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Professional Photographer The Light in Her Eyes Luminous January 2020 2492nd Edition Professional Photographer
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PROFESSIONAL PHOTOGRAPHER • JANUARY 2020
LUMINOUS
©GARY HUGHES
VOL. 147 • NO. 2492
JANUARY 2020
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Professional Photographer, official journal of Professional Photographers of America Inc., is the oldest exclusively professional photo-
graphic publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abel’s Photographic Week-
ly, St. Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, and Professional Photographer Storytellers.
Opinions expressed by Professional Photographer or any of its authors do not necessarily reflect positions of Professional Photographers
of America Inc. Acceptance of advertising does not carry with it endorsement by the publisher.
Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year (U.S. rate) by PPA Publications and Events Inc.,
229 Peachtree Street, NE, Ste. 2300, Atlanta, GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices.
POSTMASTER: Send address changes to Professional Photographer magazine, P.O. Box 7126, St. Paul, MN 55107.
Copyright 2020, PPA Publications & Events, Inc. Printed in U.S.A.
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COURTESY TAMRON
JANUARY 2020
CONTENTS
48
54
©JUDY REINFORD ©JULIEANNE KOST
6
IN EVERY ISSUE
8 Editor’s note
18 Giveaway
20 On the cover
84 President’s message
84 Perspective
90 Final frame
FOREGROUND
13 Megaherd:
Art Wolfe documents elephants
14 Ode to organic architecture:
Master of lighting
16 Paired: Series addresses
climate change
SUCCESS
23 Home is where the art is
24 Transforming your clients:
Enjoy a booming industry by
understanding what consumers
really want
By Jeff Kent
48 Creative analysis
An afternoon with Julieanne Kost THE GOODS
By Dennis Chamberlain 35 Fujifilm X-Pro3
36 The natural look: Off-camera flash
Like collecting a 2020 Diamond Photographer Award 38 Freed up: Westcott FJ400 strobe
and FJ-X2M trigger
By Amanda Arnold
By Betsy Finn
A BEAUTIFUL PLAN
MAPPING YOUR FUTURE
Not to brag, but I’m pretty famous for my vacation spreadsheets. By “brag,” I
mean self-deprecate. And by “pretty famous” I mean largely a target of ridicule.
Months before a trip, I’ll happily spend hours of my weekends poring over a
stack of travel guides from the library. At any given time during my pre-travel
phase, two dozen TripAdvisor tabs will be open on my laptop. In the evenings,
I’m probably reading a novel set in the locale I’m booked to visit. I’ve even
found myself down the rabbit hole of researching the best travel research
resources to use. The reservations, maps, routes, logistics, phone numbers,
addresses, and URLs are all neatly plotted by day (and even by hour, when
relevant) on a spreadsheet that’s eventually both printed and stored digitally in
Google Drive for easy retrieval from anywhere in the world. It’s truly a master-
piece.
Have such works of art inspired jokes and jabs from my travel companions?
Well, not everyone recognizes genius, I suppose. And could there be a tinge of
jealousy directed at my ultra-prepared uber-organized process? Maybe they just
don’t experience the world as I do. The reason for my groundwork is evident
©EDDIE TAPP
(if only to me): I want to maximize my vacation time, and I want to decrease
the likelihood of returning home with the regret, If only I had known. But just
as important as the end result is the very act of preparation. The reading and
researching are part of my anticipatory joy of traveling. They escalate the
editors@ppa.com @ppmagazine experience and expand the enjoyment I get from those precious days spent
outside my routine life.
@ppmagazine @professionalphotographer_mag Are you preparing for your year ahead? First things first. If you’re going to
PPA’s annual convention this month, use the Imaging USA website and app to
review sessions, vendors, and events well before you arrive in Nashville.
Dig in and read it all. Before you nail down a schedule, consider your business
and creative goals for 2020. More lighting knowledge? A better business plan?
Consumer insights? You’re the single best expert on your specific business.
Only you can create a perfect customized spreadsheet for your convention
experience.
And what about the rest of 2020? Did you meet or at least move forward on
some of your 2019 goals? What do you want to tackle next? Maybe you don’t
need an elaborate spreadsheet to map out your journey. But commit your
ideas and ambitions to paper so you have those important objectives in front
of you through the year. You want to maximize your time and minimize your
regret. And, of course, you want the satisfaction of having spent time prepar-
ing yourself.
Wishing you abundant health, success, and happiness in 2020. •
Jane Gaboury
Director of Publications
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Andrew Pielage is crazy about Frank Lloyd Wright’s architecture. So crazy that he plans
to photograph all 532 of Wright’s designs. The timeline? “Definitely going to happen
before I die,” he says. So far he’s photographed more than 70 sites.
