ASP Magazine Summer 2010

American Society of Photographers • www.ASofP.com • Summer 2010 1

2 American Society of Photographers • www.ASofP.com • Summer 2010 American Society of Photographers • www.ASofP.com • Summer 2010 2American Society of Photographers • www.ASofP.com • Summer 2010 3


In the next issue watch for the thesis and portfolio of 2010 ASP Fellow Michael Timmons as well as infor-mation about the upcoming ASP Banquet and meeting to be held at Imaging 2011.

Watch your mailbox for your ASP membership renewal form coming in November.

Found us on Facebook yet? Search for the ASP page on Facebook and make sure you become a Fan to take advantage of up-to-the-minute happenings.

Change of seasons.

I took some heat the other day about the deadline of this issue. Seems as if you’re going to be receiving your summer issue at the tail end of sum-mer. To be quite honest, sum-mer for me is the season that begins when I turn on the air conditioning and ends when I have to wear a sweatshirt out-side at noon. And because I’m still wearing short sleeves and flipflops today, it is - in my book - still summer.

So you can expect your fall is-sue once I’ve worn a sweatshirt, outside, at noon, for three days straight.

Good thing I don’t live in Flor-ida or Hawaii, or we’d only have one issue of the magazine.

It was exciting for me - a for-mer sportswriter - to be able to work with Barry Rankin’s sports images in this issue. Took me back to the old newspaper days when we were laying out the daily issue at the wee hours of the morning.

I took the liberty of writing an editorial this issue in hopes it might light a fire or two.

I also want to thank all of you who responded to my plea for articles. The response was great and THANKS. If you don’t see your article here now, keep watching, you will. And in the meantime, keep ‘em coming.

--Kalen

AMERICAN SOCIETY OF PHOTOGRAPHERS

MAGAZINE Coming Next.

The ASP Magazine is the official publication of the American Society of Photog-raphers, Inc., published four times a year for members and others for information of industry matters, personal achievements and news of this and other associations. Acceptance of advertising, or publishing of press releases does not imply endorse-ment of any product or service by this association, publisher or editor. Permission is granted to similar publications of the photographic industry to reprint contents of this publication, provided that the author and the ASP Magazine are credited as the source.

Articles, with or without photographs, are welcome for review for inclusion in this publication; however, the editor reserves the right to refuse publication, or if accepted, the right to edit and use on a space available basis. Send all communications, articles and advertising to:

Editor, ASP Magazine, 224 West Corry Court, Mt. Pleasant, IA 52641(319) 671-1771 or email: [email protected]

ONTHEINSIDEPresident’sMessageRick TrummerPage 4

Let there be light.Gabriel AlonsoPage 5

Living the Magic. Barry RankinPage 7

Fries with that?Bob CoatesPage 16


Call us toll free800•638•9609

Everyone seems to have a camera these days.

Baby boomers who have worked hard for many years are finding them-selves displaced from their jobs or retired and looking for something to do. Many of them are pursuing creative avenues in photography as a pastime or small business. They’ve yearned for years about doing something creative and the digital revolution has made photography as-sessable for them. Hundreds if not thousands of these post-war babies experiencing the joy of spending time with their grandchildren have picked up a camera to record the fun. The “soccer moms” a.k.a. the “momarazzi” are everywhere. High school students are photographing each other for their senior pictures. (I can’t really call them portraits by our standards.) Professional photog-raphers have lost market share to these wannabes.

So what can we do to turn things around? The answer is to market your “profession-alism”. Quality clients still want quality work from professionals. So your job is to show them, tell them and make them feel all the benefits of dealing with you, a professional.

Never under value your experience and expertise. Make a list of the benefits that you bring to the table. Be sure to include “ease of doing business with” and “peace of mind”. You have a proven track record of satisfied clients, let them know that. Most importantly, keep in mind people are known by the company they keep, this brings to mind your membership in ASP. We are the last “true” professionals of the industry, amateurs need not apply, it’s what separates us from the masses. Educate the public about this great society. Emphasize the fact that only degree holders are INVITED to join. Most of you have your Masters degree and or your Craftsmen degree, that sets you a part from probably 18,000 PPA members and hundreds of thousands of amateurs. You are part of an elite group of artists. Be proud and vocal of this accomplishment. Quality clients will respond.

