Professional Photographer - December 2021

PROFESSIONAL PHOTOGRAPHER • DECEMBER 2021
P.40 A MARKETING RESPONSIBILITY

Differentiate, Attract, Direct P.60 LIFETIME OF ACHIEVEMENT
Pete Souza to Be Honored
PROFESSIONAL PHOTOGRAPHERS OF AMERICA INC.
Making
Waves
VOL. 148 • NO. 2515
©BOB COATES
DECEMBER 2021
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Photography and videography can change us.
They change the way we feel.
Our understanding.
They change our hearts and minds.

They change the rules.
Testing the limits of our comfort zones.

Changing the way others see the world.
See themselves.
Together let’s change the way we do things.

Change the narrative.
Change the bigger picture.
Open up opportunity.
Give more people a voice.
Put camera kit in more hands.
Create a more sustainable future.
A future with more people included in it.
Here’s to the stories to come.
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THE OFFICIAL JOURNAL OF PROFESSIONAL PHOTOGRAPHERS OF AMERICA
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Senior Editor Joan Sherwood, jsherwood@ppa.com
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Art Director / Production Manager Debbie Todd, dtodd@ppa.com
Editor-at-Large Jeff Kent, jkent@ppa.com
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PROFESSIONAL PHOTOGRAPHERS OF AMERICA

BOARD OF DIRECTORS
President Mary Fisk-Taylor, M.Photog.Cr., CPP, ABI, API, EA-ASP, mfisktaylor@ppa.com
Vice President Jeffrey Dachowski, M.Photog.Cr., CPP, jdachowski@ppa.com
Treasurer Kira Derryberry, M.Photog.Cr., CPP, kderryberry@ppa.com
Chairman of the Board Gregory Daniel, M.Photog.Hon.M.Photog.Cr., CPP, F-ASP, gdaniel@ppa.com
Mark Campbell, M.Photog.Cr., CPP, API, mcampbell@ppa.com
Allison English Watkins, M.Photog.Cr., CPP, awatkins@ppa.com
Pete Rezac, M.Photog.Cr., CPP, prezac@ppa.com
Makayla Jade Harris, CPP, mharris@ppa.com
Trish Gilmore, Cr.Photog., CPP, tgilmore@ppa.com
George Joell III, Cr.Photog., gjoell@ppa.com
Larry Lourcey, M.Photog.M.Artist.Cr., CPP, llourcey@ppa.com
Kesha Lambert, klambert@ppa.com
Ronan Ryle, rryle@ppa.com
Chief Executive Officer David Trust, CAE, trustd@ppa.com

Chief Financial Officer / Chief Operating Officer Scott Kurkian, CAE, skurkian@ppa.com
Director of Certification Julia Boyd, CAE, jboyd@ppa.com
Director of Education Michael Darough, mdarough@ppa.com
Director of Events Fiona Corbett, CMP, fcorbett@ppa.com
Director of Human Resources & Company Culture Shaniqua Cole, SHRM-CP, scole@ppa.com
Director of Information Technology & Administration Scott Morgan, smorgan@ppa.com
Director of Marketing & Communications Andrea Taylor, ataylor@ppa.com
Director of Membership Value & Experience Kristen Morgan, CAE, kmorgan@ppa.com
Director of Publications Jane Gaboury, jgaboury@ppa.com
Director of Sales & Strategic Alliances Kalia Bonner, kbonner@ppa.com
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Copyright 2021, PPA Publications & Events, Inc. Printed in U.S.A.
4 PROFESSIONAL PHOTOGRAPHER
CONTENTS December 2021
©PETE SOUZA
60
COURTESY NIKON
52 © MAREK DZIEKONSKI
70
In Every Issue
10 Editor’s Note
17 Giveaway
20 President’s Message
22 On the Cover
22 Merited
86 Perspective
90 Final Frame
Foreground
13 Sphere Effect: Physics in action
14 Brilliant Letters:
A fresh take on the alphabet
16 5 Volume Sports Tips:

All-day outdoor portraits
Success
39 Know Your Networks:
Where do your clients come from?
40 Marketing is a Vital Responsibility:

How to differentiate, attract,
©TERRI BASKIN
and direct your audience

By Jeff Kent
80 44 Running Down a Dream:

Hustle your way to the career
you want
Features
By Jeff Kent
60 Composed of Nows
Pete Souza’s long career documenting history in the making The Goods
By Amanda Arnold
51 Mount and Move:
Manfrotto Move Quick Release System
70 A World of His Own Making 52 Mighty But Not Mini Macro:
Marek Dziekonski’s whimsy carries his commercial business Nikkor Z MC 105mm f/2.8 VR S Lens
By Eric Minton By Ellis Vener
58 Block, Reflect, Fill, and Fold:

80 Keeping it Positive V-Flats
How Terri Baskin avoids common wedding day mishaps By Betsy Finn
By Jeff Kent
PPA.COM/PPMAG DECEMBER 2021 7

E D I TO R ’ S N OT E
On the Ground in D.C.

SO READY FOR IN-PERSON IMAGING USA
There is so much in this world that is truly wondrous. Not just the Grand Canyon
and people who can ride a unicycle while playing flaming bagpipes, but also falling
snow, friends who know
when you need a hug, bour-
bon, old dogs, the smell of a While distanced relationships are better
wood fire. Goodness, I could than no relationships at all, nothing can
go on and on and on. And compare to looking someone in the eye
that’s exactly why living in
the midst of all this wonder and having a person-to-person interaction.
every day, we don’t even see
most of it. There’s simply too much to take in and admire minute after minute.
So, it’s understandable that our days aren’t filled with continuous gratitude for all
the awesomeness surrounding us. How would we get anything done amid all this
distracting splendor? We often aren’t even consciously aware that these amazing
things are so amazing until we’re no longer able to enjoy them.
Up through March 2020, we all probably took for granted how nice it is to be
©EDDIE TAPP
around people in general—people we don’t even know but we see in grocery

stores and theaters and restaurants, let alone people we crave to spend time with,
including loved ones, friends, and weird relatives. The COVID months have been
long, dark, and often lonely. Virtual collaboration and online camaraderie are
editors@ppa.com nice, but they only go so far. While distanced relationships are better than no
relationships at all, nothing can compare to looking someone in the eye and having a
@ppmagazine person-to-person interaction.
So, the PPA staff is fairly bursting with excitement about next month’s Imaging
@professionalphotographer_mag
USA that’s taking place just outside Washington, D.C., in National Harbor, Mary-
land. It will have been two years since we’ve had the pleasure of greeting mem-
@ppmagazine
bers in real life and sharing the best educational event in the country for pro pho-
Stay informed with the Top Picks newsletter tographers. It’s a hugely uplifting and invigorating experience to be there for you
ppa.com/ppmag/newsletter at the conference and share what we’ve been working so hard on for more than
12 months.
All signs point to a convention that will be fun and full of energy. As I write this,
we’re still more than two months away from Mike Michalowicz’s opening keynote
address at the Gaylord National Resort & Conference Center, and while we don’t know
the exact health protocols that will be in place in mid-January, PPA is committed to
following CDC, state, and local COVID-19 guidelines. You can stay up to date with
those measures at imagingusa.org/about/health-safety and on the Imaging USA app,
which you can download now.
But we won’t give away every last detail because we also want to delight you with
some unexpected surprises. You’ll find new opportunities at this event and, of
course, you’ll see lots of old friends and make some new ones.
In the meantime, I wish all the best for you as the year draws to a close. I hope
you’re able to enjoy holiday cheer safely with people you love without being sepa-
rated by a computer screen. •
Jane Gaboury
Director of Publications
Put Your Clients at Ease
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FOREGROUND
By Amanda Arnold
Sphere Effect
PHYSICS IN ACTION
Greg White’s science-focused series “Base For his image representing the base quantity that could work with the techniques,” he says.
Quantities” visualizes the seven basic quan- mass, White created the sphere effect by hang- “A lot of the time the material informs the tech-
tities of physics. “I had always wanted to do ing one of the metal hoops (pictured) on a nique, so it was a bit of a chicken and egg.”
something science-based but not too conserva- wire and rotating it during the exposure. For
tive or specific or particularly accurate,” he many of the compositions, he experimented He enjoyed the creativity that came with
says. “This was more about having fun, experi- with long exposures, strobe effects, and playing with motion and multiple exposures.
menting with the ideas, and creating playful multiple exposures while shifting the lens. “You don’t know what you will get until you
representations.” “The challenges I found were finding material experiment.” •
©GREG WHITE / gregwhite.tv

FOREGROUND
Brilliant Letters
A FRESH TAKE ON THE ALPHABET
For as long as she can remember, fine art

photographer Dasha Pears has asso-
ciated letters, digits, days, months, names,
and more with specific colors. “I didn’t
know that was something special,” she
says, until she learned of the phenome-
non synesthesia, which only a small per-
centage of people have. People with syn-
esthesia experience one of their senses
through another, for example, hearing
music when they view shapes or recog-
nizing colors when they see letters.
In asking friends and family if they
experienced synesthesia, Pears discov-
ered her friend and collaborator Jane
Kristoferson does. So, she and Kristof-
erson, who’s a stylist and interior de-
signer, collaborated on a photography
series called “Synesthetic Letters” to
visualize the experience.
Over three years, the duo designed
and photographed creative, colorful
takes on each letter of the alphabet.
To make the project more manageable
with their busy schedules, they fo-
cused on just two to four letters at
a time, sharing sketches of potential
compositions and then discussing
which take would be most surprising,
visually appealing, and technically
possible to photograph.
It was challenging to create a cohesive
series over such an extended period.
“I’ve never had 26 works in a single
project before,” Pears says. “Cohesive-
ness is really hard to obtain when you
work on something for a long period
of time: Your conditions, inspirations,
IMAGES ©DASHA PEARS / dashapears-art.com
views, locations, and even equipment

changes. But you need to try to make
all the works look somewhat similar.”
The results are whimsical and
achieve one of Pears’ goals for the
series: “a reminder to people that we
all experience reality differently.” •
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FOREGROUND
5 Volume Sports Tips

