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january 2007 - Professional Photographer Magazine

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©Gregory Heisler<br />

JANUARY <strong>2007</strong> | WWW.PPMAG.COM | $4.95


NEW KODAK PROFESSIONAL PORTRA FILM<br />

ALWAYS DELIVERS BEAUTIFUL SKIN TONES.<br />

NOW REENGINEERED FOR FINER GRAIN.<br />

For years, photographers have preferred KODAK PROFESSIONAL<br />

PORTRA Films for their consistently smooth, natural reproduction of<br />

the full range of skin tones. Now, thanks to new Micro-Structure<br />

Optimized T-GRAIN® Emulsions, PORTRA Film delivers finer grain at<br />

all speeds. Plus PORTRA VC Films provide a more ideal combination of<br />

higher color saturation and lower contrast.<br />

To learn more, visit www.kodak.com/go/portra<br />

<strong>Professional</strong><br />

Imaging Solutions<br />

© Eastman Kodak Company, 2006. Kodak, Kodak <strong>Professional</strong>, T-Grain, and Portra are trademarks of Eastman Kodak Company. Photo © Isabel Lawrence <strong>Photographer</strong>s, 2006.


Announcing<br />

GP Albums<br />

After 73 years, we decided that our products<br />

are not so “general” after all. They’re actually<br />

quite specific. So we’re changing our name<br />

from General Products to GP Albums. It’s a<br />

whole new look with the same great quality.<br />

Your Photos. Your Life. <br />

Eclipse Albums<br />

Tempus Gallery<br />

Digital Vision<br />

Optimus & Optimus Ultra<br />

A Division of General Products, L.L.C.<br />

800.888.1934<br />

e-mail: inquiry@gpalbums.com<br />

www.gpalbums.com


C NTENTS<br />

PROFESSIONAL PHOTOGRAPHER | JANUARY <strong>2007</strong><br />

Features<br />

118<br />

92<br />

100<br />

110<br />

76<br />

82<br />

86<br />

LIFE IN BALANCE<br />

With the digital revolution complete,<br />

famed portraitist Gregory Heisler<br />

pauses for perspective.<br />

by Jeff Kent<br />

REGULAR JOE<br />

Joe McNally: Tales from a guy who<br />

gets the job done.<br />

by Stephanie Boozer<br />

PEOPLE PERSON<br />

Mark Ridout has a way with people.<br />

by Stephanie Boozer<br />

EYE ON THE HORIZON<br />

Hollye Schumacher says<br />

photography’s a moveable feast.<br />

by Lorna Gentry<br />

WEDDINGS: PROJECT WEDDING<br />

Curt Littlecott creates a bridal runway.<br />

by Stephanie Boozer<br />

PORTRAITURE: FRESH INSPIRATION<br />

Arthur Rainville on the value of<br />

seeing with new eyes.<br />

by Jeff Kent<br />

PORTRAITURE: ADAPTATION<br />

Keep pace with the changing<br />

tastes of your clients.<br />

by Jeff Lubin<br />

IMAGE BY GREGORY HEISLER


CONTENTS<br />

PROFESSIONAL PHOTOGRAPHER | JANUARY <strong>2007</strong> | WWW.PPMAG.COM<br />

©Hollye Schumacher<br />

110 Living a conscious life nourishes Hollye Schumacher and her creativity<br />

and helps keep her skills sharp. “If you lose sight of that… you lose the moment. Digging deeper<br />

into myself and being in the moment have really helped my wedding photography,” she says.<br />

6 • www.ppmag.com<br />

14 FOLIO<br />

128 CALENDAR<br />

135 PPA TODAY<br />

162 GOOD WORKS<br />

163 IMAGING USA SHOW GUIDE<br />

Departments<br />

CONTACT SHEET<br />

22 Annie Leibovitz:<br />

Up close and personal<br />

24 Full coverage: Artisan Events<br />

26 Building a dream: C. McDaniel & Co.<br />

28 Portraits of Iraq: Dave Honl<br />

PROFIT CENTER<br />

31 What I think:<br />

Mark Ridout<br />

32 Body language<br />

by Mitche Graf<br />

36 Have them from “hello”<br />

by Steve Kozak<br />

38 The Lexus level<br />

by Carol Andrews<br />

40 Show to sell<br />

by Charles J. Lewis<br />

THE GOODS<br />

43 What I like:<br />

Hollye Schumacher<br />

44 Product closeup: Albums<br />

by Karen Linsley<br />

48 Pro review: Canon PowerShot G7<br />

by Ron Eggers<br />

52 Pro review:<br />

Epson Perfection V750-M Pro<br />

by Ellis Vener<br />

58 Pro review: Photoflex Starflash<br />

Monobloc Strobe Family<br />

by Stan Sholik<br />

62 Pro review: Canon EF 70-200mm<br />

F/4L IS USM Telephoto<br />

Zoom Lens<br />

by Joe Farace<br />

66 Color management<br />

by Andrew Rodney<br />

70 Tutorial: Location light<br />

by Doug Box<br />

ON THE COVER: Actor Everett Yancy sat for Gregory<br />

Heisler in a small, makeshift studio. Heisler lit the<br />

subject using a single Speedotron flash head with a<br />

parabolic “sports reflector,” firing through spun glass<br />

diffusion and a full CTO gel. He bounced indirect<br />

light off a white Styrofoam reflector. Image captured<br />

with a Canon EOS-1Ds Mark II and 45mm tilt shift<br />

lens for 1/125 second at f/9, ISO 100.


Enhanced<br />

Webshow<br />

New look,<br />

larger images, and<br />

filmstrip view<br />

More Choices<br />

New thumbnail<br />

sizes, fonts,<br />

graphics, colors,<br />

and music<br />

More Event<br />

Types<br />

Engagement,<br />

Quinceanera, and<br />

Birthday<br />

Improved<br />

eCommerce<br />

Seamless shopping<br />

experience for<br />

event guests.<br />

ANNOUNCING NEW AND IMPROVED EVENT WEBSITES! Collages.net is committed to providing<br />

you with the most innovative tools and resources to help grow your business. The new look of our<br />

customizable, password-protected sites is the result of your feedback and feature requests. Visit us online<br />

today to view a collection of new sample event websites and to see why Collages.net is the choice<br />

for over 10,000 professional photographers.<br />

TRY US! We’ll let you post all you want for 2 weeks – FREE. Call toll-free today: (877) 638-7468<br />

YOUR TOTAL WORKFLOW AND PRINTING SOLUTION<br />

©<strong>2007</strong> Collages.net Inc. Photos ©<strong>2007</strong> TriCoast Photography. All rights reserved.


Enhanced<br />

Webshow<br />

New look,<br />

larger images, and<br />

filmstrip view<br />

More Choices<br />

New thumbnail<br />

sizes, fonts,<br />

graphics, colors,<br />

and music<br />

More Event<br />

Types<br />

Engagement,<br />

Quinceanera, and<br />

Birthday<br />

Improved<br />

eCommerce<br />

Seamless shopping<br />

experience for<br />

event guests.<br />

ANNOUNCING NEW AND IMPROVED EVENT WEBSITES! Collages.net is committed to providing<br />

you with the most innovative tools and resources to help grow your business. The new look of our<br />

customizable, password-protected sites is the result of your feedback and feature requests. Visit us online<br />

today to view a collection of new sample event websites and to see why Collages.net is the choice<br />

for over 10,000 professional photographers.<br />

TRY US! We’ll let you post all you want for 2 weeks – FREE. Call toll-free today: (877) 638-7468<br />

YOUR TOTAL WORKFLOW AND PRINTING SOLUTION<br />

©<strong>2007</strong> Collages.net Inc. Photos ©<strong>2007</strong> TriCoast Photography. All rights reserved.


Enhanced<br />

Webshow<br />

New look,<br />

larger images, and<br />

filmstrip view<br />

More Choices<br />

New thumbnail<br />

sizes, fonts,<br />

graphics, colors,<br />

and music<br />

More Event<br />

Types<br />

Engagement,<br />

Quinceanera, and<br />

Birthday<br />

Improved<br />

eCommerce<br />

Seamless shopping<br />

experience for<br />

event guests.<br />

ANNOUNCING NEW AND IMPROVED EVENT WEBSITES! Collages.net is committed to providing<br />

you with the most innovative tools and resources to help grow your business. The new look of our<br />

customizable, password-protected sites is the result of your feedback and feature requests. Visit us online<br />

today to view a collection of new sample event websites and to see why Collages.net is the choice<br />

for over 10,000 professional photographers.<br />

TRY US! We’ll let you post all you want for 2 weeks – FREE. Call toll-free today: (877) 638-7468<br />

YOUR TOTAL WORKFLOW AND PRINTING SOLUTION<br />

©<strong>2007</strong> Collages.net Inc. Photos ©<strong>2007</strong> TriCoast Photography. All rights reserved.


EDITORIAL<br />

Celebrating 100 years<br />

KICKING OFF OUR CENTENNIAL RIGHT<br />

Welcome to our <strong>2007</strong> Imaging USA issue. What a way to start the year!<br />

I’m happy to report that the magazine in your hands is the biggest<br />

issue ever produced in <strong>Professional</strong> <strong>Photographer</strong>’s 100-year history.<br />

And yes, you read that right: <strong>Professional</strong> <strong>Photographer</strong> turns<br />

100 this year. That’s a full century working to serve the photographic<br />

community. (The magazine wasn’t always<br />

named <strong>Professional</strong> <strong>Photographer</strong>. It<br />

started life in 1907 as a diminutive<br />

black-and-white photographic journal<br />

edited and produced by Charles Abel,<br />

titled Abel’s Photographic Weekly.)<br />

Now, 100 years later, we’re humbled<br />

to still be a part of such a vibrant, stirring<br />

industry that has both evolved at lightning<br />

speed and adhered to the time-honored<br />

principles that were at its core a century ago.<br />

As the industry has changed, <strong>Professional</strong> <strong>Photographer</strong> has followed<br />

suit, the latest evolution illustrated by the magazine’s online<br />

presence, PPmag.com.<br />

On PPmag.com this month, we’re introducing a bevy of exciting<br />

new features and content we hope will excite you. No matter what<br />

you’re hankering to learn more about, we have articles for you.<br />

We’ve posted archived features from the pages of the magazine,<br />

organized by specialty and topic so they’re easily accessed with a few<br />

keystrokes. Portraits, weddings, seniors, marketing, business, products,<br />

technology, the list goes on. You can consider <strong>Professional</strong><br />

<strong>Photographer</strong> Online to be your business resource library.<br />

Another cool feature, from now on we’ll be posting our Folio section<br />

online. Each month, we ask the creators of the images in PPA’s<br />

annual Loan Collection to tell us how they got that shot. It’s our<br />

most popular department in the magazine, and now you’ll be able<br />

to head online to check out a growing gallery of images and the<br />

stories behind the images from years past.<br />

We want to thank you for your loyalty and readership, both<br />

online and off. We think <strong>2007</strong> promises to be an exciting year for<br />

our industry. We look forward to making it 101! ■<br />

Cameron Bishopp<br />

Director of Publications<br />

cbishopp@ppa.com<br />

10 • www.ppmag.com<br />

technology editor<br />

JOAN SHERWOOD<br />

jsherwood@ppa.com<br />

features editor<br />

LESLIE HUNT<br />

lhunt@ppa.com<br />

editor at large<br />

JEFF KENT<br />

jkent@ppa.com<br />

PROFESSIONAL<br />

director of publications<br />

CAMERON BISHOPP<br />

cbishopp@ppa.com<br />

technical editors<br />

ANDREW RODNEY, ELLIS VENER<br />

art director/production manager<br />

DEBBIE TODD<br />

dtodd@ppa.com<br />

manager, publications and<br />

sales/strategic alliances<br />

KARISA GILMER<br />

kgilmer@ppa.com<br />

sales and marketing assistant<br />

CHERYL PEARSON<br />

cpearson@ppa.com<br />

director of sales and strategic alliances<br />

SCOTT HERSH, 610-966-2466, shersh@ppa.com<br />

western region ad manager<br />

BART ENGELS, 847-854-8182, bengels@ppa.com<br />

eastern region ad manager<br />

KRISTIAN KLIPSCH-SMITH, 404-522-8600, x279, kklipsch@ppa.com<br />

circulation consultant<br />

MOLLIE O’SHEA, moshea@ppa.com<br />

editorial offices<br />

<strong>Professional</strong> <strong>Photographer</strong><br />

229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A.<br />

404-522-8600; FAX: 404-614-6406<br />

<strong>Professional</strong> <strong>Photographer</strong> (ISSN 1528-5286) is published monthly<br />

subscriptions<br />

<strong>Professional</strong> <strong>Photographer</strong><br />

P.O. Box 1254, Lowell, MA 01853-9944; 800-742-7468; FAX 978-671-0460<br />

e-mail: ppa@computerfulfillment.com; Web site: www.ppmag.com<br />

Send all advertising materials to: Debbie Todd, <strong>Professional</strong> <strong>Photographer</strong>,<br />

5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509<br />

Subscription rates/information: U.S.: $27, one year; $45, two years;<br />

$66, three years. Canada: $43, one year; $73, two years; $108, three years.<br />

International: $39.95, one year digital subscription.<br />

Back issues/Single copies $5 U.S.; $7 Canada; $10 Foreign.<br />

PPA membership includes $13.50 annual subscription.<br />

Subscription orders/changes: Send to Circulation Department, <strong>Professional</strong><br />

<strong>Photographer</strong>, P.O. Box 1254, Lowell, MA 01853-9944; 800-742-7468; FAX 978-<br />

671-0460; e-mail: ppa@computerfulfillment.com; Web site: www.ppmag.com<br />

Periodicals postage paid in Atlanta, Ga., and additional mailing offices.<br />

Postmaster: Send address changes to <strong>Professional</strong> <strong>Photographer</strong>, P.O. Box 1254,<br />

Lowell, MA 01853-9944; 800-742-7468; FAX 978-671-0460<br />

Copyright <strong>2007</strong>, PPA Publications & Events, Inc. Printed in U.S.A.<br />

Article reprints: Contact <strong>Professional</strong> <strong>Photographer</strong> reprint coordinator at<br />

Wrights’s Reprints; 1-877-652-5295.<br />

Microfilm copies: University Microfilms International,<br />

300 North Zeeb Road, Ann Arbor, MI 48106<br />

<strong>Professional</strong> <strong>Photographer</strong> (ISSN 1528-5286) is published monthly for $27 per year by PPA<br />

Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta,<br />

GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices.<br />

Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed<br />

by <strong>Professional</strong> <strong>Photographer</strong> or any of its authors do not necessarily reflect positions of<br />

<strong>Professional</strong> <strong>Photographer</strong>s of America, Inc. <strong>Professional</strong> <strong>Photographer</strong>, official journal of the<br />

<strong>Professional</strong> <strong>Photographer</strong>s of America, Inc., is the oldest exclusively professional photographic<br />

publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating<br />

Abel’s Photographic Weekly, St. Louis & Canadian <strong>Photographer</strong>, The Commercial <strong>Photographer</strong>,<br />

The National <strong>Photographer</strong>, <strong>Professional</strong> <strong>Photographer</strong>, and <strong>Professional</strong> <strong>Photographer</strong><br />

Storytellers. Circulation audited and verified by BPA Worldwide


Taken with Canon EOS 5D<br />

with EF 28–300mm<br />

f/3.5–5.6L IS USM lens<br />

© 2006 Eddie Tapp<br />

EOS 5D<br />

PIXMA Pro9000<br />

Ask professional photographers who depend on Canon. With reputations and livelihoods on the line with<br />

every choice they make, Canon innovation speaks directly to their needs and desires for better tools. The PIXMA<br />

Pro9000 is part of Canon’s total workflow system, a system of tools that puts leading-edge technologies at<br />

the service of creative expression, and brings joy, efficiency, and quality to the journey from concept to print.<br />

Find out more at the Canon Digital Learning Center: http://photoworkshop.com/canon<br />

“ The Pro9000 has<br />

great color and<br />

incredible speed.”<br />

Eddie Tapp, PrintMaster<br />

“CanonPrintMasters”areaselectgroup ofphotographerswhoshootwithCanon EOSSystemcamerasandprintexclusively withCanon<strong>Professional</strong>Printers.<br />

Eddie Tapp is an award-winning photographer, lecturer, author<br />

and Canon PrintMaster with more than 20 years of distinguished<br />

experience in digital imaging. “The PIXMA Pro9000<br />

gives me exceptional color control, which is a big plus<br />

for my kind of specialized imaging,” said Tapp. Canon’s<br />

ChromaLife100 8-color ink technology, which includes<br />

dedicated Red and Green inks, reproduces a much wider<br />

color gamut than any previous dye-based inkjet printer.<br />

Moreover, prints using archival quality paper resist fading<br />

for up to 100 years when kept in albums and typically<br />

exhibit 30-year light fastness and 10-year gas fastness.*<br />

“Both quality and longevity are critical in today’s workflow,”<br />

added Tapp.“The Pro9000 performs exceedingly well<br />

with a wide variety of media types.”<br />

* Canon cannot guarantee the longevity of prints: results may vary depending on printed image, drying time, display/storage conditions and environmental factors.<br />

Visit us at www.usa.canon.com/consumer for additional details. Printer output image simulated.<br />

© 2006 Canon U.S.A., Inc. All rights reserved. Canon, EOS and PIXMA are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries. IMAGEANYWARE is a trademark of Canon.


12 • www.ppmag.com<br />

<strong>Professional</strong> <strong>Photographer</strong>s<br />

of America<br />

229 Peachtree St., NE, Suite 2200<br />

Atlanta, GA 30303-1608<br />

404-522-8600; 800-786-6277<br />

FAX: 404-614-6400<br />

www.ppa.com<br />

2006-<strong>2007</strong> PPA board<br />

president<br />

*MICHAEL GLEN TAYLOR<br />

M.Photog.Cr., API, F-ASP<br />

mtaylor@ppa.com<br />

president-elect<br />

*JACK REZNICKI<br />

CPP, API<br />

jreznicki@ppa.com<br />

vice-president/treasurer<br />

*DENNIS CRAFT<br />

M.Photog.Cr., CPP,<br />

API, F-ASP<br />

dcraft@ppa.com<br />

chairman of the board<br />

*ANN K. MONTEITH<br />

M.Photog.Cr., CPP,<br />

Hon.M.Photog., ABI,<br />

API, A-ASP<br />

amonteith@ppa.com<br />

directors<br />

GARY A. MEEK<br />

M.Photog.Cr., CPP, API<br />

gmeek@ppa.com<br />

RONALD NICHOLS<br />

M.Photog.Cr., API<br />

rnichols@ppa.com<br />

RONNIE NORTON<br />

ABI, Qualified European<br />

<strong>Photographer</strong>,<br />

Associate of the Irish PPA<br />

rnorton@ppa.com<br />

LOUIS TONSMEIRE<br />

Cr.Photog., API<br />

ltonsmeire@ppa.com<br />

DON DICKSON<br />

M.Photog.Cr., CPP<br />

ddickson@ppa.com<br />

CHRISTOPHER GILL<br />

M.Photog.Cr., CPP<br />

cgill@ppa.com<br />

SANDY PUC’<br />

M.Photog.Cr., CPP, ABI<br />

spuc@ppa.com<br />

RALPH ROMAGUERA, SR.<br />

M.Photog.Cr., CPP<br />

rromaguera@ppa.com<br />

industry advisor<br />

MICHAEL GREEN<br />

mgreen@ppa.com<br />

legal counsel<br />

Howe and Hutton, Chicago<br />

PPA staff<br />

DAVID TRUST<br />

Chief Executive Officer<br />

trustd@ppa.com<br />

SCOTT KURKIAN<br />

Chief Financial Officer<br />

skurkian@ppa.com<br />

CAMERON BISHOPP<br />

Director of Publications<br />

cbishopp@ppa.com<br />

DANA GROVES<br />

Director of Marketing &<br />

Communications<br />

dgroves@ppa.com<br />

SCOTT HERSH<br />

Director of Sales &<br />

Strategic Alliances<br />

shersh@ppa.com<br />

J. ALEXANDER HOPPER<br />

Director of Membership<br />

ahopper@ppa.com<br />

WILDA OKEN<br />

Director of Administration<br />

woken@ppa.com<br />

LENORE TAFFEL<br />

Director of Events/Education<br />

ltaffel@ppa.com<br />

*Executive Committee<br />

of the Board


<strong>Professional</strong> Papers • <strong>Professional</strong> Color Management • <strong>Professional</strong> Services<br />

Mpix is the online lab of choice for both professional photographers and advanced amateurs.<br />

Fast Turnaround is a hallmark of Mpix.<br />

Most orders ship within 24 hours. FedEx Next Business<br />

Day delivery is $9.75 regardless of order size!


©Tom McDonald<br />

from the files of the PPA Loan Collection, Folio is a monthly sample of awardwinning<br />

photography by PPA members. The Loan Collection is a select group of some<br />

folio|Culled<br />

500 photographs chosen annually by the PPA print judges from more than 5,000 entries.<br />

TOM MCDONALD<br />

Learning of the last mule farmer in Craighead County, Tom McDonald, M.Photog.Cr., F-ASP, of McDonald Photography, Inc., in Jonesboro, Ariz.,<br />

wanted to document the passing of a way of life. Photographing with a Hasselblad 503CM medium-format camera and Carl Zeiss Sonnar T*<br />

150mm f/4 CF lens, McDonald exposed Fujicolor NPS 160 <strong>Professional</strong> film for 1/125 second at f/8. “When I heard that Rufus<br />

Laine was still farming with a mule, I visited his 40-acre farm,” says McDonald. “I was so fascinated with Mr. and Mrs. Laine’s simple farm<br />

life that I wound up spending two days with them.” The image is aptly titled, “The Last Mule Farmer.”<br />

14 • www.ppmag.com<br />

©Lori Grice<br />

LORI GRICE<br />

As part of a modeling portfolio for a client, Lori Grice, M.Photog.Cr., CPP, of Lori Grice Fine Art Photography, Inc. in Statesboro,<br />

Ga., captured “Moireéd and Morphed” with a Canon EOS 10D digital SLR and Canon 80-200mm f/2.8 L EF USM lens. She<br />

exposed the image for 1/60 second at f/8, ISO 200. A 1,250WS Photogenic PowerLight 1250 DR behind a 4x6-foot Larson Soff<br />

Box provided the main lighting, with a 1,800WS White Lightning / Paul C. Buff Ultra 1800 flash and Photoflex LiteDome Q39<br />

slightly behind and to the left of the subject. A Photogenic PhotoMaster strobe with Photogenic Frezzolini umbrella served as a<br />

hair light, with a 600WS White Lightning / Paul C. Buff Ultra 600 flash behind barn doors and grid lighting the background and<br />

highlighting the muscles. Finally, Grice placed two 30x40-inch sheets of foam board to left of the subject. She performed minor<br />

retouching in Adobe Photoshop CS. The image is part of the ASP Traveling Loan Collection.


©Suzanne Fischer<br />

SUZANNE FISCHER<br />

Building on a 10-year relationship with this portrait client, Suzanne Fischer, M.Photog.Cr., CPP, of Fischer<br />

Photography in Atlantic, Iowa, created “Early Morning Warm-up” for the subject’s personal Christmas card.<br />

Shooting with a Mamiya RZ67 medium-format camera and Mamiya 150mm f/3.5 lens, Fischer exposed Kodak<br />

<strong>Professional</strong> VPS 160 film for 1/125 second at f/8. She performed minor retouching in Adobe Photoshop and<br />

applied a LucisArt filter. The image earned a Kodak Gallery Award and an ASP Gold Medallion.<br />

©Steve Ahrens<br />

16 • www.ppmag.com<br />

STEVE AHRENS<br />

Steve Ahrens, M.Photog.Cr., of<br />

Ahrens Photography in Fond du<br />

Lac, Wis., shot “A Shoulder to Lean<br />

On” during a family portrait session.<br />

Shooting with a Kodak <strong>Professional</strong><br />

DCS Pro 14n digital SLR and Nikkor<br />

70-200mm f/2.8G ED-IF AF-S<br />

VR Zoom lens, Ahrens exposed<br />

the image for 1/15 second at<br />

f/5.6, ISO 100. Capitalizing on<br />

the northern light flooding in the<br />

studio’s 10x16-foot window,<br />

Ahrens used only a 4x6-foot<br />

panel reflector to bounce light for<br />

fill. Ahrens softened the image<br />

subtly in Adobe Photoshop.


©Dennis Craft<br />

DENNIS CRAFT<br />

While visiting sunny Puerto Rico, Dennis Craft,<br />

M.Photog.Cr., CPP, F-ASP, of Craft Photographic<br />

Gallery in Marshall, Mich., captured this stunning<br />

shot of the island. Shooting with a Kodak<br />

<strong>Professional</strong> DCS Pro 14n digital SLR and Nikkor<br />

24-85mm f/2.8 D AF IF lens, Craft exposed “San<br />

Juan, Puerto Rico” for 1/125 second at f/11, ISO 400.<br />

18 • www.ppmag.com<br />

CINDY ROMANO<br />

While photographing a wedding, Cindy Romano, M.Photog.Cr., CPP, of C. Romano<br />

Photography in Woodstock, Ill., captured “Forever and Always” with a Canon EOS-1Ds<br />

digital SLR and Canon 75-200mm f/2.8 lens. A 42x72-inch Larson Super Silver<br />

reflector bounced sunlight onto the couple for fill. Romano converted the image to<br />

black and white with Adobe Photoshop, and applied a LucisArt Winslow filter to add<br />

softness. She created the etched border with Professor Franklin software.<br />

©Cindy Romano


Faithful color. Incredible latitude.<br />

An effortless workflow.<br />

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CONTACT SHEET<br />

What’s New, Events, Hot Products, Great Ideas, Etc.<br />

New PBS documentary<br />

turns the camera lens on<br />

Annie Leibovitz<br />

Her images catch us off guard. Sometimes<br />

they shock us. Sometimes they charm us.<br />

These images make an imprint on our<br />

minds, our souls. Never intending to<br />

become an icon herself, Annie Leibovitz is<br />

nevertheless as famous as her subjects,<br />

and one of the most influential photographers<br />

of our time.<br />

“I wasn’t one of those photographers<br />

that started when I was 12 and always<br />

wanted to be a photographer,” says<br />

Leibovitz. “It really was a much slower<br />

awareness. It all came from the same place<br />

of wanting to do art, wanting to do<br />

something to express yourself.”<br />

Known for steadfastly protecting her<br />

personal privacy, Leibovitz has at last<br />

dropped her guard to give a rare glimpse<br />

into her world. On the heels of the October<br />

release of her most recent book, “A<br />

<strong>Photographer</strong>’s Life: 1990-2005” (Random<br />

House), in the acclaimed series American<br />

Masters, PBS presents Annie Leibovitz:<br />

Life Through a Lens, premiering January<br />

3, at 9 p.m. EST. Directed by the<br />

photographer’s younger sister, Barbara<br />

©Annie Leibovitz<br />

Leibovitz, the program documents a year<br />

in Leibovitz’s life, at work and at home.<br />

“As her sister, I feel a serious responsibility<br />

not only to tell her story, but to tell it<br />

honestly,” says Barbara, whose own resume<br />

includes several award-winning documentaries<br />

for the Discovery Channel, National<br />

Geographic, CNN, TBS and Discovery Health,<br />

and PBS. “It was a challenge, but I learned<br />

more about my sister than I ever imagined.”<br />

The 90-minute Life Through A Lens<br />

includes interviews with family members,<br />

well-known Leibovitz subjects such as<br />

Mikhail Barishnikov, Rosanne Cash, Yoko<br />

Ono and Mick Jagger, and editors, stylists<br />

and art directors who have worked with<br />

the photographer.<br />

The sisters had talked of working on a<br />

pclose&<br />

BY STEPHANIE BOOZER<br />

22 • www.ppmag.com


As her sister, I feel a serious<br />

responsibility not only to tell her<br />

story, but to tell it honestly. It was<br />

a challenge, but I learned more<br />

about my sister than I ever imagined.<br />

film for years, but until now, the elder<br />

Leibovitz hadn’t felt the timing was right.<br />

After the death of her long-time companion,<br />

American writer and critic Susan<br />

Sontag (1933-2004), and then her father,<br />

Leibovitz poured her sorrow into sorting<br />

through decades of images, many of which<br />

she hadn’t laid eyes on after they were<br />

processed. In the forward of her latest<br />

book, Leibovitz describes this editing<br />

process as a way of working through her<br />

grief. Instinctively homing in on the drama<br />

of her sister’s personal journey, Barbara felt<br />

(continued on p. 24)‘‘<br />

’’<br />

—BARBARA LEIBOVITZ<br />

©Annie Leibovitz


CONTACT SHEET<br />

(continued from p. 23)<br />

the time had come, and Leibovitz agreed.<br />

From her studio in Manhattan, her<br />

home in upstate New York, scattered location<br />

shoots, and places between, Leibovitz bares<br />

her emotions to show us that she’s not so<br />

different from any of us who struggle to<br />

balance a career, intimate friendships,<br />

parenthood, and the artist within.<br />

“Through the decades, Annie Leibovitz<br />

has chronicled our cultural history,” says<br />

Full coverage<br />

Bucking the trend, Artisan Events<br />

specializes in selling the whole package<br />

BY JEFF KENT<br />

When Amanda Sudimack got into full-time professional<br />

photography about eight years ago,<br />

hers was a one-woman shop, focusing on highend<br />

weddings in the Chicago area and some<br />

destination work. The business was growing,<br />

and Sudimack felt a sense of accomplishment.<br />

24 • www.ppmag.com<br />

©Amanda Sudimack<br />

Susan Lacy, executive producer of<br />

American Masters. “We go behind the<br />

scenes and on location with an artist who is<br />

as famous as her subjects, where we see<br />

firsthand the incredible passion she brings<br />

to every assignment. And we’re privileged<br />

to see a more personal dimension of Annie<br />

Leibovitz—the sister, the daughter, and the<br />

mother of three.”<br />

For more about the series, check local<br />

listings and visit www.pbs.org.<br />

As her business matured, Sudimack<br />

began to wonder about diversification and<br />

alternate revenue streams.<br />

“I decided I wanted to develop a business<br />

where I didn’t have to be the end-all, be-all<br />

for everything,” she says. “As a wedding<br />

photographer, you are so dependent on the<br />

other elements in the wedding, that if one<br />

thing goes wrong, it can cause real problems<br />

for your business model.”<br />

Sudimack’s first step was hiring some associates,<br />

then adding documentary wedding videos<br />

to her lineup. She brought a designer on board<br />

and added customized album design with magazine-style<br />

layouts to go into elegant coffee table<br />

books. The images inside could be Sudimack’s<br />

wedding captures or ones her clients brought in.<br />

With these new product lines in place, business<br />

began to explode. Sudimack’s operation has<br />

grown into Artisan Events, a full-service outfit<br />

that offers fine art photography, documentary<br />

video, couture albums, event invitations and<br />

design services. This past year, Sudimack opened<br />

a boutique to sell high-end, photographyrelated<br />

products. The one-woman business<br />

has blossomed into a full-time staff of seven,<br />

four freelance video editors and 30 independent<br />

contract photographers.<br />

Sudimack stays focused on the end product.<br />

The albums, produced mostly in-house, feature<br />

unique, personalized design. “Clients come in for<br />

their initial consultations and see our coffeetable<br />

books, and that sells them,” says Sudimack.<br />

Sudimack’s laid-back consultations are<br />

devoid of sales pressure. She always shows<br />

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prospective clients a coffee-table book first.<br />

When the prospect books the studio,<br />

Sudimack consults with her about the various<br />

services and professionals she might also<br />

want for the event. A few weeks after the<br />

event, when clients return to look at photo<br />

proofs, Sudimack instead shows them a<br />

completed album design via computer video<br />

presentation. Surprised and impressed, about<br />

96 percent of her clients buy the album on the<br />

spot, exactly as designed.<br />

“Everyone is trained on the final<br />

outcome—on what we’re trying to accomplish<br />

with the books,” says Sudimack. “All of our<br />

associates are instructed to shoot not only for<br />

the client but also for the coffee-table book.”<br />

The system works. With Artisan Events’<br />

high customer satisfaction, roughly 60<br />

percent of its new business comes from client<br />

referrals. Much of the rest comes from other<br />

wedding vendors who have been impressed<br />

by the studio’s products and professionalism.<br />

For Sudimack, the key is simple: “There<br />

are lots of other talented photographers out<br />

there… if you miss client expectations, you’re<br />

missing the boat,” she says. “I see exceeding<br />

expectations as an investment in our<br />

marketing. We offer our clients different<br />

options without giving them the feeling that<br />

they’re being over-sold. With that approach,<br />

it’s typical for our clients to walk away having<br />

spent twice the initial plan. I see that as<br />

worth the extra effort!”<br />

To learn more about Amanda Sudimack and<br />

Artisan Events, visit www.artisanevents.com.


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Main image © Chris Steele-Perkins/Magnum Photos<br />

1Based on Wilhelm-Research.com testing (visit www.wilhelm-research.com for full details) for similar systems: For the HP Photosmart Pro B9180, based on display permanence testing under glass using HP Advanced Photo Paper, HP Matte Photo Paper, HP Hahnemühle Smooth Fine Art Paper and HP Hahnemühle Watercolor; similar display permanence with<br />

additional HP-recommended papers. Waterproof performance with HP Advanced Photo Paper; water-resistant with other HP-recommended papers. Display permanence rating of over 200 years by Wilhelm Imaging Research, Inc. printed with HP 70 Vivera pigment inks on a range of HP creative and specialty media using HP Designjet Z2100/Z3100 photo<br />

printers. For details: http://www.hp.com/go/supplies/printpermanence. *Mac and PC fully compatible. © 2006 Hewlett-Packard Development Company, L.P. All rights reserved. The information contained herein is subject to change without notice. Some of the images are simulated.


CONTACT SHEET<br />

Building a Dream<br />

Calvin McDaniel staked his success on a new studio and its ambitious renovation<br />

BY CALVIN MCDANIEL<br />

“Build it and they will come,” says Kevin Costner<br />

in the movie Field of Dreams. Two years ago,<br />

at age 40, I shouted that sentence so loudly<br />

that I finally heard it myself. As they say in the<br />

business world, perception is everything; C.<br />

McDaniel & Co. needed to create a new one.<br />

Located on a busy downtown street, our<br />

studio in downtown Morgantown, W.V., measured<br />

a whopping 700 square feet. The camera<br />

room was all of 10 feet wide—imagine the<br />

fun we had hanging a 9-foot paper background<br />

in there. We had hit a ceiling in annual<br />

sales, and saw little potential for growth.<br />

Children’s portraiture is central to our business,<br />

but we wanted to expand our photographic<br />

range and move into a larger market.<br />

First, we needed a larger space. My wife,<br />

Autumn, and I discovered a 5-acre estate<br />

with a four-bedroom house built in 1927.<br />

Serene and beautiful, the place stole our hearts.<br />

We invested our life savings of $60,000<br />

toward purchasing the half-million dollar<br />

property. That’s a lot of debt to assume, but<br />

my formal education was in finance and I knew<br />

the meaning of leverage. Besides, the vision<br />

Autumn and I shared was worth the risk.<br />

26 • www.ppmag.com<br />

All images ©Calvin McDaniel<br />

The place had character but needed a studio.<br />

We wanted it to wow clients, yet complement<br />

the vintage of the house, maybe something<br />

like a carriage house, we told our architect.<br />

In action, the concept took on a life of its own.<br />

Bigger, I kept thinking. “Why so big?” Autumn<br />

kept asking. “To accommodate growth,” I said.<br />

How would we afford to build a 5,000<br />

square foot studio? The construction<br />

estimate came in at $800,000. There was<br />

only one way. I would build it myself, lack of<br />

experience be hanged. Autumn ran the<br />

photography business while a capable friend<br />

and I put in two years of hard work. Now we<br />

have a spectacular two-story studio that<br />

blends beautifully with our vintage home,<br />

and at a third of the estimated cost.<br />

Still, that’s a lot of money. But there’s no<br />

better asset than real property, and real<br />

property can be leveraged, especially in a<br />

community growing as fast as ours. We had<br />

our property reappraised before starting<br />

construction, and the appreciation allowed<br />

us to borrow against it. Of course, this has<br />

nothing to do with repaying the debt. But<br />

we have the studio of our dreams and have<br />

significantly increased our net worth. And<br />

when clients drive into the estate, their impression<br />

of us is Wow! And you built it yourself!<br />

After just nine months in our new facility,<br />

our sales have tripled. This owes much to<br />

what’s going on inside the new studio, naturally.<br />

We’ve hired two graphic designers in the<br />

next step toward our long-term goal of<br />

expanding our market. We’re developing a<br />

strategic marketing plan to reposition<br />

C. McDaniel & Co. as an advertising and<br />

marketing firm as well as studio of photography.<br />

We’ll become a one-stop resource<br />

for high quality photography, graphic<br />

design, message development, writing,<br />

printing and mailings.<br />

Realizing our dream didn’t happen overnight.<br />

Neither will creating a new brand for<br />

ourselves. But based on what we’ve built in<br />

the past couple of years, we’re pretty sure<br />

they’re going to come.<br />

C. McDaniel & Co., in Morgantown, W.V.,<br />

photographs families and children, sports<br />

events, weddings, seniors and pageants<br />

(www.cmcdaniel.com).


hundred situations I wish I could have<br />

added fill light, so you just hope you can<br />

either work around a subject or<br />

photograph in the shade.<br />

Baghdad is a frustrating place to shoot as<br />

the sun is so harsh and creates such pronounced<br />

contrast. The Saddam theater is a<br />

great place to shoot, with lots of shady areas<br />

and indirect sunlight.<br />

From a humanitarian standpoint, what<br />

have you learned from this project?<br />

When you’re presented a photography<br />

opportunity that has a deeper humanistic<br />

meaning—either for yourself or for the rest<br />

of the world—think carefully about how<br />

you want the story to be told and how<br />

much control you are willing to give up. It’s<br />

becoming very difficult to get anything less<br />

than blood and guts published from Iraq.<br />

When an agency photo editor asked me if I<br />

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could get pictures of “the [theater] kids<br />

holding guns,” I realized I would never get<br />

this story told if I gave up any creative<br />

control over the pictures. This was the<br />

point in my life I became a humanitarian<br />

photographer.<br />

I’m now trying vigorously to work with<br />

the U.S. State Department to get aid to the<br />

Green Zone people caught in this<br />

bureaucracy. It’s not so much that these<br />

families are being ignored; rather, it’s that<br />

the right people don’t know about them in<br />

the first place. If I get anything from this<br />

project, I hope I can make a change in the<br />

welfare of this small group of people.<br />

Perhaps it will expand into something for<br />

others in Iraq in a similar situation.<br />

To see more work from David Honl, visit<br />

www.davidhonlphoto.com. His images are<br />

also displayed by his distributor, Zuma<br />

Press (www.zpicturegroup.com).<br />

Kata distributed by: Bogen Imaging Inc. 201 818 9500 www.bogenimaging.us info@bogenimaging.com<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 29


After a couple of decades on the job. Dave<br />

Honl still tries to learn something new every<br />

day. It’s a worthwhile approach to anything,<br />

but in Honl’s area of expertise, it’s no less<br />

than a matter of survival.<br />

Based in Istanbul, Turkey, the United<br />

States-born photojournalist has been<br />

making regular forays into Iraq to photograph<br />

the human side of the ongoing war.<br />

Recently in Baghdad, Honl encountered a<br />

group of Iraqis living in poverty in a<br />

building that was once the personal theater<br />

of Saddam Hussein. His images of these<br />

Iraqis speak of the human consequences of<br />

a conflict that has torn a nation apart.<br />

<strong>Professional</strong> <strong>Photographer</strong>: How did the project<br />

at Saddam Hussein’s old theater come about?<br />

David Honl: I initially made this trip to Iraq<br />

to photograph female police officers in Irbil,<br />

in northern Iraq. When the fixed-wing aircraft<br />

I was to take from Baghdad developed mechanical<br />

problems, the trip was postponed. When<br />

you have downtime in a war zone, you have to<br />

kick into networking mode. I contacted every<br />

PAO [military public affairs officer] I could<br />

think of, and was able to get an embed with the<br />

International Zone (Green Zone) Police Force.<br />

One day, while on patrol, an IZ police officer<br />

asked me the magic question: “Do you want<br />

to see the other side of the Green Zone?” In<br />

this case, “the other side” was a community<br />

of 50 to 60 displaced Iraqis, mostly children,<br />

who found themselves caught inside the<br />

concrete walls that surround the Green Zone.<br />

They live in Saddam Hussein’s old private<br />

theater, where the former Iraqi President<br />

All images ©David Honl<br />

Portraits of Iraq<br />

David Honl focuses the human<br />

side of one of the world’s most<br />

violent places<br />

INTERVIEW BY JEFF KENT<br />

28 • www.ppmag.com<br />

once summoned actors and musicians to<br />

perform. The theater is literally a shell of its<br />

former self. What’s left is a series of bare<br />

rooms that a handful of families have taken<br />

over for living spaces. They sleep on rugcovered<br />

floors and tap into existing power<br />

lines for electricity. There is no running<br />

water, so they carry in bottles from neighboring<br />

taps and stay sheltered from the 120degree<br />

heat during the daylight hours.<br />

From a photography standpoint, what have<br />

you learned from the project?<br />

Patience! There’s a lot of sitting around waiting<br />

for something to happen, much like working<br />

on a movie set.<br />

Flash photography is prohibited in this<br />

area. The only flashes soldiers are accustomed<br />

to are the flares from bombs, guns<br />

and rockets, and no photographer wants to<br />

be mistaken for one of those. There are a


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interpreted as too intense; too little says<br />

you’re not interested in her needs.<br />

The position of your head is a strong cue.<br />

When you want to appear friendly or indicate<br />

that you’re in a receptive mode and are listening,<br />

tilt your head to the side a bit. You can shift<br />

the tilt from one side to the other at key points<br />

in the conversation. Tipping your forehead<br />

toward your customer signifies that you are<br />

truly interested.<br />

Be aware of the position and movement<br />

of your client’s arms and hands. The more<br />

outgoing and open the person, the more he<br />

tends to express himself with wide arm movement.<br />

The quieter and more reserved he is,<br />

the less he tends to use hand and arm<br />

gestures. Try to strike a natural balance<br />

between the two with your own movement.<br />

The angle of the body is indicative.<br />

Leaning forward indicates interest and<br />

openness, while leaning backward signals<br />

aloofness, boredom or rejection. Make sure<br />

that you show interest in your stance, and<br />

pay attention to what your client’s body<br />

angle tells you.<br />

Stand too close to the client and you’ll come<br />

off as pushy or in-your-face. Stand too far<br />

away and you’ll be viewed as distant or standoffish.<br />

To get it right, observe how your customer<br />

reacts to the distance between you. If you move<br />

closer and she backs away, you’re probably<br />

too far into her personal space. A nose-tonose<br />

distance of about 18 inches is generally<br />

within most people’s comfort zone.<br />

You were given two ears and only one<br />

mouth for a reason. If you listen twice as much<br />

as you talk, you come across as a good communicator<br />

who knows how to conduct a balanced<br />

conversation. Talk too much and you come off<br />

as over-aggressive, controlling, or worse, boring.<br />

Mouth movements reveal all sorts of<br />

clues. Your client may purse his lips or twist<br />

them to the side when he’s thinking. When<br />

you smile and talk at the same time it shows<br />

excitement, enthusiasm and passion for<br />

your business. When your client smiles it<br />

says he’s actively engaged in the process and<br />

you are on the right track.<br />

The bottom line: people buy from people<br />

they like, people they feel comfortable<br />

with. If you can use body language to get<br />

your message across, you’ll be well on<br />

your way to establishing long-lasting<br />

relationships with your clients, and that’s<br />

what it’s all about. ■<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 33


<strong>Professional</strong> <strong>Photographer</strong> PRESENTS Business, Marketing and Sales Strategies<br />

What I Think<br />

Change means opportunity<br />

for Mark Ridout<br />

How did you start your career?<br />

I started my career 26 years ago by<br />

photographing a friend’s wedding.<br />

What do you consider your big break—the<br />

turning point? My big break came after I<br />

made the switch to digital. Digital allowed<br />

me to reach a wider audience and be more<br />

creative in the way I presented the wedding<br />

package, both in print presentation and<br />

digital slideshows.<br />

What one thing do you wish you knew<br />

when you were first starting out?<br />

Better marketing skills.<br />

What’s the secret to running a successful<br />

photography business? The purpose of any<br />

business is to bring in new customers and<br />

produce a product that is both unique and<br />

professional. That can only be accomplished<br />

through marketing and a unique wedding<br />

package. The most important survival skill<br />

is being able to anticipate change and<br />

identify new opportunities.<br />

What’s your most exciting recent discovery?<br />

The new capabilities of Proshow Producer<br />

by Photodex.<br />

IMAGE BY MARK RIDOUT<br />

WWW.RIDOUTPHOTOGRAPHY.COM<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 31


PROFIT CENTER<br />

Think about flirting. A little wink, a flip of<br />

the hair, a smoldering gaze—not a single<br />

word needs to be spoken. Flirting is one of<br />

myriad instances when we communicate<br />

with non-verbal cues. You can tap into the<br />

same dynamic in your business.<br />

Your ability to read your customers’ nonverbal<br />

communication—and monitoring your<br />

own—makes a big difference in the effectiveness<br />

of your selling. Whatever business you’re in,<br />

you’re in the business of selling, yourself if<br />

32 • www.ppmag.com<br />

MITCHE GRAF, CR.PHOTOG.<br />

Something in the way you move—learning to<br />

communicate without saying a word.<br />

Effective body language<br />

nothing else. <strong>Photographer</strong>s sell emotion.<br />

Reading the client’s body language is a key<br />

to selling it.<br />

The following is an outline of a threestep<br />

program for reading non-verbal cues<br />

that I call the AIM for Success technique.<br />

1. ABSORB every aspect of your clients’<br />

body language from the very first contact.<br />

Notice their eye contact, hands, arms, body<br />

angle, voice inflection, and stance.<br />

Observation is a vital skill in selling.<br />

2. INTERPRET the body language:<br />

What does it say about how the client feels<br />

about you, your studio, and the experience<br />

he’s having?<br />

3. MIRROR the customer’s movements<br />

as much as you realistically can. It builds trust,<br />

helps break down defensive walls, and shows<br />

them that you’re like-minded. This technique<br />

is actually fun once you get the hang of it.<br />

How you can use these techniques to<br />

understand the language of the body?<br />

Eye contact is one of the most important<br />

non-verbal cues in dealing with customers.<br />

Maintain eye contact to show respect and<br />

sincere interest in what your client is<br />

saying, short of making her feel selfconscious.<br />

Constant eye contact might be<br />

©Getty Images


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PROFIT CENTER<br />

Clients often get their first impression of<br />

your work from your Web site, but they still<br />

use the telephone to ask questions and book<br />

appointments. Here are a few tips for<br />

putting your best voice forward.<br />

SMILE WHEN YOU SAY THAT! Smile<br />

when you answer the phone, even though<br />

no one’s looking. Not only does smiling<br />

remind you to be friendly and courteous, it<br />

actually makes you sound more pleasant. It’s<br />

hard not to connect with a person with a<br />

cheerful attitude. Let callers know you’re<br />

glad they called and that you’re eager to help.<br />

WHAT’S IN A NAME? Everything.<br />

Always answer with your name as well as<br />

the name of your business, and ask the caller’s<br />

name right away. I always have a pen in hand<br />

when I answer the phone so I can I jot down<br />

the caller’s name. (It’s all too easy to forget a<br />

new acquaintance’s name during a conversation.)<br />

Use the caller’s name once or twice to<br />

36 • www.ppmag.com<br />

STEVE KOZAK, M.PHOTOG.CR., CPP<br />

Every incoming call is a valuable opportunity to establish a<br />

rapport with the caller, and strengthen her good impression.<br />

Have them from “hello”<br />

©Getty Images<br />

make the conversation more personal.<br />

WHAT CAN I DO FOR YOU? Before<br />

ever discussing prices, I inform callers about<br />

the benefits of our pre-session consultation<br />

and a bit about the session itself, such as<br />

how long it will take, the number of outfit<br />

changes the session includes, and the<br />

grooming accessories to bring. I let them<br />

know we can take different photos intended<br />

for specific people, and about our image<br />

review policy. All that before I discuss a la<br />

cart and package pricing and promote our<br />

selection of frames. The more information I<br />

provide, the more secure the client feels in<br />

choosing me as her photographer.<br />

LEARN YOUR LINES. Remember<br />

these four words, “Are you familiar with…?”<br />

Now fill in the blanks: our studio, our sessions,<br />

our preview policy, wall groupings, our specials,<br />

how we protect and mount your prints, which<br />

clothing will work best for your session.<br />

THE PRICE IS RIGHT. When the conversation<br />

turns to pricing, the first thing I<br />

do is invite callers to visit my studio to see<br />

the quality my work. I discuss the range of<br />

prices, from high to low. I say they don’t<br />

need to know exactly what they want at this<br />

point, and that most clients make their<br />

decision after seeing the images. Then I<br />

suggest they go to my Web site while we’re<br />

talking, and direct them to the online<br />

pricing info that’s pertinent to their needs. I<br />

review this information, then suggest that<br />

we go ahead and schedule a session.<br />

TERRIFIC TWOS. I never say, “When<br />

would you like to come in?” Instead, I present<br />

a choice of two dates and times: “Do you<br />

prefer next Tuesday at 2 p.m. or Wednesday<br />

at 10 a.m.?” If neither suits, I present two<br />

more dates a bit farther out, subtly<br />

conveying how busy I am. This method<br />

gives me control over my calendar instead of<br />

letting it control me. Scheduling an<br />

appointment requires a credit card payment<br />

to reserve the time. I always have the client<br />

repeat the date and time and then I say it<br />

again so we’re in complete agreement. I<br />

repeat the information when I confirm the<br />

credit card charges and review the<br />

cancellation policy. I write the date and time<br />

of the appointment on the receipt, which I<br />

immediately mail to the caller.<br />

QUALITY TIME. I avoid picking up a<br />

call when I’m with a client or am unable to<br />

spend sufficient time with the caller. I return<br />

calls as soon as possible. I use a headset with<br />

the phone so my hands are free to jot down<br />

information. I take lots of notes about the<br />

caller’s preferences and pertinent personal<br />

data. When next we speak, callers are always<br />

pleasantly surprised that they’ve made a<br />

lasting impression with me! ■<br />

Visit Steve Kozak’s Web site at<br />

www.stevekozak.com.


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PROFIT CENTER<br />

I recently had an amazing customer service<br />

experience that has redefined quality and<br />

my standards for meeting and exceeding client<br />

expectations. I was so impressed that I’m putting<br />

together a program to teach it to other<br />

photographers. I identified each step I observed<br />

in the sales process, and imagined how I could<br />

incorporate the technique in my own business.<br />

HOSPITALITY AND EDUCATION. It<br />

was finally time to purchase a new car, so I<br />

called my dear friend Mel, a car freak who<br />

knows all the dealerships and tricks of the<br />

trade in luxury automobiles. We had an appointment<br />

at the Ford dealership, but dropped in<br />

on the Lexus dealership on our way there.<br />

The salesmen knew Mel. He welcomed<br />

us and immediately showed us to his office<br />

while offering refreshments. Cappuccino and<br />

biscotti were promptly delivered. Next, he<br />

thoroughly explained each step of the sales<br />

transaction, which made me feel secure in<br />

making a major financial decision.<br />

CONGRATULATIONS! Once I selected<br />

the car, the salesman shook my hand firmly<br />

and said, “Welcome to our Sterling McCall<br />

dealership family and congratulations on<br />

being our client from now on. Once you’ve<br />

lived the Lexus experience, nothing else will<br />

ever be good enough for you.”<br />

A PERSONAL CONNECTION. Each<br />

person I would be dealing with during my<br />

purchase came by the sales manager’s office<br />

where I was seated. Each introduced<br />

himself, explained his role in accommodating<br />

CAROL ANDREWS, M.PHOTOG.CR.<br />

Who would believe buying a car would change my<br />

studio’s standard of customer service?<br />

The Lexus level<br />

38 • www.ppmag.com<br />

me, and welcomed me to the Lexus family.<br />

Each one assured me I’d made a fabulous<br />

decision, and told me how much I would<br />

enjoy my Lexus.<br />

COMFORTABLE FINANCIAL ARRANGE-<br />

MENTS. Next, we were escorted to the<br />

office of the financial advisor, Michele. She<br />

carefully reviewed the necessary documents,<br />

and began to gather the information that would<br />

determine which payment method would<br />

best meet my needs. She discussed several<br />

optional features, including the ultimate automotive<br />

sales add-on, the extended warranty.<br />

The sales documents completed, she escorted<br />

me back to the sales manager’s office, where<br />

lunch was served. Talk about the wow factor!<br />

PRESENTATION. A dealership staff member<br />

presented me with a leather-bound album that<br />

included the owner’s manual. Inside the album<br />

cover was the business card of each person<br />

I’d interacted with that day. The official presentation<br />

of the keys and the vehicle made me feel<br />

like I’d just won the jackpot. Having made one<br />

of the largest financial commitments of my life,<br />

I proudly drove off the lot, totally satisfied, no<br />

regrets. The experience had exceeded my<br />

expectations, and the money just didn’t matter.<br />

FOLLOW UP. Two days later, the manager<br />

called to ask how I was enjoying the car, and<br />

if I had any questions for him.<br />

What does this rambling story have to do<br />

with photography? Everything.<br />

I’ve taken my customer service to the Lexus<br />

Level. We refer to our families as clients, not<br />

customers. We welcome them to the Andrews<br />

Photography family and assure them that once<br />

they’ve enjoyed our photography experience,<br />

no other studio will be good enough for them.<br />

We verbalize our commitment to high quality<br />

to potential clients. I commit to them with true<br />

sincerity, expert knowledge, warmth and friendliness.<br />

I take time to educate them about the<br />

progression of the portrait process. I’ve stepped<br />

up my hospitality and share the comfort elements<br />

of food and beverages. The environment<br />

of my home studio is cordial and friendly.<br />

I focus on details, details, details and<br />

reassure clients that we’re here to care for<br />

them. It builds trust. I explain in advance of<br />

the sales session that I’ll be there to advise<br />

and guide them, to help them make solid,<br />

well educated decisions within their budget.<br />

If they desire my design services, I’ll schedule<br />

an appointment to view their home and take<br />

measurements for proper sizing and presentation.<br />

I let them know we have financial plans<br />

and alternatives to accommodate their<br />

ultimate desires. We even offer a complimentary<br />

professional installation service.<br />

We follow up the delivery of the purchase<br />

by calling to ask how they are enjoying their<br />

portraits and what questions they might have.<br />

Finally, we ask for referrals and encourage<br />

them to spread the word about the portrait<br />

experience with Andrews Photography.<br />

In my office, I hung a sign reading, “Live<br />

the Lexus Level!” Just when you’re thinking<br />

your customer service is good enough, it<br />

might be time to redefine, challenge and<br />

raise your standards. Imagine the benefit of<br />

your photography business as a result. ■<br />

Have you experienced amazing customer<br />

service? E-mail me at candrews@<br />

andrewsphoto.com. If I use your story in an<br />

article, I’ll send you a thank you gift, a<br />

signed copy of my book, “Cameracraftsmen<br />

of America: 100 Year Anniversary.” Visit my<br />

Web site, www.andrewsphoto.com.