My final push as president will be working with State Representative Chairman Randy McNeilly and the ASP State Representatives to meet my objectives of creating more awareness of what we have to offer in the ASP. I’ve given you the most important benefit, there are so many more. You have been working your entire life to advance yourself from the rest, tell your competition you have something they currently don’t have, membership to the American Society of Photographers, your edge. Membership dues will be coming to your door in early November, make this the first priority of the coming year, God’s speed.

Be Good To Each Other,

Rick

Rick TrummerM.Photog.,Cr.,CPP, F-WPPA

ASP President

Photo by William McIntosh

President’s Message

“...amateurs need not apply.”

Share the WealthPRESIDENT - RICHARD TRUMMER

M.PHOTOG., CR., CPP., F-WPPA3701 COUNTRY GROVE ROAD,

MADISON, WI 53719(608)848-6006 [email protected]

PRESIDENT ELECT- KATHY MEEKM.PHOTOG., CR., CPP, API

125 ALBERT PIKE, HOT SPRINGS, AR 71913(501)624-3195 [email protected]

VICE PRESIDENT - JAMES CHURCHILLM.PHOTOG., CR., CPP

7773 SHANNON FAYE LANE, GRANT, MI 49327(231)206 4117 [email protected]

SEC/TREASURER - DORAN WILSONM.PHOTOG., MEI, CR., CPP, F-ASP

400LN 470A LAKE JAMESANGOLA, IN 46703 • (260) 489-3100 X228

[email protected]

CHM OF THE BOARD - ERNIE JOHNSONM.PHOTOG., CR.,

912 HILLSBORO ROAD, FRANKLIN, TN 37064(615)790-2680 [email protected]

GOVERNOR - NANCY EMMERICHM.PHOTOG., CR., CPP1324 SW 89TH STREET,

OKLAHOMA CITY, OK 73159(405)735-3881 [email protected]

GOVERNOR - SAM GARDNERM.PHOTOG., CR., CPP, FPP-W

P.O. BOX 5772BELLINGHAM, WA 98227

360-961-2887 [email protected]

GOVERNOR - KALEN HENDERSONM.PHOTOG., MEI, CR., CEI., CPP, API, EA-ASP224 WEST CORRY COURT, MT. PLEASANT, IA

52641(319)986-5324 [email protected]

GOVERNOR - RANDY MCNEILLYM.PHOTOG., MEI., CR.

1241 FALLSTON ROAD, SHELBY, NC 28150(704)482-0011 RANDY@MCNEILLYPHOTOGRA-

PHY.COM

GOVERNOR - CINDY ROMANOM.PHOTOG., CR., CPP

17706 GARDEN VALLEY RD.WOODSTOCK, IL • (815) 338-1181

[email protected]

GOVERNOR - MICHAEL R. SCALF, SR.M.PHOTOG., CR., CPP, API

P.O. BOX 1779, BLANCHARD, OK 73010(405) 485-3838

[email protected]

EXECUTIVE DIRECTOR - JON ALLYN3120 N. ARGONNE DRIVE, MILWAUKEE, WI 53222

(800)638-9609 [email protected]

ASP BOARDOF DIRECTORS


Share the Wealth

When I first got interest-ed in learning portraiture lighting techniques, there were never enough lights to incorporate into a scheme. I would use ev-ery light available in the studio. It took a while to learn how they interact and to use them properly. Then came the counter-current that took me into minimalism. The complete opposite side, favor-ing location environmental and outdoor available light assignments. Having been at both ends of the spec-trum and everywhere in between, now I find myself in complete control. When preparing for a session, now I select the minimum amount of lighting equipment required to accomplish the goal. I would like to share with you some of the things that I have learned.

The key and the fill lights are the foundation of every lighting scheme and ever present. The key light defines pattern and direction, whereas the fill light provides basic density and controls contrast. The fill location is traditionally on the same side as the key and close to the camera. When shooting on location, available ambient light could be used as a fill light. Additional lights are hair, background and accent. Let’s explore these secondary lights briefly. The hair light is one that should be used sparingly since it is very easy to overdo and in my opinion, unless you have some-one with very dark hair, unnecessary.

The background type and how you want it to render will dictate wether it requires supplemental lighting. The background light will take care of separation with-out worries of spilling on the subject, except on high key schemes were care should be taken to prevent flare.

Enter my favorite light. The accent or kicker light. If I had to only use one type of secondary light, it would be a kicker light. It serves as a means to deliver depth, a three dimensional quality to your portraiture.