ALL-DAY OUTDOOR PORTRAITS
IMAGES ©SMAX PHOTOGRAPHY / smaxart.com

Want to make studio-quality sports images 3. Use dynamic transmitters. Since
outdoors on the playing field? Volume sports lighting conditions change constantly out-
photographer Jay Boatwright, who will speak on doors, you must have the ability to turn
the topic at Imaging USA, has ideas for you: strobes on and off and control the power of
1. Mirrorless is indispensable. Electronic every strobe from your camera.
viewfinder, superior auto focusing systems, 4. Great assistants are gold. Posing
image stabilization, articulating displays— hundreds of athletes yourself as you make
these are a few of the many things that make portraits will not lead to quality results.
mirrorless cameras essential for a volume “Hire and train assistants that can pose your
photography sports session, Boatwright says. subjects quickly and efficiently,” Boatwright
2. Overpower the sun. Don’t even think says. “Keep the line moving quickly to keep
that 200, 400, or 600 watts of lighting will coaches happy.”
be enough. A 1200-watt strobe will serve you 5. Plan for the crowd. The last thing
best when shooting outdoors all day long. you need during a six- to eight-hour shoot
is a bunch of parents barking orders in the
background, says Boatwright. Plan for crowd
control. Where are the players going to wait
in line? Where do they go after the photos?
Where do coaches and parents wait, and
will a line of cars or people be in your
background? •
Jay Boatwright at Imaging USA

imagingusa.org/speakers/james-boatwright
What
Business Are
You In?
“If you think about photographers and image
professionals in general, it’s more than the
picture. It’s always bigger than the picture.
It’s always bigger than you. You are in the life
changing business, the moment capturing
business, the commemoration business, the
celebration business, the growth business,
the confidence business.” •
—Kaplan Mobray,
Imaging USA 2022 keynote speaker
Catch Kaplan Mobray live

imagingusa.org/
speakers/kaplan-mobray-1
©PPA
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PRESIDENT’S MESSAGE
Aim High
IT’S NEVER TOO LATE TO SET A NEW GOAL
By Mary Fisk-Taylor, M.Photog.Cr., CPP, ABI, API, EA-ASP
I can’t believe it’s already December. Our or lunch, sharing solutions and gathering
small business’ fourth quarter can be super advice. The educational sessions at Imaging
overwhelming and busy, but I love the hustle USA are priceless, and I could spend all day
and bustle this time of year. I hope all of you at the trade show. And then the parties! Who
are looking forward to the holidays ahead doesn’t love a great party?
and that your time is filled with family, This year will be even more special for
friends, love, and laughter. Before you know me for a couple of reasons. One, of course,
it, we’ll be gathering at Imaging USA in is that it’s my presidential year, and that
National Harbor, Maryland, Jan. 16-18, 2022. alone is incredible. And two, both my mom
That’s only weeks away. and my sister will be earning their very first
©HAYES & FISK PHOTOGRAPHY / hayesandfisk.com
It’s crazy to me that it’s been 23 years since I PPA degrees. They each decided last year that
attended my very first Imaging USA, and I they wanted to start educating others about
haven’t missed a one yet. I look forward to our volume and high school senior business.
reconnecting with all my photography friends They put themselves out there and started
each year at the convention. Because so many speaking on the topic and are now eligible for
of us work alone or with a business partner, PPA craftsman degrees. I could not be more
gathering at Imaging USA is kind of like get- excited for them and awestruck that they both
ting together with work friends. These are the made this decision and followed through
people who understand more than anyone despite the pandemic and other challenges.
else the highs and lows of owning a small My mom and my sister came into the
photography business. These are the people I photography business with me when we
can bounce ideas off of while we enjoy coffee needed extra help. In their prior careers,
Mom was a computer programmer, and my
sister was an educator. When they decided
A NIGHT TO REMEMBER to open their own studio over a decade ago,
Monday night at Imaging USA is always full of sparkle. In January, expect more dazzle than I never doubted they would be a success.
ever with a large contingent of degree and award recipients, the Grand Imaging Awards, and I’m not surprised that they set this goal and
a World Photographic Cup presentation on site at the Gaylord National Resort & Convention achieved it, but I’m in constant awe of how
Center in National Harbor, Maryland. hard they work and how much they give
PPA AWARD & DEGREE CEREMONY back to our community and our industry
Jan. 17, 5-6:30 p.m. ET through volunteerism and now top-quality
Celebrating degree earners and PPA award honorees education. I could not be prouder to be the
daughter and sister of these two amazing
GRAND IMAGING AWARDS & WPC FINALISTS women. And I’m honored to take the stage
Jan 17, 7-8 p.m. ET with them at Imaging USA to present them
Unveiling the Grand Imaging Award and announcing World Photographic Cup finalists with their degrees.
They both continue to prove to me that
you’re never too old to learn something new
and that setting personal goals is paramount
to your continued growth. I look forward to
seeing all of the degree and award recipients
walk across the stage at Imaging USA 2022 and
wish every one a heartfelt congratulations. •
Mary Fisk-Taylor is the co-owner of Hayes & Fisk

Photography in Richmond, Virginia.
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MERITED
ON THE COVER
Orange Burst
Bob Coates,
M.Photog.M.Artist.Cr.,
CPP, EA-ASP
Bob Coates Photography
Sedona, Arizona
PHOTOGRAPHER’S NOTE: To set up

the photo, Bob Coates filled a black
plastic bowl with water, positioning a
tray underneath to catch overflow. The
water was thickened with xanthan gum
to give the drops more shape and form.
CAMERA & LENS: Panasonic Lumix
G9, Leica DG Macro-Elmarit 45mm F2.8
ASPH lens
EXPOSURE: 1/2 second at f/13, ISO 800
LIGHTING: He used three Godox
pocket flashes activated by a dedicated
trigger. Orange Savage paper was the
background, and one red-gelled flash
reflected that color onto the water. Two
of the flashes pointed toward the splash
zone, one with a blue gel. The splashes
and the flashes were controlled by an
electronic Pluto Trigger and Valve. He
used a half-second exposure, but the
drops were frozen by the speed of the
flashes. The flash speed is controlled by
the power set on the flash. Less power
equals a faster flash. At 1/128 power the
flashes fire at 1/13,000 second.
POST-CAPTURE: Adobe Camera Raw
and Photoshop were used to crop, clean
up extraneous droplets, fix the horizon,
and tone down specular highlights. He
used Topaz Denoise to clean up noise in
the file.
©BOB COATES / coatesart.net
ABOUT THE LOAN COLLECTION: The current Loan Collection comprises more than 850 photographs chosen by jurors of PPA’s International Photographic
Competition. The compositions are considered the best of the best in contemporary professional photography, having been awarded the Loan Collection distinction based
on their success in meeting the 12 elements of a merited image.
©JUDY REINFORD / judyreinford.com
Striking Beauty PHOTOGRAPHER’S NOTE: “[While] spending time at one of my favorite zoos, this duck was staring at
me so intently,” says Judy Reinford. “I love the beak color and the feathers.”
CAMERA & LENS: Nikon D810, AF-S Nikkor 80-400mm f/4.5-5.6G ED VR lens
Judy Reinford, EXPOSURE: 1/500 second at f/8, ISO 1600
LIGHTING: Natural light
M.Photog.M.Artist.Cr., CPP POST-CAPTURE: Using Adobe Lightroom, Photoshop, and Nik Collection by DXO, she first created studio-
like lighting on the image, which she extracted and placed on a black background. She morphed the face
Judy Reinford Photography to have better symmetry and liquified the eyes and beak. Then, using the mixer brush, she created a layer
Bath, Pennsylvania of a painted effect. She then added a top layer of brush strokes using custom brushes to create more
details on the feathers. Lastly, she added more lighting with the history brush, using multiply and screen.

MERITED
Solitude
Sharon Fuente, CPP
Lifesong Photography
Adairsville, Georgia
PHOTOGRAPHER’S NOTE: Sharon Fuente is a family portrait photographer. As a hobby, she makes images of miniature figures, which she shares on the Instagram
feed @love_tiny_life. Usually, they’re whimsical or satirical in nature, but this photo was made during the COVID-19 lockdown so it was a bit more serious, she
explains. “I think we were all feeling pretty isolated after weeks of being confined. I wanted to convey the feeling of being alone and wanted to put isolation or
solitude in the spotlight of what life felt like that the time.”
CAMERA & LENS: Nikon Z 6, Nikkor Z 24-70mm f/4 S lens
EXPOSURE: 1/160 second at f/14, ISO 1250
LIGHTING: The photo was made in a darkened room with a Lume Cube and snoot on a stand. “I put my tiny person on a white pedestal that I usually use for
children to hold on to or sit on,” she says. “Then I attached the Lume Cube with the snoot attachment on a stand, turned off the lights, and moved the light around
until I got the desired shadowing of the figure in the spotlight. I decided to use a higher f-stop so that the entire shadow would be in focus.”
POST-CAPTURE: Fuente used DxO Silver Efex to convert the image to black-and-white and Adobe Photoshop for spot healing to remove some of the larger bumps.
©SHARON FUENTE / lifesongphotography.net
See the entire Loan Collection

ppa.com/ipc-gallery
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KEYNOTES
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The event will feature 3 shooting bays, each with a unique theme, so you
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SUCCESS
Know Your Networks

Do you know where your new clients are coming from? Whitney and David Scott recommend combing through your most recent 100 clients
and tracing those connections. For example, perhaps a majority of your new clients come from connections through your child’s school. Or
perhaps you didn’t realize how many client connections you’ve made through your volunteer work. Once you’ve identified those clusters of
connections, double down on those groups and make your work more visible to them. “Sometimes we bounce around too much looking for
excitement,” says David, when we could be catching the most perfect fish from the most familiar ponds.
Local
magazine
Child’s
soccer
Child’s team
school
Where do
my clients
come from?
Volunteer
work
Spouse’s job
Church
relationships
Learn from the Scotts at Imaging USA

imagingusa.org/speakers/david-scott
Source: “Marketing for Introverts,” imagingusa.org/speakers/whitney-scott
ppa.com/edu-videos/marketing-for-introverts

