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5. CONTENTS PROFESSIONAL PHOTOGRAPHER | FEBRUARY 2008
Features
74 DOUBLE VISION
Louise Botticelli’s booming
bicameral business model
by Jeff Kent
82 SHOT THROUGH
THE HEART
Marcus Bell throws heart and soul into
his photography, whether documenting
a wedding or creating fine art
by Stephanie Boozer
90 9TH ANNUAL
HOT ONE
AWARDS
Technology that
works for you
by Jeff Kent
68 COMMERCIAL: FLIP SIDE
Jason Lindsey forges
a commercial career
with a dual perspective
by Jeff Kent
IMAGE BY MARCUS BELL

6. 14 FOLIO
CONTENTS PROFESSIONAL PHOTOGRAPHER | FEBRUARY 2008 | WWW.PPMAG.COM
112
119
138
CALENDAR
PPA TODAY
GOOD WORKS
©Jason Lindsey
Departments
C O N TA C T S H E E T
20 Inspiration Sundance style
22 Irving Penn exhibition
24 Dutchess of Carnegie Hall:
Editta Sherman
28 Public lands and permits
PROFIT CENTER
33 What I think: Louise Botticelli
36 The joy of marketing
by Sarah Petty
40 Buying into books
by Kalen Henderson
42 Do more in less time and prosper
by Charles J. Lewis
THE GOODS
45 What I like: Kerry Brett Hurley
46 Pro review: Nikon D300
by Ellis Vener
54 Pro review:
Canon EOS-1Ds Mark III
by Ron Eggers
60 Lighting: In the studio
by Ed Pierce
64 Lighting: The Zeus System
by Ellis Vener
68 Commercial photographer Jason Lindsey of Champaign, Ill.,
is living proof of the value of having a dual perspective. His experience as an art director
and designer enhance every shoot, and his clients appreciate the difference.
ON THE COVER: Louise Botticelli photographed
Cameron, age 3, at her Setauket studio. The
image was captured using a Kodak DCS Pro Back
645 on a Contax body with a 140mm Zeiss lens,
exposed for 1/125 second at f/8. The image was
retouched in Photoshop, finished with Corel Painter,
and titled “Sailing the Seas of Imagination.”
6 • www.ppmag.com

10. P ROF E S S I ONA L
EDITORIAL
director of publications
CAMERON BISHOPP
cbishopp@ppa.com
senior editor art director/production manager
To market, two markets JOAN SHERWOOD
jsherwood@ppa.com
DEBBIE TODD
dtodd@ppa.com
manager, publications and
CATERING TO DISPARATE CUSTOMERS THE SMART WAY features editor
sales/strategic alliances
LESLIE HUNT KARISA GILMER
Thanks to the hospitality of family friends who own a beach home lhunt@ppa.com kgilmer@ppa.com
there, for the last 10 years I’ve been fortunate enough to vacation on editor-at-large sales and marketing assistant
a very lovely and luxurious little island near Charleston. The JEFF KENT CHERYL PEARSON
jkent@ppa.com cpearson@ppa.com
exclusive summer enclave is brimming with million-dollar houses
technical editors
and the wealthy vacationers who enjoy them. ANDREW RODNEY, ELLIS VENER
For years, the only place to buy groceries in the area was a mid- director of sales and strategic alliances
range, practical sort of chain store right off the island, where both SCOTT HERSH, 610-966-2466, shersh@ppa.com
western region ad manager
year-round residents and wealthy summer vacationers bought their BART ENGELS, 847-854-8182, bengels@ppa.com
milk—the kind of place where I normally shop, with a discount aisle eastern region ad manager
SHELLIE JOHNSON, 404-522-8600, x279, sjohnson@ppa.com
and half-price specials. circulation consultant
One summer we returned to find that a gourmet grocery had MOLLIE O’SHEA, moshea@ppa.com
editorial offices
been built right on the island. It’s the kind of “shoppe” that sells $45 Professional Photographer
imported olive oil. I couldn’t help but notice how the disposable 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A.
404-522-8600; FAX: 404-614-6406
income went flying when we visited the store for our freshly ground Professional Photographer (ISSN 1528-5286) is published monthly
dark-roast coffee. subscriptions
Professional Photographer
After check out, I glanced at my receipt. At the very bottom in P.O. Box 2035, Skokie, IL 60076; 800-742-7468;
tiny print was the name of none other than the mid-range grocery FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com
member services
store down the road. How clever. The owners had opened a luxury PPA - Professional Photographer
store directly targeting those monied vacationers, wisely choosing to 800-786-6277; FAX 301-953-2838; e-mail: csc@ppa.com; www.ppa.com
Send all advertising materials to: Debbie Todd, Professional Photographer,
keep the two brands separate.
5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509
Louise Botticelli, whom we feature this issue, has also embraced Subscription rates/information: U.S.: $27, one year; $45, two years;
$66, three years. Canada: $43, one year; $73, two years; $108, three years.
this separate but equal concept. After years at the helm of an
International: $39.95, one year digital subscription.
upscale portrait business catering to customers happy to fork over Back issues/Single copies $7 U.S.; $10 Canada; $15 International.
PPA membership includes $13.50 annual subscription.
big dollars for art, Botticelli opened a second, more accessible studio
Subscription orders/changes: Send to Professional Photographer, Attn: Circulation
that targets customers looking for more affordable portraits and Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468;
FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com.
other photographic services as well. She gave it a moniker of its own.
Periodicals postage paid in Atlanta, Ga., and additional mailing offices.
The way she and her team executed the expansion reinforces a Postmaster: Send address changes to Professional Photographer magazine,
P.O. Box 2035, Skokie, IL 60076
fundamental concept in professional photography: Your brand is
Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A.
sacred. Botticelli’s savvy in opening a wholly separate storefront Article reprints: Contact Professional Photographer reprint coordinator at
Wrights’s Reprints; 1-877-652-5295.
protects the desires and comfort of both clientele. Turn to her story
Microfilm copies: University Microfilms International,
on p. 74 to learn more. I 300 North Zeeb Road, Ann Arbor, MI 48106
Cameron Bishopp 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,
Director of publications 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
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. 7 Gallery Wraps 8
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©2008 Collages.net Inc. All rights reserved. Photos ©2008 Brett Chisholm Photography and TriCoast Photography.

