This document is the April 2008 issue of Professional Photographer magazine. It features articles on portrait photographers Allison and Jeff Rodgers, Kerry Brett, Tim Kelly, and Michael and Leslie Artis-Gan. It also includes reviews of products from Canon, Manfrotto, and Collages.net. The issue highlights award-winning photographs from the PPA Loan Collection and provides information on PPA events and members.

1. APRIL 2008 | WWW.PPMAG.COM | $4.95
©Allison Rodgers Photography

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5. CONTENTS PROFESSIONAL PHOTOGRAPHER | APRIL 2008
Features
86 DESIGNING DUO
Allison & Jeff Rodgers bring
ad agency service to studio clients
by Jeff Kent
94 BRILLIANT
A glittering gallery by the
Diamond Photographers
of the Year
by Jeff Kent
66 PORTRAITS: JOY RIDE
Michael Gan & Leslie Artis-Gan:
It’s a pleasure to be creative for a living
by Stephanie Boozer
72 PORTRAITS: BOLD BLACK AND WHITE
Portraitist Kerry Brett brands
her distinctive style
by Lorna Gentry
82 PORTRAITS: CLASSIC BEAUTY
Portraitist Tim Kelly shares the
secrets of his success
by Lorna Gentry
IMAGE BY ALLISON RODGERS PHOTOGRAPHY

6. CONTENTS
14 FOLIO
106 CALENDAR
111 PPA TODAY
130 GOOD WORKS
PROFESSIONAL PHOTOGRAPHER | APRIL 2008 | WWW.PPMAG.COM
©Kerry Brett
Departments
C O N TA C T S H E E T
20 Eye of the storm: Jim Reed
22 Chris Lommel’s Greenspace
26 Copyright help is a click away
by Maureen Cogan
28 Led by passion
by David McKay
PROFIT CENTER
33 What I think: Allison Rodgers
36 Web sites: Online & on your mind
by Angela Wijesinghe
40 Web sites: Tap the power
by Kammy Thurman
44 The joy of marketing:
Stay true
by Sarah Petty
THE GOODS
49 What I like: Julia Gerace
52 Pro review:
Canon imagePROGRAF iPF6100
by Ellis Vener
56 Labs: Spring tryouts
by Joan Sherwood
62 Photoshop and Lightroom:
What’s the difference?
Part II
by Andrew Rodney
72
ON THE COVER: Kit and Alicia Teeter instructed
Allison Rodgers to capture the true nature of their
5-year-old twins Cassie and Kinsey and their 3-year-
old sister, Kyleigh. Our cover image, captured with
the Canon EOS 5D and a 24-70mm 2.8L lens,
was one of nine images that Allison and Jeff Rodgers
Portrait artist and Improper Bostonian photographer Kerry Brett loves
designed to go in the Teeter’s home as a grouping.
Rodgers recalls, “So many expressions, so many
a challenge. Whether it’s time restraints with celebrity clients or having too little space to moods. This image captures just one second in
the life of the Teeter girls.” Read more about Allison
work in, creative problem solving heightens her delight in photography. Rodgers Photography in our feature on page 86.
6 • www.ppmag.com

7. Our Product Development Team…
is Your Product Development Team!
_
What happens when you ask a group of nine fun, creative, and innovative women to
design a comprehensive product line for professional photographers?
They develop a beautiful, elegant, high-quality product collection that fits the product needs of every wedding and
portrait studio. Learn more about the products and how these women used the highest quality materials, the hottest
colors, and the most innovative design to create five best-in-class product lines at www. collages.net/creative.
Albums | High-End Cards | Press Printed Books | Gallery Wraps | Professional Printing | Online Presentation
Check out Collages.net’s comprehensive product line at www.collages.net/products.
©2008 Collages.net Inc. All rights reserved. Photo ©2008 Erik Matey.

8. Mind. Body.

9. Photography.
A Picture-Perfect Relationship

10. P ROF E S S I ONA L
EDITORIAL
director of publications
CAMERON BISHOPP
cbishopp@ppa.com
senior editor art director/production manager
JOAN SHERWOOD DEBBIE TODD
jsherwood@ppa.com dtodd@ppa.com
Investigative reporting features editor
LESLIE HUNT
manager, publications and
sales/strategic alliances
KARISA GILMER
THE VALUE OF A GOOD Q&A SESSION lhunt@ppa.com kgilmer@ppa.com
editor-at-large sales and marketing assistant
What a client wants and what a client says she wants can be two JEFF KENT CHERYL PEARSON
different things. jkent@ppa.com cpearson@ppa.com
technical editors
In journalism, there are fundamental questions every story is
ANDREW RODNEY, ELLIS VENER
supposed to answer: who, what, when, where, why and how. If the
director of sales and strategic alliances
reporter can elicit the answers to these six questions, he’s armed SCOTT HERSH, 610-966-2466, shersh@ppa.com
with the facts he needs to write the full story. western region ad manager
BART ENGELS, 847-854-8182, bengels@ppa.com
The idea of a thorough question-and-answer session applies to eastern region ad manager
portrait photographers as well, at least those interested in SHELLIE JOHNSON, 404-522-8600, x279, sjohnson@ppa.com
circulation consultant
maximizing every sale. MOLLIE O’SHEA, moshea@ppa.com
Most clients aren’t familiar with the dramatic strides in por- editorial offices
Professional Photographer
trait-making in the last few years, and the plethora of new media 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A.
and photo products now available. They need the photographer’s 404-522-8600; FAX: 404-614-6406
Professional Photographer (ISSN 1528-5286) is published monthly
expertise to walk them through the selections. To provide true subscriptions
counsel, you have to know not only what the client wants, Professional Photographer
P.O. Box 2035, Skokie, IL 60076; 800-742-7468;
but what he really needs. You have to put on your reporter’s cap FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com
and find out. member services
PPA - Professional Photographer
“When clients come in, I ask a thousand questions about who 800-786-6277; FAX 301-953-2838; e-mail: csc@ppa.com; www.ppa.com
they are and what they’re looking for,” says Allison Rodgers, who, Send all advertising materials to: Debbie Todd, Professional Photographer,
5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509
along with her husband, Jeff, runs a successful studio in Olive, Miss.
Subscription rates/information: U.S.: $27, one year; $45, two years;
“I want to see the color palette of their house, the layout, the style. $66, three years. Canada: $43, one year; $73, two years; $108, three years.
International: $39.95, one year digital subscription.
We look into all of these elements so that we can provide a solution
Back issues/Single copies $7 U.S.; $10 Canada; $15 International.
that fits them.” PPA membership includes $13.50 annual subscription.
Subscription orders/changes: Send to Professional Photographer, Attn: Circulation
The Rodgers, profiled on p. 86, are both former art directors,
Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468;
and accustomed to demanding corporate clients. Their experience FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com.
Periodicals postage paid in Atlanta, Ga., and additional mailing offices.
in the rough-and-tumble advertising world taught them how to
Postmaster: Send address changes to Professional Photographer magazine,
anticipate their clients’ requirements. P.O. Box 2035, Skokie, IL 60076
Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A.
In the end, says Allison, “It’s about helping people understand
Article reprints: Contact Professional Photographer reprint coordinator at
what they need.” And isn’t that the most effective sales strategy Wrights’s Reprints; 1-877-652-5295.
Microfilm copies: University Microfilms International,
there is? �
300 North Zeeb Road, Ann Arbor, MI 48106
Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA
Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta,
Cameron Bishopp
GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices.
cbishopp@ppa.com Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed
by Professional Photographer or any of its authors do not necessarily reflect positions of
Director of Publications
Professional Photographers of America, Inc. Professional Photographer, official journal of the
Professional Photographers of America, Inc., is the oldest exclusively professional photographic
publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating
Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer,
The National Photographer, Professional Photographer, and
Professional Photographer Storytellers. Circulation audited and
verified by BPA Worldwide
10 • www.ppmag.com