Photography is a two dimensional medium. There‘s only height and width. The use of an accent light brings in that much needed third dimension: Depth. In traditional portraiture, the proper use of a kicker light is to position it on the same side as the key light.

Adding a second kicker on the opposite side to the key light is tricky but rewarding. It should be ap-

proached same as in cooking with garlic, “A little bit goes a long way”. Great depth and roundness can be achieved with the use of these kickers.

If you study the work of Karsh and Arnold New-man, you will see use of kicker lights abundantly. Quite often, these are used from both sides of the subject to create a dramatic effect.

There is a portrait by Karsh of Fidel Castro in which there is no apparent use of a key light in the traditional way. Two kickers actually do the job of the key light, a very dramatic image in-deed.

A simple way to set up the intensity of your lights for most situations is as follows: Set the key light to the desired F stop. Next set the fill light so that you achieve the desired lighting ratio and then, if you are using a kicker and/or a background light, set them to the same identical output as the fill light. i.e.: Fill light reads f6.3 at the location of the subject, kicker should read f6.3 as well.

Finally take an overall reading from your subject’s position pointing your meter towards the lens. Use this final reading to set the exposure in your camera.

You probably have heard the term that a light is hard or soft, etc. The accent light always looks as if it came from a hard light source. That may not necessarily be the case. The light quality

Light - Continued Pg. 6

Let there be light.Gabriel Alonso, M.Photog.,Cr.


appears to be specular due to the angle of incidence even when it originates from a soft source.

An excellent light source for an accent is a Photogenic 16 inch parabolic reflector with barn doors and a diffusing filter so that it pro-duces a narrow, controllable light that will minimize glare from stray light. A small strip soft box works nicely as well.

In conclusion If you have not used an accent light before, try it us-ing the instructions above and discover what a difference lighting with an accent can make to your portrait work.

Light - Continued From Pg. 5

Ed. Note - Gabriel Alonso has re-cently recovered from an anneuresm and this article comes since his recovery. We are thankful for his re-covery and excited to see him back in action.

Gabriel is a Master of Photography and Photographic Craftsman and is Manager and Portrait Artist at both Gittings Texas and Gittings West Stu-dios; Regional Manager and Portrait Artist for McWhirter Portrait Studios at Neiman Marcus in Houston and Portrait Artist for Wyndham-Leigh Portraiture in Washington, D.C., Fort Worth and Dallas, TX.

Politicians do it. Columnists do it. Your doctor does it. Personal train-ers do it.

What they do - and we are also guilty of - is talking AROUND an is-sue. Rather than just stating it for what it is, they’ll take the long road around to try to avoid hurt feelings, conflict or even loss of business. So let’s not be guilty of talking around an issue. Let’s face it straight on.

This industry is changing.

If you’re reading this magazine, you’re probably an ASP Member. If you’re an ASP Member then you have earned a PPA Degree. If you’ve earned a PPA Degree then you’re a member of PPA and in order to earn that degree you’ve pushed yourself above and beyond the limits.

What we are facing right now is a stagnant ASP membership. Sure, there are fewer degree recipients now, but how about the hundreds of degree holders who aren’t ASP members? The question we are most often asked when we encourage membership is, “Why should I join ASP?” The question I like to fire back is, “Why not?”

If you were a runner and actually interested in running to benefit your health and improve your self-esteem you would try to hang out with other runners, maybe join a running club, read running magazines and participate in races. In doing all this you would experience camarade-rie and, somewhere along the way, improve yourself and benefit from that in the long run.

Take that concept and apply it to your photography. If you are interest-ed in what you do then you like to hang out with other photographers, read photography magazines and - wait for it - join a photography club. We aren’t exactly a “club” but a professional organization that gives you access to hundreds of other professional photographers just like you that can give you support, education, ideas and pat you on the back when you’ve done something good.

We’ve got to get this point across to potential members. It just can’t be the selfish question of, “What can ASP do for me?” That’s like ask-ing the American Cancer Society what it can do for you personally. It is what you can do for ASP and, in the long run, what ASP does for professional photography. Without members we have no organiza-tion and without an organization, we have no support for the profes-sion and without the profession, we are nothing more than a bunch of amatuers that hope to make a buck on a photograph.

If you made it this far, then you are truly a committed member of ASP and we thank you. What we’re asking you to do now is to find just one more member - for the sake of ASP and the sake of the profession.