SUCCESS
Marketing is a Vital Responsibility

HOW TO DIFFERENTIATE, ATTRACT, AND DIRECT YOUR AUDIENCE
By Jeff Kent
For many small-business owners, marketing is a necessary evil, some- high level of client satisfaction. But there’s a problem if you depend
thing they’d rather avoid if they could get away with it. But for Mike on clients to provide all your new business. If that source of leads—
Michalowicz, a prolific author on small business topics who’s built which you don’t control—goes away, then your business fails.
and sold multiple multimillion-dollar businesses, it’s an obligation of To get business owners thinking about the merits of expanding
another kind. Michalowicz has dedicated his career to researching the their marketing beyond word-of-mouth referrals, Michalowicz asks
most effective ways to build healthy businesses. And one of his prima- a simple question: Do you believe your service is superior to your
ry discoveries is that marketing is a responsibility of a good business, a competition in some capacity? If the answer is yes, then he argues
vital part of the service it provides to its market. that you have a responsibility to market yourself beyond referrals. If
When Michalowicz asks small-business owners about their prima- you’re truly better than the competition, if you provide something of
ry source of business, the most common answer is word-of-mouth value to your market, then you’re doing a disservice to people by not
referrals. That’s great. A healthy referral pipeline demonstrates a marketing to them and making yourself available.
“No one knows how good your business is until they do business
with you,” Michalowicz says. “The only experience they will have prior
to that is with your marketing.”
THE DAD MODEL

For effective marketing, Michalowicz advances a framework that he
refers to by the acronym DAD: differentiate, attract, direct.
DIFFERENTIATE. To differentiate yourself, do something that
others aren’t doing. This doesn’t mean being outrageous; just be the
photographer who’s doing the unexpected. Michalowicz explains that
our brains have a reticular formation, a makeup of multiple functions
that works like a network to determine what passes into our conscious-
ness for consideration. It’s sort of like a gatekeeper that helps us focus
on the immediate, important stimuli and ignore the irrelevant or
unimportant. This functionality almost always lets in stimuli that fall
into three categories: threats, opportunities, and the unexpected.
The third category is where Michalowicz focuses when talking to
entrepreneurs about differentiation. When something that we’ve nev-
er experienced before presents itself, our brain is wired to consider it.
“So, in marketing we want to be original and unexpected, and force
people to take notice,” he says. “It doesn’t have to be a unique idea in
the history of humanity. It just has to be new to your audience. And
then you can serve it up again and again until the rest of the industry
catches on.”
Stumped about how to stand out from the crowd? Michalowicz
suggests doing a little R&D, which in this case stands for “rip off and
duplicate,” he says. Look outside your industry to see what works well
in other industries, then duplicate it for your audience. Remember,
your marketing idea just needs to be new to your audience.
The process of differentiation often means shunning established
best practices, at least for your industry. “The established best practice
for an industry has become habituated and is therefore irrelevant,”
says Michalowicz. “When it comes to marketing, I encourage people
not to follow best practices.”
ATTRACT. Whatever the message is, it must speak to the needs of
the recipient. There has to be a compelling reason for the person
receiving the info to stay engaged with it. Mike Michalowicz
To be attractive, simply speak the language of the community you’re
going after. Understand your community, their needs, their desires. If
you don’t know, ask them. Talk to your best clients and find out what Mike Michalowicz will deliver a keynote at Imaging USA
they find appealing about you. Then accentuate those elements in imagingusa.org/speakers/keynote-speakers
your marketing.
Attracting clients means tempering the outrageous side of your
differentiation with language, appearance, and behavior that’s
appropriate for your target market. Think of a defense attorney
who appears in a TV ad wearing an expensive, somewhat flashy suit.
That’s appropriate. It speaks to their success, with a little bit of drama

SUCCESS
The direct needs to be reasonable. For example, if you visited a used

car lot and a salesperson asked you for $100,000 to find you a good
used car, you’d be outraged. But if they asked for your cell phone
number so they could contact you when the perfect car hits the lot,
you’d find it reasonable.
The direct also needs to move the transaction forward. Often, peo-
ple are afraid of asking for too much, so they make their call to action
neutral. Michalowicz uses the example of “learn more” buttons on a
website. “You’re already there to learn more,” he says. “That button
doesn’t advance anything.”
How do you find the balance between directs that might be too soft
or too aggressive? Test and ask, suggests Michalowicz. Run different
ads and analyze the results. You can also ask clients what worked for
them, and it’s even more valuable to talk to prospects who did not buy
from you. Let them know you’re not trying to sell anything, just look-
ing for advice to improve your business.
IN THE BLINK OF AN EYE

The DAD model happens in milliseconds. The reticular formation
considers whether something is safe and relevant in the blink of an
eye. Then, if your marketing message has managed to gain someone’s
attention, you have another few milliseconds to retain it by attracting
then directing them to take action in a clear, concise way.
It’s a fast process. That’s why Michalowicz cautions people against
overexplaining themselves in their marketing. You have a short win-
dow of time available, so the longer you go on, the more likely you are
to lose people. It’s critical to move the process along quickly.
associated with the profession, but it’s not over the top. If that same That said, consider what you’re marketing when determining
attorney appeared in a clown outfit, well, they’ve certainly differenti- how much detail to provide. If it’s a small-dollar purchase, like a few
ated themselves, but did they attract their target market? Likely not. prints, it can be short and direct. If it’s a high-dollar purchase, like a
Instead of projecting a successful, confident persona, they appear $15,000 wedding contract, people want more information and more
frivolous and untrustworthy. Bottom line: When marketing, you want stages in the process to justify the transaction.
people to take notice without wondering, Who is this clown?
DIRECT. Give your audience specific directions about what you PUSHING PAST FEAR
want them to do. This is where so much marketing misses the mark. When it comes to marketing, many people don’t want to stand out
Think about a TV ad that lists all the attributes of a product and ends because they fear they’ll be seen as strange and may be ostracized. We
without a vital call to action. Or a sign that features a product name want to stand out without standing out too much.
with no other information. People see those kinds of promotions and “We have to get past that fear, and the way to do that is to under-
wonder what they’re supposed to do. It’s vital to direct your audience: stand that we have a responsibility to market ourselves,” says
Now that you’ve seen this, here’s what you need to do. Michalowicz. “Remember, if you’re doing something better than
A degree of brand awareness is relevant in your marketing. When your competition, or if you’re offering something of real value to
we see something with enough frequency, we’re more likely to trust your market, then your market needs you. Don’t be shy about shar-
it. Therefore, brand awareness minus direction builds trust, but it ing what you have to offer.” •
requires a lot of exposure to the target audience. Small-business
people rarely have the resources to create the level of exposure that’s
effective. By contrast, when you direct people, your promotion could Mike Michalowicz online
work the first time. mikemichalowicz.com
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SUCCESS
Running Down a Dream

HUSTLE YOUR WAY TO THE CAREER YOU WANT
By Jeff Kent
Just prior to the COVID-19 pandemic, sports full of photographers eager to hear about his
and school photographer Cane Sampson was approach to building a business that continu-
working on a large contract along with an- ally stays ahead of the trends.
other photographer. During a meeting with The secret to his success: Dream big and
the client, Sampson spun out ideas for future never stop hustling.
partnerships to pack the organization’s facil- Find your motivation. Figure out your
ity with big audiences of photographers for why, suggests Sampson. Your dream, your
co-branded events. After the presentation, vision, depends on what motivates you. That
the other photographer pulled him aside and motivation determines the goals you set.
told him, “Cane, you need to slow down. You Whatever it is, determine your primary mo-
dream too big.” tivation, then set up a series of goals to help
Since launching his business a few years you move closer to realizing your dream.
earlier, he had embraced risk, looking to Keep moving the finish line. Dreaming
disrupt the field and create a new brand of big means avoiding complacency. When you
success. Today, Sampson not only runs one achieve a goal, the temptation is to relax and
of the most successful volume photography allow yourself to feel satisfied. That’s when
outfits in Virginia, he also packs auditoriums complacency creeps in, says Sampson. In
photography, complacency leads to stagna- suggests Sampson. For instance, you could be
tion. People see a trend that’s successful, they seeing a slowdown in local sports portraits
follow it as long as it’s producing results, and because of, let’s say, a pandemic. Can you
before they realize it, they’ve been doing the allow that to hold you back? No. Look for a
same thing over and over for years. new source of revenue. Maybe travel leagues
Sampson notes that creative fields like pho- are more active. Maybe other activities are
tography need innovation to stay relevant. still functioning and need a photographer
They need big dreamers who aren’t satis- who can adapt to the changing conditions.
fied with the status quo. “You have to keep Look beyond your traditional clientele to new
dreaming of the next level,” says Sampson. organizations and new demographics. Think
“If I get to a certain level, master a certain of ways you can stage photo sessions in a
technique, I have to go above. I’m always format that allows you to generate the neces-
thinking What’s next? because the day that I sary volume while being sensitive to people’s
get complacent, someone else will be coming need for safety. Then, when things normalize
for my spot.” again, you’ll have broadened your client base
Switch fear into gear. Fear is false evidence and positioned yourself to weather future
that only appears to be real, says Sampson. storms more effectively.
“People let fear stop them from achieving Capitalize on your strengths. “In our in-
more because when you entertain fear, it tells dustry, we try so hard to be like one another
you that you can’t do something.” that we lose our identity,” says Sampson. “I’ve
Fear can evolve from stagnation. People done it, too. When I came into the industry, I
follow the trends, get stuck in a rut, and are looked up to certain photographers and tried to
hesitant to try something new. be like them. I wanted to emulate their busi-
Fear can also emerge from people’s innate ness model. But I wasn’t being true to my
fear of judgment. The result is that they identity.”
become focused on the rules, which throws Sampson ultimately recognized that the
off their creativity because they’re afraid of only way to move above and beyond was to
being wrong.
Sampson suggests using fear as a motiva-
tor, challenging yourself to move beyond the
limits others try to put on you, and beyond
your own self-doubt. “If you’re scared, get a
dog,” he says. “Otherwise, go attack it.”
Escape the norm. To get past the fear of
judgment or of being wrong, it helps to re-
member that photography is a form of com-
munication. “My photography is my unique
expression,” says Sampson. “If you tell me
that my lighting ratio, for example, is wrong,
that’s like saying that my vision is wrong. It’s
not. It’s my vision. It’s how I’m expressing my
art. I don’t care if someone says, ‘That’s not
how it’s supposed to be,’ because if we all do
the same lighting setups, use the same lenses,
and have the same sales techniques, then
we’ll never move above and beyond.”
Turn obstacles into opportunities. If
something’s holding you back, look for the
hidden lesson or opportunity in that block,
SUCCESS
create a disturbance, and the best way to do

