Focus on Carolina July 2012

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2012 edition of East Coast School offers something for every photographer

East Coast School Director Victoria Kelly and the ECS board have put to-gether yet another tremendous slate of high rollers for this year’s edition of summer school.

One of the oldest PPA affiliated schools in the nation, ECS has a full ar-ray of talent – something for everyone.

For starters, ECS students and non-students can take advantage of ECS’s “Super Sunday” courses.

The first class is Tony Corbell, who will demonstrate NIK software. Consid-ered a “go to” guru when it comes to NIK software, he will spend the entire day working with students on getting the most out of the NIK software for HDR images.

The second class features the folks from PhotoBiz assisting students in updating their web presence, answer-ing questions about SEO, page-ranking, keywords and metatags, to name a few.

By the end of the day, students will be ready to “go live” with their new Photo-biz websites.

Super Sunday costs are $69 for stu-dents registered for week-long courses and $99 for students registered for Super Sunday only.

There are five week-long classes from which to choose.

Gary and Kathy MeekGary and Kathy Meek present “Pho-

tographic Foundations,” a level one or two course

Gary and Kathy are bringing a new perspective to photographic foundations.

Students feeling there are some areas they need to perfect, this is the class for them.

This hands-on class explores every-thing from aperture and shutter speed to lighting, posing and all the elements photographers need to keep clients happy and returning.

Students will experiment with light-ing in ECS’s fabulous lighting lab – four bays completely stocked with light modi-fiers, reflectors and props.

And, for anyone interested in pursu-ing PPA certification, Gary and Kathy can start them on that journey as well.

Tony CorbellTony Corbell presents “The Power of

Light,” a level three or four course.Understanding and controlling light

quality is at the core of Tony’s classes. Students will learn how to see a unique

perspective and not be afraid to push the limits of their experience and talents.

Tony will discuss and illustrate all types of lighting and its tools in depth. Lighting tools include portable flash, stu-dio strobes, sunlight and ambient light.

Lighting applications include addi-tive, subtractive, reflective and trans-mission.

Each combination of tool and ap-plication will be shown and taught in detail. Tony will discuss and illustrate the importance of control in the digital capture and how a few seconds of extra time spent at time of capture can save hours in post production.

There will be unique assignments given throughout the week which will be critiqued each morning.

Jeremy SuttonJeremy Sutton presents “Invitational

Master Class,” a level four-plus course.On Sunday, it’s “Setting the Stage for

Success, the Advanced Optimization and Customization of Your Tools and

Photo by Gary Meek

Photo by Tony Corbell

See page 4

East Coast SchoolContinued from page 3

4

Systems.”Sunday afternoon will be spent pro-

gramming Wacom tablets for working with Corel Painter 12.

Students will install, use and apply extra brushes, art materials and works paces from the Paintbox TV and Corel websites.

They will establish an organiza-tional system that will free them to be creative on the digital canvas.

Monday is “Brush Mastery and an Effective Creative Workflow.”

This is a thorough exploration of the brushes, of where to find different types of looks for different purposes and effects in paintings, how to get the most variety of mark out of every brush, useful customizations, saving and organizing custom variants.

Students will develop a complete, empowering, flexible workflow for creating evocative, loose, painterly paintings from photo reference.

It is an approach that emphasizes expressive interpretation over lit-eral realism that actively engages the viewer’s imagination.

Tuesday is “Tonal Value and Color Contrast” and involves exercises for training the eye, for using color in an expressive non-literal way and expand-ing the range of color in paintings, add to the life and vitality of the students’ artwork.

Wednesday is “Enriching Your Art Through Texture.”

This day covers techniques and tools for applying and using paper textures in Painter and enriching the textural quality of brush strokes and understanding how to use and control Impasto.

Thursday is “Project Day” with individual critique, assistance and consulting on student projects.

Hayes and Fisk-TaylorJamie Hayes and Mary Fisk-Taylor

present the level two course “The Best of Both Worlds.”

Jamie and Mary share their paths of success in the profession of pho-tography. For photographers working to refine their existing businesses or wanting to take their part-time busi-nesses to the next level, this is the class for them.

There will be hands-on photography each day with models.

They will share the key elements to building a very streamlined studio in a small space and the basics of environ-mental lighting.

Students will work with children, families, high school seniors and wed-ding models. This will be a week full of sound basic photography that can be created easily and – more importantly – set students for bigger and better sales.

They will share how they took their existing studio from traditional to trendy, and classic to chic.

They will share the adventures of being classically trained in the world today and how they have created a new line of portraits that have literally taken their market by storm.

Michael and Tina TimmonsMichael and Tina Timmons present

“Beyond Image Capture,” a level: two to three-plus course.

For students who have ever won-dered what it would be like to sell their photography over and over again, this is the course to take.

How about being hired to create one of a kind fine art for a client who may not have ever needed the photog-rapher’s services otherwise?

This course is for students who would you like to add thousands of dollars to their bottom lines without having to make a huge investment.

What if students already had the tools and experience necessary to get into this lucrative line of work?