11. Three amazing cameras designed to inspire. Starting with the powerful EOS-1Ds Mark III. With a 21.1-megapixel
full-frame CMOS sensor, dual DiG!C III Image Processors, and a 3-inch LCD monitor, it’s far and away the most remarkable
camera Canon has ever created. The innovative, feature-filled 10.1-megapixel EOS 40D lets
photographers take the next leap forward, with its DiG!C III Image Processor and 6.5 frames-
per-second shooting. Along with the exceptional EOS-1D Mark III with its blazingly fast 10.5
frames-per-second shooting and 10.1-megapixel CMOS sensor, Canon makes the creative
process easy, rewarding and, most important, inspiring.
To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc
©2008 Canon U.S.A., Inc. Canon, EOS and DiG!C are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE is a trademark of Canon. All rights reserved.

12. chairman of the board DOUG BOX DANA GROVES
*JACK REZNICKI M.Photog.Cr., API Director of Marketing &
Cr.Photog., Hon.M.Photog., API dbox@ppa.com Communications
jreznicki@ppa.com dgroves@ppa.com
DON MACGREGOR
Professional Photographers directors M.Photog.Cr., API SCOTT HERSH
of America DON DICKSON dmacgregor@ppa.com Director of Sales &
229 Peachtree St., NE, Suite 2200 M.Photog.Cr., CPP Strategic Alliances
Atlanta, GA 30303-1608 ddickson@ppa.com industry advisor shersh@ppa.com
404-522-8600; 800-786-6277 KEVIN CASEY
FAX: 404-614-6400 SANDY (SAM) PUC’ kcasey@ppa.com J. ALEXANDER HOPPER
www.ppa.com Director of Membership,
M.Photog.Cr., CPP, ABI
spuc@ppa.com Copyright and Government
legal counsel Affairs
2008-2009 PPA board
Howe and Hutton, ahopper@ppa.com
president RALPH ROMAGUERA, SR. Chicago
*DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP
WILDA OKEN
M.Photog.Cr., CPP, rromaguera@ppa.com
Director of Administration
API, F-ASP PPA staff
woken@ppa.com
dcraft@ppa.com CAROL ANDREWS DAVID TRUST
M.Photog.Cr., ABI Chief Executive Officer LENORE TAFFEL
vice president candrews@ppa.com trustd@ppa.com Director of Events/Education
*RON NICHOLS ltaffel@ppa.com
M.Photog.Cr., API SUSAN MICHAL SCOTT KURKIAN
rnichols@ppa.com M.Photog.Cr., CPP, ABI Chief Financial Officer SANDRA LANG
smichal@ppa.com skurkian@ppa.com Executive Assistant
treasurer slang@ppa.com
*LOUIS TONSMEIRE TIMOTHY WALDEN CAMERON BISHOPP
Cr.Photog., API M.Photog.Cr., F-ASP Director of Publications *Executive Committee
ltonsmeire@ppa.com twalden@ppa.com cbishopp@ppa.com of the Board
“Melancoly” by Joseph and Louise Simone
12 • www.ppmag.com

14. folio| Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sample of
award-winning photography by PPA members. The Loan Collection is a select group of some 500
photographs chosen annually by the PPA print judges from more than 5,000 entries.
JIM CARPENTER ©Jim Carpenter
Jim Carpenter, CPP, of
Gitchells Studio, Inc. in
Charlottesville, Va.,
captured “Crayola Cafe” as
a self-assignment after
noticing the colorful umbrellas
from the highway. He got
permission from the University
of Virginia to climb onto a
roof, where he snapped the
image with a Fujifilm
FinePix S2 Pro digital SLR
and 17-35mm Nikkor f/2.8 D
IF-ED AF-S Zoom lens,
exposing the frame for
1/250 second at f/8, ISO
400. He used Adobe
Photoshop only to remove a
crack in the concrete. “The
umbrellas are really that
color,” he says. This Loan
Collection image won a
Fujifilm Masterpiece Award.
14 • www.ppmag.com