that was to play to his unique strengths. “I
always ask people, ‘What were you good at
before photography?’ Because that’s what’s
going to make your business excel,” he says.
“If you’re a numbers person, use that. If you
have a background in video, focus on that. If
you’re great at interacting with people, play
off of that. Once you recognize your strengths
and decide that you’re not going to be afraid
to use them, then you start taking off.”
Continuously assess yourself. “Don’t wait
until your check engine light comes on to
take in your car for service,” says Sampson.
“Evaluate all the time, maintain, get the little
things fixed. When we started, we felt like
we did two things well: We provided a good
quality product and we offered great custom-
er service. From there, we figured out where
we needed to improve. We worked on those
things and we hired out where we needed to.”
Using that approach, Sampson’s stu-
dio has been able to increase its workload
steadily without inflating its staff. With just a
two-person full-time team, he’s doubled his
volume multiple times over, to the point that
he currently works with more leagues and
schools than he can count. “We do an incredi-
ble volume of work because we focus on our
strengths, and we outsource the pieces we
don’t do as well,” he says.
CANE SAMPSON’S TOP TIPS Chase the limitless dream. The limitless
dream works only when you back it up with
IDENTIFY YOUR DREAM. effort. “If a kid hits a baseball over a park
What do you want to achieve? Where do you want to be? fence, I’m the guy picking it up and handing
it back with my business card,” says Samp-
UNDERSTAND YOUR PURPOSE.
son. “I think about every new day as another
Figure out your why and use that as motivation.
chance to hustle. And I stay prepared. If you
CHASE THE DREAM. stay ready, you don’t have to get ready.”
Keep working toward the bigger dream, understanding that the process happens in stages. It also works because he understands that
dreams are something you achieve in ascend-
HAVE TUNNEL VISION. ing tiers, with each accomplishment leading to
Don’t allow distractions to stop you from achieving that dream. the next level. Every day, he tries to grab another
piece of the dream. “When that guy said I
dream too big, he didn’t even know what lev-
el I was at,” explains Sampson. “It’s something
you build piece by piece. When you under-
Find Cane Sampson at Imaging USA stand that and you find ways to keep moving
imagingusa.org/speakers/cane-sampson above and beyond, nothing can stop you.” •
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THE GOODS
Mount and Move

The innovative new Manfrotto Move Quick Release System attaches your camera to other
equipment by simply dropping the plate into the base. This means there’s no interruption of
workflow when you switch from tripod to boom or other setups. For extra stability, the new
X Lock system is engaged with a twist. The system features a 3/8-inch thread connector
and a 1/4-inch thread adapter, making it compatible with most camera equipment.
The MVAQR plate and base are made with anodized aluminum, and the plate alone weighs
just 45 grams. A plate with a tilted attachment face designed for gimbal use is also available.
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Manfrotto Move is available at B&H Photo Video and from Manfrotto. The MVAQR base is
$89.99 and the plate is $24.99, and they can be purchased together for $99.99. •

THE GOODS
Mighty But Not Mini Macro

REVIEW: NIKKOR Z MC 105MM F/2.8 VR S LENS
By Ellis Vener
Pros
• Superb optical quality
• Balanced handling COURTESY NIKON / nikonusa.com
• Moderate size
• Nicely damped and responsive
manual focus The Nikkor Z MC 105mm f/2.8 VR and around the control rings, previous iteration of the 105mm
S is the latest addition to Nikon’s buttons, and slider switches, plus Micro-Nikkors I’ve used.
long tradition of producing short fluorine coatings on the outer I photographed a passage from
Cons telephoto lenses capable of high- surfaces of the front and rear a beautifully printed hardbound
resolution close-up photography. elements to repel water, oil, and book to test the lens’s resolving
• Autofocus could be faster
But it’s the first that’s not desig- dust, which makes it suitable for power and to look for color aber-
nated as a Micro-Nikkor. Like the use in challenging environments. rations (page 55). To bring out the
F-mount Micro-Nikkors, it excels I tested this lens with a 45.7- fibers of the paper and the minute
as a general-purpose lens and is a megapixel Nikon Z 7II body. Auto- details of the typeface, I set a small
superb choice for portraits. focusing in all modes, including LED spotlight at a low angle to rake
Compared to the F-mount AF-S face and eye tracking, is swift, across the page, then I manually
VR Micro-Nikkor 105mm f/2.8G accurate, and silent. The vibration focused on the spot where the bar
IF-ED lens, this new lens is slight- reduction system, which works in meets the stem in the letter R in
ly wider, an inch longer, contains conjunction with the five-axis “Rome.” I made a series of eight
more glass, and weighs 3.1 ounc- in-body sensor stabilization, exposures, progressively stop-
es less. The combination of lower functions as advertised with ping the lens down in full stops
weight and better distribution handheld use. until reaching the smallest aper-
of mass inside the lens means The lens is superb optically, ture setting. At 1:4 magnification,
the balance point is closer to the something I expected from pre- the effective f/stop range is f/4 to
camera body, making handheld vious Micro-Nikkors and all S f/45 instead of f/2.8 to f/32, as it
shooting a pleasant experience. series Nikkor Z lenses. Through is at distances where the scale is
The lens is not waterproof. testing with real-world subjects, closer to 1:∞. At 1:1, the effective f/
However, it has a good num- my conclusion is that it has the stop range is f/4.5 to f/51.
ber of gaskets at its front, rear, best optical performance of any In macro work, the near-focus
FOCUS STACKING EXPLAINED
IMAGES ©ELLIS VENER / ellisvener.com

Imagine being able to create a photograph with everything in ra- the lens focuses on the subject behind it, and the resulting composite may
zor-sharp focus. That’s the promise of the technique known as focus have a blurred edge immediately around the edge of the foreground object.
stacking. The process begins by making a series of photographs where I photographed this sunflower with the Nikon Z 7II and Nikkor Z MC
the plane of focus is shifted to progressively more distant planes in 105mm f/2.8 VR S lens. It’s a stacked composite using the camera’s
the subject. In post-processing, software is used to combine the pho- focus shift feature to capture 100 frames. I selected the nearest point I
tos into a single image with impossibly deep focus. wanted in focus, and the camera automatically stepped in user-specified
The focus shift/focus stack process differs from making a single increments. I chose the smallest increment available and shot an initial
photo with a lens stopped down to a tiny aperture in a couple of 50 frames. When I examined the last frame in that sequence, the depth
important ways. First, the finished image has a greater depth of field of field didn’t extend far enough into the background, so I had the
than would be possible even with a lens stopped down all the way, camera shoot another 50-frame sequence starting where it had fin-
especially when doing close-up photography with a longer focal length ished in the first set.
lens like the Nikkor Z MC 105mm f/2.8 VR S. Second, by using the lens The next step was to process the 14-bit losslessly compressed NEFs
at the aperture where it’s sharpest, you avoid the inevitable loss of in Capture One and output them as TIFFs. I used Helicon Focus soft-
sharpness that comes from using a lens at its smallest apertures. ware to combine the 100 TIFFs into the composite to make the finished
This technique works only when the subject doesn’t move at all and the photo and did very light retouching in Photoshop CC.
camera or lens moves only in tiny amounts. A tripod or other support is I set the camera for manual exposure at f/8 for 1/3 second, ISO 64.
necessary. It works best when the lighting is consistent from frame to I lit the sunflower using a daylight balanced Godox Silent LED Video
frame. An object in the foreground will block the camera’s view of what’s Light UL60 with its standard reflector, a barndoor on the light, and a
immediately behind the subject. The foreground object goes out of focus as small reflector near the camera.

THE GOODS
WHY THE F/STOP CHANGES IN

CLOSE-UP PHOTOGRAPHY
Blame physics, because f/stops are calculated with the lens focused
at infinity. Focusing on subjects that are closer than infinity requires
physical adjustments in the optical system. Previously, this meant
moving the whole optical system away from the film/sensor plane,
which makes the effective size of the aperture smaller relative to
the sensor/film plane. With some lenses (like the Nikkor Z MC 105mm
f/2.8 VR S), optical extension is achieved by movement of elements or
element groups inside the lens relative to others instead of physical
extension of the lens. Although the overall length of the lens doesn’t
change, the effect is the same and the effective aperture is smaller.
This becomes apparent with this lens at subject-to-sensor distances
when the subject is at magnifications greater than 1:8 (meaning an
The portrait to the right was
captured at f/3.0, illustrating eight-inch long subject parallel to the sensor occupies one inch of
the lens’s bokeh. length on the sensor).
The intricate map art above was captured at f/18, showing the acuity and sharpness of real-world detail.
distance, 11.52 inches, is mea-
sured from the sensor plane in
the camera, not from the front
of the lens. The Nikkor Z MC
105mm f/2.8 VR S comes with a
deep, removable lens hood that
locks in place. If you use the lens
hood, the working distance from
the front edge of the hood to the
subject is about 3.5 inches.
Loss of sharpness due to diffrac-
tion is not an issue with this lens
until the smallest aperture, even
when viewing images at 100% mag-
nification at the closest focusing
distances. However, when inspect-
ed at 200% magnification on a high-
resolution monitor, diffraction
increases slightly when stopping
down more than three stops from
wide open. With the 45.7-mega-
pixel Nikon Z 7II, printing the full
frame at 300dpi creates a 55x37-
inch print. With lower resolution
full-frame cameras such as the
Z 6II and Z 5, you might not even
see the diffraction.
I also tested the lens in less
controlled situations using both
added and available light in por- In this series of macro images, the subject magnification (the size of the subject relative to the size on the sensor)
is 1:4 (0.25X magnification), according to the OLED info panel on the lens. The top capture is f/4, the center is f/16,
traits and still life studies. When and the bottom is f/32. Focus is centered where the bar meets the stem in the letter R in the word “Rome.” Only
the lens is wide open or stopped under very close inspection is diffraction evident in apertures smaller than three stops from wide open.
down two or three stops, I found
the combination of sharpness at
the point of focus and falloff to
bokeh pleasing. Even when I used
a small undiffused light source,
the lens renders skin beautifully.
There’s not much to say about
controls on the lens beyond two
things: They are ergonomically
sensible, and manual focusing is
nicely damped and responsive
for a focus-by-wire lens.
In video work, there’s a very
slight amount of focus breathing
when going from near to far dis-
tances, and operation of the lens
is nearly silent—even the camera’s
built-in microphones didn’t pick
up any noise. •