What if, during a week, they could learn all they need to know in an in-tense, hands-on learning environment from two of the country’s leading in-structors in this field of photography?

What if, in the process, ECS stu-dents learned techniques to make their everyday portrait and wedding photography better, using easy to use software and Photoshop techniques?

What if, during the week, they had a lot of fun?

If any of this sounds too good to be true, it isn’t.

Join Michael and Tina for a week of great photography, lots of laughs, insightful inspiration and mind blow-ing instruction that will have students asking, “Why didn’t I do this years ago?”

There will be lecture, demonstra-tion, hands-on activities, music and fun during the entire week. Students should bring their computers and camera gear and get ready for a new experience.

Painting by Jeremy Sutton

Photo by Fisk and Taylor

Photo by Michael and Tina Timmons

f/’s stopBy FULLER ROYAL, M. Photog. Cr., F. Ph.

SummerIt’s funny the difference a year

can make. One year ago, it was all I could do to pay my studio rent, electricity and water bills. I think I did eight session in May and less in June.

Historically, June has always been a slow month for me. The new crop of seniors aren’t really think-ing of themselves as seniors. People are busy with cheerleader camps, Boy Scout camps, football camps, soccer camps and vacations.

Things normally don’t pick up until late July or early August.

This year was different.Twenty years ago, I tried out the

“Senior Safari” concept of an all-day session with five or six seniors.

I was studio-based and with film cameras to lug around. I didn’t do much with it.

After attending Travis Gugleman session at our convention this year, I decided to give it another try.

It was one of the best moves I have ever made.

Normally, I have photographed about a dozen seniors (including ambassadors/studio reps) before July 4. This year, I photographed 32.

Read more about it in a separate article in this issue.

PPNC membershipBeginning this issue and every

issue afterwards, I will be promot-ing PPNC membership.

I want to make each issue appeal-ing to non-members and I want each of you to forward the links of each issue to the photographers in your area and on your Facebook, Twitter and Pinterest sites.

I once thought that Focus should be exclusive to the membership, but I can think of no better tool to attract new members than this newsletter.

I will be checking your sites to see if you are promoting it.

This will also encourage mem-bers to write articles and submit photos so they can have “bragging

rights” on their pages.“Hey, did you see where

Tim Talley had an article published in the state’s offi-cial photography magazine?”

“Did you read the story by Jan Homan and see her photos in Focus on Carolina? Let’s give her a call.”

Every little bit helps.Renovating PPNC

We all know that membership is down in our organization and that we have taken a financial hit.

I think it’s time we sit down and have a “blue sky session.”

The imagineers at Disney use blue sky sessions – a fancier name for brainstorming.

Every new project at Disney starts with a blue sky session. People throw out any idea they have and nothing is rejected. Even the most absurd ideas are given a chance because they just might be the ones that work.

We need just such a session – an all-day Saturday or Sunday event in a central location. Or three such events, one in each guild or as part of the guild meetings – an extra day for anyone willing to share his or her ideas.

Here are a few ideas I have.I’d like to see us rethink our

membership categories. Do we still need active and affiliate des-ignations? What purpose does that serve? The new model for so many photographers is part photography and part other job.

The only real difference is affili-ates can’t vote at the business meet-ings and they can’t hold office. We have scores of active members who don’t attend the business meeting in the first place and the vast majority of active members have no interest in holding office.

We need a new logo. Let’s keep the current logo on our medals and awards. That’s historic.

But we need something that is more graphically appealing. How

many of us have our PPNC logo on our websites?

We need something we can add to our websites, signage, cards and vehicles that’s “cool and hip” and shouts “I am a 2012 photographer!”

Look at Starbucks logo on road-side signs – no name. Just the logo. But you know that’s Starbucks.

We may even need to rethink our name. Perhaps it needs tweaking.

I thought the shortened conven-tion was great. We still had the same speaker content and less down-time.

For our guild meetings, we need to take a harder look at competing events such as After Dark.

The live, hands-on portrait ses-sions at the convention this year were a hit. So were the sessions with the master photographers.

Live, hands-on should be a staple at the guild meetings. We also need to rethink our meals at the guild meetings. Hotels charge a premium for their food and beverages. Some-times it’s built in to the cost of the facility.

Many times, Janet and I like to join some of our buddies and forego the hotel meal and go out and eat at a popular local restaurant.

Also, guild meetings are the best opportunity to attract new members – they’re more regional or local.

To attract non-members, perhaps we should extend a free invitation to the keynote speaker’s program. Let the PPNC members in that guild hand-deliver printed invitations to that one speaker’s program – like a trade show pass.

Or invite non-members to the

See page 57

Dear PPNC Friends,

I cannot believe that we are into June … our convention has ended, many of you have taken the great information that you learned at convention and have started run-ning summer promotional, beach portraits, high school seniors and the list goes on.

Then there was Eastern Seminar …and more great information; from software that makes your workflow better to business practices regard-ing pricing to studio management and marketing.

For some, 2012 is bringing great expectations of a good year, where-as for others, it is a continuation of dismal numbers and prospects.