12. chairman of the board CAROL ANDREWS
*MICHAEL GLEN TAYLOR M.Photog.Cr., ABI CAMERON BISHOPP
M.Photog.Cr.Hon.M.Photog., candrews@ppa.com Director of Publications
API, F-ASP cbishopp@ppa.com
mtaylor@ppa.com SUSAN MICHAL
Professional Photographers M.Photog.Cr., CPP, ABI DANA GROVES
of America smichal@ppa.com Director of Marketing &
directors
229 Peachtree St., NE, Suite 2200 Communications
RONNIE NORTON
Atlanta, GA 30303-1608 TIMOTHY WALDEN dgroves@ppa.com
404-522-8600; 800-786-6277
ABI, Qualified European
Photographer, M.Photog.Cr., F-ASP
FAX: 404-614-6400 twalden@ppa.com SCOTT HERSH
www.ppa.com Associate of the Irish PPA Director of Sales &
rnorton@ppa.com Strategic Alliances
2007-2008 PPA board industry advisor shersh@ppa.com
LOUIS TONSMEIRE MICHAEL GREEN
president Cr.Photog., API mgreen@ppa.com J. ALEXANDER HOPPER
*JACK REZNICKI ltonsmeire@ppa.com Director of Membership,
Cr.Photog., API Copyright and Government
jreznicki@ppa.com legal counsel
DON DICKSON Howe and Hutton, Affairs
M.Photog.Cr., CPP Chicago ahopper@ppa.com
president-elect
ddickson@ppa.com
*DENNIS CRAFT WILDA OKEN
M.Photog.Cr., CPP, PPA staff Director of Administration
API, F-ASP SANDY PUC’ DAVID TRUST woken@ppa.com
dcraft@ppa.com M.Photog.Cr., CPP, ABI Chief Executive Officer
spuc@ppa.com trustd@ppa.com LENORE TAFFEL
vice-president/treasurer Director of Events/Education
*RONALD NICHOLS RALPH ROMAGUERA, SR. SCOTT KURKIAN ltaffel@ppa.com
M.Photog.Cr., API M.Photog.Cr., CPP, API, F-ASP Chief Financial Officer
rnichols@ppa.com rromaguera@ppa.com skurkian@ppa.com *Executive Committee
12 • www.ppmag.com

13. Expect More
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When you look good we look good. Don’t settle for less.
www.millerslab.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.
©Tim Ostermeyer
TIM OSTERMEYER
“The entertainment value of this image is that there are four long telephoto lenses with
minimum focal length of more than 10 feet to photograph polar bears in the distance, but this
bear was less than 3 feet away,” says Tim Ostermeyer, M.Photog.Cr., CPP, of Ostermeyer
Photography in Allen, Texas. With a Canon EOS A2E 35mm camera and 100-400mm Canon
f/4.5-5.6L IS USM EF lens, Ostermeyer exposed “Polar Paparazzi” for 1/125 second at f/8,
ISO 400, on Fujicolor NPH 400 Professional film. Though the image didn’t originally merit,
“The late, great photographer and wonderful person Buddy Stewart asked the judges to
reconsider,” says Ostermeyer. “He saw the humor and challenges of getting this photograph.”
14 • www.ppmag.com

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16. ©Mollie Isaacs
MOLLIE ISAACS
Hired by an architect to photograph a series of model homes in the Outer Banks of North Carolina, Mollie Isaacs, M.Photog.MEI.Cr., of F2
Photographic Design in Kill Devil Hills, N.C., created “Simple Sophistication” for the client’s Web site. Shooting with a Canon EOS 20D digital
SLR and 20-35mm Canon f/3.5 USM EF lens, Isaacs exposed the frame for about 1 second at f/22, ISO 400. Isaacs performed minor
retouching, tinting the back window soft pink and removing distortion caused by the wide-angle lens.
©Don Monteaux
DON MONTEAUX
“Contrary to popular belief, this image was not a composite made in Photoshop,” says Don Monteaux, M.Photog., CPP, of Virginia Beach, Va.
While driving toward Hatteras, N.C., Monteaux saw this gaggle of geese walking single file along the dunes. He captured “Grounded” with a
Canon EOS-1D Mark II digital SLR and 24-105mm Canon f/3.5 II USM EF lens, exposing the frame for 1/250 second at f/8. The only digital
retouching Monteaux performed was minor enhancement of the sky in Adobe Photoshop.
16 • www.ppmag.com

18. 8,762 miles to the South China Sea.
179 feet up a limestone cliff.
4 NIKKOR lenses.
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0 chances to re-shoot.
©2007 Nikon Inc.