INSPIRATION: Pielage’s first Wright experience was a tour of Taliesin West, the archi-
tect’s winter home, which appealed to Pielage’s longtime love of the outdoors. “It wasn’t
actually the architecture that really drew me in when I first got there,” he says. “It was
the usage of the architecture within the landscape.”
A FRIEND OF A PHYSICIAN OF AN ARCHITECT: Photography wasn’t permitted on
Taliesin tours. Pielage had talked about it with a nurse friend, who mentioned that
Wright’s former personal physician came to her doctor’s office. This serendipitous con-
nection eventually led to Pielage getting permission to photograph at the house.
FAKE IT TO MAKE IT: Impressed by Pielage’s photographs, Taliesin staff asked if he’d
ever taught photography. “I said, of course I have,” though in truth he hadn’t. He was
hired to teach a summer camp photography workshop, which led to teaching adult
workshops at other Wright sites, a month-long artist residency at Fallingwater, and
permission to photograph more Wright sites.
THE WHOLE LANDSCAPE: Wright didn’t just design the walls, windows, and ceilings
of his structures; he designed the trash cans, the electrical outlet covers, everything.
“To do the design justice you really need to incorporate as many of those things as you
can,” Pielage says. He works with a Canon 17mm tilt shift lens but found it wasn’t wide
enough on its own. His workaround: Make vertical panoramas, shifting up and down to
make multiple images that are later merged in Photoshop.
RESPECT THE LIGHT: Wright designed structures with an eye toward the shifting sunlight,
so using a strobe or LED panel is out of the question for Pielage. “I would create shadow
where Wright wouldn’t want shadow to be.” Being an artist in residence at Fallingwater
was ideal for Pielage because it enabled him take in the space at various times of day
before picking up his camera. What he learned: “Wright was a master at collecting light.” •
IMAGES ©ANDREW PIELAGE
14
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PROFE S SION A L PHOTOGR A PHER | JANUARY 2020 17
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She loved your work but didn’t buy a single print?
ON THE COVER
RISE
Gary Hughes, M.Photog.Cr., CPP
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Orlando, Florida
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ABOUT THE LOAN COLLECTION: The current Loan Collection comprises more than 600 photographs chosen by jurors of PPA’s International Photographic
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based on their success in meeting the 12 elements of a merited image. ppmag.com/12-elements
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SUCCESS
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Note: 2% of clients indicated they did not display images in their home.
Does it ever feel like other studios are He’s also an Imaging USA 2020 speaker clients, not find them, and then nurture
blessed with amazing, loyal, high-spending who has taught thousands of photographers them with care and attention.
clients while you’re struggling with price how to find abundance in today’s
shoppers and noncommittal customers? photography market. He posits that the GREAT CLIENTS ARE MADE, NOT FOUND
It doesn’t have to be that way, says Steve gap between high-performing studios and This concept gives the power back to
Saporito, a Melbourne, Australia-based everyone else isn’t as wide as many are photographers, says Saporito. It assumes
photography consultant and educator. led to believe. The key is to “make” great there’s an abundance of quality clients if
24 PPM AG.COM
we choose to care enough to help people
discover what matters most to them.
Clients who call and ask about price,
digital files, or “your cheapest option”
are often as assumed to be mere price
shoppers and even “not my client.” The
assumption is they don’t value the art or
the process. However, that’s not always
the case.
“Over the years I have learned that
clients only buy what they believe they are
worth, not what we believe we are worth,”
says Saporito. “When we help our clients
discover what is important to them, such
as their relationships, they suddenly do not
care about digital files. They want wall art.
They happily spend thousands on portraits
even though they started off wanting
something cheap. Our clients want to be
celebrated and are craving someone to help
them find what they have to celebrate in
a world that is constantly looking for fault
and negativity.”
The more photographers care about
their clients, the more they help them
discover what’s important, the easier those
clients are to book—and the more they
spend. The process becomes less about
selling and more about helping people find
everything they want.