I was reminded, very recently, that June begins hurricane season. Although that season is from June to November, it does not always fall within the pattern that we expect … point and case … we have had two tropical storms hit us in May.

Not only was it May, but it took place on Memorial Day weekend … the worst time for those who make their living in tourism.

And yet, it came and it went … as many hurricanes have. Some-times it brings the blessings of much needed rain and other times it leaves great destruction in its pathway and forever changes the landscape.

To some, the word hurricane places great fear in their hearts be-cause of previous experience and to those who have not experienced the devastation it can create the thrill of seeing the large waves … and to some it’s the excitement of getting out in front of the storm with their surfboards and ride some of the coolest waves.

Sound somewhat familiar? With all the changes in software,

with the introduction of new equip-

ment every six months ... or less in some instances.

With the entrance of hundreds of new photographers in each of our market areas and add to that the sluggish economy, it’s no won-der many of us feel like the big wave has hit and another wave, just as big, is likely on the way.

For some, it is a storm that has left a large path of destruction and yet, for others, it is nothing more than some fun waves to ride and again for others it brought showers of blessings.

Just like a hurricane, we track, wondering if it will hit our area. We anticipate, hoping it will not hit us or it won’t be as bad as it appears.

Then, we respond accordingly by taking cover, or picking up the pieces from the storm or simply deciding it’s too much damage and it’s time to move on.

In some of these instances, the latter could have been avoided by better preparing for the storm or by taking haven in sturdy shelter. Being prepared could have softened the blow of the storm.

What do I mean by this? Let me share a few of my thoughts on this

matter.When we hear of a hurricane or

tropical storm brewing, what do we do?

We tune in and listen to advice of the Weather Channel or trained knowledgeable professionals in the field.

Oh sure, we may use Internet ac-cess but most will depend on a local station or people they trust to get accurate information so they can make wise decisions.

PPNC is that “station.”In PPNC, there are trained, quali-

fied professionals available to help guide you with whatever questions you may have so you can make bet-ter decisions in your career path.

There are several PPA Master Photographers with many years of experience … people you know … people you can trust and who are willing to help their fellow photog-raphers.

There are three seminars each year … with qualified profession-als to impart good information … to help direct you into a good path. And then there’s East Coast School.

ECS is another source of great information to steer you from the path, of what could be a terrible path of destruction and to a path of safety.

Of course, I have been speaking metaphorically, but when you stop and consider what is happening … what kinds of changes are tak-ing place and will continue to take place in the future of our industry, PPNC is really a great place to be.

Its people can provide the in-formation, and resource that are necessary that will help avoid any severe storm.

We, as a board of directors, with the input of its membership, will continue to build a strong “shel-ter” that will help you weather any storm.

President’s MessageBy PAUL WINGLER, M. Photog. Cr., F. Ph.

Summer time brings us …

6

Why you should still hire a professional photographer By GINNY FELCH

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As a Master of Photography, awarded through PPA, I am very aware of what it takes to be a skilled photographer.

After studying with many of the best contemporary pho-tographers, I understand the value of seeking knowledge from the best of the best. I can attest to the money and time spent to refine and redefine my skills and creativity.

But this is not about me! In the last few years, the value of a fine photograph has seemingly decreased. Everyone IS his/her own photographer and spontaneity seems to be the state of the art.

I’m not aying “Bah Humbug,” at all! I am wildly involved and enthusiastic about all the newest technologies and ability for everyone to make a good EXPOSURE. That in itself is creative and fun, and involves just about everyone who wishes to dive in.

I want to just make a point about why spending a little or a lot of money to invest in a portrait by a tried and true profes-sional is important and worth it.

A professional photographer is NOT*Someone who just got a hot new camera*Someone who loves Photoshop*Someone who gives away her/his work for next to nothing*Someone who has gotten some compliments from friends

about pretty photos she has taken*Someone who gives away JPEGs for your Facebook pageA portrait photographer takes pride in her work and spends

money and time to study and learn all the old and new skills required of a great photographer.

Do you like to eat where a good chef cooks? Do you go to a good dentist and doctor to assure the best health? Do you spend money on cafe au lait every day for a tasty jolt?

Perhaps by any standard, hiring a portrait photographer is a bit of a luxury and an elec-tive expense. However, down the road when your children and grandchildren look back, they will appreciate your taking the time and making an investment in their family genealogy and heritage.

Don’t mean to sound like your grand-mother who walked through snow to school, but my home WAS destroyed by a fire and the portraits were the greatest loss.

I always chuckle when people com-plain about spending lots of money for wedding photographs, when they don’t wince at what they spend for clothing, flowers and food. Every-thing disappears immediately after the wedding except the photographs and the memories.

How many times have you heard about someone getting a real deal and hating the results? It is tragic. A professional pho-tographer will not let you down. His reputation depends on it.

A portrait photographer worth their weight in gold will:Be an artist in their own rightBe able to create a FAMILY portrait that will hold its value

and integrity through generations. You can’t even BEGIN to do that unless you are ambidextrous and have a tripod and self-timer.

Have the kind of personality and psyche that will EVOKE comfort and natural expressions.