15. Introducing New Square Albums and Books
to the Miller’s Line
With Innovative LayFlat Functionality and 18 Different Colorful Cover Options
www.millerslab.com 800.835.0603

16. ©Rich Newell
RICH NEWELL
While out photographing Italian architecture one afternoon, Rich Newell, M.Photog.Cr., of Photography by Eicher’s in Springboro, Ohio, noticed these three
gentlemen with a baby carriage. “What were they talking about so intently, and why was there a baby carriage?” Newell wondered. With an answer
in mind, Newell captured “I Told You to Use Protection” with a Fujifilm FinePix S2 Pro digital SLR and 80-200mm Nikkor f/2.8D AF ED lens,
exposing the frame for 1/250 second at f/4.5, ISO 100. “This was one of those real-life moments that you just couldn’t make up,” says Newell.
TINA TIMMONS
While showing a client some fine-art
pieces, Tina Timmons, M.Photog.Cr.,
of The Portrait Gallery in Frankenmuth,
Mich., came up with the idea for “It’s a
Girl Thing” when the client expressed
interest in a photo of purses. “My
mom was making photographic purses
and totes for gallery resale,” says
Timmons. With her Fujifilm FinePix S3
Pro digital SLR and 18-200mm Nikkor
f/2.8 G IF-ED AF-S DX VR lens,
Timmons ran down to the purse shop
and exposed the image for 1/125
second at f/5.6, ISO 800. She used
her own special combination of Adobe
Photoshop, LucisArt, BuZZ, and Nik
Color Efex Pro software to achieve the
final image.
©Tina Timmons
16 • www.ppmag.com

17. © Clay Blackmore
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interpret color in their own unique ways, and they’re all different. i1Display 2 ensures that what you see on
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XritePhoto.com
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X-Rite is a trademark of X-Rite, Incorporated

18. No digital SLR on the planet could take this shot. So we built one.
The Nikon® D3™ is here.
©2008 Nikon Inc.

19. See more of Sandro’s awe-inspiring D3™ images at stunningnikon.com/challenge.
The revolutionary new Nikon D3 will change the way you shoot sports or action of any kind. With a 12.1
megapixel FX-format CMOS sensor, 9 fps speed at full FX resolution, and incredibly low noise even at ISO
6400, the Nikon D3 means you’ll never again have to choose between blazing speed or brilliant image
quality, particularly in low light situations. In the words of Nikon Pro Sandro, “There’s nothing more I
could possibly have asked of this camera. I’m absolutely blown away.” The Nikon D3. Do the undoable.
Brainerd Int’l Raceway. Dusk. Turn 8. 1/5000 of a sec. f/4 ISO 6400. NIKKOR® 14-24mm f/2.8 Lens.

20. CONTACT SHEET
Eye
What’s New, Events, Hot Products, Great Ideas, Etc.
storm
of the
BY JEFF KENT
All images ©Jim Reed

21. For the better part of two decades, Jim Reed orologically it’s a battleground for atmos-
has lived on the edge of a tempest. That’s pheric conflict.”
not a metaphor. Reed is a world-renowned From a photographic perspective, Reed
storm chaser and award-winning weather relishes the opportunity to interact with
photographer who has witnessed the fury of nature and produce jaw-dropping
countless floods, blizzards, tornadoes, and “atmospheric portraits.” From a social and
hurricanes. His work has appeared in environmental perspective, he enjoys
National Geographic, Nikon World, The knowing his work can affect our perception
New York Times, Reader’s Digest, and Time, of nature. “I am convinced that we’re
and the Web sites of the National Oceanic moving into a period of increased frequency
and Atmospheric Administration and the of harsh weather challenges. I’ve learned
World Meteorological Organization. Reed that if you are not prepared, not engaged
is also the author of “Storm Chaser: A Pho- with nature, there will be traumatic results.
tographer’s Journey,” winner of widespread Photography plays a critical role in helping
critical acclaim. people realize what’s going on around them,
Reed’s career began in Los Angeles as a and motivating them to learn to adapt.”
filmmaker and writer, working on a variety
of commercial projects. But his childhood To see more of Jim Reed’s weather
fascination with weather began to reassert photography, and for information on
his book, “Storm Chaser,” visit
its pull, as televised coverage of severe www.jimreedphoto.com.
weather became more immediate, and he
began shadowing weather researchers.
Well before the movie Twister thrilled
audiences with the tumultuous life of
storm chasing, Reed had secured a niche
documenting extreme weather. In the early
’90s, with a spate of severe weather lashing
across the country, Reed turned his focus to
the skies full time. While everyone else
was running for shelter, he stepped into
the maelstrom.
Reed moved from Los Angeles to
Wichita, Kan., in 1992 and set up a weather
photography operation. He chases storms,
journeys to major weather events, and sells
his images to the media and stock and fine
art houses. “Kansas is amazing because of
how energized people are in terms of talking
about these life-changing storms,” says
Reed. “And Kansas is at the geographic
center of the United States, and as the
crossroads of weather patterns, mete-