PROFIT CENTER<br />

There is much more profit in helping your<br />

clients become happily invested in wall<br />

portraits than in any other type of<br />

photography. Remember, you sell what you<br />

show, so show wall portraits!<br />

Whether your business is in your home, a<br />

retail space or an office building, you want<br />

your wall displays to look as they would in a<br />

client’s home. You want prospects to clearly<br />

envision how your fine photography will<br />

look on their own walls. You want to display<br />

a variety of framed work, but not so many<br />

that the space looks like a gallery.<br />

The smallest image on display anywhere<br />

CHARLES J. LEWIS, M.PHOTOG.CR.<br />

The writing's on the wall—selling large portraits makes<br />

the difference between so-so sales and super sales.<br />

Show to sell<br />

40 • www.ppmag.com<br />

in your studio should be 24x30 inches. Each<br />

displayed image should be on its own plane in<br />

its own space. If you have a long wall in your<br />

studio and want to display two or three<br />

appropriately sized wall portraits in that<br />

space, use a design element such as an<br />

indoor tree to separate them.<br />

In showing clients their portraits, project<br />

the images into a frame hung over a sofa<br />

or loveseat. You don’t want your projection<br />

to look like a slide show, but like a fine<br />

portrait on the wall of a home. Demonstrate<br />

how people do invest in large portraits<br />

and display them proudly in their homes.<br />

Show them how wonderful it looks.<br />

If you want your clients to invest in wall<br />

portraits, don’t create super close-up portraits.<br />

Your images might be sensitive, wonderfully<br />

lit and beautifully composed, but the overall<br />

image will lose its impact if the subject’s<br />

features are much larger than life-size.<br />

For effective large portraits, try photographing<br />

the subject three-quarter length,<br />

from the top of the head to about the knees.<br />

Show the subject’s hands. This composition<br />

is still beautifully artistic, and looks perfect<br />

in a 24x30- or 30x40-inch frame.<br />

Flower arrangements on the tables, little<br />

trees and other attractive greenery placed in<br />

your studio contribute greatly to making the<br />

space feel homey, helping clients visualize how<br />

beautiful your images will look in their home. ■<br />

Go to www.cjlewis.com for more of Charles<br />

J. Lewis’s tips on business success.


The award winning Premira album<br />

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<strong>Professional</strong> <strong>Photographer</strong> PRESENTS Products, Technology and Services<br />

What I Like<br />

Hollye Schumacher<br />

protects her assets<br />

What makes your workflow flow? Working in<br />

Adobe Bridge. I learned a quick and easy system<br />

from Kevin Kubota last year using the star rating<br />

system, and it saves me a lot of time.<br />

What’s the best equipment investment you ever<br />

made? My new 2TB RAID system, the<br />

ReadyNas NV+ by Infrant. It gives me peace<br />

of mind knowing all my data is backed up<br />

and the Web interface allows me to access my<br />

files from anywhere.<br />

Little thing, big difference. Showit slideshows.<br />

My clients love them and they’re a great<br />

marketing tool.<br />

What hot new product are you currently<br />

going out of your way to use? I have partnered<br />

with a Web designer who creates<br />

boutique and custom wedding sites for my<br />

clients (www.willbewed.com). It’s a creative<br />

way for me to market my images, and it<br />

gives my clients something above and<br />

beyond the norm. (See a sample at<br />

www.tinaandbob.willbewed.com.)<br />

What’s the one piece of gear they’ll have to<br />

pry out of your cold, dead fingers?<br />

My Hasselblad XPan.<br />

IMAGE BY HOLLYE SCHUMACHER<br />

WWW.HOLLYE.COM<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 43


THE GOODS<br />

PRODUCT CLOSEUPS BY KAREN LINSLEY<br />

We take a close look at contemporary flush-mount<br />

albums from four album makers with unique products<br />

Flush with style<br />

Flush mount, magazine style, contemporary, traditional, matted, hinged, reversible, coffee table<br />

book format… These are some of the names for just two basic styles of wedding albums: the<br />

matted, mounted traditional style and the imprinted page style, or flush mount. No matter which<br />

kind of album you decide to offer your wedding clients, limit the choices to one or two styles<br />

from one or two album companies. Too many choices will only confuse your clients and make<br />

your order fulfillment more difficult than it needs to be.<br />

Several dealers, including TOPFLIGHT, TAP and ALBUMS INC., distribute Premira<br />

albums, which couple a traditional look with a contemporary flush-mount design.<br />

Available for 9, 12, 15, or 18 pages, Premira albums feature a design the company claims makes<br />

for quick, easy and flexible assembly. You design the layouts yourself and print them in-house<br />

or at your lab. You order the cover and the pages separately from Premira, and assemble the<br />

album yourself.<br />

Assembly could be a little tricky. Using the Photo Positioning Kit, you mount your photo<br />

onto the adhesive pages (10x10 or 5x5). The online instruction video says the adhesive is<br />

“aggressive and permanent,” and if you mount the photo incorrectly, you have to replace both<br />

the photo and the page. The covers come with tabs corresponding to the number of pages to<br />

be included. The photo mount page forms a sleeve<br />

that slides onto the tab. You can change page<br />

orders if needed, or get new pages with<br />

new photos.<br />

You’ll pay $108 for an<br />

18-page, 10x10 album<br />

cover, plus $75 for the<br />

pages, which<br />

come in packages of<br />

three. The reusable Photo<br />

Positioning Kit is $15.<br />

Visit www.premiraalbums.com.<br />

44 • www.ppmag.com<br />

CAPRI ALBUM flush mounts come in<br />

two styles, the Modern Image and Flush.<br />

The Modern Image albums offer a greater<br />

choice of album sizes, square corners and<br />

art book style hard covers, while the Flush<br />

Mount albums have better options for<br />

panoramas. The company offers design,<br />

printing and binding services, at<br />

www.capridesignandbind.com, but you can<br />

also design your album yourself in Photoshop,<br />

with a template program, or even another<br />

software program. If you use the design services,<br />

you must register or have an account<br />

with LustreColor photo lab and design your<br />

album online, using the supplied templates,<br />

borders and backgrounds.<br />

Capri Album bases its pricing on the<br />

number of pages in the albums (no limit).<br />

For a 40-page, 10x15 Flush album, you pay<br />

$117 for the cover, plus $3 per page, a total<br />

of $237. For a 40-page, 10x15 Modern<br />

Image book, you pay $135 for the cover and<br />

$3.50 per page, or $275.<br />

Call 800-666-6653 or visit<br />

www.caprialbum.com.


Do people reveal more of themselves to the Nikon pro?<br />

Portraits taken by Nikon ® pros, like this one by Sandro of actor John Malkovich, always seem to capture a little<br />

something extra. That’s what happens when you trust the shot to a Nikkor ® lens, an essential part of the Nikon Pro<br />

Digital System. “A decisive moment is necessary for that perfectly honest portrait,” says Sandro. “Nikon, with<br />

its ultra-sharp, ultra-fast lenses, gives me the edge in capturing that moment.” There are over 50 AF Nikkor<br />

interchangeable lenses, each with 70 years of optical engineering experience built in, resulting in superior sharpness<br />

and clarity, and color that’s consistent and accurate. For more revelations, visit nikondigital.com.<br />

The Nikon Pro Digital System, featuring legendary Nikkor interchangeable lenses.<br />

© 2006 Nikon Inc. Each item pictured sold separately.


If you want a less pricey album that’s a little<br />

different, try ASUKABOOK, at $139 for a<br />

40-page hardcover book. ASUKABOOK albums<br />

have the look of the hardcover books in the longrunning<br />

Time/Life series. The company also<br />

offers book-bound EX hardcover albums, bookbound<br />

soft cover albums, and stitch-bound<br />

hardcover albums. AsukaBook provides downloadable<br />

templates with guidelines showing the<br />

trim lines and gutter, basically blank Photoshop<br />

(7.0 or later) pages. You upload your layout via<br />

File Checker software, and AsukaBook prints and<br />

binds the album. Design services are provided by<br />

Red Boot Design at a per-page/side rate of $5-8<br />

(www.redbootdesign.com). Cover design is<br />

included in the price with 28 pages or more, $15<br />

with fewer pages. Revisions, file resizing and<br />

shipping are additional. Call 541-317-5970<br />

or visit www.asukabook.com.<br />

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46 • www.ppmag.com<br />

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If you are a high-end wedding<br />

photographer, consider the<br />

products and services of<br />

GRAPHISTUDIO. The company<br />

offers design, printing and binding<br />

services, and produces an album<br />

that looks like a bound book. Prices<br />

range from $450 to $900 for a<br />

40-page book, but these albums<br />

are absolutely gorgeous, top of the<br />

line in quality and service.<br />

GraphiStudio offers studio sample<br />

kits to use as sales tools, and the turnaround is one of the quickest I’ve experienced.<br />

Starting at 40 pages, GraphiStudio albums come in six layout designs. The Director and<br />

Panorama layouts are suggested for presenting one image per page, while the Reportage layout<br />

will accommodate up to 70 images in a 40-page book. The remaining layouts are Classica,<br />

Design and Studio. You supply the images on CD, or as negatives or prints, and the album layout<br />

will be posted online for your approval. You can order one large album and smaller companion<br />

books, hardcover or softbound. Call 866-472-7445 or visit www.graphistudio.com.


THE GOODS: PRO REVIEW<br />

With a completely new design for the G-series,<br />

the PowerShot G7 has enough resolution<br />

and response for serious photography.<br />

BY RON EGGERS<br />

Closer to pro<br />

CANON POWERSHOT G7<br />

The gap between professional and consumer<br />

digital cameras is narrowing. Some consumer<br />

cameras have high enough resolution and<br />

are responsive enough for pros to use for<br />

serious work. A number of features bring<br />

the Canon PowerShot G7 close to the pro<br />

rank, including its image post-processing,<br />

optical image stabilization system and broad<br />

lens coverage.<br />

Even before taking a picture, you notice<br />

its styling. The G7’s flat-black retro design<br />

48 • www.ppmag.com<br />

recalls a smaller version of a classic rangefinder<br />

camera, the kind a pro might slip into a suitcase<br />

when he didn’t want to carry heavier gear.<br />

The G7 has a 10-megapixel CMOS sensor<br />

(3,648x2,736 pixels), but it’s not the resolution<br />

that sets this camera apart—other consumer<br />

digitals can match it. What’s unique is G7’s<br />

pro-tier post processing with DIGIC III, the<br />

newest generation of Canon’s highly regarded<br />

processing engine.<br />

The DIGIC III Image Processor improves<br />

All images ©Ron Eggers<br />

image quality, capture speed and data throughput.<br />

The engine also has Face Detection technology,<br />

which finds individual or multiple<br />

faces in a composition. The camera then sets<br />

the appropriate exposure and focus point to<br />

optimize those faces in the captured image.<br />

It works surprisingly well, detecting even faces<br />

in paintings or photographs hanging on a wall.<br />

Canon has done it right with the controls.<br />

Rather than being buried in multiple levels<br />

of menus, the primary camera settings are<br />

easily accessible by various dials. For example,<br />

a small dial on top controls the ISO equivalence<br />

(80 to 1600), which is convenient for<br />

quick changes in varying lighting conditions.<br />

There are also Auto ISO and a Hi (high<br />

auto) settings. In the Scene menu you can<br />

set ISO as high as 3200.<br />

Users control aperture and shutter speed<br />

with a dial around the navigation buttons<br />

on back of the camera. Turn the dial in the<br />

aperture-priority mode and the aperture<br />

setting displays on the LCD. Aperture extends<br />

from f/2.8 to f/8, a narrow range for a serious<br />

camera, limiting the depth of field control.<br />

Rotate the dial in shutter priority mode, and<br />

the shutter speed setting (1/2,000 second to<br />

15 seconds) displays on-screen.<br />

In the viewfinder, the top of the lifeguard tower<br />

and its reflection were exactly at the top and<br />

bottom of the frame, but the LCD accurately<br />

framed the composition.


THE GOODS: PRO REVIEW<br />

The shooting mode is controlled by a dial<br />

on top of the camera. In addition to program,<br />

aperture and shutter priority modes, there’s an<br />

SCN option for setting specific picture scenes,<br />

such as portraiture, sports, indoors and fireworks.<br />

There are also a couple of unique modes,<br />

such as Color Accent and Color Swap. With<br />

Color Swap, a defined color in the frame can<br />

be replaced with another color.<br />

The G7 has a 6X optical zoom lens. It’s<br />

the first digital camera with Canon’s new SR<br />

coating technology, which significantly reduces<br />

ghosting. The G7 also incorporates Canon’s<br />

advanced optical image stabilizer<br />

technology. With many years experience in<br />

35mm lens stabilization systems, Canon has<br />

some of the best in the industry. While the G7<br />

doesn’t have interchangeable lenses, there are a<br />

number of auxiliary tele-converter lenses<br />

available to extend the zoom range. The G7<br />

can also take EOS Speedlite flash units, and<br />

supports autoflash metering and flash<br />

exposure compensation.<br />

The oversize LCD screen is bright and<br />

specs:<br />

Canon PowerShot G7<br />

IMAGE PROCESSOR: DIGIC III<br />

SENSOR: CMOS<br />

RESOLUTION: 10 megapixel<br />

(3,648x2,736 pixels)<br />

SHUTTER: 1/2,000 sec. to 15 sec.<br />

FOCUS MODES: AiAF, Flexzone, Face Detect<br />

ISO: 80 to 1600 (3200 Scene mode option)<br />

LENS: 6X optical, 4X digital (accepts<br />

wide-angle and telephoto adapters)<br />

FLASH: Built-in, compatible with EOS<br />

Speedlite flashes with hot shoe<br />

STORAGE: SD cards, supports SDHC<br />

STREET PRICE: about $539<br />

50 • www.ppmag.com<br />

viewable. Rather than having the hybrid<br />

user interface of the XTi, the G7’s interface<br />

has the same menu structure of earlier Canon<br />

digitals, but with larger, easier to see text.<br />

Sadly, unlike other cameras in the G-series<br />

line, the G7 LCD doesn’t swing out or rotate.<br />

It doesn’t even tilt for over-the-head shots.<br />

While the G7 has a lot going for it, you do<br />

have to remember that it’s a consumer camera,<br />

which has both advantages and disadvantages.<br />

There are some things that the G7 can do<br />

that digital SLRs can’t. For one, it has serious,<br />

high-resolution video capabilities. Most<br />

consumer cameras take video at a 640x480<br />

pixels or less, but the G7 can capture video<br />

at an XGA resolution of 1,024x768 pixels, at<br />

15 frames per second (fps)—full screen, even<br />

on most graphic monitors. For a higher<br />

frame rate, it’s possible to shoot 640x480pixel<br />

video at 30 fps. Also, the LCD can be<br />

used to preview and frame compositions.<br />

Only a few DSLRs offer live preview.<br />

The G7 is faster than most consumer<br />

cameras, yet still suffers a focusing lag. At<br />

©Ron Eggers<br />

first, I missed the critical shots when I was<br />

taking pictures of a girl doing cartwheels on<br />

the beach. The half-second or so between<br />

my pressing the shutter button and the<br />

camera firing was just enough to miss most<br />

of the action. I had better luck when I asked<br />

the model to slow down and repeat those<br />

cartwheels six or eight times.<br />

Once the camera starts firing, however,<br />

it’s quick. Very quick. Using one of the new<br />

Kingston 4GB SDHC memory cards and<br />

shooting in the continuous mode, the G7 captured<br />

38 to 40 frames in just 20 seconds. That<br />

rate continued beyond 20 seconds; I was able<br />

to shoot 70 to 80 in a row with no hesitation.<br />

Framing through the coupled viewfinder<br />

feels like shooting with a rangefinder. The<br />

viewfinder can be deceiving, though, as the<br />

frame capture area is larger than the area<br />

displayed in the viewfinder. Even more of a<br />

problem, the view isn’t centered. The sensor<br />

captures more of the unseen view on the top<br />

of the frame than the bottom, further<br />

complicating getting accurate composition<br />

In order to capture the cartwheel at the right position, I had<br />

to press the shutter as soon as the girl started to move.


when using the viewfinder. For precise framing<br />

and compositions, it’s best to use the LCD.<br />

As you’d expect, image resolution and<br />

compression are adjustable. However, the<br />

camera doesn’t support the RAW file format,<br />

presenting a problem for many professional<br />

photographers who prefer to capture RAW.<br />

The G7 is PictBridge compatible, so you<br />

can print directly from the camera to any<br />

PictBridge-supported printer. An interesting<br />

movie print option makes it possible to print<br />

a series of thumbnails of individual movie<br />

frames on one sheet.<br />

The G7 isn’t going to replace a digital SLR<br />

for most professional applications, but then it<br />

wasn’t designed to. With its compact size<br />

and weight, and the quality of the images<br />

that it can capture, it can certainly be used<br />

to produce professional photos. ■<br />

The G7 is an ideal take-along camera. It has a high enough resolution, and the Program mode does an<br />

excellent job of capturing difficult exposures. Model: Madison Nicole Broesder


THE GOODS: PRO REVIEW<br />

Epson ups the ante on dual-purpose desktop<br />

scanners with the V-750M. Fluid-mount<br />

capability takes it beyond the average flatbed.<br />

BY ELLIS VENER<br />

Flat to fluid<br />

EPSON PERFECTION V750-M PRO<br />

The arrival of the Epson Perfection V750-M<br />

Pro desktop scanner is hot news. With the stated<br />

ability to scan film at up to 6,400ppi in Super<br />

Resolution Lens mode, adjustable height<br />

film carriers, and the V750-M optional Fluid<br />

Mount Tray, it’s a step up from the discontinued<br />

Epson Perfection 4990 Pro. Among the<br />

bundled software extras is the useful<br />

Lasersoft SilverFast Ai 6 scanning program.<br />

Perfection 4990 users grumbled when<br />

they discovered how frequently the film holders<br />

52 • www.ppmag.com<br />

failed to position the film at the right height<br />

over the scanner bed to achieve optimum focus,<br />

and how medium- or large-format film simply<br />

wasn’t held flat. These are minor league concerns<br />

for low-resolution scans, but they escalate<br />

to mortal sins if your goal is to make even<br />

moderate 11x14-inch prints at 360dpi.<br />

The adjustable height of the standard<br />

film holders in the V750-M Pro and its baby<br />

sister, the V700, alleviates the global focus<br />

problem, but the height is adjustable<br />

Images on the right show detail from a 6x17cm-format film scan (below). The standard film holder scan (top)<br />

has higher contrast, and tonal compression with corresponding loss of detail, while the FMT scan (right) shows<br />

more shadow detail and tonal separation. Examine the scan details online in Bonus Content at www.ppmag.com.<br />

All images ©Ellis Vener


THE GOODS: PRO REVIEW<br />

specs:<br />

Epson Perfection V750-M Pro<br />

TYPE: Flatbed<br />

PHOTOELECTRIC DEVICE: Color Epson<br />

MatrixCCD line sensor<br />

OPTICAL RESOLUTION: Epson Dual Lens System: 4,800ppi and 6,400ppi<br />

HARDWARE RESOLUTION: 4,800x9,600ppi; 6,400x9,600ppi with Micro Step<br />

Drive technology<br />

EFFECTIVE PIXELS: 40,800x56,160 (4,800dpi); 37,760x62,336 (6400dpi)<br />

COLOR HARDWARE BIT DEPTH: 48-bits per pixel internal, 48-bits per pixel external<br />

(External bit depth is selectable to 48 bits depending on the image editing software.)<br />

OPTICAL DENSITY: 4.0 D-max<br />

TRANSPARENCY UNIT: 8x10-inch transparency adapter built-in lid with four film<br />

holders: 35mm slides (12 frames), 35mm film strips (24 frames), medium format strips<br />

2.25-inch, 120/220, 6x20cm (2-6 frames) and 4x5-inch film (2 frames); 8x10-inch<br />

film area guide. Fluid mount tray and film guide for wet mount film scanning.<br />

(Mounting fluid and supplies not included.)<br />

MAXIMUM READ AREA: 8.5x11.7 inches (216x297mm)<br />

LIGHT SOURCE: White cold cathode fluorescent lamp<br />

INTERFACE: USB 2.0, FireWire<br />

SCANNING SPEED: 4,800ppi high-speed mode: full color 10.8 msec/line<br />

DIMENSIONS: 12x20x6 inches, 14.5 pounds<br />

SOFTWARE: LaserSoft Imaging SilverFast Ai 6, MonacoEZcolor, Adobe Photoshop<br />

Elements, ABBYY FineReader Sprint Plus OCR, Epson Copy Utility, Epson Scan with<br />

‘‘<br />

Epson Easy Photo Fix Technology<br />

MSRP: $799.99<br />

Here’s advice that comes from hard-won<br />

experience: If you need to do professional highend<br />

scanning, forget about using the standard<br />

film holders and go straight to wet mounting.<br />

only in 0.5mm increments, so finer focusing<br />

still requires using shims for intermediate<br />

Wet mounting (also called fluid mounting)<br />

heights. Unfortunately, the problem of is a technique in which you coat the film<br />

holding film flat persists, and the film<br />

with an oily liquid and place it between a<br />

holders feel flimsy and ultra-lightweight. piece of glass and an optical Mylar overlay.<br />

Here’s advice that comes from hard-won It’s more time consuming than using standard<br />

experience: If you need to do high-end film holders, and requires a perfectly clean<br />

scanning, forget about using the standard work area with good ventilation to handle<br />

54 • www.ppmag.com<br />

’’<br />

film holders and go straight to wet mounting.<br />

the rapid fluid evaporation. Afterward, you<br />

have to clean the fluid from the film and tray<br />

in preparation for the next scan. But the<br />

excellent results make it worth the effort. Fluidmount<br />

scans are far superior to dry-mount<br />

scans. The Mylar overlay holds film flat, and the<br />

fluid fills in surface imperfections in the film. A<br />

fluid-mount reveals more detail in the denser<br />

areas of the film, and there is visibly less noise in<br />

the shadows. The usable D-max range increases<br />

by about 5-10 points.<br />

The V750-M comes with a fluid mounting<br />

tray and a mounting station to hold and<br />

position it while you mount the film to the<br />

glass. Not included are the required mounting<br />

liquid and cleaning supplies. You have two<br />

options. Aztek (www.aztek.net) has put together<br />

a supply kit—precut optical quality Mylar<br />

overlays, Kami mounting fluid, cleaning<br />

wipes, application bottle, and mounting<br />

tape—for $160. Aztek is the standard supplier<br />

for most professional labs and service bureaus<br />

that scan film. The alternative is a new<br />

Canadian company called ScanScience<br />

(www.scanscience.com). The ScanScience kit<br />

includes its own fluid mount tray, Lumina<br />

Optical Super Fluid scanning fluid, optical<br />

glass cleaner, a large microfiber wipe, squeegee,<br />

Mylar overlay and a few other useful odds and<br />

ends. The ScanScience kit costs $120 (USD).<br />

Where the two options differ significantly<br />

is in the film positioning and the mounting<br />

fluid. With the Epson fluid mount tray<br />

(FMT), the film is mounted on top of the<br />

glass in the FMT, which is then placed on<br />

the glass bed in the scanner. This gives you<br />

two layers of glass between the film and the<br />

scanner’s CCD, which can slightly degrade<br />

the sharpness of the image. In some images,<br />

a blue fringe of chromatic aberration around<br />

the edges of the fine detail can occur as well.<br />

The ScanScience method positions the film<br />

on the bottom of the glass in their mounting


tray, so there’s just one layer of glass between<br />

the film and the sensor. The chemical composition<br />

of the scanning fluid also differs.<br />

While Kami fluid evaporates rapidly, the less<br />

volatile Lumina fluid evaporates more<br />

slowly. ScanScience makes other claims<br />

about the safety of its chemistry, but as I<br />

barely passed organic chemistry in college,<br />

I’m not qualified to comment on them. The<br />

ScanScience FMT kit came complete with<br />

three shims to adjust the height of the film.<br />

I preferred the ScanScience approach.<br />

How good are the wet-mount scans on<br />

the Epson Perfection V750-M Pro? Mac<br />

Holbert of digital fine art specialists Nash<br />

Editions (www.nasheditions.com) has<br />

compared scans of medium-format film<br />

made with their $51,000 Kodak (nee Creo)<br />

EverSmart Supreme II and the V750-M Pro<br />

+ FMT combination. He says he can’t see<br />

$50,000-worth of difference between the<br />

two scans, especially after making high-end<br />

prints from them. My experience making<br />

3,200ppi scans matches Holbert’s. The one<br />

downside is that we both see a little color<br />

fringing with the Epson FMT scan.<br />

Despite the scanner’s excellent qualities,<br />

the design of its standard film holders in not<br />

adequate for quality work. Better scanning.com<br />

offers variable-height film holders for drymounting<br />

medium-format films, as well as<br />

an anti-Newton Ring glass insert accessory.<br />

When set up properly—and getting the<br />

height exactly right takes an hour or two of<br />

careful experimenting—the dry-mount<br />

results are much improved. Doug Fisher of<br />

Betterscanning.com says that the holder<br />

won’t turn the Epson Perfection V750-M<br />

Pro into a Nikon Coolscan 9000, but it<br />

does make a marked improvement over<br />

the standard Epson medium-format<br />

film holder.<br />

The V750-M Pro includes MonacoEZcolor<br />

software and targets, which in my tests generated<br />

a decent scanner profile. I used Joseph<br />

Holmes’s new DCam 3, J. Holmes workspace,<br />

because it works in a more perceptually<br />

linear way than other workspaces. In other<br />

words, when Photoshop crunches the numbers,<br />

the resulting relationship between the colors<br />

is truer to our actual perception of color.<br />

Bottom line, the Epson Perfection V-750M<br />

Pro is an exceptional piece of gear at a good<br />

price, but to unleash its truly high quality<br />

potential you’ll have to do a little customizing. ■<br />

Introducing the new QUANTUM TURBO SC–Slim,<br />

Compact Turbo Power for Flash.<br />

Weighs a mere 15 oz.!<br />

Incorporates state-of-the-art NiMH cell technology for high capacity output<br />

and faster recycling.<br />

Provides up to 225 full-power Qflashes or 400 shoe mount flashes on a<br />

single charge!<br />

Charges in 1.5 - 2 hrs. using its standard (100–240 VAC) charger.<br />

Computerized "Fuel Gauge" displays power remaining and charging progress.<br />

Compatible with all Quantum "C" and "CC-Series" flash cords.<br />

Call 631-656-7400, visit www.qtm.com or your professional photo dealer for more information.<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 55


THE GOODS: PRO REVIEW<br />

Reliable remote triggering and electronic<br />

advances contribute to the popularity of<br />

self-contained monobloc strobes.<br />

BY STAN SHOLIK<br />

Hardy bloc<br />

PHOTOFLEX STARFLASH MONOBLOC STROBE FAMILY<br />

In recent years portrait and wedding<br />

photographers, even some commercial<br />

photographers, have begun to favor selfcontained<br />

monobloc strobes.<br />

Photoflex, manufacturer of continuous<br />

58 • www.ppmag.com<br />

light sources and high-quality soft boxes,<br />

umbrellas and other light control devices,<br />

capitalizes on the trend with the StarFlash<br />

family of monobloc strobes: a 300 wattsecond<br />

(WS) unit finished in red rubber-<br />

All images ©Stan Sholik<br />

based paint; a 650WS unit in blue; and a<br />

1,000WS unit in black.<br />

For this review, Photoflex provided 650WS<br />

and 300WS units. It was obvious from the<br />

start that these are solid, high-quality strobes.<br />

Even with housings of extruded aluminum,<br />

they are no lightweights, but the contoured<br />

handle on the back makes them easy to<br />

carry. The tilt-swivel mount slides into a<br />

channel on the bottom of the flash. The<br />

mount position in the channel adjusts to<br />

balance the weight of heavier soft boxes,<br />

Photoflex OctoDomes or lighter umbrellas.<br />

Assembled and positioned, the mount locks<br />

securely to the monobloc with a large twistlock<br />

grip and to a light stand with a smaller<br />

grip. For storage, you can completely<br />

remove the tilt-swivel mount.<br />

The StarFlash units have identical controls<br />

on the back. These include a rotary power<br />

adjustment switch stepped in 1/3-stop<br />

increments, from 1/8 to full power. I was<br />

disappointed that the units needed to be<br />

fired to “dump” power—via the test button<br />

on the back of the unit—when going to a<br />

lower power setting instead of doing so<br />

automatically as some other monoblocs do.<br />

The StarFlash 300 fitted with a 6-inch reflector<br />

and fired through a diffusion sheet was powerful<br />

enough to capture this ring at f/25, ISO 100.


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The New Way of Business is a service mark of Sony. *Does not include processing time.


so I used gold panels inside the OctoDome<br />

to warm the light. The color temperature of<br />

the flash tube varied from 5,400K at 1/8<br />

power to 5,870K at full power, well within<br />

the 5,600 ± 290 Kelvin specification.<br />

Results were similar with the StarFlash 300.<br />

I’ve always worked with power pack and<br />

flash head systems, but it’s obvious why<br />

monoblocs are popular. There are certainly<br />

fewer cords running across the floor, and it’s<br />

easy to position the cords out of the way of<br />

traffic. Monoblocs eliminate the wear on plugs<br />

and the potential of shorting-out a head<br />

extension cord (and head!) when it’s plugged<br />

into a power pack. And monoblocs make a<br />

compact bundle for storing and transporting.<br />

If a monobloc system is in your future,<br />

the Photoflex StarFlash family deserves a<br />

serious look. ■<br />

PHOTOFLEX STARFLASH KITS<br />

Photoflex offers 24 different StarFlash kits, grouped in two general categories: Mercury<br />

(one-head kits); and Gemini (two-head kits). There are seven available kits with the<br />

StarFlash 300, 10 with the StarFlash 650, and seven others with the StarFlash 1000.<br />

The StarFlash 300 Mercury Umbrella Kit includes a single 300WS monobloc, 6-inch<br />

umbrella reflector, 43-inch silver umbrella and 7-foot light stand. The kit lists for<br />

$524.95; purchasing the components individually would cost $584.95.<br />

The StarFlash 650 Gemini Umbrella Kit with Bag comes with two 650WS StarFlash<br />

strobes, two 6-inch umbrella reflectors, two 43-inch silver umbrellas, two 8-foot<br />

stands and a large carry bag for the components. The kit lists for $1,574.95, versus<br />

$1,749.95 total for the individual components.<br />

At the top of the line, the StarFlash 1000 Gemini Large LiteDome Kit with Bag<br />

includes two 1,000WS heads, two 36x48-inch soft boxes, two 8-foot stands and a<br />

carry bag. The list price of the kit is $2,227.95, versus $2,475.95 if the components are<br />

purchased separately.<br />

See the Photoflex Web site for other combinations and introductory sale pricing:<br />

www.photoflex.com.<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 61


THE GOODS: PRO REVIEW<br />

Image stabilization helps you hold steady at<br />

slow shutter speed, but demands a price in<br />

power; this rugged pro lens eats it up.<br />

BY JOE FARACE<br />

Ready steady<br />

CANON EF 70-200MM F/4L IS USM TELEPHOTO ZOOM LENS<br />

62 • www.ppmag.com<br />

All images ©2006 Joe Farace<br />

Like all Canon L series lenses, the<br />

compact Canon EF 70-200mm f/4L IS<br />

USM L series telephoto zoom lens for pros<br />

is sealed against dust and moisture. The<br />

latest generation of Canon Image Stabilizer<br />

(IS) technology corrects camera shake to<br />

slow shutter speed up to four steps, three<br />

steps in the first 0.5 seconds of engagement,<br />

and another after 2.5 seconds.<br />

The EF 70-200mm f/4L IS USM lens is<br />

the same size as the EF 70-200mm f/4L USM<br />

lens (in stock for now, but no longer being<br />

made), but the new lens incorporates a circular<br />

diaphragm for more natural looking background<br />

blur, or bokeh, and provides distance<br />

information for improved AF and exposure<br />

with Canon EX flash units. The lens controls<br />

flare and ghosting with coatings and optimal<br />

placement of 20 lens elements in 15 groups.<br />

One fluorite element and two ultra low dispersion<br />

(UD) elements suppress chromatic aberration<br />

for crisp images throughout the focal range.<br />

A ring-type ultrasonic motor (USM) drives<br />

fast and quiet autofocusing, yet allows manual<br />

focusing, even with the lens in AF mode.<br />

The EF 70-200mm f/4L IS USM zoom<br />

provides two IS modes. Mode 1 is for photographing<br />

stationary subjects under dim<br />

light; I also found it useful for shooting from<br />

moving vehicles. Mode 2, best for panning a<br />

moving subject, corrects for vertical shake<br />

by switching off the horizontal IS function.<br />

The downside of an IS lens is the power<br />

it demands for optimal performance. It’s a<br />

good idea to turn off the IS when the camera<br />

is mounted on a tripod. If you use a tripod and<br />

prefer to mount the lens on it, get the optional<br />

Tripod Mount Ring A (W) for $113.95.<br />

Unlike non-L lenses, this one has a real<br />

IS on-off switch, and the focus limit switch<br />

reduces near-distance so the autofocus doesn’t<br />

hunt. I tried both focus limit options—1.2m<br />

(3.93 ft.) and 3m (9.84 ft.)—under a wide<br />

range of lighting situations, but saw no<br />

difference in this fast-focusing lens.<br />

While shooting with the EF 70-200mm<br />

f/4L IS USM at a Halloween dog costume<br />

contest, I ran into situations where the lens<br />

The focal length of the EF 70-200mm f/4 L IS USM makes it ideal for candid portraits. I took this image from<br />

the deck of one boat while the crewman was on an adjacent vessel. Both yachts were bobbing gently in the water<br />

and the EF 70-200mm f/4 L’s image stabilization enabled me to get a sharp image. Exposure was 1/500<br />

second at f/6.3, ISO 200, with a one-third stop exposure compensation to make the white boat sparkle.


THE GOODS: PRO REVIEW<br />

specs:<br />

EF 70-200mm f/4 L IS USM Telephoto Zoom Lens<br />

FOCAL LENGTH: 70-200mm<br />

MAXIMUM APERTURE: f/4<br />

LENS CONSTRUCTION: 20 elements<br />

in 15 groups<br />

ANGLE OF VIEW: 34 to 12 degrees with<br />

full-frame cameras<br />

FOCUS ADJUSTMENT: AF with fulltime<br />

manual<br />

CLOSEST FOCUSING: 3.94 feet<br />

ZOOM SYSTEM: 7-group helical zoom<br />

(rotational angle: 72 degrees)<br />

FILTER SIZE: 67mm<br />

MAXIMUM DIMENSIONS: 3.0x6.8 inches<br />

WEIGHT: lens only, 26.8 oz.<br />

PRICE: $1,249<br />

would not focus and wouldn’t let me shoot.<br />

It turned out to be user-error, but that’s<br />

when I discovered the power requirements<br />

of autofocus. AF speed is a product of<br />

focusing calculation speed and lens drive<br />

speed, bringing the camera body into the<br />

calculations. Typically, the newer an EOS<br />

camera, the faster its AF speed. I was shooting<br />

with an EOS 5D with nine focus points.<br />

Recent EOS-1-class cameras have 45<br />

focus points and dual-dedicated AF CPUs<br />

that run simultaneously under the control of<br />

DIGIC II. The greater voltage supply of an<br />

EOS-1-class camera provides a brief burst of<br />

extra drive speed with certain EF lenses, a<br />

big difference over such lower voltage models<br />

as the 5D. In low light, EOS digital cameras<br />

allow more time for focus calculation and<br />

drive the lens motor more slowly than in<br />

bright light. I shot the same show last<br />

Halloween with an EOS-1D Mark II with<br />

EF 70-300mm IS lens without problems.<br />

Next, I took the EF 70-200mm f/4L IS<br />

USM with me to Acapulco, Mexico. Mounted<br />

on the EOS 5D with BG-E4 battery pack, it<br />

made a well-balanced, easy-to-handle package.<br />

Though lightweight, this lens is rugged, but<br />

go the extra step to protect it. The Adorama<br />

8-inch Slinger soft lens case sells for less<br />

than $13. It’s made of padded Softex and<br />

holds lenses up to 8 inches long with a<br />

diameter up to 86mm.<br />

The focal length of the EF 70-200mm f/4 L<br />

IS USM is ideal for candid portraits. The IS<br />

function is useful for situations where your<br />

footing may be less than steady. Aboard a boat,<br />

I made a candid portrait of a crewman on<br />

Photographing the trials for the cliff diving world<br />

championships from a boat was a challenge to<br />

the EF 70-200mm f/4 L IS USM’s image<br />

stabilization but all of the images were sharp,<br />

even though violent swells tossed our little ship<br />

around. Exposure was 1/640 sec at f/13, ISO 320.


an adjacent vessel. Both yachts were bobbing<br />

gently in the water, yet the image stabilization<br />

enabled me to capture a sharp image.<br />

Wedding photographers could make use of<br />

this capability at fast-moving receptions.<br />

The IS function’s biggest test was my<br />

trying to capture Acapulco’s famous cliff<br />

divers. I was on the deck of a yacht being<br />

buffeted by heavy waves. I got to make only<br />

six shots of the divers before some of the<br />

crew got violently seasick. The EF 70-<br />

200mm f/4 L IS USM never missed a beat,<br />

and all of the images are tack sharp. I just<br />

wish there were more of them.<br />

Another place image stabilization helped<br />

was on the Tres Palos lagoon, where I was<br />

photographing the flora and fauna. I’m not<br />

a bird photographer, but IR helped me get a<br />

crisp photo of a heron taking off just ahead<br />

of the boat. Serious bird photographers would<br />

want longer focal length, but I would have<br />

loved to have Canon’s EF 1.4X II Extender<br />

with me ($285).<br />

During its extensive workout in Mexico,<br />

the EF 70-200mm f/4 L IS USM always performed<br />

to, and frequently beyond my expectations.<br />

In L-series lenses, this one’s a bargain<br />

not only in price, but also in its ability to function<br />

under a range of difficult photographic<br />

conditions. Sometimes the difference<br />

between getting a good shot and not getting<br />

a shot at all is a matter of the tools at hand,<br />

and in my tests, the EF 70-200mm f/4 L IS<br />

USM was the right tool at the right time. ■<br />

View additional full-size images taken with<br />

the Canon EF 70-200mm f/4 L IS USM in<br />

the Bonus Content section at<br />

www.ppmag.com.<br />

I’m not a bird photographer, but image stabilization<br />

helped me get this photo of a heron that took off<br />

just ahead of our boat touring the Tres Palos lagoon.<br />

Exposure was 1/640 second at f/13, ISO 320.


THE GOODS: PRO REVIEW<br />

specs: Photoflex StarFlash 300, 650, & 1000<br />

POWER: 300; 650; 1,000 watt-seconds<br />

POWER ADJUSTMENT: full to 1/8 power<br />

RECYCLE TIME: 2 to 3 seconds; 4 to 5 seconds; 5 to 7 seconds<br />

MODELING LIGHT: 250 watts<br />

COLOR TEMPERATURE: 5,600 ± 290 K<br />

FLASH TRIGGER: infrared cell (slave), sync cord, manual<br />

COOLING FAN: yes<br />

WEIGHT: 6.5 pounds; 7.1 pounds; 8.3 pounds<br />

MSRP: $344.95; $599.95; $799.95<br />

60 • www.ppmag.com<br />

The StarFlash<br />

650 and 5-foot<br />

OctoDome3 are<br />

an ideal combination<br />

for portraits<br />

or full-length<br />

photos. For this<br />

photo I used gold<br />

panels inside the<br />

OctoDome to<br />

warm the light.<br />

I bounced<br />

StarFlash 300<br />

into a silver<br />

Photoflex<br />

umbrella and<br />

directed it at the<br />

background to<br />

provide separation.<br />

A charging light and a flash-ready light<br />

indicate the readiness of the units. An audible<br />

beep (which you can switch off) signals that<br />

the flash is fully powered. A rocker switch<br />

on the back sets the 250-watt modeling<br />

light to full power or power proportional to<br />

the flash output, and another rocker switch<br />

turns the built-in infrared slave on or off.<br />

The control panel includes a receptacle for a<br />

power cord and a phono plug-type sync cord.<br />

Both cords are provided, both are heavy duty.<br />

For transport, Photoflex provides a cover<br />

to protect the German-made circular flash<br />

tube and the modeling light at the center of<br />

the flash tube. Pressing a tab on the top<br />

front of the unit and rotating it about 1/16<br />

turn removes the cover. Accessories are<br />

attached and removed by the same mechanism.<br />

I was impressed how securely this quick,<br />

simple method held the 5-foot OctoDome3.<br />

Umbrellas are attached by sliding the<br />

shaft through a hole in the tilt-swivel head<br />

and securing a small locking screw. Initially,<br />

the hole was partially blocked when the<br />

locking wheel of the pan-tilt head was<br />

securely tightened. A couple of washers on<br />

the locking wheel solved this. I would have<br />

liked a larger locking screw for the umbrella.<br />

After I tightened it down securely, I had<br />

trouble gripping it well enough to release it.<br />

Once I’d set up the StarFlash units, they<br />

were a pleasure to use, both for a<br />

commercial shot for a jewelry client and for<br />

a studio portrait. For the portrait, the<br />

StarFlash 650 and the 5-foot OctoDome3<br />

were a perfect combination. Recycle at full<br />

power took 4 seconds (2.5 seconds at half<br />

power), more than adequate for this subject.<br />

Recycle for the StarFlash 300 was just over<br />

2 seconds. (The specified recycle for the<br />

StarFlash 1000 is 7 seconds maximum.)<br />

The color temperature of the new flash<br />

tube in the StarFlash 650 was 5,870 Kelvin,


THE GOODS COLOR MANAGEMENT BY ANDREW RODNEY<br />

To a color geek, Adobe Lightroom has limited color<br />

management options, but it greatly simplifies the user<br />

experience. The missing functionality is a trade-off.<br />

Color management in Lightroom<br />

When Adobe set forth to build Lightroom<br />

(called Shadowland before the public beta),<br />

the team of engineers started with a clean slate<br />

to design a product for digital photographers.<br />

The engineers have gone to lengths to create<br />

a product with a short learning curve. Just<br />

look under the Help menu and select The Five<br />

Rules. Color management in Lightroom is quite<br />

different from Photoshop in many respects.<br />

The goal in the design of Lightroom was to<br />

make color management nearly invisible. When<br />

you compare Lightroom’s color management<br />

options and preferences to Photoshop’s, you’ll<br />

see some similarities, some differences and<br />

some omissions. Like Photoshop, Lightroom<br />

is ICC aware, meaning it requires a calibrated<br />

and profiled display. But Lightroom works<br />

only with raw files or rendered RGB images.<br />

At its heart, Lightroom is a raw processor.<br />

Yes, there is database functionality that makes<br />

it quite different from Adobe Bridge, a simple<br />

file browser. Yes, there are Print and Web<br />

modules, and you can import existing rendered<br />

images such as TIFFs, PSDs and JPEGs to<br />

the database. I prefer to think of Lightroom<br />

as a tool primarily for organizing and converting<br />

raw data into a rendered RGB image.<br />

The raw processing pipeline is based on the<br />

Adobe Camera Raw processing pipeline.<br />

The products share many of the same<br />

controls, and will eventually have complete<br />

interoperability with each other, as well as<br />

Bridge and Photoshop.<br />

It’s important to remember that raw<br />

images are essentially grayscale data. The<br />

role of a converter is to produce a full-color<br />

66 • www.ppmag.com<br />

image from this raw data. At some point, all<br />

raw processors need to produce a color<br />

image, which is encoded into some color<br />

space. Then the user can render the image<br />

using various controls to produce a desired<br />

color appearance. In the case of Lightroom<br />

and Adobe Camera Raw (ACR), the color<br />

space is partially based on ProPhoto RGB<br />

(Figure 1). This extremely wide-gamut color<br />

space is necessary with the enormous color<br />

gamut that’s possible with digital capture.<br />

Since raw data is encoded linearly, the<br />

internal color space used to apply rendering<br />

edits with both products is also linearly<br />

encoded. Think of the underlying internal<br />

color space as having the RGB primaries<br />

and white point of ProPhoto RGB, but<br />

instead of 1.8 gamma encoding, this new<br />

Figure 1. In this 2D gamut plot in ColorThink, you<br />

can see the huge gamut of ProPhoto RGB—so big<br />

that the blue primary falls outside the range of<br />

human vision, as represented by the horseshoe plot.<br />

space uses a 1.0 gamma encoding. (See<br />

“Linearity and Gamma” in the December<br />

issue of <strong>Professional</strong> <strong>Photographer</strong>.)<br />

All processing within Lightroom, raw or<br />

rendered, takes place in this linear encoded<br />

color space based on the ProPhoto RGB chromaticity<br />

and white point values. A histogram<br />

of linear encoded data would look quite strange,<br />

with most of the values pushed to one side.<br />

The numeric values may also be difficult to<br />

decipher due to this linear data handling.<br />

For this reason, the histogram and numeric<br />

values provided in Lightroom are based on<br />

ProPhoto RGB, using the sRGB Tone Response<br />

Curve (primarily based on a 2.2 gamma with<br />

a tweak to the tone curve in the shadows).<br />

Therefore, behind the scenes, Lightroom<br />

uses a linear encoded ProPhoto RGB space,<br />

but the numbers (represented in percentages<br />

in Lightroom) and histogram reflect a gammacorrected<br />

version of ProPhoto RGB matching<br />

the Tone Response Curve of sRGB.<br />

The color space used for these numbers<br />

and the histogram is known within Adobe<br />

as Melissa RGB, a.k.a. Love Child RGB. No<br />

matter which encoding color space the user<br />

selects upon export, Lightroom will provide<br />

numbers and a histogram based on Melissa<br />

RGB. Adobe Camera Raw updates the<br />

numbers and histogram when the user<br />

selects the output color space.<br />

Sadly, Lightroom’s Develop and Print<br />

modules lack a true soft proof that’s based<br />

on an output device. You cannot select an<br />

output profile and produce an on-screen<br />

simulation as you can in Photoshop. I suspect<br />

this was done for two reasons: It would add<br />

greatly to the complexity of the product, and<br />

greatly delay the release of what is unquestionably<br />

a 1.0 product. I hope to see full soft<br />

proofing capabilities in future versions of<br />

Lightroom. Editing images for output<br />

without this capability is a leap of faith.


©2005 Alex Eaton<br />

Hunter Freeman<br />

HUNTER FREEMAN KNOWS THE<br />

ROAD AHEAD CAN BE A ROUGH ONE.<br />

HE ALSO KNOWS FRIENDS CAN HELP<br />

SMOOTH THE WAY.<br />

“Each day is different, and presents different problems and challenges,” says pro shooter Hunter Freeman.<br />

His ultimate triumph over these problems and challenges is best evidenced in a solid body of work full of sly humor and fresh, inviting visuals.<br />

Hunter’s photos for heavyweight clients like United Airlines, Apple and MSN are infused with inventive scenarios that not only impress, but inspire.<br />

He readily admits that “the most important qualities for success are honesty and love. They’re vital.” Another vital element to Hunter’s success is<br />

Calumet. It’s not only where he gets his photo gear, but it’s also where he talks to photo experts who<br />

understand him and how to help with the day-to-day challenges. We talked with Hunter about life, love,<br />

photography and much more. You can enjoy the complete story, along with a gallery of his images, on our<br />

website at www.calumetphoto.com/freeman.<br />

1.800.CALUMET [225.8638] www.calumetphoto.com<br />

New York Boston Philadelphia Chicago San Francisco Los Angeles Santa Barbara Santa Ana San Diego<br />

Belfast Glasgow Birmingham Liverpool London Manchester Amsterdam Rotterdam Antwerpen Berlin Düsseldorf Essen Hamburg München<br />

VISIT US AT IMAGING USA • BOOTH #835 • JANUARY 14-16, <strong>2007</strong><br />

©Hunter Freeman


THE GOODS<br />

Lightroom offers three options for encoding<br />

color space for export: sRGB; Adobe RGB;<br />

and ProPhoto RGB. When you export a file<br />

in ProPhoto RGB, it will be encoded as a 1.8gamma<br />

corrected color space, as defined by<br />

Kodak and not Melissa RGB. In the application’s<br />

preferences, you can select the color<br />

space, bit depth and file type to use upon<br />

export.* Adobe recommends choosing<br />

ProPhoto RGB to preserve color details when<br />

exporting from Lightroom. Since ProPhoto<br />

RGB has such a large gamut, Adobe recommends<br />

exporting the file in 16-bit color.<br />

Lightroom automatically converts images<br />

exported from the Web module to sRGB.<br />

If you import rendered RGB images to<br />

Lightroom and make no edits, the images<br />

will retain their original color spaces. In<br />

short, Lightroom can be used as a Digital<br />

Assist Manager for existing rendered files. If<br />

you wish to simply open the file in an external<br />

editor like Photoshop, the original color<br />

space is retained. However, if you wish to<br />

export a file edited in Lightroom, the Export<br />

dialog must be set to create a copy first.<br />

Lightroom will build the copy of the original<br />

rendered image and place it into its database<br />

with “edit” appended to the file name<br />

(Figure 2). The exported copy will then be<br />

converted into the color space you selected<br />

Figure 2. Lightroom’s Edit in External Editor command<br />

gives you the option to edit an existing rendered<br />

image, a copy of that image or, if Lightroom edits<br />

have been applied, a copy with those edits. With<br />

raw files, the last radio button is the only option*.<br />

68 • www.ppmag.com<br />

Figure 3. These preferences control the color<br />

space, bit depth and file format when images are<br />

edited in an external editor. Online help provides<br />

useful guidance about the options*.<br />

in the application preferences (Figure 3).<br />

Let’s say you want to import a layered<br />

TIFF file in ColorMatch RGB and edit it<br />

with Lightroom controls. You must choose<br />

Edit in Adobe Photoshop CS2 > Edit a<br />

Copy. Lightroom creates a flattened copy of<br />

the file and exports it in the color space you<br />

set in the application preferences, not in<br />

ColorMatch RGB. Because the ACR engine<br />

applies the edits, the copy is converted from<br />

ColorMatch RGB to ProPhoto RGB (linear<br />

gamma) and back to the color space set in<br />

your preferences.<br />

If you use Lightroom to edit rendered<br />

RGB images, consider which color space to<br />

select upon output. If the original file is in<br />

sRGB, Adobe RGB (1998) or ProPhoto<br />

RGB, and you want to honor the original<br />

color space, be sure that the application<br />

color space preferences for exported files<br />

matches. Otherwise, Lightroom will not<br />

preserve the original color space on edited<br />

files in any color space but these three.<br />

The current version of Lightroom<br />

supports only RGB editing. You can import<br />

CMYK, grayscale or LAB documents into<br />

the database, but you cannot edit them.<br />

When you enter the Lightroom Print<br />

Module, you can select any ICC printer<br />

profile loaded on your computer for output.<br />

Without a soft proof, selecting a rendering<br />

intent is a guessing game. In addition, you<br />

have access only to the Relative Colorimetric<br />

or Perceptual rendering intents as an option<br />

for color space conversions; it’s not a major<br />

issue, because you probably prefer one rendering<br />

intent over the other. I have seen rare cases<br />

in which the Saturation intent actually produces<br />

a preferable color appearance, but you can’t<br />

make such a decision without soft proofing<br />

all available rendering intents. Here again,<br />

Adobe apparently intends to make Lightroom<br />

easy for the user by limiting the options.<br />

Time will tell if this approach is viable.<br />

We didn’t see much in the way of color<br />

management in Photoshop until v. 5.0, nearly<br />

8 years after its initial release, and it was still<br />

rough around the edges. For a 1.0 product,<br />

Lightroom looks promising with respect to color<br />

management, but it’s a delicate balancing act.<br />

I can live without LAB or CMYK support,<br />

but hope to see true soft proofing in a future<br />

version. The lack of multiple working spaces<br />

isn’t a serious limitation for me. In fact, if<br />

you only work with raw files, all you really<br />

have to do is set Lightroom to always export<br />

in 16-bit ProPhoto RGB. It will be<br />

interesting to see how the market reacts to<br />

Lightroom, and how the product will evolve<br />

in response to wide user feedback. ■<br />

*The screen captures and options discussed<br />

in this article may not necessarily be<br />

included in the public release.<br />

Digital expert Andrew Rodney presents “Ten<br />

Steps to Color Managing Adobe Photoshop”<br />

at IUSA <strong>2007</strong> in San Antonio, January 14-16.<br />

Don't wait—visit www.ImagingUSA.org or<br />

call 888-260-0016 to register today!