--Kalen Henderson

What’s In It For Me?Editorial

CALL FOR ARTICLES.

Looking for your best tip and/or trick for our next is-sue. In 200 words or less give us the “BEST OF” along with an illustration. Whether it is a keyboard shortcut or a filter made from a dirty sock, we want to hear about it.

Email before October 30th to Kalen Hender-son at [email protected].


Living the Magic.Barry L. Rankin,

M. Photog., Cr., F-ASP

“Photography and all it’s magic was going to be my life.”

I will never forget the moment I first saw an image appear on a white piece of paper. I was an eight-year-old cub scout and my mother was our den mother. She had photo-graphed each member of the den so we could PRINT our own image, make a leather frame and give it to our parents for Christmas. She mixed up the chemicals, devel-oped the film, and when she put that piece of paper into the easel and turned on the enlarger I was fascinated. When she put that paper into the Dektol developer and the image just appeared it was magic. I have always been a child of magic and the beauty and joy of photography is completely magical for me. You photograph something that most of the world sees one way and you turn it into something completely unique. My goal in photography has always been to make my images 20% bet-ter than my subjects imagine they can be – to make them magical.

My first camera was a Kodak X15 flash cube camera and I loved tak-ing pictures everywhere. My par-ents were not wealthy, in a mon-etary sense, but to me they are the reason I have achieved my dreams. There was always music of every kind in our home grow-ing up. My father played the pi-ano, and did so ever day until ar-thritis took his ability to play. We were always watching Lawrence Welk, Perry Como, Tennessee Er-nie Ford, and Andy Williams. What a great joy that I was able to meet Andy Williams and photograph him. My mother loved his music.

As I grew my interests were the Beatles, Dave Clark Five, Herman’s Hermits, and the Beach Boys. My parents didn’t care for the Beatles, but never said so. When I wanted to learn to play guitar they helped me buy my first electric guitar and am-plifier. They were always teaching me about life. I had to pay for half of whatever I wanted to do so I would work harder towards being suc-cessful at it. I still love to play but I might go six months before I pick up my guitar. I will play every day until I get busy with something else. That

Magical - Continued Pg. 8

Editorial


something else always seems to be our busy season in photography.

In 1963, when I was in the 6th grade, my parents took our family to Ann Arbor to see Michigan play at Michigan Stadium. I remember we played Iowa and we tied 17 all. The stadium seated over 100,000 fans, but they never had more than 60,000 at most of their games. It was still a big thrill to be there. Michigan had won the Rose Bowl on Jan 1st 1963 so they were the defending Big Ten Champions.

Two years later my long time friend, Bill Shattuck and I went to Ann Arbor to see Michigan play the last basketball game played at Yost Field house. I was on the 8th grade basketball team at North Intermediate school and Michi-gan had the best college play-er in America, Cazzie Russell, a three time first team All American. Every basketball player in the world wanted to be like Cazzie. I photographed my first Michigan game that day with my Kodak X 15 flash cube camera. I remember two things about that day; first, I could walk right down under the basket and take pictures - you did not need credentials. Second, I got to meet Cazzie. Looking back at the pictures I took that day, the quality is poor. I was too far away, the images were under-exposed, some were out of focus, but my timing was perfect. I knew “when” to click the shutter. I feel that is a

gift like Frank Sinatra’s singing. It is something you are born with.

After the game I was waiting (with a couple hundred fans) for the play-ers to come out of the locker room when a student manager looked over the crowd and for no special reason pointed to me and asked if I would like to go into the locker room and meet the players. I was shocked, but went immediately with this great man. I was so ner-vous I never asked his name. We walked into the locker room and he asked me who I would like to meet first. Of course, it was Cazzie! I walked over in complete awe as he was tying his tie. He shook my hand and I remember his fingers were so big they seem to go half way up my arm. I asked him if he would sign my autograph book fifteen times for my teammates at North Inter-mediate. He sat down and took my book and asked me what each player’s name was and then wrote a brief message to every player on my team. When I got to school that Monday and passed out the autographs I was everyone’s new best friend. When I got the pictures back from the game all my friends knew I had really been there. When I finished meeting all the play-ers in the locker room I came out-side and Cazzie posed for a picture with Bill and I and his father Cazzie Sr. posed with us as well. That day I became a Michigan man for life – and I learned that day how photog-raphy had cemented those memo-ries for me forever. It was magical!