Allow you to remove yourself from the equation as a mom or dad who is always popping

out a camera, thus eliciting sur-prising, natural and spontane-ous expressions.

Know about dynamic composi-tion

Know about SEEING THE LIGHT and make use of it

Make you look as good as you think you look or better without

looking like a plastic rendition of yourself. That “disease” is spreading

like wildfire.Have a great relationship with their

lab to insure the highest quality archi-val print.

Staying up with the times doesn’t mean eliminating values from the past.

Of course you want your photographer to stay current on trends and technology, but

what is most important is their VISION and skill as an ARTIST.

Ginny Felch received a Brownie camera as a child and her fascination with photography

was born. She has earned acclaim for her chil-dren’s portraits, several outstanding exhibitions, lectures, and magazine photos. She has authored two books on Photograph-ing Children. Visit her website at www.silverliningimages.com.

Image created by Ginny Felch

When I was asked to write an article on myfFirst year as an officer of PPNC, I was wondering just how to begin.

After finishing my first year as sec-retary and membership chairman for PPNC, I’m still in awe of all the wonder-ful people who make this organization the great photography association it is. Many people – those you see and those behind the scenes you don’t see – give of their time and talent.

If you missed this year’s “Make it Happen” convention, you missed a great conventions.

There were speakers galore, a great print competition, an introduction to Club Merit where you could watch print competition in a separate room away from the competition where par-ticipants bet on outcomes, raised a little ruckus and had a good time.

There was also a great trade show with 70 booths, a smashing Saturday Night Live-themed party and dance, a grand banquet with awards and of course the best fellowship you could ask for. There was no idle time.

At the time of convention we had 274 active members, 51 aspiring members, 57 associate members, 17 honorary members, 16 life members, 24 out-of-state members, 14 retired members, 35 student members and 44 vendor members.

Our membership numbers were down five members from last year so our growth is flat.

The Long Range Planning committee has been working hard to come up with new incentives for our members.

One membership incentive is for each new member a member recruits, you get to attend a seminar for free.

Just imagine ... recruiting three new members will have you attending all three seminars for the year at absolutely no charge.

So we encourage all of members to go out and diligently recruit one – just one – new member. Just imagine: if we were able to do that, in one year we could double our membership.

It’s also important to remember what you get with your PPNC membership.

•It covers your full PPNC convention and full semi-annual SEPPA convention as well as SEPPA dues.

•Your name and business informa-tion listed on the PPNC website.

•The opportunity for education with PPNC’s three seminars.

•PPNC’s Pro Share educational semi-nars, which give you a chance at class at East Coast School.

•The Photographic Foundation that provides Scholarships to East Coast School.

•Print critique sessions at conven-tion.

•Focus on Carolina digital magazine-newsletter.

Treasurer’s MessageBy ROSE MARY CHEEK, CPP, Cr. Photog., F. Ph.

On being an officer of PPNC ...

To Our Non-Member ReadersYou Are Cordially Invited to Join

the Professional Photographersof North Carolina.

For more information visitwww.ppofnc.com

10Continued on page 12

A Certified Professional Photographer’s EXAM will be held in conjunction with the ProfessionalPhotographers of North Carolina’s Western Seminar. Date is: Sunday, October 21, 2012, 1:00 PM at the Gastonia Conference Center, 145 South Marietta Street, Gastonia, North Carolina 28052. Remember you must declare your candidacy before you Register to take the Exam.If you have any questions, please call North Carolina CPP Liaison, Rose Mary Cheek @ 828-322-2862

Gleaning ideas from the InternetIn the last issue, I talked about cutting up your old photog-

raphy magazines and creating a file of things you want to do.

An even greater source of ideas is, of course, the Internet.

I am constantly on the prowl for new ideas, poses and lighting tech-niques.

None of us is so good that we can’t learn from others’ work. I find in-spiration on the web-sites of PPNC members.

I look for the latest work of Senior Portrait Artists and PPA mem-bers.

I thoroughly check out the websites of each After Dark Education mentor and book mark the ones I like the best.

I periodically check out the Facebook pages of photographers across the nation. I check out the galleries of other state and regional photography associations.

I regularly visit the ASP Loan Collections. I visit the pho-tographers featured on vendor websites.

And I look at photography on Pinterest.I study the posing and lighting. What blends did they use?

What texture is that? Do I have locations similar to these?Is this cheating? Copying?It’s important to remember that our personal styles of

photography should be “fluid.” Few of us are truly original.

What originality we do have is determined by how we blend together the elements we like in so many other photographers’ work.

Legendary MGM boss Louis B. Mayer was once asked who the most original filmmakers were.

He replied “Walt Disney and Alfred Hitchcock.” Those w e r e i n c r e d i b l e words because nei-ther man ever worked for Mayer.

The reason for his reply was the two film geniuses had invent-ed so much of the “language of film”

that is still used today. With very few exceptions, all filmmakers and ani-mators owe much of their own styles to Disney and Hitchcock. Spielberg and Truffaut are just two of those indebted.

Everything we create contains little pieces of what we like – things we knowingly or subcon-sciously borrow at first. As time goes on, we become selective in what we like and in what we blend into our work.