Joe Craig, Cr.<br />

on the FinePix S5 Pro Digital Camera<br />

We live in a world of highlights, shadows and subtle gradations<br />

in between.<br />

No digital camera I’ve ever held captures the entire spectrum<br />

and spectacle quite as faithfully or delicately as the S5 Pro.<br />

The Fujifilm FinePix S5 Pro has taken its dynamic range and<br />

photography in general to new heights.<br />

The FinePix S5 Pro. The Evolution Continues.<br />

For more information, visit www.Fujifilmusa.com/FinePixS5Pro<br />

©<strong>2007</strong> FUJIFILM U.S.A., Inc.


THE GOODS: TUTORIAL<br />

You find the perfect place to pose<br />

your subject, but the lighting is flat.<br />

The portrait lacks snap. What to do?<br />

BY DOUG BOX, M.PHOTOG.CR., CPP<br />

Location<br />

light<br />

ADD OFF-CAMERA<br />

FLASH TO OUTDOOR<br />

PORTRAITS<br />

On-camera flash is for amateurs. Flat! Boring!<br />

Try flash off camera. It adds direction to your lighting and<br />

dimension to your subjects.<br />

Adding flash also cleans up the skin tones. If you don’t have a<br />

good, clean light source, the skin tones take on the color of the light.<br />

When light bounces off grass or leaves, it casts an unflattering green<br />

The ambient fill lighting method adds dimension and direction to the light,<br />

cleans up color of the skin tones, and solves the problem of “raccoon eyes”<br />

due to an overhead light.<br />

70 • www.ppmag.com<br />

All images ©Doug Box<br />

When the background and subject are lit the same way, and you want to add<br />

directional light, use the ambient fill method. First, meter the ambient light<br />

illuminating the subject (in the ambient mode). Here, it’s 1/20 at f/4, ISO<br />

800—the fill light for the subject and the background light. The camera<br />

should be set to manual. Set the meter to the flash mode. With the flash set<br />

to manual, meter the flash with the same shutter speed as the ambient light<br />

reading, 1/20. This is the combined reading of the ambient fill light and the<br />

flash main light. The goal for this reading is two-thirds stop over the ambient<br />

alone, or 1/20 at f/5. Set the camera at this meter reading. Adding light twothirds<br />

over the ambient light adds direction and looks natural.


One small soft box and a battery-powered flash can add<br />

excitement to your images, direction to your lighting and<br />

dimension to your subjects. Use it as…<br />

• an additive main light outdoors, giving direction to flat light<br />

• the main light in images of sunsets and sunrises<br />

• a second light at weddings<br />

• the single light in most in-home portraits<br />

• a light-matching flash for sports and activity shots<br />

• a kicker light in the studio<br />

For more drama, I moved the light above the subject. As with the profile pose, the<br />

light placement is important. Position it about 45 degrees to the face to yield<br />

catch lights in the eye at about the 10 o’clock or 2 o’clock position. I usually shoot<br />

into the shadow side of the face, so the light goes in the short lighting position.<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 71


THE GOODS: TUTORIAL<br />

tint. When you correct for the color of the skin, the rest of the image<br />

takes on unusual tones. Don’t plan to fix it in Photoshop; get it right<br />

when you make the exposure.<br />

All you need for pleasing, professional lighting is a small portable flash, a<br />

light modifier, a radio slave, a light stand, a light meter and a camera. I<br />

prefer a soft box, though an umbrella will work if there’s not a bit of wind to<br />

blow it over and damage any lights attached. A tent stake holds down my<br />

light stand. My current setup includes a 22-inch Larson Soff Box, Pocket-<br />

Wizard radio slave unit, and a Sekonic L-358 Flash Master meter with<br />

built-in PocketWizard transmitter. I use either a Nikon SB-800 AF Speedlight<br />

or Canon Speedlite 580EX flash unit, though any flash will work.<br />

With the technique described here, ambient light acts as fill light.<br />

I call it ambient fill lighting. Off-camera flash is the main light.<br />

A fill light provides total overall illumination of the subject. Its<br />

72 • www.ppmag.com<br />

purpose is to facilitate proper exposure for shadow detail. Alone, fill<br />

light is rather lackluster lighting.<br />

The main light—also called key light or modeling light—is the<br />

dominant lighting on the subject. It’s positioned to produce the<br />

contours of highlights and shadows.<br />

1. Meter the ambient light. Here, we’ll use a reading of 1/60 at f/5.6<br />

THE DOUG BOX<br />

I worked with Larson to develop an easy way to attach a<br />

shoe-mount flash to the 22-inch Soff Box. People<br />

started calling it the Doug Box Soft Box, then shortened<br />

it to the Doug Box Box, and now it’s affectionately<br />

called the Doug Box. To order the official “Doug” Box<br />

location lighting kit with an educational DVD, color<br />

booklet and posing and lighting recipe cards, go to<br />

www.texasphotographicworkshops.com. —D.B<br />

When the light on the background and subject are different (above), match the output of the flash to the background. With the sun lighting the background, the subject<br />

would be in silhouette without an additional light. In this situation, first meter the background. Using the in-camera metering system, I determined a base exposure of 1/100<br />

second at f /6.3. With the camera in the manual mode, adjust the power of the flash up or down until it matches the base exposure, f/6.3. I had the camera on a tripod and<br />

used an external battery pack on the flash for faster recycling. The light was on a stand, and a friend held the light. (Please be careful if you use a flash in or near water.)


www.millerslab.com 800.835.0603


‘‘<br />

THE GOODS: TUTORIAL<br />

All you need for pleasing,<br />

professional lighting is a small<br />

portable flash, a light modifier,<br />

a radio slave, a light stand, a<br />

light meter and a camera.<br />

2. Change the meter to flash mode. Use the shutter speed obtained<br />

from the ambient reading, 1/60.<br />

3. Turn on the flash and read the two together. Your goal is a twothirds<br />

stop over the ambient light alone. Here, you want the combined<br />

reading to be 1/60 at f/7.1.<br />

If the combined reading is greater than two-thirds stop over the<br />

ambient reading, turn down the flash or move it back. If it’s less than<br />

two-thirds more, turn it up or move it closer.<br />

This technique presents a couple of challenges. Without a modeling<br />

Obsessive Compulsive?<br />

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When precision is a must, Dahle Rolling Trimmers will exceed<br />

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74 • www.ppmag.com<br />

www.dahle.com<br />

light, you have to visually know where to put the light. The secret is<br />

to place your camera where it will be when you capture the image,<br />

then ask the subject turn her face as she will for the portrait (i.e., fullface<br />

view, two-thirds view or profile). Place the light accordingly.<br />

It’s really not as hard as it sounds. If you want to short-light a twothirds<br />

view of the face with catch light in the 2 o’clock position,<br />

there’s only one place for the light: angled 45-degrees from her nose.<br />

Mind the size of the light source. (The smaller the light source,<br />

the harder the edge of the shadow; the larger or closer the light<br />

source, the softer the light and shadow edge.) I start with the soft box<br />

just out of the view of the camera, to keep the shadow edge soft as<br />

possible. Alone, plain flash can be too harsh. A soft box softens the<br />

light and makes it more pleasing.<br />

As with any new technique, do some test runs with this method<br />

before using it on clients. ■<br />

QUICK REFERENCE<br />

Do you have trouble remembering one-third stops? I made a quickreference<br />

pocket guide that shows one-third f/stops and shutter<br />

speeds. Get one free by sending a SASE business-size envelope to<br />

Doug Box, 2504 County Road 235, Caldwell, TX 77836. —D.B.


Curt Littlecott traveled from England to the States to pursue a career in<br />

professional water skiing but landed in pro photography. The thrill's<br />

still there, though, whether he shoots weddings or fashion travelogs.<br />

WEDDINGS<br />

By Stephanie Boozer<br />

As luck would have it, becoming a professional<br />

water skier just wasn’t in the<br />

cards for Curt Littlecott. Having<br />

crossed the pond from England in<br />

1987 with dreams of skiing in<br />

the big leagues, Littlecott<br />

landed in sunny Orlando, Fla., with no idea<br />

All images by Curt Littlecott<br />

Project wedding<br />

Curt Littlecott creates a bridal runway<br />

76 • www.ppmag.com<br />

that his love of travel would pull him in a<br />

completely different direction.<br />

“My bubble burst as soon as I arrived,”<br />

Littlecott laughs. “Being a good skier in England<br />

didn’t translate to being good in Florida.”<br />

Though disappointed about this sad turn<br />

in his waterskiing career, Littlecott fell in love<br />

with the Sunshine State, and took up travel<br />

photography, sending images back to England<br />

for publication in travel magazines and brochures.<br />

He also picked up work photographing<br />

hotels and resorts for a local travel company,<br />

which kindly supplied his visa. Gradually,<br />

Littlecott forayed into photographing people<br />

and lifestyle assignments. After shooting a<br />

few intimate weddings, he saw his path.<br />

Littlecott joined a couple of professional<br />

organizations, including PPA, to hone his<br />

wedding skills, but he still learned a few<br />

things the hard way. Once, while shooting a<br />

wedding party on the beach, he realized he’d<br />

lost a CompactFlash card full of ceremony<br />

shots in the sand.<br />

“That was the closest I’ve ever come to<br />

packing up and heading back to England,”<br />

he says, able to laugh about it now. “Luckily,<br />

someone else had also captured the formals,<br />

so it’s a good thing I’ve never been bothered<br />

by people shooting over my shoulder. From<br />

that point on, I’ve been very disciplined


about storing and backing up images.”<br />

Minor accidents aside, Littlecott’s popularity<br />

grew steadily, and he opened his first studio<br />

in an Orlando hotel in 1995. Though part of<br />

the business was a photo lab, which added<br />

some financial security, Littlecott’s main<br />

focus remained shooting. In addition to<br />

weddings, he picked up fashion assignments<br />

for local and national clients, constantly<br />

challenging his photographic eye.<br />

“I do the fashion as a creative outlet,” says<br />

Littlecott, who limits his fashion assignments<br />

to one or two days a month. “It’s an opportunity<br />

to get my name out there, and it’s reinforcement<br />

for my wedding customers to see my name in<br />

[scores of] publications. It’s subtle advertising.”<br />

In fact, Littlecott finds he doesn’t need<br />

‘‘<br />

I want my wedding clients to look<br />

beautiful but believable. It’s important<br />

to know when to step back and<br />

document things as they take place<br />

between family members. My goal<br />

is to make people feel natural.<br />

any direct advertising at all, between word<br />

of mouth referrals and his new studio’s<br />

location in downtown Orlando’s colorful<br />

nightclub district. Purchased last January,<br />

Littlecott’s artsy studio, Nu Visions in<br />

Photography, welcomes visitors with the<br />

warmth of wood floors, exposed brick walls,<br />

airy three-story atrium, and dramatic<br />

lighting. The overall effect is more like an<br />

exclusive club or a hip gallery than a working<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 77


WEDDINGS<br />

photography studio. The doors to the street<br />

level gallery stay open into the evening,<br />

tempting passersby to stop in on their way<br />

to dinner or a movie across the street.<br />

“One of the reasons I bought in this area<br />

is that people come by just to hang out,” says<br />

Littlecott, who often shares a glass of wine<br />

or two after hours with clients. “Because the<br />

building dates to the twenties, everything is<br />

aged and has a Manhattan-like quality. The<br />

interior is unusual and funky, which is what<br />

we fell in love with.”<br />

To pique interest and also continue challenging<br />

his creativity, Littlecott hangs a new<br />

show in the gallery monthly, and hosts an<br />

opening soiree on the third Thursday of each<br />

month. Because the surrounding shops and<br />

businesses stay open late, there’s quite a<br />

buzz about each opening.<br />

“People come back month after month to<br />

see what’s new,” says Littlecott. At a recent<br />

show, models from a Neiman Marcus shoot<br />

mingled with the guests. “It is fairly time<br />

consuming to do, because we print everything<br />

ourselves and have to come up with a new<br />

theme each month, but we have a lot of fun.”<br />

The studio’s second floor houses the<br />

main office, which includes his trusty Epson<br />

Stylus Pro 9800, on which he prints all of<br />

his work on a variety of substrates, from<br />

velvety papers to canvas. The third floor is<br />

studio space with rooftop access and a huge<br />

window on the north wall, a perfect setup<br />

for Littlecott, as he prefers natural or<br />

adapted natural lighting.<br />

“I have a strict policy about no flash,” says<br />

Littlecott, who recently switched to the Canon<br />

EOS 5D digital SLR for its low-light shooting<br />

ability. “I think weddings are the most challenging<br />

subjects to do well because of the<br />

lighting. Whenever I shoot another assignment,<br />

I draw on my wedding photography experience.”<br />

Like his studio, with its mix of vintage


architecture and modern design, Littlecott’s<br />

approach to weddings combines his fashionforward<br />

eye with classic ideals. For example,<br />

though he’s completely digital, he still feels<br />

that the wedding album is key.<br />

“I feel very strongly that a wedding album<br />

is a critical family heirloom,” Littlecott explains.<br />

If all of the images remain in a digital format,<br />

they’ll share the same fate as vacation pictures<br />

—tons of them just sitting on a computer.<br />

“We go with a ‘less is more’ approach. Though<br />

the albums themselves have a simple layout,<br />

they show interaction and emotion.”<br />

Regardless of whether he’s shooting a<br />

wedding, a portrait, or a model, Littlecott<br />

aims to get genuine emotion in his<br />

photographs. “I want my wedding clients<br />

to look beautiful but believable,” he says.<br />

“It’s important to know when to step back<br />

and document things as they take place<br />

between family members. My goal is to<br />

make people feel natural.”<br />

That can be tough when your subjects<br />

are camera shy, but so rewarding when the<br />

subject hangs that portrait on his wall. All<br />

his awards aside, says Littlecott, “That’s the<br />

best praise of all.” ■<br />

View more of Curt Littlecott’s work at<br />

www.nuvisionsinphotography.com.<br />

Curt Littlecott presents his special approach<br />

to creating wedding albums at IUSA <strong>2007</strong><br />

in San Antonio, January 14-16.<br />

Don’t wait—call 888-260-0016 or visit<br />

www.ImagingUSA.org and register today!<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 79


© Angela Weedon Photography | weedonphoto.com


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New England School of Photography Director Arthur Rainville urges<br />

photographers to look outside their own worlds to gain a broader<br />

perspective, and to develop distinct personal vision and style.<br />

PORTRAITURE By Jeff Kent<br />

W<br />

All images by Arthur Rainville<br />

Fresh inspiration<br />

Arthur Rainville on the value of seeing with new eyes<br />

82 • www.ppmag.com<br />

ith more than four decades<br />

of professional photography<br />

behind him, Arthur Rainville,<br />

M.Photog.Cr., CPP, is one of the<br />

industry’s foremost authorities on<br />

fine portraiture. After joining his<br />

father’s studio in 1965, Rainville helped<br />

pioneer a movement in soft color photography<br />

that changed the way professional photographers<br />

approached wedding and portrait<br />

commissions. By expanding his perspective<br />

through extensive study and visits to the world’s<br />

great arts centers, Rainville earned recognition<br />

as a photographer with valuable lessons<br />

to share. He joined the faculty of the New<br />

England School of Photography, where he<br />

has taught for 25 years. After serving as the<br />

Portrait Department chair for a dozen years,<br />

he was appointed director of the entire school.<br />

These days, Rainville divides his time<br />

among the New England School, traveling<br />

to conduct photography seminars, and the<br />

ongoing business of his high-end portrait<br />

and wedding studio in Whitinsville, Mass.<br />

We borrowed some time from Rainville to<br />

ask a few questions about his approach to<br />

portraiture, and to the ever-changing world<br />

of professional photography.<br />

<strong>Professional</strong> <strong>Photographer</strong>: How has your<br />

study of great works affected your approach<br />

to photographic portraiture?<br />

Arthur Rainville: The more you put in, the<br />

more comes out. The effort is looking outside<br />

your own little world. It’s important to<br />

have new eyes, new experiences. The more<br />

you physically go to another place, look into


‘‘<br />

another person’s thought process, the more<br />

full your perspective becomes.<br />

Looking at changing work over the years,<br />

it occurred to me that people measure image<br />

quality by image content. They don’t care so<br />

much about grain structure and resolution.<br />

They judge you by the images you capture. I<br />

tell my students all the time: It’s not what’s make things technically better, not adding<br />

in your hands that takes the picture; it’s what’s in needless effects just because we can.<br />

inside you. As Einstein said, “Imagination is We shouldn’t abandon the roots of good por-<br />

more important than knowledge.”<br />

traiture, just embellish it with what technology<br />

offers. With that in mind, there are four ele-<br />

What do you think are the most significant ments that contribute to a good portrait: One,<br />

artistic developments in photography over technique. If you’re a professional photographer,<br />

the past five or six years? Will they endure you must be a good technician. Two, aesthetics.<br />

or become passing fads?<br />

You should spend enough time immersing<br />

We’ve gone through the period of doing things yourself in the art of photography that you can<br />

because you can. It was like bad sci-fi movies create images on a higher plane. You want to<br />

—all effects and no plot. It should be a matter make something more than a collection of good<br />

of using digital tools to make better images, to technical elements. Three, the personal element.<br />

’’<br />

You need to be able to bring yourself into your<br />

work. And four, spiritual. It could be your relationship<br />

to a higher power, nature, mankind<br />

—whatever you feel spiritually connected to.<br />

It’s what really polishes your apples. Slow down<br />

and pay attention to the creative process so<br />

you’ll be able to bring in the spiritual element.<br />

What three critical lessons would you convey<br />

to today’s professional photographers?<br />

First, concentrate on research and development.<br />

Read <strong>Professional</strong> <strong>Photographer</strong> magazine.<br />

Go to Imaging USA. Attend industry events<br />

It’s not what’s in your hands that takes<br />

the picture; it’s what’s inside you.<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 83


PORTRAITURE<br />

and classes. But also look outside professional<br />

photography to figure out what the<br />

buying public is looking for. Search for<br />

alternative endings for your work that will<br />

help you move in new directions.<br />

84 • www.ppmag.com<br />

Next, grow your toolbox. Push aside the<br />

obsession with pixels and pay more attention<br />

to your five senses. Look for<br />

inspiration in new places. Discover new<br />

methods of making images.<br />

Last, take the time to appreciate your<br />

potential. Stop looking at photography from<br />

a monetary perspective. Most photographers<br />

got into this business because it was<br />

fun. That’s when most photographers were<br />

doing their best work. Then somewhere<br />

along the line it became a job, and the fun<br />

went out of it. Try to find a way to get back<br />

to that original state of mind.<br />

Where do you think professional photography<br />

is headed from here?<br />

Over the next 10 years, it’s going to be critical<br />

to develop a distinct personal vision and style.<br />

The buying public wants to know you have<br />

something to offer that they can’t produce<br />

themselves or get anywhere else. This approach<br />

could represent a complete revamping of how<br />

we present portrait photography.<br />

The approach of getting people in front<br />

of our cameras in the hopes of selling them<br />

lots of prints at inflated prices is going to disappear.<br />

It’s probably going back to the model<br />

of getting one fee for a commissioned work.<br />

This is the way my business is going,<br />

because I believe that a picture is of somebody,<br />

where a portrait is about somebody. ■<br />

To see more from Arthur Rainville, visit his<br />

Web site at www.studiorainville.com.<br />

Arthur Rainville presents “The Creation<br />

of Ecstasy: Celebrating the Genius of<br />

John Singer Sargent” at IUSA <strong>2007</strong> in<br />

San Antonio, January 14-16.<br />

For details, call 888-260-0016 or visit<br />

www.imagingusa.org.


All images ©Jeff Lubin<br />

Flashy trends come and go, but talent and integrity are always in<br />

vogue. Paying attention to changing styles and how your clients see<br />

themselves helps you keep up to date without<br />

‘‘<br />

giving up your vision.<br />

PORTRAITURE By Jeff Lubin, M.Photog.Cr.<br />

Change is the only<br />

Adaptation<br />

constant. Hanging<br />

’’<br />

Keep pace with the changing tastes of your clients<br />

on is the only sin.<br />

—DENISE MCCLUGGAGE (1927-),<br />

RACE CAR DRIVER<br />

s much as you love image-making, ever-changing and competitive field like por-<br />

beautiful images alone won’t pay your trait photography.<br />

bills. You have to learn how to market While cleaning out my basement recently,<br />

yourself, learn how to create and I found some of my sample prints from the family portraits, subjects in Sunday best,<br />

sell what clients are willing to ’80s and ’90s. How portrait styles have given way to a natural, more intimate style,<br />

pay for. No easy task in an evolved! The formality of the traditional the family relaxed and casually dressed,


showing their feelings for one another.<br />

Back in 1983, I wouldn’t dream of<br />

dressing for work in anything but a threepiece<br />

suit. I had to look as successful and<br />

professional as my clients, who now dress<br />

casually for work every day. Even home<br />

décor has become less formal. These<br />

changes reflect how people see themselves<br />

and how they want to be portrayed in<br />

portraits in their homes.<br />

Discover how your clients see themselves<br />

in the pre-portrait consultation. Listen to<br />

their responses to the images you show<br />

them. If you’re new at this, have popular<br />

magazines in the studio, ones that picture<br />

people in various kinds of clothing, just in<br />

case your images don’t seem to be<br />

resonating with a certain client.<br />

Your clients likely won’t know what kind<br />

of information will help you fulfill their<br />

needs. Often, they have little idea of what<br />

they want, but they know what they don’t<br />

want. Ask questions about their home,<br />

where the portrait will be displayed, and the<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 87


PORTRAITURE<br />

kind of other artwork on display to help<br />

clarify the goal for both of you.<br />

Consider how certain backdrops or<br />

props can reflect your client’s style. Today<br />

we have an endless variety of backgrounds,<br />

from realistic to fantastical. I found a good<br />

niche market about 10 years ago in using<br />

scenic backgrounds and set designs in<br />

additional to my traditional sets. Be careful<br />

not to let props or backdrops undermine<br />

the emphasis on the subject. Rely on the<br />

client’s body language and expressions to<br />

tell the story.<br />

The one thing that has not changed is<br />

the value of learning to light. Understand<br />

the effects of the direction, quality and<br />

amount of light on the overall portrait. Use<br />

lighting to direct the eye, not merely to<br />

illuminate the scene.<br />

I don’t embrace every trend that comes<br />

along, but my work does reflect changing<br />

styles. I still believe that the face should be<br />

the first thing you see in a portrait, that<br />

everything else in the frame should enhance<br />

the face without detracting.<br />

88 • www.ppmag.com<br />

Create something that reflects a<br />

particular client’s tastes and you’ll more easily<br />

achieve your sales goals and be rewarded with<br />

repeat business and happy clients. Your<br />

business success over time is a reflection of<br />

individual client’s satisfaction, multiplied<br />

many times over the years. ■<br />

Jeff Lubin is a well-known children’s<br />

portraitist based in Washington, D.C. His<br />

clients include baseball icon Cal Ripkin, Bob<br />

Johnson, CEO of Black Entertainment<br />

Television, former Vice President Dan<br />

Quayle, exercise celebrity Denise Austin and<br />

TV’s “Wonder Woman,” Lynda Carter.


Joe McNally:<br />

Tales from a guy who gets the job done


Regular BY<br />

STEPHANIE<br />

BOOZER<br />

All images ©Joe McNally


There are just so many.<br />

Called a legend on the Web sites of Kodak,<br />

Photo District News and Nikon, perhaps the<br />

second-best word for Joe McNally is versatile.<br />

He doesn’t stick with any one subject, yet his<br />

images are recognizable. That’s what made<br />

him popular with major publications,<br />

e’s been everywhere, seen<br />

everything. Asking Joe McNally<br />

to recount the most exciting<br />

adventures behind his camera is like asking<br />

Scherherazade to tell you her favorite story.<br />

among them National Geographic, Life,<br />

Time and Sports Illustrated.<br />

“I’m a generalist, an assignment photographer,”<br />

says McNally. “Give me a job, and<br />

I’ll shoot it for you. I’m not driven by one<br />

specific thing, area, cause, or people.” That<br />

said, McNally is definitely an excellent<br />

people photographer, and will admit that<br />

people are his favorite subjects.<br />

Years ago, as a journalism major at Syracuse<br />

University, McNally had set his sights on<br />

being a sportswriter, but his focus suddenly<br />

shifted when he was required to take<br />

beginning photography to fulfill his major.


He borrowed his dad’s 35mm camera and<br />

forgot about the writing.<br />

“I was in love with it from the first time I<br />

brought Tri-X into a darkroom,” says McNally.<br />

“It seemed like a camera was a natural thing<br />

for me to have in my hand. I enjoyed the<br />

fact that it was a way to engage the world, a<br />

way for me to stay out of an office.”<br />

McNally completed his journalism degree,<br />

earned a graduate degree in photojournalism,<br />

and lit out for New York. He took the only<br />

job in journalism available to him, as a copy<br />

boy at the New York Daily News. “It never<br />

led to a photo job there, but at least I got my<br />

foot in the door of the New York press scene,”<br />

says McNally. Things progressed naturally<br />

‘‘<br />

I’m a generalist,<br />

an assignment<br />

photographer.<br />

Give me a job,<br />

and I’ll shoot it<br />

for you. I’m not<br />

driven by one<br />

specific thing, area,<br />

cause, or people.


from there, and today, McNally is a wellknown<br />

name in photography, shooting for a<br />

range of high-profile clients.<br />

McNally considers the world to be his<br />

studio. He shoots all digital, unless a client<br />

requests otherwise, and admits that his<br />

favorite piece of gear is the tattered plush<br />

bunny head his 3-year-old daughter stuffed<br />

into his camera bag for luck 18 years ago.<br />

“It’s the most important thing in my camera<br />

bag,” he says. Based in Westport, Conn.,<br />

McNally rents studio space in New York<br />

when he needs to, but does most shooting<br />

on location, from main street U.S.A. to farflung<br />

Siberia. Always, he says, “I’ve loved<br />

being out in the world, enjoying the people.”<br />

One of McNally’s favorite locations is<br />

Russia, where he’s traveled many times on<br />

assignment, covering a variety of subjects,<br />

from the Russian space program and the<br />

Bolshoi ballet, to the affects of the war in<br />

Chechnya on the light at the Artic Circle.<br />

“It’s an amazing place, and I feel privileged<br />

to be sent there to photograph and record it<br />

all,” says McNally. “I have a tremendous<br />

amount of respect for the Russian people.”<br />

For the National Geographic feature<br />

“Power of Light,” McNally studied the effects<br />

of the seasonal lack of sunlight in the Arctic


on the region’s residents. “It’s the psychology<br />

of how these folks live,” he explains. “They<br />

have a lot of depression, and I spent a lot of<br />

time looking at that lifestyle.”<br />

Another adventurous assignment took<br />

McNally to the tip of the antenna atop the<br />

Empire State Building to photograph the<br />

man whose job it is to change the light bulb<br />

there. He climbed that antenna five times in<br />

pursuit of the perfect shot.<br />

How does one prepare for such diverse<br />

assignments? The key, McNally says, is to<br />

plan for potential pitfalls. “I really try to think<br />

my way into a story. I try to be responsible as<br />

a photojournalist, by reaching out and<br />

finding out what’s really going on in this<br />

particular place. Spending a length of time in<br />

the field gives you a better understanding of<br />

the story and increases people’s trust in you.”<br />

Adverse weather is one those potential<br />

pitfalls. On assignment to shoot a Space<br />

Shuttle launch, McNally positioned five<br />

Nikon digital SLRs around the launch pad,<br />

all to be remotely triggered during lift-off.<br />

Everything looked good to go until a sudden<br />

gale-force storm blew in, battering the equipment.<br />

McNally ran into the storm to attempt<br />

a rescue, but what equipment hadn’t been<br />

destroyed in the wind and rain had been<br />

washed into the saltwater estuary nearby.<br />

“That was not a good phone call to Discover<br />

magazine,” laughs McNally. “I had to tell them<br />

that I totally destroyed five of their cameras<br />

in one shot. That was one of my worst days.”<br />

In perhaps McNally’s most complicated<br />

shoot to date, he had to photograph Vanessa<br />

Williams’ complete character transformation<br />

in her Broadway performance in Kiss of the<br />

Spider Woman. He shot through her 13<br />

costume changes, and came out with one 13stage<br />

multiple exposure on a single frame of<br />

film. “There was absolutely no retouching or<br />

computer work,” he says.<br />

No matter the circumstances, acing<br />

complex assignments is a challenge McNally<br />

meets head on. “I never shied away from the<br />

complicated,” he says. And it’s true; from<br />

choreographing a crowd of synchronized skydivers<br />

mid-air to capturing flawless<br />

underwater portraits, McNally earned his<br />

reputation for pulling off the impossible. “Once<br />

you do a couple of complicated shots, you get<br />

known as the ‘complicated guy,’” he says.<br />

Complex on a different level is McNally’s<br />

“Faces of Ground Zero—Giant Polaroid<br />

Collection.” A series of nine-foot Polaroid<br />

images, the collection showcases full-body<br />

portraits of the heroes of September 11.<br />

“Like many, I was searching for a way to<br />

McNally shot through Williams’<br />

13 costume changes, and came<br />

out with one 13-stage multiple<br />

exposure on a single frame of film.<br />

“There was absolutely no retouching<br />

or computer work,” he says.


espond appropriately to this sense of destruction,”<br />

McNally says. “I thought that this<br />

gigantic, oversized Polaroid camera would<br />

be an interesting way to depict the people<br />

who were so involved with Ground Zero.”<br />

Rounding up subjects was slow going at<br />

first. McNally visited firehouses and got the<br />

word out as best as he could. Then he found<br />

himself inundated with people ready to<br />

pose, from a window washer to Mayor Rudy<br />

Giuliani himself.<br />

“It was difficult initially to explain that<br />

the prints would be 9 feet tall, and get people<br />

to understand the scope of the project,” he<br />

says. “We were fortunate though, that people<br />

98 • www.ppmag.com<br />

were interested in being part of something<br />

that told their story. I had to find a way to be<br />

respectful for the loss, and as a photographer,<br />

this seemed like the most appropriate way to<br />

respond.”<br />

The series is a traveling exhibition, and<br />

has been published book form by Life, titled<br />

“In the Land of the Free and One Nation:<br />

America Remembers September 11, 2001.”<br />

“I’m really blessed in my career to have<br />

done a lot of interesting projects and met a lot<br />

of interesting people,” says McNally. “Whether<br />

it’s hanging out of helicopters or chasing the<br />

president down the street, I’m going to keep<br />

shooting until they put me in a box.” ■<br />

For more on Joe McNally’s work, including<br />

the Faces of Ground Zero project, visit<br />

www.joemcnally.com.<br />

Don’t miss Joe McNally’s presentation,<br />

“The Location and the Light,” at IUSA<br />

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Mark Ridout has a way<br />

with people. It’s evident<br />

in his friendly voice,<br />

his conversational ease,<br />

and especially in his<br />

images. He charms<br />

his way into the hearts<br />

and minds of his<br />

portrait subjects.


PEOPLE PERSON<br />

BY STEPHANIE BOOZER<br />

All images ©Mark Ridout


Whether it’s coaxing a sincere smile out of<br />

an anxious bride or catching an unguarded<br />

expression on the face of a down-on-hisluck<br />

man on the street, Mark Ridout has a<br />

knack for making people comfortable in<br />

front of his camera.<br />

“It’s not always just about taking great<br />

pictures,” he says. “You have to build rapport<br />

before you start shooting. I like meeting new<br />

people and bonding with them.”<br />

Ridout’s home is the quiet town of Lindsay,<br />

Ontario, but he draws customers from both<br />

sides of the border. He started out with mainly<br />

local clients, but his popularity spread rapidly<br />

by word of mouth. He’s never spent a dime<br />

on advertising, not even in the local phone<br />

book. Ridout shoots about 25 weddings a year,<br />

and that’s his ideal workload. He’s covered weddings<br />

all over Europe, the United States and the<br />

Caribbean, and most frequently, sunny Cuba, a<br />

popular spot for Canadians to tie the knot.<br />

Traveling for weddings is Ridout’s favorite<br />

gig. He hangs out with the family and their<br />

friends in the days leading up to the wedding<br />

and becomes one of their own. The result?<br />

They let down their guard.<br />

“Look at my pictures,” says Ridout. “They’re<br />

genuine smiles, not fake. I love shooting weddings,<br />

having fun, talking to everyone. We<br />

always have a good time.” For destination<br />

weddings, Ridout usually allows himself a<br />

few days post-wedding to go exploring with<br />

his camera. Some of his best impromptu<br />

portraits are the result of striking up a<br />

casual conversation with complete strangers.<br />

“I put a lot of stuff from my travels on my<br />

Web site,” says Ridout. “People can see that I<br />

have a good eye, and that I can incorporate<br />

my design sense into wedding photography.”<br />

Ridout’s interest in photography began at age<br />

17, when he set up a darkroom in his<br />

parents’ wine cellar. In college, he operated a<br />

lithographic camera, training his eye toward<br />

the printing industry and eventually<br />

becoming a four-color stripper, working on<br />

“Look at my pictures. They’re genuine smiles,<br />

not fake. I love shooting weddings, having fun,<br />

talking to everyone. We always have a good time.”


magazines and book covers. Staying abreast<br />

of trends in design and photography, Ridout<br />

continually strove to improve his own<br />

photographic work. He even taught himself<br />

Adobe Photoshop during a stint as a service<br />

manager at a car dealership.<br />

“We were the first Ford dealership in<br />

Canada to have Photoshop installed on the<br />

drive-through computers,” he laughs. “I felt<br />

lucky to have a full-time job that let me learn<br />

Photoshop on the side.”<br />

Throughout his varied career, Ridout stays<br />

focused on one goal, to push his limits. “I characterize<br />

my style as disciplined,” says Ridout.<br />

He never gets bored shooting weddings. “To<br />

get to the top of your game, you need to take<br />

risks and experiment, try to improve on every<br />

shoot. I like to inject humor, passion and<br />

discipline into each assignment.”<br />

Three years ago, Ridout let go all other<br />

pursuits to pick up the camera full time. “I<br />

should have done it 10 years ago,” he says.<br />

His wedding business was booming, and<br />

he’d reached a comfortable workload that<br />

kept him busy—but not so busy as to disrupt<br />

his leisure time. And after years of working<br />

with different camera formats and learning<br />

studio tricks, Ridout switched to the Canon<br />

EOS 5D digital SLR and stuck his<br />

Hassleblad on a shelf. “It looks pretty good<br />

up there,” he laughs.<br />

These days Ridout also finds time to do<br />

family portraits and a bit of commercial<br />

work. With the exception of commercial<br />

assignments, Ridout prefers to shoot<br />

outdoors in his beautiful countryside.<br />

“I like the advantages of different lighting<br />

conditions, natural backdrops, and the<br />

freedom to move around,” he says. “I like to<br />

do what I call environmental portraits of<br />

families, and I let the kids just be kids.”<br />

He takes the same approach to weddings,<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 103


104 • www.ppmag.com<br />

“On the very first<br />

show I did, the<br />

bride started<br />

crying. I never<br />

had that kind of<br />

reaction from an<br />

album, and I decided<br />

at that moment that<br />

this is what I have to do.”<br />

letting the participants be themselves and<br />

enjoy the day. He does find himself directing<br />

occasionally, but he typically lets the events<br />

unfold naturally, which lends itself to his<br />

particular style of presentation: He doesn’t<br />

provide albums or prints. After going digital,<br />

he found that proofing, waiting on the couple<br />

to select images, and laying out an album<br />

demanded too much time. Now he provides<br />

digital slide shows, created with Photodex<br />

ProShow Producer software, on both DVD<br />

and CD (with Ridout’s contact info and<br />

Web link at the end), an e-mail link to the<br />

show online, and a 5x5 thank-you image for<br />

the bride. She can make copies of the slide<br />

show and the print for friends and family.<br />

“On the very first show I did, the bride<br />

started crying,” says Ridout. “I never had<br />

that kind of reaction from an album, and I<br />

decided at that moment that this is what I<br />

have to do.”<br />

Flipping through an album, a bride might


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spend about three seconds per image. But<br />

with a slideshow, each image appears for 10<br />

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long for most albums. He’s able to shoot<br />

and include the kind of detail shots that<br />

brides don’t typically include in their album.<br />

The beauty is that Ridout’s slideshows<br />

are viewed by more people than would ever<br />

view a traditional wedding album. By checking<br />

his Web stats, Ridout knows that many<br />

shows have been viewed more than 5,000<br />

times. “There is no way that any album gets<br />

viewed that many times,” he says.<br />

And while the debate rages on between<br />

photographers who shoot for the album and<br />

those who find a digital final product more<br />

realistic and profitable, the bottom line is that<br />

it’s working for Ridout. He’s found a way to do<br />

what he loves without burning out from<br />

work overload, and keep his clients happy.<br />

“My love of photography continues to<br />

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(Continued on p. 109)<br />

106 • www.ppmag.com


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(Continued from p. 106)<br />

pumped on the way to a wedding. “Photography<br />

for me is a hobby as well as a profession.”<br />

And he still has a bit of time for the other<br />

things he enjoys, “fine Cuban cigars, vintage<br />

Shiraz, and edging the lawn.” ■<br />

See more of Mark Ridout’s images at<br />

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January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 109


Hollye Schumacher<br />

says photography’s<br />

a moveable feast<br />

BY LORNA GENTRY<br />

“In wedding photography you have to be so<br />

present. If you lose sight of that and get caught up<br />

in the technical details, you lose the moment.”<br />

—Hollye Schumacher<br />

EYE ON THE<br />

HORIZON


All images ©Hollye Schumacher


Hollye Schumacher rummaged through the<br />

refrigerator in her Scottsdale, Arizona, home<br />

while speaking to an interviewer on the phone.<br />

She’d drawn a blank when asked what type<br />

of film she shoots, so she was looking for<br />

whatever film might be stored there. Her<br />

refrigerator sounded rather hollow on the<br />

other end of the telephone. There was a<br />

slight echo when she knocked over some<br />

boxes of film. “Yeah, you can tell someone’s<br />

into photography when there’s more film<br />

than food in the fridge,” she laughed.<br />

You don’t have to peer into her refrigerator to<br />

know photography is no less essential than food<br />

to Schumacher. She’s one of those lucky souls<br />

whose avocation is their vocation. Schumacher’s<br />

been passionate about photography since<br />

high school, and at 29 she still gushes.<br />

112 • www.ppmag.com<br />

“I feel like I’m affecting people in positive<br />

ways and that’s the reason I do what I do.”<br />

“I’m so happy I found my calling,” she said.<br />

“Everything I wanted to do growing up,<br />

[including] making a difference in the world,<br />

has happened in wedding photography, oddly<br />

enough. I feel like I’m affecting people in positive<br />

ways and that’s the reason I do what I do.”<br />

Comedian George Carlin is widely<br />

credited on the Internet with the wise<br />

observation, “Life is not measured by the<br />

breaths we take… but by the moments that<br />

take our breath away.” When Schumacher<br />

read the quote, it resonated so deeply that it<br />

became her personal motto. “I try to live my<br />

life that way,” she said earnestly. “I’m not<br />

religious but I’m definitely spiritual. I read a<br />

lot of books about being in the moment.”<br />

Yoga, meditation and living a conscious<br />

life, Schumacher says, keep her skills sharp.<br />

“In wedding photography you have to be so<br />

present. If you lose sight of that, get caught<br />

up in the technical details, you lose the<br />

moment. Digging deeper into myself and<br />

being in the moment have really helped my<br />

wedding photography.”<br />

It must be working. Schumacher’s<br />

wedding portfolio is lithe, even lyrical. She<br />

offers a nice mix of candid and posed photos<br />

in color and black and white. She also<br />

shoots infrared for its dramatic effect. “It<br />

lends itself to capturing romance. It takes<br />

away the color and leaves the emotion. It<br />

seems more ethereal than black and white. I<br />

don’t want to make people’s weddings a fairy<br />

tale, that’s not the point, so I only shoot a<br />

little infrared. But it offers more emotion<br />

and power to the scenery. I think when people


get married outdoors it’s because they love<br />

nature, and infrared creates more drama. I<br />

think that’s what brides are looking for in<br />

outdoor weddings.”<br />

Until recently, Schumacher shot infrared<br />

film with a Canon EOS-1v 35mm SLR.<br />

Security personnel at airports refused to heed<br />

her entreaties that infrared film canisters<br />

cannot be opened under any circumstances.<br />

Post 9/11, unexamined anything won’t fly.<br />

So she converted her camera to infrared<br />

without regret and travels easier. (For more<br />

about the conversion technique, look in the<br />

Bonus Content section at www.ppmag.com.)<br />

That’s important; like photography, travel<br />

holds a large place in her heart. Schumacher<br />

has been to 29 countries on six continents.<br />

“I haven’t been to Antarctica, but I’d love to<br />

go. I really want to photograph penguins.”<br />

The travel bug took hold in college in<br />

Schumacher’s fourth year, when she was<br />

accepted into the photography curriculum<br />

in Semester at Sea, a four-month program<br />

in which students sail around the world.<br />

Onboard, Schumacher was known as “The<br />

Hermit.” “Literally, I lived in the hull of the<br />

ship where there was a darkroom,” she recalls.<br />

“At every port we’d get off to photograph, then<br />

I’d go right back into the darkroom. It opened<br />

my eyes to both travel and photography.”<br />

After graduation—with a degree in<br />

finance, not photography—Schumacher<br />

took off on a vision quest. In Thailand she<br />

met some Australians who promised her<br />

cheap rent if she moved to Australia. She<br />

accepted the offer and soon got a job with a<br />

commercial photographer. In 2001<br />

Schumacher won the Nikon ACP Student of<br />

the Year award and the prize was a dream<br />

come true: a Nikon F100 camera. “It was<br />

the greatest day of my life. It showed me<br />

there were possibilities in photography.”<br />

When Schumacher returned to Arizona,<br />

Phoenix photographer Phyllis Lane encouraged<br />

her to try wedding photography. Reluctant


at first, she eased into it and fell in love. Four<br />

years ago, Schumacher struck out on her own.<br />

Well, almost on her own. When thenamateur<br />

photographer Eric Shunk asked<br />

Schumacher for a date, she put a camera in<br />

his hands and dragged him to the two<br />

weddings she’d lined up to shoot that day. “I<br />

told him this was the life I lead,” she says<br />

brightly. Three-and-a-half years later, Shunk’s<br />

still by her side and shooting weddings.<br />

“He’s been a great shooting partner. And he’s<br />

become a great photographer.”<br />

Children’s portraiture was a natural offspring<br />

of wedding photography and, along<br />

with adult portraits and pet photography, is<br />

a healthy part of Schumacher’s business. Most<br />

of her professional work is digital (Canon<br />

EOS-1D Mark II, Canon EOS 5D and Canon<br />

EOS 20D), but she sometimes uses her film<br />

cameras as well (Hasselblad XPan, Canon<br />

EOS-1v 35mm SLR). And the film in her<br />

fridge? Kodak T-Max black-and-white film,<br />

Kodak Portra NC and VC, and Fujicolor<br />

800 ISO color negative film. Schumacher<br />

nearly always shoots film for personal work,<br />

which is most often travel photography.<br />

“Every summer I try to take at least a<br />

month off to catch up on my wedding stuff<br />

and to travel,” she said. “When I travel I feel<br />

I’m disconnected from everything that’s<br />

familiar, and I can really get to know myself.<br />

In places where I don’t speak the language, I<br />

feel especially vulnerable, and it helps me<br />

know what’s real. You have to figure out things<br />

on your own. It’s a new culture, new life and<br />

it gets me thinking. When I’m stimulated<br />

visually it keeps my photography fresh.” ■<br />

To see more of Hollye Schumacher’s work,<br />

visit her Web site, http://hollye.com.<br />

Lorna Gentry is a freelance writer in Atlanta.


My association with PPA has been an amazing<br />

learning experience. It’s like having the resources of a big<br />

university, but you’re not just a number. You receive personal attention<br />

every step of the way. The speakers at PPA events have been wonderful<br />

role models. They talk about their struggles, how<br />

they overcame them, and why they are successful<br />

today. To see others who started from very little<br />

and have achieved so much…it’s truly inspiring.<br />

I love that I can just call my mentor or other<br />

photographers I’ve met, and everyone is so<br />

willing to help and share. All that<br />

guidance is just there<br />

for the asking.<br />

LAURA COTTRIL, CPP<br />

PORTRAIT PHOTOGRAPHER<br />

PPA MEMBER SINCE 2002<br />

© Heather M. Whiting<br />

<strong>Professional</strong> <strong>Photographer</strong>s of America | 800.786.6277 | www.ppa.com | ONE OF THE MANY FACES OF PPA


All images ©Gregory Heisler<br />

With the digital<br />

revolution complete,<br />

famed portraitist<br />

Gregory Heisler<br />

pauses for<br />

perspective<br />

Life in<br />

BY JEFF KENT


alance


n 30-some years<br />

of photography,<br />

Gregory Heisler<br />

has seen a world<br />

of change. The renowned<br />

commercial and editorial<br />

portrait photographer<br />

made his name working<br />

with intricate camera and<br />

lighting setups. For years he dragged tons of<br />

photo gear to every single shoot, including<br />

enormous large-format cameras, some of<br />

them antiques. He’d often set up a mini-studio<br />

on location, even multiple mini-studios to<br />

get several looks with one subject. Everything<br />

was about the process.<br />

Then came what Heisler refers to as the<br />

“digital tsunami.” Like many photographers,<br />

Heisler resisted for awhile. He persevered<br />

against the deluge with his trademark<br />

traditional methods. In 2004, he succumbed<br />

to the inevitable, and jumped in with both<br />

feet. More than trading film for a camera<br />

with a sensor, it was a wholesale conversion<br />

of everything he did as a photographer.<br />

For Heisler, the flexibility and portability<br />

of digital ushered in a new era. Now he travels<br />

with a couple of Canon EOS-1Ds Mark II<br />

bodies and just two cases of lighting gear.<br />

He shoots more spontaneously, adapting to<br />

the situation as he works without pausing to<br />

reconfigure. He’s now more focused on the<br />

image than the process, and “that’s time well<br />

spent,” says Heisler. “At times working with<br />

the big cameras, it was like the operation<br />

120 • www.ppmag.com


was a success, but the patient died. I don’t<br />

run into that anymore.”<br />

Heisler says the most significant change<br />

in his images is how he conceptualizes them.<br />

“With digital, it behooves you to think of your<br />

photographs as elements,” he says. “If you have<br />

all the ingredients, then you can actually re-cook<br />

the meal. If you only have one ingredient, then<br />

making changes to the image is like trying<br />

to make a steak rarer. You just can’t do it.”<br />

Heisler usually shoots a few frames of the<br />

background and overall scene, sans subject.<br />

If he chooses to change or fine-tune something<br />

later, he has the necessary pieces to allow<br />

that flexibility. Yet Heisler still tries to create<br />

his images in-camera. “It’s a great pitfall to<br />

work with an attitude that everything can be<br />

fixed later in Photoshop,” he says.<br />

For Heisler, the key to the digital world is<br />

education. “There’s a common perception<br />

that you have a finite number of neurons,<br />

and any that are used for technical concerns<br />

can’t be used for creativity,” he says. “I disagree.<br />

I believe the more you have the technical<br />

issues figured out, the more creative you can<br />

be. When I was going digital, I was having<br />

epiphanies every day. The possibilities are so<br />

exciting. I love to do everything myself, and<br />

digital offers an opportunity to be more<br />

completely the author of my own work. So<br />

the more I can learn about every part of this<br />

new process, the better my images will be.”<br />

With the digital wizardry of the 21st century at his disposal, Heisler’s greatest<br />

inspiration still comes from the classic<br />

works. He admires images by such masters<br />

as Arnold Newman, Irving Penn, Jay Maisel<br />

and Mary Ellen Mark, and draws<br />

inspiration as well from his collection of 19th century hand-painted photographs. Done<br />

for the most part by anonymous artists, the<br />

images are what he describes as “over-


SUPERLATIVE SNAPS WITH GREGORY HEISLER<br />

FAVORITE PHOTOGRAPHER OF ALL<br />

TIME: “Several. Arnold Newman had an<br />

unparalleled compositional sense. Irving<br />

Penn’s elegance and simplicity is<br />

unmatched. Jay Maisel’s sense of color<br />

and light is inspiring. Mary Ellen Mark’s<br />

engagement with her subjects is amazing.”<br />

FAVORITE EQUIPMENT: “This morning, it’s<br />

unquestionably the Canon EOS-1Ds Mark II.”<br />

MOST IMPORTANT ARTISTIC INFLU-<br />

ENCE: “Arnold Newman, because of his<br />

commitment to the image and his work ethic.<br />

For him, it was all about the pictures… He<br />

didn’t flatter his subjects; he respected<br />

them. Now, portraits are all about flattery.<br />

If you can make someone look good,<br />

you’re a phenomenal portraitist. That’s a<br />

valuable skill to have, but to me that’s<br />

not the highest goal. The highest goal is<br />

making images that have an integrity all<br />

their own, apart from the subject.”<br />

FAVORITE THING ABOUT THE JOB:<br />

“Photography is instantly gratifying. You<br />

create something that didn’t exist the day<br />

before. You marshal all your technical<br />

skills, creative energies and intelligence<br />

for that one instant, and then it’s done.”<br />

BEST PORTRAIT IMAGES EVER: “Arnold<br />

Newman’s portrait of Igor Stravinsky, Yousuf<br />

Karsh’s portrait of George Bernard Shaw.<br />

I love the light and the gesture in that image.<br />

Irving Penn’s portraits from “Worlds in a Small<br />

Room” are endlessly imitated, yet still unsurpassed.<br />

Of my pictures, the portrait of Louis<br />

Serria, Muhammad Ali’s masseur. The portrait<br />

of Muhammad Ali out in the snow. Also<br />

Rudy Giuliani for a Time cover.”<br />

FAVORITE QUOTE: “Digital photography is<br />

like having an affair with a barnyard animal. It<br />

may be a wild time, but you don’t necessarily<br />

want your friends to know you’re doing it.”


painted, very funky looking portraits.” Each<br />

of these unique images forces you to assess it<br />

on its own merits rather than its pedigree.<br />

That in itself inspires Heisler, especially in<br />

the current photographic climate, where<br />

classic values are often discarded in the face<br />

of changing trends.<br />

On the business side of the digital movement,<br />

Heisler joins fellow pros in expressing<br />

concern. Particularly for commercial and<br />

editorial photographers, the profession has<br />

become far more costly with no corresponding<br />

increase in pay rates. There are more photographers,<br />

and readily available, cheap images<br />

are flooding the market. These are the<br />

concerns that keep professional photographers<br />

up at night. Even Gregory Heisler.<br />

Every coin has a flip-side, though. The<br />

demand for imagery is also greater than<br />

ever before. “People are using and viewing<br />

images in more ways, and in different types<br />

of contexts,” says Heisler. “That is certainly<br />

encouraging.”<br />

The trick is producing work that keeps<br />

you in demand, not an easy task in this everfickle<br />

market. “You’ve been selling yourself<br />

on a set of subtle distinctions,” Heisler says,<br />

“and suddenly those distinctions don’t matter<br />

because your clients no longer recognize or<br />

value them. Ultimately, though, the best<br />

price protection someone can have is being<br />

unique. We all start out with a good chance<br />

at being unique, but then some photographers<br />

try to keep up with the market by following the<br />

trends. When people follow trends and their<br />

style becomes less definable, it fuels their doom.”<br />

In Heisler’s estimation, more than ever,<br />

professional photography is a balancing act.<br />

On one side you have the drive to create a<br />

unique vision, on the other you have the<br />

need to produce marketable work. “I used to<br />

think that if I simply concentrated on making<br />

good images, the business would take care<br />

of itself,” says Heisler. “For years it worked<br />

that way, but I’m not so sure that’s the case


‘‘<br />

Ultimately, the best<br />

price protection<br />

someone can have is<br />

being unique… When<br />

people follow trends<br />

and their style becomes<br />

’’<br />

less definable, it<br />

fuels their doom.<br />

anymore. There’s a level of business acumen<br />

that has become far more crucial. You just<br />

have to find ways to present yourself, to sell<br />

yourself, to use whatever means at your<br />

disposal to create a market for yourself,<br />

instead of just concentrating on pictures.”<br />

<strong>Professional</strong> photography has changed,<br />

to be sure. And certainly it’s a more dynamic,<br />

volatile and unpredictable business than<br />

ever before. Yet it still offers tremendous<br />

opportunity for those who can combine a<br />

distinctive vision with the right amount of<br />

commercial savvy. And, as Heisler says, “I<br />

still wake up every day excited about it. It’s<br />

fascinating and it’s satisfying—and it still<br />

beats working for a living!” ■<br />

To see more of Gregory Heisler’s images, visit<br />

www.gregoryheisler.com.<br />

Don’t miss Gregory Heisler as he presents<br />

the Super Program at Imaging USA <strong>2007</strong> in<br />

San Antonio, Texas, January 14-16. In a<br />

special evening appearance, Heisler delivers<br />

his insights on making the digital transition.<br />

For more information, call 888-260-0016<br />

or visit www.imagingusa.org.