When I attended Arthur Hill High School I was on the student news-

paper. I learned early on that I could date senior girls as a sopho-more. I was playing football, wres-tling, and when I wasn’t playing sports I was photographing them. My brother Jim was a student at U of M and he got me tickets to foot-ball, basketball and hockey games. I took my camera everywhere.

There were three local bands that were pretty well known when I was in High School. At that time none

of the three had ever recorded a hit album. They were just regional acts getting started. Bob Seger was with the Bob Seger System. Ted Nugent was with the Amboy Dukes, and Dick Wagner was with the Frost. I have pictures of these guys before they were famous. Due to my inexperience they weren’t


very good images. But I loved go-ing to those concerts and being in the front row. When people say it’s no big deal to be in the front row…they’ve never been there.

It is the greatest thrill in the world to see an entertainer work so you can see the passion and feel their creativity. It is just like sports to me. It is human beings, express-ing themselves in front of thou-sands of people that love the magic of what the entertainers can do. When you combine that with the magic of photography it is even bet-ter. There are moments in a sporting event that define the game. If you capture those moments you are recording history. The same thing is true at a concert. There are mo-ments that define that entertainer. When you capture those moments you are a part of the event, not just an observer – you share their magic!When I leave a stadium like the Michigan vs. Ohio State game and we have clinched a Big Ten Championship and a trip to the Rose Bowl, I can’t imagine a drug that could make that better. When I photograph a big time con-cert - the Moody Blues were the first major world famous act that I photographed - I was high for a week. All natural – all magical!

My high school journalism instruc-tor, Marshall Matlock, was an in-credible life teacher. He taught me to always do my best and better than my best. He taught that the world is filled with under-achiev-

ers and mediocrity, that nothing is impossible, and great things are achieved with hard work and ef-fort; never doubt that you can do it. I hated him all through school.

He had such high standards. I love him today for what he taught me to be. He reinforced the lessons my parents taught me. My choir di-rector, Merle Leis, was my favorite teacher. Without her I would have fallen…I’m sure because she was

all of Mr. Matlock for inspiration, but so much kinder delivering the message. She demanded the high-est level of performance and she got it. My love of Broadway shows grew because we sang many of the songs in our concerts. Rogers & Hammerstein and Lerner & Lowe were my early favorites. We per-formed those musicals every year at Arthur Hill. We would sell out the auditorium four nights with over 2,000 tickets sold each night. I was a chorus person not a soloist, but I was part of the team. It was magical!

When I graduated I tried several things…I just didn’t know what I wanted to do. I tried Law Enforce-ment but quit that because I found out the bad guys win more than the good guys. I tried auto mechan-ics but hated coming home with bloody knuckles. I taught Special Education for one year. I loved the kids but hated the parents. I

always was taking pictures and never thought I could make a liv-ing doing what I completely loved. I went to Wayne State University and became a Fine Art major and that sealed my fate. Photography and all it’s magic was going to be my life.

Magical - Continued Pg. 10

“If you capture those moments,you have recorded history.”


While at Wayne State, I got involved doing photogra-phy for the University of Michigan. I lived close to Ann Arbor and my friend Bill Shattuck was now a student at Michigan, a photographer and the dark room techie. We would go into the darkroom at 8:00 pm and not come out till morning. We printed and printed. We had so much fun and I learned a lot. I photographed my first Michigan football game with a pass I copied for the 1973 Michigan Ohio State game. I bought a ticket so I wasn’t stealing but I took a photograph at that game that would change my life forever. It was a photograph of Michigan’s head coach, Bo Schembechler. He was praying that his field goal kicker would make a kick that

would win the game. The kicker missed the kick but Bo saw a copy of my image in the publications dept. and he asked to buy a copy to give to his wife for Christmas. Magical - and the rest is history. I became his personal photographer and covered Michigan football for 35 years, to date. Basketball, hockey, gymnastics, wres-tling, track, baseball - you name it, I photographed it.

I went to work for a photographer in Saginaw, Jerry Wolff who was, in my opinion, the best photographer in Saginaw at that time. We pushed each other and we became involved in the Professional Photogra-phers of America and the Professional Photogra-phers of Michigan. Print competition became a huge part of my life and I competed every year. I was nev-

er satisfied and had many Michigan heroes helping me improve. Dimitri Lazaroff, Joe Kubek, and Rob-ert Stewart were huge influences in my early years.