As time goes on, like it or not, our style presents itself – some good and some bad.

And, as we are learning, it is important that we maintain the integrity of our style, but still be cutting-edge enough to tweak it and keep it fresh and relevant.

The Creative EdgeBy FULLER ROYAL, M. Photog. Cr., F. Ph.

PPNC member Debbie Lynch reports that the Mebane Historical Museum is having an exhibit of her father’s work starting July 19. There will be a recep-tion held at the opening.

William “Bill” Lynch, who died in 2009 at the age of 90, was a longtime member of PPNC. He was a PPNC Fel-low and a PPA Master of Photography. He and wife Harriett, who preceded him in death, owned William Lynch Photog-raphy for more than 55 years.

The City of Mebane lies in the cor-ridor between Raleigh and Greensboro on U.S. 40/85, and between Hillsborough and Burlington on N.C. 70.

The Mebane Historical Museum is located downtown at 209 W. Jackson Street.

Lynch retrospective

Bill Lynch

This issue’s cover image– from the 2012 PPNC Loan Collection – is called “He is Her Shelter” and was created by PPNC Member Ellen LeRoy.

Our next issue, in just a few weeks, features the award winners and listings as well as award photos. Enjoy the pages full of candid images from the convention that fill the remainder of this issue.

Thanks to the folks who contributed to this issue of Focus. Your writing is invaluable to PPNC.

Shame on the rest of you. I emailed more than two dozen PPNC members, new and old, asking for stories, answers to feature questions and for photos. No replies.

This is your organization and this is your newsletter. It will only be as good as you make it.

Fuller

From the Editor

12

Fall seminar to be ‘glamourous’ Three heavy hitters

promise to wow attendees at the PPNC Fall Seminar in Gastonia in October.

S c o t t H u f f m a n , a Gastonia-based photog-rapher known for his glamour and model work presents a session on bou-doir photography.

St. Pauls-based pho-tographer Jordan Chan presents a fashion and glamour session.

Myrtle Beach-based photographer Gene Ho presents a wedding ses-sion.

On Sunday night, PPNC hosts a pig pickin’ and photo shoot-out on the street.

The seminar is set for Oct. 21-22 at the Gastonia Conference Center in Gastonia.

Arrangements have been made to stay at the Hampton Inn for $79 per night, which includes a contnental breakfast.

Photograph above by speaker Jordan Chan. Inset photograph by speaker Scott Huffman.

Photograph above from Gene Ho Photography.

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I can’t believe that is has been 20 years since I started using Photoshop in the Graphic Arts class that I was enrolled in the early 1990s.

Actually, it was Photoshop 1.0 back then.

In 1994, Photoshop 3.0 introduced layers and in 1996, with Photoshop 4.0, adjustment layers and macros were the two most notable features.

In 1998, the two most important features released with Photoshop 5.0 were editable type and the ability to undo actions multiple times in the history palette.

Ah! Back then, learning Photo-shop software was an experience.

I remember going into the class-room; the teacher was last year’s graduate from the class.

I thought, “does he really know enough to teach this class?”

After giving each student a book, he said “Just go through the book and if you have any questions raise your hand.”

I’ve not done too well learning that way.

I pretty much like being shown, then doing the process a few times to get it ingrained into my head.

I have every upgrade of Photoshop and have all of the software for the past 20 year, except for version 4.0.

Don’t know what happened that year, but I missed one.

Version 5.0 is when I began teach-ing Photoshop at our local commu-nity college.

I remember those early days. Developing an approach to teaching the logic of Photoshop was very im-portant to me.

Knowing what to do, or where to go on the desktop when something didn’t work was so important.

Also, I felt that the showing stu-dents the process and then letting them do it a couple of times actually seemed to be the most effective way of teaching Photoshop.

Remember, back then, we didn’t

have NAPP and YouTube to teach Photoshop. For each version and its major feature, we couldn’t help but wonder “Did Photoshop ever exist without that feature?”

Well, we’ve come a very long way.Adobe has introduced CS 6.0.I’ve looked at several of the new

features and am not yet excited.Will I upgrade? Yes, that is for sure.Being an instructor, it is important

that I keep up with the state-of-the-art of technology.

But, let’s talk about the Adobe Cloud. After reading the article writ-ten by Scott Kelby at the NAPP web-site, it is very interesting what Adobe is doing with the cloud environment.

Here is how Scott Kelby explains the cloud:

“It’s two things: (1) You can pay a monthly fee and get to download onto your computer, and use, full versions of all of Adobe’s Creative Suite software (everything from the latest Photoshop to After Effects to Dreamweaver to Premiere Pro,

and so on). As long as you pay your monthly membership, you get to use any (or all) of Adobe’s creative soft-ware programs.

(2) You get a variety of web ser-vices including things like Cloud syncing, Adobe’s Business Catalyst web hosting, storage and online col-laboration features among others.”

It is interesting that now Adobe is getting into the leasing of software. You can sign up for a monthly pay-ment and download the software onto your computer.

When you complete the lease, you don’t own the software anymore. Or you still can upgrade the ol’ fash-ioned way by purchasing the soft-ware like we have done in the past.