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calendar|<br />

PPA EVENTS<br />

July 22-25, <strong>2007</strong><br />

PEC Judging<br />

January 6-8, 2008<br />

Imaging USA, Tampa, Fla.<br />

January 11-13, 2009<br />

Imaging USA, Phoenix<br />

January 10-12, 2010<br />

Imaging USA, Nashville, Tenn.<br />

For information on PPA Events, call<br />

800-786-6277 or visit www.ppa.com<br />

Current Events<br />

February 2-5<br />

C: PP of Indiana, Marriott East, Indianapolis,<br />

Ind.; David Patnaude, P.O. Box 11012,<br />

South Bend, IN 46634; 574-232-2003;<br />

dave@mcdonaldstudio.com<br />

February 3-6<br />

S: PP of Iowa, Airport Holiday Inn, Des Moines,<br />

Iowa; Christy Brinkopf, P.O. Box 108, Sumner, IA<br />

50674; 563-578-1126; ppichris@iowatelecom.net;<br />

www.ppiowa.com<br />

February 4<br />

S: New Hampshire PPA, Concord, N.H.; Don<br />

Chick; 603-335-4448; donrchick@yahoo.com;<br />

www.nhppa.com<br />

February 4-6, <strong>2007</strong><br />

C: PPA of New Mexico; MCM Elegante Hotel in<br />

Albuquerque, N.M.; Oscar Lozoya, 505-243-<br />

1007; xiloo@aol.com; www.ppanm.com<br />

February 6-10, <strong>2007</strong><br />

C: PP of California, Pasadena Convention<br />

Center; Pasadena, Calif.; Roger Daines,<br />

800-439-5839; roger@prophotoca.com;<br />

www.prophotoca.com<br />

February 9-11<br />

C: PP of West Virginia, Holiday Inn, Oakhill, W.V.;<br />

Steve Jessee, 304-425-5519; sjessee@charter.net<br />

February 9-12<br />

C: Connecticut PPA, Crowne Plaza, Cromwell,<br />

Conn.; Susan Drew, 203-375-7485; cppaphotobysusan@aol.com;<br />

www.ctppa.com<br />

February 11-12<br />

C: Rocky Mountain States Affiliated Print<br />

Competition, Denver, Colo.; Thomas J. Hissong,<br />

303-933-9461; ppcolorado@aol.com;<br />

ppcolorado.com<br />

128 • www.ppmag.com<br />

Submit your organization’s convention, workshop, seminar, or exhibition dates to <strong>Professional</strong><br />

<strong>Photographer</strong> at least six months in advance. Editors reserve the right to select events to be<br />

announced on these pages, and to determine when announcements will appear. Editors are not<br />

responsible for conflicting or incorrect dates. For readers’ convenience, each event is identified<br />

by a code preceding its name: C=Convention, W=Workshop, S=Seminar, C/E=Approved PPA<br />

Continuing Education Seminar, E=Exhibit. Send all Calendar of Events additions or corrections<br />

to: Paula Saje, <strong>Professional</strong> <strong>Photographer</strong>, 229 Peachtree St., NE, Suite 2200, Atlanta, GA<br />

30303; FAX: 404-614-6404; Psaje@ppa.com.<br />

February 16-18<br />

S: PP of Oklahoma, Comfort Inn, Enid, Okla.;<br />

Ken Helt; 918-252-5124; www.ppok.org<br />

February 17-18<br />

S: Kansas PP, Junction City, Kan.; Waldo Berry,<br />

785-238-6944; waldo@wbphotography.com;<br />

www.kppa.org<br />

February 18-19<br />

C: Arizona PPA, Phoenix Airport Hilton, Phoenix,<br />

Ariz.; Frank Rigo, 602-274-2274; Philip Ramackers;<br />

520-327-7262; www.arizonaappa.com<br />

February 18-19<br />

C: Southern Illinois Art League; Kurt Wade,<br />

229 E. State Street, P.O. Box 318, Jacksonville, IL<br />

62651-0318; kurtmwade@wmconnect.com<br />

February 18-20<br />

S: Essentials for Women…A PPM Success Seminar,<br />

Amway Grand Plaza, Grand Rapids, Mich.; Scott<br />

Green, 248-318-5182; edir@ppm.org; www.ppm.org<br />

February 23-26<br />

C: PP of Massachusetts; Linda Pedi,<br />

978-686-6535; www.ppam.com<br />

February 23-26<br />

C: PP of Oregon, Doubletree Hotel, Portland Lloyd<br />

Center, Portland, Ore.; Arlene Welsh, 800-370-<br />

5657; pporegon@teleport.com; www.pporegon.com<br />

February 23-26<br />

C: Wisconsin PPA, Marriott Madison West,<br />

Madison, Wis.; Garry Milton, 414-358-8111;<br />

Rick Trummer, 608-275-7581; Deb Wiltsey,<br />

262-633-4413; 1602 South Wisconsin Ave.,<br />

Racine, WI 53403; www.wppa-online.com<br />

PPA CERTIFICATION EXAM & IMAGE REVIEWS<br />

February 23-28<br />

C: Virginia PPA, Portsmouth, Va.;<br />

Anthony Rumley, 804-864-5700;<br />

anthony@anthonyrumley.com; www.vppa.org<br />

February 28 - March 5<br />

C: Mid-East States/PP of Ohio, Dayton<br />

Convention Center, Dayton, Ohio; Phil Craig or<br />

Carol Worthington, 37 W. Broad Street; Ste.<br />

480, Columbus, OH 43215; 614-228-6703;<br />

carol@ppofohio.org; www.ppofohio.org<br />

March 2-7<br />

C: PP of North Carolina, Inc., Sheraton Imperial<br />

Hotel, Durham, N.C.; Loretta Byrd, 459<br />

Greenleaf Road, Angier, NC 27501; 888-404-7762;<br />

ppnc@earthlink.net; www.ppofnc.com<br />

March 3-5<br />

S: Tennessee Spring Seminar; Montgomery<br />

Bell State Park, Dickson, Tenn.; Kendall<br />

Mathes; 423-257-6860; kmathes@comcast.net<br />

March 3-7<br />

C: Texas PPA, Wyndham Hotel, Arlington,<br />

Texas; Doug Box, 979-272-5200;<br />

dougbox@mac.com; www.tppa.org<br />

March 4-6<br />

C: New Jersey PPA, Hilton Casino & Resort, Atlantic<br />

City, N.J.; Leslie Meltzer, 5 Quail Mews, North<br />

Brunswick, N.J. 08902; 732-422-7263; 866-985-<br />

4300; secretary@ppanj.com; www.ppanj.com<br />

March 10-13<br />

W: Planning for Profits Workshop; Littleton, Colo.;<br />

Thomas J. Hissong; 303-933-9461;<br />

imagingworkshops@aol.com<br />

The following are exam dates and locations for the PPA Certified <strong>Professional</strong> <strong>Photographer</strong> Exam.<br />

For Certification information or an application packet, call 800-786-6277. Your state Certification<br />

liaison may know of additional exam dates in your area. (For a directory of liaisons, go to www.ppa.com.)<br />

Candidates must contact PPA headquarters at least five business days before the exam to reserve a<br />

place (800-339-5451, ext.228). Picture identification will be required upon arrival at the testing site.<br />

Feb. 9, May 4, Aug. 3, & Oct. 5<br />

Image Review Deadlines<br />

Feb. 10: Certification exam, Oak Hill, W.V.<br />

Feb. 11: Certification exam, Conn.<br />

Feb. 18: Certification exam, Hastings, Minn.<br />

April 22: Certification exam,<br />

North Conway, N.H.


March 17-21<br />

C: PPSNY, Conference Center Niagara Falls,<br />

N.Y.; Karen K. Dyer, 518-434-9500;<br />

headquarters@ppsny.com; www.ppsny.com<br />

March 18-22<br />

C: Associated <strong>Professional</strong> <strong>Photographer</strong>s<br />

of Illinois; Holiday Inn, Decatur, Ill.;<br />

800-838-2774; www.appillinois.org<br />

March 30-April 4<br />

C: Heart of America, KCI Expo Center/Hilton Hotel,<br />

Kansas City, Mo.; Stephen Harvey, 620-624-4102;<br />

sharveyks@sbcglobal.net; www.hoappa.com<br />

April 13-17<br />

C: PP of Michigan, Dearborn Inn, Dearborn,<br />

Mich.; Scott Green, 248-318-5182;<br />

edir@ppm.org; www.ppm.org<br />

April 14-17<br />

C: SEPPA, Atlanta, Ga.; Tom McCollum, 770-<br />

972-8552; seppa@bellsouth.net;<br />

www.4seppa.com<br />

April 14-18<br />

C: Minnesota PPA, Arrowwood Resort & Conference<br />

Center, Alexander, Minn.; Tom Stanley, 412<br />

Central Ave., Faribault, MN 55021; 507-334-9645;<br />

tomcstan@qwest.net; Pam Carlson, 525 Tilden<br />

Street, Fairmont, MN 56031; 800-362-5855<br />

April 14-18<br />

C: PP of Canada, Fairmont Winnipeg, Winnipeg,<br />

Manitoba; Carmen Matthews, 204-467-1907;<br />

photobc@mts.net; ppoc@rogers.com<br />

April 15-17<br />

C: Montana PPA, Billings Hotel & Convention<br />

Center, Billings, Mont.; Clark Marten, 406-322-<br />

5544; clarkm@mcn.net; info@montanappa.org<br />

April 16<br />

S: PP of Massachusetts; Linda Pedi,<br />

978-686-6535; www.ppam.com<br />

April 21-24<br />

C: New Hampshire PPA, N. Conway Grand Hotel,<br />

N. Conway, N.H.; Louise Supple, 603-472-<br />

5674; isupple@comcast.net; www.nhppa.com<br />

June 18<br />

S: PP of Massachusetts; Linda Pedi,<br />

978-686-6535; www.ppam.com<br />

June 24-25<br />

S: Kentucky PPA; Embassy Suites,<br />

Lexington, Ky.; Randy Fraley, 606-928-5333;<br />

rgimage1@aol.com; www.kyppa.com<br />

June 24-27<br />

C: PP of Mississippi-Alabama; Marriott Sholas,<br />

Muscle Shoals, Ala.; Terry Collins; 205-901-8651;<br />

tcollinsfoto@bellsouth.net; www.ppma.net<br />

August 11-15<br />

C: Tennessee PPA, Cool Springs Marriott,<br />

Franklin, Tenn.; Ernie K. Johnson, 615-509-5737;<br />

www.masterfoto@aol.com; www.tnppa.com<br />

September 8-11<br />

C: PPA of new England, Sturbridge Host,<br />

Sturbridge, Mass.; Roland Laramie, P.O. Box<br />

316, Willimantic, CT 06226; ppaneri@aol.com<br />

September 21-24<br />

C: PP of Oklahoma, Radisson Hotel on East<br />

41st, Tulsa, Okla.; Ken Helt; 918-252-5124;<br />

www.ppok.org<br />

September 21-27<br />

C: Georgia PPA, Augusta, Ga.;<br />

Tom McCollum, 770-972-8552; gppaed@bellsouth.net;<br />

www.gppa.com<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 129


October 28-29<br />

S: PP of Iowa, Airport Holiday Inn, Des<br />

Moines, Iowa; Christy Brinkopf, P.O. Box<br />

108, Sumner, IA 50674; 563-578-1126;<br />

ppichris@iowatelecom.net; www.ppiowa.com<br />

October 15<br />

S: PP of Massachusetts; Linda Pedi,<br />

978-686-6536; www.ppam.com<br />

October 29-31<br />

C: Triangle PA, Greentree Holiday Inn,<br />

Pittsburgh Penn.; Becky Homich, 724-869-5455;<br />

trianglephotographers@verizon.net;<br />

www.trianglephotographers.org<br />

November 4-5<br />

S: APP of Illinois; Peoria, Ill.; Pére Marquette,<br />

800-838-APPI; www.appillinois.org<br />

November 11-12<br />

C: PP of Ohio, Hilton Easton, Columbus,<br />

Ohio; Carol Worthington;<br />

carol@ppofohio.org<br />

Future Events<br />

January 14, 2008<br />

S: PP of Massachusetts; Susan White & Mark<br />

O’Connell “From Diapers to Diplomas”; Linda<br />

Pedi, 978-686-6536; www.ppam.com<br />

130 • www.ppmag.com<br />

January 24-28, 2008<br />

C: Kentucky PPA, Cincinnati Marriott at<br />

River Center, Covington, Ky.; Randy Fraley;<br />

606-928-5333; rgimage1@aol.com;<br />

www.kyppa.com<br />

February 1-5, 2008<br />

C: PP of Michigan, Marriott Ann<br />

Arbor/Ypsilanti at Eagle Crest Conference<br />

Resort; Scott Green, 248-318-5182;<br />

edir@ppm.org; www.ppm.org<br />

February 2-5, 2008<br />

S: PP of Iowa, Airport Holiday Inn, Des<br />

Moines, IA; Christy Brinkopf, P.O. Box 108,<br />

Sumner, Iowa 50674; 563-578-1126;<br />

ppichris@iowatelecom.net; www.ppiowa.com<br />

February 16-20, 2008<br />

C: Southwest PPA, Arlington Wyndham<br />

Hotel & Convention Center, Arlington, Texas;<br />

Michael Scalf, Sr., P.O. Box 890727,<br />

Houston, TX 77289-0727; 281-332-1880;<br />

michael@swppa.com; www.swppa.com<br />

March 7-12, 2008<br />

C: PP of North Carolina, Inc., Sheraton<br />

Imperial Hotel, Durham, N.C.; Loretta Byrd,<br />

459 Greenleaf Road, Angier, NC 27501;<br />

888-404-7762; ppnc@earthlink.net;<br />

www.ppofnc.com<br />

PPA-APPROVED CONTINUING<br />

EDUCATION SEMINARS<br />

Current Events<br />

June 22-23, 2008<br />

S: Kentucky PPA; Embassy Suites,<br />

Lexington, Ky.; Randy Fraley, 606-928-<br />

5333; rgimage1@aol.com; www.kyppa.com<br />

February-December, <strong>2007</strong> (multiple dates)<br />

C/E: Quinn Hancock, Hands-on-Photography Classes;<br />

785-883-4166; customclassics@myvine.com<br />

February-April, <strong>2007</strong> (multiple dates)<br />

C/E: H&H University; 800-821-1305, ext. 833;<br />

www.hhcolorlab.com/university/<br />

November 9-10, 2008<br />

C: PP of Ohio, Hilton Easton, Columbus,<br />

Ohio; Carol Worthington, carol@ppofohio.org<br />

February 26-March 4, 2009<br />

C: PP of North Carolina; Sheraton Imperial<br />

Hotel, Durham, N.C.; Loretta Byrd, 888-404-<br />

7762; ppnc@earthlink.net; www.ppofnc.com<br />

October 5-6, 2008<br />

S: Kentucky PPA; Hyatt Regency, Lexington,<br />

Ky.; Randy Fraley, 606-928-5333;<br />

rgimage1@aol.com; www.kyppa.com<br />

March 14-17, 2009<br />

C: Minnesota PPA, Arrowwood Resort and<br />

Convention Center; Joanie Ford, 7723<br />

Brooklyn Blvd., Brooklyn Park, MN 55443;<br />

763-560-7783; fordstudio@comcast.net;<br />

www.mnppa.com<br />

November 15-16, 2009<br />

C: PP of Ohio, Hilton Easton, Columbus,<br />

Ohio; Carol Worthington, carol@ppofohio.org<br />

November 14-15, 2010<br />

C: PP of Ohio, Hilton Easton, Columbus,<br />

Ohio; Carol Worthington, carol@ppofohio.org<br />

February 1-2<br />

C/E: Aristry Gartel: Photoshop Widsom Workshop; St. George Inn,<br />

Tarzana, Calif.; 818-981-2803; www.artistrymag.com/docs/classes.html<br />

February 5-8 & 19-22<br />

C/E: February 5-8: Painter Creativity Seminar with Jeremy Sutton,<br />

San Francisco; February 19-22: Painter Panache Master Seminar with<br />

Jeremy Sutton, San Francisco; Jeremy Sutton; 415-626-3971;<br />

jeremy@jeremysutton.com; www.jeremysutton.com<br />

February 12-13<br />

C/E: Photoshop for the <strong>Photographer</strong>, Rayton, Missouri;<br />

www.fredandsteve.com<br />

February 12-16<br />

C/E: David Ziser’s Digital Master Class; Cincinnati, Ohio; Susan,<br />

800-292-2994; www.davidziser.com


January 28-February 1<br />

Lamarr Williamson School of South<br />

Carolina, Springmaid Resort, Myrtle<br />

Beach, SC; Jeanne Richardson,<br />

843-527-2071; jfoto911@aol.com;<br />

www.ppofsc.com<br />

February 4-8<br />

Delta School, Whispering Woods, Olive<br />

Branch, Miss.; Melisa Smock, 800-260-<br />

7189, ext. 4206; melisas@swbell.net;<br />

www.deltaschool.com<br />

February 25-March 1<br />

Bahamas International School of<br />

<strong>Professional</strong> Photography, Nassau Beach<br />

Hotel, Nassau, Bahamas; Kenneth Love,<br />

242-393-5683; eyesoflove@usa.net;<br />

ww.bispp.com; Rick English,<br />

508-595-0075; Rephotog@aol.com<br />

March 4-9<br />

California Photographic Workshops,<br />

Fisherman’s Wharf, San Francisco, Calif.;<br />

James Inks, 888-422-6606;<br />

CPWschool@sbcglobal.net;<br />

www.cpwschool.com<br />

March 11-16<br />

Triangle Institute, Greentree Radisson,<br />

Pittsburgh, Penn.; Samuel Pelaia, 724-<br />

869-5455; trianglephotographers@verizon.net;<br />

www.trianglephotographers.org<br />

March 18-23<br />

New England Institute, Sea Crest Resort<br />

Hotel, North Falmouth, Mass.; Sal<br />

Genuario, 401-738-3778;<br />

salneipp@aol.com; www.ppane.com<br />

April 1-4<br />

International Photographic Arts School,<br />

Mariott Hotel & Conference Center,<br />

Indianapolis, Ind.; Patrick Rice,<br />

440-343-7400; prfisheye@aol.com;<br />

www.apag.net/international_<br />

arts_school.htm<br />

April 22-27<br />

Texas School, Texas A&M University, College<br />

Station, Texas; Donald Dickson, 806-<br />

296-2276; ddickson@lonestarbbs.com;<br />

www.tppa.org/school.htm<br />

April 29-May 4<br />

Georgia School, N. Georgia Tech,<br />

Clarkesville, Ga.; Tom McCollum, 770-<br />

972-8552; gppaed@bellsouth.net;<br />

www.gppa.com<br />

132 • www.ppmag.com<br />

<strong>2007</strong> PPA-AFFILIATED SCHOOLS<br />

April 29-May 4<br />

MARS (Mid-Atlantic Regional School),<br />

Grand Hotel, Cape May, N.J.; Adele<br />

Bastinck, 888-267-6277;<br />

marschool@nac.net;<br />

www.marsschool.com<br />

May 8-11 & 13-16<br />

Wisconsin <strong>Professional</strong> <strong>Photographer</strong>s<br />

School, UW Stevens Point-<br />

Treehaven, Tomahawk, Wis.;<br />

Phil Ziesemer, 715-536-4540;<br />

philz@pzphoto.com;<br />

www.wiprophotoschool.org<br />

May 20-25<br />

Imaging Workshops of Colorado,<br />

Littleton, Colo.; Thomas<br />

Hissong, 303-933-9461;<br />

imagingworkshops@aol.com;<br />

www.coloradoworkshops.com<br />

June 3-7<br />

Florida School of Photography,<br />

Daytona Beach Community College,<br />

Daytona Beach, Florida; Teri<br />

Crownover, teri@fpponline.org;<br />

800-330-0532; Marybeth<br />

Jackson-Hamberger,<br />

MHamberger@comcast.net;<br />

www.fppfloridaschool.com<br />

June 3-7<br />

Illinois Workshops, Grafton, Ill.;<br />

Bret Wade; 217-245-5418;<br />

info@ilworkshops.com;<br />

www.ilworkshops.com<br />

June 3-7<br />

Kansas <strong>Professional</strong> <strong>Photographer</strong><br />

School, Bethel College, Newton, Kan.;<br />

Ron Clevenger, 785-242-7710;<br />

rnstudio@swbell.net;<br />

www.kpps.com<br />

June 3-7<br />

Mid-America Institute, University of<br />

Northern Iowa, Charles Lee,<br />

641-799-8957; lees@pcsia.net;<br />

www.maipp.com; Al DeWild, Director;<br />

amdewild@iowatelecom.ent<br />

June 10-14<br />

PP Oklahoma School, St. Geogory’s<br />

University; Glen Cope;<br />

580-628-6438;<br />

gmcope@sbcglobal.net;<br />

www.ppok.org/school<br />

June 10-15<br />

Great Lakes Institute of Photography;<br />

Northwestern College, Traverse City,<br />

Mich.; Mark Allen; 989-686-6917;<br />

mark1foto@aol.com; www.glip.org<br />

June 17-22<br />

West Coast School, University of San<br />

Diego, San Diego, Calif.; Lisa Jaeger,<br />

Kip Cothran; 800-439-5839;<br />

lisa@prophotoca.com;<br />

kipphoto@aol.com;<br />

www.prophotoca.com/wcs<br />

June 17-22<br />

Golden Gate School, Mills College,<br />

Oakland, Calif.; Julie Olson; 650-548-<br />

0889; ggs@goldengateschool.com;<br />

www.goldengateschool.com<br />

July 15-19<br />

Image Explorations, Shawnigan Lake,<br />

British Columbia, Can.; Don MacGregor;<br />

604-731-7225; don@macgregorstudios.com;<br />

www.imageexplorations.ca/<br />

July 22-27<br />

PPSNY Photo Workshop,<br />

Hobart/William Smith Colleges, Geneva,<br />

N.Y.; Linda Hutchings; 607-733-6563;<br />

ppsnyworkshop@pws1893.com;<br />

www.PPSNY.com<br />

August 5-9<br />

East Coast School, Courtyard Marriott,<br />

Carolina Beach, N.C.; Sheraton Imperial<br />

Hotel, Raleigh, N.C.; Rick Gibbons;<br />

336-431-5892; rickg@triadbiz.rr.com;<br />

www.eastcoastschool.com<br />

August 6-9<br />

Long Island Photo Workshop, Sheraton<br />

Hotel, Smithtown, Long Island;<br />

Jerry Small; jerry@jsmallphoto.com;<br />

www.liphotoworkshop.com<br />

August 19-22<br />

Carolina Art & Photographic School,<br />

Randolph Community College,<br />

Archdale Campus, Creekside Park, N.C.;<br />

Bob Henderson; 336-288-1132;<br />

bhphoto47@earthlink.net;<br />

www.capsartschool.com<br />

Send all additions or corrections to: Marisa<br />

Pitts, PPA, 229 Peachtree Street, N.E., Suite<br />

2200, Atlanta, GA 30303;<br />

FAX: 404-614-6400; mpitts@ppa.com.


Today<br />

Association News for Members of <strong>Professional</strong> <strong>Photographer</strong>s of America<br />

For several months, Bert<br />

Behnke and George<br />

Wakefield have been<br />

annoying me, even<br />

though both are good<br />

friends. They wanted me<br />

to do a sequel to the<br />

project that we all<br />

worked on almost ten<br />

years ago, and they were<br />

relentless. Back then, I<br />

came up with the idea<br />

that Bert (as the PPA<br />

president at that time)<br />

should have his portrait<br />

made by several photographers as he traveled around the<br />

country. I thought it would be interesting to have the same subject<br />

photographed by multiple photographers. What better way to<br />

combat the line that there is a “PPA style”?<br />

A few months ago, Bert asked me, “What is the fastest growing<br />

part of PPA?” I answered, “Female photographers.” Bert then<br />

suggested I have several women make my portrait for the project.<br />

It was an offer I finally did not refuse.<br />

Since then, I have been photographed all over the U.S. and even<br />

in China. The portraits have been made in as many styles as there<br />

are photographers. Ten years ago, Bert mentioned that this<br />

project was one of the best experiences he has ever had. I now<br />

understand its value.<br />

To start with, I am not an easy person to make a portrait of. The<br />

term “subject failure” certainly comes to mind. But each artist<br />

wanted to make a portrait that was true to my personality and a<br />

good reflection of her own style and unique vision.<br />

www.ppa.com<br />

1.07<br />

MICHAEL TAYLOR 2006-<strong>2007</strong> PPA PRESIDENT<br />

M. PHOTOG.CR., API, F-ASP<br />

TThhee PPoorrttrraaiitt SSeeqquueell<br />

Here are some of the valuable lessons I learned:<br />

President’s<br />

Message<br />

1 . Make a portrait that contains truth. Your subject’s<br />

personality should shine through in an honest and<br />

sincere way.<br />

2 . Be confident in making a portrait. As a subject, there is no<br />

better feeling than when the photographer is excited, positive,<br />

and feeling great about the images.<br />

3 . Involve the subject in the sitting. I am now making every<br />

attempt to involve subjects by asking their opinions about<br />

colors, locations, and the like.<br />

4 . Have fun! Make the sitting fun and enjoyable. Make the<br />

experience just that…a wonderful experience.<br />

I would encourage you all to get together with a group of friends<br />

and start your own portrait projects on each other. You will likely<br />

learn some inspiring lessons! The results of this project will be<br />

displayed at the print exhibition at Imaging USA in San Antonio.<br />

In addition, Marathon Press is publishing a book featuring the<br />

work of these PPA members. The proceeds from this book will<br />

benefit PPA Charities.<br />

Thank you to Bert Behnke and George Wakefield for their persistence in getting<br />

this project done. Thank you to White House Custom Color for their support<br />

of this project.<br />

A special thank you to Helen Yancy, Beverly Walden, Jill Saunders, Amy Lamb,<br />

Monica Sigmon, Ann Monteith, Kaye Eskridge, Vicki Taufer, Lori Nordstrom, Julia<br />

Woods and Sandy Puc for making my portrait.<br />

p1


Gary Meek was in the<br />

wedding business long<br />

before he was in the<br />

photography business.<br />

Meek’s mother worked as a<br />

wedding caterer while he was<br />

growing up. He got to see the<br />

wild world of weddings from the inside, long before he ever picked<br />

up a camera to photograph an event.<br />

After earning a college degree in mathematics and starting a<br />

career as a materials scientist, Meek realized that he was missing<br />

the personal element in his work. Thinking back to his younger<br />

days of watching weddings, he recalled the highly personal<br />

interactions between photographer and subject. Meek’s father was<br />

an avid photo enthusiast, so Meek not only knew his way around a<br />

camera, he had an appreciation for the photographic art form. It<br />

didn’t take him too long to piece all of these influences together to<br />

launch a career in professional photography.<br />

p2<br />

Today<br />

Association News for Members of <strong>Professional</strong> <strong>Photographer</strong>s of America<br />

BOARD MEMBER SPOTLIGHT<br />

Gary A. Meek<br />

M.Photog.Cr., API<br />

PPA Member since 1984<br />

Shoots: Weddings and Portraits<br />

Location: Hot Springs, Arkansas<br />

News & Notes<br />

During the first couple years of running their young studio, Meek<br />

and his wife, Kathy, plugged along just fine, picking up jobs here<br />

and there and making a go of it. Business was okay, but certainly<br />

not booming. Then a friend asked Meek if he’d ever heard of the<br />

Arkansas <strong>Professional</strong> <strong>Photographer</strong>s Association. He hadn’t, but<br />

he joined right away. That association led Meek into the PPA<br />

national organization, to advanced photographic schooling at the<br />

Winona School, and on to years of service with association<br />

committees, specialty groups and now the PPA Board of Directors.<br />

“If it wasn’t for my association with the associations, I wouldn’t be<br />

in business today,” says Meek matter-of-factly. “The education that<br />

Kathy and I received through the national, regional and state<br />

associations has given us the knowledge we needed to stay in<br />

business. Those seminars and courses taught us how to be more<br />

than just photographers; they taught us how to be professional<br />

photographers.”<br />

VISIT HTTP://BOARD.PPA.COM TO READ ABOUT OTHER MEMBERS OF PPA’S BOARD OF DIRECTORS.<br />

GET CERTIFIED IN <strong>2007</strong><br />

If you are planning on getting your certification this year, then you have been waiting for Imaging USA. Certification exam sessions will be<br />

available every day at Imaging USA. These custom exams help land a photographer the Certified <strong>Professional</strong> <strong>Photographer</strong><br />

designation, a credential that less than 3% of all imaging professionals receive.<br />

As the leading certifying agency for imaging professionals, the <strong>Professional</strong> Photographic Certification Commission is recognized<br />

throughout the industry. The Certification Candidate Bulletin, a complete packet of information that explains the program, contains all of<br />

the paperwork needed to become certified. A study guide, known as Test Specifications, is included and is a comprehensive overview<br />

of the areas of knowledge and skills you need to pass the exam. The manual, along with test questions, is available online at<br />

www.certifiedphotographer.com. This information is intended to show how questions are worded and provide a way for you to test<br />

your knowledge. Read up on it if you intend to apply for your certification exam this year at Imaging USA…or start studying early for<br />

next year’s exam!<br />

Remember, you must submit an application and pre-register for the examinations at least five business days in advance of Imaging USA.<br />

Only those who have completed the application process will be permitted to take the certification exam.<br />

To order the certification candidate bulletin, give us a call at 800-786-6277 or send us an e-mail at csc@ppa.com.<br />

www.ppa.com


www.ppa.com<br />

Today<br />

Association News for Members of <strong>Professional</strong> <strong>Photographer</strong>s of America<br />

CONVERSATIONS ON OURPPA.COM<br />

OurPPA.com is like networking online. <strong>Photographer</strong>s—from<br />

beginners to certified masters—have the ability to share thoughts,<br />

advice, and questions with each other. You can even share your<br />

images and receive tips about which ones will do best in<br />

competition. As you can see, OurPPA.com is a tool. It’s a fun tool,<br />

but it’s a tool nonetheless. Are you making use of it?<br />

Visit OurPPA.com and join in on these and other hot conversations:<br />

How much do you charge for portraits and what are the ups and<br />

downs? Debate pricing with fellow photographers.<br />

http://www.ourppa.com/forums/showthread.php?t=3715<br />

What is your experience with different forms of marketing, from<br />

purses to mugs…and do they really help boost your business?<br />

http://www.ourppa.com/forums/showthread.php?t=3647<br />

How has being certified helped you? Share your stories and learn<br />

from other certified professional photographers.<br />

http://www.ourppa.com/forums/showthread.php?t=2885<br />

ANNOUNCEMENTS<br />

News & Notes<br />

Imaging USA Show Guide<br />

The Imaging USA <strong>2007</strong> Show Guide is included as a special section in this month’s issue of <strong>Professional</strong> <strong>Photographer</strong>. Packed with<br />

everything you need to know about the show, including speakers, programs, vendors, maps, and tips on what to do on your time off, the<br />

Show Guide is designed for you. Take a look and see what’s in store for you in San Antonio! If you haven’t already registered, there’s still<br />

time – just visit www.ImagingUSA.org or call 888-260-0016.<br />

<strong>2007</strong> Events and Educational Resource Guide<br />

To make it easier for everyone to see the great opportunities coming your way, PPA’s <strong>2007</strong> Event & Educational Resource Guide is<br />

printed in this issue of the <strong>Professional</strong> <strong>Photographer</strong>. If you’re a PPA Member, you can also take an online look at the PPA’s <strong>2007</strong> Event<br />

& Educational Guide on http://events.ppa.com. As you will see, the learning and the fun never stop with PPA. Consider joining us for a<br />

Mediterranean cruise, studying with us in the Bahamas, registering for a Super Monday program, attending classes at one of our Affiliate<br />

schools or joining any of the wonderful opportunities offered in <strong>2007</strong>.<br />

Jumpstart Your <strong>2007</strong> Marketing!<br />

PPA & SEP can help with the Sweepstakes Marketing Cooperative.<br />

Turn on your studio’s promotional power with three great sweepstakes opportunities. Why sweepstakes? Because they work!<br />

Think how many more clients will be attracted to your <strong>2007</strong> promotional campaigns when you can offer these exciting bonuses: A car for<br />

high school seniors…a cruise for bridal couples…a Disney family vacation for family and children portrait clients. What’s more, each<br />

sweepstakes will offer even more chances for your clients to win great second-level prizes. This exclusive new, member-only benefit will<br />

enable you to conduct campaigns with prizes and a profit-building strategy that you couldn’t offer on your own.<br />

Your first chance to buy into this amazing opportunity is at Imaging USA <strong>2007</strong>! Visit the Association Booth in the Imaging Expo to learn<br />

more about the brand-new Sweepstakes Marketing Cooperative. When you sign up you’ll receive a Sweepstakes Marketing Tool Kit with<br />

all the “how-to” help you’ll need to increase profits in <strong>2007</strong>. Stay tuned for more detailed information coming to you after January!<br />

<strong>2007</strong> AFFILIATE<br />

COMMUNICATIONS COMPETITION<br />

All PPA Affiliate editors and webmasters are invited to participate<br />

in the <strong>2007</strong> Affiliate Communications Competition. This<br />

competition is designed to encourage excellence in Affiliate<br />

publications (newsletters, magazines and websites) and to<br />

recognize the individuals who spend their time and energy<br />

editing, designing and maintaining these publications in order to<br />

keep their members informed.<br />

Each entry accepted into the competition will earn an<br />

Achievement Merit for its respective editor or webmaster if that<br />

person is a PPA member. Each winning entry (First Place,<br />

Second Place, Third Place and Honorable Mention) will earn an<br />

additional Achievement Merit for its respective editor or<br />

webmaster if that person is a PPA member.<br />

Entry forms are available at http://competitions.ppa.com.<br />

Entries must be received at PPA no later than Friday, February<br />

23, <strong>2007</strong>. If you have additional questions please contact PPA at<br />

800-339-5451, ext. 226, or email awijesinghe@ppa.com.<br />

p3


Today<br />

Association News for Members of <strong>Professional</strong> <strong>Photographer</strong>s of America<br />

David DeJonge of DeJonge Studio in Grand Rapids, Michigan, hoped<br />

that their new promotional catalog would paint the studio as a leader<br />

and strengthen their brand name. As a result of the care and thought<br />

put into each image and every section of text, DeJonge Studio both<br />

accomplished their purpose and won the Promotional Campaign<br />

category of the 2006 AN-NE Awards.<br />

GOALS: Position the studio as the leader in portrait services in the<br />

community while solidifying brand-name identity and giving clear<br />

descriptions of their services.<br />

TARGET AUDIENCE: The catalog was targeted to DeJonge<br />

Studio’s existing client base and was used in pursuing new customer<br />

leads both locally and nationally.<br />

RESEARCH & PRODUCTION: To understand how to best portray their studio, DeJonge researched competitor’s literature, websites and<br />

brochures, along with books of historical influential photographers. Combining the best ideas generated from this research, DeJonge Studio<br />

created the design and layout of the entire catalog in house over a six-month period.<br />

MESSAGE: DeJonge Studio displays excellence in images and testimonials of praise to show that they are the leader in portrait services.<br />

RESULTS: Their time was well spent as the catalog strengthened and retained their existing client base, while expanding it. Not only has their<br />

business increased, but their recognition and reputation has increased significantly as well.<br />

FINAL WORDS: Success! You see it in both the results and in the well-designed, impressive catalog.<br />

p4<br />

REMARKABLE MARKETING<br />

Preparation + Opportunity = Success<br />

PPA’s annual AN-NE Awards competition recognizes outstanding marketing efforts in professional photography.<br />

AFFILIATE SCHOOL SPOTLIGHT<br />

Georgia School<br />

April 29 - May 4, <strong>2007</strong> | Clarkesville, GA<br />

Contact: Thomas McCollum<br />

gppaed@bellsouth.net<br />

888-272-3711<br />

Website: www.gppa.com<br />

Tuition: $500 Member; $650 Non-member<br />

Course information:<br />

“Basic Photoshop” with Al Audleman<br />

“Corel Painter” with Cheri MacCallum<br />

“Basic <strong>Professional</strong> Photography” with Louis Tonsmeire • “Children<br />

Photography” with Kevin Newsome • “Fine Art Portraits” with Julie Hughes •<br />

“High School Seniors” with Tom Bagby<br />

International Photographic Arts School<br />

April 1-4, <strong>2007</strong> | Indianapolis, IN<br />

Contact:Patrick Rice<br />

prfisheye@aol.com<br />

440-343-7400<br />

Website:www.apag.net<br />

Course information:<br />

Please visit www.apag.net for the latest information.<br />

News & Notes<br />

Texas School of<br />

<strong>Professional</strong> Photography<br />

April 22-27, <strong>2007</strong> | College Station, TX<br />

Contact: Don Dickson ddickson@lonestarbbs.com<br />

806-296-2276<br />

Website: www.tppa.org/school.htm<br />

Tuition: $430 TPPA and PPA members<br />

(evening meals included)<br />

$515 for Non members<br />

Course information:<br />

Come join 1000 photographers for the greatest education and unbelievable fun.<br />

With 33 classes, there is something for everyone. Sign up this year and enjoy<br />

the “Texas School Experience.” All the following instructors will be at the<br />

<strong>2007</strong> Texas School:<br />

Suzette Allen & Jon Yoshinaga • Carol Andrews & Joe Glyda Doug Box • Carl<br />

Caylor • Tony Corbell • Bry Cox • Mitch Daniels & Bill Welliver • Jim DiVitale &<br />

Helene Glassman • Scott A. Dupras • Don Emmerich Rick & Deborah Ferro<br />

Colleen Gonsar & Darty Hines • Mitche Graf • Jamie Hayes & Mary Fisk-Taylor<br />

• Kalen Henderson • Elizabeth & Trey Homan • Janine Killian & Karen Peters •<br />

Julieanne Kost & Tony Smith • Steve Kozak • Don MacGregor • Tim Meyer<br />

Dave Newman •Lori Nordstrom & Scott Kurkian • Larry Peters & Brian Killian<br />

Arthur Rainville & Jennifer Hudson • Michael Redford • Jack Reznicki • Ralph<br />

& Ryan Romaguera • Joseph & Louise Simone Eddie Tapp • Tim & Beverly<br />

Walden • Ann Monteith • John Wilson • Helen Yancy<br />

www.ppa.com


<strong>Professional</strong> <strong>Photographer</strong>s of America<br />

(PPA) has a proud tradition of providing its<br />

members with outstanding educational<br />

opportunities through its annual events,<br />

PPA-Merited classes, and its PPA Affiliate<br />

School Network. PPA is pleased to provide<br />

you with this Education Guide. Please use<br />

this guide as a reference tool, and visit<br />

www.ppa.com for the most current<br />

information on PPA and Affiliate School<br />

events, or contact each school directly.<br />

07<br />

EVENTS &<br />

EDUCATION


07 EVENTS<br />

IMAGING USA<br />

Henry B. Gonzalez Convention Center | San Antonio, Texas<br />

January 14-16, <strong>2007</strong><br />

If you’ve been to Imaging USA before, you know it’s<br />

the number one place for photographers to meet,<br />

exchange ideas and learn the latest advances in the<br />

industry — all while having a great time with fellow<br />

photographers. This colossal event combines<br />

conventions for three influential associations, proving<br />

that bigger is definitely better! What’s more, Adobe is<br />

back for the second year with the immensely popular<br />

track that features Adobe Photoshop and Lightroom<br />

techniques. More programs, more networking, more<br />

fun…and your Imaging USA Buddy Pass gives you<br />

access to everything for one low price!<br />

>><br />

>><br />

>><br />

>><br />

Sport & Event <strong>Photographer</strong>s<br />

Conference (SEPCON)<br />

CPI’s Commercial<br />

Photography Conference<br />

Adobe’s Photoshop and Lightroom<br />

for <strong>Photographer</strong>s Track<br />

Imaging USA’s Essential, Wedding/Portrait,<br />

and Spotlight tracks<br />

No matter what your focus is, Imaging USA <strong>2007</strong><br />

promises you non-stop ideas and inspiration. Make the<br />

most of what Imaging USA offers, including:<br />

>><br />

>><br />

>><br />

>><br />

>><br />

Unmatched education on<br />

the most important issues<br />

facing photographers.<br />

Influential speakers who are<br />

making a difference in the industry<br />

and whose stories and ideas will<br />

refresh and inspire.<br />

Important networking with thousands<br />

of talented photographers from<br />

around the globe.<br />

Innovative solutions from companies<br />

committed to your success as a<br />

photographer. Visit them in the<br />

Imaging Expo.<br />

Lots of fun at 2 huge parties,<br />

the PPA Charities’ Celebration,<br />

and the Super Program featuring<br />

Gregory Heisler.<br />

A great location in San Antonio, Texas!<br />

>> Great weather, great culture, great<br />

food — who can ask for more?<br />

Many thanks to our exhibitors, sponsors and<br />

convention volunteers, because they really make<br />

Imaging USA possible. Our exhibitors and sponsors<br />

bring their very best products and services to the<br />

Imaging Expo. Be sure to visit their booths to learn<br />

how they can help you become a more successful<br />

and profitable photographer.<br />

Details are available online at ImagingUSA.org<br />

or by calling 888-260-0016.<br />

IMAGING USA 2008<br />

Tampa Convention Center | Tampa, Florida<br />

January 6-8, 2008<br />

WWW.IMAGINGUSA.ORG<br />

JUDGES REFRESHER COURSE<br />

AT IMAGING USA<br />

Henry B. Gonzalez Convention Center | San Antonio, Texas<br />

January 16, <strong>2007</strong><br />

The annual Judges Refresher Course will be held on<br />

Tuesday, January 16, <strong>2007</strong> from 8:00am to 11:00am at<br />

Imaging USA in Austin, Texas. This program is for PPA<br />

Jurors and Jury Chairs to get information on new<br />

image competition rule changes, new digital trends,<br />

and techniques related to competition entries. This<br />

program is open to all Imaging USA attendees at<br />

no extra cost, but approved PEC Jurors will be<br />

given priority seating<br />

SUPER MONDAY SEMINARS<br />

<strong>Professional</strong> photographic and business seminars offered in<br />

studios around the globe.<br />

April 2, <strong>2007</strong> and November 12, <strong>2007</strong><br />

Do you want to improve your artistic skills or business<br />

acumen, but don’t have the time to take a three- or<br />

four-day course? PPA’s Super Monday seminars are<br />

the perfect solution! Twice each year, professional<br />

photographers host more than 100 single-day<br />

photographic and business seminars on varying<br />

subjects in their studios. This is a great opportunity for<br />

you to learn new skills, improve your business, and<br />

learn how to increase your profit margins.<br />

Call 800-786-6277, visit http://events.ppa.com, and<br />

watch future issues of <strong>Professional</strong> <strong>Photographer</strong><br />

magazine for details on Super Monday seminars<br />

being offered in <strong>2007</strong>.<br />

CHICKS WHO CLICK<br />

PPA’s Retreat for Women In Photography<br />

Our Lucaya Resort on Grand Bahama Island<br />

June 25-27, <strong>2007</strong><br />

This unique gathering encourages discovery and<br />

celebration by spotlighting the success of women in<br />

the highly competitive industry of professional<br />

photography. Informative and inspirational programs<br />

teach you how to use your strengths and shape<br />

strategies for your personal, professional, and creative<br />

development. Other activities offer the opportunity to<br />

cultivate new friendships and have no-holds-barred<br />

conversations about issues that shape women’s roles<br />

in the ever-changing photography industry.<br />

Call 800-786-6277, visit http://events.ppa.com, and<br />

watch future issues of <strong>Professional</strong> <strong>Photographer</strong><br />

magazine for more information.<br />

visit:


MAKE MORE MONEY<br />

SPECIALTY CONFERENCES<br />

The Peabody Hotel l Memphis, Tennessee<br />

July 29 – August 1, <strong>2007</strong><br />

More business info. More techniques. More<br />

financial tips. These conferences simply offer you<br />

more. In four days, you can make your choice of 4<br />

different conference tracks…or you can go to all!<br />

For the first time, Make More Money Specialty<br />

Conferences are focused so that no program<br />

competes with another. And there is truly something<br />

here for all photographers to learn. Whether you<br />

want to learn more about school photography, improve<br />

your workflow, or increase your marketing and finance<br />

abilities, these conferences have programs for you.<br />

And if you are new to the field, you can head for the<br />

evening Basics Conference, focused on getting started<br />

in photography. In addition to the educational<br />

programs, you have the chance to attend<br />

a 3-day trade show. With programs that touch the<br />

needs of all fields, Make More Money aims to help<br />

every professional photographer do just that.<br />

Call 800-786-6277, or visit http://events.ppa.com, and<br />

watch future issues of <strong>Professional</strong> <strong>Photographer</strong><br />

magazine for more information.<br />

STUDIO MANAGEMENT<br />

STUDIO MANAGEMENT<br />

Several SMS Workshops are being planned for <strong>2007</strong><br />

February 19-21; May 7-9; June 18-20;<br />

August 20-22; December 3-5, <strong>2007</strong><br />

Put your studio on the road to increased profitability by<br />

attending PPA’s 3-day SMS Workshop, repeated<br />

several times throughout the year. Receive practical,<br />

down-to-earth instruction in both a group setting and<br />

one-on-one consultations on these essential elements<br />

for business success:<br />

>><br />

Sales levels that assure profitability<br />

>><br />

Pricing photography for profit<br />

Knowing where your business<br />

>><br />

stands through easy-to-understand<br />

managerial accounting<br />

>> Creating a compelling business<br />

concept and brand<br />

>> Strategies for marketing your<br />

business image<br />

>> Building marketing partnerships to<br />

increase business volume<br />

>><br />

Marketing back to existing clients<br />

>> Comfortable sales techniques that<br />

increase profitability<br />

>><br />

Deciding if you can afford to hire employees<br />

>> Choosing the appropriate business model<br />

for your studio<br />

>><br />

Making the most of your studio<br />

space — home studio or retail location<br />

Visit http://events.ppa.com for a list of upcoming<br />

SMS Workshops. If you would like to receive<br />

advance notification or reserve a spot for a future<br />

workshop, please call Beth Moore at 800-339-5451,<br />

ext. 244.<br />

http://events.ppa.com<br />

PPA MEDITERRANEAN CRUISE<br />

Hosted by the Texas School of <strong>Professional</strong> Photography<br />

Departs from Barcelona, Spain<br />

July 7-14, <strong>2007</strong><br />

This seven-day cruise, departing from Barcelona,<br />

Spain, takes in six ports from Spain, France and Italy,<br />

introducing you to awe-inspiring images and culture.<br />

Aboard ship our group will be conducting educational<br />

seminars presented by professional photographers.<br />

Off-ship, we dock at some of the most beautiful and<br />

picturesque ports in the Mediterranean. Private<br />

functions are also coordinated for group get-togethers.<br />

For information about this fabulous trip please<br />

contact Don Dickson at 806-296-2276. Visit<br />

http://events.ppa.com for more information and<br />

registration instructions.<br />

JUDGES WORKSHOP AT<br />

THE INTERNATIONAL<br />

PRINT COMPETITION<br />

Daytona Beach, Florida<br />

July 22-25, <strong>2007</strong><br />

Are you interested in learning what goes on behind the<br />

scenes during print judging? Join PPA-approved jury<br />

chairmen as they demystify the world of image judging.<br />

Held in conjunction with the International Print<br />

Competition, this class will explore the ins and outs of<br />

what makes a print “merit worthy” and will provide<br />

students with the opportunity to observe competition<br />

process and protocol. You’ll leave this course feeling<br />

confident in your ability to identify merit images. PPA<br />

members with ten exhibition merits will receive PEC<br />

credit for attending the workshop. This workshop<br />

fulfills one of the requirements for becoming a PPAapproved<br />

affiliated juror.<br />

For additional information on becoming an approved<br />

juror, contact Jim Dingwell, PEC Administrator, at<br />

jdingwell@ppa.com or 866-591-9190. Visit<br />

www.ppa.com for more information and registration<br />

instructions or call PPA’s Customer Service Center at<br />

800-786-6277.