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THE GOODS
Block, Reflect, Fill, and Fold

REVIEW: V-FLATS
By Betsy Finn, M.Photog.Cr.
If you’ve made your own V-flats—panels that whelmed by their size. They fold down to fabric fastener tabs to secure the hinge when
stand in various degrees of a V angle—you’ll 40x40x2 inches for storage and transporta- the V-Flat is unfolded.
know how useful they can be in the studio. tion and come with a black tote bag. When They are as durable as 0.5-inch foam board
Whether you want to reflect or subtract light, unfolded, each half of the foldable V-Flat can be. With heavy use you’ll probably need
block and flag light, create under-chin fill, or stands 80 inches tall, giving you an 80x80- to replace them from time to time or maybe
even have something to use as a background, inch surface when they’re spread out flat. just repaint them when they get too scuffed.
V-flats fit the bill. But why review something One side is white, the other black. Your experience of their durability will de-
that’s been a DIY staple for years? Because Folding the V-Flat is simple, much like pack- pend on whether you’re using them to ma-
V-Flats made by V-Flat World are foldable, ing up a game board into four squares. Three nipulate light or as a background for photos.
which increases their utility immensely com- of the seams that piece the four squares to- A scuffed white side works fine for reflecting
pared to a DIY V-flat that doesn’t collapse for gether are permanently hinged with material light, but it might not be suitable as a back-
storage or transportation. that matches the color of each side of the ground anymore.
When my V-Flats arrived, I was a bit overboard. The fourth seam has hook-and-loop One of the great benefits of the foldable
IMAGES ©BETSY FINN / betsysphotography.com
The V-Flats can be used on location, even in close quarters. The pullback
shows my client’s living room. You can see the V-Flat at camera right,
and the main light is high on the light stand just left of the subject. The
strobe was bounced off the V-Flat so that the main light source is camera
right, as seen in the final image, at right.
V-Flats is that you can take them on location. I
put two V-Flats in the back of my SUV and took
them, along with my lights, across town to do
a personal branding session (something that
would have been impossible with an 80-inch
non-folding V-flat). The session turned out
well, and I loved using the V-Flat to bounce
light for a soft, natural look. The space was a
little small to use both V-Flats fully opened,
but I did use the second one, collapsed, as a
smaller fill.
I also worked extensively with the V-Flats
in my studio, enjoying the increased control
of light that the black side afforded me in my
camera room, which is painted white. It was
great to have additional control over light
spill when creating portraits. My favorite use
was blocking the high-key background lights
from affecting my subject. Of course, you can
use V-Flats for many types of photography.
I enjoyed photographing a caramel apple
flanked on both sides by V-Flats. Overkill?
Maybe. But fun nonetheless.
If you’re considering getting V-Flats, I rec-
ommend a set of two. Chances are good you’ll
want to use both. During my testing I used
the white side of a single V-Flat as a fill. But
then I needed to keep the light from spilling
onto my background, so out came the black
side of the second V-Flat for that purpose.
The foldable V-Flats are simple and straight-
forward to use and give you greater control
over light. They weigh just 7 pounds, which is
easy enough to carry. My only criticism is the
bag’s design doesn’t work for shorter people.
With the straps over my shoulder, the V-Flat
still rested on the ground. It was also awkward
to lift the V-Flats into my car. It’s not a deal
breaker, but I’ll need to add a small handle on
the bottom of the bag to make lifting easier for In studio, V-Flats allow for increased control of light whether it’s fill
or spill. In the behind-the-scenes view, you can see how the client
my vertically challenged self. For someone taller, was seated between two V-Flats—one black, one white. A strobe
I’m sure the shoulder carry works just fine. with purple gel was placed behind one of the V-Flats to ensure no
The foldable V-Flat with tote retails for color reached the subject, as shown in the final image, at top.
$195.99. •
Betsy Finn is a portrait artist in Dexter, Michigan.

Composed of
NOW
IMAGES ©PETE SOUZA / petesouza.com
S
“It was a great privilege to document history large and small moment of a historic presidency
every day,” says Pete Souza of his renowned role fueled his work. Souza, who also served as official
as chief official White House photographer for White House photographer for the Ronald Regan
President Barack Obama. When, after closely presidency, continues to share his trove of White
documenting Obama’s time as a senator for the House photographs with a devoted Instragram
Chicago Tribune, he was tapped by the president following.
for the White House position, he set a significant In January, to honor Souza’s long, inspiring
but straightforward goal for himself: “Create the career, PPA will present him its Lifetime Achieve-
best photographic archive of a president that has ment Award at Imaging USA. To mark the honor,
ever been made.” Professional Photographer asked Souza, who’s also
Striving toward that objective was a massive worked as a newspaper and freelance photogra-
commitment. It was a physically and mental- pher over the decades, to highlight some images
ly demanding, eight-year, 24/7, 365-day-a-year from his career that have impacted his develop-
position where “You’re always either there or ment as a photographer and have been signifi-
on call,” he says. But his hunger to capture every cant to the world at large.
PETE SOUZA’S
LONG CAREER
DOCUMENTING
HISTORY IN
THE MAKING
BY AMANDA ARNOLD

TELLING THE STORY
One of Souza’s first jobs out of graduate school at Kansas State University was as a staff photogra-
pher at The Hutchinson News. “It was small-town Kansas,” he explains, “not a lot of news goes on.”
An assignment to document a huge building fire was significant for Souza, and he set to work capturing
dramatic shots of the firefighters at work. Two noteworthy things happened during the assignment,
says Souza: One, he reached out to the Associated Press because he thought his dramatic firefight-
er photo should be shared on the wire service. “The photo editor in Kansas City was like, ‘Well, how
many people died?’ And I go, ‘Well, nobody died.’ And they go, ‘Well, then we don’t want the photo,’”
he says. Two, one of the more seasoned staff photographers climbed up to the roof of a neighboring
building and captured a striking overview above the fire ravaging the building. “It showed much better
what had happened than my closeup picture of the firefighters,” Souza says.
IMPACT: He learned two lessons: When you’re documenting a story, you must account for news value.
In addition, “Your job is to tell the story with visuals, and sometimes that means stepping back a ways.”
SKEPTICAL SUBJECTS
While working at The Chanute Tribune in Kansas, Souza was dispatched to photograph a
factory fire. The owner of the factory, who was standing outside watching the blaze, became
incensed that Souza was documenting the inferno. When Souza wouldn’t stop snapping off
shots, the factory owner drew back and punched Souza in the face. “I had a wide-angle lens
on,” Souza says. “You can see half of his fist in the foreground.” He later learned that the
owner had allegedly set the fire himself to collect insurance money.
IMPACT: “Not everybody likes having their picture taken,” says Souza. “It was a lesson
in how some people view the media.”
REAL-WORLD IMPACT
After working for small-town newspapers in Kansas, Souza landed a staff position at the Chicago Sun-Times. During his tenure, he made photos
for a story on the city’s homeless people, which included a candid portrait of a 20-year-old man who’d been living on the streets. The portrait,
which ran with the story, had two effects: One, the father of the young man saw his son’s photo in the paper and reached out to newspaper staff,
who were able to reunite him with the child he’d lost track of. Two, the story ran at about the same time as the city’s mayoral election, and the
problem of homelessness became a central issue that politicians were asked to address.
IMPACT: A powerful portrait can have a significant effect on individuals’ lives as well as local politics.
PERSONAL LIVES BEHIND PUBLIC FACES
Souza landed a position as official photographer for the Reagan presidency when the White House photo editor,
who’d previously been the director of photography at the Kansas City Star, asked him to apply. “I had actually applied
for a job to work for her [at the Star], and she didn’t hire me,” he chuckles. “But unbeknownst to me, she was keeping
track of my career.”
A photo that stood out to Souza during this first White House tenure was one he made of the president and first lady
after Nancy Reagan underwent surgery for breast cancer. “President Reagan one day after work took the helicopter
from the White House to the Bethesda Naval Hospital to visit his wife,” Souza explains. “I have this picture of him coming
into the room, and there she was in a hospital bed, and he is giving her a kiss. It’s just a pretty intimate picture of a
guy visiting his wife in the hospital and having this intimate moment, and it just so happens that it’s the president and
the first lady,” he says. The photo demonstrates the personal access sometimes afforded to a White House photographer.
IMPACT: The photo was made with a 35mm lens, so Souza was not at a distance. He was in their personal space, but
not for long. “In a situation like that, you grab the moment and then they start having a conversation … and you back
away,” he says. “This was a valuable lesson in being able to capture the intimate moment but also being intuitive and
aware of letting them have some privacy after that.”