19. See Beth Wald’s killer shots at stunningnikon.com/challenge
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20. CONTACT SHEET
What’s New, Events, Hot Products, Great Ideas, Etc.
Inspiration
Five-star accommodations
meet top flight talent at
the 2008 Sundance
Photographic Workshops Sundance style
©Eddie Soloway

21. ©Brenda Tharp
The popular Sundance Photographic Workshop
kicks off the year with a series of travel,
landscape, nature and portrait photography
classes in three seasonal sessions. Set amid
the breathtaking scenery of Utah’s Sundance
Resort, the Workshops are headlined by
award-winning photographers Nevada
Wier, Eddie Soloway, Bobbi Lane, Tony
Sweet, Brenda Tharp and Tom Bol.
Founded by actor and environmentalist
Robert Redford in 1969, the Sundance Resort
lies in a canyon in the shadow of scenic Mt.
Timpanogos, about an hour’s drive south of
Salt Lake City.
With classes sizes capped at 15 students,
there’s plenty of opportunity for one-on-one
instruction. Between sessions, students are
free to roam the grounds of the five-star
resort, one of Forbes magazine’s Top 10
Coolest Resorts.
The spring Workshops, May 7-11, emphasize
travel and landscape photography. The courses
are: “Photographing on the Move” with Nevada
Wier, and “A Natural Eye” with Eddie Soloway.
The summer Workshops, August 25-29, offer
©Eddie Soloway
tutorial-style training in nature and portrait
photography. The Workshops are: “Exploring
Your Personal Vision” with jazz performer
turned nature photographer Tony Sweet, and
“Portraits on Location” with commercial
photographer Bobbi Lane. The fall Workshops,
November 5-9, focus on travel and adven-
ture sports photography. Outdoor and travel
photographer Brenda Tharp presents “The
Art of Travel Photography: Capturing the
Essence,” and Tom Bol shares his sports and
environmental portrait skills in “People in
the Landscape.”
Evenings include a reception and dinner
with presentations by the instructors. Tuition
is $1,100 with one scholarship available per
workshop. Meals and lodging are not included.
For more information, visit
www.sundanceworkshop.com.
February 2008 • Professional Photographer • 21

22. CONTACT SHEET
Close encounters to the world, then Penn has succeeded
admirably. He enters into hard negotiation
Six decades of Irving Penn’s work at the Morgan Library & Museum with every personality that stops in front of
his camera and, very often, he wins.”
New York City’s Morgan Library & Museum His compositions not only helped define the More than one-third of the exhibition com-
presents an exhibition of modern photography, look of the magazine, but established a ground- prises works from the 1940s, images that por-
showcasing its first major acquisitions in this breaking aesthetic for modernist photography. tray the evolution and maturation of Penn’s
field, through April 13. “Close Encounters: “Irving Penn’s incisive portraits illustrate style. In 1947, he began photographing subjects
Irving Penn Portraits of Artists and Writers” a rich and defining period in this city’s seated on or before a draped rug, subjects such
features 67 portraits of influential artists, cultural history,” says Charles E. Pierce Jr., as Salvador Dalí, whose persona generally
authors, and performers of the 20th century. director of The Morgan Library & Museum. dominated whatever milieu he appeared in.
Acquired in 2007, this rare collection of gela- “Many of Penn’s subjects are artistic and Yet on Penn’s rug, Dalí, if still stylish and
tin silver prints is an extraordinary visual record literary icons whose own drawings, musical defiant, looks caught.
of some of the greatest creative minds of the scores, manuscripts, and books are In 1948, Penn defined a corner of his studio
period, including T.S. Eliot, Truman Capote, represented in the Morgan’s growing with movable walls, and directed sitters to
Arthur Miller, Tennessee Williams, Aaron twentieth-century collections.” inhabit the restricted space. Among these
Copland, Richard Rodgers, and Oscar “Each of these works is a vivid record of portraits is one of Marcel Duchamp, svelte
Hammerstein II. the encounter between Penn and his subject,” and elegantly posed, who becomes a tall line
A resident of New York City for more than says guest curator Peter Barberie. “If a funda- that echoes the lines of the corner itself; and
50 years, Penn (b. 1917) began his career as a mental task of portraiture is to capture sub- Georgia O’Keeffe, who as Alfred Stieglitz’s
photographer in the 1940s at Vogue magazine. jects differently than they present themselves wife and model was acclimated to being
photographed, looking wary standing unposed.
© Irving Penn, gelatin silver print from an edition of 14, 1984
In the 1950s, Penn begin to capture subjects
up close, sometimes cropping their forms to
accentuate the two-dimensional design of
the composition or filling a large frame solely
with a bust or head. In Penn’s iconic 1957
image of Picasso, the artist’s face is cloaked
in the shadow of his wide-brimmed hat, his
body by a dark overcoat, leaving only the
piercing stare of a single illuminated eye to
glare from the center of the photograph.
Penn is also known for his celebrated
group portraits, such as the 1967 photograph
“Rock Groups,” picturing Janis Joplin and
Big Brother and the Holding Company
alongside the Grateful Dead in San Francisco,
both groups on the brink of frenzied stardom.
If you go to just one exhibition this year,
make it “Close Encounters” at the Morgan.
For more information, go to
www.themorgan.org
Arthur Miller, New York, 1983
22 • www.ppmag.com