22. CONTACT SHEET
cabin on the property, and to partially restore
Greenspace
All images ©Chris Lommel
a fieldstone farmhouse in another section. And
there’s always the ongoing work of planting,
weeding, mulching and maintenance.
The cycle begins in winter, when
Portraiture Lommel seeds some 40 flats with annuals,
thrives in Chris leaving them to sprout under the grow lights
in his basement. When the frigid Minnesota
Lommel’s garden
winter eases into early spring, Lommel
BY STEPHANIE BOOZER moves the flats to a greenhouse. Memorial
Day marks prime planting time, and friends
and family come to help with the task.
“There’s always something to do in a
garden,” says Lommel, whose mother, too,
tends to the gardens in the growing season,
putting in more than 30 hours a week. “It
really is a labor of love, designing and creating
things outdoors. I’m fortunate that I can
work in both areas that I love so much.”
See more of the Lommels’ landscape and portrait
work at www.chrislommelphotography.com.
For Chris Lommel, M.Photog., CPP, of Chris circle the ponds. “The kids have a great time
Lommel Photography in Big Lake, Minn., feeding the fish and playing in the yard. I can
“going green” is more than a buzz word. His capture kids just being themselves.”
4,000 square-foot home and studio sits on Caring for a sizeable garden takes much
two-and-a-half acres landscaped into idyllic time and manual labor, which Lommel was
settings for portraits, the culmination of his feeling acutely in 2001, when he learned he
love of both photography and landscape design. had multiple myeloma. Lommel immediately
“I love being in tune with nature and the began an aggressive campaign of treatment,
evolution of things,” says Lommel, who works including intense chemotherapy and,
alongside his wife and high school sweetheart, eventually, a stem cell transplant. Recovery
Kim. “My photography reflects that, too, meant a year-long hiatus from the studio
because I’m always trying to grow and change.” and his beloved garden, and another two
The Lommels planted the garden’s first years of working part time.
seeds in 1995, and it’s been sprouting in new His family, members of the Rotary Club and
directions ever since. In 1999, they installed others in the Lommel’s community tended
water features, a pond 50-feet in diameter, the grounds, while photographers in the
and a smaller pond that runs into a rocky area volunteered time in the studio to keep
creek bed with a series of waterfalls. his business going.
“It’s a great place to capture candid photog- “Last summer, the doctor said I’m cured
raphy with the kids,” says Lommel. Conditioned until proven otherwise, so we’re back to
by Lommel’s hand-feeding, the Koi and adding to the landscape,” says Lommel. He
goldfish follow alongside visitors as they plans to add a rustic floor and roof to the log
22 • www.ppmag.com

23. PHOTO BOOKS
Tell your story with a Photo Book from Mpix. Our new Custom Hard Covers give
you complete freedom to add vibrant, colorful images to the front and back of
your book. Now your story starts before you even reach page 1.
TX.
Image courtesy of Sallee Photogaphy, Dallas,
Visit www.mpix.com to see our full line of photographic and press products.

26. CONTACT SHEET
Copyright help is a click away
How photographers are using the PPA Copyright Kit
to protect their intellectual property BY MAUREEN COGAN, CPP
If you want to protect your copyrights, PPA’s we stamp a copyright notice on our images,
Copyright Kit will show you how. Prepared and what constitutes copyright violation. The
by the PPA Copyright and Government brochure accompanies every order we deliver.
Affairs Department, the kit is an exclusive It’s not difficult for consumers to scan,
service for PPA members. Formatted as a copy and enlarge prints, but if we educate
40-page downloadable PDF file, the kit our clients, we can stem unintentional
includes clear explanations of copyright copyright violation.
laws; steps to take to protect your rights; At DeMartini Photography, in San
filing how-tos; interactive, printable U.S. Diego, Calif., Christie DeMartini goes over
Copyright Office forms; sample usage contracts with each client, highlighting key
licenses; model release forms; copyright points, including her copyright to the
transfer contracts; and more. images, and asks the client to initial each
Our company, MoCoPhoto, incorporated point. She also inserts a PPA-supplied
the information and forms in the kit into a copyright notice in each order. Further, she
brochure for clients that explains our legal embeds her copyright in the metadata of
copyright over the images we create, how copy- each digital image file, and clearly marks it
right protection is vital to our business, why on every image on her Web site.
“I market to a clientele who appreciate
fine art,” says Vanessa Ard, of Vanessa’s The back of every print that leaves MoCoPhoto
©Maureen Cogan is stamped with a copyright notice (left). Cogan
Photography in Ellicott City, Md. She
encloses brochures on copyright info with every
screens clients and educates them during order (above).
their initial consultation. She uses projection
rather than paper proofs, and only rarely
agrees to post a lo-res Web gallery online, register images of celebrities or singular
and then for a limited time. Her final prints events that might be widely used.
are textured and mounted, which both “My advice is to be as careful as you can
raises their perceived value as fine art and with your images,” says Mecey. “But I think
makes copying them virtually impossible. losing sleep over thinking someone may be
At Mecey Enterprises, Inc. of Beverly copying or using one of your images
Hills, Calif., most of David Mecey’s images without permission is a no-win situation.
are made for limited use in catalogs or Restrict the use of your images, and always
brochures, so he doesn’t usually register get it in writing."
them with the U.S. Copyright Office.
Instead, Mecey writes the terms of the
client’s usage of his images into every job Maureen Cogan, CPP, owns MoCoPhoto in
proposal, and reiterates the terms in every Columbia, Md. (www.mocophoto.com).
invoice. He clearly states that the client is
To obtain a free Copyright Kit, PPA members
buying usage rights for a limited time and
can visit www.ppa.com, click on the
purpose only, and that ownership of the Copyright tab on the left, and select
photographs remains his. He does formally Copyright Downloads.
26 • www.ppmag.com

27. Smart
Transceiver
NEW PocketWizard PLUS II
Triggers your flash, camera
or both wirelessly from up to 1,600 feet away.
Auto-Sensing Transceiver Technology
Automatically Transmits or Receives for
faster, easier, carefree wireless triggering.
Auto-Relay mode
Wirelessly triggers a remote camera
and a remote flash at the same time.
Fast Triggering Speed
Triggers cameras and/or flash units
up to 12 frames per second.
Digital Wireless Radio Technology
Four 16-bit digitally coded channels
provide the world’s best
triggering performance.
The Plus II joins Profoto, Dyna-Lite, Profoto, Norman, PocketWizard Sekonic
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9 1 4 - 3 4 7 - 3 3 0 0
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28. CONTACT SHEET
ESSAY
Led by
passion
“When you’re truly excited about
your work, your clients will
see it … and believe in it, too.”
BY DAVID MCKAY, CPP
Pricing wars, retail giants, and a shaky economy
are only a few of the reasons why niche mar-
keting your art is crucial to your studio’s success.
To attract clients who want art rather
than cookie-cutter mediocrity, your work
needs to be fresh and unique, and capture ©David McKay
28 • www.ppmag.com