COMPOSING IN CAMERA
Souza was a freelance photographer for roughly nine years before he
began working for the Chicago Tribune covering Barack Obama’s ten-
ure in the Senate. During that time, he had several assignments with
National Geographic that challenged him to improve his compositional
skills. “This was back in the days of slide film, transparency film, and
you were not allowed to crop your images” for National Geographic,
something he often did in newspaper darkrooms. “That made me much
more disciplined about the way I compose a picture in camera,” he says,
as well as more thoughtful about light and color.
Even though it wasn’t made for National Geographic, Souza’s photo from
1995’s Million Man March—a silhouette of some participants at dusk as the
rally was ending—was influenced by what he learned from the magazine.
“I don’t know that I would have made that picture had I not had that ex-
perience with National Geographic,” he says, “and the way that I framed
it and the way that I used the light and the color palette for that image.”
IMPACT: He learned to compose shots in camera, taking into consider-

ation both light and color.
SOME COMPOSITIONS MAKE THEMSELVES
Souza made many photographs during his eight years as White House photographer for Obama, but just one hangs in his home: an image of the
president standing at the window of a day care center saying hi to four toddlers. “To me it says so much about Barack Obama,” says Souza, “and
it says so much about who we are as a people. And it’s actually not really a picture of him. It’s really a picture of these kids.”
The photo was made when Obama attended an event at his daughter’s school. As he was heading back to the motorcade, he spotted the chil-
dren in a window that had been propped open and told Secret Service that he wanted to go say hello—“You know, that was a Barack Obama kind
of thing to do,” says Souza. The children were too young, just two or three years old, to know who the president was but were curious about the
commotion outside. “And it just so happens that you have an African American kid and an Asian kid and a white kid, and it shows the melting
pot that our country is. The photo is taken from behind [Obama], so you just see the back of his head and you see the curiosity of these kids.”
The image was made in 2011, and one of the kids recently reached out to Souza to ask if he, the other kids, and Obama could recreate the photo.
“So maybe that is something we could do down the road,” says Souza. “That would be fun to do.”
IMPACT: Sometimes a composition comes together to say so much.

A MOMENT IN TIME
Because of his age and health conditions, Souza hasn’t been able to fully document the
COVID-19 experience, he says, but he did cover a few 2020 protest rallies in his hometown of
Madison, Wisconsin. One photo in particular reflects this period of time in our country, he says:
It was made about a week after the 2020 presidential election when former President Donald
Trump made a push to claim the election was fraudulent. In the photo, an unmasked Trump
demonstrator screams directly into the face of a masked Black Lives Matter demonstrator. “To
me, it just embodies everything about this time and the reckless disregard of someone during
a pandemic ignoring every possible precaution and showing almost vile on her face.” The
CELEBRATING election fraud signs in the background and the racial differences between the two protestors
SOUZA further contextualizes the scene.
Pete Souza will be on hand to accept IMPACT: “It just embodies, I think, everything this country has been through in the last couple
his PPA Lifetime Achievement Award of years,” Souza says. •
and share career highlights at Imaging
USA in January. The Awards ceremony
takes place Monday, Jan. 17 at 5 p.m. at
Gaylord National Resort & Convention
Center in National Harbor, Maryland.
imagingusa.org
Pete Souza uses “Shade” to

contrast presidents
ppa.com/souza-shade
A World
of His
Making
Own
MAREK DZIEKONSKI’S
WHIMSY CARRIES
HIS COMMERCIAL
BUSINESS
BY ERIC MINTON
The bison, poised with front

hooves on a tree stump, flicks
its tail and blows a puff of steam
through its nostrils. It’s a little
thing—literally—an animated
illustration in the Dziekonski
Photography logo in the top left
corner of the studio’s website.
Yet, as a brand identifier, the
snorting, tail-flicking bison
looms large. It speaks to Marek
Dziekonski’s Polish upbring-
ing, the bold, surreal images he
produces, and his whimsy.
In addition to a portfolio of
images, Dziekonski’s website
includes a “Case Studies & Cu-
riosities” tab with behind-the-
scenes descriptions of photo
sessions. The primary purpose
of these descriptions is search
engine optimization, Dziekonski
says, but also, “It’s my way of
showing clients that it’s not just
me and a camera; it’s more in
volved than that. Yes, more
expensive, but the results look
IMAGES © MAREK DZIEKONSKI / 53ne.com
71
PPA.COM/PPMAG DECEMBER 2021
more expensive than what they spent.” Such area. In that time, he met his future wife, Anne,
bottom-line practicality has steered the metro and settled on photography and design as a career.
Detroit-based Dziekonski from wedding photog- He enrolled in London’s Richmond University but
raphy to high-end—and, importantly, mid- and cut his studies short. “I was already missing [Anne],
small-size—commercial clients. It’s also kept him the cost of living was pretty prohibitive, and I didn’t
busy through the COVID-19 pandemic. see myself needing a degree for what I wanted to
do. I was already doing photography and design.”
WINDING JOURNEY He and Anne married in Poland, lived there a year,
The bison in Dziekonski’s logo represents his and Dziekonski started shooting weddings. When
hometown, Bialystok, in northeastern Poland. they moved back to the Detroit area in 2009, he
His website URL, 53ne.com, comes from the city’s already had a wedding booked there.
coordinates. The forested region is home to the Dziekonski says he loved shooting weddings,
rare European bison. Dziekonski often saw the but as he and Anne started their family, he fret-
huge animals while hiking with his parents, and ted about the weekend commitments. He began
when the bison ran, he says, “Everything would setting aside time for personal projects aimed at
just rumble.” Despite the invigorating natural en- building a portfolio attractive to commercial cli-
vironment of his upbringing, it was the imaginary ents. “My way of making the transition from wed-
worlds of novels that set the teenaged Dziekonski dings to commercial was doing what I loved, and
on a course that would eventually lead to photog- what I loved was creating those fantasy worlds in
raphy. “It was the first time I realized you could my head from the books my brother gave me.”
use your imagination to create a place and visit Over six years, he phased out his wedding busi-
it in your head,” he says of the fantasy fiction he ness while phasing in his commercial work.
was introduced to by his brother. In high school, Exemplifying Dziekonski’s creation of what he
he tried writing a short story: “It was really bad.” calls “worlds that don’t exist” is the line of au-
He tried drawing: “I was very bad at it.” After high tomotive components manufactured by Michi-
school graduation, he signed up for a one-year gan-based Meritor: the axels, drivetrains, brakes,
Catholic missionary program doing charitable and gears resemble spaceships. He applied the
work abroad. He applied for Spain. He was sent to same aesthetic to Apace grills, making “something
Detroit, Michigan. that’s mundane look like a spaceship crazy thing,”
It was 2002. “My first memory was walking that fits the Michigan company’s proclamation
through downtown with no cars parked and no that it is “redefining the commercial kitchen
people anywhere. These huge, beautiful buildings grill.” These images caught the attention of Unagi,
had boarded-up windows. Very eerie.” He bought a California-based electric scooter manufacturer
his first camera, a Nikon Coolpix 4500, and start- that hired Dziekonski to illustrate its marketing
ed photographing bugs and flowers as well as his slogan, “Meet your personal liberation device.”
missionary activities. Everest Academy, where Photographing weddings built his experience
he was based, paid a professional photographer capturing people and made it easy for him to
$1,000 to make promotional images. When the make corporate portraits with unusual angles,
principal saw the results, he gave Dziekonski an composition, and lighting. Detroit’s redevel-
opportunity to do better. And he did, becoming oped downtown was the dynamic canvas for his
the school’s go-to photographer. Maddin Hauser Roth & Heller law firm portraits,
Dziekonski stayed three years in the Detroit including one of a man, arms crossed, standing
between a window bearing his reflection and a
building across the way bearing a giant lion; both
man and beast are gazing into the distance. “Back-
ground is a contributing theme of portraits,”
Dziekonski says. “The first step is to make this ob-
ject cool. Second step is to make this object cool in
a cool background. The third step is experimenta-
tion: You make the object more prominent or less
prominent so the background no longer comple-
ments the object; it informs the object.”
page 77
COMMERCIAL PHOTOGRAPHY JULY 30: Marek Dziekonski and his team fly to Dallas, Texas, carrying
550 pounds of equipment and later renting “a bunch more” on site.
IN THE TIME OF COVID JULY 31: Locations are scouted.
AUG. 1: The Venza and Highlander are photographed at the Irving Con-
An automotive assignment Dziekonski landed in 2020 would have vention Center at Las Colinas and the Morton E. Meyerson Symphony
been complicated enough—five vehicles in six settings with many Center. The crew includes Dziekonski, a director of photography, an assis-
images featuring models interacting—without the realities of COVID-19. tant, two production assistants, a producer, a digitech, a set art director,
State and federal pandemic restrictions meant that the talent couldn’t a set designer, hair, makeup, and wardrobe people, talent, a scout, repre-
be photographed together, and temperatures well above 90 degrees sentatives of Stage 3 Agency and Toyota, and a set medic and COVID-19
meant masks were highly uncomfortable, particularly during the 12- officer. A tennis ball on a rolling stand serves as a body double, allow-
to 16-hour workdays. ing the unmasked talent to maintain social distancing protocols.
AUG. 2: A studio prelighter, a key grip, and a gaffer are added to the AUG. 5: The mobility fleet is photographed at the Dallas Farmers
team. “We needed three different angles for each vehicle, multiple Market. Up to eight composite images are made of each vehicle on a
iterations: doors closed, doors open, lights on in the interior, each mo- sunny day with clouds: two for talent photographed separately, one
bility solution in different positions,” Dziekonski says. A custom-built for plate (just the vehicle and surroundings), and additional images to
overhead Chimera set on four crank-operated light stands is used to accommodate for frequently changing ambient light. The team uses
allow quick rotations. scrims, reflectors, and studio strobes with modifiers to control reflec-
AUG. 3: The mobility fleet is photographed in the studio. The talent tions and glare or to provide highlights. “It was less about the vehicle
for the mobility fleet images are people with disabilities and members looking super cool and more about vehicle utility,” Dziekonski says.
of their own households, which allows for authenticity with fewer “The goal was to maximize efficiency in an environment with challeng-
social distancing restrictions. ing lighting conditions.”
AUG. 4: The mobility fleet is photographed at a lakefront park. AUG. 6: Dziekonski and his team fly back to Detroit.

explanations of the hows and whys that go into
his images. It’s part of his long-term marketing
strategy. In bidding for clients, “The challenge is
why you are different,” he says. “You have to add
some emotion by showing the process, letting
clients that might be a medium client or a small
client see that the process is the same as we do for
a large client yielding similar results.”
THRIVING DURING THE PANDEMIC

When pandemic shutdowns began in 2020, Dziekon-
ski emailed his clients offering to continue serv-
ing their marketing needs while establishing strict
standards to reduce the risk of infection for all in-
volved. He had little work for almost two months,
during which time he did personal projects for
his portfolio. Then came a crush of assignments.
“It ended up being a busy year.” He’s not sure his
email generated that work, but “I did hear from
clients thanking me for sending the email.”
His most challenging assignment was a six-
day photo shoot in the summer of 2020 for Toyota
in Dallas, Texas. The project required consider-
ably more work than it would have in the days
preceding COVID restrictions. (See “Commercial
Photography in the Time of COVID,” previous
pages.) “I probably went overboard with how
many options we were getting, but I figured that
would be better than the opposite,” Dziekonski
says. “With shoots using a lot of moving elements,
if you don’t deliver, that could end your career
because word gets around town fast. That means
\extra precautions. It had to be done in a way
where all the guidelines were met or exceed-
ed: one, to make sure nobody got sick, and two,
so \the client doesn’t have any liability. COVID
protocols help business. The Toyota photo shoot
couldn’t have happened without me suggesting
different solutions.” •
Eric Minton is a writer and editor in Washington, D.C.