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24. CONTACT SHEET
The Duchess of
Carnegie Hall
Photographer Editta Sherman is legendary
Recently, 95-year-old portrait photographer Editta Sherman had
little time to talk with a reporter on the phone. She was busy sav-
ing Carnegie Hall of New York, her home of 61 years. At an up-
coming gathering, she plans to auction some of her famous photo-
graphs and sell copies of the book “Facades,” a 1978 collaboration
of Sherman and New York Times photographer Bill Cunningham,
Photo of Editta Sherman by Roberta Ciacci
and donate the proceeds to the hall’s legal defense team.
©Editta Sherman
This isn’t a struggle to save Carnegie Hall Today the youthful faces of Golden Age
from demolition, which she helped fight in celebrities gaze from frames covering the
the 1960s when the city bought the 117-year- walls of Sherman’s studio, where the decades-
old property. This time it’s Carnegie Hall vs. old sign, “Celebrity Camera Portraits,” still
Carnegie Hall. The venue’s management hangs on the door. “Most of the people I
intends to evict tenants who live above the photographed are dead now,” she laments.
concert hall, many of whom, like Sherman, The dramatic lighting in those portraits is
have been there for decades. They refuse to due in part to the graceful north light flooding
go quietly. Tenants in some 50 studios have in through a skylight 40 feet overhead. “I
filed a lawsuit. used to rent out my studio to Vogue magazine,”
Carnegie Hall studio apartments have been she says. “It was in demand at that time,
home to such arts luminaries as Isadora thanks to the skylight. It was annoying,
Duncan, Marlon Brando, Leonard Bernstein because I had to stop my photography, but it
and Martha Graham. In 1947 Sherman moved paid well and I had these five children to
in with her ailing husband (who died in 1954) raise so I needed the income.” Some of the
five children and an already antique 8x10 photographers turned the camera on her
camera, with which she made portraits. (above), as evidenced in numerous pictures
Back then the studios were advertised as displayed in the studio, often wearing
places where artists could live and work for vintage clothes once worn by Gloria
a philanthropically motivated low rent. In Vanderbilt’s mother. Andy Warhol both
her five decades above the rapping of tap photographed her and made a short film of
shoes and the discord of orchestral tuning, her at work in her studio.
Sherman photographed inventors, poets and Sherman had learned photography from
writers, including Carl Sandberg and Pearl her father, Italian-born portraitist Nunzio
S. Buck, and Broadway and Hollywood Rinalo, who had immigrated to New
stars, among them Yul Brynner (left), Tyrone Jersey. By age 10 in 1922, Sherman was
Power, Boris Karloff and Henry Fonda. working with her father in the darkroom,
24 • www.ppmag.com

25. In her five decades above the rapping of tap shoes
and the discord of orchestra tuning, Sherman
photographed inventors, poets and writers.
and by 16 was helping him photograph moved in, he dubbed her the “Duchess of
weddings. “I didn’t have much of a Carnegie Hall.” The nickname is so apt
childhood because I was so involved in his that it stuck.
photography,” she says. Sherman still does portraits occasionally,
Photography remained a hobby until these days mostly of non-celebrities. “Back
her husband’s illness made her the family’s in the day I was pretty well known, but
sole breadwinner. She set up a studio in now the young ones are coming up and the
Martha’s Vineyard to attract the wealthy older ones are dying off.” Nevertheless, she
crowd who vacationed there. She earned continues to get calls. “You know, there’s no
enough referrals to relocate to the Carnegie difference between a celebrity and non-
Hall studio, where she converted the celebrity as long as they pay the price!”
kitchen into a darkroom. Many years later
when photographer Bill Cunningham Lorna Gentry is a freelance writer in Atlanta. ©Editta Sherman
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28. CONTACT SHEET
ments for the second time. MOTFB wants
Public places to include Chapter 9, an ordinance requiring
photographers, filmmakers and others to
Photography permit rules need monitoring obtain a permit on a first-come, first-served
basis before photographing, filming or
How many photographers have made terms that remain in the proposed change. otherwise broadcasting on city property.
photographs at a national park or anywhere For instance, photographers pay a location MOTFB released a revised draft on
that requires a Special Use or Filming fee of $50 to $250, plus a varying cost recovery October 29 that’s more favorable to the
Permit from the government? With high a fee for application processing and operating photographers. The ordinance now applies
price tag, unclear definitions, and narrow expenses associated with the photo session. to causing “obstruction of daily activities”
©Rita A. Bales
application windows, seeking a permit can Having to pay the cost recovery component— rather than the number of people and kind
be stressful. Several photographic associations whether or not a permit is granted—is likely to of equipment that will be used.
are collaborating to redress the process. be a financial burden to many photographers. MOTFB also intends to offer an optional
Professional Photographers of America PPA maintains that professional photogra- permit that would allow photographers to
(PPA), Commercial Photographers Interna- phers covering a school class or family portrait, apply for a permit, even if the project doesn’t
tional, the Society of Sport & Event Photogra- working with only a tripod and a reflector, warrant what’s now termed a “required
phers, the Student Photographic Society and make less impact on a site than moviemakers permit.” The optional permit should enable
Evidence Photographers International Council or commercial shooters, and should not have photographers to complete outdoor assign-
are speaking with two entities, the Department to pay as much. PPA asked for clarification of ments on city property.
of Interior and the New York City Mayor’s Office the department’s definition of “commercial While no final rule decisions have been
of Film, Theatre and Broadcasting (MOTFB). photography,” “model,” “sets” and “props,” to issued by either the Department of Interior
The Department of the Interior proposed stem confusion over how photographers are to or the MOTFB, PPA and its allied organiza-
streamlining the permits that apply to land classify the work they plan to do, which influ- tions are vigilantly monitoring these and
managed by the National Park Service, Bureau ences their decision to apply for a costly permit. other issues related to film and still pho-
of Land Management and Fish and Wildlife In regard to the MOTFB proposal to tography permits.
service. Laudable, yes, although the associations amend Title 43 of the Rules of the City of
also want to address the high fees and loose New York, the associations submitted com- For more information, visit www.ppa.com.
28 • www.ppmag.com