29. the imagination. The market is ripe for is uniquely yours, your competition isn’t with we took on every kind of photography, we’d
innovation that’s driven by artistic passion. other photographers, it’s with a value system. devalue our work.
If your business is known for doing a certain We don’t do portraits in the park like Be who you were created to be, a true
type of portraiture (ours is wall decor in brown some photographers in our area, and, yes, artist who lives with passion and purpose,
tones), and nobody can match your quality, we lose a few clients when we say no. The and you will succeed in your chosen career.
your marketing should attract clients who want clients we do attract know what we’re going McKay Photography is in El Dorado Hills,
your work and expect to pay a premium for to do for them and how much it will cost. If Calif. (www.mckayphotography.com).
it—we have wealthy clients, but we also have
clients who save up to purchase a McKay.
Start by following your passion and listen
to your inner voice. When you’re truly
excited about your work, and you know it’s
valuable artistically, your clients will see it in
your body language and believe it it, too.
Others may try to imitate your style, but
nobody can duplicate the passion you put into
your images. Others are trying to imitate our
brown-tone style, but clients tell us that their
work just doesn’t have the depth and emotion
of our portraits. When you create art that
©David McKay
April 2008 • Professional Photographer • 29

30. Collages.net
Albums Make You and Your Clients Look Good.
©2008 Collages.net Inc. All rights reserved. Photos ©2007 April Rocha Photography and Boucher Photography.

31. Why Choose Collages.net’s Print and Bind Album Solution?
Quality: Each album is carefully handcrafted and
meticulously reviewed. You can be confident that
Collages.net will deliver you nothing less than a
perfect product – every time.
Innovation: Collages.net developed an innovative
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32. Have you always dreamed of seeing your work on the cover of a national magazine?
Here’s your chance! Beginning March 1, 2008, submit your photographs for an
opportunity to be featured on the cover of Professional Photographer.
Contest Rules & Judging: Images will be submitted must be original and previously un- How to enter: Go to www.ppmag.com to
judged on technical and artistic merit. Helping published, and you must have written releases enter. Only digital files will be accepted. Print
Professional Photographer magazine editors on file from any subjects pictured in the image. images and e-mailed images will NOT be
choose the best entries will be guest judge accepted. Upload your electronic images to
Helen K. Yancy, M.Photog.M.Artist.MEI.Cr.Hon. Prizes: In addition to landing the cover of a www.ppmag.com.
M.Photog., CPP, F-ASP, Hon. F-ASP, the chair- 2008 edition of Professional Photographer, the
man of PPA’s Print Exhibition Committee. winner will be awarded a selection of prizes Format/Specifications: Submit low-resolution
from among our cover photo contest sponsors, images only, in standard digital formats (.jpg,
You may submit as many images as you wish, Bogen, Canon, Kodak, Microsoft and Miller’s .pdf, etc.). Images should be 525x700 pixels;
provided they are representative of the work Professional Imaging. Prizes will also be file size can’t be more than 250k. A high-reso-
you sell to your clients. What we’re seeking awarded to 2nd-, 3rd-, 4th- and 5th-place win- lution, print-quality version (300ppi at 9x12
are real-world examples of portrait, wedding, ners, and as many as 25 entrants will receive inches) must be available for each image.
commercial and event photography. All work prizes for honorable mention.
GO TO PPMAG.COM TO ENTER
Submission deadline: Saturday, May 31, 2008

33. Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies
What I think
Allison Rodgers raises a
family of loyal clients
What do you wish you knew when you were first start-
ing out? I wish I had invested in studio management
software to manage the mass of information I gathered.
Once you develop a client base, one of the most
important things you can do is nurture that list.
You can’t do it with sticky notes.
What’s the biggest business risk you’ve ever taken?
In November 2005 we moved into a 3,000-square-
foot building with triple the rent of our previous
two-location setup. I wanted to get all of us into
one place so we could work as a unit with room to
grow. And guess what—we grew! We added
framing and three more employees. It was a big
risk, but it’s been so worth it.
What’s your deal breaker? When parents try to run
my child portrait sessions.
What’s the secret to running a successful photog-
raphy business? We always say that things change
every six months. We are constantly re-evaluating
and putting new things in place to make the
experience of Allison Rodgers Photography better.
You have to figure out what your clients’ needs are
and meet them. Go above and beyond. Create an
environment for your clients where they feel like
they’re the most important client you have. And,
most important, be generous with your time and
your talent. Being generous will help you create a
family of clients that will be forever loyal.
IMAGE BY ALLISON RODGERS
PHOTOGRAPHY
WWW.ALLISONRODGERS.COM
April 2008 • Professional Photographer • 33

36. PROFIT CENTER: WEB SITES
AN-NE Award winners use smart Web design Braniff ’s original site was elegant enough
to show off their unique style and personality. with its featured black-and-white images and
traditional style, “But it wasn’t all of me,” she
BY ANGELA WIJESINGHE says. “My work had changed enough that I
Online &
needed a fresh look, a more complete
portfolio, and more information about
A LOOK AT TWO GREAT myself in a new blog.”
STUDIO WEB SITES
on your mind
Braniff arranged her online galleries to
spotlight bright, fun photos, caught-in-the-
act poses and location shots. People find a
wealth of portrait ideas on the site, and
often come in with requests for specific
poses and styles they’ve seen there.
“Your Web site is terrific!” That’s what Farrah about www.portraitsbywendy.com, the Building on a gray background, Braniff
Braniff heard when her recently overhauled second AN-NE Web winner. “I looked at lots designed the entire Web site in Photoshop,
Web site, www.farrahbraniff.com, landed of photography sites and saw the same stuff. adding swatches of various colors and
one of this year’s two PPA AN-NE Marketing I wanted to be different,” says Rouleau. textures, then dropping in images and text.
Awards for Best Web Site. Braniff is the The AN-NE awards recognize creative and On her Portfolio page, this background sets
owner of Farrah Braniff Photographs in effective marketing strategies and campaigns. off the filmstrips of images showing various
Houston. The goal of the site redesign, she Farrah Braniff recalls a saying she once styles and categories. An image mouseover
says, was to “mirror what we do, our heard, “The only thing that nobody has but
personalities, our studios, and our work.” you … is you.” She wanted her site to convey
Wendy Rouleau, owner of Portraits by her unique style and personality through Farrah Braniff needed a fresh look to reflect the
changes in her work. She designed the site
Wendy in Buford, Ga., also heard rave reviews both words and images. herself and hired a programmer to make it work
as she envisioned.
©Farrah Braniff
36 • www.ppmag.com