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HOW TERRI BASKIN AVOIDS
COMMON WEDDING DAY MISHAPS
BY JEFF KENT
IMAGES ©TERRI BASKIN / terribaskin.com
81
PPA.COM/PPMAG DECEMBER 2021
Hear Terri Baskin at Imaging USA
imagingusa.org/speakers/terri-baskin
Terri Baskin didn’t originally see herself as a wedding to maximize both photo opportunities and the couple’s
photographer … or a professional photographer at all. time with loved ones. By giving them what they need to be
For 15 years, she worked in pharmaceutical sales, successful on the wedding day, Baskin builds trust and
learning the intricacies of consumer behavior and helps smooth the course for a sound working relationship.
client service. But photography kept creeping into her This prep work flows directly into the wedding day,
life. The daughter of a wedding photographer, Baskin when Baskin considers herself not just a photographer
had photography in her blood, and when she bought but a wedding day guide for clients and their guests,
herself a good DSLR about 10 years ago and started as well. “My clients see how I interact with people at
photographing friends and family, the path to opening their wedding, and that helps create goodwill, which
her own photography business emerged quicker than only makes the job easier and leads to better photos,”
she imagined. says Baskin.
A friend asked her to photograph her wedding, Client relations continue after the event, when
and the journey from shutterbug to pro accelerated. Baskin keeps the excitement going by sending a small
Baskin’s dad mentored her at that event and a few set of sneak peek images within 48 hours along with
more, helping her learn to anticipate moments and instructions for the best ways to share those pics with
manage the flow of the day. Then she was off and friends and families. She also asks for a client review
running. While she advanced her photography tech- after every wedding, almost like an exit interview to
nique, she also drew from the consumer behavior determine what they enjoyed about their day, what
and client service lessons she’d learned in her pharma they would change from a photography perspective,
sales career. and how everything matched up with their expecta-
The combination of great photography and superla- tions. She shares all client reviews and feedback on so-
tive service worked. Before long, Baskin had built a cial media and other platforms so prospective clients
reputation as one of the Washington, D.C., area’s most can see the commentary and understand that client
sought-after wedding photographers. Today, she enjoys impressions are a priority.
a reputation as both a photographer and an educator.
Her work has appeared in publications that include WEDDING DAY MISHAPS
Martha Stewart Weddings, Essence, The Knot, Washingtonian Baskin begins every wedding by reminding herself
Weddings, Black Bride Magazine, Inside Weddings, and The that this will be the first time most of her couples will
New York Times, among others. She also speaks at pho- have gone through this process. With that in mind,
tography events around the country. she guides clients, especially when it comes to the
timeline. “I’ve found that mishaps happen most often
A POSITIVE CLIENT EXPERIENCE when we’re running late,” says Baskin. “I also under-
Baskin’s method centers on a positive client experience, stand that if we’re short on time, the first thing that
which starts at the moment of first contact. She likes to gets cut is the photography time. So, it’s important to
get to know clients before taking any photos, emphasiz- try to keep things on track and find ways to adapt be-
ing in-person meetings (subject to pandemic protocols) cause things happen that are out of our control.”
and plenty of back-and-forth about their upcoming If she can help keep things on track, it goes a long
event. These interactions provide a way for her to un- way toward avoiding mishaps. Inevitably, though, issues
derstand clients and for them to get to know her. On crop up. For that, Baskin has built-in workarounds to
occasion, that has meant a particular client relation- deal with the most common issues, including:
ship doesn’t work out, and Baskin wants to make sure Not enough time is allocated for family photos.
she discovers those cases as early as possible. Baskin prioritizes family photos and lets everything
“For our success, it’s important to work with the right else revolve around it. That means laying claim to the
people,” she says. “That means some clients, while they precious time between the ceremony and reception
may mean well, may not be my ideal client. For ex- and making sure that, above all else, the couple’s fami-
ample, I need people to trust my expertise. If I get the ly is the focus.
sense that they do not trust me or my expertise, then Hair and makeup take too long. This is such a com-
they may not be a client I want to take on.” mon but avoidable issue, says Baskin. To sidestep prep
Baskin uses the time between the booking and the wed- time delays, she offers a preferred vendor list to clients
ding to educate. She informs clients about hair, makeup, and recommends working with people who have a
attire, the flow of the day, and how to schedule the day proven record of sticking to the schedule.

Bridal couple portraits aren’t prioritized. Baskin so much information that they become overwhelmed.
dodges this by suggesting they schedule a first look session Her workflow includes a framework about what she
prior to the ceremony. This allows her precious time with needs to do from a photography standpoint, complete
the couple before the events of the day are in full motion. with explanations and visual examples. She also sets
The couple isn’t prepared for photos. Keeping expectations, including when the couple will hear
in mind that most people are not accustomed to being from her and when she will be available to them. She
at the center of a wedding photography uni- manages her work through a client management sys-
verse, Baskin educates as much as possible before the tem that provides calendar reminders and follow-up
event. She provides a checklist of things the couple messages. Baskin’s goal is to communicate every key
should have ready prior to her arrival on the wedding point three times: an initial mention, a reminder,
day. As insurance, she sends clients a wedding day and a follow-up to let them know what to expect. In
emergency kit with necessary but oft-forgotten items addition to emails, she schedules multiple meetings
like a mirror and touch-up kit. or video conferences to make sure she has clients’ at-
tention and can communicate important points while
COMMUNICATION WORKFLOW everyone is present.
For Baskin, good wedding photography is the result of “The goal is to make all clients fully aware of the pro-
good workflow. As soon as she’s hired, she embarks on cess and never feel like they’re in the dark,” she says.
her workflow, which includes introductory communica- “If a client has to ask me, ‘Now what?’ then I’ve failed
tions and various touchpoints to keep the couple apprised in my communication.”
of every stage in the process. Her goal is to provide
enough communication to keep them up to date so STARTING WITH ATTITUDE
they don’t have to wonder about the next step but not For Baskin, the process originates from a positive, enthu-
“I never walk into a meeting or an

engagement session or wedding
thinking this is just another day, no
matter how many times I’ve done it.
Because this is new for them, and I need
to share that excitement.”
siastic attitude. “I want to be just as excited as my cli-
ents are,” she says. “I never walk into a meeting or an
engagement session or wedding thinking this is just
another day, no matter how many times I’ve done it.
Because this is new for them, and I need to share that
excitement.”
Sharing the excitement means being understanding
when there are questions, and more questions, and
maybe still more questions. It means showing heaps
and heaps of images when clients want to see them. It
means diving in and being a teacher and a guide.
It also means treating people with respect and sensi-
tivity. For example, Baskin runs a business that has its
policies, but the way she communicates those policies
is important. If clients have a question, she takes time
to explain the reasoning behind her policies and ad-
dress any concerns. “It’s about how we explain things,”
she says. “Yes, it’s a business, but I want to be person-
able in how I run my business, which means being
sensitive and patient with others.”
Keep everything in perspective, she advises. The
questions, the concerns, the need for guidance—
clients aren’t expressing these things to be difficult;
they’re expressing them because that’s part of their
process. How you respond and the time you take to
build a healthy relationship pays enormous dividends
in terms of the clients’ excitement and their ultimate
happiness with their photography decision. •