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30. Listening. Creating.
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Houston
©2008 Collages.net Inc. All rights reserved. Photos are ©2008 of their respective photographers.

33. Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies
What I think
Louise Botticelli stays
ahead of the game
What’s the biggest business risk you’ve ever taken?
About three years ago, I decided to expand the busi-
ness to accommodate the clientele who were look-
ing for more of a modestly priced, less elaborate pho-
tography experience. It was risky, setting up my
own competition within the same area.
What’s the secret to running a successful photography
business? Continuously evaluate and reevaluate
what the market is looking for and figure out how
to make it work for your business. Choose a lab
that cares about the success of your business and
gives you the support you need to grow.
What’s your deal breaker? A long time ago, I had
a client who kept negotiating and bargaining with
me about the price of his portrait, and I felt
uncomfortable. After the portrait was delivered,
the client apologized, and said he and his family
loved it so much that I couldn’t buy it back from
him for any amount. Now I tell people, if you do
not love your portrait, I will buy them back from
you. Well, I don’t have a gallery of other people’s
portraits in my house!
What’s your motto? Look for the good in
people, and it will show in your portraits and in
your business.
IMAGE BY LOUISE BOTTICELLI
WWW.BOTTICELLIPORTRAITS.COM
February 2008 • Professional Photographer • 33

34. Photography by Gregory Heisler.

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Epson, Epson Stylus, Epson Exceed Your Vision, Epson UltraChrome K3 and MicroPiezo are trademarks/registered trademarks of Seiko Epson Corporation. AccuPhoto is a registered trademark of Epson America, Inc. Copyright 2007 Epson America, Inc.

36. TM
THE JOY OF MARKETING S A R A H P E T T Y, C P P
With a strong visual identity, you give your
business a face. Repetition and consistency
turn your logo and branding into a familiar
face that your clients will grow to love.
Identity crisis
CREATING A LOGO AND BRAND
Before you can think about generating your business forms, even your photography.
desire for your brand, you have to create a Think of your logo as your face. A logo
consistent identity. There must be a con- can be letters, symbols, graphic elements,
sistent look to everything about your pictures or a combination of any and all of
business that the public sees, including them. The key is to create a unique logo and
your logo, the colors you use, your signage, stick with it. My best advice is to hire a pro-
fessional graphic designer to help you create
an identity package you can use for years. It
is an investment in the future of your brand.
Last February, after years of working in
the family’s photography studio in Indiana,
Jeff and Michelle Richardson decided to
branch out and open a studio of their own
in another Hoosier town, Bloomington.
They agreed to spare no cost in creating a
new identity for Richardson Studio Ltd.,
including engaging just the right graphic
artist and brand manager. The Richardsons
understand that the power of a brand
depends on having a strong identity from
the beginning, and braced themselves for
the process to take as long as necessary.
Building a brand identity takes consistency, not
just in the usage of your logo, but in colors, style
and the message of your marketing material.
All photos ©Richardson Studio
36 • www.ppmag.com