07 EDUCATION<br />

MERIT & DEGREE PROGRAM<br />

PPA’s Merit and Degree program is offered to members<br />

in all specialties. Merits are earned, recorded, and kept<br />

on file in each active member’s record to accumulate<br />

toward the following professional degrees:<br />

>> Master of Photography (M.Photog.)<br />

>> Master Artist (M.Artist)<br />

>> Master of Electronic Imaging (MEI)<br />

>> Photographic Craftsman (Cr.Photog.)<br />

Degrees are awarded each year at PPA’s<br />

Awards & Degree Ceremony, held during Imaging USA.<br />

For more information regarding PPA’s Merit and<br />

Degree program, visit www.ppa.com or call 800-786-<br />

6277.<br />

PROFESSIONAL<br />

PHOTOGRAPHER MAGAZINE<br />

In 1907 the photographic journal that eventually would<br />

become <strong>Professional</strong> <strong>Photographer</strong> was born. Now<br />

the largest paid circulation magazine in the professional<br />

photographic industry and the official publication for<br />

<strong>Professional</strong> <strong>Photographer</strong>s of America, <strong>Professional</strong><br />

<strong>Photographer</strong> is the first choice of imaging<br />

professionals, the last word in editorial excellence, and<br />

the definitive leader in the industry. No other magazine<br />

offers a more influential presentation of the people,<br />

trends, products, and photographs changing and<br />

defining the portrait, wedding and commercial<br />

photography landscape.<br />

Subscriptions are included with PPA membership and<br />

are also available to non-members. Visit<br />

www.ppmag.com or call 800-742-7468 for further<br />

details.<br />

PPMAG.COM<br />

<strong>Professional</strong> photographers log on to PPmag.com,<br />

<strong>Professional</strong> <strong>Photographer</strong> magazine’s website, to<br />

obtain exclusive features and editorial content.<br />

You’ll find the following: news, features, tutorials<br />

and book excerpts, a product review archive, online<br />

classifieds, and an industry directory. PPmag.com is<br />

your backstage pass to vital information that will help<br />

your business grow.<br />

OURPPA.COM<br />

OurPPA.com is a professional community of forums<br />

and galleries brought to you by <strong>Professional</strong><br />

<strong>Photographer</strong>s of America (PPA) as a service to<br />

professional photographers. Designed to facilitate<br />

networking and communication about subjects that<br />

interest you, OurPPA.com strives to draw photographers<br />

around the globe together. The site is free and open to<br />

any professional photographer. Visit OurPPA.com<br />

for more details.<br />

PPA CERTIFICATE OF<br />

BUSINESS MANAGEMENT<br />

The PPA Certificate of Business Management (CBM)<br />

is designed to provide PPA members with a<br />

structured approach to improving their<br />

business management skills.<br />

To obtain the CBM, a total of 15 Education Credits must<br />

be earned as follows:<br />

>> Classroom Instruction:<br />

><br />

>><br />

><br />

>><br />

><br />

*<br />

*<br />

Minimum of 10 credits;<br />

Maximum of 13 Credits<br />

AN-NE Awards Participation<br />

Maximum of 5 credits<br />

For more information on the AN-NE<br />

Awards please visit the “Competitions”<br />

area of www.ppa.com.<br />

Case Study Participation<br />

Maximum of 5 credits (business plan<br />

submission required)<br />

Five of these credits must be obtained by attending<br />

the 4-5 day PPA Approved Business Course (minimum<br />

of 32 hours of instruction) or taking the individual<br />

business modules (minimum of 6 hours of instruction) in<br />

each of the five subjects listed below:<br />

Business Module 1: Financial<br />

Management & Accounting<br />

Business Module 2: Creating a<br />

Successful Business Plan<br />

Business Module 3: Marketing &<br />

Promotions<br />

Business Module 4: Customer Service<br />

and Sales Skills<br />

Business Module 5: Studio Operations<br />

During <strong>2007</strong>, the Business Modules that comprise PPA’s<br />

complete Approved Business Course will be taught just<br />

prior to Imaging USA, January 11-13, <strong>2007</strong> in San<br />

Antonio, Texas, and may be offered at other times<br />

throughout the year.<br />

Visit www.ppa.com or call 800-786-6277 for more<br />

details on when and where to attend the Business<br />

Modules.<br />

ABC’S OF BUSINESS CLASS<br />

(PPA Approved Business Course)<br />

This 4-5 day class encompasses all five business<br />

modules required in the Certificate of Business<br />

Management Program. The ABC’s of Business Class<br />

may be offered during the year through PPA or PPA<br />

Affiliate Schools. Check www.ppa.com for more<br />

information on when and where to attend the ABC’s<br />

of Business Class.<br />

PPA APPROVED INSTRUCTORS<br />

To help ensure that photographers receive top-quality<br />

instructional programs, PPA offers credentials for<br />

instructors who have completed an appropriate<br />

instructional program and/or established a record<br />

for outstanding teaching.<br />

PPA-Approved Business Instructors complete a 4-day<br />

curriculum class covering the “PPA Business Course”<br />

to receive “provisional” status. Approved status is<br />

granted to graduates upon successful completion of a<br />

formal business plan. Approved Business Instructors<br />

are credentialed to teach PPA Certificate of Business<br />

Management classes. The PPA-Approved Business<br />

Instructor Class typically is taught every other year. To<br />

be notified about the next scheduled class, contact<br />

PPA’s Events Department at 800-339-5451.<br />

PPA-Approved Photographic Instructors have<br />

demonstrated their ability to teach classes of value to<br />

photo-imaging professionals. Applicants are required<br />

to submit the following to the PPA Continuing Education<br />

Committee: detailed program information, outlines and<br />

a minimum of two critiques by PPA Photographic<br />

Craftsmen from each of three speaking engagements<br />

at PPA state, regional, or national venues. An<br />

application and critique form can be downloaded<br />

by visiting speakers.ppa.com.<br />

PPA AFFILIATE<br />

SCHOOL NETWORK<br />

PPA Affiliate Schools offer a wide variety of<br />

traditional photography and digital imaging courses<br />

throughout the United States. Each school has met<br />

the standards set by PPA’s Continuing Education<br />

Committee. A complete listing of these schools is<br />

provided in the “Education” section of www.ppa.com<br />

or you can call 800-786-6277. Watch for Affiliate School<br />

Spotlights in the “PPA Today” section of the<br />

<strong>Professional</strong> <strong>Photographer</strong> magazine.<br />

www.ppa.com<br />

J<br />

F<br />

A<br />

M<br />

J<br />

J<br />

A<br />

N<br />

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J


ANUARY<br />

EBRUARY<br />

PRIL<br />

AY<br />

UNE<br />

ULY<br />

UGUST<br />

OVEMBER<br />

ECEMBER<br />

14-16 IMAGING USA 16 JUDGES REFRESHER COURSE<br />

14-16 IMAGING USA 16 JUDGES REFRESHER COURSE<br />

San Antonio, Texas San Antonio, Texas<br />

Tampa, Florida Tampa, Florida<br />

JANUARY<br />

19-21 SMS WORKSHOP<br />

19-21 SMS WORKSHOP<br />

visit http://events.ppa.com<br />

visit http://events.ppa.com for more information<br />

for more information<br />

FEBRUARY<br />

2 SUPER MONDAY<br />

2 SUPER MONDAY<br />

visit: http://events.ppa.com<br />

visit: http://events.ppa.com for more information on<br />

for more information<br />

location<br />

on<br />

and classes<br />

location and classes<br />

APRIL<br />

7-9 SMS WORKSHOP<br />

7-9 SMS WORKSHOP<br />

visit http://events.ppa.com<br />

visit http://events.ppa.com<br />

for more information<br />

for more information<br />

MAY<br />

25-27 CHICKS WHO CLICK 20-22 SMS WORKSHOP<br />

25-27 CHICKS WHO CLICK 20-22 SMS WORKSHOP<br />

Westin Grand Bahama Island visit http://events.ppa.com<br />

Westin Grand Bahama<br />

Our<br />

Island<br />

Lucaya Resort<br />

visit http://events.ppa.com<br />

for more information<br />

Our Lucaya Resort for more information<br />

Grand Bahama Island<br />

Grand Bahama Island<br />

JUNE<br />

7-14 PPA MEDITERRANEAN CRUISE 22-25 JUDGES WORKSHOP 29-AUG 1 MAKE MORE MONEY<br />

7-14 PPA MEDITERRANEAN CRUISE 29-AUG 1 MAKE MORE MONEY 22-25 JUDGES WORKSHOP<br />

Departs from Barcelona, Spain AT THE INTERNATIONAL The Peabody Hotel<br />

Departs from Barcelona, Spain The Peabody Hotel PRINT COMPETITION AT THE INTERNATIONAL<br />

Memphis, Tennessee<br />

Memphis, Tennessee<br />

Daytona Beach, FL PRINT COMPETITION<br />

Daytona Beach, FL<br />

JULY<br />

20-22 SMS WORKSHOP<br />

20-22 SMS WORKSHOP<br />

visit http://events.ppa.com<br />

visit http://events.ppa.com for more information<br />

for more information<br />

AUGUST<br />

12 SUPER MONDAY<br />

12 SUPER MONDAY<br />

visit: http://events.ppa.com<br />

visit: http://events.ppa.com<br />

for more information<br />

for more information<br />

NOVEMBER<br />

3-5 SMS WORKSHOP<br />

3-5 SMS WORKSHOP visit http://events.ppa.com<br />

visit http://events.ppa.com for more information<br />

for more information<br />

DECEMBER<br />

ANUARY<br />

JANUARY 6-8 IMAGING USA<br />

6-8 IMAGING USA<br />

2008<br />

2008 Tampa, FL<br />

Tampa, FL<br />

www.ppa.com<br />

© Thomas Henn


© Bruce Belling<br />

© Carol Ann Dwyer<br />

<strong>2007</strong>JUDGES<br />

WORKSHOP<br />

Are you interested in learning what goes on behind the scenes<br />

during print judging? Now is the perfect time to learn!<br />

WHEN: Sun., July 22 – Wed., July 25, <strong>2007</strong><br />

WHERE: Daytona Beach Community College<br />

Daytona Beach, FL<br />

TUITION: $525 (does not include meals)<br />

HOUSING: Hampton Inn, Daytona Beach<br />

Make room reservations by calling Jim Dingwell,<br />

PEC Administrator, at 866-591-9190 or by email<br />

at jdingwell@ppa.com.<br />

$100 per night single occupancy<br />

$50 per night double occupancy<br />

GENERAL INFORMATION:<br />

• Free continental breakfast at hotel<br />

• Welcome barbeque on Monday night<br />

• Lunch available Monday-Friday in on-campus cafeteria<br />

• You are responsible for all meal costs (except Welcome<br />

Join PPA-approved jury chairmen Barry Rankin<br />

and Dennis Craft as they demystify the world of<br />

image judging. Held in conjunction with the<br />

International Print Competition in Daytona<br />

Beach, Florida, this class will explore the ins and<br />

outs of what makes a print “merit worthy”and<br />

will provide students with the opportunity to<br />

observe competition process and protocol.<br />

You’ll leave this course feeling confident in your<br />

ability to identify merit images.<br />

International Print Competition<br />

Enter your best work in this world renowned competition!<br />

Your print could become part of the International Print<br />

Exhibition at Imaging USA, where thousands of your peers<br />

will behold your unique talent. Your image might even get<br />

published in PPA’s Annual Loan Collection book. You’ll be<br />

earning merits and getting the recognition you deserve!<br />

Your participation, whether your first time or your fiftieth,<br />

will give you a sense of satisfaction and accomplishment.<br />

Deadline: June 1, <strong>2007</strong><br />

For more information, and to<br />

download the rules and an entry<br />

form, go to competitions.ppa.com.<br />

Direct any questions to PEC<br />

Administrator Jim Dingwell at<br />

jdingwell@ppa.com or 866-591-9190.<br />

www.ppa.com<br />

PPA members with ten exhibition merits will receive PEC credit for attending the workshop.<br />

This workshop fulfills one of the requirements for becoming a PPA approved affiliated juror. Each<br />

attendee should bring four competition quality prints.<br />

REGISTER: online at http://events.ppa.com<br />

by phone at 800-786-6277.<br />

© Don Chick, CPP<br />

BBQ). Several restaurants are located by campus. <strong>Professional</strong> <strong>Photographer</strong>s of America


Grand Bahama Island<br />

Monday, June 25 - Wednesday, June 27, <strong>2007</strong><br />

The Westin & Sheraton Grand Bahama<br />

Connected to the conference center, casino, spa, and a fabulous beach<br />

www.ourlucaya.com<br />

what past attendees have said:<br />

“(Chicks Who Click) motivates and inspires me to be the most<br />

and best I can be at everything, not just work.”<br />

“It covers all the bases - a real homerun!”<br />

“It's a great investment for my business and what I do!”<br />

“The most amazing group of women! So inspirational!”<br />

Register by June 11, <strong>2007</strong> for only $249 ($299 after June 11)<br />

Special Student Rate $75<br />

Register online at http://events.ppa.com or call 800-786-6277<br />

<strong>Professional</strong> <strong>Photographer</strong>s of America<br />

PPA members will receive two merits for attending this event<br />

Platinum Sponsors


ppa=<br />

propels<br />

protects<br />

guides<br />

opens<br />

PROFESSIONAL PHOTOGRAPHERS OF AMERICA TEACHES PHOTOGRAPHERS<br />

The most important lesson to learn in business is that you don’t know everything. Rapidly changing<br />

technologies can leave you feeling like a kid on the first day of school. That’s why class is always in session<br />

at PPA, with educational opportunities available throughout the year. From the basics of business startup to<br />

making more money with marketing — even to mastering the art of photography — PPA has the kind of<br />

specific information that will help you achieve your goals.<br />

So don’t play hooky. Become a member of the largest photographic association in the world and gain access<br />

to benefits that will make your business succeed, your talents grow and give you the peace of mind of knowing<br />

you’re not in it alone.<br />

Let us help. Visit us at www.ppa.com or give us a call at 800-786-6277.<br />

<strong>Professional</strong> <strong>Photographer</strong>s of America<br />

THE VALUE OF MEMBERSHIP


LabTab<br />

148 • www.ppmag.com<br />

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES


January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 149


LabTab<br />

150 • www.ppmag.com<br />

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES


January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 151


LabTab<br />

152 • www.ppmag.com<br />

WHERE THE PROS GO FOR THE BEST IN REPRODUCTION SERVICES


January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 153


Buyer’s<br />

Gallery<br />

THIS SECTION IS<br />

THE MONTHLY<br />

RESOURCE<br />

PHOTOGRAPHERS<br />

USE TO FIND<br />

THE PRODUCTS<br />

THEY NEED. PUT<br />

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INDUSTRY PROS<br />

AND START<br />

TURNING<br />

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154 • www.ppmag.com


January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 155


156 • www.ppmag.com


January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 157<br />

®


158 • www.ppmag.com<br />

WHAT’S THE BEST<br />

OF THE BEST?<br />

We asked a powerful and<br />

experienced team of industry<br />

experts to decide.<br />

The results? The hottest products in<br />

the photographic industry.<br />

Stay tuned.<br />

THE HOT ONES ARE COMING<br />

FEBRUARY <strong>2007</strong>


ProductMall SOMETHING<br />

PixPen The Pen That’s A<br />

Picture Frame<br />

HERE YOU NEED...<br />

Holds<br />

Photos up<br />

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January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 159


ClassifiedAdvertising<br />

Classified rates: • $1.50 per word; • $2.00 per word/<br />

words with all caps or bold face. • $10.00 per issue—<br />

Confidential Reply Box Ads (Optional)—$30 minimum<br />

per ad. Closing date is 20th of the second month proceeding<br />

issue date. Remittance must be received with<br />

order. NO ADS ACCEPTED BY PHONE. Remittance to:<br />

<strong>Professional</strong> <strong>Photographer</strong> Classified Ads, 229 Peachtree<br />

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160 • www.ppmag.com<br />

ALBUMS<br />

ALBUMS for DIGITAL from GENERAL PRODUCTS<br />

L.L.C. New Eclipse Digital Albums, Digital Vision<br />

Collection Albums, Custom Album Designer Software and<br />

many proofing options for digital. G.P. also manufactures<br />

many traditional album styles. All of our albums are MADE<br />

IN THE U.S.A. General Products albums are available<br />

exclusively through professional photographers. For a<br />

FREE catalog or more information, contact G.P. at<br />

www.gpalbums.com or 1-800-888-1934.<br />

BACKGROUNDS<br />

THE DENNY MFG. CO., INC. is the World’s Largest<br />

Manufacture of Hand Painted Backgrounds, Computer<br />

Painted Backgrounds, Muslin Backgrounds, Studio Sets,<br />

Props, Lift Systems, and related Studio Accessories.<br />

Contact us today to receive our FREE 180 page color<br />

catalog filled with exquisite products and ideas to help you<br />

succeed in Photography. Write P.O. Box 7200 Mobile, AL<br />

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BACKDROP FABRICS—Wide Seamless Muslin—33’, 20', 17’, 16’,<br />

12’, 10’, 9’. NEW! BLACK, 18% GRAY AND SKY BLUE MUSLIN.<br />

Wide Seamless Canvas—12’, 10’, 8’, 7’, 6’. Fabrication available.<br />

Fabric Dyes in Bulk, blackout fabrics, vinyls, grommets. CURTAIN<br />

TRACK & HARDWARE FOR MOVEABLE BACKDROPS-<br />

FITS ANY AREA! Our prices can’t be beat!! CHICAGO<br />

CANVAS & SUPPLY, 3719 W. Lawrence Ave., Chicago, IL<br />

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STUDIO DYNAMICS’ muslin and canvas backdrops offer<br />

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BOSS BACKDROPS-WRINKLE FREE, washable, dryer<br />

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CAMERA REPAIR<br />

HASSELBLAD OWNERS: David S. Odess is a factory<br />

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CANVAS MOUNTING<br />

CANVAS MOUNTING, STRETCHING, FINISH LACQUERING.<br />

Original McDonald Method. Considered best AVAILABLE.<br />

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WHITMIRE ASSOCIATES, YAKIMA, WA. 509-248-6700.<br />

WWW.CANVASMOUNT.COM<br />

COLLECTIBLES<br />

PHOTOGRAPHIC FIGURINES, statues, collectibles, novelty<br />

items, jewelry, attire and cameras. View our stock and order<br />

online at www.scalfcollectibles.com or call 281-461-4004.<br />

COMPUTER/SOFTWARE<br />

SUCCESSWARE®—Studio Management Software available<br />

for both Windows ® and Macintosh ® . Recommended by<br />

Ann Monteith, the nation’s foremost studio management<br />

consultant. Call today for a FREE SuccessWare ® Tour<br />

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Learn how you can revolutionize customer and order tracking<br />

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DIGITAL<br />

DIGITAL PHOTOGRAPHERS—Kessler Color produces STUN-<br />

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FREE 16 x 20. New Service—E-Vents from Kessler Color. Get<br />

8x10 units for $.90. info@kesslercolor.com. 800-KES-LABS.<br />

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start at $.90 each. Beautiful color and great value! Call<br />

800-KES-LABS.<br />

EDUCATION/WORKSHOPS<br />

WALL PORTRAIT CONFERENCE. April 15-20, <strong>2007</strong>. Six days<br />

Wall Portraiture concept to completion. The original wall portrait<br />

school. Has changed the lives of many! Emphasis on public<br />

acceptance, concepts, sales, portrait finishing and more.<br />

Yakima, Washington 509-248-6700; www.wallportrait.com<br />

EQUIPMENT FOR SALE<br />

NORMAN 200B AND 400B BATTERIES. New,<br />

Hi-capacity. Use your original Norman chargers. Kirkham’s<br />

Studio, 235 N. Getty, Uvalde, TX 78801; 800-355-4417.<br />

eddiekirkham@sbcglobal.net, VISA, MC, DISCOVER.<br />

DIGITAL PRINTERS; FUJI-NORITSU; MINILABS; NEW<br />

& USED, FACTORY AUTHORIZED. INSTALLATION AND<br />

TRAINING. FINANCING—$600 UP. DELIVERY—INSURED.<br />

WWW.DIRECT-RESOURCES.COM; 877-318-3015.<br />

OFF THE WALL SETS<br />

Classic Paid $3500 Only $700<br />

Olympic Paid $3500 Only $900<br />

SCENIC DESIGN SETS<br />

Jump Street Props & Background, $5500 Only $1200<br />

Plantation Set Props & Brick Background, Paid $4000<br />

Only $1000<br />

PHOTOGENIC MASTER RAIL SYSTEMS<br />

(2 COMPLETE UNITS)<br />

One 3-20 foot 4-14 foot rails, scissors lifts,<br />

light mounts, installation hardware<br />

Two 2-15 foot, 4-14 foot rails scissors lifts, light mounts,<br />

hardware. Paid about $3,500 for each will sell for $1,200 each.<br />

VARIOUS SENIOR PROPS<br />

Arkay MonoPods, Posing stools, other little people props.<br />

Please e-mail for more info and pictures R_M_P@msn.com<br />

HELP WANTED<br />

PHOTOGRAPHER<br />

• Minimum of 2 years experience in studio and candid<br />

photography.<br />

• High school seniors and sports.<br />

• Digital photography experience is required,<br />

leadership ability preferred.<br />

• Full time, including evenings and weekends.<br />

• No overnight travel or underclass<br />

• Positions available in Columbus, Cleveland and Toledo Ohio<br />

Excellent benefits package and growth opportunities. Compensation<br />

is commensurate with experience. Submit resume<br />

by email to Jennifer@Woodardphoto.com or fax to 419-<br />

483-5505, attn Jennifer Sheba.<br />

HELP WANTED: Assistant photographers for contemporary<br />

photojournalistic wedding coverages in SoCal. Must<br />

have digital SLR and flash. Wedding experience preferred.<br />

Contact John 562-404-7822.<br />

PHOTOGRAPHERS & VIDEOGRAPHERS—WEDDINGS…<br />

Earn $1000/weekend! Nation’s leading studio seeks<br />

experienced digital and medium format professionals in<br />

PA, NJ, NY, DE and MD. Year round work available! Call<br />

800-274-3256, extension 115, e-mail resume to<br />

barry@lindelle.com, or fax to 215-572-7054.<br />

HELP WANTED: Assistant photographers for contemporary<br />

photojournalistic wedding coverages in SoCal. Must<br />

have digital SLR and flash. Wedding experience preferred.<br />

Contact John 562-404-7822.<br />

INCORPORATION SERVICES<br />

INCORPORATE OR FORM an LLC today! Your art is<br />

a business. Treat it like one. The Company Corporation can<br />

help you incorporate or form a limited liability company in<br />

as little as ten minutes. We are fast, accurate and<br />

affordable. Provide additional credibility to your<br />

photography studio or business at the fraction of the cost<br />

of using an attorney. Call 1-800-206-7276 or visit<br />

www.corporate.com today!<br />

LAB SERVICES<br />

PLATINUM GICLEE TM FINE ART B&W from your digital<br />

file or negative up to 40 x 60. New DuraFiber TM<br />

Media provides deep blacks and waterproof, non-scuff<br />

surface, great for hand-coloring. Also available in<br />

sepia, color, split-tone. Call for free sample. Jonathan<br />

Penney, Inc., Master Printmakers. 631-874-3409.<br />

www.jonathanpenney.com<br />

HAND PAINTED OILS; Transparent, Deluxe, and Canvas<br />

Stretched up to 40x60. A complete photo art lab serving<br />

photographers since 1965. Traditional and Digital printing<br />

services. Fiber based B&W up to 30x40. Giclee Fine Art<br />

prints. Restoration. Free estimates & pricing guide. 800-<br />

922-7459 Venetian Arts www.venetianarts.com<br />

ACADEMY PRODUCTIONS INC.<br />

INNOVATIVE PRINTING SOLUTION<br />

Complete Imaging Service for today’s professional<br />

photographer Processing—Proofing—Film—Digital Files<br />

—SOS—<br />

Self Ordering System powered by ROES<br />

• High Volume Packages—Kodak Products<br />

• Schools—Daycares—Sports—Proms—Seniors<br />

• Studios—Store Promotions—Fundraisers—Weddings<br />

• Composites—Collages—Other Unique Products<br />

• High Tech Printing Equipment—Scanning Services<br />

• Free Marketing Seminars—Expert Product Designers<br />

• Superior Customer Service—Detailed Technical Support<br />

• Competitive Pricing—Quick Turn Around<br />

CALL US TODAY: 800-421-3523<br />

6100 ORR ROAD • CHARLOTTE, NC 28213<br />

www.PicAcademy.com<br />

FREE 20X30<br />

Wallets to 6”x14”<br />

Goldencolor 9020 W. Olympic Blvd.<br />

Beverly Hills, CA 90211<br />

310-274-3445 www.goldencolor.com<br />

PECHMAN PROFESSIONAL IMAGING<br />

(Digital or Film)<br />

Portraits & Units 8x10 16x20<br />

Prints-By-Inch $1.45 $5.80<br />

Studio-Color-Corrected $1.90 $11.99<br />

Lab-Color-Corrected $2.57 $13.99<br />

Raw-File-Services $3.15 $16.40<br />

• Undergrad-Sport-Event Pkgs. 8x10 @ $.96,<br />

•Fully Assembled Albums-10x10 prints<br />

included-9 to 18 pages from $149.99,<br />

(100’s of templates available)<br />

•Proofs from $.25,<br />

•Proof Books-spiral bound- 8x10 page @ $1.60,<br />

•48 Wal Gold Stamp Special—next 48 free,<br />

•Spray—Mount—Texture,<br />

•Digital Retouch $2.50, Art—$1.00 per minute.<br />

LABPRINTS, PROSHOTS, FTP OR DISK.<br />

800-777-0221 www.PechmanImaging.com<br />

SPORTS PHOTOGRAPHERS The most versatile sports<br />

program available. Digital or film, quality & service is our<br />

motto. See www.sportsphoto.com


UNITED PROMOTIONS, INC.<br />

• FULL SERVICE DIGITAL & FILM LAB•<br />

10% DISCOUNT from our low List Price for prebuilt orders<br />

submitted in ROES (free software), Photolynx, OzE,<br />

Workstream or other pre-approved software via our web<br />

site, FTP or on CD’s. Fast Delivery. Wallets to 40" wide prints.<br />

VOLUME PACKAGE PRINTS - Pre Schools, Day<br />

Cares, Underclass, Proms/Dance, Cap &<br />

Gown, Store/Malls, Glamour, Church, Fund<br />

Raising and Family Packages.<br />

SPORTS & EVENT PACKAGE PRINTS<br />

WEDDING - SENIORS - CANDID - STUDIO PRINTS<br />

ADD ONS TO ORDERS - Retouching, Proofs on<br />

Envelopes, School Service Items, CD’s, Fun Packs<br />

(laminated & die cut), Plastic ID Cards, Groups, Big<br />

Prints, Composites, Trader Cards (2 sides), <strong>Magazine</strong><br />

Covers, Memorymates, Digital Groupmates, Photo<br />

Magnet Cutouts, Statuettes, Buttons, Magnets,<br />

Mirrors, Calendars, Locker Prints, Photo Pennants,<br />

Mouse Pads, Fun Posters, Admission Tickets, Sticker<br />

Prints, Banner Prints, Collages, Gold Foil Stamping<br />

Laminating, Mounting, Posting Images Online and many<br />

more services for the professional photographer.<br />

NEW PRODUCTS - Dye-Sub Photo Plaques and<br />

Gallery Wraps on Canvas.<br />

UNITED PROMOTIONS, INC.<br />

433 Lawton Road<br />

Charlotte, NC 28216-3317<br />

(800) 362-4441 - Toll Free<br />

www.upilab.com<br />

sales@upilab.com<br />

PHOTO RESTORATION<br />

1st PHOTO RESTORATION FREE! Try us, you’ll like us!<br />

Point & click easy. No sign up cost. 100% guarantee.<br />

Online leader since 1993. Wholesale only to professionals.<br />

www.hollywoodfotofix.com or call 888-700-3686.<br />

PHOTO SUPPLIES<br />

KODAK PHOTO PAPER<br />

5 X 577 SUPRA ENDURA E—200 ROLLS<br />

5 X 577 PORTA III E—60 ROLLS<br />

3 1/2 X 577 PORTA III E—400 ROLLS<br />

MAKE OFFER FOR PART OR ALL.<br />

CALL AARON AT 660-826-1764.<br />

PROFESSIONAL<br />

Adorama (www.adorama.com)..................................................130, 131<br />

Advanced Photographic Solutions (www.advancedphoto.com) ......149<br />

Albums Inc. (www.albumsinc.)................................................37<br />

AlbumX (www.renaissancealbums.com)..................................85<br />

Allied Photographic & Imaging Lab (www.alliedphoto.com) ........149<br />

AllStar Photo Imaging (www.4allstar.com).............................153<br />

American Color Imaging (www.acilab.com)...................56-57, 151<br />

American Photo Resources (www.aprprops.com) ....................40<br />

American Student List (www.studentlist.com) .......................155<br />

Apollo Photo Imaging (www.apollo-imaging.com)...................151<br />

Arlington Camera (www.arlingtoncamera.com).......................130<br />

ARK-LA-TEX Color Lab (www.altcolorlab.com)......................149<br />

Art Leather (www.artleather.com)............................................17<br />

Artistry (www.artistrymag.com)............................................159<br />

Asukabook USA (www.asukabook.com) .................................49<br />

B & H Photo-Video (www.bhphotovideo.com) ...................90-91<br />

Backdrop Outlet (www.backdropoutlet.com) ..........................154<br />

Backgrounds by Maheu (www.backgroundsbymaheu.com) ......155<br />

Backup and Burn (www.backupandburn.com).........................156<br />

Bay Photo Lab (www.bayphoto.com).....................................148<br />

Bellwood Photography Ltd. (www.bellwoodphoto.com) ..........159<br />

Big Black Bag (www.bigblackbag.com)...................................156<br />

Bogen Imaging Inc. (www.bogenimaging.us) ...........................29<br />

Brightroom Inc. (www.backprint.com) ...................................149<br />

Paul Buff Inc. (www.white-lightning.com) ...............................39<br />

Burrell <strong>Professional</strong> Labs (www.burrellprolabs.com) .................15<br />

BWC Photo Imaging (www.bwc.net)..................................80-81<br />

Calumet Photographic (www.calumetphoto.com) .....................67<br />

Candid Color Systems Inc. (www.candid.com).........................153<br />

Canon U.S.A. (www.canon.com) ..............................................11<br />

Collages.Net (www.collages.net).....................................7, 20-21<br />

Color Incorporated (www.colorincprolab.com).........................149<br />

Corporate Color/Prolab Express (www.prolabexpress.com) .....148<br />

Cottage Mills LLC (www.cottagemills.com) ............................159<br />

CPQ (www.cpq.net)..............................................................150<br />

Contemporary Photography/J. Hartman (www.jhartman.com).157<br />

CropLines (www.croplines.com).............................................156<br />

Custom Brackets (www.custombracket.com)..........................158<br />

Custom Color Corporation (www.customcolor.com) ................148<br />

Dahle North American (www.dahle.com) .................................74<br />

PRESENTATION BOXES<br />

BOXES—FREE SAMPLE PRESENTATION BOX—FROM<br />

THE ORIGINAL BLACK BOX MANUFACTURE—Fast<br />

delivery, Finest quality 4"x5", 5"x5", 4"x6", 8"x10",<br />

11"x14", 16"x20", 20"x24". AUFENGER BOX, 4800 COLLEY<br />

AVENUE, NORFOLK, VIRGINIA 23508; 757-440-1148<br />

(phone); 888-440-1146 (FAX). www.aufengerbox.com<br />

PRESENTATION BOXES available for immediate shipment;<br />

19 sizes—4 stock colors. For FREE catalog & samples call<br />

800-969-2697 or fax request 800-861-4528. BUY<br />

DIRECT AND SAVE. NPD Box Company, 3000 Quigley<br />

Road, Cleveland, OH 44113. www.NPDBox.com<br />

BOX MANUFACTURER-EASY ORDER website Powered by<br />

Paypal. Buy direct and Save. A Complete line of Print and<br />

Proof Boxes, DVD Solutions. Better quality, better prices.<br />

All print boxes pre-loaded with tissue and loops, pick your<br />

color. Add logo, or change colors for easy Customizing. H-<br />

B Packaging Group 401-725-3646 www.h-bphoto.com<br />

RETOUCHING<br />

WHEN YOUR NAME is on the line, nothing but the<br />

best will ever do. Our retouchers know what you need: fast<br />

service, a retouch that looks like the photo was never<br />

altered and the lowest prices in the industry. If you demand<br />

the best log onto www.retouchup.com and your first 10<br />

retouches are free just to prove our claims—the best—the<br />

fastest and the least expensive or call 801-358-5864<br />

SALES AIDS<br />

BOXES—FROM THE ORIGINAL BLACK BOX<br />

MANUFACTURE—FREE SAMPLE—Fast delivery, Finest<br />

quality 4”x5”, 5”x5”, 4”x6”, 8”x10”, 11”x14”, 16”x20”,<br />

20”x24”. AUFENGER BOX, 4800 COLLEY AVENUE,<br />

NORFOLK, VIRGINIA 23508; 757-440-1148 (phone);<br />

888-440-1146 (FAX). www.aufengerbox.com<br />

CREATIVE FRAMES…Our NEW FREE CATALOG,<br />

designed for wedding and portrait photographs is here! We<br />

manufacture all our frames here in the USA. E-mail<br />

info@creativeframe.com or call 888-673-3386.<br />

5000 PHOTO BUSINESS CARD for $69.95; 5000 Flyers<br />

for $159. Shipping $20. Phone 877-895-4990.<br />

Denny Manufacturing (www.dennymfg.com) ...........................59<br />

Denny Manufacturing (www.photonovelty.com).......................59<br />

Diversified Lab (www.diversifiedlab.com)...............................150<br />

Duplicators4less (www.duplicators4less.com) ........................157<br />

Dury’s (www.durys.com) .........................................................12<br />

Eastman Kodak Company (www.kodak.com)....................Cover II<br />

Epson (www.epson.com/3800).........................................34-35<br />

ESS Data Recovery Labs (www.savemyfiles.com) ...................158<br />

Excel Picture Frames (www.excelpictureframes.com)............158<br />

Express Digital<br />

(www.expressdigital.com) (www.proreflect.com).......51, 65<br />

Filmet (www.profilmet.com) ..............................................152<br />

Focal Point Studios (www.notecard.info) ............................159<br />

Foto Figures (www.fotofigures.com)...................................159<br />

Fujifilm USA (www.fujifilmusa.com)...............................19, 69<br />

Full Color (www.fullcolor.com)......................................74, 150<br />

Garden State <strong>Professional</strong> Imaging Lab<br />

(www.gardenstatecolor.com).......................................150<br />

GP Albums (www.gpalbums.com) ......................................................3<br />

Graphic Authority (www.graphicauthority.com/ppa).........................127<br />

Group <strong>Photographer</strong>s Association(www.groupphotographers.com) 148<br />

H&H Color Lab (www.hhcolorlab.com)............................Cover III<br />

Hallmark Imaging (www.hallmarklabs.com) ...........................150<br />

Herff Jones (www.hjpro.com)............................................71, 151<br />

Hewlett-Packard (www.hp.com/go/pro-photo5) ......................25<br />

I-magination (www.ipf3.com/ppm)........................................158<br />

Imagequix (www.imagequix.com)............................................63<br />

Jonathan Penney Inc. (www.jonathanpenney.com)..................159<br />

Kambara USA Inc. (www.kambara.com) .................................157<br />

The Levin Company (www.levinframes.com) ..........................155<br />

Lustre Color (www.lustrecolor.com) .......................................150<br />

Marathon Press (www.marathonpress.com) ..........................108<br />

McDanel, LLC (www.3dlightmaster.com)................................156<br />

McKenna Pro (www.mckennapro.com)...................................148<br />

Michel Company (www.michelcompany.com)..........................154<br />

Michigan Photo (www.michiganphoto.com)............................152<br />

Midwest Photo Exchange (www.midwestphoto.com)................75<br />

Midwest Sports (www.midwestsportslab.com) .......................151<br />

Miller’s <strong>Professional</strong> Imaging (www.millerslab.com) .................73<br />

Mitsubishi Electric Photo Imaging (www.mitsubishi-imaging.com)...41<br />

MOAB Paper Company (www.moabpaper.com/ppa) ................114<br />

More Photos (www.morephotos.com)....................................154<br />

Morris Group (www.themorriscompany.com)..........................155<br />

Mpix (www.mpix.com) ............................................................13<br />

STUDIO FOR SALE<br />

Are you a PORTRAIT PHOTOGRAPHER who loves to shoot<br />

but hates to keep the books and generate business? My<br />

NORTHERN CALIFORNIA high-end studio has been in<br />

operation for 55 years and is well established and respected<br />

in the community. My loyal staff of three have been with the<br />

company 7-18 years and know the business fully. Gross<br />

$435,000 annually and work four days a week! Need help<br />

transitioning into business owner, I can work for you. Terms<br />

Negotiable, contact kjpix@sbcglobal.net<br />

STUDIO FOR SALE—PHOENIX, AZ METRO AREA EST. 20+<br />

YEARS. Gross Sales $40K/mo. Loads of equipment and<br />

props. Great long standing accounts and repeat business.<br />

Owner made 115k+ in 2005.Call for info UBI 602-263-8555.<br />

DALLAS, TEXAS—Well established totally digital portrait studio,<br />

centrally located in the Dallas metroplex area. Home style studio<br />

with two beautiful outdoor parks. Turn-key operation with<br />

$235,000 average annual gross over the last 5 years. Work 4 days<br />

a week photographing families, children and seniors. Owner<br />

retiring for health reasons and will help with transition. Serious<br />

inquiries at 972-394-1516 or www.mchalephotography.com.<br />

CENTRAL NORTH CAROLINA-Raleigh/Durham Market.<br />

Studio with 2 camera rooms, frame area, projection sales<br />

room. Set up and ready to run. Storefront location—<br />

building and land included. 919-418-2510<br />

AMAZING OPPORTUNITY for motivated photographer(s)<br />

to own a vibrant, established portrait business. Enjoy an abundant<br />

lifestyle in this fast-growing Colorado community. Photograph<br />

outdoors 347 days each year! Only $99K makes you the owner.<br />

Turnkey. Complete details from retiring owner: davis@dhdavis.com.<br />

STUDIOS WANTED<br />

COLUMBUS CAMERA GROUP, INC. buys whole studios or any<br />

part including cameras, film, darkroom, long roll, lighting, and<br />

misc. No quantities too small. Call 800-325-7664. Ask for Eric.<br />

YEARBOOKS<br />

ELEMENTARY & MIDDLE SCHOOL Yearbook Printing<br />

or design, Free color covers, Best prices.<br />

www.yearbookpros.com; 800-643-5376.<br />

NAPP (www.photoshopuser.com) .........................................105<br />

National Direct Marketing Services (www.ndmservices.com)...154<br />

Neil Enterprises (www.neilenterprises.com).............................33<br />

Nikon (www.nikondigital.com)................................................45<br />

North American Photo (www.naphoto.com) .....................151, 153<br />

Novatron (www.novatron.com) .............................................109<br />

Owen’s Originals (www.owens-originals.com)........................157<br />

PCL West Imaging (www.pclwest.com) ..................................153<br />

Pacific Mount (www.pacificmount.com) .................................155<br />

Perceptive Keepsakes (www.perceptivekeepsakes.com)...........159<br />

Personal Battery Caddy. (www.personalbatterycaddy.com)......157<br />

Pictobooks (www.pictobooks.com)........................................154<br />

PP of California (www.prophotoca.com).................................134<br />

Printroom.com (www.printroom.com) .....................................27<br />

Pro Photo (www.prophotoimaging.com)...........................30, 152<br />

Quantum (www.qtm.com) ......................................................55<br />

Sekonic (www.sekonic.com)...........................................Cover IV<br />

Simply Canvas (www.simplycanvas.com)................................153<br />

Sony (www.sony.com/professionalprinters).............................59<br />

Speedotron (www.speedotron.com).......................................129<br />

Sto-fen (www.stofen.com)....................................................159<br />

Studio Dynamics (www.studiodynamics.com) ........................159<br />

Studio Plus Software LLC (www.studioplussoftware.com) .......99<br />

Studio Pro Group (www.studioprogroup.com) ........................152<br />

Successware (www.successware.net).......................................147<br />

Superior Specialties (www.superspec.com)...............................117<br />

3D Light Master (www.3dlightmaster.com) ............................156<br />

Tallyn’s (www.tallyns.com)......................................................158<br />

Tamron (www.tamron.com) ......................................................61<br />

Taprell Loomis (www.tap-usa.com) (www.floraalbums.com) ......61<br />

Topflight Weddings Albums (www.topflightalbums.com) ...42, 159<br />

Tyndell Photographic (www.tyndellphotographic.com) ............157<br />

Unique Photo Supplies (www.uniquephoto.com).......................4<br />

Used Camera Buyer (www.usedcamerabuyer.com)...................46<br />

Veach Company (www.veachco.com)......................................156<br />

Virtual Backgrounds (www.virtualbackgrounds.net).................89<br />

Wacom Company Ltd. (www.i3fast.com) .................................47<br />

White House Custom Color (www.whcc.com).........................8-9<br />

White Glove (www.wgbooks.com)..........................................155<br />

Wicker by Design (www.wickerbydesign.com).........................159<br />

Wooden Nickel (www.wnalbums.com)....................................156<br />

Publisher not responsible for errors & omissions<br />

January <strong>2007</strong> • <strong>Professional</strong> <strong>Photographer</strong> • 161


good works |<br />

Art therapy<br />

PHOTOGRAPHER JOE CRAIG VALIDATES HIS SUBJECTS<br />

THROUGH IMAGES OF TRIUMPH AND TRANSCENDENCE<br />

rt as therapy. That’s the idea behind a<br />

program of philanthropic photography<br />

conducted by Joe Craig, Cr.Photog.,<br />

of Missouri. Charged by his belief<br />

in the healing power of photography,<br />

Craig has spent the last<br />

decade creating portraits of people who have<br />

experienced a trauma of some kind. Some of<br />

his subjects are fighting cancer, others have<br />

162 • www.ppmag.com<br />

Images wield the power to effect change. In this new feature,<br />

<strong>Professional</strong> <strong>Photographer</strong> spotlights professional photographers<br />

using their talents to make a difference through charitable work.<br />

©Joe Craig<br />

lost a child or spouse. The sittings are complimentary,<br />

and Craig donates the images<br />

to his subjects.<br />

“These sessions are based on the fact that<br />

these people are going through a huge trauma.<br />

The images try to reflect them as they<br />

are, with all their emotions,” explains Craig.<br />

“You can see the anguish, but also how they<br />

triumph and transcend. We do these photo-<br />

graphs as an encouragement, to give them<br />

validation and hope.”<br />

Craig uses simple lighting setups to create<br />

poignant, black-and-white portraits that<br />

explore the essence of the subject’s character.<br />

He assembles assortments of images based on<br />

each subject, usually providing at least one<br />

11x14 portrait. Craig tries to do one complimentary<br />

art therapy session for every 10 paying<br />

sessions. Referrals come from churches<br />

and hospices, as well as clients and other<br />

individuals who have heard about his work.<br />

Craig doesn’t want accolades, doesn't even<br />

allow his special subjects to purchase anything.<br />

“I tell photographers all the time, never<br />

pull at the heartstrings to get at the purse<br />

strings,” he says. “Anytime you’re seeking to<br />

do your finest work and then give it away,<br />

you’re probably at the best place in your life.”<br />

Craig considers these portraits to be a<br />

visual legacy. The images tell the subjects’<br />

stories, help them connect with their feelings<br />

and feel hopeful about the future.<br />

When it comes down to it, Craig feels<br />

that we all share many afflictions. We’ve all<br />

had trauma in our lives. We’ve all had problems.<br />

Craig’s images seek to form connections<br />

along these common bonds by showing<br />

that in our suffering we are all the same;<br />

we are all human. ■<br />

—Jeff Kent<br />

For more about Joe Craig, visit his Web<br />

site at www.joecraig.com. Craig presents<br />

“Soul Dance” at Imaging USA <strong>2007</strong> in<br />

San Antonio, January 14-16. For more<br />

information, call 888-260-0016 or visit<br />

www.imagingusa.org.<br />

Share your good works experience with us<br />

by e-mailing Cameron Bishopp at<br />

cbishopp@ppa.com


January 14-16, <strong>2007</strong> San Antonio, TX<br />

<br />

SHOW GUIDE<br />

<br />

brought to you by:<br />

WWW.IMAGINGUSA.ORG


Welcome<br />

<br />

TO IMAGING USA<br />

January 14-16, <strong>2007</strong> San Antonio, TX<br />

<br />

We bring you a colossal event again with three influential<br />

associations, proving that bigger is definitely better! What’s<br />

more, Adobe is back for the second year with this<br />

immensely popular track that features Adobe Photoshop<br />

and Lightroom techniques. More programs, more<br />

networking, more fun…and your Imaging USA Buddy Pass<br />

gives you access to everything for one low price!<br />

Adobe’s Photoshop and Lightroom for <strong>Photographer</strong>s Track<br />

Sport & Event <strong>Photographer</strong>s Conference (SEPCON)<br />

CPI’s Commercial Photography Conference<br />

Imaging USA’s Essential,Wedding/Portrait, and Spotlight tracks<br />

No matter what your focus is, Imaging USA promises you non-stop ideas and<br />

inspiration. Make the most of what Imaging USA offers, including:<br />

Unmatched education on the most important issues facing photographers.<br />

Influential speakers who are making a difference in the industry and whose<br />

stories and ideas will refresh and inspire.<br />

Important networking with thousands of talented photographers from<br />

around the globe.<br />

Innovative solutions from companies committed to your success as a<br />

photographer.Visit them in the Imaging Expo.<br />

Lots of fun at 2 huge parties, the PPA Charities' Celebration, and the<br />

Super Program featuring Gregory Heisler.<br />

A great location in San Antonio, Texas! Great weather, great culture, great<br />

food - who can ask for more?<br />

Visit our Information Booth for ideas on what to explore in this historic, yet modern city.<br />

Many thanks to our exhibitors, sponsors and convention volunteers, because they<br />

really make Imaging USA possible. Our exhibitors and sponsors bring their very<br />

best products and services to the Imaging Expo. Be sure to visit their booths to learn<br />

how they can help you become a more successful and profitable photographer.<br />

Thank you for joining us at Imaging USA!<br />

P1 www.ImagingUSA.org<br />

<br />

Table of Contents<br />

Schedule Grid 3<br />

Hilton Hotel Floor Plan 7<br />

Convention Floor Plan 9<br />

Speakers 11<br />

EXPO Map 13<br />

Exhibitor Listing 15<br />

Product Directory 23<br />

Exhibitor Spotlight 29<br />

25 Tips 35<br />

SEPCON 37<br />

Commercial Photography Conf. 38<br />

Volunteers 39<br />

Don’t Miss! (Special Events) 40<br />

Experience San Antonio 41<br />

General Information 42<br />

The Value of Membership 47<br />

brought to you by:


Thank You to the<br />

IMAGING USA SPONSORS<br />

Platinum Sponsors<br />

Gold Sponsors<br />

Silver Sponsors<br />

<br />

www.ImagingUSA.org P2


» PRE-CONVENTION : JANUARY 11-13,<strong>2007</strong><br />

9:00am - 5:00pm<br />

9:00am - 5:00pm<br />

9:00am - 5:00pm<br />

7:00pm - 9:00pm<br />

IMAGING USA<br />

Schedule<br />

<br />

JANUARY 14-16, <strong>2007</strong> SAN ANTONIO,TX<br />

THURSDAY, JAN. 11 FRIDAY, JAN. 12 SATURDAY, JAN. 13<br />

P3 www.ImagingUSA.org<br />

additional fees apply for pre-convention courses<br />

The Secrets to Success When Turning Pro $199<br />

Steve Kozak<br />

Corte Real ABC Rm, Hilton 22 nd fl<br />

Making the transition into professional photography. This program gives you a solid foundation on<br />

which to build a successful career in photography. Steve’s down-to-earth presentation examines photography<br />

from three aspects: the fundamentals, the business and the art. Gain the insight to help you<br />

turn your passion for photography into a profession.<br />

*Business Module 1:<br />

Financial Management<br />

and Accounting $129<br />

Kent Englebert<br />

Scott Kurkian<br />

La Condesa, Hilton 22 nd fl<br />

Learn the components of a<br />

financial statement in easyto-understand<br />

terms and how<br />

to plan and track your business<br />

success.<br />

*Business Module 5:<br />

Studio Operations $129<br />

Craig Schmidt<br />

Corte Real D, Hilton 22 nd fl<br />

Learn how to handle your<br />

business image, studio and<br />

digital workflow, file/order<br />

management, personnel and<br />

studio volume.<br />

Digital Workflow<br />

Optimized $49<br />

Steve Post, Ron Nichols<br />

Corte Real ABC, Hilton 22 nd fl<br />

Learn the workflow techniques<br />

that will simplify your<br />

life. Topics include computer<br />

hardware selection, image<br />

archiving, projection sales<br />

and Photoshop efficiency.<br />

*Business Module 4:<br />

Customer Service &<br />

Sales Skills $129<br />

Jamie Hayes<br />

Mary Fisk-Taylor<br />

Corte Real D, Hilton 22 nd fl<br />

Understand consumer buying<br />

motives, phone techniques,<br />

pre-sale presentations, wedding<br />

consultations, and<br />

projection appointments.<br />

*Business Module 2:<br />

Creating a Successful<br />

Studio Business Plan<br />

$129<br />

Judy Grann, Tracy Harris<br />

La Condesa, Hilton 22 nd fl<br />

Learn about the planning<br />

process and the elements of<br />

successful business plan<br />

strategy.<br />

* Core requirement for PPA’s Certificate of Business Management.<br />

CC = Henry B. Gonzalez Convention Center<br />

8:00pm - 9:00pm<br />

9:00pm - 12:00am<br />

*Business Module 3:<br />

Marketing & Promotions<br />

$129<br />

Carol Andrews<br />

Lori Nordstrom<br />

La Condesa, Hilton 22 nd fl<br />

Learn how to develop an effective<br />

one that includes competitive<br />

analysis,<br />

consumer surveys and<br />

product line analysis.<br />

*Mastering the Techniques:<br />

How to be a Complete<br />

<strong>Photographer</strong> $99<br />

Hanson Fong<br />

CC., Ballroom B, Street Level<br />

Hanson will share his<br />

techniques for portrait and<br />

wedding photography, and<br />

will also demonstrate the<br />

10 classic poses he uses to<br />

handle all body types.<br />

PPA Charities<br />

VIP Reception $25<br />

Hilton Hotel<br />

Hilton Salon del Rey<br />

(Mezzanine Level)<br />

PPA Charities<br />

Celebration Event<br />

Hilton Salon del Rey<br />

(Mezzanine Level)<br />

Charity auction and<br />

program by Hanson Fong<br />

9:00am - 11:00am<br />

12:30pm - 2:30pm<br />

3:00pm - 5:00pm<br />

SATURDAY, JAN. 13<br />

Together Again!<br />

Shoot, Run & Gun PART I<br />

Jack Reznicki<br />

Eddie Tapp<br />

CC., Rm 006, River Level<br />

Join in as Jack and Eddie<br />

"shoot, run, and gun". After<br />

explaining precisely what<br />

they-re doing with the lighting,<br />

they will select a file and<br />

edit it with all the digital<br />

enhancements at their disposal.<br />

Sponsored by Canon<br />

Part of the Commercial Photography<br />

Conference. No additional fee<br />

Together Again!<br />

Shoot, Run & Gun<br />

PART II<br />

Eddie Tapp<br />

Jack Reznicki<br />

CC., Rm 006, River Level<br />

Continued from the morning<br />

session.<br />

Sponsored by Canon<br />

Part of the Commercial Photography<br />

Conference. No additional fee<br />

Best Practices in<br />

Image Storage<br />

Peter Krogh<br />

CC., Rm 006, River Level<br />

This informative program will<br />

discuss digital media storage<br />

according to the principles<br />

presented in his book, The<br />

DAM Book, Digital Asset<br />

Management for<br />

<strong>Photographer</strong>s.<br />

Part of the Commercial Photography<br />

Conference. No additional fee<br />

9:00am - 6:00pm<br />

9:00am - 1:00pm<br />

2:00pm - 6:00pm<br />

SATURDAY, JAN. 13<br />

Event Photography<br />

Business Essentials $99<br />

Chris Wunder<br />

CC., River Rm, River Level<br />

Learn tactics and strategies to<br />

get started right, keep your<br />

business profitable and have<br />

fun at the same time. Plus,<br />

you’ll hear many “secrets” of<br />

marketing success.<br />

Sponsored by Marathon<br />

Mastering the Light $49<br />

John Woodward<br />

CC., Rm 008, River Level<br />

Understanding light and exposure<br />

is an essential component<br />

to success. John will<br />

explore lighting in the studio<br />

and in the field, and will build<br />

a working studio where he’ll<br />

illustrate lighting forms<br />

through live demonstration.<br />

Digital Event Workflow:<br />

Keys to a Successful<br />

Business $49<br />

Jerry Esposito<br />

CC., Rm 008, River Level<br />

This session will include a<br />

live demonstration of the latest<br />

Camera, Wireless,<br />

Software, and Printer technologies<br />

designed to improve<br />

workflow and profitability.