38. PROFIT CENTER
draws a circle around the frame and brings clients, which they in turn can send to “We believe our studio space helps define
up the image category, such as family. A friends. “It’s just one more avenue to reach who we are, that it’s part of the experience,”
click takes you to that gallery. The look is people,” she says. she says. The studio is located at the top of a
reminiscent of a modern scrapbook. Braniff was able to design the site herself, staircase in an old brick building in historic
Big and bold, Braniff ’s images explode but she did hire a programmer to do the Buford, Ga. First-time visitors don’t know
onto the screen throughout the site. Wanting coding for all the interactions. Web sites with what to expect as they climb the stairs, but
the images to make an impact from the unworkable links and unsophisticated features their first word upon entering is usually, “Wow.”
opening slideshow, she conceals most of the are worse than not having a site. After all, Images of the space capturing its archi-
site’s navigation tools until you roll over them. Braniff says, “Your first impression needs to tectural features appear throughout the site.
A small link takes you to pricing and pack- be outstanding to get clients to call.” The tabs are images in slide mounts, and
aging information at the bottom of each gallery. Wendy Rouleau hired a talented firm to a postage stamp leads to the contact us page.
Braniff believes you should tell people what transfer her ideas to her Web site. She The site has short movies geared to elicit
they want to know up front, which in this wanted to control the design, yet she knew parental emotions, and a studio blog. Rouleau
case also helps screen out price shoppers. the firm would add the polish to inspire expanded her online marketing to include
Throughout the site, the vibrant text clients’ trust in her abilities. Rouleau wanted handsomely designed e-mail promotional
looks handwritten. Headers include “Rave her site to be her main marketing tool. campaigns with links to the complimentary
Reviews” (testimonials), “True Love” (wedding “I don’t want to imply that I’m something pages on the Web site. It’s such a fluid
gallery), and “Me, Myself, and I” (Braniff ’s I’m not. I want clients to want my style of transition that Rouleau also won a PPA
bio). “I wanted the site to not only look photography and not to be surprised when AN-NE Marketing Award for Best E-mail
personable, but sound personable,” she says. they come,” says Rouleau. Marketing Campaign.
Braniff ’s frequently updated blog contains Rouleau looked at sites in several industries. Both sites illustrate the power of smooth
both personal and professional information. She “I saw what I liked and what was possible … transitions, polished graphics, and person-
also uses it to display post-session images for I didn’t have to stay with a template,” she alized text, yet they reflect the unique
explains. And it helped her define the qualities qualities of each studio. �
that make people remember and return to it.
The Portraits By Wendy site incorporates wow- Opening Rouleau’s home page is like
inducing images of the studio itself, creative Angela Wijesinghe is a PPA staff marketing
navigation tabs, and short movies to elicit emotions. peeking at her studio through a keyhole. specialist.
©Wendy Rouleau
38 • www.ppmag.com

40. PROFIT CENTER
Having a Web site is no longer an option in
E-MAIL MARKETING
business. Besides showing off your beautiful BEST PRACTICES
images, you can make your site pay off big time. E-mail marketing these days isn’t as
BY KAMMY THURMAN simple as putting together a list and
sending e-mails. Internet service providers
Tap the power
and spam filters use sophisticated
techniques to protect users from spam. If
you don’t follow the rules or know what
to include in your text—like an opt-out
option and your contact information—
YOUR WEB SITE CAN BE AN AUTOMATED MARKETING MACHINE your mail might never find the inbox, or
worse, you could be blacklisted as a
spammer. Asking your readers to add
With some 77 percent of American adults on beautiful images; now it’s time to fully tap the your e-mail address or domain to their
the Internet, it’s more than important to have power of the Web as a marketing machine. address book or allowed-sender list will
an effective Web site. It’s necessary. “If you’re Statistics show that fewer than 1 percent also help you avoid their spam filter. You
not on the ’Net, it’s as if you don’t exist,” of Web surfers ever return to a site unless want e-mail recipients to see you as a
says marketing expert Ilise Benun. “It’s not they have a special reason. How can you give welcome visitor to their inbox, not a
just the tech-savvy who expect you to have them a reason to return? nuisance. Reputable automatic responder
a Web site, these days it’s almost everyone.” Here are five pointers on boosting the services can guide you in adhering to
Professional photographers have risen marketing power of your site by as much Internet requirements for responsible e-
to the challenge with sophisticated sites and as 72 percent: mail practices. If you prefer to try it on
your own, enter “e-mail marketing best
practices” in your preferred search engine
and do your homework first.
—Joan Sherwood, Senior Editor
• Use your site to begin a relationship.
On average, a mere 2 percent of the prospects
who visit a studio’s site will decide to book a
session right then and there. Most visitors
are researching, trying to get a feel for the
photographer behind the site and looking
for a good reason to call you—or not.
Once they leave, you have no way to
continue the relationship with 98 percent of
your visitors, who could be perfectly wonderful
clients. Since most people need to hear from
a marketer seven to 10 times before buying,
you need to find a way to keep in touch.
On every page of your site, put an e-mail capture form “above the fold” where people are sure to see it. • Give potential clients a good reason to
40 • www.ppmag.com