37. Partnering with a local graphic designer, been consistently used from the start. If must exist early on to get people emotionally
they started with nothing more than a few you choose to use a symbol or your initials attached to your brand.
words they liked and some sketches, and the in a shorthand version of your identity, it When you meet with your graphic
identity began to evolve. In addition to a must be done the same way each time. To designer, the more information you can pass
logo and color palette, the Richardsons tie the two versions together, look for along about your vision, the better job the
wanted to include sketches of people in their opportunities to use both versions in places designer will do. Show examples of your
brand identity, but not in the logo itself. like your blog. photographic style and the style you want
They’ll use the sketches in their marketing, Your logo must withstand the test of for your studio. If your photography style
and eventually people will automatically time. Coca-Cola has retained its logo for and your studio are both traditional, then
associate any arty renderings of people with more than 100 years—I’m sure that over the your logo and identity should have a
the studio. When creating wallets for high years graphic designers were clamoring for a traditional flavor. If you want to reposition
school seniors, they might print a sketch of a crack at creating a new logo for this high- your business as more contemporary, then
girl in the corner. For a promotional piece profile company. The company’s executives display contemporary images and style your
about family photography, they could use had enough faith in the brand to resist. I’ve studio accordingly. Contrasting elements in
sketches of an entire family. heard small business owners say they’re your identity will only cause confusion.
Another part of their identity includes a bored with their logo, but it isn’t until you’re Never let anyone who is reproducing
shortened, initials-only version of the about sick of it that others actually start to something for you try to recreate your logo.
company’s name, RS, which is imprinted notice it. Repetition and consistency are the Always give the printer a vector file of your
on all of their images. It works because it’s keys to creating a successful identity. They logo, even if it’s in a standard font. It will
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February 2008 • Professional Photographer • 37

38. TM
THE JOY OF MARKETING
Richardson Studio imprints an abbreviated
version of its company name, the initials RS,
and a sketched figure on all of its images.
guarantee the scale and the spacing
between the letters is accurate. It makes
me wince to see the names of prominent
businesses set in a style other than their
logo. Once you have your logo and detailed
specifications figured out, put a copy of
them in a folder on your desktop so they’re
always readily available.
To stay fresh in your business, you can
use trendy fonts, colors and designs in your
marketing and promotional materials. The
key is to stay true to the face of your busi-
ness, your logo. If you feel your logo is dated
or needs to be changed to reposition your
business, make a 100-percent commit-
ment—including financial—and follow
through with everything you use. If it’s
handled well, it can create buzz that your
TIPS FOR FINDING A GRAPHIC DESIGNER business is growing and evolving. Replace
• As with selecting a photographer, price • Ask if he met deadlines, and if he the old logo on everything, from signage, to
isn’t necessarily a primary factor in choosing missed the mark, how he handle the business cards, to mailing labels. Even if you
a graphic designer. Because it’s such a situation. have a huge pile of letterhead remaining, be
major part of your business plan, the goal • Offer to trade professional services strong and take it to the recycling bin.
is finding a designer who gets you. in-kind. Having your old logo anyplace will weaken
• When interviewing candidates, ask • Start a design file for your designer. your brand in the mind of the consumer.
tons of questions about their portfolios, The more direction you give regarding your Once you have a new identity, define
about the kind of direction the clients gave likes and dislikes, the more efficiently the the usage parameters so you know how it
them, about problems they might have designer can pick up on your style. will look in color, black and white, on
encountered and how they resolved them. • Stress that your logo needs to be your prints, in ads, everywhere it will be
• Ask to see the first round of logos that strong in black and white as well as color. used. Finally, protect your identity as if it’s
have been presented to a past client so you Ask your designer to show you both ways. your child. I
know what to expect when it is your turn. • Discuss font choices. Because you
Are they rough pencil sketches or are they should plan on keeping the logo for at least
detailed computer-generated files? 10 years, don’t choose a highly stylized,
• Ask how many proposed logos they’ll trendy font.
show you and what happens if you don’t • There must be some chemistry between
feel the designs represent you. you and the graphic designer. You need to
• Ask for references and call them to see be able to bounce ideas off each other and Sarah Petty Photography is in Springfield,
how they liked working with the designer. come up with better ideas together. Ill. (www.sarahpetty.com).
38 • www.ppmag.com

40. PROFIT CENTER K A L E N H E N D E R S O N , M . P H O T O G . M E I .C R . , C P P, A P I
One photographer offers a “Baby’s Life:
Labs now offer gorgeous book lines hot off the digital offset
Volume 1” book as part of a package clients
press. How do you decide if this product is right for you?
purchase before the birth of the child. The
Buying into books package includes sittings at 1, 3 and 9
months old, and age 1, and the book can
include sonogram images. Clients can also
Labs throughout the industry are offering flattened JPEG files, and some require page opt to have photographs made on the day of
high-quality, reasonably priced book lines, numbers and elaborate layout specifications. the birth at the hospital. The finished book
printed on digital offset presses, with a If the lab has a ROES software ordering will feature images from every session. Of
menu of binding and cover options. Would system for books, you don’t have to hassle course, this arrangement provides ample
offering such books be profitable for your with tracking page numbers, and you can opportunities to make additional sales of
studio? Considers these factors: adjust the layout without remaking the entire portraits and add-ons from each session.
TIME. In a one-person studio, you can’t book. Once the images or pages are loaded The delivery of the Volume 1 includes a
afford to invest countless hours designing a into the ROES software, you can check the coupon toward a Volume 2 package, a book
book that may never sell. You can design the layout, and even render a printed image for with images from two sessions over the next
individual pages in Adobe Photoshop and client approval. When the layout and design year, in addition to other images the parents
many other programs, some of which provide are approved, uploading the book is easy. want to include.
templates. You don’t have to compromise WILL IT SELL? Consumers know they High school seniors can be tempted into
your creativity. Some of the applications have can have photographs printed on pillows, having a personal yearbook made with images
stylish, attractive templates with ample choices mugs, cards, practically anything. Professional from the senior session and others they’d like
for each page. You could do a complete book photographers should select only the to include. Printed just before graduation,
design in as little as 30 minutes. products that will reflect the value of your the book can include pages for friends and
Whether you use templates or custom work. You can develop and market high- family to write in personal messages.
Photoshop layouts, the image file preparation quality books in many ways, from children’s Wedding albums produced as coffee
is crucial to the finished look. Most labs want portraiture to seniors to weddings. table books are already popular. In most
cases, clients can order a large-format book
©Kalen Henderson
with a designer cover, as well as smaller, less
richly bound versions with the same layout.
MARKETING VALUE. Though often
considered an add-on, a press-printed book
can have value for your studio beyond a one-
time sale. Parents and newlyweds proudly show
these books to everyone, giving you word-of-
mouth endorsements from happy customers.
A 20-page soft-cover book generally costs
the studio less than $25, and a survey of
studios shows it retailing for $49 to $69.
There are volumes of stories out there just
waiting for your creative touch to tell them. I
Kalen Henderson is a photographer, studio con-
sultant, and teacher (www.kalenhenderson.com
and www.hendphoto.com). Her lab is American
Color Imaging, a provider of press-printed
books and free software to create and upload
your own design (www.acilab.com).
40 • www.ppmag.com