IMAGING USA JANUARY 14-16,<strong>2007</strong> SAN ANTONIO,TX<br />

» SUNDAY - JANUARY 14, <strong>2007</strong><br />

7:00am - 8:30am<br />

9:00am - 10:30am<br />

11:00am - 12:30pm<br />

5:30pm - 7:00pm<br />

7:00pm - 9:00pm<br />

ESSENTIALS WEDDING/PORTRAIT ADOBE PHOTOSHOP<br />

The Fundamentals of Great<br />

Portrait Lighting<br />

Christopher Gill<br />

CC., Mission Rm, Street Level<br />

Learn the foundation of great<br />

portrait lighting and see the<br />

results that different types of<br />

light modification have on live<br />

models.<br />

Sponsored by Fujifilm<br />

Niche Marketing<br />

Robert T. Williams<br />

CC., Mission Rm, Street Level<br />

Robert will cover the details<br />

of marketing and reaching the<br />

clients you want.<br />

Sponsored by Kodak<br />

Top Ten Marketing<br />

Promotions<br />

Greg Stangl<br />

CC., Mission Rm, Street Level<br />

Hear the top ten marketing<br />

promotions you need to grow<br />

your business and rake in the<br />

cash. Learn how to develop<br />

marketing lists and create a<br />

year-round marketing program<br />

to build your business.<br />

Sponsored by Photodex<br />

s<br />

Go eXtreme!<br />

Liana Lehman<br />

CC., Ballroom B, Street Level<br />

Take your photography back<br />

to the basics, get better<br />

images out of your camera<br />

and minimize the time you<br />

spend in post-production<br />

through a simplified workflow<br />

and smart outsourcing.<br />

Sponsored by Backprint<br />

s Portraiture That<br />

Makes a Statement<br />

Duane Sauro<br />

CC., Ballroom B, Street Level<br />

Learn how to analyze the<br />

structure of design and other<br />

elements of portraiture, and<br />

how to control their application<br />

to create more effective<br />

images.<br />

The Portrait Sales Presentation<br />

Ron Nichols<br />

CC., Mission Rm, Street Level<br />

Learn Ron’s approach to portrait sales presentations,<br />

along with his methods of using digital projection systems<br />

to sell wall and gift portraits and extra products.<br />

s<br />

CC = Henry B. Gonzalez Convention Center<br />

S = Spanish Translation Available<br />

Experience the Artistry of<br />

JOE CRAIG in the Dynamic<br />

Presentation “Soul Dance”<br />

Joe Craig<br />

CC., Ballroom B, Street Level<br />

Learn how to define a lighting<br />

system, establish standards<br />

for digital capture,<br />

showcase the collection concept,<br />

and design your studio<br />

around the art of simplicity.<br />

Sponsored by Fujifilm<br />

9:00am - 11:00am | Certification Exams | Corte Real F, Hilton 22 nd fl<br />

Best Face Forward<br />

Katrin Eismann<br />

CC., Ballroom A, Street Level<br />

Learn the techniques used by<br />

professional retouchers to<br />

refine make-up, retouch skin,<br />

and rework body contours and<br />

lighting to make beautiful models<br />

perfect and the rest of us<br />

look great too!<br />

The 7 (deadly) Things You<br />

Need to Color Manage<br />

Adobe Photoshop<br />

Andrew Rodney<br />

CC., Ballroom A, Street Level<br />

Learn the 7 critical steps you<br />

need to take to properly configure<br />

Photoshop to ensure a<br />

match between what you<br />

see on screen and what you<br />

get on your output device.<br />

Efficient Raw Processing<br />

in the Real World<br />

Jeff Schewe<br />

CC., Ballroom A, Street Level<br />

It’s actually more efficient to<br />

shoot raw than jpg. Learn<br />

the secrets of how to combine<br />

Adobe Bridge, Camera<br />

Raw and Adobe Photoshop<br />

CS2 for a powerful and efficient<br />

workflow.<br />

7:00am - 8:30am<br />

COMMERCIAL<br />

Panel Discussion: Successful SMS Studios<br />

Scott Kurkian with Laura Novak, Sarah Petty,<br />

Frank Donnino, Graham Wilson, Ronnie Owings<br />

CC., Rm 006, River Level<br />

These photographers turned their businesses into incredible<br />

profit centers by working with Studio Management<br />

Services (SMS). A Q&A session gives you a chance to<br />

interact with the panelists.<br />

Environmental Composition<br />

& Light Control<br />

Don MacGregor<br />

CC., Rm 006, River Level<br />

Explore the use of composition<br />

and light to create three<br />

dimensional portraits that<br />

command attention and wall<br />

portrait sales.<br />

Portraits and More<br />

Paul Aresu<br />

CC., Rm 006, River Level<br />

With an impressive list of<br />

high-end corporate clients,<br />

browsing Paul’s portfolio filled<br />

with edgy, high-energy<br />

images. Come be inspired.<br />

Sponsored by Canon<br />

11:00am - 5:30pm | Imaging Expo | Microsoft Theatre ( Schedule: 1pm Denis Reggie / 2:30 pm Bambi Cantrell / 4pm Windows Vista Preview)<br />

11:30am - 3:30pm | SMS Marketing Consultations | Imaging Expo, Booth 723<br />

Imaging USA Fiesta Noche del Rio (Evening Fiesta on the River) | Sponsored by Canon<br />

CC., Ballroom A, Street Level<br />

Immerse yourself in the sounds and tastes of San Antonio as you dance and mingle with fellow Imaging USA attendees.<br />

9:00am - 10:30am<br />

11:00am - 12:30pm<br />

The Location & the Light<br />

Joe McNally<br />

CC., Rm 006, River Level<br />

Hear about Joe’s 30-year<br />

career shooting for magazines<br />

such as LIFE, National<br />

Geographic, and Sports<br />

Illustrated. Learn about the<br />

use of light, from natural<br />

light sources, to small oncamera<br />

flashes, to big productions.<br />

Sponsored by Nikon<br />

7:00am - 8:30am<br />

9:00am - 10:30am<br />

11:00am - 12:30pm<br />

SPORT & EVENT<br />

Photographing High<br />

School Plays<br />

Brent Taylor<br />

CC., River Rm, River Level<br />

Learn to book jobs with school<br />

drama departments, and how<br />

to sell the posed and action<br />

pictures. An average play generates<br />

about $1,000 per day!<br />

Training Employees to Get<br />

The Job Right Every Time<br />

Dianne Murphy<br />

CC., River Rm, River Level<br />

Dianne will share methods for<br />

designing systems and training<br />

programs that produce<br />

turn-key results. If you have<br />

employees, this session is<br />

sure to save you time and<br />

money.<br />

How to Use Remotes<br />

to Make More Money<br />

Ben Chen<br />

CC., River Rm, River Level<br />

Use remote cameras to make<br />

more money. Ben will examine<br />

equipment set-up, capture<br />

from inaccessible areas, and<br />

the best sports for using<br />

remotes.<br />

Need for Change<br />

Jeff & Julia Woods<br />

CC., Ballroom B, Street Level<br />

Get wedding clients to relax, create a buzz in your market,<br />

and get the wedding averages you deserve. Experience<br />

innovation that flirts with fun, fashion, and art!<br />

<br />

www.ImagingUSA.org P4


» MONDAY - JANUARY 15, <strong>2007</strong><br />

7:00am - 8:30am<br />

9:00am - 10:30am<br />

11:00am - 12:30pm<br />

5:00pm - 6:30pm<br />

7:00pm - 8:30pm<br />

IMAGING USA JANUARY 14-16,<strong>2007</strong> SAN ANTONIO,TX<br />

ESSENTIALS WEDDING/PORTRAIT SPOTLIGHT ADOBE PHOTOSHOP<br />

Rock Star Publicity<br />

Sarah Petty<br />

CC., Mission Rm, Street Level<br />

Sarah’s studio generated over<br />

$70,000 in free publicity in four<br />

years. Their proven Meaty<br />

Marketing strategies can generate<br />

publicity of rock star proportions<br />

for your business.<br />

Sponsored by WHCC<br />

Kodak's <strong>Photographer</strong>s<br />

to Watch<br />

Laura Novak<br />

Jennifer Hillenga<br />

CC., Mission Rm, Street Level<br />

Enjoy stories and images from<br />

these photographers who have<br />

made it to the top of their<br />

business.<br />

Sponsored by Kodak<br />

The Greek Girl’s Guide to<br />

Creating Customer Loyalty<br />

Angela Carson<br />

CC., Ballroom B, Street Level<br />

Learn Angela’s secrets to having<br />

65-75% of her yearly<br />

income from returning clients,<br />

and the profitable techniques<br />

you can implement right away<br />

to make your business more<br />

successful!<br />

s<br />

The Creation of Ecstasy:<br />

Celebrating the Genius of<br />

John Singer Sargent<br />

Arthur Rainville<br />

Jennifer Hudson<br />

CC., Ballroom B, Street Level<br />

Watch as these artists compose<br />

their “Allegorie” masterpieces<br />

in homage to American painter<br />

John Singer Sargent.<br />

Sponsored by Fujifilm<br />

s<br />

From Glass Plates to Digital<br />

Al Gilbert<br />

CC., Ballroom B, Street Level<br />

Learn to use advertising to<br />

promote demand for digital<br />

portrait photography and how to<br />

properly light portrait subjects<br />

for digital photography.<br />

PPA’s 2006 Lifetime<br />

Achievement Winner<br />

9:00am - 11:00am | Certification Exams | La Reina Rm, Hilton Mezzanine fl.<br />

The Art of Children's Photography<br />

Susan Michal<br />

CC., Rm 006, River Level<br />

Think outside the box and take<br />

children's portraiture to a new<br />

level through marketing, customer<br />

service and product. Other topics<br />

include charitable marketing and<br />

how to sell the “experience.”<br />

Sponsored by Photodex<br />

Texas-Sized Profits from<br />

Studio Special Events<br />

Lisa Jane Murphey<br />

CC., Rm 006, River Level<br />

Learn how to create, market<br />

and sell studio specials using<br />

creative props to increase<br />

your studio’s cash flow.<br />

Sponsored by Epson<br />

Instant Wow Factor:<br />

The Power of Presets<br />

Jack Davis<br />

CC., Ballroom A, Street Level<br />

Dramatically improve your workflow<br />

by doing it once in<br />

Photoshop (or Adobe Camera<br />

Raw) and saving it as a Preset or<br />

Action. You’ll also get 50 of<br />

Jack’s greatest Wow Presets.<br />

Adobe Photoshop Lightroom<br />

Julieanne Kost<br />

CC., Ballroom A, Street Level<br />

Maximize your productivity and<br />

avoid repetitive tasks with this<br />

streamlined way to import,<br />

manage, select, rate, tag, edit,<br />

develop and showcase large<br />

volumes of images with Adobe<br />

Lightroom.<br />

Become a Photoshop<br />

Action Hero (or Heroine)<br />

Kevin Kubota<br />

CC., Ballroom A, Street Level<br />

Kevin created the famous<br />

Artistic Tools Action Pack and<br />

will teach you how to create<br />

your own powerful Photoshop<br />

actions. You’ll save time, save<br />

money, and create more<br />

beautiful images!<br />

7:00am - 8:30am<br />

9:00am - 10:30am<br />

11:00am - 12:30pm<br />

5:00pm - 6:30pm<br />

SPORT & EVENT<br />

Team & Individual Sports<br />

Dennis Kirkpatrick<br />

CC., River Rm, River Level<br />

Learn to consistently balance<br />

your lighting for great color;<br />

get the proper exposure; read<br />

your histogram; properly pose<br />

individuals and teams; and<br />

easily create graphics and<br />

posters that increase revenue.<br />

Best Business Practices for<br />

<strong>Photographer</strong>s<br />

John Harrington<br />

CC., River Rm, River Level<br />

Negotiations, contracts, pricing,<br />

hiring assistants, office<br />

systems, dealing with difficult<br />

clients, and working with<br />

accountants and lawyers will<br />

all be covered in this very<br />

important session.<br />

11:00am - 5:30pm | Imaging Expo | Imaging Expo | Microsoft Theatre ( Schedule: 1pm Denis Reggie / 2:30 pm Bambi Cantrell / 4pm Windows Vista Preview)<br />

Illuminating Creativity<br />

John Paul Caponigro<br />

CC., Mission Rm, Street Level<br />

Discover techniques to structure<br />

your creative process and<br />

increase productivity. Learn how<br />

to find new ideas and ensure<br />

they’re not lost or forgotten and<br />

ways to clarify your unique<br />

vision so others understand.<br />

Sponsored by Epson<br />

Creating Momentum in<br />

Your Sales & Marketing<br />

Richard Markham<br />

CC., River Rm, River Level<br />

Reach new leagues and<br />

retain your current youth<br />

sports organizations. Learn to<br />

develop and grow your<br />

business while retaining your<br />

current base year after year.<br />

Imaging USA Super Program: BC to AD…Before Chips to After Digital – Making a Transition<br />

Gregory Heisler – A Canon Explorer of Light | Sponsored by Canon<br />

CC., Ballroom A, Street Level<br />

Best known for his TIME magazine covers, Gregory will present his stunning array of work that reflects his passion, talent and unprecedented career. He will share his experiences<br />

from photographing US Presidents to Olympic hopefuls, and talk about how shooting digital has changed his way of “seeing” photography.<br />

P5 www.ImagingUSA.org<br />

s<br />

The <strong>2007</strong> Album Unveiling<br />

Susan Powers & Dave Johnson<br />

CC., Mission Rm, Street Level<br />

Albums are a primary product for<br />

many successful studios. You’ll<br />

see the winning albums from<br />

2006 and the top design trends<br />

and products, and then engage<br />

in a lively panel discussion<br />

where the album makers will<br />

answer your questions.<br />

11:30am - 3:30pm | SMS Marketing Consultations | Imaging Expo, Booth 723<br />

Husbands & Wives:<br />

The Newlywed Game<br />

of Photography<br />

Jeff & Julia Woods, Steve Post<br />

& Angela Carson, Dennis &<br />

Lori Craft, Bob & Edna Lloyd,<br />

moderated by Louis Tonsmeire<br />

CC., Rm 006, River Level<br />

This panel discusses the trials,<br />

tribulations and fun of couples<br />

operating a studio together.<br />

Digital Challenges vs.<br />

Digital Opportunities<br />

Peggie Vallejo Hall<br />

Marisol Estevez<br />

CC., Rm 006, River Level<br />

Learn to use digital to create<br />

new products and different markets,<br />

change the way you<br />

see and sell photography, and<br />

develop a different style.<br />

Children, Families & Pet<br />

Portraiture - Be Artistic with<br />

Products that Sell<br />

Helen Yancy<br />

CC., Ballroom B, Street Level<br />

Create portraits using Photoshop<br />

and Painter. Discover Helen’s<br />

methods for creating & selling<br />

images as Fine Art Portraiture.<br />

Sponsored by Corel<br />

The Art of Digital B&W<br />

Jeff Schewe<br />

CC., Ballroom A, Street Level<br />

Processing and converting from<br />

digital RGB images to digital<br />

B&W is an art. Learn the<br />

processes involved to make a<br />

digital B&W images that<br />

produces the snap and tonality<br />

of analog B&W photography.<br />

CC = Henry B. Gonzalez Convention Center<br />

S = Spanish Translation Available<br />

Location, Location,<br />

Location! Taking Digital<br />

Workflow Into the Field<br />

Serge Timacheff<br />

CC., River Rm, River Level<br />

Serge will explain his specific<br />

methodology, including software<br />

and techniques for managing<br />

images safely and effectively,<br />

what equipment to use, and<br />

how to best prepare and work<br />

in various locations.


» TUESDAY - JANUARY 16, <strong>2007</strong><br />

7:00am - 8:30am<br />

9:00am - 10:30am<br />

11:00am - 12:30pm<br />

4:30pm - 6:00pm<br />

6:30pm - 8:00pm<br />

IMAGING USA JANUARY 14-16,<strong>2007</strong> SAN ANTONIO,TX<br />

ESSENTIALS WEDDING/PORTRAIT SPOTLIGHT ADOBE PHOTOSHOP<br />

Print Competition 101<br />

Buddy Stewart<br />

Dave Swoboda<br />

CC., Mission Rm, Street Level<br />

This program explores design,<br />

color, composition, the psychology<br />

of titles, viewing specifications,<br />

scoring process and the twelve<br />

elements of a merit image.<br />

Sponsored by Lexjet<br />

Productivity and Profits<br />

with Breakthroughs in<br />

Digital Printing<br />

CC., Mission Rm, Street Level<br />

Learn how to increase profitability<br />

and productivity in the<br />

studio with revolutionary breakthroughs<br />

in digital printing.<br />

Sponsored by Epson<br />

s The Heart of<br />

Children's Photography<br />

Dennis Craft<br />

CC., Ballroom B, Street Level<br />

Dennis will share the emotional<br />

ways the images we create not<br />

only affect the parents but also<br />

the photographer.<br />

Sponsored by Kodak<br />

8:00am - 12:00pm | Judges Refresher Course | CC, Room 008, River Level<br />

To Zig While Others Zag:<br />

Fifty Years and Two Generations<br />

of Roads Less Traveled<br />

Don Busath & Drake Busath<br />

CC., Ballroom B, Street Level<br />

Don and Drake have built a portrait<br />

studio that’s lasted 50 years.<br />

Discover how they mix their personal<br />

passions for photography<br />

with their professional work.<br />

9:00am - 11:00am | Certification Exams | La Vista, Hilton 22 nd fl.<br />

The Fresh Approach:<br />

Presenting Your Photography<br />

with Multimedia Photo<br />

Presentations<br />

Mark Ridout<br />

CC., Mission Rm, Street Level<br />

Learn an innovative and compelling<br />

way to present your work by emotionally<br />

engaging, multimedia presentations.<br />

Sponsored by Photodex<br />

s<br />

The Use of Psychology<br />

to Create Better Images<br />

at Weddings<br />

Joe Buissink<br />

CC., Ballroom B, Street Level<br />

Learn how Joe uses psychology<br />

to approach his brides and<br />

grooms on their wedding day<br />

so they open up to him and<br />

lead to beautiful images.<br />

Sponsored by Canon<br />

You Got the Images:<br />

Now What?<br />

Brad Affolder<br />

CC., Rm 006, River Level<br />

Brad will examine several different<br />

methods of workflow and<br />

lots of ideas for creativity and<br />

sales.<br />

Sponsored by Lexjet<br />

Portraits for a Lifetime<br />

Jeff & Kathleen Hawkins<br />

CC., Rm 006, River Level<br />

Jeff and Kathleen will explore<br />

implementing a customer retention<br />

program, examine posing, lighting<br />

and image manipulation techniques,<br />

and discuss selling and<br />

designing narrative family albums.<br />

Sponsored by Canon<br />

It's Your Money -<br />

Keep More Of It<br />

Scott Kurkian<br />

CC., Rm 006, River Level<br />

The right accountant can make<br />

a huge difference in your profits.<br />

Scott will teach you financial<br />

and tax strategies that can<br />

help keep more money in your<br />

pocket throughout the year.<br />

Jimmy D’s Creative Process<br />

to Photo Illustration<br />

Jim DiVitale<br />

CC., Ballroom A, Street Level<br />

Learn Jim’s Photoshop techniques<br />

for fine art montages.<br />

Layer blend modes, masking, digital<br />

light painting and artistic<br />

edge treatments all come together<br />

to create unique works of art.<br />

11:00am - 4:30pm | Imaging Expo | Microsoft Theatre ( Schedule: 1pm Denis Reggie / 2:30 pm Bambi Cantrell / 4pm Windows Vista Preview)<br />

11:30am - 3:30pm | SMS Marketing Consultations | Imaging Expo, Booth 723<br />

Shooting for Beautiful Albums<br />

Curt Littlecott<br />

CC., Mission Rm, Street Level<br />

Pre-visualize your album’s flow<br />

and capture and enhance<br />

images that can be dropped into<br />

gorgeous page layouts that will<br />

"wow" your clients.<br />

Sponsored by Albums, Inc.<br />

The Art of<br />

Capturing the Moment<br />

Matthew Jordan Smith<br />

CC., Ballroom B, Street Level<br />

Learn how to light for different<br />

skin tones, create stunning<br />

images that bring in new clients<br />

and promote your photography<br />

like never before.<br />

Sponsored by Kodak<br />

PPA Awards & Degree Ceremony<br />

CC Lila Cockrell Theatre<br />

Celebrate with us as we recognize photographers’ accomplishments during 2006.<br />

8:00pm - 10:00pm | Swashbuckler’s Soiree | Sponsored by Kodak<br />

CC Grotto (River Level)<br />

Ahoy! Come aboard, in Pirate regalia of course, and live the Pirate’s life in anticipation of Imaging USA 2008 in Tampa Bay.<br />

CC = Henry B. Gonzalez Convention Center<br />

S = Spanish Translation Available<br />

s<br />

The Senior Experience<br />

from Start to Finish<br />

Colleen Gonsar & Darty Hines<br />

CC., Rm 006, River Level<br />

This program showcases a complete<br />

senior session from start to<br />

finish, and explains what makes<br />

these photographers’ sessions<br />

unforgettable.<br />

Sponsored by WHCC<br />

State-of-the-Art in<br />

Inkjet Printing<br />

John Paul Caponigro<br />

CC., Ballroom A, Street Level<br />

Learn the ins and outs of the<br />

inkjet revolution. Want to make<br />

the world’s best prints?<br />

Everything you need to know<br />

will be covered in this program.<br />

<strong>Magazine</strong> Style Wedding<br />

Albums - Layout & Design<br />

Tricks with Photoshop<br />

Kevin Kubota<br />

CC., Ballroom A, Street Level<br />

Creating exciting digital albums<br />

that sell themselves. Kevin will<br />

discuss design concepts and<br />

Photoshop techniques for creating<br />

layouts quickly and enhancing<br />

your images.<br />

Shrouded Secrets of Adobe<br />

Photoshop<br />

Julieanne Kost<br />

CC., Ballroom A, Street Level<br />

Digital artist Julieanne Kost,<br />

Adobe’s Digital Imaging Evangelist,<br />

unlocks the mysteries and little<br />

known shortcuts in Photoshop.<br />

You’ll discover her Top 25 tips to<br />

improve your productivity.<br />

7:00am - 8:30am<br />

9:00am - 10:30am<br />

11:00am - 12:30pm<br />

4:30pm - 6:00pm<br />

6:30pm - 8:00pm<br />

SPORT & EVENT<br />

Shooting Adventure<br />

Sports 101<br />

Lucas Gilman<br />

CC., River Rm, River Level<br />

Learn how to get into the<br />

business of shooting adventure<br />

sports, use technology to<br />

maximize profits, and build a<br />

client base.<br />

Sponsored by Nikon<br />

Effective Online<br />

Marketing Strategies<br />

for Your Photo Business<br />

Mark Hicks<br />

CC., River Rm, River Level<br />

Use your website to generate<br />

increased sales. You’ll gain a<br />

basic understanding of Internet<br />

fundamentals, search engines,<br />

and online marketing strategies.<br />

Sponsored by Backprint<br />

Green Screening<br />

for Fun and Profit!<br />

Gerry Waite<br />

CC., River Rm, River Level<br />

Green Screening can add to<br />

your profits and client base.<br />

Promote it to gain new<br />

clients, avoid errors and<br />

improve post production<br />

profitability.<br />

Behind the Scenes<br />

of 10,000 Images<br />

Michael Grecco<br />

CC., River Rm, River Level<br />

Get an inside look at Michael’s<br />

new book, Naked Ambition,<br />

and hear the techniques used<br />

to capture almost 10,000<br />

images in a 3-day period.<br />

Sponsored by Canon<br />

<strong>Photographer</strong>s at Work<br />

CC., River Rm, River Level<br />

Join us for round table<br />

discussions on event<br />

photography issues.<br />

<br />

www.ImagingUSA.org P6


Hotel<br />

Floor Plan<br />

January 14-16, <strong>2007</strong> San Antonio, TX<br />

P7 www.ImagingUSA.org<br />

22 Floor - Hilton Hotel<br />

Hilton<br />

Palacio Del Rio<br />

Mezzanine Level - Hilton Hotel


© Eastman Kodak Company, <strong>2007</strong>. Kodak and Kodak <strong>Professional</strong> are trademarks of Eastman Kodak Company. Photo © Alisha and Brook Todd.<br />

Lifelong Connections.<br />

You’ve got the quality customers connect with. And Kodak can help you share that<br />

quality by exposing your work to more people than ever before. Just sign up for our<br />

pro photographer locator. With this online tool, customers can easily find you when<br />

they’re looking for a trusted professional photographer. After all, we’ve been<br />

connecting professional images and people for more than 100 years. To find<br />

out more, go to www.kodak.com/go/premiumpropass<br />

<strong>Professional</strong><br />

Imaging Solutions


Convention<br />

Floor Plan<br />

January 14-16, <strong>2007</strong> San Antonio, TX<br />

Speaker’s<br />

Office<br />

Concourse Level<br />

Street Level<br />

Ballroom A<br />

P9 www.ImagingUSA.org<br />

Mission Room<br />

Information<br />

Booth<br />

Ballroom B<br />

Registration<br />

Lila Cockrell Theater<br />

River Level<br />

River Room<br />

Room 008<br />

Room 006


Clients get emotional. Create slide shows that sell.<br />

Introducing the all-new<br />

ProShow® Producer 3.0<br />

Expanding upon proven, award-winning digital imaging technology, the all-new ProShow Producer 3.0<br />

provides new tools and output options that enable you to create advanced, professional-grade slide shows<br />

that not only emotionalize audiences but bring them to the point of sale. See for yourself by downloading<br />

a free trial or be sure to visit us at Imaging USA to watch a demo by an experienced Photodex representative.<br />

Download a free trial today: photodex.com/imagingusa<br />

Learn from one of the masters<br />

of portrait & wedding slide show creation.<br />

The Fresh Approach: Presenting Your Photography<br />

With Multimedia Photo Presentations<br />

Imaging USA Expo | January 16th at 11:00 am - 12:30 pm<br />

Watch professional photographer, Mark Ridout present<br />

at Imaging USA. Learn about an innovative and compelling<br />

way to present your work that goes above and beyond traditional<br />

print photography by integrating emotionally engaging, dynamic<br />

multimedia photo presentations into your business model.<br />

Please consult the show guide for details on the program location.<br />

Visit Photodex at Imaging USA <strong>2007</strong>!<br />

Booth #955 | Ask about our amazing show discounts!


Who<br />

<br />

January<br />

<br />

IMAGING USA SPEAKERS<br />

Brad Affolder<br />

M.Photog.MEI.Cr.,<br />

CPP<br />

Lori Craft<br />

Cr.Photog.<br />

Colleen Gonsar,<br />

Cr.Photog.<br />

Darty Hines<br />

Cr.Photog.<br />

Jennifer Hudson<br />

CPP<br />

Lisa Jane<br />

Murphey<br />

M.Photog.MEI.Cr.<br />

Carol Andrews<br />

M.Photog.Cr., ABI<br />

Joe Craig<br />

Cr.Photog.<br />

Judy Grann<br />

Cr.Photog. ABI<br />

Dave Johnson<br />

Cr.Photog., CPP<br />

Ron Nichols<br />

M.Photog.Cr., API<br />

P11 www.ImagingUSA.org<br />

Joe Buissink Don Busath<br />

M.Photog.Cr.<br />

Frank Donnino Kent Englebert<br />

Cr.Photog.,<br />

CPP, ABI<br />

Peggy Vallejo<br />

Hall<br />

M.Photog.<br />

Marisol Estevez<br />

Steve Kozak<br />

M.Photog.Cr., CPP<br />

Lori Nordstrom<br />

M.Photog.Cr., CPP<br />

Tracy Harris<br />

Cr.Photog. ABI<br />

Drake Busath<br />

M.Photog.Cr.<br />

Mary Fisk-Taylor<br />

M.Photog.Cr., CPP,<br />

ABI, API<br />

Jeff Hawkins,<br />

Cr.Photog., CPP<br />

Kathleen Hawkins<br />

Cr.Photog.<br />

14-16, <strong>2007</strong><br />

San Antonio, TX <br />

John Paul<br />

Caponigro<br />

Hanson Fong<br />

M.Photog.Cr.<br />

Jamie Hayes<br />

M.Photog.Cr.,<br />

CPP, ABI, API<br />

Angela Carson,<br />

Cr.Photog., API<br />

Steve Post<br />

Al Gilbert<br />

M.Photog.Cr.<br />

Scott Kurkian Liana Lehman Curt Littlecott Bob Lloyd<br />

Cr.Photog.Hon.<br />

M.Photog., CPP, API<br />

Edna Lloyd<br />

Laura Novak Ronnie Owings<br />

M.Photog.Cr., CPP<br />

Sarah Petty<br />

CPP<br />

Dennis Craft<br />

M.Photog.Cr.,<br />

CPP, API<br />

Christopher Gill<br />

M.Photog.Cr., CPP<br />

Gregory Heisler Jen Hillenga<br />

Susan Powers<br />

M.Photog.Cr.<br />

Susan Michal<br />

M.Photog.Cr.,<br />

CPP, ABI<br />

Arthur Rainville<br />

M.Photog.Cr.,<br />

CPP, API


Mark Ridout Duane Sauro<br />

M.Photog.MEI.Cr.<br />

John Paul<br />

Caponigro<br />

Craig Schmidt<br />

M.Photog.Cr.,<br />

CPP, ABI, API<br />

Robert T.<br />

Williams<br />

Cr.Photog.<br />

Jack Davis Jim DiVitale<br />

M.Photog.MEI.Cr., API<br />

Matthew Jordan<br />

Smith<br />

Greg Stangl<br />

M.Photog.Cr.<br />

Buddy Stewart<br />

M.Photog.Cr.,<br />

CPP, API<br />

Graham Wilson Jeff & Julia Woods Helen Yancy<br />

M.Photog.M.Artist.MEI<br />

.Cr., Hon.M.Photog.,<br />

CPP, API<br />

ADOBE SPEAKERS <br />

Katrin Eismann Julieanne Kost Kevin Kubota<br />

Cr.Photog.<br />

CPI SPEAKERS<br />

Commercial Photography Conference<br />

January 13-14, <strong>2007</strong> San Antonio, TX<br />

Paul Aresu Peter Krogh Don MacGregor<br />

M.Photog.Cr., API<br />

Joe McNally Jack Reznicki<br />

Cr.Photog., API<br />

SEPCON SPEAKERS<br />

Dave Swoboda<br />

M.Photog.Cr.<br />

Louis Tonsmeire<br />

Cr.Photog., API<br />

Andrew Rodney Jeff Schewe<br />

Eddie Tapp<br />

M.Photog.MEI.Cr.,<br />

CPP, API<br />

Ben Chen Jerry Esposito Lucas Gilman Michael Grecco John Harrington Mark Hicks Dennis<br />

Kirkpatrick<br />

<br />

www.ImagingUSA.org P12<br />

Richard Markham Dianne Murphy Brent Taylor Serge Timacheff Gerry Waite John Woodward Chris Wunder


Aisle Code<br />

Aisle 100<br />

Aisle 200<br />

Aisle 300<br />

Aisle 400<br />

Aisle 500<br />

Aisle 600<br />

P13 www.ImagingUSA.org<br />

Aisle 700<br />

Aisle 800<br />

Aisle 900<br />

Aisle 1000<br />

Aisle 1100<br />

Aisle 1200<br />

Expo<br />

<br />

MAP<br />

January 14-16, <strong>2007</strong> San Antonio, TX


PASSION WITH POWER<br />

PERFORMANCE WITH PURPOSE<br />

THE NIKON DIGITAL SYSTEM<br />

COME EXPERIENCE<br />

the incredible power of the<br />

Nikon Digital SLR System<br />

AT BOOTH 941<br />

Nikon Booth<br />

941<br />

IMAGING USA January 14th -16th <strong>2007</strong>


Exhibitor<br />

Listings<br />

36 Pix<br />

Booth: 1261<br />

1751 Richardson Suite 5515<br />

Montreal, QC H3K 1G6 Canada<br />

514-448-7788<br />

Fax: 514-448-7784<br />

www.36pix.com<br />

ACC, Austin Community<br />

College<br />

Booth: 129<br />

Austin Community College<br />

11928 Stonehollow Dr.<br />

Austin, TX 78758<br />

512-223-4180<br />

ACD Systems<br />

Booth: 536<br />

PO Box 36 2261 Keating Cross Rd.<br />

Saanichton, BC V8M 2L3 Canada<br />

250-544-6700<br />

Fax: 250-544-0291<br />

www.acdsystems.com<br />

Adobe Systems, Inc.<br />

Booth: 650<br />

345 Park Ave.<br />

San Jose, CA 95110<br />

408-536-5583<br />

www.adobe.com<br />

Album Crafters<br />

Booth: 771<br />

2689 West 76 Street<br />

Hialeah, FL 33016<br />

305-826-8600<br />

Fax: 305-826-9888<br />

Albums Australia<br />

Booth: 863<br />

17/993 North Road<br />

Murrumbeena,Victoria Australia<br />

61-3-95637099<br />

www.albumsaustralia.com.au<br />

Albums Inc.<br />

Booth: 1029<br />

15900 Foltz Industrial Parkway<br />

Strongsville, OH 44149<br />

440-846-4455<br />

Fax: 440-846-5448<br />

www.albumsinc.com<br />

Albums Unlimited<br />

Booth: 1149<br />

2012 Hartog Drive<br />

San Jose, CA 95131<br />

408-982-9294<br />

Fax: 408-982-9296<br />

www.albumsunlimited.com<br />

(See our ad on p. 31)<br />

P15 www.ImagingUSA.org<br />

Imaging USA January 14-16, <strong>2007</strong> San Antonio, TX<br />

<br />

AlbumX-Renaissance<br />

Booth: 348<br />

21 Grace Church Street<br />

Port Chester, NY 10573<br />

914-939-6878<br />

Fax: 914-939-5874<br />

www.renaissancealbums.com<br />

Alien Bees<br />

Booth: 1162<br />

2723 Bransford Avenue<br />

Nashville, TN 37204<br />

615-383-3982<br />

Fax: 615-383-0676<br />

www.alienbees.com<br />

Allied Photographic &<br />

Imaging Lab<br />

Booth: 622<br />

517 32nd SE<br />

Grand Rapids, MI 49548<br />

www.alliedphoto.com<br />

American Color Imaging<br />

Booth: 965<br />

715 East 18th St.<br />

Cedar Falls, IA 50613<br />

800-728-2722<br />

Fax: 319-277-6522<br />

www.acilab.com<br />

(See our ad on p. 29)<br />

American Photo/Popular<br />

Photography<br />

Booth: 132<br />

1633 Broadway 43rd Floor<br />

New York, NY 10019<br />

212-767-6662<br />

Fax: 212-489-4217<br />

www.americanphotomag.com<br />

American Photographic<br />

Resources Inc.<br />

Booth: 972<br />

P.O. Box 820127<br />

Fort Worth, TX 76182<br />

817-431-8313<br />

Fax: 817-595-2300<br />

www.aprprops.com<br />

(See our ad on p. 29)<br />

American Student List<br />

Booth: 123<br />

330 Old Country Road<br />

Mineola, NY 11501<br />

516-248-6100<br />

Fax: 516-248-6364<br />

(See our ad on p. 34)<br />

Amherst Media Inc.<br />

Booth: 875<br />

175 Rano Street #200<br />

Buffalo, NY 14207<br />

716-874-4450<br />

Fax: 716-874-4508<br />

www.amherstmedia.com<br />

Annie M Designs<br />

Booth: 558<br />

10777 LaSalle Blvd.<br />

248-760-2472<br />

Fax: 248-596-1601<br />

Huntington Woods, MI 48070<br />

APAG<br />

Booth: 1279<br />

568 Main St<br />

Wilbraham, MA 01095-1604<br />

413-596-8752<br />

djohnmccarthy@mac.com<br />

Apollo Photo Imagizing<br />

Booth: 946<br />

5330 W. Electric Ave.<br />

Milwaukee,WI 53219<br />

414-545-1270<br />

Fax: 414-545-7049<br />

www.apollo-imagizing.com<br />

Arlington Camera Inc.<br />

Booth: 749<br />

544 W. Randol Mill Road<br />

Arlington, TX 76011<br />

817-261-8131<br />

Fax: 817-861-5278<br />

www.arlingtoncamera.com<br />

Armadillo Photo Supply<br />

Booth: 341<br />

9777 West Gulf Bank #1500<br />

Houston, TX 77040<br />

713-937-8442<br />

Fax: 713-937-8717<br />

www.armadillophoto.com<br />

Art Leather Manufacturing<br />

Co. Inc.<br />

Booth: 937<br />

600 West John Street<br />

Hicksville, NY 11801-1035<br />

888-252-5286<br />

Fax: 800-882-5286<br />

www.artleather.com<br />

Artistic Backgrounds<br />

Booth: 1041<br />

385 N. Monte Vista<br />

Idaho Falls, ID 83401<br />

208-535-1323<br />

Fax: 208-522-7060<br />

www.artisticbackgrounds.com<br />

Association Health Benefits<br />

Booth: 119<br />

6319 W.110th Street<br />

Overland Park, KS 66211<br />

(913) 341-2868<br />

Fax: (913) 341-2803<br />

AsukaBook USA<br />

Booth: 364<br />

62910 OB Riley Rd. Suite 310<br />

Bend, OR 97701<br />

866-330-1530<br />

Fax: 544-330-5540<br />

www.asukabook.com<br />

Atlantic Frames, Inc.<br />

Booth: 329<br />

6649-E Peachtree Industrial Blvd.<br />

Norcross, GA 30092<br />

770-242-0058<br />

Fax: 404-420-2164<br />

www.atlanticframes.com<br />

Austin Community College,<br />

Photography Program<br />

Booth: 129<br />

11928 Stonehollow Dr. Building 3000<br />

Austin, TX 78758<br />

512-223-4180<br />

www.austincc.edu<br />

B & H Photo-Video-Pro<br />

Audio<br />

Booth: 1049<br />

420 Ninth Ave<br />

New York, NY 10001<br />

212-239-7500<br />

Fax: 212-239-7502<br />

www.bhphotovideo.com<br />

Backdrop Outlet<br />

Booth: 1231<br />

2215 S. Michigan Avenue<br />

Chicago, IL 60616<br />

312-842-6550<br />

Fax: 312-842-6546<br />

www.backdropoutlet.com<br />

Backgrounds By Maheu<br />

Booth: 541<br />

105 Glendale Meadow Ln.<br />

Harrisville, RI 02830<br />

800-237-1883<br />

Fax: 401-567-0479<br />

www.backgroundsbymaheu.com<br />

Backprint<br />

Booth: 537<br />

4000 Harlan St.<br />

Emeryville, CA 94608<br />

510-420-4959<br />

Fax: 510-595-6898<br />

www.backprint.com<br />

Backupandburn<br />

Booth: 221<br />

117 N.Wing St.<br />

Northville, MI 48167<br />

248-449-6177<br />

Fax: 248-349-3916<br />

www.backupandburn.com


{<br />

BOOKMARK<br />

}<br />

<strong>Professional</strong> <strong>Photographer</strong> Online<br />

TODAY!<br />

Go to ppmag.com for new and exclusive Web-only features and educational content. Ppmag.com is your<br />

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past 24 months.<br />

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<strong>Professional</strong> <strong>Photographer</strong> Online: The Internet partner for <strong>Professional</strong> <strong>Photographer</strong> magazine.