One advantage with the leasing concept is, I feel, it will put Photo-shop, and other Adobe products in the hands of those that were not able to purchase the software in the past.

So, be sure to go to Adobe website and check out the new features and proces.Let me know what you think.

Photoshop Adobe Photoshop Creative Suite 6.0 By ROSE MARY CHEEK, CPP, Cr. Photog., F. Ph.

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In order to market ourselves I have learned that we need to stand out from other photographers in our market, that we need to define our style and that we need to find our audience and market by speaking directly to them in our materials.

Many more things seem to go into marketing but these are what I am work-ing on currently.

One thing I have heard over and over from successful photographers is to show what you want to sell.

So, I want to sell big wall portraits. I always show one size larger than most of my clients seem prepared to invest in.

Every single wall portrait that I show has retouching and enhancements.

In fact, nearly everything I show on my website has artwork and enhancing to some degree. Each image is “finished.”

I do not want prospective clients to see images which do not have my best effort applied. I want them to see what I envisioned or what reflects well on my client and is flattering (something they can see themselves in).

I want to show professional photogra-phy the way I saw it when I was new in photography.

I am an old school photographer and learned how to use large and medium format cameras back in the days of film.

I totally embraced digital photography when it began to appear because I saw the potential of what I could do with images so much more easily than I had done in the darkroom.

The funny thing is this – what I love most to do with images is add grain and have the final images appear more as the toned images I could get with sepia ton-

ing and the purple toning we did to black and white images.

I love an old-world feel. So, I finally got courageous and started

printing what I love to do!I hung those wall portraits in my

presentation room and proudly put them out on display on easels in the studio, on the path to my presentation room. I sprinkled them into my website, too.

I show my “art” now in everything I show prospective clients.

Sometimes my clients get it and sometimes they do not. Well, maybe it is better to say that my polite clients say nothing when the art worked images do not appeal to them. Maybe they get it, but they do not appreciate it as much as I do.

That is fine. To each his peach.In the end though, I have been told by

those clients that I seem to know what I am doing and have a different look. That makes them more confident in what I can do for them.

But here is the thing: many of the folks I am actually meeting now say that they liked a particular image (and it was one of my images with artwork).

I am tickled when this happens. It encourages me to grow, learn more and keep stretching to do more of what I feel inclined to play with and throw out there.

Here is what is actually happening: many of the folks who were drawn to those art-worked images do not buy those images. They run out of money before they feel they can make that additional investment. But I stood out among the other folks to them and they were curious enough to come and meet me. That is half of the challenge: getting them in the door. So, showing my artwork works for me.

Plus, as an added benefit, I get to play. I always take one or two images at the end of every session just for me.

Those are the images I will stretch and grow with. I need to prevent myself from burning out.

This business thing is tough! It is important to me to play and do what drew me to photography. And while I am challenged by the business part of photography, I am becoming more and more intrigued by it. I have found that by showing my “art” I have also enhanced my business.

Good news, right? Play, learn and grow. Surround yourself with fun fellow photographers who do the same and be supportive of one another.

You can visit Sue’s website at www.SueRakes.com.

You CAN have your cake and eat it, too!By SUE RAKES

Images by Sue Rakes

Helen’s thoughts about eyes ...

Helen Yancy for Focus on CarolinaBy HELEN YANCEY, M.Photog.M.Artist.MEI.Hon.M.Photog.Cr., CPP, API,A

Whether you are painting or retouching a portrait, the same basics ap-ply.

Eyes, it is said, are the windows of the soul. Eyes can be enhanced beautifully, or retouched to the point of be-coming so over-powering that a viewer becomes uncomfortable.

How the face has received the light decides absolutely how the eyes are enhanced. The right place for catch-lights is on the same side as and in a direct line from the light source. Light does not bend – direction is absolute.

Reflected light, which is the area that shows the colors in the iris, is directly opposite the catch light. It is much more pleasant if it is not in the pupil.

The whites of the eyes are shaded at the top, because of the lid and the lashes, and are also darker as they get closer to the corner. The whitest part of the white of the eye is where the iris meets the lower lid, because it’s misty and the eye is an orb shape.

Remembering these points will keep you from creating unbelievable people.

Catch-lights in the wrong place – even

if you see them there – must be corrected if the portrait is to be a success.

Since the eye is always drawn to the point of sharpest focus, eyelashes must not be too sharp, catch-lights must be slightly soft, and the whites of the eyes must be enhanced with subtlety and care.

Whites of the eyes are never as bright on the shadow side of the face, and rarely are they equally bright on both sides of the iris.

If black is used in the pupil, black must be evident somewhere else in the

image, or the pupils will look too dark and fake.

The same is true for the lashes.

Images by Helen Yancy

WantedYour story. Your photographs.

[email protected]

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If you want to really understand the “What, Why and How” of photography, this class is a must. Gary and Kathy Meek, from Hot Springs, Arkansas, USA, will help you learn the skills that are vital to being a successful photographer and business owner.