41. Serious Photography Demands a Serious Lab
Red hot photograph by Michelle Reed.
Michelle is the owner of Michelle Reed Photography.
She is also a long-time CPQ customer and our most
recently featured photographer here at cpq.com.
Please visit our web site today to see more of Michelle’s
exciting work and to see why such incredible
photography finds a comfortable home with CPQ.
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800.537.8399 Call us or visit our website to sign up for
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42. PROFIT CENTER
sign up for your newsletter, invite her to seven to 10 messages over a 30-day period
request a specific article, report, photography after the first visit, followed by regular
and posing tips or a free premium, and say contact at least once a month.
you’ll give her your monthly newsletter, too. You can use these messages—also called
That’s two valuable items in exchange for auto-responders—to talk about how the cus-
her name and address. tomer will benefit from your services, to deliver
You’ll want to have an e-mail management a short e-course or your e-newsletter, and
program on your Web site, where visitors can seasonal promotions. Just don’t make them
leave their contact info and ask questions. Don’t all sales messages—remember the content
have her just send you an e-mail to request needs to be high-value (80 percent high-
the premium, or you’ll waste gargantuan value to 20 percent selling is a healthy mix).
amounts of time sending out premiums to • Put your message-writing self on
one person at a time. I suggest subscribing to autopilot. Schedule the time to sit down and
an e-mail capture system like Constant write your messages once a month, or even
Offer something of value to the prospect in Contact (www.constantcontact.com) or AWeber once a year, choose how often you want
exchange for their contact information. It’s a
good idea to do this for each product line, as (www.aweber.com). I find AWeber easy to use, them sent, then forget about them and
you’ll have a different target market for each. and it has effective safeguards against spam. concentrate on your photography.
You can create a form for your site to cap-
return to your site. I’ve seen many top-notch ture prospects’ contact info, which is then
sites with absolutely gorgeous images that show housed on the capture provider’s server.
the photographer’s best work. But what about (AWeber has tutorials that show you how to
the potential client? create the forms.) A few minutes after your visi-
Put yourself in her shoes. She’s been tor fills out the e-mail form, she receives your
checking out the sites of studios in her area premium and a thank-you note automatically.
to see which best fits her needs. After looking • Stay in touch with prospects and cus-
at a dozen or two other sites, what will tomers. It’s one of the most important aspects When someone gives their e-mail address, you
receive a notice with all the info you ask for in the
motivate her to call you instead of another of marketing, and also one of the hardest. A e-mail capture form. This is the info we capture on
studio with a beautiful site? You have to program like AWeber can simplify the task. our contact page. You now also have their snail
mail info so you can send direct mail promos, too.
offer something that will elevate your value You can write multiple messages and store
over the others. As non-artistic as it sounds, them in the program until you want them
the something needs to be information, sent. A good timeline seems to be sending Statistics show that continued contact
enough useful information to make the viewer with site visitors brings them back again
comfortable with deciding to call you. and again, increasing sales by as much as 72
Our studio Web site routinely lands new percent. At that rate, isn’t it worth taking
clients who tell us they chose us because of all another look at the marketing opportunities
the information we provided. They feel they lurking within your Web site? �
know us by the time they call, and that gives
us the opportunity to differentiate ourselves Kammy Thurman is a direct-marketing
copywriter and consultant, and co-owner of
from our competitors in a number of ways.
Anchor Photography in Laurel, Mont. For
• Give high-value information in exchange We send premiums (free gifts) of interest to the more marketing strategies, read her free
for the potential client’s contact information; specific target market for each of our product “Photography Marketing Report: 15 Ways to
lines. These should all be created before offering Boost Your Marketing Return—Without
this is a marketing technique called reciprocity. them online, or you’ll spend a lot of time trying Increasing Your Marketing Budget,” at
Instead of asking your potential client to merely to catch up when people start requesting them. www.anchorcreative.com
42 • www.ppmag.com

44. TM
THE JOY OF MARKETING S A R A H P E T T Y, C P P
Branding is more than design and
decoration; it’s communicating your style to
the kind of clients you want to attract.
Stay true WHY BRAND CONSISTENCY IS CRITICAL
Your brand is conveyed in the unity of every- but your brand must stay true to your identity.
thing that identifies you, from your logo to Tim Walden, M.Photog.Cr., F-ASP, and
your photography to the look of your studio. Beverly Walden, M.Photog.Cr., of Walden’s of
In the years to come, you’ll update your studio Photography in Lexington, Ky., are experts
The Waldens are known for their elegant style
décor, see your photography evolve, and infuse in brand building. In their seminars they of family portraiture in black and white. Every
element of their marketing reflects this style.
your marketing campaigns with fresh elements, present proven strategies for branding and mar-
All images ©Walden’s Photography
keting that are applicable to studios of any size
and specialty. Let’s take a look at a few of them.
“I am less concerned that everyone likes
what I do as that they know what I do,” says
Tim Walden. When a studio has a well-defined
style, the Waldens say, and when people love it,
they’ll travel any distance and invest whatever
sum it takes to get it. The people who don’t
like their style will go elsewhere, and that’s
just fine with them. “The customer is always
right, but not everyone is our customer,” he says.
Narrowing your focus to a few specialties
and well-defined products helps your busi-
ness grow quickly. It doesn’t mean you have
to do just one kind of photography for the rest
of your life, just define what you do early on,
communicate it clearly, and be consistent.
“Every decision is a style decision,” says
Tim. The Waldens’ chosen style dictates how
they decorate their studio, what equipment
they purchase, and how they promote their
business. No fad will sway them from being