I met Helen Yancy, one of my dearest and closest friends back then, and she has always been a great influence, and an even better friend in my life. It isn’t that often you get a chance to meet someone that you believe is the best in the world at what they do. Helen was one of those people and the other was Leon Kennamer. He taught me to see and control light. Leon taught me subtractive lighting, something

he invented. He turned the light on for me to take my work to the next level. He was a big part of my life. I achieved quite a bit of success in the first ten years of my career. I was able to win Michigan Pro-fessional Photographer of the Year three times, be-come a Master Craftsman in PPA and become an international juror. A few years later I won Photogra-pher of the year for a fourth time and became a PPA jury chairman. I won those awards all with portraits for the most part. But behind the scenes I was photo-graphing concerts, and sporting events all the time. I was doing work for Big Ten Football magazine, some spot work for Sports Illustrated, and of course U of M. I illustrated a book titled “The Art of Rock & Roll” featur-ing such stars as Bob Seger, Ted Nugent, Alice Cooper, Tom Jones, The Beach Boys, Linda Rondstadt, Barry Manilow, and Elvis Presley. I photographed Elvis three months before he died and he was one of the greatest entertainers of all time. He was an icon. I was privileged to meet him and see him perform, up close. Magical!

After winning my 4th PPM photographer of the year trophy, I decided to do it a different way. I would enter all the categories each year and see how well I could do. I started entering sports images and concerts because it was such a fun part of what I did. I have always felt if you give a good photographer a great subject and put them in a great location magic things


Magical - cont. page 12

will happen. I have always known WHEN the moment happened. When you photograph a sporting event ev-erything is moving very fast. When a hockey player is skating from one end of the rink to the other you have to wait 1.5 seconds for the strobes to recycle. You get one shot. To photograph at the highest level indoors you have to shoot with strobes. You take 400 images at an average game, to get 50 you can publish. You shoot 5000 images to enter one as an art piece. In daylight situations you can shoot eight frames a second but in baseball a pitcher throws over 90 miles per hour and you get one shot at the ball leaving his hand. At those speeds you get one shot to have a ball coming off a bat. It requires timing, talent and luck. You still have to know the exact moment to MAKE the exposure. Pho-tographing concerts you have to watch for the exact moment when a climax takes place. You have to know when it is happening, and where on the stage. You have to be very good and very lucky. It is over in a second.

In 1992 the final piece of my puzzle came to me when I went to work for a studio that needed me, and I need-ed them. I was doing fine on my own, but my office manager had moved to Tennessee and I was bored even though I was making good money. I needed a

new challenge. I combined my studio with an old, es-tablished studio, Dirla Studio in Bay City, MI. They were much less expensive then I was but because of that they had a pretty big volume. I came to work with them and met my very best friend, Mary Ellen Tanner Miller. Mary Ellen has been so much more than an employee. She taught me important les-sons in life. She taught me that people were what was most important, not things. She taught me rela-tionships mean more than trophies. She made me a better person. She made me a better photographer. Mary Ellen is a gifted, talented photographer in her own way. She has great vision and has that special gift, like Sinatra sings. She is an inspiration to me and many others. Mary Ellen is part of my family.

In 1998 I had a massive heart attack. I should have died. My faith in God, who gave me a miracle…and the miracle of life has blessed my world. Many pho-tographers helped me save my business during my three months off. No one helped as much as Mary El-len. She and her family made many sacrifices so she could help me. She saved my life, my life as a photog-


rapher. I was told that if I lived my chance of survival was 5%. If I lived I would be totally disabled and my life expectancy would be two to five years. I am here because of prayer, faith, family, and friends. Without those things life is meaningless.

I have worked for the Detroit Ti-gers and photographed a World Championship in 1984. The De-troit Red Wings, University of Michigan, Michigan State Univer-sity, The Saginaw Spirit Ontario Hockey League team has my old-

est friend, Bill Shattuck and I and our friend Tammy Carullo as of-ficial photographers. I am also the official photographer for the Great Lakes Loons, a class A farm team of the Los Angeles Dodgers.