42. PROFIT CENTER C H A R L E S J . L E W I S , M . P H O T O G .C R .
Time is more valuable than money. Everyone has the home and work on your things-to-do list.
same amount of time in a day, it’s a question of how Devote about 20 minutes to it every
you organize, prioritize and invest it in growing. morning, and you’ll save yourself hours of
wasted time. It keeps you focused on what’s
Do more in less time and prosper most important, and helps organize your
day, week and month to keep you on the
path to success.
To be begin, on a sheet of paper, draw a
French novelist Victor Hugo wisely said, “He last 30-some years, and it’s truly one of my line drawn down the middle. On the left
who every morning plans the transactions of secrets for success. More than a list, it’s a side, write everything that needs to be
the day and follows out that plan carries a plan, and that’s why it is so effective. done; the order of the items doesn’t matter.
thread that will guide him through the labyrinth If you use this tool every day, you will Keep the list with you throughout the day
of the most busy life. …But where no plan is accomplish more than you dreamed and add tasks as they arise. The following
laid, where the disposal of time is surrendered possible, and you’ll do it in less time and morning, review the list, then copy it onto a
merely to the chance of incident, chaos will with less effort. You’ll also earn more new piece of paper, updating it and
soon reign.” money with your photography. First thing reorganizing it, writing what you consider
I’ve been using a things-to-do list for the in the morning, sit in a quiet place in your the most important things at the top of the
42 • www.ppmag.com

43. new list. Delete tasks accomplished the day
before and add new items that have arisen.
“I’ve been using a things-to-do list for the
As you review the list, write an “A” next last 30-some years, and it’s truly one of
to items that are important to the accom- my secrets for success. More than a list,
plishment of your long-term goals, a “B”
next to items moderately important to your
it’s a plan, and that’s why it is so effective.”
long-term goals, and a “C” next to tasks that
have little to do with achieving your long-
term goals. You know how important it is to
write down key goals for your life and your
business, and prioritizing daily tasks this
way keeps you aware of what you’re
working so hard for.
Look at the A items on the list, and
consider if there’s anyone you could delegate
these tasks to. Look at the remaining A
items and prioritize them from 1 to 6.
That’s all you’re going to worry about today.
Just the top six. Now copy those top six
items onto the right side of the paper, in
order of priority.
When you get to work, begin with the
top item on the list. If the phone rings, and
if you’re the one responsible for answering
the phone, answer it. When you’ve taken
care of the caller, go right back to working
on the task. If you have an appointment,
keep it, then return to working on the task.
When you finish it, proudly scratch it off
the list, and begin work on the second most
important task.
Perhaps this sounds too easy, but if you
adopt and use this simple system, you’ll be
amazed at how organized and focused you
become. The first few days or weeks will feel
strange, but you’ll soon see exciting improve-
ment in your productivity and profits. I
For more information from Charles J. Lewis,
visit www.cjlewis.com.
February 2008 • Professional Photographer • 43

45. Professional Photographer P R E S E N T S Products, Technology and Services
What I like
Kerry Brett Hurley
fell hard for digital
What makes your workflow flow?
Adobe Lightroom. When working with
tight deadlines for my magazine I feel
that I can edit super fast.
What's the best equipment investment
you've ever made? My first digital camera.
I bought the Canon EOS-1DS Mark II and
was blown away with what I could do.
What hot new product are you going to
go out of your way to use? Larson's half-
and-half reflector and BellaGrafica's
marketing materials.
Has a piece of equipment ever changed
the way you approach your photography?
I love the Canon EOS-1D Mark III.
I can do back to back beach sessions at
night and I don't have to worry about
the light falling because I can push the
ISO and basically shoot in the dark.
What's the one piece of gear they'd have
to pry from your cold, dead fingers? My
70-200mm lens.
IMAGE BY KERRY BRETT HURLEY
WWW.BRETTPHOTOGRAPHY.COM
February 2008 • Professional Photographer • 45

46. THE GOODS: PRO REVIEW
Nikon incorporates the design and function
improvements working photographers have been
asking for in its new ASP-C class DSLRs.
BY ELLIS VENER
Amazing NIKON D300
Front view, Nikon D300
All images ©Ellis Vener
Rear view, Nikon D300
This image and the detail above show the impressive
amount of detail and low noise level even in a long exposure
in low light. Exposure: .4 seconds at f/8, ISO 200, -1 EV.