There will be a lot of hands on pho-tography so be sure to bring your own equipment, as we will be exploring how to finding light outdoors as well as cre-ating light in the indoor studio setting.

We will not forget posing and compo-sition to enhance the artistic side of our craft, to take you to the next plane, that of a “portrait artist”.

We will teach you to find the quantity, quality, color and direction of light. We might even get up REAL early and do a sunrise safari.

We are seeing photographers today that can pass their written test to become a Certified Professional Photographer but their photographs will not pass.

This class will cover the elements of photography that will help in your image submissions and even materials that will help on the written exam as well.

Through Gary and Kathy’s easy-to-un-derstand style of teaching, the students in this class will gain a working-level understanding of essential technical elements: white balance, histograms, raw

files and conversion, and file manage-ment, all of which are essential portrait craft elements.

The class will also cover studio and lo-cation lighting, lighting for portraiture, proper posing and the essential artistic elements of light, learning to see, and feel the emotion of the moment and then transfer that to the finished work.

This class will combine lecture with hands-on learning and enlightenment.

Whether you’re relatively new to portrait photography or have been in business a few years and would just like to have a good refresher, this course will enable any photographer to move forward with confidence as they reach toward the next level.

Come join us, learn, experience and have fun.

Photographic Foundations

When I was a child (a long time ago) I sang a song that said, “The wise man built his house on a rock ... The foolish man built his house on the sand.” Well, we are going to give you that “rock” on which to build your career.

There are times when you have start-ed building your house on the sand and it might just be the time to tear down that house and rebuild on a “rock,”

We will be teaching: Lighting – Quantity, Quality,

Color and Direction. Learn to use light direction to make your images appear 3D and high definition. We pay more for this in our home theaters so if you photograph in this manner you should be able to charge more for it.

Also learn light ratios and how they apply to not only your quality but how they are used for corrective lighting.

Posing – Kathy is considered by many as a “Master” when it comes to posing. Learn her secrets for posing individuals, couples and groups.

Sales and Marketing – We are going to show you how to get more people and/or money into your work environment. We are going to have a time of sharing so we can learn from each other.

Photoshop – We will be sharing tips about Photoshop, how to make your own action and shortcuts so you might not need to spend all day behind the computer. Bring your computer as “hands on” applies here also.

Hands-on – You will be asked to bring your camera equipment so during our times of actual hands on, you will have your hands on your equipment. After you take your images we go back and see how well you have applied what you have learned.

Most of all, we intend to have a lot of fun and enjoy your school, East Coast School.

East School HighlightEssentials of PhotographyWith GARY A. MEEK, M.Photog.Cr., CPP, API, EA-ASP, Hon.EA-ASPand KATHRYN MEEK, M.Photog.Cr., CPP, API

The Senior Portrait SafariBy FULLER ROYAL, M, Photog. Cr, F. Ph.

I tried a senior portrait safari once, way back in the film days. It was fun, but daunting. My studio wasn’t big enough to support five or six seniors at once and hauling all of that medium format equipment and lighting was a pain. And, we all were paying $1 every time we clicked the shutter (for you digital babies, that’s the cost of film, processing and proofing).

I hadn’t really thought about it until I saw Travis Gugleman at this year’s convention. He talked about the safari experience and what he did for his am-bassadors or model reps – limousines, etc.

On the way home, I turned the idea over and over in my mind. Forget the limousine. I had no interest in that.

And why just do that with ambassa-dors? I wanted to offer that to everyone.

Since I had moved out of the studio, I could rent space as needed. Space that is large enough to accommodate six seniors at once.

I decided that anyone participating in a safari would pay a session fee of $50 and would receive 25 percent off their first order, if ordered within two weeks of the session.

Safari I was scheduled and promoted and within the week, I had five Class of 2013 seniors signed on.

Before Safari I even occurred, we filled up Safari II with six. (Seven would show up.)

Our safaris take place at our local arts council building – a big spacious center with ample bathrooms, and a large shooting area. High ceilings with theatrical lighting and original art on the walls. Hardwood floors.

Safaris begin at 1 p.m. Each senior brings 10-12 changes of clothing. Win-ter stuff. Summer stuff. Props. From 1 until 4 p.m. we photograph “round robin.”

I love “round robin,” which is I pho-tograph one senior while the others are getting ready. I am at my creative best when I don’t have to wait for a senior to change clothes. I have an assistant who brings me backgrounds, lights, props, etc.

We have water and soft drinks on ice

A promo piece posted on Facebook after our third safari.

Working through a ringlight in our local arts center.See page 19

and varieties of chips, cookies, candies and fruit – just like a movie set.

From 4 until 5:30 p.m., we go on loca-tion. We have urban street scenes with worn old brick walls. We have garden-filled yards. A train depot with rolling stock. Banks with architecture that lend sitself to photography so well.

We have areas of beautiful trees and groomed grass.

At 5:30 p.m., we return to the arts center for a pizza supper. At 6:15, we set out for Sunset Beach for beach portraits, working until the sun is gone.

And then it’s home.By Sunday night, the images are

posted on our website’s proofing pages.Each participant, if they order with-

in two weeks, receives 25 multi-image senior rep cards and if their order is at least $400, they receive 25 accordion wallets.