PERSPECTIVE
It’s Time for Imaging USA

PPA’S ANNUAL CONVENTION IS JUST WEEKS AWAY
COURTESY GAYLORD NATIONAL RESORT AND CONVENTION CENTER

ils
Details, Deta Jan. 16-18,
ce runs
The conferen
e-conference
2022, with pr (for
d for Jan. 13-15
classes slate . It al l ta kes
fee)
an additional Resort
ord National
place at Gayl er in National
n Ce nt
& Conventio just a
and, which is
Harbor, Maryl hi ng to n, D.C.
mW as
hop away fro
gu sa .org
imagin
Beware Pirates
Large conferences and events often become the target of third-party companies that contact
attendees to sell phony hotel reservations. These pirate companies create websites and conduct
email and phone call solicitations offering supposedly discounted hotel rooms. The primary objec-
tive of this scam is to obtain credit card information. PPA suggests that you block these emails
and report them as spam. PPA and Imaging USA have no affiliation with any outside hotel vendor.
In addition, the negotiated Imaging USA hotel rates can only be accessed directly through the
hotel reservation link on the Imaging USA website. If you have questions about an email or
phone call solicitation, call PPA at (800) 786-6277 to be connected with the events department.
imagingusa.org/travel
Save
Stay Onsite to st hotel
om at ho
Book your ro
nal Resort &
Gaylord Natio the
nven tio n Ce nter through
Co ite an d yo u’ll
webs
Imaging USA on each night
nt
get a $4 0 disc ou
r up to four ni
ghts. Keeping it Clean
of your stay fo ive its one- PPA and the Gaylord Hotel & Convention Center are committed
ll wa
The Gaylord wi to providing a safe environment for everyone attending Imaging
.
night deposit
rg/travel USA. Gaylord has already implemented comprehensive health
imagingusa.o and cleanliness measures. PPA is monitoring the best ways to
adapt the convention to all requirements that may be in place at
event time. Check imagingusa.org for updates on measures that
will be implemented to provide a safe, memorable, and enjoyable
experience at Imaging USA.
imagingusa.org/about/health-safety
HONORING INDUSTRY LEADERS
At Imaging USA, PPA will HUMANITARIAN AWARD LIFETIME
honor photographers for Shawn Lee, Cr.Photog. ACHIEVEMENT AWARD
exceptional service and For outstanding humanitari- Pete Souza
achievements in the profes- an service while representing For a person whose life’s
sion. The Award & Degree the profession work has enriched the pho-
Ceremony will be held tographic industry and the
Monday, Jan. 17, 2022, and INTERNATIONAL profession as a whole
showcase recipients of PPA SERVICE AWARD
degrees as well as award win- Steve Saporito TECHNOLOGY
ners. The award recipients: For promoting and develop- IMPACT AWARD
ing professional photography PhotoBiz
BUSINESS on an international level For a unique and outstanding
EDUCATION AWARD technological contribution
Lindsay Betz, Cr.Photog. JURORS MERITORIOUS
For distinguished service to SERVICE AWARD VANGUARD AWARD
PPA in the area of business Don Dickson, M.Photog. Sandra Pearce, M.Photog.MEI.
awareness and education Hon.M.Photog.Cr., Cr., CPP
CPP, Hon.EA-ASP For enriching the photogra-
DIRECTOR’S AWARD For outstanding service to phy profession via ability, in-
Audrey Wancket, M. Photog. the profession and dedica- genuity, and selfless sharing
Hon.M.Photog.Cr., CPP tion to the improvement of talents
Established in 1958 and of the PPA International
selected by the PPA Board of Photographic Competition VOLUNTEER OF
Directors and the Annual International THE YEAR AWARD
Exhibition of Professional Art Solomon
EDUCATION AWARD Photography For distinguished association
Angela Kurkian, M.Photog.Cr., service and support
App
’ s A ll in the nd essential CPP to PPA •
I t way to
fi
ging U
SA For outstanding service
siest e Ima l
The ea fo is th s you’l
nv e ntion in full of detail aker through education
co p p is , s pe
app. T
he a dules
y sche s, and tons
ke dail t
need li sion handou ecifics. You
es e sp
bios, s in u t l be in
o-the-m s who’l
of up-t up exhibitor ucts you’re
k od
can loo , and find pr ive map of
the ex
po
n in teract navi-
g for. A will help you
lookin fl o o r
p o
the ex ny booth.
a
gate to sa.org/app
gu
imagin
Who’ll get the Grand Imaging Award? See all the finalists
ppa.com/2022-gia-finalists

PERSPECTIVE
Over 100 Years of History Are Yours

MAGAZINE ARCHIVES NOW AVAILABLE ONLINE
It’s hard to believe that PPA’s member maga- never been available to members,” says PPA “It’s remarkable that so much care was
zine has been in publication for more than a Director of Publications Jane Gaboury. “We have taken to preserve PPA history over such a long
century. Now those archived editions, which copies of PPA’s member magazine stretching period of time by so many individuals,” says
chronicle the history of professional photog- back 100 years. Just think of that. All these issues Gaboury. “Technology made it possible to
raphy, are digitized and available for mem- have been preserved for over a century, through give new life to these gems.”
bers to peruse on the PPA website. a dozen relocations of association headquar- In what turned out to be a multi-year project,
First published in 1907 as Abel’s Photographic ters in various cities, passing through the each year’s worth of bound issues was carefully
Weekly, the magazine has undergone a num- hands of what was sometimes a tiny staff.” disassembled by hand so that each page could be
ber of name changes over the years. But the PPA was founded in 1868 as the National scanned. The magazines were then rebound in
publication’s purpose has remained constant: Photographic Association of the United States. their original historic covers. Now they’re avail-
to help photographers improve their craft, In 1921, the organization opened the doors of able digitally on the PPA website as PDF files.
have stronger businesses, and enjoy more its Winona International School of Profes- PPA is excited to share its history—and the
fulfilling lives. sional Photography in Illinois before relocat- history of photography itself—through these
“Several years ago, we realized we were sit- ing to Mount Prospect outside of Chicago. magazines. •
ting on a treasure trove that, until now, has The headquarters moved to Atlanta in 1993. ppa.com/ppmag/digital
HELPING CLIENTS SEE THE DIFFERENCE

ELEVATE THE IDEA OF PROFESSIONAL PHOTOGRAPHY
PPA’s See the Difference campaign helps members show the impor- Side-by-side comparisons show the difference a pro makes.
tance of professional photography to consumers. These marketing Download templates, insert your own photos, then make amateur
materials can be used on the web, in print, and on social media. versions of the same images. The comparisons demonstrate the
Customizable brochures describe the technical skills, artistry, and importance of composition, posing, lighting, and retouching. Add
professionalism clients can expect. PPA members can download and the images to a website, frame them for the studio, or run them
edit the brochure template, inserting their images and studio informa- as a slideshow.
tion. The brochures can be printed for display and distribution. Facebook campaign starter pack makes it easy to set up a cam-
Shareable videos can be streamed from a website, posted on social paign and get your work in front of ideal clients.
media, or played in a studio. Designed to tap into consumers’ emo- Pre-session consultation guide helps put you and your client on
tions, they feature real clients sharing their stories and talking about the same page and lets you avoid any potential misunderstandings.
why it’s important to hire a professional. Pinterest for business guide provides ideas about leveraging the
Consumer tips help clients understand how to evaluate photogra- 320 million active users of Pinterest. Its image-centric nature makes it
phers. Downloadable buttons can be added to a website or Facebook ideal for photographers. •
page and linked to the See the Difference consumer tips or FAQ pages. ppa.com/seethedifference
More of What You Love
PPA.COM/PPMAG
More of what you love,

exclusively on our website
More inspiration
More education
More fabulous
photography
More info you won’t
find anywhere else

FINAL FRAME
©PETE SOUZA / petesouza.com
BOXES + PRINTS
PRESENT YOUR IMAGES IN CUSTOMIZED BOXES
• mounted or matted prints

• acid free 4-ply mats
• magnetic box closure
• silk, linen, synthetics, natural - 34 textile choices
• stained wood sides - 4 color choices
• acrylic display easel - included
Images by: Jeff Locklear (senior portrait), William Innes (Venice portraits) www.hhcolorlab.com
Capture the Memories of the Season
with Bella Albums from Marathon
Beautiful Flush Mount Albums made to last with
your choice of high-quality papers and album cover materials.
Now featuring Metal Cameos and Premium Linens.
Go to BellaAlbums.com to learn more.
Going to Imaging USA? Come see us

at Booth #701 for hourly giveaways.
Design. Print. Websites. Marketing.

w w w. M a r a t h o n P re s s . c o m | (800) 228.0629
Stronger Together
Join Your Local Affiliate
Photographers helping photographers is what PPA Affiliates are all about. These local
creative communities nurture and provide the support and tools to help you grow.
As an Affiliate member, you will:
• Connect with peers and mentors • Get recognized, build credibility,

and set yourself apart
• Sharpen your skills by competing in
your local image competitions • Give back to your photographic
community
• Earn merits towards your PPA
degree by attending or speaking at a • And much more!
PPA Approved Education Workshop
There’s never been a better time to get involved. After all, it’s together that we thrive.
Find a PPA Affiliate near you: PPA.com/Affiliates

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PROFESSIONAL PHOTOGRAPHER • DECEMBER 2021

P.40 A MARKETING RESPONSIBILITY

Get inspired by our stunning Acrylic options at whcc.com/acrylic

They change our hearts and minds.

Testing the limits of our comfort zones.

Together let’s change the way we do things.

Director of Publications Jane Gaboury, jgaboury@ppa.com

PROFESSIONAL PHOTOGRAPHERS OF AMERICA

Chief Executive Officer David Trust, CAE, trustd@ppa.com

PPA MEMBER SERVICES

16 5 Volume Sports Tips:

40 Marketing is a Vital Responsibility:

and direct your audience

80 44 Running Down a Dream:

58 Block, Reflect, Fill, and Fold:

PPA.COM/PPMAG DECEMBER 2021 7

On the Ground in D.C.

around people in general—people we don’t even know but we see in grocery

Squash pre-session anxiety by sharing these tips

PPA.COM/PPMAG DECEMBER 2021 13

For as long as she can remember, fine art

views, locations, and even equipment

Mail resume to:

5 Volume Sports Tips

IMAGES ©SMAX PHOTOGRAPHY / smaxart.com

Jay Boatwright at Imaging USA

Catch Kaplan Mobray live

ENTER TO WIN: Manfrotto EzyFrame Vintage Background Kit

PPA.COM/PPMAG DECEMBER 2021 17

We make them cherished holiday gifts.

25% Off Your First Order | bayphoto.com/holiday

By Mary Fisk-Taylor, M.Photog.Cr., CPP, ABI, API, EA-ASP

Mary Fisk-Taylor is the co-owner of Hayes & Fisk

PHOTOGRAPHER’S NOTE: To set up

©BOB COATES / coatesart.net

PPA.COM/PPMAG DECEMBER 2021 23

©SHARON FUENTE / lifesongphotography.net

See the entire Loan Collection

Join Us Next Month in D.C.

Vickie Black D’Ann Boal Taylor Brumfield Joe Edelman

Classes & speakers are subject to change.

Build Your Brand

Maximize Your Experience

leading up to the main event!

Prince Meyson Dokk Savage Randy Van Duinen Rhea Whitney

Discover the brands that love photography

UNLOCK THE SECRET TO

STADIUM CLUB &

Connect with Fellow Photographers

© Alex the Photo Guy

Elevate Your Craft:

Know Your Networks

Learn from the Scotts at Imaging USA

PPA.COM/PPMAG DECEMBER 2021 39

Marketing is a Vital Responsibility

THE DAD MODEL

PPA.COM/PPMAG DECEMBER 2021 41

The direct needs to be reasonable. For example, if you visited a used

IN THE BLINK OF AN EYE

Go from taking pictures

Running Down a Dream

create a disturbance, and the best way to do

Now you can peer into the

Explore the archives: