page, top) to bring out detail in the shadows and the reflection. Within that gradient, I increased the exposure, contrast, shadows and clarity sliders to give me the look I wanted.

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I’m almost done with this image, but I think the cloud to the right of Half Dome seems a little bright. I’ll use the adjustment brush to bring it down a bit. Select the brush tool, set highlights around -50, flow to ten and turn on auto mask. By clicking the “show selected mask overlay” check box under the image, you’ll be able to paint the cloud and see where your adjustments will appear. Reduce or increase the brush size as needed. By using a low flow setting, I am able to make subtle adjustments and build on them if necessary with additional brush selections. If you use a high flow setting, the effect is more dramatic and harder to control.

At this point, the image is pretty much done. If you want, you can experiment with vignettes, adding additional saturation or any of the other tools that Lightroom offers. If you’ve been following my articles up to this point, you know how to setup Lightroom, import images and make adjustments. In my next article I will cover the next steps, which include exporting and using Photoshop actions on output. -Troy Miller

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Photoshop Layer Masks 101

by Suzette Allen

Layer Masks are the Bomb! I think they are absolutely the most useful and flexible tool in Photoshop! I have people ask me all the time about masking and how to use masks, so here is the long-awaited Masking 101 guide you need! How to Apply a Layer Mask:

What is a Layer Mask?

It is a way to “erase” or hide a portion of a layer that is flexible and removable—which means you can bring it back after it is hidden! You simply apply the mask to the layer, paint on it with black to hide areas or leave it white to allow the layer to be visible! Of course, once it is painted black, you can paint again with white to make the layer visible again. (see below)

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On the layer you wish to hide, simply select it in the layer panel so it is active. (blue). Then click on the mask icon (image below) on the bottom of the layer panel or go to Layer>Layer Mask>Reveal All and you will see a white box show up on the layer with a chain link between the thumbnails. The mask starts out white, typically. Which means the layer stays visible. Also, there will be a white box around the mask thumbnail indicating you are in “mask mode” (able to modify the mask). Incidentally, if the white box is around the layer’s image thumbnail, you are in “paint mode” and means you would be painting directly on your image or layer.

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How to Hide:

With the layer selected and in mask mode, (and with white box around mask thumbnail), simply use the regular paint brush and paint on your image with Black. 100% opacity will hide it completely, and lower opacities will partially hide. (below) If you hide too much, change the color to white and paint it back! EASY! If you make a mess of it, you

can always delete the mask (drag to the trash) or fill with white again and start over.

How to “Faux Crop” a Layer

Sometimes when you are laying out a composite, you want to crop your image but still maintain flexibility. (below, L) . Using the layer mask to do that is ideal because it allows you to change your mind, reposition or delete the “crop” anytime by deleting the mask! HOW: this one is different ! You need to make a selection FIRST, of the shape you want (usually with a marquee tool) and THEN add your layer mask. Making the selection first means that PS will assume you want to keep the selected area visible and automatically fills the rest in with black to hide! I call this the “automatic mask” because PS automatically does it for you! I actually use this every day! (below, R)

Unlinking and Modifying a Mask: The other reason I like using a mask to “crop” is because if I want to change my mind, I can easily unlink the mask and modify it separately from my image! HOW: click on the chain link icon between the image and mask thumbnails on the layer. (right)Click on either the image or the mask to move it or transform it, whichever you need to do! Definitely something you couldn’t do if you had used the eraser or delete key! Creatively Photoshop-ing, Suzette Allen Spring2012 2012 Spring

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Connecting the Dots Between

Marketing, Pricing & Selling

T

he effects of a prolonged recession have wreaked havoc on small businesses everywhere, and for many photographers other factors have made coping with a depressed economy even more difficult. Photographers everywhere have seen the impact of increased competition as the transition to digital photography significantly lowered the bar of entry into the profession. This has resulted in a decade-long flood of largely untrained photographers for whom low price is the only competitive standard. As well known as these challenges are, most of today’s photographers, whether veterans or newbies, also are struggling with an issue that is rarely understood or discussed: The industry’s internal failure to evolve proper systems for managing changes resulting from the transition from film to digital capture. The most pressing example is the failure to create systems that link marketing to pricing and to selling.

The Aftermath of Digital Chaos One of the most troubling aspects of today’s industry is that many well-established photographers have lost confidence in their ability to compete with untrained, business-illiterate photographers, who themselves are equally frustrated with their lack of instant business success. Both sides of this equation have work to do to gain the confidence that is necessary to run a profitable business. But first they must understand that the origin of their frustration is rooted firmly in the very benefits touted during the early days of the digital transition . . . the fallacious notion that it costs “nothing” to shoot with a digital camera: There are no film costs and no proof-

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by Ann K. Monteith, M.Photog.Cr, CPP

ing costs, so fire away! But when the “Dance of Digital Joy” was over, the industry awoke with a throbbing hangover brought on by never-ending workflow. Instead of 20-image sessions, photographers were creating 200-image sessions. What’s more, they had begun to handle the workflow themselves, rather than turning it over to a lab to supply proofs to present to their clients. Yikes! Nearly every bad business decision that I see today can be tracked to the reality that photographers simply shoot too much. However it’s easier said than done to convince them that they need to get a grip on their over shooting tendencies. They simply don’t recognize that dealing with even a reasonable increase in the number of images created at a session requires systems changes in other key management functions, especially those that involve marketing, pricing and selling.

Marketing With Purpose Now, more than ever, a professional studio’s marketing message must be consistent and compelling, and it must stress the value of the photographic end product rather than the number of images photographed. Otherwise consumers’ reactions in the face of an overwhelmingly confusing number of images will continue to be to want to purchase the disc. Marketing today requires a coherent, well-focused message and a tone of legitimacy that extends beyond social networks. Photographers who do not understand this principle or who are unable to produce highly professional market-

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ing materials and strategies will continue to be victims of consumers dead set on getting more for less. Beyond attracting attention through eye-catching marketing products and clever social media techniques, successful marketing strategies must extend a studio’s brand through community awareness and a strong emphasis on client education and hospitality.

50 images that you edit down to 25, you better have an appealing product range that can accommodate from 10 to 20 of those images and be willing to guide the client toward the best end products for the images you photographed. Otherwise the client will dwell on the images that she’s leaving behind rather than on the ones that she’s gaining through your clever use of package pricing.

Only through crafting marketing strategies that build a rapport with clients and prospects can photographers succeed in understanding the needs of their clients. Only through this kind of relationship can they put aside overshooting tendencies and get back to the business of “shooting with purpose.” Shooting for the kind of sale that both properly compensates the photographer and succeeds in producing a satisfied client who understands and values the end product of photography over the ownership of digital files.

Selling with Integrity

Pricing for Profit No matter how intense competition becomes, the only potential pricing strategy that should be off the table is to sell the work for less than the cost to produce it, or at a price that does not compensate the photographer who created it. In the face of an industry filled with photographers who are forgoing profit just to get the work, the best strategy, I believe, is to assure that your pricing is structured to support what you wish to sell. What you wish to sell in turn, dictates how you shoot. Sounds simple doesn’t it? But it’s not. Let’s suppose that your goal in creating a family group portrait is to sell a large wall portrait and a few smaller gift images. The system that will get you to this finish line most efficiently is to pose the family group as attractively as you can, then shoot for expression: 20 images and 10 minutes later you’re finished . No additional poses or small-group breakdowns are necessary to build the sale when your à la carte pricing system is linked to selling through projection. It rarely takes more than 10 minutes to decide on the best image, and the rest of the sales session is devoted to determining the proper image size, appropriate frame, and any additional gift prints. On the other hand, if your goal is to build your family portrait sale through creating multiple prints, then your pricing structure should most likely feature packages that help to “use up” the images that you show. Even if you shoot only

“Hello everyone. My name is Ann and I’m a recovering sales phobic.” It took me years to get over my fear of rejection by clients who might find my photography too expensive. It got a lot easier when we started projecting transparencies made from our film negatives. When you shoot for expression and project 10 to 20 images, using à la carte pricing, clients pretty much sell themselves because they can see exactly the size image they’re going to purchase, and they can see how impact is lost when the image gets too small. That said, I can get just as out of control as the next guy when I start having fun shooting a digital session for a mom who wants individual pictures of all the kids along with the family portrait, that includes two golden retrievers and the 18-year-old cat. What helps to keep me in balance is the ability to think ahead to what I would want to display from the session if this were my family, my golden retrievers, and my 18-year-old cat. By shooting with that in mind and then projecting the actual products that I can easily build through ProSelect software, I have a sales system that not only works with my price list, it gives me confidence that I never try to sell something to a client that I wouldn’t want to purchase myself. This system has banished my sales phobia. Yes, I have to give each sale more thought, and I have to be willing to make specific recommendations and back them up with solid logic as to what I am suggesting and why, but the outcome is worth the extra time and trouble. I feel good about the sale, and the client goes home happy. When your business is structured by common-sense systems — ones that perhaps were not necessary when we were all shooting film — life gets a lot simpler and less stressful in a chaotic, post-film universe. It’s worth the time you’ll spend in learning to market with purpose, price for profit, and sell with integrity. Ann Monteith is the industry’s leading authority on studio business management. As a teacher and consultant, she has helped many of the industry’s most successful photographers understand how to lift a photography business into profitability during good times and bad. Her website is: http://www.annmonteith.com/

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Quickbooks for the Professional, continued from page 25 8. Whenever you change a default report and you think you will use it again in the future, you should “Memorize” that report. The next time you need the report, you can just choose your memorized report instead of the default report and you won’t have to modify it again. To do this: a. In the top of the report window, click on the “Memorize” button. b. A “Memorize Report” window will open. Change the name to something that is descriptive of this report. c. Click the box “Save in Memorized Report Group” an choose “Accountant” d. The next time you need this report, you can just go to the Report Center and click on the “Memorized” tab, then click on the “Accountant” category. Your memorized report will be in this group.

As I mentioned above, this report not only gives you/your accountant your balance sheet as of the end of your fiscal year, but it also shows changes from the prior year. You can expect changes in all your balance sheet accounts; however, you want to pay special attention to changes in the “Fixed Asset” accounts (i.e. Office Equipment, Studio Equipment, etc.) Changes in these accounts indicates that you have either purchased and/ or sold capital assets that need to be reported on your tax return.

TRANSACTIONS BY ACCOUNT Once you have printed the “Balance Sheet Previous Year Comparison” report, you will want to print out the details for any fixed asset accounts that have changed. To do this:

1. In the “Fixed Assets” section of the “Balance Sheet Previous Year Comparison” report, look in the “Change” column for each group of fixed assets. 2. If you see an amount in that column, move your mouse to the amount in the year end column for the year that just ended (make sure you don’t choose the previous year column). a. Your cursor should change to look like a little magnifying glass with a Z in it. This symbol means that you can double click on that number to get more information. Double click on the number. 3. The “Transactions by Account” window will open. This report needs a little customizing to make it easy to read.

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Quickbooks for the Professional, continued from page 37 a. Click on the “Customize Report” tab in the top of the report window. b. In the “Columns” box, UNCHECK the following: i. Type ii. Adj iii. Clr iv. Split c. Click “OK” d. In the report window, you will see little diamonds between each column header. These little diamonds are there to allow you to change the width of each column by clicking on the diamond and dragging it to whatever width you want. i. Adjust the Name and Memo column widths so that you can see all the information in those columns. In addition, decrease the width of any columns that are taking up too much space. The goal is to be able to see all the information, but keep it narrow enough so it only takes one page to print. 4. Click the “Print” button at the top of the report window to print.

5. Repeat steps 1 through 4 for each fixed asset account that has changed over the last fiscal year. That’s it! Give those items to your accountant and he/she should be able to prepare your Schedule C. Of course, you could always just give your accountant a copy of your QuickBooks file (assuming your accountant uses QuickBooks). It’s important to note that both you and your accountant will need to be using the same version of QuickBooks. QuickBooks is not “backward” compatible, so if you are using a newer version than your accountant, they won’t be able to open your company file unless they upgrade. Conversely, if you are using an older version of QuickBooks than your accountant, then they may be able to open your file after updating it (depending on how many versions difference there are between you and your accountant’s QuickBooks programs); however, once your company file is updated, you won’t be able to open it again with your version of QuickBooks. In a case such as this, make sure you only give a copy of your company file to your accountant and that you keep the original file on your system. Always make a backup before attempting any of the above. In my next article I will discuss the different types of QuickBooks back-ups; which type is appropriate for you, and how to perform the backup. Spring 2012

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The End

©2012 Rodney Ninow

T

his month’s “The End” image is one I shot in Death Valley National Park. Well, to be precise, just outside the park. There is a narrow corridor in the northwest corner of the park where a road and a mine are located that is not within the boundaries of the park.

This mine and the machinery found there have certainly reached their end, and so I feel fit the theme of this column. Please remember that your image can be featured here! Send images that you feel fit the theme, “The End” to me at editor@prophotowest.com -Rodney Ninow, Editor

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Pro Photo West Spring 2012