We just completed Safari V. Safari VI is slated for the end of this month with

Senior safariContinued from page 17

See page 19

For our studio, the beach portrait aspect of the safaris has been a huge draw. The relaxed session at Sunset Beach is the perfect end to a creative, fun day for the seniors.

Using an assistant, I quickly changes backgrounds to suit whatever the se-niors bring. I add background blends to customize each look.

hands-on portrait session one eve-ning.

We need to greet each and every guest, hand each one a member-ship packet and talk to them about joining.

We need to beef up our mem-bership invitation presence with the best-looking booth at the trade show.

The membership committee of PPNC should actually be the most important committee we have.

I think our website should in-clude a forum component just like Kirk Voclain’s hugely successful

Pro4um.It would have a public component

and a members-only component.It would need about a dozen

PPNC members to act as adminis-trators to keep things moving and on track. I would certainly help with that and I can name a dozen more who would like to be involved.

Today, you will see a notice of a retrospective of the late PPNC member William Lynch’s photog-raphy in Mebane.

I think we should have mini retrospectives of PPNC photogra-phers’ work at the guild meetings.

If PPNC is going to survive, it’s going to take small and large changes.

We are perceived as a stodgy old boys club plying our trade from cigar-filled rooms and resting on our laurels.

We are doing little to attract this new age of photographer – mostly young females with more of an eye for composing than an obsession with toys and gadgets.

The times, they are a changin’. Best we start cha4ngin’, too.

f/’s stopContinued from page 5

Senior safariContinued from page 18

two more safaris planned in August.We still do single-senior session

at the arts council or in the seniors’ homes. Safaris are not for every senior.

After July, the 25 percent discount will end. We have created Safari-only packages that are “value-added” by 25 percent, a much better way to market and sell.

By Saturday night, when the safari is over, I am exhausted. I am “wedding tired.” But it’s a much more fun kind of tired. I am mentally charged after a safari. I have always been mentally drained after a wedding.

An unexpected side-effect of the safa-ris has been the creation of new friend-ships among the participants. Seniors, from different schools, who did not know each other prior to the session are now good friends. It’s fun to watch them add each other as friends on Facebook and Twitter.

I have even allowed current and past seniors to be a part of the safaris.

We have also instituted mini-safaris in people’s homes for younger kids.

In August, I will travel to an adjoining county where an eighth-grader is host-ing a safari in her home for her four best friends. She in turn receives a 16x20 for her efforts. That’s a whole new twist on a Tupperware of Pampered Chef party.

I encourage you to try your hand at a safari. You might be surprised at the results.

An average senior safari produces about 1,500 images. These are culled to about 125 images for each of the six seniors.

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Convention 2012 Highlights

Convention 2012 Highlights

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Upcoming eventsEast Coast SchoolJuly 29-August 2Downtown Sheraton in Raleigh

PPNC Western Guild Fall SeminarSunday-Monday, October 21-22Gastonia Convention Center

PPNC Central Guild Winter SeminarSunday-Monday, January 13-14, 2013

PPNC Convention and Trade ShowMarch 1-7, 2013Sheraton Imperial Hotel, Durham

PPA was created by pro photogra-phers, for pro photographers, and that has influenced us in all we do, espe-cially our member benefits.

For example, did you know about the $15,000 of equipment insurance that eligible members get for free? Did you know of the additional equipment in-surance options available only for PPA members to purchase? We want to help you protect what matters, so read on ...

What It IsPhotoCare Equipment Insurance is

an exclusive policy purchased by PPA for eligible members (U.S.-based Pro-fessional Active or Life members) and administered through Lockton Risk Services, PPA’s exclusive broker. Sim-ply put, we pay your premiums for you.

PhotoCare covers your cameras, lenses and other photography equip-ment, including computer hardware: $15,000 of coverage (paid for by PPA);

Loss due to fire, theft or equipment breakage; and worldwide, off-premises or “on location” coverage.

Keep in mind that PhotoCare serves as an “excess/secondary” policy when other insurance coverage is present. For example, if your camera is stolen in your home, first turn to your home-owner’s policy to see if it will cover your equipment loss. If it’s not covered by that policy, then that’s where Photo-Care would step in!

How to Use ItSince PhotoCare is administered

through PPA’s exclusive insurance broker, Lockton Affinity, we cannot activate your policy on your behalf. You must personally log in to PPA.com and activate the policy, which gives your approval for that coverage. If you do not activate it, you will not be eligible to file a claim.

Make use of the benefit created to

help you, and activate your free policy now:

Log in to www.PPA.com with your user name and password.

Look under the My PPA tab (top left).Click on the “Yes, Activate My Free

PhotoCare Equipment Insurance!” It will appear in the upper left corner of the page if you are eligible (U.S.-based Professional Active or Life members of PPA).

Follow the prompts to download a copy of your PhotoCare Coverage Certificate!

PPA members can also purchase ad-ditional equipment insurance coverage with PhotoCare Plus. Learn more at www.ppa.com/insurance

Equipment insurance just for you