“In order to make great clients, we
need to stop talking about ourselves and
start asking more questions about our
clients,” says Saporito. “Figure out what
matters to them. We have to learn the art
of listening. We need to see the person
who means the most to them through their
eyes and help them understand how that
relationship is more important than price
or digital files.”
worth photographing and then helping tions about specific products attached to
“When we help people see that value. Talk less about specific pricing.
our clients discover your skill with a camera and more about “That makes it feel real,” explains
what makes your clients unique. Invite Saporito. It also communicates the amount
what is important to them in and engage in a conversation that you, the artist, think they should spend.
them, such as their that is focused on them, their families, and
what they love. START SELLING EMOTIONS
relationships, they “There are clients everywhere,” says “Why do some photographers believe that
suddenly do not Saporito. “Photographers who take on this the gap between the high-end, successful
psychology can literally take their children studios is wider than they can bridge?”
care about digital files. to the park and book quality clients while wonders Saporito. “This business is about
They want wall art. they are there. And it works with old caring and helping people feel valuable. It is
clients as well. If they’re used to a different about exceptional service and value. It is
They happily spend relationship with their photographer, about making your clients the hero. I have
thousands on and they’re given this new experience, it trained many photographers who are aver-
opens up the opportunities for them to aging more than $3,000 a session working
portraits ...” spend willingly.” out of the trunk of their car. It can be done
with the right approach. The general public
SHIFTING THE APPROACH
COURTESY STEVE SAPORITO
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commercial clients that now spend more
than $10,000 a year with us. All because
we set perception aside and conducted
ourselves as businesspeople.”
Space. When you’re working in your
home, space can become an issue very
quickly. However, there are ways to
overcome those space-related challenges if
you think creatively.
For Clagett, who didn’t have room in her
home studio for a big sales presentation
suite with large couches and coffee tables,
the keys were scaling down the furniture
and making everything movable. She
PPA MEMBERS SAVE MORE WITH DELL!
looked for pieces that were shallow so
they could be placed along a wall without
using too much floor space. She used a
small loveseat for client meetings and had
chairs and other pieces that she could slide
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into the room as needed. Everything was
lightweight so it could easily be moved in
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hallway and up some stairs, photographing
through the open doorway. “It’s as simple
as recognizing that every room has a door,”
says Clagett. “You may need to move out
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by saying, ‘I need a little more distance
because of the lens I want to use.’ Let them
into the creative process, and they’re often
impressed with the innovative solutions you
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down to removing any of the distractions of
home life so people can see themselves in a
professional setting,” says Clagett.
they’re not looking past you into your my clients’ homes for consultations even
dining room or kitchen. Instead, focus their though I have the retail studio. It’s
view on your professional area with your a service.”
work on display.”
THE TIMES—AND PERCEPTIONS—
WHEN DOES IT MAKE SENSE ARE CHANGING
Marnie Clagett
TO MOVE TO A RETAIL SPACE? With technology making it easy to do many
“It all comes down to numbers,” says jobs from almost anywhere, it’s more of
Clagett. She lives and dies by the PPA an accepted practice to work from home.
Financial Benchmark Survey (ppmag.com/ Even employees of large corporations are
clagett), which establishes benchmarks for working flex time from home offices. As
overhead costs, profitability, cost of sales, a result, the perceptions of home-based
net profit, and other important metrics. professionals have improved.
Using these benchmarks, you can determine “If other people can work for huge
when your business can afford to move into corporations out of a room in their
a commercial space as opposed to moving homes, and be perceived as professionals,
just because you want to move. and make a big salary, then why can’t
Because overhead is so much lower photographers?” says Clagett.
for a home studio, it translates to tens of They can. In today’s market, you don’t
thousands of dollars of savings a year need an expensive retail space to be
compared to a retail studio. So the question perceived as a professional. And you don’t
becomes, Can you actually afford a retail need a retail space to charge good prices.
space? Charge based on your artistry and your
To make her live-work retail space talent and your service, not your location,
affordable, Clagett focuses on two financial urges Clagett. When the quality of the work
keys. First, she keeps her cost of sales and the experience of working with you
down. Second, she makes sure she’s priced backs up your pricing, your clients will
The PPA benchmarks correctly. By controlling cost and keeping respond. •
Marnie Clagett relies on: prices at a profitable level, she was able to
ppmag.com/clagett keep her average cost of sales to a very low clagettphotography.com
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Beyond its distinctive looks, the Fujifilm X-Pro3 rangefinder view of what’s in front of you, including what’s outside the frame.
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CAMERA AND LENS: Canon EOS 5DS R camera and Canon 135mm f/2L USM lens
EXPOSURE: 1/250 second at f/2.2, ISO 320
LIGHTING: Profoto B1 500 AirTTL with a Profoto Umbrella Deep White Medium as
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©Marcie Reif Focal Length: 35mm Exposure: F/2.0 1/ 1600sec ISO: 1250
©Marcie Reif
Setup and use on location are easy with the FJ400’s portable size
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IMAGES © ELLIS VENER
In this 30-second exposure at f/22, note the lack of flare and a lack of geometric distortion with architectural elements as well as a pleasing bokeh.
In this late-day image you can see good contrast and no ghosting or chromatic fringing in high-contrast areas.