One of the greatest days of my fa-ther’s life came when Bo Schem-bechler was being honored at a roast in Detroit and I was asked to provide decorations for the dais. I had several 30x40 inch football action shots including Bo on the shoulders of his team celebrat-

ing their first Rose Bowl Victory. I took my parents and my wife to this banquet and we had front row seats. When Bo and his family ar-rived by limousine my dad was right beside me at the front door. Bo saw me and cracked a smile and said Hi Rankin, how are ya? I asked him to come over for a min-ute and meet my father. His perso-na changed completely and he told my dad what a great young man he had raised and that I was a valued member of the Michigan football family. Bo said he was honored to meet him. My dad just about passed out and until the day he

died, he told everyone that would listen about my friendship with Bo. I will never forget how he felt, and how very proud I was to be his son.

I have also photographed seven Presidents of the United States. I include these people as ultimate entertainers. They are very diffi-cult to get inside and they are all great charismatic people. My fa-vorite President to photograph was George W Bush. He was very kind, considerate, and he defi-nitely showed me emotion when I was photographing him. He is the most famous person I ever photographed that asked me if I got everything I needed. He was a real pleasure to work with. This was exciting, and yes – magical!

“You have one opportunity totell a person’s story...”


Magical - cont. page 14

In my career I have been humbled and honored by the success I have achieved. I have learned that I only know a spec of the Universe that is photography. The greatest honor that I have received has been the PPA National Award. I wouldn’t trade that honor for anything I have achieved in my career. When it is near the end of your life rath-er than at the beginning it is what you have given that counts most.

My children, Mark, and his incred-ible wife, Jenny; my son, Beau, who is a great person, and my beautiful daughter, Jenny are my stars. My three grandchildren, Sa-mantha, Cameron, and Connor can light up my life just by breath-ing. My children grew up on the sidelines at Michigan stadium and have attended Bowl games with Michigan, photographed concerts with me, and met some pretty in-teresting people along the way. I also want to honor my ex-wife, Lo-rie, who helped me tremendously in my career as a photographer. She is a University of Michigan Graduate and a very good person. We just weren’t as good together. Without her help and encourage-ment I could have never achieved the success I have enjoyed.

I am asked all the time who is the most interesting person I have ever photographed, and I tell them it is my next one - and remember, you have one opportunity to tell a person’s story. Tell it with an im-age that they would love having and if it were the last image you ever made it would be something you are proud to have created.

Make it magical!

More photos, Barry Rankin’s bio,

see page 15 and 16.



Barry Rankin joined PPA and PP of Michigan in 1976 and received the PPA Master of Photography Degree in 1983, and the Photographic Craftsman Degree in 1985. He received the PPA National Award in 2001, the Imaging excellence Award in 2003 and the Imag-ing Excellence bar in 2009. He was named the Profes-sional Photographers of Michigan Photographer of the Year six times and has been a PPA National Pho-tographer of the Year six times. He has earned over 100 PPA exhibition merits and became a PPA National Juror in 1984 and a Jury Chairman in 1993.

He began working with Elliott Studios in Flint, MI in 1975, opened Barry Rankin’s Award Winning Portrai-ture in Saginaw in 1980 and in 1992 joined Dirla Stu-dio in Bay City. He purchased the studio in 1995 and continues to manage that business.


In great portraiture, the camera is the equal sign. The person on the back side of the camera be-comes equal to the person on the front side. When that hap-pens, we as photographers are

doing our job. Of course, in real-ity, that is only part of the job. Equally important aspects are lighting, posing, composition and key or feel of the portrait are all elements that need to blend in harmony. But for now, let’s address the first element.

Let’s step away from the cam-era for a moment. I want you to think about the last time you went to your favorite eating es-tablishment. Were you greeted warmly when you walked in? Did the host make small talk with you that seemed genuine? Or, did he look at you and say, “Just the two of you?”, as if it was a guess as to why you were there? When the waitress (or waiter) came for your drink or-der, did she simply read off the specials, or did she describe them in detail, adding personal commentary about her favorite dish and why she liked it? When you’ve finished your meal and the waitress comes back, does she ask if you would like some dessert? Or, does she bring a tray of mouth-watering treats for your eyes while she tells you about a few of them? Has your server made you feel as if you are very important and equal to the splendid surroundings?

By now, if you have been in a Doug Box seminar, you know that we are discussing “The Experience”. If you are hungry, you can walk into a fast food

joint, have a tray slapped down on the counter in front of you and watch as a couple of high school kids dressed in uniforms scramble around with head-sets to fulfill your order. In most

cases, you can hand the person behind the register a ten dollar bill and get change back, pick up your tray and have a meal.