48. NEW WEBINARS (online seminars)
PPA and SMS are bringing education to you, and Plus, you can watch the archived
all you need is a computer and the Internet. Keep versions at your convenience. Just visit
watching your inboxes for information on live the Events section of PPA.com and click
business webinars about: on Webinars to reach:
ß Marketing ß Income Tax Strategies
ß Financial Planning ß Pricing for Profit
ß Managerial Accounting ß The Art of Pricelists
ß Top Performing Studios ß QuickBooks: Getting Started
ß Starting a Photography Business ß And more…
ß Business Basics
ß Sales
ß And more…
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With Carol Andrews, Ann Monteith and Sarah Petty Behind on your bookkeeping? Our
Now’s your chance to increase profitability and Bookkeeping Program can help! With
receive instruction on essential elements for competitive pricing and programs tailored to
business success (in both group settings and meet your studio’s individual needs, SMS can
one-on-one consultations). help ease your headaches and get your studio
ß June 9-11 off to a great start.
ß Call Eric Hathaway
800.339.5451, ext. 240
for more information.
Classes fill up fast…Register today.
Professional Photographers of America www.ppa.com | 800.786.6277

49. Professional Photographer P R E S E N T S Products, Technology and Services
What I like
Julia Gerace connects with
digital technology
What makes your workflow flow? Adobe Light-
room. I wasn’t sure shooting raw was worth the
hassle until I tried Lightroom. Now I love it.
What’s the best equipment investment you’ve
ever made? Photoshop. Until I went digital, I
outsourced tasks as simple as retouching a few
pimples. Now I feel like I can create, explore new
concepts, and learn to my heart’s content.
Little thing, big difference … My ExpoDisc. It’s
been great for getting accurate white balance in
some very odd lighting.
Has a piece of equipment ever changed the way
you approach photography? My Canon EOS
5D camera. The files are huge, and I’m not as
concerned about cropping into an image and
losing information.
Is there a non-photographic item that you’ve
adapted to your work? Makeup. I knew becoming
a certified makeup artist would be a great service
for my clients. A useful item for your studio is a
basic skin mattifier—a clear gel you apply if a
client’s face is too shiny.
What’s the one piece of gear they’d have to pry
from your cold, dead fingers? A reflector.
There is not one lighting situation where I
don’t use a reflector.
IMAGE BY JULIA GERACE
WWW.JULIAGERACE.COM
April 2008 • Professional Photographer • 49

50. ALBUM EPOCA. GORGEOUS QUALITY,
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51. {11 }
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7
8
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52. THE GOODS: PRO REVIEW
Canon improves the user interface, fills the size
gap and introduces a color calibration system
with its next-generation wide-format printers.
BY ELLIS VENER
Much improved
CANON IMAGEPROGRAF iPF6100
Canon’s first serious salvo in the wide-format
printer market came in 2006 with the
imagePROGRAF iPF5000, the iPF8000 and
the iPF9000 pigment ink printers. In my tests
All images ©Ellis Vener
with the iPF5000, print quality was excellent,
and despite the environs—a relatively dry
and pet-infested house—it never suffered
paper jams, clogged heads or ink dropouts.
But there were problems. The two-part
user interface was confusing; Canon’s generic
profiles for Canon brand papers were sub
par; there were problems with the roll feed
mechanism on many iPF5100 printers; and
the 17-inch iPF5000 and 44-inch iPF8000
models left a huge gap in output size.
Canon announced replacements for the
first iPF printers in early summer 2007, the
imagePROGRAF 100-series (iPF5100,
iPF6100, iPF8100 and iPF9100), which
would not have these problems and would
have new features as well.
I tested the new 24-inch iPF6100 and
found several welcome changes. Topmost
are the greatly improved user interfaces and
generic profiles, and the addition of the
GAROS plug-in for Adobe Photoshop CS3
to enable 12-bit-per-channel printing. Like
HP, Canon has also started to build in color
management features with the iPF printers.
The 100-series printers still use 12 Lucia
pigment inks: yellow, photo cyan, cyan,
The Canon GAROS plug-in for Photoshop CS3
enables 12-bit-per-channel printing and somewhat
simplifies color management in the output stage.
52 • www.ppmag.com

53. photo magenta, magenta, black, matte papers. And the iPF6100 uses ink sparingly. But calibration is not the same as having
black, photo gray, gray, red, green and blue. Print speed remains fast: a 16x24-inch, a built-in profiling system, such as the
With the exception of the blacks and two high-resolution, 16-pass, 12-bit per channel X-Rite i1 Color Spectrophotometer system
grays, the eight-color formulation remains print takes less than 10 minutes. in HP Z3100 printers. If you decide to use
unchanged. The gray, photo gray, black and One of the biggest headaches of printing papers other than Canon-brands, you’ll
matte black inks were reformulated to in-house is color management. The iPF 100 need to make your own profiles.
reduce bronzing type metamerism, lessen series incorporates a color calibration system The Kyuanos color management system
the appearance of “grain” in the deep designed to keep them working to factory spec- introduced in the 100 series is compatible solely
shadows and blacks (I never saw it in ifications. Normally, the calibration needs to with the Microsoft Vista operating system. I
iPF5000 prints), and make the prints more be done only once, at setup, but if you move don’t use Vista, so I can’t comment on it.
resistant to scuffing and scratching. the printer or change heads, it’s a good idea Ease-of-use is a critical factor in color man-
As in the first iPFs, there’s an active system to recalibrate the printer back to factory agement. As it now stands, the best way in
that automatically detects clogged and non- specs. There’s an added benefit for studios Photoshop to print is to make a dupe of the
firing nozzles. If it detects a problem mid- with multiple printers, even in different master image, convert the dupe to the destina-
print, it remaps the ink flow to another sizes: with all of the printers working at tion profile, sharpen for output size and media,
nozzle and clears the offender when the factory tolerance, they can share profiles for then go through the Photoshop print dialog,
print is complete, minimizing waste in time the same media and the prints will match. where you have to instruct both the Photoshop
and materials. With both matte and photo Canon rebuilt its generic profiles for Canon- printer dialog and the print driver not to apply
grays and blacks onboard, there’s no brand papers, which now include some fine additional color management steps. The process
downtime or expensive ink waste when you Hahnemuhle papers. Compared to my own is a distracting, time consuming, and somewhat
switch between matte and gloss/semi-gloss custom profiles, these new profiles are first rate. arcane art until you’ve mastered it.