BallSTARS<br />

Booth: 519<br />

100 Mission Woods Dr.<br />

New Century, KS 66031<br />

913-764-7788<br />

Fax: 913-254-7803<br />

www.ballstars.com<br />

Bay Photo Lab<br />

Booth: 1153<br />

2608 Chanticleer Avenue<br />

Santa Cruz, CA 95065<br />

831-475-6686<br />

Fax: 831-475-5275<br />

www.bayphoto.com<br />

Bibble Labs<br />

Booth: 111<br />

11940 Jollyville Rd.<br />

Austin, TX 78759<br />

Big Folio<br />

Booth: 220<br />

359 Front St., Ste. F<br />

Grover Beach, CA 93420<br />

Blossom Publishing<br />

Booth: 446<br />

163 E. 2nd St. P.O. Box 307<br />

Winona, MN 55987<br />

507-474-7450<br />

Fax: 507-474-7451<br />

BLURB<br />

Booth: 1271<br />

580 California St., Suite 300<br />

San Francisco, CA 94104<br />

415-364-6300<br />

Fax: 415-362-2078<br />

www.blurb.com<br />

Bogen Imaging<br />

Booth: 735<br />

565 East Crescent Avenue<br />

Ramsey, NJ 07446<br />

201-818-9500<br />

Fax: 201-818-9177<br />

www.bogenimaging.com<br />

Broken Joey Records<br />

(Julia John Music)<br />

Booth: 121<br />

P.O. Box 309<br />

Centerport, NY 11721<br />

631-757-4309<br />

800-349-7686<br />

Buckeye Color Lab<br />

Booth: 1136<br />

5143 Stoneham Road<br />

North Canton, OH 44720<br />

800-433-1292<br />

Fax: 330-499-7403<br />

www.buckeyecolor.com<br />

Burns Picture Frame Co.<br />

Booth: 210<br />

RRCP 135 Miller<br />

New Boston, TX 75570<br />

903-832-0255<br />

Fax: 903-831-5461<br />

www.burnspictureframe.com<br />

P17 www.ImagingUSA.org<br />

Exhibitor Listings<br />

Imaging USA January 14-16, <strong>2007</strong> San Antonio, TX<br />

Burrell <strong>Professional</strong> Labs<br />

Booth: 1227<br />

1311 Merrillville Road<br />

Crown Point, IN 46307<br />

800-348-8732<br />

Fax: 219-662-0915<br />

www.burrellprolabs.com<br />

(See our ad on p. 30)<br />

BWC Photo Imaging<br />

Booth: 227<br />

4930 Maple Avenue<br />

Dallas, TX 75235<br />

214-528-4200<br />

Fax: 214-521-3756<br />

www.bwc.net<br />

(See our ad on p. 34)<br />

Calumet Photographic Inc.<br />

Booth: 835<br />

900 W. Bliss Street<br />

Chicago, IL 60622<br />

312-944-2680<br />

Fax: 312-944-2780<br />

www.calumetphoto.com<br />

Candid Color Systems Inc.<br />

Booth: 636<br />

1300 Metropolitan Avenue<br />

Oklahoma City, OK 73108<br />

405-951-7251<br />

Fax: 405-951-7343<br />

www.candid.com<br />

Canon USA<br />

Booth: 725<br />

One Canon Plaza<br />

Lake Success, NY 11042<br />

516-328-5236<br />

Fax: 516-328-4809<br />

www.usa.canon.com<br />

Capitol Filmworks Inc.<br />

Booth: 316<br />

909 Forest Avenue<br />

Montgomery, AL 36106<br />

334-261-2080<br />

Fax: 334-269-0147<br />

www.totalimage.com<br />

Capri Album Co. Inc.<br />

Booth: 337<br />

510 S. Fulton Avenue<br />

Mount Vernon, NY 10550<br />

914-776-6000<br />

Fax: 800-791-3434<br />

www.caprialbum.com<br />

Castner Picture Frame Co.<br />

Booth: 967<br />

2145 Central Parkway<br />

Cincinnati, OH 45214<br />

513-241-2138<br />

Fax: 513-241-5080<br />

www.castner1882.com<br />

Cellofoam North America Inc<br />

Booth: 353<br />

1917 Rockdale Industrial Blvd<br />

Conyers, GA 30012<br />

770-855-9823<br />

www.cellofoam.com<br />

Century Marketing<br />

Booth: 776<br />

12836 S. Dixie Highway<br />

Bowling Green, OH 43402<br />

800-537-9429<br />

Fax: 419-352-9567<br />

www.centurylabel.com<br />

Chimera Company<br />

Booth: 773<br />

1812 Valtec Lane<br />

Boulder, CO 80301<br />

303-444-8000<br />

Fax: 303-444-8303<br />

www.chimeralighting.com<br />

(See our ad on p. 29)<br />

Classic Album<br />

Booth: 1071<br />

343 Lorimer Street<br />

Brooklyn, NY 11206<br />

718-388-2818<br />

Fax: 718-388-0214<br />

www.classicalbum.com<br />

Coda, Inc.<br />

Booth: 866<br />

30 Industrial Ave.<br />

Mahwah, NJ 07430<br />

201-825-7400<br />

Fax: 201-825-8133<br />

www.codamount.com<br />

Collages.Net Inc.<br />

Booth: 231<br />

930 Town Center Drive Suite G-75<br />

Langhorne, PA 19047<br />

267-572-5019<br />

Fax: 215-741-5720<br />

www.collages.net<br />

(See our ad on p. 32)<br />

Collector's Gallery<br />

Booth: 1225<br />

2601 E. Main St.<br />

St. Charles, IL 60174<br />

630-584-5235<br />

Fax: 630-584-1224<br />

www.cardsandboxes.com<br />

Color Incorporated<br />

Booth: 443<br />

3280 Chicago Dr.<br />

Grandville, MI 49418<br />

616-588-1489<br />

Fax: 616-988-0926<br />

www.colorinc.com<br />

Consolidated Photo<br />

Packaging, Inc.<br />

Booth: 1160<br />

PO Box 140 7249 Bosque Rd<br />

Canutillo, TX 79835<br />

915-877-4424<br />

Fax: 915-877-4463<br />

Corel Corporation<br />

Booth: 217<br />

1600 Carling Ave.<br />

Ottawa, ON K1Z 8R7 Canada<br />

888-267-3548<br />

www.corel.com<br />

CPQ <strong>Professional</strong> Imaging<br />

Booth: 1072<br />

550 Industrial Drive<br />

Cleveland, TN 37311<br />

423-479-6186<br />

Fax: 423-479-2489<br />

www.cpq.net<br />

(See our ad on p. 32)<br />

Custom Brackets<br />

Booth: 854<br />

29 Alpha Park<br />

Highland Heights, OH 44143<br />

440-446-0319<br />

Fax: 440-473-6011<br />

Cypress Fine Albums<br />

Booth: 1238<br />

1001 East 1st St. Suite 17<br />

Los Angeles, CA 90012<br />

213-620-0085<br />

Fax: 213-620-0096<br />

www.cypressalbums.com<br />

Dahle North America<br />

Booth: 226<br />

375 Jaffrey Rd.<br />

Peterborough, NH 03458<br />

603-924-0003<br />

Denny Manufacturing<br />

Co. Inc.<br />

Booth: 546<br />

PO Box 7200<br />

Mobile, AL 36670<br />

251-457-2388<br />

Fax: 251-452-4630<br />

www.dennymfg.com<br />

(See our ad on p. 30)<br />

Denny Novelty<br />

Booth: 560<br />

PO Box 7200<br />

Mobile, AL 36670<br />

251-457-2388<br />

Fax: 251-452-4630<br />

www.dennymfg.com<br />

Desktop Darkroom Inc.<br />

Booth: 158<br />

1944 Atlantic Blvd<br />

Jacksonville, FL 32207<br />

888-398-9934<br />

Fax: 904-398-2540<br />

www.desktopdarkroom.com<br />

DigiLabs<br />

Booth: 317<br />

1032 Elwell Ct.<br />

Palo Alto, CA 94303<br />

650-390-9749<br />

Fax: 650-390-9754<br />

www.digilabs.biz<br />

Digital Anarchy<br />

Booth: 518<br />

218 Cordova St.<br />

San Francisco, CA 94112<br />

415-586-8434<br />

Fax: 415-358-4874<br />

(See our ad on P. 31)<br />

Digital Photo Templates<br />

Booth: 1157<br />

198 Mellwood Drive<br />

Charlotte, NC 28214<br />

704-391-7604<br />

Fax: 704-398-9544<br />

www.digitalphototemplates.com<br />

Diversified Laboratory<br />

Services, Inc.<br />

Booth: 1265<br />

645 Hanley Industrial Court<br />

St. Louis, MO 63144<br />

314-781-0480<br />

Fax: 314-781-2014<br />

www.diverifiedlab.com<br />

DNL Photo Packaging<br />

Booth: 523<br />

20806 Plummer St.<br />

Chatsworth, CA 91311<br />

818-700-1848<br />

Fax: 818-700-8223<br />

www.dnlphoto.com


DriveSavers<br />

Booth: 859<br />

400 Bel Marin Keys Blvd<br />

Novato, CA 94949<br />

www.drivesavers.com<br />

Drytac<br />

Booth: 1244<br />

5383 Glen Alden Drive<br />

Richmond,VA 23231<br />

804-222-3094<br />

Fax: 804-226-2330<br />

www.drytac.com<br />

Dury's Photo<br />

Booth: 456<br />

701 Ewing Avenue<br />

Nashville, TN 37203<br />

800-824-2379<br />

Fax: 615-255-3506<br />

www.durys.com<br />

Dyna-Lite Inc.<br />

Booth: 770<br />

1050 Commerce Avenue<br />

Union, NJ 07083<br />

908-687-8800<br />

Fax: 908-686-6682<br />

www.dynalite.com<br />

Dynamic Designs<br />

Booth: 1257<br />

7253 Lehring Road<br />

Bancroft, MI 48414<br />

989-634-9353<br />

Eastman Kodak<br />

Booth: 925<br />

343 State Street 585-724-4373<br />

Rochester, NY 14650-0403<br />

585-724-4373<br />

Fax: 585-781-5327<br />

www.kodak.com<br />

(See our ad on p.8)<br />

eMotion Media, Inc.<br />

Booth: 868<br />

7702 E. 91st St., Suite 205<br />

Tulsa, OK 74133<br />

918-392-0888<br />

Fax: 918-477-2442<br />

www.emotionmedia.com<br />

EmotionPrints<br />

Booth: 419<br />

101 W. Oak St.<br />

Wylie, TX 75098<br />

214-543-2127<br />

Fax: 972-429-4745<br />

www.vizpar.com<br />

Epoch Arts Inc.<br />

Booth: 761<br />

2045 Westgate Dr, Ste 110<br />

Carollton, TX 75006<br />

972-252-1273<br />

Fax: 972-252-1663<br />

www.epocharts.com<br />

Epson America, Inc.<br />

Booth: 1121<br />

3840 Kilroy Airport Way<br />

Long Beach, CA 90806-2469<br />

562-290-4132<br />

Fax: 562-290-5182<br />

www.epson.com<br />

Eventpix.com<br />

Booth: 246<br />

9255 Doheny Road, Suite 903<br />

Los Angeles, CA 90069<br />

310-859-9399<br />

Fax: 310-859-1279<br />

www.eventpix.com<br />

Excel Picture Frames, Inc.<br />

Booth: 438<br />

9846 Jersey Avenue<br />

Santa Fe Springs, CA 90670<br />

800-578-7252<br />

Fax: 877-949-1396<br />

www.exelpictureframes.com<br />

ExpoImaging<br />

Booth: 256<br />

365 Woodview Ave. #700<br />

Morgan Hill, CA 95037<br />

408-778-2040<br />

Fax: 408-778-9542<br />

www.expoimaging.net<br />

ExpressDigital<br />

Booth: 1152<br />

9200 E. Panorama Cir. Suite 150<br />

Englewood, CO 80112<br />

303-729-0495<br />

Fax: 303-790-1443<br />

www.expressdigital.com<br />

Far West Photo<br />

Booth: 1260<br />

2150 So. Major Street<br />

Salt Lake City, UT 84115<br />

801-485-2200<br />

Fax: 801-485-2115<br />

www.farwestphoto.com<br />

Ferrania Technologies<br />

Booth: 149<br />

6063 Hudson Road<br />

Woodbury, MN 55125<br />

888-846-2846<br />

Fax: 651-734-6625<br />

www.ferraniait.com<br />

FL PPA<br />

Kief Photography<br />

2245 Plantation Center Dr.<br />

Suite 55<br />

Orange Park, Fl. 32003<br />

904-215-9933<br />

Flora <strong>Professional</strong> Albums<br />

Booth: 855<br />

2160 Superior Avenue<br />

Cleveland, OH 44114<br />

216-781-6000<br />

Fax: 216-535-0693<br />

www.floraalbums.com<br />

Forbeyon, Inc.<br />

Booth: 152<br />

202 E. Border St. Suite 340<br />

Arlington, TX 76010<br />

817-272-0482<br />

Fax: 817-272-1254<br />

www.forbeyon.com<br />

Framecrafters, Inc.<br />

Booth: 1262<br />

1410 Campbell Rd.<br />

Houston, TX 77055<br />

713-973-1333<br />

Fax: 713-973-1388<br />

www.framecraftersinc.com<br />

Fuji Photo Film USA Inc.<br />

Booth: 1025<br />

200 Summit Lake Dr.<br />

Valhalla, NY 10595<br />

914-789-8212<br />

Fax: 914-789-8769<br />

www.fujifilm.com<br />

Full Color Inc<br />

Booth: 1067<br />

7950 Carr St.<br />

Dallas, TX 75227<br />

214-381-2101--3002<br />

Fax: 214-381-8866<br />

www.fullcolor.com<br />

General Products LLC<br />

Booth: 843<br />

4045 N. Rockwell Street<br />

Chicago, IL 60618<br />

773-463-2424<br />

Fax: 773-463-3028<br />

www.gpalbums.com<br />

Golden Memories<br />

Booth: 339<br />

27601 Forbes Suite 7<br />

Laguna Niguel, CA 92677<br />

949-582-5550<br />

Fax: 949-582-0300<br />

www.goldenmems.net<br />

Granite Bear LLC<br />

Booth: 1247<br />

1 Federal Bldg 101<br />

Springfield, MA 01105<br />

406-892-0603<br />

Fax: 303-265-9235<br />

www.granitebear.com<br />

Graphic Authority<br />

Booth: 450<br />

10204 Pandora Lane<br />

Albuquerque, NM 87114<br />

603-548-8796<br />

www.graphicauthority.com<br />

GraphiStudio<br />

Booth: 133<br />

960 Inwood Ave. N<br />

Oakdale, MN 55128<br />

651-578-0806--470<br />

Fax: 651-286-3895<br />

www.graphistudio.com<br />

Gross National Product<br />

Booth: 359<br />

7825 Fay Ave., #118<br />

La Jolla, CA 92037<br />

718-595-8000<br />

www.gnpframe.com<br />

(See our ad on p. 30)<br />

Group <strong>Photographer</strong>s<br />

Association, Inc.<br />

Booth: 763<br />

10220 E. Sprague Ave., Main Floor<br />

Spokane Valley,WA 99206<br />

509-927-8694<br />

Fax: 509-927-1418<br />

www.groupphotographers.com<br />

GW Moulding<br />

Booth: 1059<br />

3600 North Parkway, Suite 102<br />

Cumming, GA 30040<br />

678-513-0290<br />

Fax: 678-513-8164<br />

www.gwmoulding.com<br />

H & H Color Lab Inc.<br />

Booth: 960<br />

8906 E 67th Street<br />

Raytown, MO 64133<br />

816-358-6677<br />

Fax: 816-313-1480<br />

www.hhcolorlab.com<br />

Hallmark Imaging<br />

Booth: 1268<br />

253 Millers Falls Road<br />

Turners Falls, MA 01376<br />

413-863-9551<br />

Fax: 413-863-2777<br />

H-B Packaging Group<br />

Booth: 460<br />

575 Lonsdale Ave.<br />

Central Falls, RI 02863<br />

401-725-3646<br />

Fax: 401-725-0460<br />

www.h-bpackaging.com<br />

Hi-Touch Imaging<br />

Technologies Inc.<br />

Booth: 251<br />

285 S. Dupont Ave., Suite 104<br />

Ontario, CA 91761<br />

909-974-0099<br />

Fax: 909-974-0011<br />

www.hitouchimaging.com<br />

Hoodman Corporation<br />

Booth: 223<br />

20445 Gramercy Place #201<br />

Torrance, CA 90501<br />

310-222-8608<br />

Fax: 310-222-8623<br />

Hewlett-Packard Company<br />

Booth: 527<br />

3404 E. Harmony Rd. MS 54<br />

Ft. Collins, CO 80528<br />

970-898-9295<br />

Fax: 970-898-9640<br />

www.hp.com<br />

Image Shield Solutions-<br />

Pacific Studio Supplies<br />

Booth: 767<br />

1574 Gulf Road #108<br />

Point Roberts,WA 98281<br />

604-278-7937<br />

Fax: 604-278-7967<br />

www.pss2001.com<br />

Image Trends Inc.<br />

Booth: 150<br />

6300 Bridge Point Parkway<br />

Austin, TX 78730<br />

512-637-7310<br />

Fax: 512-637-7324<br />

www.imagetrendsinc.com<br />

<br />

www.ImagingUSA.org P18


ImageQuix<br />

Booth: 1143<br />

2123 Old Spartanburg Rd Suite 200<br />

Greer, SC 29650<br />

585-419-9810<br />

Fax: 864-292-6998<br />

www.WebQuix.com<br />

Imaging Spectrum, Inc.<br />

Booth: 323<br />

9151 Forest Lane<br />

Dallas, TX 75243<br />

214-342-9290<br />

Fax: 214-342-9291<br />

www.imagingspectrum.com<br />

(See our ad on p. 33)<br />

Impact Images<br />

Booth: 349<br />

4949 Windplay Dr. Suite 100<br />

El Dorado Hills, CA 95762<br />

916-673-5720<br />

Fax: 916-933-4717<br />

www.clearbags.com<br />

Independent Leasing<br />

Booth: 613<br />

1455 Lockridge Dr., Suite 100<br />

Cumming, GA 30041<br />

800-685-7571<br />

www.independentleasing.com<br />

International Association<br />

of Panoramic<br />

<strong>Photographer</strong>s (IAPP)<br />

Booth: 117<br />

Panoramic Pictures<br />

7804 Keswick Dr.<br />

Austin, TX 78745<br />

512-447-1405<br />

Fax: 512-447-3059<br />

www.panoramicassociation.org<br />

JustRite Bracket Co.<br />

Booth: 516<br />

21565 Verdun<br />

Farmington Hills, MI 48336<br />

248-477-0592<br />

Fax: 248-477-7166<br />

www.justritebracket.com<br />

Kambara USA Inc.<br />

Booth: 1140<br />

18355 SW Teton Avenue<br />

Tualatin, OR 97062<br />

503-692-9818<br />

Fax: 503-692-7929<br />

www.kambara.com<br />

Kanematsu USA Inc.<br />

Booth: 327<br />

100 Randolph Rd.<br />

Somerset, NJ 08873<br />

732-271-7369<br />

Fax: 732-271-7357<br />

www.kgdigital.com<br />

Kendall Hartcraft<br />

Booth: 1173<br />

334 Dan Tibbs Rd.<br />

Huntsville, AL 35806<br />

256-859-5533<br />

Fax: 256-859-9444<br />

www.kendallhartcraft.com<br />

Kingston Technology<br />

Company Inc.<br />

Booth: 247<br />

17600 Newhope St.<br />

Fountain Valley, CA 92708<br />

714-435-2600<br />

www.kingston.com<br />

P19 www.ImagingUSA.org<br />

Exhibitor Listings<br />

Imaging USA January 14-16, <strong>2007</strong> San Antonio, TX<br />

Knowledge Backgrounds<br />

Booth: 439<br />

3280 Dauphin St. Building C, Rm 106<br />

Mobile, AL 36606<br />

251-476-6100<br />

Fax: 251-476-6107<br />

www.handpaintedbackgrounds.com<br />

Kubota Photoshop Actions<br />

Booth: 464<br />

62910 OB Riley Rd.<br />

Bend, OR 97701<br />

541-330-6633<br />

Fax: 541-330-5540<br />

www.kubotaimagetools.com<br />

(See our ad on p. 30)<br />

L&B Albums Frames<br />

Backgrounds Plus Inc.<br />

Booth: 1277<br />

9163 E Las Tunas Dr.<br />

Temple City, CA 91780<br />

626-286-4083<br />

Fax: 626-286-3599<br />

www.lbalbumframe.com<br />

LabPrints Inc.<br />

Booth: 257<br />

1223 Peoples Ave.<br />

Troy, NY 12180<br />

518-274-3931<br />

Fax: 518-833-0474<br />

www.labprints.com<br />

Larson Enterprises<br />

Booth: 616<br />

2185 Alicia Street<br />

Fort Myers, FL 33901<br />

800-351-2158<br />

Fax: 239-334-3288<br />

www.larson-ent.com<br />

Leather Album Designs<br />

Booth: 1252<br />

PO Box 340885<br />

Columbus, OH 43234<br />

614-442-1022<br />

Fax: 614-459-3596<br />

Leather Craftsmen Inc.<br />

Booth: 240<br />

51 Carolyn Boulevard<br />

Farmingdale, NY 11735<br />

800-275-2463<br />

Fax: 631-752-9220<br />

www.leathercraftsmen.com<br />

Leica Camera Inc.<br />

Booth: 1145<br />

156 Ludlow<br />

Northvale, NJ 07647<br />

201-767-7500<br />

Fax: 201-767-8666<br />

www.leicacamerausa.com<br />

Lensbabies<br />

Booth: 264<br />

135 SE Main St. Suite 201<br />

Portland, OR 97214<br />

503-516-9569<br />

Fax: 503-234-6040<br />

www.lensbabies.com<br />

(See our ad on p. 32)<br />

Les Brandt Backgrounds<br />

Booth: 1053<br />

P.O. Box 121<br />

Bed Bud, IL 62278<br />

618-282-4616<br />

Fax: 618-282-4780<br />

www.lesbrandtbackgrounds.com<br />

Levin Co.<br />

Booth: 1037<br />

1111 W.Walnut St. P.O. Box 4999<br />

Compton, CA 90220<br />

310-762-9000<br />

Fax: 310-608-7418<br />

www.levinframes.com<br />

LexJet<br />

Booth: 949<br />

1680 Fruitville Road Third Floor<br />

Sarasota, FL 34236<br />

800-453-9538<br />

Fax: 941-330-1220<br />

www.lexjet.com<br />

(See our ad on p. 31)<br />

Liberty Photo Products<br />

Booth: 417<br />

1046 Calle Trepadora<br />

San Clemente, CA 92673<br />

949-361-1100<br />

Fax: 949-498-4441<br />

LightScribe<br />

Booth: 253<br />

1000 NE Circle Blvd.<br />

Corvallis, OR 97330<br />

541-715-0028<br />

Fax: 541-715-9918<br />

www.lightscribe.com<br />

LightWebMedia, LLC<br />

Booth: 1263<br />

12905 W. 138th St.<br />

Overland Park, KS 66221<br />

913-961-2234<br />

Fax: 866-342-9575<br />

www.lightwebmedia.com<br />

LumaPix Inc.<br />

Booth: 358<br />

195 Louis-Lalande<br />

Boucherville, QC J4B 2P2 Canada<br />

877-586-2749<br />

Fax: 866-658-5042<br />

www.lumapix.com<br />

Lumedyne Inc.<br />

Booth: 416<br />

6010 Wall Street<br />

Port Richey, FL 34668<br />

727-847-5394<br />

Fax: 727-841-0000<br />

www.lumedyne.com<br />

LumiQuest/Quest<br />

Productions<br />

Booth: 426<br />

28540 Durango Drive<br />

New Braunfels, TX 78132<br />

830-438-4646<br />

Fax: 830-438-4667<br />

www.lumiquest.com<br />

LustreColor Inc.<br />

Booth: 336<br />

540 Turnpike Street<br />

Canton, MA 02021<br />

800-827-7101<br />

Fax: 781-828-2918<br />

www.LustreColor.com<br />

Madison Photo Works<br />

Booth: 870<br />

709 Scott Blvd<br />

Convington, KY 41011<br />

859-261-7427<br />

Fax: 859-261-7436<br />

Mamiya America Corp.<br />

Booth: 743<br />

8 Westchester Plaza<br />

Elmsford, NY 10523<br />

914-347-3300<br />

Fax: 914-347-3309<br />

www.mamiya.com<br />

Marathon Press Inc.<br />

Booth: 966<br />

1500 Square Turn Blvd.<br />

Norfolk, NE 68702<br />

402-371-5040<br />

Fax: 402-371-9382<br />

www.marathonpress.com<br />

McKenna Pro Imaging<br />

Booth: 140<br />

2815 Falls Ave PO Box 5600<br />

Waterloo, IA 50701<br />

800-235-6265<br />

Fax: 319-235-1121<br />

www.mckennapro.com<br />

(See our ad on p. 32)<br />

Memory Link<br />

Booth: 360<br />

95 Seaview Blvd. #103<br />

Port Washington, NY 11050<br />

516-625-9600<br />

Fax: 516-625-3690<br />

www.albumml.com<br />

Memory Maker Photo<br />

Jewelry<br />

Booth: 1073<br />

8911 Independence Ave.<br />

Canoga Park, CA 91304<br />

818-885-5070<br />

Fax: 818-885-6319<br />

www.memorymakerbracelet.com<br />

Michel Company<br />

Booth: 1043<br />

1151 S. Northpoint Blvd.<br />

Waukegan, IL 60085<br />

800-621-6649<br />

Fax: 847-887-9076<br />

ww.michelcompany.com<br />

Microsoft Corporation<br />

Booth: Microsoft Theatre<br />

1 Microsoft Way<br />

Redmond,WA 98502<br />

425-707-0898<br />

www.microsoft.com/prophoto<br />

(See our ad on p. 46)<br />

MicroSync Digital<br />

Booth: 853<br />

9240 Jordan Ave.<br />

Chatsworth, CA 91311<br />

Fax: 818-407-9501<br />

www.microsyncdigital.com<br />

Midwest Photo Exchange<br />

Booth: 848<br />

3313 N. High Street<br />

Columbus, OH 43202<br />

614-261-1264<br />

Fax: 614-261-1637<br />

www.mpex.com<br />

Midwest Photographic<br />

Resource<br />

Booth: 872<br />

130 North Central Dr.<br />

O'Fallon, MO 63366<br />

636-978-0529<br />

Fax: 800-631-9676<br />

www.midwestphotographic.com


Miller's <strong>Professional</strong><br />

Imaging<br />

Booth: 959<br />

610 E. Jefferson<br />

Pittsburg, KS 66762<br />

620-231-8050<br />

Fax: 620-235-2265<br />

www.millerslab.com<br />

Mitsubishi Digital<br />

Electronics<br />

Booth: 950<br />

9351 Jeronimo Road<br />

Irvine, CA 92618<br />

949-465-6435<br />

Fax: 949-465-4876<br />

www.mitsubishi-imaging.com<br />

Mitsubishi Imaging<br />

Booth: 865<br />

555 Theodore Fremd Ave.<br />

Rye, NY 10580<br />

MOAB By Legion Paper<br />

Booth: 551<br />

457 Cane Creek, Suite B<br />

Moab, UT 84532<br />

877-259-3161<br />

Fax: 435-259-0999<br />

www.fineartpaper.com<br />

MorePhotos<br />

Booth: 520<br />

10850 Traverse Hwy Suite 1010<br />

Traverse City, MI 49684<br />

231-932-0855<br />

Fax: 231-932-0851<br />

www.morephotos.com<br />

Muslin Outlet<br />

Booth: 564<br />

PO Box 7200<br />

Mobile, AL 36670<br />

251-457-2388<br />

Fax: 251-452-4630<br />

www.muslins.net<br />

My Life Designs, LLC<br />

Booth: 465<br />

7809 W. Friend Place<br />

Littleton, CO 80128<br />

303-973-6105<br />

Fax: 303-948-8895<br />

National Assn of Photoshop<br />

<strong>Professional</strong>s<br />

Booth: 452<br />

333 Douglas Road East<br />

Oldsmar, FL 34677<br />

813-433-5000<br />

Fax: 813-433-5013<br />

www.photoshopuser.com<br />

Natural Color Imaging<br />

Booth: 418<br />

378 Page Street<br />

Stoughton, MA 02072<br />

781-341-3200<br />

Fax: 781-341-4033<br />

www.naturalcolorlab.com<br />

NayaCo.<br />

Booth: 1168<br />

PO Bos 5648<br />

South San Francisco, CA 94083<br />

650-351-6466<br />

Fax: 650-351-6466<br />

www.nayaco.com<br />

Neil Enterprises Inc.<br />

Booth: 1139<br />

450 E. Bunker Court<br />

Vernon Hills, IL 60061<br />

847-549-7627<br />

Fax: 847-549-0349<br />

www.neilenterprises.com<br />

(See our ad on p. 31)<br />

Neo Digital Imaging LLC<br />

Booth: 347<br />

4277 Hamann Pkwy.<br />

Willoughby, OH 44094<br />

440-946-5400<br />

Fax: 440-946-6364<br />

www.neoimaging.com<br />

Nichols Photo Lab, Inc.<br />

Booth: 357<br />

3265 South 1100 East<br />

Salt Lake City, UT 84106<br />

801-486-3053<br />

Fax: 801-487-6550<br />

www.nicholsphotolab.com<br />

Nik Software, Inc.<br />

Booth: 1236<br />

7588 Metropolitan Drive<br />

San Diego, CA 92108<br />

619-725-3150<br />

Fax: 619-725-3151<br />

www.nikmultimedia.com<br />

Nikon Inc.<br />

Booth: 941<br />

1300 Walt Whitman Road<br />

Melville, NY 11747<br />

631-547-8534<br />

Fax: 631-547-8518<br />

www.nikonusa.com<br />

Noritsu America Corp.<br />

Booth: 243<br />

6900 Noritsu Avenue<br />

Buena Park, CA 90620<br />

714-521-9040<br />

Fax: 714-670-2049<br />

www.noritsu.com<br />

Norman<br />

Booth: 1254<br />

4800 Quebec Ave. N<br />

Minneapolis, MN 55428<br />

763-971-4421<br />

Fax: 763-537-2852<br />

www.normanlights.com<br />

Northwest<br />

<strong>Professional</strong> Color<br />

Booth: 867<br />

214 12th Street NW<br />

West Fargo, ND 58078<br />

701-282-3577<br />

Fax: 701-282-7232<br />

www.npc-net.com<br />

Novatron<br />

Booth: 436<br />

8230 Moberly Lane<br />

Dallas, TX 75227<br />

214-388-4857<br />

Fax: 214-381-5317<br />

www.novatron.com<br />

Now I Lay Me<br />

Down To Sleep<br />

Booth: 318<br />

211 West County Line<br />

Littleton, CO 80129<br />

303-618-0297<br />

NRD, LLC<br />

Booth: 451<br />

2987 Alt Blvd.<br />

Grand Island, NY 14072<br />

800-525-8076<br />

Fax: 716-773-7744<br />

www.nrdinc.com<br />

onOnesoftware<br />

Booth: 1255<br />

15350 SW Sequoia Pkwy Suite 190<br />

Portland, OR 97224<br />

503-968-1468<br />

(See our ad on p. 29)<br />

Opus Lighting Products<br />

Booth: 449<br />

425 Attwell Drive<br />

Toronto, ON M9W 5L4 Canada<br />

416-745-2622<br />

Fax: 416-742-2616<br />

www.opusprophoto.com<br />

Oriental Photo USA<br />

Booth: 1253<br />

945 W. Hyde Park Boulevard<br />

Inglewood, CA 90302<br />

310-672-9090<br />

Fax: 310-673-5988<br />

www.orientalphotousa.com<br />

Pacific Mount<br />

Booth: 1272<br />

4723 S.Washington St.<br />

Tacoma,WA 98409<br />

253-473-2580<br />

Fax: 253-473-5422<br />

www.PacificMount.com<br />

PDP Systems<br />

Booth: 148<br />

PO Box 162330<br />

Austin, TX 78716<br />

512-715-8225<br />

Fax: 512-715-8227<br />

www.pdpbind.com<br />

PEPhoto LLC<br />

Booth: 146<br />

57-08 39th Ave.<br />

Woodside, NY 11377<br />

718-899-2700<br />

Fax: 718-478-5113<br />

www.pephoto.com<br />

Person & Person Intl. Inc.<br />

Booth: 1137<br />

6858 Raspberry Court<br />

Corona, CA 92880<br />

951-817-5988<br />

Fax: 951-817-5996<br />

www.personandperson.com<br />

Photo District News<br />

Booth: 141<br />

770 Broadway<br />

New York, NY 10003<br />

646-654-5791<br />

Fax: 646-654-5813<br />

www.pdnonline.com<br />

Photo Express Digital<br />

Pro Lab<br />

Booth: 1172<br />

9815 San Pedro Ave.<br />

San Antonio, TX 78216<br />

210-377-3686<br />

Fax: 210-366-2471<br />

www.photoexpressonline.com<br />

Photo Showcase<br />

Booth: 216<br />

P.O. Box 379<br />

Burlington, NC 27216<br />

336-229-9910<br />

Fax: 336-229-9989<br />

www.photoshowcasebackgrounds.com<br />

Photo Stream<br />

Booth: 258<br />

815 S. Sappington Rd.<br />

St. Louis, MO 63126<br />

314-604-8541<br />

www.photostreambooks.com<br />

Photodex Corporation<br />

Booth: 955<br />

4201 West Parmer Lane B-150<br />

Austin, TX 78727<br />

512-406-3064<br />

Fax: 512-452-6825<br />

www.photodex.com<br />

(See our ads on p. 10 and 33)<br />

Photoflex<br />

Booth: 427<br />

97 Hanger Way<br />

Watsonville, CA 95076<br />

831-786-1370<br />

Fax: 831-786-1372<br />

www.photoflex.com<br />

Photogenic <strong>Professional</strong><br />

Lighting<br />

Booth: 961<br />

1268 Humbracht Circle<br />

Bartlett, IL 60103<br />

630-830-2500<br />

Fax: 630-830-2525<br />

www.photogenicpro.com<br />

Photostockplus.com<br />

Booth: 343<br />

460 St. Paul East #330<br />

Montreal, QC H2Y 3V1 Canada<br />

514-392-7722--239<br />

Fax: 514-875-6138<br />

www.photostockplus.com<br />

Pictage<br />

Booth: 431<br />

1580 Francisco St. Suite 101<br />

Torrance, CA 90501<br />

810-525-1561<br />

Fax: 810-525-1566<br />

www.pictage.com<br />

(See our ad on p. 33)<br />

Pictobooks<br />

Booth: 250<br />

11872 Coakley Circle<br />

Rockville, MD 20852<br />

301-231-7050<br />

Fax: 301-231-8735<br />

www.pictobooks.com<br />

<br />

www.ImagingUSA.org P20


Portrait City by<br />

Custom Color<br />

Booth: 868A<br />

300 W. 19th Terrace<br />

Kansas City, MO 64108<br />

816-474-3200<br />

Fax: 816-842-7322<br />

www.portraitcity.net<br />

Portrait Weavers<br />

Booth: 147<br />

PO Box 407 81 Skylar Rd.<br />

Lynn, NC 28750<br />

828-859-2775<br />

Fax: 828-859-2775<br />

www.portraitweavers.com<br />

Posh Props<br />

Booth: 540<br />

208 Rustic Oaks Drive<br />

League City, TX 77573<br />

281-316-3399<br />

Pounds Photographic<br />

Labs, Inc.<br />

Booth: 430<br />

7801 N. Lamar Suite D80<br />

Dallas, TX 78752<br />

512-833-3529<br />

Fax: 512-835-9703<br />

www.poundslabs.com<br />

PPA Affiliate Schools<br />

Network<br />

Booth: 127<br />

Image Explorations<br />

1545 W 75th Ave<br />

Vancouver, BC V6P 6Z7<br />

CANADA<br />

604-731-7225<br />

PPA Merchandise -<br />

Anheuser Marketing<br />

Booth: 612<br />

John Anheuser<br />

6941 Peachtree Industrial Blvd<br />

Norcross, GA 30092<br />

770-441-1704<br />

Precision Camera<br />

Booth: 311<br />

3810 N. Lamar B1<br />

Austin, TX 78756<br />

512-467-7676<br />

Precision Camera & Video<br />

Booth: 211<br />

3810 N. Lamar<br />

Austin, TX 78756<br />

512-467-7676<br />

Fax: 512-467-0607<br />

www.precision-camera.com<br />

Premier Imaging Products<br />

Booth: 157<br />

324 Fife St.<br />

Henderson, NV 89015<br />

702-558-6869<br />

Fax: 702-558-9669<br />

www.premierart.info<br />

(See our ad on p. 33)<br />

Printroom.com<br />

Booth: 557<br />

2520 Mission College Blvd. #102<br />

Santa Clara, CA 95054<br />

510-673-9531<br />

Fax 408-987-8840<br />

www.printroom.com<br />

P21 www.ImagingUSA.org<br />

Exhibitor Listings<br />

Imaging USA January 14-16, <strong>2007</strong> San Antonio, TX<br />

Pro Studio Supply Inc.<br />

Booth: 222<br />

650 Armour Rd.<br />

Oconomowoc,WI 53066-0046<br />

262-567-8047<br />

Fax: 262-567-8479<br />

www.prostudiousa.com<br />

ProLab Express<br />

Booth: 151<br />

206 Grandville Ave. SW<br />

Grand Rapids, MI 49503<br />

616-774-9583<br />

Fax: 616-774-2954<br />

www.prolabexpress.com<br />

ProSelect/Ron Nichols<br />

Digital Learning<br />

Booth: 459<br />

222 S. Bridge<br />

Grand Ledge, MI 48837<br />

517-627-2159<br />

Fax: 517-627-2443<br />

www.ronnichols.com<br />

PXLSOFT, LLC<br />

Booth: 1223<br />

221 Middlesex Essex Tpke<br />

Iselin, NJ 08830<br />

732-283-2550<br />

Fax: 848-250-8954<br />

www.pxlsoft.com<br />

Quantum Instruments Inc.<br />

Booth: 864<br />

10 Commerce Dr.<br />

Hauppauge, NY 11788<br />

631-656-7400<br />

Fax: 631-656-7410<br />

www.qtm.com<br />

Racy Hot! Handbags<br />

Booth: 752<br />

8817 S. Redwood Rd. Suite D<br />

West Jordan, UT 84088<br />

801-808-9711<br />

www.RacyHotHandbags.com<br />

Red River Paper<br />

Booth: 1147<br />

8400 Directors Row<br />

Dallas, TX 75247<br />

214-637-0029<br />

Fax: 214-637-0016<br />

www.redriverpaper.com<br />

Reedy Photo<br />

Booth: 143<br />

12125 28th St. N<br />

St. Petersburg, FL 33716<br />

727-572-0093<br />

Fax: 727-572-0919<br />

www.reedyphoto.com<br />

Rice Studio Supply<br />

Booth: 428<br />

6150 SW Arctic Dr.<br />

Beaverton, OR 97705<br />

800-962-7710<br />

Fax: 503-520-8721www.ricestudiosupply.com<br />

Richmond Camera<br />

Shop Inc.<br />

Booth: 1158<br />

213 W. Broad St.<br />

Richmond,VA 23220<br />

804-648-0515<br />

Fax: 804-649-3724<br />

www.richmondcamera.com<br />

Ron Nichols Digital<br />

Learning<br />

Booth: 461<br />

222 S. Bridge<br />

Grand Ledge, MI 42837<br />

517-627-2159<br />

Fax: 517-627-2443<br />

www.ronnichols.com<br />

School Photo<br />

Marketing<br />

Booth: 1242<br />

35 Vanderburg Road<br />

Marlboro, NJ 07746<br />

732-431-0440<br />

Fax: 732-431-0455<br />

www.schoolphotoonline.com<br />

SeeYourPhotos.Net, LLC<br />

Booth: 340<br />

9600 Johnson Drive<br />

Merriam, KS 66203<br />

913-744-3330<br />

Fax: 913-744-3337<br />

www.seeyourphotos.net<br />

(See our ad on p. 34)<br />

Shared Ink, LLC<br />

Booth: 447<br />

P.O. Box 85<br />

Duvall,WA 98019<br />

425-844-8920<br />

www.sharedink.com/photographer<br />

Showcase Photo & Video<br />

Booth: 319<br />

2323 Cheshire Bridge Road NE<br />

Atlanta, GA 30324<br />

404-325-7676<br />

Fax: 404-321-3636<br />

www.showcaseinc.com<br />

Showoff Albums, USA<br />

Booth: 142<br />

12832 Garden Grove Blvd. Suite D<br />

Garden Grove, CA 92843<br />

714-537-3737<br />

Fax: 714-537-3732<br />

www.showoffalbumsusa.com<br />

Simply Canvas<br />

Booth: 1179<br />

2369 Congress Lake Road<br />

Mogadore, OH 44260<br />

330-819-5699<br />

www.simplycanvas.com<br />

Slide Show Company,The<br />

Booth: 614<br />

5189 Fino Dr.<br />

San Diego, CA 92124<br />

858-569-0949<br />

Software Cinema<br />

Booth: 453<br />

13223 Black Mountain Rd.<br />

San Diego, CA 92129<br />

858-413-4100<br />

Fax: 858-748-6014<br />

www.software-cinema.com<br />

Sony Electronics Inc.<br />

Booth: 320<br />

1 Sony Drive<br />

Park Ridge, NJ 07656<br />

201-358-4370<br />

Fax: 201-358-4942<br />

www.sony.com/picturestation<br />

Southeast Moulding<br />

Distributors<br />

Booth: 1161<br />

334 Dan Tibbs Rd.<br />

Huntsville, AL 35806<br />

800-832-0424<br />

Fax: 888-545-0398<br />

www.southeastmoulding.com<br />

Southpoint Photo Imaging<br />

Supplies<br />

Booth: 774<br />

3320 Towerwood Dr.<br />

Farmers Branch, TX 75234<br />

972-239-0330<br />

Fax: 972-239-2160<br />

www.southpointphoto.com<br />

Special Kids Photography<br />

of America<br />

Booth: 239<br />

700 N. Main St. Unit I-8<br />

Washington, UT 84780<br />

435-632-8300<br />

www.specialkidsphotography.com<br />

Speedotron/The Morris Co.<br />

Booth: 969<br />

310 South Racine Avenue<br />

Chicago, IL 60607<br />

312-421-4050<br />

Fax: 312-421-5079<br />

www.speedotron.com<br />

Spitfire Photo Pro<br />

Booth: 219<br />

5160 Diamond Heights Blvd., #C108<br />

San Francisco, CA 94131<br />

415-341-8099<br />

Stamps.com<br />

Booth: 1278<br />

Strate 2 The Source<br />

Booth: 1266<br />

450 Wilbanks Dr.<br />

Ballground, GA 30107<br />

404-933-6023<br />

Fax: 770-499-5078<br />

www.strate2thesource.com<br />

Studio Photography<br />

<strong>Magazine</strong><br />

Booth: 161<br />

445 Broad Hollow Rd.<br />

Melville, NY 11747<br />

Studio Pro Group<br />

Booth: 1167<br />

1525 Hardeman Ln.<br />

Cleveland, TN 37320<br />

800-238-8259<br />

Fax: 423-339-6696<br />

www.studioprogroup.com<br />

StudioPlus Software<br />

Booth: 973<br />

33006 Hilary Circle NE Suite 200<br />

Cambridge, MN 55008<br />

763-689-1131<br />

Fax: 763-689-4095<br />

www.studioplussoftware.com<br />

Stylart<br />

Booth: 765<br />

1 Stationery Place<br />

Rexburg, ID 83441<br />

208-359-1000<br />

Fax: 208-356-9395<br />

www.stylart.com


SuccessWare Inc.<br />

Booth: 958<br />

11800 Fawn Lake Parkway<br />

Spotsylvania,VA 22553<br />

540-972-0215<br />

Fax: 540-972-0216<br />

www.successware.net<br />

SuzetteAllen.com<br />

Booth: 517<br />

4260 Orange Grove Ave.<br />

Sacramento, CA 95841<br />

916-485-3460<br />

Fax: 916-914-2415<br />

www.suzetteallen.com<br />

Tamrac Inc.<br />

Booth: 849<br />

9240 Jordan Avenue<br />

Chatsworth, CA 91311<br />

818-407-9500<br />

Fax: 818-407-9501<br />

www.tamrac.com<br />

Tamron USA Inc.<br />

Booth: 862<br />

10 Austin Blvd.<br />

Commack, NY 11725<br />

631-858-8410<br />

Fax: 631-543-3963<br />

www.tamron.com<br />

Taprell Loomis<br />

Booth: 954<br />

2160 Superior Avenue<br />

Cleveland, OH 44114<br />

216-781-6000<br />

Fax: 216-771-2572<br />

www.tap-usa.com<br />

Texas PPA<br />

Texas PPA, Inc.<br />

P.O. Box 1120<br />

Caldwell, TX 77836<br />

979-272-5200<br />

The Digital Imaging Firm<br />

Booth: 1246<br />

1 Federal St. Building 101R<br />

Springfield, MA 01105<br />

413-788-0654<br />

www.digitalimagingfirm.com<br />

The Knot<br />

Booth: 331<br />

11106 Mockingbird Dr.<br />

Omaha, NE 68137<br />

402-596-8428<br />

Fax: 402-331-2887<br />

www.theknot.com<br />

Think Tank Photo<br />

Booth: 871<br />

2360 Mendocino Ave. A-2, Box 307<br />

Santa Rosa, CA 95403<br />

866-558-4468<br />

Fax: 707-579-8168<br />

www.thinktankphoto.com<br />

THK Photo Products, Inc.<br />

Booth: 1243<br />

2360 Mira Mar Avenue<br />

Long Beach, CA 90815<br />

562-494-9575<br />

Fax: 562-494-3375<br />

www.thkphoto.com<br />

Timestone Software<br />

Booth: 421<br />

PO Box 656<br />

Lyme, CT 06371-0656<br />

860-434-0082<br />

Fax: 860-434-3054<br />

www.timestonesoftware.com<br />

Top Flight/Premira<br />

<strong>Professional</strong> Bound<br />

Albums<br />

Booth: 1068<br />

4810 Greatland Dr.<br />

San Antonio, TX 78218<br />

210-662-9882<br />

Fax: 210-662-9887<br />

www.premiraalbums.com<br />

TPI Photo Lab<br />

Booth: 351<br />

TriPrism, Inc.<br />

Booth: 759<br />

15950 Bernardo Center Drive Suite M<br />

San Diego, CA 92127<br />

858-675-7552<br />

Fax: 858-675-7553<br />

www.triprism.com<br />

Tyndell Photographic<br />

Booth: 422<br />

13035 Wayne Rd.<br />

Livonia, MI 48219<br />

734-422-4477<br />

Fax: 734-422-4205<br />

www.tyndellphotographic.com<br />

Unibind<br />

Booth: 448<br />

11810 Wills Road Suite 100<br />

Alpharetta, GA 30004<br />

770-674-6000<br />

Fax: 770-674-6007<br />

www.unibind.com<br />

Unique Photo<br />

Booth: 547<br />

11 Vreeland Road<br />

Florham Park, NJ 07932<br />

973-377-5555<br />

Fax: 973-377-8800<br />

www.uniquephoto.com<br />

Used Camera Buyer.Com<br />

Booth: 241<br />

303 M Ashcake Rd.<br />

Ashland,VA 23005<br />

804-752-2288<br />

Fax: 804-752-7072<br />

Virtual Backgrounds<br />

Booth: 1065<br />

101 Uhland Road Suite 106<br />

San Marcos, TX 78666<br />

512-805-4844<br />

Fax: 512-754-0316www.virtualbackgrounds.net<br />

Wacom Technology<br />

Booth: 457<br />

1311 SE Cardinal Ct.<br />

Vancouver,WA 98683<br />

360-896-9833<br />

Fax: 360-896-9724<br />

www.wacom.com<br />

Westcott (F.J.Westcott Co.)<br />

Booth: 753<br />

1447 N. Summit Street<br />

Toledo, OH 43613<br />

419-243-7311<br />

Fax: 419-243-8401<br />

www.fjwestcott.com<br />

(See our ad on p. 34)<br />

White Glove First Edition<br />

Books<br />

Booth: 1066<br />

8092 Warner Ave.<br />

Huntington Beach, CA 92647<br />

714-841-6900<br />

Fax: 714-841-9567<br />

www.wgbooks.com<br />

White House Custom<br />

Colour<br />

Booth: 931<br />

156 Hardman Ave S<br />

S. St. Paul, MN 55075<br />

651-646-8263<br />

Fax: 866-235-7847<br />

www.whcc.com<br />

White Lightning/Paul C.<br />

Buff Inc.<br />

Booth: 1166<br />

2725 Bransford Avenue<br />

Nashville, TN 37204<br />

615-383-3982<br />

Fax: 615-383-0676<br />

www.white-lightning.com<br />

Wicker By Design<br />

Booth: 437<br />

2705 Newquay Street<br />

Durham, NC 27705<br />

919-383-6212<br />

Fax: 919-309-0500<br />

www.wickerdydesign.com<br />

WN Albums & Frames<br />

Booth: 1062<br />

2160 Superior Avenue<br />

Cleveland, OH 44114<br />

216-781-6000<br />

Fax: 216-771-2572<br />

www.wnalbums.com<br />

WPPI/Rangefinder<br />

Booth: 356<br />

1312 Lincoln Boulevard<br />

Santa Monica, CA 90406<br />

310-451-8506<br />

Fax: 310-395-9058<br />

www.wppionline.com<br />

Z Reiss & Associates<br />

Booth: 750<br />

171 47th Street<br />

Brooklyn, NY 11232<br />

718-499-6900<br />

Fax: 718-840-0532<br />

www.zreiss.com<br />

Zoho Design<br />

Booth: 747<br />

832 Jury Ct. Suite #4<br />

San Jose, CA 95112<br />

408-977-0101<br />

Fax: 408-977-1191<br />

www.zohodesign.com<br />

Zookbinders Inc.<br />

Booth: 1274<br />

151-K South Pfingsten Road<br />

Deerfield, IL 60015<br />

847-272-5745<br />

Fax: 847-272-5978<br />

<br />

www.ImagingUSA.org P22


Product<br />

Directory<br />

Imaging USA January 14-16, <strong>2007</strong> San Antonio, TX<br />

Accessories, Camera<br />

Adobe Systems, Inc. 650<br />

B & H Photo-Video-Pro Audio 1049<br />

Bogen Imaging 735<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Midwest Photographic Resource 872<br />

Nikon Inc. 941<br />

Tamrac Inc. 849<br />

Think Tank Photo 871<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Adhesive, Mounting<br />

LexJet 949<br />

Advertising Calendars<br />

CPQ <strong>Professional</strong> Imaging 1072<br />

Album Layout Software<br />

Albums Australia 863<br />

Albums Inc. 1029<br />

Art Leather Manufacturing Co. Inc. 937<br />

AsukaBook USA 364<br />

Burrell <strong>Professional</strong> Labs 1227<br />

Capitol Filmworks Inc. 316<br />

General Products LLC 843<br />

GraphiStudio 133<br />

ImageQuix 1143<br />

Kubota Photoshop Actions 464<br />

Leather Craftsmen Inc. 240<br />

LustreColor Inc. 336<br />

Natural Color Imaging 418<br />

Printroom.com 557<br />

White Glove First Edition Books 1066<br />

Albums<br />

Albums Australia 863<br />

Albums Inc. 1029<br />

Art Leather Manufacturing Co. Inc. 937<br />

AsukaBook USA 364<br />

Capri Album Co. Inc. 337<br />

DigiLabs 317<br />

Flora <strong>Professional</strong> Albums 855<br />

General Products LLC 843<br />

GraphiStudio 133<br />

ImageQuix 1143<br />

Kambara USA Inc. 1140<br />

Leather Craftsmen Inc. 240<br />

Midwest Photographic Resource 872<br />

NayaCo. 1168<br />

Neil Enterprises Inc. 1139<br />

Printroom.com 557<br />

Rice Studio Supply 428<br />

Shared Ink LLC 447<br />

Taprell Loomis 954<br />

White Glove First Edition Books 1066<br />

WN Albums & Frames 1062<br />

Zookbinders Inc. 1274<br />

Albums & Books<br />

Albums Australia 863<br />

Albums Inc. 1029<br />

P23 www.ImagingUSA.org<br />

<br />

Art Leather Manufacturing Co. Inc. 937<br />

AsukaBook USA 364<br />

Flora <strong>Professional</strong> Albums 855<br />

General Products LLC 843<br />

GraphiStudio 133<br />

Leather Craftsmen Inc. 240<br />

Levin Co. 1037<br />

NayaCo. 1168<br />

Printroom.com 557<br />

Shared Ink LLC 447<br />

Taprell Loomis 954<br />

Unibind 448<br />

White Glove First Edition Books 1066<br />

WN Albums & Frames 1062<br />

Association<br />

WPPI/Rangefinder 356<br />

Auto Focus Lenses<br />

Arlington Camera Inc. 749<br />

B & H Photo-Video-Pro Audio 1049<br />

Calumet Photographic Inc. 835<br />

Dury's Photo 456<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Background Paper & Support<br />

Backgrounds By Maheu 541<br />

BSR Manufacturing 952<br />

Denny Manufacturing Co. Inc. 546<br />

Midwest Photo Exchange 848<br />

Muslin Outlet 564<br />

Rice Studio Supply 428<br />

Speedotron/The Morris Co. 969<br />

Unique Photo 547<br />

Backgrounds<br />

Artistic Backgrounds 1041<br />

B & H Photo-Video-Pro Audio 1049<br />

Backgrounds By Maheu 541<br />

Denny Manufacturing Co. Inc. 546<br />

Larson Enterprises Inc. 616<br />

Les Brandt Backgrounds 1053<br />

Midwest Photo Exchange 848<br />

Muslin Outlet 564<br />

Photo Showcase 216<br />

Rice Studio Supply 428<br />

Virtual Backgrounds 1065<br />

Westcott (F.J.Westcott Co.) 753<br />

Backs, Instant<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Backs, Roll Film<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Bags, Photo Protective<br />

Bogen Imaging 735<br />

Midwest Photo Exchange 848<br />

Tamrac Inc. 849<br />

Taprell Loomis 954<br />

Think Tank Photo 871<br />

WN Albums & Frames 1062<br />

Batteries<br />

Lumedyne Inc. 416<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Bellows<br />

Midwest Photo Exchange 848<br />

Binders<br />

GraphiStudio 133<br />

Taprell Loomis 954<br />

WN Albums & Frames 1062<br />

Books, Digital<br />

Albums Inc. 1029<br />

Art Leather Manufacturing Co. Inc. 937<br />

Capri Album Co. Inc. 337<br />

CPQ <strong>Professional</strong> Imaging 1072<br />

GraphiStudio 133<br />

Marathon Press Inc. 966<br />

National Assn of Photoshop <strong>Professional</strong>s 452<br />

NayaCo. 1168<br />

Printroom.com 557<br />

Shared Ink LLC 447<br />

Taprell Loomis 954<br />

White Glove First Edition Books 1066<br />

WN Albums & Frames 1062<br />

Books, Photographic<br />

Albums Inc. 1029<br />

Allied Photo Lab 622<br />

AsukaBook USA 364<br />

Capri Album Co. Inc. 337<br />

CPQ <strong>Professional</strong> Imaging 1072<br />

GraphiStudio 133<br />

NayaCo. 1168<br />

Shared Ink LLC 447<br />

Taprell Loomis 954<br />

Virtual Backgrounds 1065<br />

White Glove First Edition Books 1066<br />

WN Albums & Frames 1062<br />

Booms, Light<br />

Midwest Photo Exchange 848<br />

Photogenic <strong>Professional</strong> Lighting 961<br />

Unique Photo 547<br />

Brackets, Camera<br />

Dury's Photo 456<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Brochures<br />

CPQ <strong>Professional</strong> Imaging 1072<br />

Marathon Press Inc. 966


Bumper Stickers<br />

Century Marketing 776<br />

Business Cards<br />

Buckeye Color Lab 1136<br />

Century Marketing 776<br />

Marathon Press Inc. 966<br />

Business Consulting<br />

Backprint 537<br />

Granite Bear LLC 1247<br />

Calendars, Photo<br />

Capitol Filmworks Inc. 316<br />

CPQ <strong>Professional</strong> Imaging 1072<br />

DigiLabs 317<br />

Printroom.com 557<br />

Shared Ink LLC 447<br />

Cameras<br />

B & H Photo-Video-Pro Audio 1049<br />

Canon USA 725<br />

Dury's Photo 456<br />

Fuji Photo Film USA Inc. 1025<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Nikon Inc. 941<br />

Tamron USA Inc. 862<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Cameras, Digital<br />

Arlington Camera Inc. 749<br />

B & H Photo-Video-Pro Audio 1049<br />

Calumet Photographic Inc. 835<br />

Canon USA 725<br />

Desktop Darkroom Inc. 158<br />

Dury's Photo 456<br />

Eastman Kodak 925<br />

Fuji Photo Film USA Inc. 1025<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Nikon Inc. 941<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Cameras, Electronic<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Cameras, Identification<br />

Fuji Photo Film USA Inc. 1025<br />

Neil Enterprises Inc. 1139<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Cameras, Instant<br />

Fuji Photo Film USA Inc. 1025<br />

Neil Enterprises Inc. 1139<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Cameras, Passport<br />

Fuji Photo Film USA Inc. 1025<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Cameras, Special<br />

Mamiya America Corp. 743<br />

Unique Photo 547<br />

Cameras,View<br />

Calumet Photographic Inc. 835<br />

Fuji Photo Film USA Inc. 1025<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Cans, Film<br />

Eastman Kodak 925<br />

Cases, Accessories<br />

Mamiya America Corp. 743<br />

Nikon Inc. 941<br />

Tamrac Inc. 849<br />

Think Tank Photo 871<br />

Unique Photo 547<br />

Virtual Backgrounds 1065<br />

Cases, Camera<br />

B & H Photo-Video-Pro Audio 1049<br />

Bogen Imaging 735<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Nikon Inc. 941<br />

Tamrac Inc. 849<br />

Think Tank Photo 871<br />

Unique Photo 547<br />

Cases, Custom<br />

Mamiya America Corp. 743<br />

Unique Photo 547<br />

Cases, Lighting<br />

Mamiya America Corp. 743<br />

Photogenic <strong>Professional</strong> Lighting 961<br />

Tamrac Inc. 849<br />

Think Tank Photo 871<br />

Unique Photo 547<br />

Cases, Projector<br />

Mamiya America Corp. 743<br />

Unique Photo 547<br />

Cases,Tripod<br />

Mamiya America Corp. 743<br />

Tamrac Inc. 849<br />

Think Tank Photo 871<br />

Unique Photo 547<br />

Chemicals<br />

Unique Photo 547<br />

Color Prints<br />

Backprint 537<br />

Bay Photo Lab 1153<br />

H & H Color Lab Inc. 960<br />

LustreColor Inc. 336<br />

Mitsubishi Digital Electronics 950<br />

Natural Color Imaging 418<br />

NayaCo. 1168<br />

White House Custom Colour 931<br />

Computer<br />

Dury's Photo 456<br />

Printroom.com 557<br />

Think Tank Photo 871<br />

Unique Photo 547<br />

Wacom Technology 457<br />

Computer, MAC<br />

B & H Photo-Video-Pro Audio 1049<br />

Backprint 537<br />

DigiLabs 317<br />

Dury's Photo 456<br />

Printroom.com 557<br />

Unique Photo 547<br />

Wacom Technology 457<br />

Computer, Printers<br />

B & H Photo-Video-Pro Audio 1049<br />

Kanematsu USA Inc. 327<br />

Unique Photo 547<br />

Computers, Scanners<br />

Unique Photo 547<br />

Computers,Windows<br />

Backprint 537<br />

Printroom.com 557<br />

Unique Photo 547<br />

Wacom Technology 457<br />

Copyright<br />

Century Marketing 776<br />

Cords, Flash<br />

Lumedyne Inc. 416<br />

Unique Photo 547<br />

Custom-Built<br />

BallSTARS 519<br />

Cutters, Paper<br />

Bogen Imaging 735<br />

Unique Photo 547<br />

Darkroom Equipment<br />

Calumet Photographic Inc. 835<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Die Cutters<br />

Neil Enterprises Inc. 1139<br />

Digital Imaging<br />

Backprint 537<br />

Bay Photo Lab 1153<br />

Buckeye Color Lab 1136<br />

Burrell <strong>Professional</strong> Labs 1227<br />

Capitol Filmworks Inc. 316<br />

Collages.Net, Inc. 231<br />

DigiLabs 317<br />

Eastman Kodak 925<br />

<br />

www.ImagingUSA.org P24


Fuji Photo Film USA Inc. 1025<br />

H & H Color Lab Inc. 960<br />

Kubota Photoshop Actions 464<br />

LustreColor Inc. 336<br />

Miller's <strong>Professional</strong> Imaging 959<br />

Natural Color Imaging 418<br />

Noritsu America Corp. 243<br />

Northwest <strong>Professional</strong> Color 867<br />

Printroom.com 557<br />

White House Custom Colour 931<br />

Direct Color<br />

Backprint 537<br />

Printroom.com 557<br />

Easels, Display<br />

Albums Inc. 1029<br />

Levin Co. 1037<br />

WN Albums & Frames 1062<br />

Easels, Enlarging<br />

Midwest Photo Exchange 848<br />

E-Commerce<br />

Backprint 537<br />

Collages.Net, Inc. 231<br />

DigiLabs 317<br />

LustreColor Inc. 336<br />

MorePhotos 520<br />

Printroom.com 557<br />

Spitfire Photo Pro 219<br />

Education Materials<br />

Marathon Press Inc. 966<br />

National Assn of Photoshop <strong>Professional</strong>s 452<br />

Electronic Imaging<br />

Burrell <strong>Professional</strong> Labs 1227<br />

Canon USA 725<br />

Unique Photo 547<br />

Wacom Technology 457<br />

Enlargers<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Envelopes, Photographic<br />

Taprell Loomis 954<br />

WN Albums & Frames 1062<br />

Equipment<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Files, Negative<br />

Burrell <strong>Professional</strong> Labs 1227<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Files, Print<br />

Backprint 537<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Files, Slide<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Film Cutters<br />

Unique Photo 547<br />

Film, CNF<br />

Eastman Kodak 925<br />

P25 www.ImagingUSA.org<br />

Product Directory<br />

Imaging USA January 14-16, <strong>2007</strong> San Antonio, TX<br />

Film, Graphic Arts<br />

Unique Photo 547<br />

Film, Instant<br />

Fuji Photo Film USA Inc. 1025<br />

Midwest Photo Exchange 848<br />

Neil Enterprises Inc. 1139<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Film, Laminating<br />

Unique Photo 547<br />

Film, Microfilm<br />

Unique Photo 547<br />

Film, Motion Picture<br />

Fuji Photo Film USA Inc. 1025<br />

Film, Negate<br />

Burrell <strong>Professional</strong> Labs 1227<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Film, Sheet<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Film, Spool<br />

Unique Photo 547<br />

Filters, Lighting<br />

Midwest Photo Exchange 848<br />

Finishing, Custom<br />

Backprint 537<br />

H & H Color Lab Inc. 960<br />

Printroom.com 557<br />

Flash, Electronic, Portable<br />

Arlington Camera Inc. 749<br />

Lumedyne Inc. 416<br />

Midwest Photo Exchange 848<br />

Photogenic <strong>Professional</strong> Lighting 961<br />

Speedotron/The Morris Co. 969<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Flash, Electronic, Studio<br />

Arlington Camera Inc. 749<br />

Larson Enterprises Inc. 616<br />

Lumedyne Inc. 416<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Photogenic <strong>Professional</strong> Lighting 961<br />

Speedotron/The Morris Co. 969<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Folders<br />

Albums Inc. 1029<br />

DNL Photo Packaging 523<br />

General Products LLC 843<br />

Levin Co. 1037<br />

Midwest Photographic Resource 872<br />

Rice Studio Supply 428<br />

Taprell Loomis 954<br />

Unique Photo 547<br />

WN Albums & Frames 1062<br />

Folios<br />

Albums Inc. 1029<br />

Art Leather Manufacturing Co. Inc. 937<br />

Capri Album Co. Inc. 337<br />

DNL Photo Packaging 523<br />

Flora <strong>Professional</strong> Albums 855<br />

General Products LLC 843<br />

Levin Co. 1037<br />

Midwest Photographic Resource 872<br />

Rice Studio Supply 428<br />

Taprell Loomis 954<br />

Unique Photo 547<br />

WN Albums & Frames 1062<br />

Frames<br />

Albums Inc. 1029<br />

Art Leather Manufacturing Co. Inc. 937<br />

Burns Picture Frame Co. 210<br />

Castner Picture Frame Co. 967<br />

DNL Photo Packaging 523<br />

Epoch Arts Inc. 761<br />

Excel Picture Frames, Inc. 438<br />

GW Moulding 1059<br />

Levin Co. 1037<br />

Midwest Photographic Resource 872<br />

Neil Enterprises Inc. 1139<br />

Rice Studio Supply 428<br />

Unique Photo 547<br />

Framing Equipment<br />

Burns Picture Frame Co. 210<br />

Levin Co. 1037<br />

Graphic Art<br />

BallSTARS 519<br />

Grips & Handles, Camera<br />

Midwest Photo Exchange 848<br />

Holders, Cut Film<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Instruction<br />

Kubota Photoshop Actions 464<br />

Internet Proofs<br />

Backprint 537<br />

Capitol Filmworks Inc. 316<br />

DigiLabs 317<br />

ImageQuix 1143<br />

LustreColor Inc. 336<br />

Natural Color Imaging 418<br />

Printroom.com 557<br />

Spitfire Photo Pro 219<br />

Internet Services<br />

Backprint 537<br />

Collages.Net, Inc. 231<br />

ImageQuix 1143<br />

LustreColor Inc. 336<br />

Marathon Press Inc. 966<br />

MorePhotos 520<br />

Northwest <strong>Professional</strong> Color 867<br />

Printroom.com 557<br />

Shared Ink LLC 447<br />

Spitfire Photo Pro 219<br />

Jewelry, Photo<br />

Memory Maker Photo Jewelry 1073<br />

Lab, Sports<br />

Allied Photo Lab 62<br />

Backprint 537<br />

Bay Photo Lab 1153<br />

Buckeye Color Lab 1136<br />

Burrell <strong>Professional</strong> Labs 1227<br />

Capitol Filmworks Inc. 316


Natural Color Imaging 418<br />

Noritsu America Corp. 243<br />

Northwest <strong>Professional</strong> Color 867<br />

Printroom.com 557<br />

White House Custom Colour 931<br />

Labels<br />

Century Marketing 776<br />

Lacquer, Print<br />

White House Custom Colour 931<br />

Laminating<br />

Albums Inc. 1029<br />

LexJet 949<br />

Neil Enterprises Inc. 1139<br />

Person & Person Intl. Inc. 1137<br />

Laminating Supplies<br />

Albums Inc. 1029<br />

LexJet 949<br />

Neil Enterprises Inc. 1139<br />

Person & Person Intl. Inc. 1137<br />

Lamps, Flash<br />

Unique Photo 547<br />

Lens Accessories<br />

Mamiya America Corp. 743<br />

Nikon Inc. 941<br />

Tamrac Inc. 849<br />

Think Tank Photo 871<br />

Unique Photo 547<br />

Lenses, Enlarging<br />

Midwest Photo Exchange 848<br />

Lenses, Hand<br />

Midwest Photo Exchange 848<br />

Tamron USA Inc. 862<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Lenses, Movie Camera<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Lenses, Press & View<br />

Midwest Photo Exchange 848<br />

Lenses, Studio<br />

Midwest Photo Exchange 848<br />

Tamron USA Inc. 862<br />

Unique Photo 547<br />

Light Control Materials<br />

Bogen Imaging 735<br />

Unique Photo 547<br />

Westcott (F.J.Westcott Co.) 753<br />

Light Meters<br />

Bogen Imaging 735<br />

Mamiya America Corp. 743<br />

Novatron 436<br />

Unique Photo 547<br />

Lighting Equipment Portable<br />

Alien Bees/Paul C. Buff 1162<br />

Bogen Imaging 735<br />

Calumet Photographic Inc. 835<br />

Denny Manufacturing Co. Inc. 546<br />

Larson Enterprises Inc. 616<br />

Lumedyne Inc. 416<br />

MicroSync Digital 853<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Speedotron/The Morris Co. 969<br />

Unique Photo 547<br />

Westcott (F.J.Westcott Co.) 753<br />

White Lightning/Paul C. Buff Inc. 1166<br />

Lighting Equipment, Rail<br />

Bogen Imaging 735<br />

Larson Enterprises Inc. 616<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Unique Photo 547<br />

Lighting Equipment, Studio<br />

Alien Bees/Paul C. Buff 1162<br />

Bogen Imaging 735<br />

Calumet Photographic Inc. 835<br />

Denny Manufacturing Co. Inc. 546<br />

Dury's Photo 456<br />

Larson Enterprises Inc. 616<br />

Mamiya America Corp. 743<br />

MicroSync Digital 853<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Speedotron/The Morris Co. 969<br />

Unique Photo 547<br />

Westcott (F.J.Westcott Co.) 753<br />

White Lightning/Paul C. Buff Inc. 1166<br />

Lighting, Electronic<br />

Bogen Imaging 735<br />

Larson Enterprises Inc. 616<br />

Lumedyne Inc. 416<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Speedotron/The Morris Co. 969<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Lighting, Softboxes<br />

Arlington Camera Inc. 749<br />

B & H Photo-Video-Pro Audio 1049<br />

Bogen Imaging 735<br />

Larson Enterprises Inc. 616<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Photogenic <strong>Professional</strong> Lighting 961<br />

Speedotron/The Morris Co. 969<br />

Unique Photo 547<br />

Virtual Backgrounds 1065<br />

Westcott (F.J.Westcott Co.) 753<br />

Lighting, Supports<br />

Bogen Imaging 735<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Photogenic <strong>Professional</strong> Lighting 961<br />

Speedotron/The Morris Co. 969<br />

Unique Photo 547<br />

Virtual Backgrounds 1065<br />

Westcott (F.J.Westcott Co.) 753<br />

Lighting,Tungsten<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Unique Photo 547<br />

Lighting, Umbrellas<br />

Bogen Imaging 735<br />

Larson Enterprises Inc. 616<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Photogenic <strong>Professional</strong> Lighting 961<br />

Speedotron/The Morris Co. 969<br />

Unique Photo 547<br />

Westcott (F.J.Westcott Co.) 753<br />

<strong>Magazine</strong>s, Film<br />

Mamiya America Corp. 743<br />

Mailers<br />

Marathon Press Inc. 966<br />

Meters, Electronic<br />

Bogen Imaging 735<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Unique Photo 547<br />

Meters, General<br />

Arlington Camera Inc. 749<br />

Bogen Imaging 735<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Meters, Spot<br />

Bogen Imaging 735<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Mounting Materials<br />

Westcott (F.J.Westcott Co.) 753<br />

Mounts, Photographic<br />

DNL Photo Packaging 523<br />

Rice Studio Supply 428<br />

Taprell Loomis 954<br />

Unique Photo 547<br />

WN Albums & Frames 1062<br />

Mounts, Slide<br />

Unique Photo 547<br />

Virtual Backgrounds 1065<br />

Negative Files<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Optical Accessories<br />

Nikon Inc. 941<br />

Other<br />

BallSTARS 519<br />

Think Tank Photo 871<br />

Packaging<br />

Century Marketing 776<br />

Rice Studio Supply 428<br />

Taprell Loomis 954<br />

WN Albums & Frames 1062<br />

Paper, Background<br />

Midwest Photo Exchange 848<br />

Rice Studio Supply 428<br />

Unique Photo 547<br />

Papers, Enlarging<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Papers, Proofing<br />

Epson America, Inc 1121<br />

LexJet 949<br />

Midwest Photo Exchange 848<br />

Payment Processing<br />

Backprint 537<br />

Printroom.com 557<br />

Photo Buttons<br />

Backprint 537<br />

Buckeye Color Lab 1136<br />

H & H Color Lab Inc. 960<br />

Neil Enterprises Inc. 1139<br />

Printroom.com 557<br />

Unique Photo 547<br />

White House Custom Colour 931<br />

Photo Digital<br />

Allied Photo Lab 622<br />

BallSTARS 519<br />

Digital Photo Templates 1157<br />

Kubota Photoshop Actions 464<br />

Natural Color Imaging 418<br />

Zookbinders Inc. 1274<br />

Photo Greeting Cards<br />

Backprint 537<br />

<br />

www.ImagingUSA.org P26


Bay Photo Lab 1153<br />

Buckeye Color Lab 1136<br />

DigiLabs 317<br />

H & H Color Lab Inc. 960<br />

Natural Color Imaging 418<br />

Noritsu America Corp. 243<br />

Northwest <strong>Professional</strong> Color 867<br />

Printroom.com 557<br />

Shared Ink LLC 447<br />

Unique Photo 547<br />

White House Custom Colour 931<br />

Photo Mats<br />

Burns Picture Frame Co. 210<br />

Epoch Arts Inc. 761<br />

Levin Co. 1037<br />

Unique Photo 547<br />

Photo Murals<br />

Backprint 537<br />

Denny Manufacturing Co. Inc. 546<br />

Photofinishing<br />

BallSTARS 519<br />

Hi-Touch Imaging Technologies Inc. 251<br />

Kanematsu USA Inc. 327<br />

Noritsu America Corp. 243<br />

Photofinishing<br />

Backprint 537<br />

Buckeye Color Lab 1136<br />

Capitol Filmworks Inc. 316<br />

CPQ <strong>Professional</strong> Imaging 1072<br />

Fuji Photo Film USA Inc. 1025<br />

Natural Color Imaging 418<br />

NayaCo. 1168<br />

Northwest <strong>Professional</strong> Color 867<br />

Printroom.com 557<br />

White House Custom Colour 931<br />

Photographic Art<br />

BallSTARS 519<br />

National Assn of Photoshop <strong>Professional</strong>s 452<br />

Plaques<br />

Backprint 537<br />

Neil Enterprises Inc. 1139<br />

Portfolios<br />

Art Leather Manufacturing Co. Inc. 937<br />

Levin Co. 1037<br />

Taprell Loomis 954<br />

Unique Photo 547<br />

WN Albums & Frames 1062<br />

Post Cards, Color<br />

Marathon Press Inc. 966<br />

Power Packs, Camera<br />

Lumedyne Inc. 416<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Power Packs, Flash<br />

Calumet Photographic Inc. 835<br />

Lumedyne Inc. 416<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Photogenic <strong>Professional</strong> Lighting 961<br />

Speedotron/The Morris Co. 969<br />

Unique Photo 547<br />

Presentation Boxes<br />

Century Marketing 776<br />

DNL Photo Packaging 523<br />

Epoch Arts Inc. 761<br />

Levin Co. 1037<br />

P27 www.ImagingUSA.org<br />

Product Directory<br />

Imaging USA January 14-16, <strong>2007</strong> San Antonio, TX<br />

Rice Studio Supply 428<br />

Taprell Loomis 954<br />

Unique Photo 547<br />

WN Albums & Frames 1062<br />

Presentation<br />

Epson America, Inc 1121<br />

Printers, Computer<br />

Arlington Camera Inc. 749<br />

Calumet Photographic Inc. 835<br />

Canon USA 725<br />

Dury's Photo 456<br />

Eastman Kodak 925<br />

Epson America, Inc 1121<br />

Hi-Touch Imaging Technologies Inc. 251<br />

Kanematsu USA Inc. 327<br />

LexJet 949<br />

Midwest Photo Exchange 848<br />

Mitsubishi Digital Electronics 950<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Printing, Color<br />

Backprint 537<br />

Bay Photo Lab 1153<br />

Buckeye Color Lab 1136<br />

Desktop Darkroom Inc. 158<br />

Eastman Kodak 925<br />

Epson America, Inc 1121<br />

H & H Color Lab Inc. 960<br />

Kanematsu USA Inc. 327<br />

LustreColor Inc. 336<br />

Natural Color Imaging 418<br />

Shared Ink LLC 447<br />

Prints,Transparency<br />

Eastman Kodak 925<br />

Processing Custom B/W<br />

Allied Photo Lab 622<br />

Bay Photo Lab 1153<br />

Burrell <strong>Professional</strong> Labs 1227<br />

H & H Color Lab Inc. 960<br />

Noritsu America Corp. 243<br />

Northwest <strong>Professional</strong> Color 867<br />

Processing Custom Color<br />

Allied Photo Lab 622<br />

Backprint 537<br />

Bay Photo Lab 1153<br />

Buckeye Color Lab 1136<br />

Burrell <strong>Professional</strong> Labs 1227<br />

H & H Color Lab Inc. 960<br />

LustreColor Inc. 336<br />

Noritsu America Corp. 243<br />

Northwest <strong>Professional</strong> Color 867<br />

Processing Equipment, Film<br />

Allied Photo Lab 622<br />

Noritsu America Corp. 243<br />

Processing Equipment, Print<br />

Allied Photo Lab 622<br />

Noritsu America Corp. 243<br />

<strong>Professional</strong> Lab<br />

Allied Photo Lab 622<br />

Backprint 537<br />

Bay Photo Lab 1153<br />

Buckeye Color Lab 1136<br />

Burrell <strong>Professional</strong> Labs 1227<br />

Capitol Filmworks Inc. 316<br />

CPQ <strong>Professional</strong> Imaging 1072<br />

Desktop Darkroom Inc. 158<br />

DigiLabs 317<br />

Eastman Kodak 925<br />

H & H Color Lab Inc. 960<br />

LustreColor Inc. 336<br />

Miller's <strong>Professional</strong> Imaging 959<br />

NayaCo. 1168<br />

Northwest <strong>Professional</strong> Color 867<br />

Printroom.com 557<br />

White House Custom Colour 931<br />

Zookbinders Inc. 1274<br />

Projectors, Opaque<br />

Z Reiss & Associates 750<br />

Projectors, Self<br />

Canon USA 725<br />

Epson America, Inc 1121<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

Projectors, Slide<br />

Mamiya America Corp. 743<br />

Unique Photo 547<br />

Virtual Backgrounds 1065<br />

Z Reiss & Associates 750<br />

Projectors, Special<br />

Canon USA 725<br />

Promotions<br />

CPQ <strong>Professional</strong> Imaging 1072<br />

Marathon Press Inc. 966<br />

Props, Studio<br />

Backgrounds By Maheu 541<br />

Denny Manufacturing Co. Inc. 546<br />

Midwest Photographic Resource 872<br />

Wicker By Design 437<br />

Publishers<br />

GraphiStudio 133<br />

Photo District News 141<br />

Shared Ink LLC 447<br />

WPPI/Rangefinder 356<br />

Quantity Prints<br />

Allied Photo Lab 622<br />

Backprint 537<br />

Bay Photo Lab 1153<br />

Natural Color Imaging 418<br />

White House Custom Colour 931<br />

Recorders, Photo<br />

Unique Photo 547<br />

Recorders,Video<br />

Unique Photo 547<br />

Reflectors<br />

Arlington Camera Inc. 749<br />

B & H Photo-Video-Pro Audio 1049<br />

Midwest Photo Exchange 848<br />

Photogenic <strong>Professional</strong> Lighting 961<br />

Unique Photo 547<br />

Virtual Backgrounds 1065<br />

Westcott (F.J.Westcott Co.) 753<br />

Remote Control, Camera Flash<br />

Lumedyne Inc. 416<br />

Mamiya America Corp. 743<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Repair, Electronic<br />

Lumedyne Inc. 416<br />

Scanners<br />

Arlington Camera Inc. 749


Canon USA 725<br />

Epson America, Inc 1121<br />

Midwest Photo Exchange 848<br />

Nikon Inc. 941<br />

Unique Photo 547<br />

Z Reiss & Associates 750<br />

School Composites<br />

Backprint 537<br />

Capitol Filmworks Inc. 316<br />

CPQ <strong>Professional</strong> Imaging 1072<br />

Unique Photo 547<br />

Westcott (F.J.Westcott Co.) 753<br />

School Picture<br />

Allied Photo Lab 622<br />

Capitol Filmworks Inc. 316<br />

CPQ <strong>Professional</strong> Imaging 1072<br />

Noritsu America Corp. 243<br />

Northwest <strong>Professional</strong> Color 867<br />

Printroom.com 557<br />

White House Custom Colour 931<br />

Schools, Photographic<br />

Noritsu America Corp. 243<br />

Westcott (F.J.Westcott Co.) 753<br />

Slide Binders<br />

Unique Photo 547<br />

Slide Mounting<br />

Unique Photo 547<br />

Virtual Backgrounds 1065<br />

Software, Business/Studio Mgmt.<br />

Backprint 537<br />

Granite Bear LLC 1247<br />

MorePhotos 520<br />

Printroom.com 557<br />

Spitfire Photo Pro 219<br />

StudioPlus Software 973<br />

SuccessWare Inc. 958<br />

Unique Photo 547<br />

Software, Imaging<br />

Backprint 537<br />

Bibble Labs 111<br />

Calumet Photographic Inc. 835<br />

Canon USA 725<br />

DigiLabs 317<br />

Dury's Photo 456<br />

Granite Bear LLC 1247<br />

Kubota Photoshop Actions 464<br />

Levin Co. 1037<br />

Mamiya America Corp. 743<br />

Nik Multimedia 1236<br />

Printroom.com 557<br />

StudioPlus Software 973<br />

Unique Photo 547<br />

Special Effects<br />

GraphiStudio 133<br />

Printroom.com 557<br />

Specialty Products, Digital<br />

Backprint 537<br />

Capitol Filmworks Inc. 316<br />

LustreColor Inc. 336<br />

Mamiya America Corp. 743<br />

Printroom.com 557<br />

Unique Photo 547<br />

Stands, Camera<br />

Bogen Imaging 735<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Stands, Copying<br />

Bogen Imaging 735<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Stands, Light<br />

Bogen Imaging 735<br />

Dury's Photo 456<br />

Larson Enterprises Inc. 616<br />

Midwest Photo Exchange 848<br />

Novatron 436<br />

Photogenic <strong>Professional</strong> Lighting 961<br />

Unique Photo 547<br />

Westcott (F.J.Westcott Co.) 753<br />

Tables, Light<br />

Unique Photo 547<br />

Texturing Machines<br />

Albums Inc. 1029<br />

Midwest Photographic Resource 872<br />

Texturing Materials<br />

Albums Inc. 1029<br />

Tissue, Lens<br />

Unique Photo 547<br />

Trading Cards, Personalized<br />

Backprint 537<br />

Bay Photo Lab 1153<br />

Buckeye Color Lab 1136<br />

H & H Color Lab Inc. 960<br />

Printroom.com 557<br />

Trimmers<br />

Person & Person Intl. Inc. 1137<br />

Tripods & Heads<br />

Arlington Camera Inc. 749<br />

Bogen Imaging 735<br />

Midwest Photo Exchange 848<br />

Unique Photo 547<br />

Virtual Backgrounds 1065<br />

Westcott (F.J.Westcott Co.) 753<br />

Underwater Equipment<br />

Unique Photo 547<br />

Video Accessories<br />

Tamrac Inc. 849<br />

Unique Photo 547<br />

Westcott (F.J.Westcott Co.) 753<br />

Video Editing<br />

Unique Photo 547<br />

Westcott (F.J.Westcott Co.) 753<br />

Video Education<br />

National Assn of Photoshop <strong>Professional</strong>s 452<br />

Westcott (F.J.Westcott Co.) 753<br />

Video Equipment<br />

Canon USA 725<br />

Unique Photo 547<br />

Video Transfer<br />

BallSTARS 519<br />

Video, Camera<br />

Canon USA 725<br />

Unique Photo 547<br />

Video, Lighting<br />

Larson Enterprises Inc. 616<br />

Westcott (F.J.Westcott Co.) 753<br />

Video,Tape<br />

Unique Photo 547<br />

Viewers,Transparency<br />

Unique Photo 547<br />

Web Site<br />

Backprint 537<br />

Big Folio 220<br />

Collages.Net, Inc. 231<br />

ImageQuix 1143<br />

Marathon Press Inc. 966<br />

MorePhotos 520<br />

Printroom.com 557<br />

Spitfire Photo Pro 219<br />

Website Development<br />

Big Folio 220<br />

Marathon Press Inc. 966<br />

Spitfire Photo Pro 219<br />

Wedding Invitations<br />

Northwest <strong>Professional</strong> Color 867<br />

<br />

www.ImagingUSA.org P28


Exhibitor Spotlight<br />

P29 www.ImagingUSA.org


Exhibitor Spotlight <br />

www.ImagingUSA.org P30


Exhibitor Spotlight<br />

P31 www.ImagingUSA.org


Welcome to the Most<br />

Comprehensive<br />

Workflow<br />

and Printing<br />

Solution<br />

in the Industry.<br />

STOP BY BOOTH 231<br />

to learn more<br />

Expand Your Options with...<br />

CPQPress<br />

PRODUCTS<br />

• Now get CPQ quality using<br />

our new Indigo Press digital<br />

publishing options.<br />

Visit Visit with with us us at at<br />

Imaging USA<br />

Imaging USA<br />

(Booth (Booth 1072) 1072)<br />

• Perfect for calendars, proof<br />

books, brochures, posters, etc.<br />

• New Hardback Cover books.<br />

• Easy Online Ordering.<br />

Call or visit our web<br />

site for more details.<br />

800.537.8399 423.479.6186 www.cpq.net<br />

Exhibitor Spotlight <br />

www.ImagingUSA.org P32


Exhibitor Spotlight<br />

<br />

<br />

<br />

<br />

<br />

P33 www.ImagingUSA.org<br />

<br />

The Ultimate Slide Show Software Solution<br />

The right tool<br />

makes all the difference.<br />

Undoubtedly, you’ve heard the expression<br />

“If they cry, they buy.” It’s true. Your best<br />

photo slide shows will emotionalize and<br />

inspire your audience... to the point of sale.<br />

Get the all-new ProShow Producer 3.0 today<br />

to start creating shows that sell.<br />

photodex.com<br />

Try for Free!<br />

Download a free trial<br />

or visit us at Imaging<br />

USA to watch a demo!<br />

Booth #955


Photo by Fotoquintero.com<br />

We bring the<br />

high school<br />

market into focus<br />

American Student List has been providing High School<br />

Student lists to hundreds of satisfied portrait photographers<br />

since 1971. High School Seniors and Juniors are available<br />

on pressure sensitive labels, diskette or via electronic<br />

delivery. Additionally, our list of Families with Children<br />

is ideal for marketing family and holiday portraits.<br />

See us at the Imaging USA<br />

convention (Booth 123) for a chance<br />

to win a $100 AMEX Gift Card.<br />

NY: 888-462-5600 — FL: 888-550-8548 — www.studentlist.com<br />

The most trusted name in youth marketing.<br />

Call 1.800.866.1689 for<br />

more info or to locate an<br />

authorized dealer near you.<br />

www.fjwestcott.com<br />

Lighting Perfected<br />

Daylight Fluorescent<br />

PPA<br />

BOOTH<br />

#753<br />

Strobe<br />

Tungsten Halogen<br />

custom albums<br />

press printed products<br />

true black & white digital prints<br />

school, sports & package printing<br />

giclee fine art prints & canvas<br />

online ordering systems<br />

Exhibitor Spotlight <br />

www.ImagingUSA.org P34


25<br />

P35 www.ImagingUSA.org<br />

<br />

TIPS FOR<br />

GETTING<br />

THE MOST FROM THE<br />

IMAGING EXPO<br />

If you've ever attended a large trade show,you know how challenging it<br />

can be to accomplish your objectives,especially if you're unfamiliar with<br />

the turf. You know there are people out there on the exhibit floor who have<br />

products and services you want to know about,but how do you find the<br />

right ones to meet and network with? The following tips will help you get<br />

the most out of your time on the Imaging Expo floor.<br />

Before the Show<br />

1. Read through the show promotional materials carefully<br />

(like this Show Guide!). Use the knowledge you've<br />

gleaned to make a plan for attending the show.<br />

2. Spend time reviewing the exhibitor and product listings<br />

and develop your own list of “must see” and<br />

“want to see” companies and products.<br />

3. Know what information you want to get from each<br />

exhibitor. Understand your needs or ask your studio<br />

how you can help while you are at the show.<br />

4. Map your route through the EXPO. Decide how much<br />

time you want to spend at each booth, making sure to<br />

schedule the “must see” booths first.<br />

5. Don't wait until you're at the show to begin networking.<br />

Instead, email three people you want to meet in<br />

advance saying,“I'm really looking forward to hearing<br />

your comments (or seeing your new products).”<br />

6. Take plenty of business cards to avoid filling out<br />

forms.<br />

<br />

7. Remember to leave room in your suitcase for product<br />

literature and samples to bring back.<br />

8. Make travel and hotel reservations early to get discounted<br />

rates.You can also ask the hotel staff important<br />

questions: Do they offer high-speed Internet<br />

access in the room? If so, is it wired or wireless, and is<br />

it included in the room rate?<br />

9. Obtain a map of San Antonio and know how to get to<br />

the San Antonio Convention Center (visit<br />

ImagingUSA.org and SanAntonioCVB.com for more<br />

information.)<br />

10. Pre-register and arrive 30 minutes before the EXPO<br />

opens to avoid standing in long lines.<br />

During the Show<br />

11. Dress appropriately – comfortable shoes and clothing.Walking<br />

the EXPO floor can be tiring; try insoles<br />

for extra comfort. Take a light “carry-all” for the<br />

materials you'll accumulate.<br />

12. Check to see if any exhibitors have dropped out,<br />

moved their booth, or joined the exhibit since the<br />

Show Guide was published. Revise your plan to<br />

reflect changes.


13. Carry a notepad and pen to jot down important<br />

notes, or have a small tape recorder for note taking.<br />

14. Turn your cell phone off or switch it to vibrate.<br />

15. Don't just grab every brochure that's offered to you.<br />

Collect what interests you or might be valuable to<br />

others you work with. Many exhibitors will gladly<br />

mail literature and samples, lightening the load you’ll<br />

be carrying around the exhibit hall.<br />

16. Keep your eyes open for networking opportunities<br />

and introduce yourself to people around you. Now is<br />

the time to hand out some of those business cards<br />

you've brought along!<br />

17. Take regular breaks to refresh and get some fresh air.<br />

Drink water instead of sodas to avoid dehydration.<br />

18. Don’t be shy about bypassing booths that do not<br />

interest you. The exhibitors won't mind because they<br />

want to devote their time to potential customers.<br />

19. Don’t spend all your time with one exhibitor. Ask how<br />

you may contact the individual at another time. This<br />

way you can get to more booths.<br />

20. Skip overly crowded booths and remember to go<br />

back at the end of the day when traffic is slower.<br />

21. Take advantage of show specials, discounts and sales<br />

where they are truly bargains and needed in your<br />

store. Check freight costs and delivery dates.<br />

22. Take some time each day to organize the information<br />

you've gathered. Use sticky notes to jog your memory<br />

after you've returned home from the show.<br />

23. Make note of any exhibits or displays that you<br />

thought were particularly effective.What did they<br />

feature that you could implement in your own studio's<br />

marketing?<br />

After the Show<br />

24. Read over your notes and plan how you will implement<br />

the ideas you’ve gathered.<br />

25. Don’t wait too long to follow up with new contacts<br />

and vendors after the show for literature and samples<br />

request.<br />

<br />

Having a clear plan of action will<br />

ensure that the time you spend at the<br />

show was a worthwhile investment.<br />

Enjoy Imaging USA <strong>2007</strong>!<br />

<br />

<br />

www.ImagingUSA.org P36


P37 www.ImagingUSA.org<br />

@ Imaging USA<br />

SPORT & EVENT PHOTOGRAPHER CONFERENCE<br />

Imaging USA January 14-16, <strong>2007</strong> San Antonio, TX<br />

<br />

SEP – Society of Sport & Event <strong>Photographer</strong>s<br />

(formally know as IAPEP)<br />

Dedicated to helping sport and event photographers<br />

become more successful, the Society of Sport & Event<br />

<strong>Photographer</strong>s is the only non-profit association that<br />

focuses solely on sport and event photography. As an<br />

increasing number of photographers get involved in this<br />

lucrative market, your membership in SEP will help keep<br />

you strides ahead of the competition.Your SEP member<br />

benefits will help you increase your business skills and<br />

expand your technical knowledge. SEP exists for the sole<br />

purpose of helping you accomplish your goals by<br />

providing information and support.<br />

For more information about SEP membership, visit the<br />

association booth at the Imaging EXPO, call 877-427-<br />

3778, or visit www.SEPsociety.com.<br />

SEPCON Registration<br />

Registration for SEPCON, Imaging USA <strong>2007</strong> Convention<br />

and EXPO, and the Commercial Photography Conference<br />

will all be located on the Street Level, outside Hall B in the<br />

Convention Center. Attendees of all the conferences can<br />

register here. See Registration, page 34 for the times.<br />

On-Site Registration: To register on-site for SEPCON,<br />

complete the registration form available at Registration,<br />

then proceed to the on-site registration area for processing.<br />

Important: Your convention badge is your passport to all<br />

Imaging USA conferences, programs, and events.<br />

Individuals not wearing an Imaging USA <strong>2007</strong> convention<br />

badge will not be allowed into Imaging USA conferences,<br />

programs, or events, including the evening parties.<br />

SEPCON Pre-Conference Registration<br />

Pre-Conference registration for SEPCON will be located<br />

on the Street Level, outside Hall B, in the Convention<br />

Center. Registration will be open the following hours:<br />

Saturday, January 13 8:00 am – 7:00 pm<br />

SEPCON Programming<br />

Refer to the daily schedules in this Show Guide for<br />

complete information and details on all SEPCON<br />

pre-conference programs and SEPCON sessions.<br />

SEPCON Portfolio Critiques<br />

SEPCON is offering FREE one-on-one portfolio/image<br />

critiques with current and past SEPCON speakers during<br />

SEPCON at Imaging USA. Take this opportunity to<br />

fine-tune your sport and event images with tips and<br />

suggestions provided by leaders in the industry.<br />

Sign up for a critique anytime during the convention<br />

outside the SEPCON program room on the River Level.<br />

Critiques will be available during the following hours:<br />

Monday, January 15 2:00 pm – 3:30 pm<br />

Tuesday, January 16 2:00 pm – 3:30 pm<br />

SEPCON Speaker Office<br />

The speaker office is located in Room 002B on the River<br />

Level of the Convention Center. This area is where speaker<br />

orientations will be held, and where attendees can spend<br />

time talking with speakers.


COMMERCIAL<br />

PHOTOGRAPHY<br />

CONFERENCE<br />

@ Imaging USA<br />

January 14-16, <strong>2007</strong> San Antonio, TX<br />

CPI’s Commercial Photography Conference<br />

This is the second year that the Commercial Photography<br />

Conference joins forces with Imaging USA, and it is now<br />

expanded to include 2 full days of programming focused<br />

on commercial photography! Along with their specific<br />

focus, CPI’s members have free range of all the educational<br />

topics, exhibitors, and networking opportunities that<br />

Imaging USA offers.<br />

CPI – Focused on the business needs of its members,<br />

Commercial <strong>Photographer</strong>s International (CPI) is the only<br />

commercial association strictly for commercial<br />

photographers and assistants that offers the protection of<br />

the established Indemnification Trust. The Trust provides<br />

affordable coverage comparable to professional liability<br />

insurance and errors and omissions protection. In addition,<br />

members have access to the best specialized insurance<br />

programs available to photographers—including health<br />

insurance options.<br />

CPI has unique tools to make commercial photographers’<br />

lives easier and their businesses more profitable. One of<br />

the most visible member services is www.myCPI.com,<br />

home of several resources for your almost daily needs.<br />

Other member services include the Photographic<br />

Assistant program and the toll-free Copyright Hotline.<br />

For more information on CPI, please visit the association<br />

booth at the Imaging USA Expo, call 866-886-4989, or visit<br />

www.myCPI.com.<br />

<br />

CPI Conference Registration<br />

Registration for the Commercial Photography<br />

Conference, Imaging USA <strong>2007</strong> Convention and EXPO,<br />

and SEPCON will all be located on the Street Level,<br />

outside Hall B in the Convention Center. Attendees of all<br />

the conferences can register here. See Registration, page<br />

34 for the times.<br />

Important: Your convention badge is your passport to all<br />

Imaging USA events. Individuals not wearing an Imaging<br />

USA <strong>2007</strong> convention badge will not be allowed into<br />

Imaging USA conferences, programs, or events, including<br />

the evening parties.<br />

CPI Conference Programming<br />

Refer to the daily schedules in this Show Guide for complete<br />

information and details on all CPI Conference programs.<br />

<br />

www.ImagingUSA.org P38


Volunteers<br />

Melissa Anderson<br />

Don L. Barnes<br />

Jennifer Barringer<br />

Bob Boyd, CPP<br />

Ryan Brown<br />

Sara Brown<br />

Cory Caswell<br />

Dusty Caswell<br />

Gogo' Castillo<br />

Martha Culbreth<br />

Rick Dalton<br />

Steve Darilek<br />

Willie Davis<br />

P39 www.ImagingUSA.org<br />

Imaging USA<br />

<br />

January 14-16, <strong>2007</strong> San Antonio, TX<br />

Imaging USA Convention Committee<br />

<br />

Chair:<br />

Yvonne C. Holmes, Cr.Photog., ABI, API<br />

Props Manager:<br />

Louis “Skip” Foisy, CPP<br />

Speaker Host Coordinator:<br />

Robert McCarty, Cr.Photog.<br />

Yohance Douglas<br />

Matthew Gilstrap, CPP<br />

Tammy Graham, CPP<br />

Gayle Guerrero<br />

Mario Guerrero<br />

Quinn Hancock, Cr.Photog., ABI<br />

Horace Holmes, Cr.Photog.,CPP,ABI,API<br />

Michael S. Jackson<br />

Dwight Jewell, Cr.Photog.<br />

Dave Johnson<br />

Michael LiBassi, CPP<br />

Jeanne Luna<br />

Ken Meade<br />

PPA Volunteer Coordinator:<br />

Debbie Scott, Cr.Photog., CPP<br />

Student Coordinator:<br />

Jason Smith, M.Photog.MEI.Cr., CPP<br />

Convention Volunteers for Imaging USA <strong>2007</strong><br />

(confirmed as of November 20, 2006)<br />

Mike Rogers, EventPro Photography<br />

Mary Kay Stein, Desert Light Photography<br />

<br />

Laura Nikas, CPP<br />

Reza Nikrazan<br />

Teresa Nounou<br />

Roger Nounou<br />

Gene Paltrineri, M.Photog.Cr., CPP<br />

Bradd Parker<br />

Art Swenson<br />

Michael Voegele, M.Photog.Cr<br />

Shaun Voegele<br />

Steve A.White<br />

Sandra Deneen White<br />

Michael L.Young<br />

Carey Zarate<br />

Convention Volunteers for SEPCON <strong>2007</strong><br />

<br />

Vicki Gray, Action Photos<br />

Jennifer Rich, Action Photos


Don’t<br />

<br />

MISS<br />

January 14-16, <strong>2007</strong> San Antonio, TX<br />

Everything's bigger in Texas and Imaging USA <strong>2007</strong><br />

is no exception.The powerhouse lineup of speakers<br />

and programs will keep your learning in overdrive,<br />

and the following special features and events will<br />

round out your Imaging USA experience, making it<br />

the best ever:<br />

<br />

PPA CHARITIES CELEBRATION EVENT<br />

Saturday, January 13, <strong>2007</strong> | Hilton Hotel<br />

8:00pm - 9:00pm VIP Reception<br />

(ticket required, cost is $25 per<br />

person, limited availability)<br />

9:00pm – midnight Open to all Imaging USA attendees<br />

The annual gala to benefit PPA Charities and Operation Smile will<br />

begin with a VIP reception for a meet and greet with our featured<br />

speaker Hanson Fong and a preview of items available in the silent<br />

and live auctions.Your $25 ticket includes hors d'oeuvres, your first<br />

drink and entry into a special drawing. Mingle with fellow photographers<br />

and industry leaders, then get preferred seating for our<br />

new series, PPA Legends. Hanson Fong will kick off this series with<br />

a tribute to the late Rocky Gunn. See how one legend influenced<br />

another in an audiovisual show featuring the spectacular images<br />

created by both Rocky and Hanson. Listen while Hanson relates<br />

how Rocky influenced him to become one of the great modern<br />

wedding photographers.<br />

PPA Charities’ Celebration Event will continue after the VIP<br />

Reception with silent and live auctions with items ranging from<br />

photographic equipment to fine art images, sports and rock & roll<br />

memorabilia. The Celebration will conclude with PPA Charities<br />

President, Mary Fisk-Taylor, presenting a contribution to Operation<br />

Smile, our selected charity.<br />

Tickets are limited – buy yours today by calling 800.786.6277 or<br />

order them when you register online at www.ImagingUSA.org.<br />

SUPER PROGRAM WITH GREGORY HEISLER<br />

On Monday night, January 15, iconic portrait photographer Gregory<br />

Heisler will present the Imaging USA Super Program:“Before Chips<br />

to After Digital - Making a Transition.”Well known for his TIME<br />

magazine covers, Gregory is one of foremost editorial portraitists<br />

working today. During his presentation, he will display his stunning<br />

array of work while sharing experiences from photographing some<br />

of the world's most notable figures. Gregory will also talk about<br />

how working with digital technology has changed his way of “seeing”<br />

photography.<br />

WORLD'S LARGEST ANNUAL PRINT EXHIBIT<br />

The world's largest annual display of professional photography<br />

accompanies Imaging USA. Award-winning images from around<br />

the world will be on hand, largely from PPA's prestigious<br />

International Print Competition. This year's print exhibit will<br />

include special displays from Lifetime Achievement Award<br />

winner Al Gilbert. There is also a space for student volunteers to<br />

have their portfolios critiqued by PPA Print Exhibition judges.<br />

IMAGING EXPO<br />

You already know that your Imaging USA experience wouldn't be<br />

complete without visiting the Imaging Expo, where the industry's<br />

top manufacturers, suppliers and service providers showcase their<br />

latest, greatest items on the expansive trade show floor. And watch<br />

for special exhibitor presentations in the Expo theatre!<br />

MICROSOFT THEATRE AT IMAGING USA EXPO<br />

Microsoft Icons of Imaging Denis Reggie and Bambi Cantrell will<br />

appear daily in the Microsoft Theater at the <strong>2007</strong> Imaging USA<br />

Expo sharing their proven methods regarding style, workflow,<br />

and marketing techniques for award-winning wedding and portrait<br />

photography. An efficient and effective process is crucial for a<br />

successful business and Denis and Bambi will demonstrate the<br />

tools, applications, and hardware they use everyday in their<br />

Windows-based workflow. Admission is open to all Imaging Expo<br />

attendees.<br />

Daily Schedule: 1:00 PM Denis Reggie<br />

2:30 PM Bambi Cantrell<br />

4:00 PM Windows Vista Preview<br />

PLENTY OF NIGHTLIFE<br />

When you are finished for the day and have had enough of<br />

remembering the Alamo and strolling the San Antonio Riverwalk,<br />

join Canon for their Sunday night convention kickoff party, Fiesta<br />

Noche del Rio. On Tuesday night, Kodak puts an exclamation point<br />

on the convention with its Swashbuckler's Soiree, a pirate-themed<br />

party celebrating Imaging USA's next destination, Tampa Bay,<br />

Florida. Both parties are open to all Imaging USA attendees.<br />

FREE IMAGE CONSULTATIONS<br />

Sign up for a complimentary consultation with PPA-Affiliated Jurors<br />

and learn what makes master photographic works so<br />

universally appealing.<br />

<br />

www.ImagingUSA.org P40


Fun<br />

<br />

DEEP IN THE HEART OF<br />

TEXAS<br />

January 14-16, <strong>2007</strong> San Antonio, TX<br />

HAVE SOME FUN IN SAN ANTONIO!<br />

With Texan roots and Spanish origins, San Antonio is a major melting pot of American and Mexican residents and cultures. Locals joke<br />

about the city’s laidback feel, but don’t be fooled — San Antonio is the ninth largest city in the United States. Its quaintness often detracts<br />

attention from the fact that it’s a major export city, a significant sector for biotechnology and technology, and the location of five military<br />

bases. For the sports fans, the Alamodome is located downtown and is home to the NBA’s San Antonio Spurs. Be sure to make some time to<br />

check out the fun and historic attractions around San Antonio.We've listed some of our favorites below:<br />

Take a stroll along the Riverwalk (Paso Del Rio)<br />

and enjoy the many shops and restaurants in the heart of the<br />

city. Since the early 1950s, tourists and locals alike have strolled<br />

along the amazing San Antonio River and enjoyed the history,<br />

wonder, and beauty that have made the city what it is today. The<br />

lush bankside greenery gives new meaning to the phrase “the<br />

scenic route.” www.theSanAntonioRiverWalk.com<br />

Visit the Alamo. This famous fort marks the spot where<br />

189 defenders fell on March 6, 1836 after repeated attacks by<br />

Mexican General Santa Anna’s army. Mission San Antonio de<br />

Valero (The Alamo) was established in 1718 and was the city’s<br />

first mission. The chapel, one of the most photographed facades<br />

in the U.S., and the Long Barracks area are all that remain of the<br />

original fort. www.theAlamo.org<br />

The Southwest School of Art & Craft offers the<br />

largest art curriculum in south Texas.Visitors can see free<br />

contemporary art exhibitions, attend lectures by visiting artists,<br />

and stroll the picturesque grounds of the historic Ursuline<br />

Campus, once a girls’ school and convent. www.swschool.org<br />

Browse the 32 shops at Market Square (“El Mercado”).<br />

Made to mirror an authentic Mexican market, there are also<br />

80 specialty shops in the Farmers Market Plaza.<br />

www.marketsquaresa.com<br />

The Buckhorn Saloon and Museum dates back to<br />

1881 and is one of the best kitsch values around. Maps of Texas<br />

made from rattlesnake rattles and an amazing collection<br />

of Lone Star Beer paraphernalia adorns the walls, including a<br />

guitar made from pull-tabs. www.BuckhornMuseum.com<br />

P41 www.ImagingUSA.org<br />

<br />

Marvel in the beauty of the San Antonio Missions<br />

National Historical Park, home of the Mission Trail.<br />

Four Spanish frontier missions, part of a colonization system that<br />

stretched across the Spanish Southwest in the 17th, 18th and<br />

19th centuries, are preserved here. The missions’ churches still<br />

function, and their aqueducts still carry water to local farmers.<br />

www.nps.gov/saan<br />

Built in the mid-18th century, the Spanish Governor’s<br />

Palace was originally the quarters for the of<br />

the area’s Spanish colonial troops. In 1722 it became the seat of<br />

Texas’ colonial government. Today it’s a museum filled with<br />

period furniture that provides a charming background against<br />

the backdrop of the adobe walls, brick ovens and fireplaces.<br />

Call 210-224-0601 for more info.<br />

Check out one of the largest bird collections in the world at<br />

the San Antonio Zoological Gardens and Aquarium.<br />

The facility encompasses 35 landscaped acres and holds over<br />

3,500 animals of 750 species. www.sazoo-aq.org<br />

Stop and smell the roses at the San Antonio Botanical<br />

Garden. More than 33 acres of year-round color in bloom<br />

awaits you. Highlights include an authentic log cabin, seasonal<br />

floral displays, modernistic glass pyramids, and exotic plant<br />

specimens from around the world. www.sabot.org<br />

Located in one of the oldest historic districts in Texas,<br />

Guenther House was built in 1860 by Carl Hilmar Guenther,<br />

founder of Pioneer Flour Mills. The restored house offers a<br />

museum featuring mill memorabilia. www.GuentherHouse.com


General<br />

INFO<br />

Imaging USA<br />

January 14-16, <strong>2007</strong> San Antonio, TX<br />

ASSOCIATION BOOTH HOURS<br />

Sunday, January 14 10:00 am - 5:30 pm<br />

Monday, January 15 10:00 am - 5:30 pm<br />

Tuesday, January 16 10:00 am - 4:30 pm<br />

BUSINESS CENTER<br />

THE UPS STORE is on site at the San Antonio Convention Center.<br />

Exclusive business center services include word processing,<br />

personal computer, copying, parcel shipping and the selling of<br />

assorted office supplies. UPS is located on the Street Level near<br />

entrance. Hours: 8 am-6:30 pm (Monday-Friday); 9 am-5 pm<br />

(Saturday) and closed on Sunday. Phone number is: 210-258-8950<br />

The Business Center at the Hilton Palacio del Rio Hotel is open<br />

7:00 am-7 pm (Monday-Friday); 9 am-1 pm (Saturday) and closed<br />

on Sunday. Phone Number is 210-226-4316.<br />

CERTIFICATION EXAMS<br />

Certification exams for the distinction of<br />

Certified <strong>Professional</strong> <strong>Photographer</strong><br />

(CPP) will be offered at the Hilton<br />

Palacio del Rio Hotel as follows:<br />

Sunday, January 14<br />

Hilton Hotel Corte Real F, 22nd floor 9:00 am - 11:00 am<br />

Monday, January 15<br />

Hilton, La Reina Room, Mezzanine Floor 9:00 am - 11:00 am<br />

Tuesday, January 16<br />

Hilton, La Vista, 22nd floor 10:00 am - 12:00 pm<br />

You must submit an application and pre-register for the<br />

examinations at least five business days in advance of the<br />

convention.We are not able to accept walk-ins. Only those who<br />

have completed the application process will be permitted to take<br />

the certification exam.<br />

COAT CHECK<br />

Coat and baggage check will be available on Tuesday only from<br />

7:00am-7:00pm and is located in the lobby of the Convention Center.<br />

CREATIVE DINING & ENTERTAINMENT BOOTH<br />

If you would like to sample San Antonio’s unique variety of<br />

restaurants and shopping, rent a car, or just enjoy the nightlife,<br />

stop by this booth in the registration area. The staff will<br />

recommend activities and make your individual and/or group<br />

reservations at some of the most enjoyable restaurants and cafes!<br />

FIRST AID<br />

If you need First Aid or emergency services at the San Antonio<br />

Convention Center, please call 210-582-7012.You can also pick up<br />

one of the white house phones and dial 7773, which will automatically<br />

connect you to the security office at the Convention Center.<br />

IMAGING EXPO<br />

To further enhance your learning experience, Imaging USA<br />

features hundreds of top companies in the 400+ booth Imaging<br />

EXPO, where industry vendors demonstrate today's best solutions<br />

available to professional photographers. This is an exciting forum<br />

for you to explore the newest technologies and services that can<br />

help you make more money!<br />

The Imaging EXPO will be open as follows:<br />

Sunday, January 14 11:00 am - 5:30 pm<br />

Monday, January 15 11:00 am - 5:30 pm<br />

Tuesday, January 16 11:00 am - 4:30 pm<br />

INFORMATION BOOTH and MESSAGE CENTER<br />

An information booth with message board is located in the<br />

Convention Center registration area. You can also dial<br />

210-582-7013 for general information.<br />

Hours for the Information Booth:<br />

Saturday, January 13 8:00 am - 5:00 pm<br />

Sunday, January 14 7:00 am - 5:00 pm<br />

Monday, January 15 8:00 am - 5:00 pm<br />

Tuesday, January 16 8:00 am - 3:00 pm<br />

LOST AND FOUND<br />

Lost and Found is located at the Information Booth in the<br />

Convention Center registration area. Phone: 210-582-7014.<br />

LOCATION OF PROGRAMS<br />

Imaging USA, SEPCON and Commercial Photography Conference<br />

programs will be held at the Convention Center. Please check the<br />

program schedule for information/location of all events.<br />

<br />

www.ImagingUSA.org P42


General Information<br />

Imaging USA January 14-16, <strong>2007</strong> San Antonio, TX<br />

MARKETING CONSULTATIONS BY SMS<br />

PPA and Studio Management Services (SMS) is offering free halfhour<br />

marketing consultations to interested PPA member attendees.<br />

Go to the Information Booth in the Imaging USA registration area<br />

to make an appointment. Time slots are limited, so register early!<br />

Starting times are every 30 minutes in Booth 723 in the Imaging<br />

EXPO during the following hours:<br />

Sunday, January 14 11:30 am - 3:30 pm<br />

Monday, January 15 11:30 am - 3:30 pm<br />

Tuesday, January 16 11:30 am - 2:30 pm<br />

MEDIA OFFICE / MEDIA REGISTRATION<br />

Imaging USA’s Media Office features a lounge and work areas to<br />

serve the needs of reporters covering the Imaging USA<br />

convention. Exhibitors' product and media kits are also available in<br />

the Media Office. Pre-registered members of the media may<br />

obtain their press badges in the Media Office. To register onsite<br />

for a media pass, you must present valid media credentials.<br />

Registered members of the media are permitted into the EXPO<br />

one hour before its opening on Monday, January 15 and Tuesday,<br />

January 16. The Media Office is located across from the registration<br />

area. Phone: 210-582-7015. Hours are as follows:<br />

Sunday, January 14 8:00 am - 5:30 pm<br />

Monday, January 15 8:00 am - 5:30 pm<br />

Tuesday, January 16 8:00 am - 4:30 pm<br />

MERITS<br />

All registered PPA members in good standing will earn one<br />

service merit for attending Imaging USA. PPA members attending<br />

business modules will receive one merit per class. Members<br />

attending the three-day pre-convention class will receive two<br />

merits. If you require a printed copy, please email Marisa Pitts at<br />

mpitts@ppa.com.<br />

PARKING<br />

Hotel Parking Per Day: (rates subject to change)<br />

Hilton: Self park / $15.00<br />

Westin: Valet park only / $27.00<br />

Holiday Inn: Self park / $14.00<br />

Menger: Self park / $25.00<br />

Hotel Contessa: Valet park only / $25.00<br />

LaQuinta: Self park / $15.00<br />

St. Anthony: Self park / $15.00<br />

Gunther: Valet park only / $22.00<br />

Homewood Suites: Valet park only / $20<br />

P43 www.ImagingUSA.org<br />

Public Parking Per Day: (rates subject to change)<br />

Marina Garage (850 E. Commerce): Closest to the Convention<br />

Center, next to the Marriott River Walk Hotel and across the street<br />

from the Convention Center. Flat Event Rate: $8.00<br />

River Bend Parking Garage (210 E. Presa): next to the Hilton<br />

Palacio del Rio Hotel and near the Convention Center. Flat Event<br />

Rate: $7.00<br />

Houston Nolan Lot (1015 E. Houston): Near Convention Center.<br />

Flat Event Rate: $5.00<br />

Center Street Lot (243 Center): Near Convention Center. Flat<br />

Event Rate: $7 and up<br />

PPA PRINT COMPETITION MENTOR PROGRAM<br />

(Due to the extreme popularity of these mentor sessions, a limited<br />

number of appointments will be available).<br />

PPA's Photographic Exhibition Committee is offering FREE<br />

consultations with PPA Juror/Mentors at Imaging USA. Take this<br />

opportunity to get personal evaluations of your images. Jurors will<br />

review the 12 elements used to evaluate and score prints and will<br />

make suggestions on what can be done to improve your skills and<br />

business by participating in print competitions.You will have the<br />

opportunity to ask questions, receive information and tips on how<br />

to create exhibition quality images, and get the inside track on<br />

how to earn merits towards the prestigious PPA Master of<br />

Photography degree.<br />

To reserve a time for your review, contact PEC administrator, Jim<br />

Dingwell at the PEC information desk inside the print exhibit.<br />

The private consultation booths will be located in the Print Exhibit<br />

area. Jurors will be available:<br />

Sunday, January 14 11:00 am - 4:00 pm<br />

Monday, January 15 11:00 am - 4:00 pm<br />

Tuesday, January 16 11:00 am - 2:00 pm<br />

PROGRAMMING<br />

We've made it simpler than any other show for you to get the<br />

education you need most all in one place! You have 65+<br />

educational sessions to choose from - follow the track or<br />

conference of your choice, or mix it up if your interests vary:<br />

SEPCON - Sport & Event <strong>Photographer</strong>s Conference:<br />

High caliber speakers will provide instruction and information<br />

on methods that have proven successful for sport and event<br />

photographers all over the country. Brought to you by the<br />

Society of Sport & Event <strong>Photographer</strong>s (SEP)<br />

Commercial Photography Conference: Designed to<br />

boost the careers of commercial pros, this conference addresses<br />

unique concerns and issues dealt with by commercial photographers<br />

every day. Brought to you by Commercial <strong>Photographer</strong>s<br />

International (CPI).


Adobe Photoshop and Lightroom for<br />

<strong>Photographer</strong>s Track: Three solid days of Adobe experts<br />

sharing Photoshop tips, techniques, secrets, shortcuts, and some<br />

basics too.<br />

Essentials Track: Everything you need to jump-start your<br />

photography career or refresh your skills.<br />

Wedding/Portrait Track: Get answers to tough questions<br />

and fill up on new ideas designed specifically for the<br />

wedding/portrait photographer.<br />

Spotlight Track: True variety, from how photographers can<br />

work with Painter to how you can unlock hidden sparks of creativity.<br />

REGISTRATION<br />

Registration for SEPCON, Imaging USA <strong>2007</strong> Convention and<br />

EXPO, and the Commercial Photography Conference will all be<br />

located on the Street Level, outside Hall B in the Convention<br />

Center. Attendees of all the conferences can register here.<br />

Registration will be open during the following hours:<br />

Saturday, January 13 8:00 am - 7:00 pm<br />

Sunday, January 14 6:00 am - 5:30 pm<br />

Monday, January 15 6:30 am - 5:30 pm<br />

Tuesday, January 16 6:30 am - 4:30 pm<br />

Important: Your convention badge is your passport to all<br />

Imaging USA conferences, programs, and events. Individuals not<br />

wearing an Imaging USA <strong>2007</strong> convention badge will not be<br />

allowed into Imaging USA conferences, programs and events,<br />

including the evening parties.<br />

Imaging USA Pre-Convention Registration:<br />

The Pre-Convention programs listed here are held on the 22nd<br />

floor of the Hilton: Business Modules 1-5,“The Secrets to Success<br />

When Turning Pro,” and “Digital Workflow Optimization.”<br />

Registration for these programs is located on the 22nd floor of the<br />

Hilton in the Foyer area. This Pre-Convention Registration will be<br />

open during the following hours:<br />

Thursday, January 11 7:30 am - 4:00 pm<br />

Friday, January 12 7:30 am - 4:00 pm<br />

Saturday, January 13 7:30 am - 4:00 pm<br />

All other pre-convention programs, including SEPCON, register at<br />

the Convention Center starting at 8:00 am on Saturday, January 13.<br />

SECURITY / PUBLIC SAFETY<br />

Security at the Henry B. Gonzalez Convention Center can be<br />

reached by dialing 210-207-8500. It is located next to UPS Store –<br />

near front entrance of the Center.You can also pick up one of the<br />

white house phones and dial 7773, which will automatically connect<br />

you to the security office at the Convention Center.<br />

SPEAKERS LOUNGE<br />

The Speakers’ Lounge/Rehearsal/Orientation is located at the San<br />

Antonio Convention Center in Room 202, Concourse Level. The<br />

lounge is the location of the speaker orientations and is also<br />

available for speakers to rehearse programs or just mingle with<br />

other speakers.<br />

SPEAKERS OFFICE<br />

The Speakers Office is located at the San Antonio Convention<br />

Center in Room 203, Concourse Level. Phone: 210-582-7016<br />

TUXEDO PICK-UP<br />

If you have not yet arranged for a tuxedo and would like to order<br />

one please call Tuxedo Junction at 210-340-3923.<br />

All reserved tuxedos for the awards ceremony attendees can be<br />

picked up on Monday, January 15, at the Hilton bell stand. Tuxedos<br />

must be dropped off at the bell stand by 9:30am on Wednesday,<br />

January 17. Please be aware that there will not be a fitting from the<br />

tuxedo company, so please be sure to get accurate measurements<br />

from a formalwear specialist or tailor.<br />

Important Phone Numbers<br />

First Aid 210-582-7012<br />

Holiday Inn 210-224-2500<br />

Homewood Suites 210-222-1515<br />

Hotel Contessa 210-229-9222<br />

Imaging USA Show Office 210-582-7017<br />

Information Booth 210-582-7013<br />

LaQuinta Inn & Suites 210-222-9181<br />

Lost and Found 210-582-7013<br />

Hilton Palacio del Rio 210-222-1400<br />

Media Office 210-582-7015<br />

The Menger Hotel 210-223-4361<br />

Security - Convention Center 210-207-8500<br />

Sheraton Gunther Hotel 210-227-3241<br />

Speakers Office 210-582-7016<br />

St. Anthony Historic Hotel 210-354-9244<br />

Super Shuttle (Airport) 210-829-3781<br />

Tuxedo Rental (Tuxedo Junction) 210-340-3923<br />

The Westin Riverwalk 210-224-6500<br />

You Could Win a Free iPod!*<br />

Giving away 6 iPods is our way of saying “thanks!” for helping us<br />

better understand you.<br />

There is so much to learn, do, and see at Imaging USA — and we<br />

know that photographers attend Imaging USA for a wide variety of<br />

reasons. To help us make Imaging USA the best possible<br />

experience for attendees, we need to know a little more about<br />

you. Don’t worry — nothing too personal — just some quick<br />

questions about what motivated you to attend Imaging USA this<br />

year. Learning more about who you are and why you’re joining us<br />

this year will allow us to make future conventions even better.<br />

Stop by the Imaging USA survey table in the Registration Area at<br />

the Convention Center, or look for one of our student volunteers<br />

wearing an orange t-shirt and an iPod button. Then just complete<br />

our quick (and anonymous) survey and you’ll be given a raffle slip<br />

to fill out and enter in the drawing to win one of six 30GB iPods.<br />

The drawings will be held just before the Expo closes each<br />

afternoon — and we’ll give away 2 iPods per day!<br />

It’s that easy!<br />

* one entry per attendee; you do not have to be present to win.<br />

<br />

www.ImagingUSA.org P44


General Information<br />

Imaging USA January 14-16, <strong>2007</strong> San Antonio, TX<br />

Evaluations Equal Free Money<br />

As an added incentive to get your feedback on our programs, we<br />

are offering you the chance to win a $50 AMEX gift card…just for<br />

filling out the program evaluation! With 2 drawings per day, and<br />

increased chances to win each time you fill out a different program<br />

evaluation form, there’s nothing to lose! To enter, simply turn in the<br />

completed program evaluation forms at the Information Desk in<br />

the Convention Center before the end of the Expo each day.You’ll<br />

be given a raffle ticket for each evaluation submitted. Be sure to<br />

include a cell phone number so that we can contact you during<br />

Imaging USA!<br />

Student Portfolio Reviews<br />

Accredited PEC judges and master photographers will be offering<br />

student portfolio reviews. The reviews are open to Student<br />

Photographic Society members and Imaging USA student<br />

volunteers. Students may leave their portfolios out for other<br />

interested parties to leaf through.<br />

P45 www.ImagingUSA.org<br />

The reviews will take place from 2:30pm-5:30pm on Sunday<br />

January 14, <strong>2007</strong> in the middle of the tradeshow floor. Come check<br />

out what the next generation of photographers are doing today!<br />

Special Exhibition:The Works of Al Gilbert<br />

At the Association Booth in Hall B there will be a special exhibition<br />

of images by Al Gilbert, M.Photog.Cr., F-ASP. This year’s recipient<br />

of the PPA Lifetime Achievement Award, Gilbert has had a<br />

distinguished career spanning more than 6 decades. His lighting<br />

techniques are unique, and his moniker of “Ambassador of<br />

Canadian Photography”could not be more appropriate.


<strong>2007</strong>


P47 www.ImagingUSA.org<br />

The<br />

<br />

OFValue<br />

MEMBERSHIP<br />

January 14-16, <strong>2007</strong> San Antonio, TX<br />

We understand your time is money. That’s why it makes perfect sense for other photography associations to co-locate their events with<br />

Imaging USA. Each of these associations offer benefits custom-fit to meet the needs of their members. If you’re already a<br />

member, you know it’s a great investment. If you aren’t a member yet, be sure to visit these association websites or the association booth<br />

at Imaging USA to see if one of them is the right one for you and your business.<br />

Your 2-for-1 Buddy Pass gets you into the Imaging Expo and all the programs at Imaging USA, SEPCON and the Commercial<br />

Photography Conference.You’ll save time and money while getting everything you need all in one place, and all for one low price.<br />

Imaging USA is designed for professional photographers of all kinds, and offers everything you need to succeed in the photography business.<br />

In today’s competitive market, you can’t afford to miss the largest and most exciting professional photography convention and expo of the year!<br />

<strong>Professional</strong> <strong>Photographer</strong>s of America<br />

Since 1880, professional photographers have looked to PPA to lead the way by providing top-notch<br />

education, helping them understand the business of photography and by protecting their rights. As a<br />

result, PPA continues to be the world’s largest not-for-profit association for professional photographers<br />

with more than 16,000 members. And for each of those members, PPA has but one goal: to help them<br />

become the most successful business person and photographer possible.<br />

(www.PPA.com | www.OurPPA.com)<br />

<br />

Society of Sport & Event <strong>Photographer</strong>s<br />

Dedicated to helping event photographers become more successful, the Society of Sport and Event<br />

<strong>Photographer</strong>s (SEP) is the only trade association that focuses all of its efforts on this photographic<br />

specialty. As an increasing number of photographers get involved in this lucrative market, membership<br />

in SEP, will keep you ahead of the competition with resources and information that will increase your<br />

business skills, expand your technical knowledge, and help you accomplish your business goals. SEP also<br />

brings you SEPCON, now in its 6th year delivering high-quality education for sport & event photographers.<br />

(www.SEPsociety.com | www.sepforum.com)<br />

<br />

Commercial <strong>Photographer</strong>s International<br />

Focused on the business needs of its members, Commercial <strong>Photographer</strong>s International (CPI) is the<br />

only commercial association that offers the protection of an established Errors and Omissions Plan,<br />

affordable coverage comparable to professional liability insurance, to commercial photographers and<br />

assistants. Members also have access to the best specialized insurance programs available to photographers<br />

– including health insurance options. CPI provides unique tools to make commercial photographers’ lives<br />

easier and their businesses more profitable, and one of their most visible member services is their<br />

website (www.MyCPI.com), home of many valuable business resources.<br />

<br />

Student Photographic Society<br />

The Student Photographic Society (SPS) strives to assist photographic students and educators with<br />

information, resources and programs that further the educational experience and support the transition<br />

from student to professional photographer. SPS offers its members a wide array of informational<br />

resources covering all the disciplines of professional photography. And SPS members provide much<br />

needed assistance as volunteers at Imaging USA through their Student Volunteer program—yep, they’re<br />

the folks in the orange t-shirts! (www.StudentPhoto.com)

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