47. Smart
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Auto-Sensing Transceiver Technology
Automatically Transmits or Receives for
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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
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The Plus II joins Profoto, Dyna-Lite, Profoto, Norman, PocketWizard Sekonic
Norman Packs and and Photogenic Plus II L-758DR
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48. THE GOODS: PRO REVIEW
The theme of the advertisements for Nikon’s
specs: Nikon D300
new ASP-C class DSLR is “The new Nikon
D300 vs. compromise.” That’s a bold
challenge. Since I’m both as hopeful for
great things and as wary of hype as the next
SENSOR: 3:2 aspect ratio, 23.6x15.8mm APS-C format CMOS
guy, I had to test the D300 for myself, not in
RESOLUTION: 12.3 effective megapixels (4,288x2,828 pixels)
a lab but the real world. After a modicum of
METERING: TTL full-aperture exposure metering, using 1,005-pixel RGB sensor: 3D
testing under controlled circumstances,
Color Matrix Metering II (type G and D lenses); Color Matrix Metering II (other CPU
most of this review is informed by simply
lenses); center-weighted; spot metering
going out and shooting photographs.
SHOOTING SPEED: Continuous shooting up to 6 fps
These days, the criteria for choosing a
ISO SENSITIVITY: ISO 200 to 3200 in steps of 1/3, 1/2 or 1 EV, with additional 0.3,
DSLR camera go beyond resolution; now
0.5, 0.7 and 1 EV (ISO 100 equivalent) under ISO 200 and 0.3, 0.5, 0.7 and 1 EV (ISO
you have to weigh the whole package: the
6400 equivalent) over ISO 3200
accuracy and speed of the auto-focus system,
SHUTTER SPEED: 1/8,000 second to 30 seconds in steps of 1/3, 1/2 or 1 EV, bulb
the ISO sensitivity range, the dynamic range
WHITE BALANCE: Auto (TTL white balance with 1,005-pixel RGB sensor), seven
of the signal, the TTL flash control, the
manual modes with fine-tuning, color temperature setting, white-balance bracketing
range of compatible lenses, the ergonomics,
possible (2 to 9 frames in 1/3 increments)
and above all, the quality of straight-from-
VIEWFINDER: SLR-type with fixed eye-level pentaprism; built-in diopter adjustment
the-camera color to speed the workflow.
(-2.0 to +1.0 m-1); approx. 100 percent coverage; about 0.94X magnification with a
Clearly, Nikon has been listening to working
50mm lens at infinity
photographers, and put that information
LCD MONITOR: 3-inch, about 920,000-dot (VGA), 170-degree wide viewing angle,
into the design and functionality of this
100 percent frame coverage
camera and its much larger sister, the D3.
LIVE VIEW: handheld shooting mode—TTL phase-difference AF with 51 focus areas (15
Built around a 15.8x23.6mm, 12.3-effective-
cross-type sensors); tripod shooting mode—focal-plane contrast AF on a desired point
megapixel sensor array, the D300 weighs 1.82
within a specific area
pounds and is slightly larger than the D200.
LENS MOUNT: Nikon F Mount with AF coupling and AF contacts
The APS-C format (in contrast to the 24x36mm
LENS COMPATIBILITY: DX AF Nikkor all functions; other Nikkor lenses with limited function
format) is a boon for telephoto fans, but a
FLASH: Nikon i-TTL Speedlight flash units; built-in Speedlight—manual pop-up with
slight bane for ultra-wide-angle fans. As for
button release; ISO 200 guide number (meters) about 17. X sync 1/250 second; flash
the angle of view, a 200mm f/2.8 lens used
sync up to 1/320 second
with APS-C format equals a 300mm f/2.8
STORAGE: CompactFlash
on the larger format, while a 20mm lens
PRICE: $1,799 body only
covers the angle of only a 30mm lens. The
viewfinder magnification is a respectable
.94X with 100-percent coverage of the frame, than full view, one tap of the OK button rarely used bracket button, located on the
in contrast to about 95 percent with the D200. takes you back to the full view. A second tap far left of the viewfinder, becomes the image
Even better is the larger new high-resolution opens a limited set of in-camera, post- review button on the D300, and the D200’s
LCD display; 3 inches on the diagonal, it’s a capture manipulation options: D-lighting, review button at the top left of the LCD
920,000-dot (VGA) screen with a 170-degree trim (cropping), monochrome conversion, display is now the menu button. In the
viewing angle, which translates into a full- filter effects, and color balance. location of the D200’s menu button, the
screen 2.25x1.5-inch, full-format image display. Other improved handling characteristics D300 sports a control for three items:
A tap of the zoom button gets you a full- include the relocation of the control buttons, image lock when you’re reviewing images, a
screen, 2.375x1.8125-inch view. When now on the back of the camera, reflecting a large display of the camera settings when
reviewing an image at any magnification other more natural set of options. The D200’s you aren’t, and info about the highlighted
48 • www.ppmag.com