Or. . ., you can call your favorite place, make reservations, show up at the agreed upon time, be greeted warmly and escorted to your table. “The Experience” will be an important part of the meal and is one reason why the res-taurant is your favorite place to eat. At the end of the night, you might spend more than ten dol-lars on the tip, but over all the end result is essentially the same . . .

you need food to fill you up. The cost of the meal is off set by the fact that you feel important; you feel as if you have been invited to a friend’s place for dinner.

So the next time someone walks into your studio think about this; do they want fries with that? Or, would it be wise to offer a glimpse of some tasty treats that will make their mouth water? Make your cli-ents feel how important they are. Let your camera become the equal sign and create a lasting relationship so they want to come back and they tell all their friends about the experience they had with you.

Dana Norlund, Cr. Pho-tog., CPP, owns and oper-ates Dana Norlund Pho-tography in Frewsburg, NY. Visit his website at w w w. d a n a n o r l u n d . c o m .

You Want Fries With That?


If you’ve left the world of black and white behind it may be time to revisit some old files or work new files for fun and profit. Reading the autobiography of Ansel Adams got me juiced to attempt to cre-ate some dramatic B&W images in the Adams’ style. Intrigued by his words, “I will always embrace a credo of excellence in craft and vision; both are difficult to maintain. Photographers are, in a sense, composers and the negatives are their scores. If I could return in twenty years or so (written in 1984) I would hope to see astounding (electronic) interpretations of my most expressive images. Image quality is not the product of a machine, but of the person who directs the machine, and there are no limits to imagination and expression.”

Tools for creating fine B&W images are better than ever. NIK Silver Efex Pro is at the forefront for cre-ative interpretation of our files. With Photoshop’s layers the ability to micro adjust tone and texture is astounding. Pre-visualization is important. Seeing the final print in your mind allows you to apply different filters with certain areas in mind. Add a red filter to the sky, orange filter to the red rocks followed by a green filter on the trees. NIK Silver FX & Photoshop rock with this kind of control! Use the structure slider to add contrast and detail to red rocks or trees without adding it to the sky. It’s all visual in real time. Selective sharpening, blurring and curve bumps allow a print to sing! Add a layer using the soft light layer mode in Photoshop for fine dodging and burning.

Take Ansel’s advice and perform a black and white symphony!

The Old is New Again.

Bob Coates, M. Photog., Cr., CPP, owns and operates Bob Coates Photography in Sedona, Arizona.


Hey, Fellows...Want One of These?The ASP Board of Governors has updated the ASP Fellow medallion and new rib-bon. If you are currently an ASP Fellow and would like to purchase the new medallion and ribbon at a cost of $50, please con-tact ASP Executive Director, Jon Allyn pri-or to September 20th to place your order. Jon can be reached by email at [email protected], or toll-free at 1-800-638-9609.

This silver medal with black inlay also has a half-carat CZ imbedded and will be displayed on a new, sturdy ribbon.

New Ribbon to Honor ASP Members.ASP Members will now be recognized for print excellence on the State and District level with the new Distinguised Print Award ribbon.

Any entry scoring an 80 or higher by an active ASP member will receive this designation.

State Reps should contact Sam Gardner ([email protected]) to order the quan-tity needed for their state while Regional Reps should get in touch with Randy McNeilly ([email protected]) for their ribbons.

Know someone you would like to nomi-nate for the ASP Board of Governors? If so, please contact ASP President Rick Trum-mer ([email protected]) before Sep-tember 30th with your recommendation.

Don’t forget the ASP Awards Banquet at Imag-ing 2011 in Austin, Texas. This year’s Banquet will be held on Monday evening, January 17th.

The ASP Annual Meeting will also take place at Imaging 2011 and will be held on Sun-day, January 16th. More details to come.

18 American Society of Photographers • www.ASofP.com • Summer 2010 American Society of Photographers • www.ASofP.com • Summer 2010 18American Society of Photographers • www.ASofP.com • Summer 2010 19Visit pro.whcc.com/go/Start today to open your WHCC account. - www.whcc.com

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20 American Society of Photographers • www.ASofP.com • Summer 2010 American Society of Photographers • www.ASofP.com • Summer 2010 20

American Society of Photographers3120 N. Argonne Drive Milwaukee, WI 53222

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ASP Magazine Summer 2010

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