The document is the March 2008 issue of Professional Photographer magazine. It features articles on successful wedding and portrait photographers including Jerry Ghionis, Parker Pfister, and Mike Colon. It also contains regular sections on business advice, gear reviews, techniques, and industry news. The cover features a portrait by Parker Pfister.

1. MARCH 2008 | WWW.PPMAG.COM | $4.95
©Parker Pfister

3. Stunningly advanced 12.1 megapixel FX-format CMOS sensor. Stunningly fast 9 fps
at full FX resolution. Stunningly low noise even at ISO 6400. Stunningly sharp edge-
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shoot sports or action of any kind. Never again will you have to choose between blazing speed
or brilliant image quality, particularly in low light situations. To learn more about how the
Nikon D3 captures what other pro-digital SLRs cannot, go to stunningnikon.com/challenge.
The Nikon D3 is here. Do the undoable.

5. CONTENTS PROFESSIONAL PHOTOGRAPHER | MARCH 2008
Features
94 MAKING THE MAGIC HAPPEN
Lauded Australian photographer Jerry Ghionis
finds beauty and prosperity in reinvention
by Lorna Gentry
104 ONE OF A KIND
Park Pfister’s special knack for turning
the ordinary into the extraordinary
by Stephanie Boozer
116 ENGINEERING A NICHE
The tale of Mike Colón and the spiraling wedding market
by Jeff Kent
82 WEDDINGS: DESTINATION SUCCESS
Business insights for destination wedding photography
by Jeff Kent
IMAGE BY JERRY GHIONIS

6. 14 FOLIO
CONTENTS PROFESSIONAL PHOTOGRAPHER | MARCH 2008 | WWW.PPMAG.COM
126
133
CALENDAR
PPA TODAY
154 GOOD WORKS
©Jessica Claire
Departments
C O N TA C T S H E E T
20 Party time for Kathy Malaspina
22 Essay: Vive la digital!
by Laurie Klein
26 Professional Photographer
cover contest announced
28 Sacred to sensational:
Cliff Mautner’s studio
PROFIT CENTER
33 What I think: David Schwartz
36 Married to marketing
by Lorna Gentry
42 Because you’re worth it
by Charles J. Lewis
44 The joy of marketing:
Attractive pricing
by Sarah Petty
THE GOODS
49 What I like: Gene Higa
52 Pro review: Nikon D3
by Ellis Vener
58 Archiving: Safe and for sale
by Audrey Gray
66 Substrates: Extraordinary prints
by Laurence Chen
70 Photoshop and Lightroom:
What’s the difference?
82
by Andrew Rodney
76 Tutorial: Photoshop Actions
by Rick Ralston
Being paid to do beautiful wedding photography in exotic destinations
ON THE COVER: After his first wedding, says
sounds like a dream come true. Yes, it can be enjoyable and rewarding, as long as you know this month’s cover artist, Parker Pfister, “I swore
I’d never shoot another wedding.” We’re glad he
that being there on someone else's dime is hardly the time to relax. Take some tips on making reconsidered. Pfister has been shooting weddings
and portraits exclusively since 1999. Read more
it work from destination photographers Garrett Nudd, Gene Higa and Jessica Claire. about Pfister in our feature on p. 104.
6 • www.ppmag.com

8. Mind. Body.

9. Photography.
A Picture-Perfect Relationship

10. P ROF E S S I ONA L
EDITORIAL
director of publications
CAMERON BISHOPP
cbishopp@ppa.com
senior editor art director/production manager
Show us what you’ve got JOAN SHERWOOD
jsherwood@ppa.com
DEBBIE TODD
dtodd@ppa.com
manager, publications and
2008 COVER PHOTO CONTEST features editor
sales/strategic alliances
LESLIE HUNT KARISA GILMER
Here at the magazine, we consider ourselves pretty fortunate when lhunt@ppa.com kgilmer@ppa.com
it comes to the industry we cover. While other trade magazines
editor-at-large sales and marketing assistant
might struggle to find photography to grace both the cover and the JEFF KENT CHERYL PEARSON
inside pages, we need only look to the inspired images our readers jkent@ppa.com cpearson@ppa.com
technical editors
are creating every day.
ANDREW RODNEY, ELLIS VENER
There’s a catch though. In an industry comprised of independent
director of sales and strategic alliances
business owners, it’s sometimes challenging (quite often, actually) to SCOTT HERSH, 610-966-2466, shersh@ppa.com
hear about all the top talent we know is out there. We comb the western region ad manager
BART ENGELS, 847-854-8182, bengels@ppa.com
forums and online galleries,
eastern region ad manager
pore over the PPA Loan SHELLIE JOHNSON, 404-522-8600, x279, sjohnson@ppa.com
All entries must Collection, read all the circulation consultant
MOLLIE O’SHEA, moshea@ppa.com
be uploaded at industry publications, keep an editorial offices
open eye at events, scour Professional Photographer
www.ppmag.com regional newsletters, and take 229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A.
404-522-8600; FAX: 404-614-6406
welcome recommendations Professional Photographer (ISSN 1528-5286) is published monthly
from photographers who have made it to the radar screen. subscriptions
Professional Photographer
To broaden the search, we thought of a new tactic to help you P.O. Box 2035, Skokie, IL 60076; 800-742-7468;
find us: The first-ever Professional Photographer Cover Photo FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com
member services
Contest. We liken it to a nationwide talent search, and we hope we’ll
PPA - Professional Photographer
be introduced to a spate of gifted artists whose work we’ve never 800-786-6277; FAX 301-953-2838; e-mail: csc@ppa.com; www.ppa.com
seen, but will fill our magazine far into the future. Send all advertising materials to: Debbie Todd, Professional Photographer,
So we invite you to submit your entries to us before the May 31 5431 E. Garnet, Mesa, AZ 85206; 480-807-4391; FAX: 480-807-4509
Subscription rates/information: U.S.: $27, one year; $45, two years;
deadline, and take a shot at creating the image that nearly 50,000 $66, three years. Canada: $43, one year; $73, two years; $108, three years.
PP readers will see when they open their mailboxes in late fall. And International: $39.95, one year digital subscription.
Back issues/Single copies $7 U.S.; $10 Canada; $15 International.
there’s more—not only do you have a chance at the cover, but to win
PPA membership includes $13.50 annual subscription.
valuable prizes as well. The first place winner, runners up and those Subscription orders/changes: Send to Professional Photographer, Attn: Circulation
who win honorable mention will be awarded first-rate gear from Dept., P.O. Box 2035, Skokie, IL 60076; 800-742-7468;
FAX 404-614-6406; email: ppmag@halldata.com; Web site: www.ppmag.com.
our contest’s generous sponsors, Microsoft, Bogen, Canon, Kodak Periodicals postage paid in Atlanta, Ga., and additional mailing offices.
and Miller’s Professional Imaging. Postmaster: Send address changes to Professional Photographer magazine,
P.O. Box 2035, Skokie, IL 60076
Head over to www.ppmag.com to learn all about the prizes,
Copyright 2008, PPA Publications & Events, Inc. Printed in U.S.A.
contest rules and submission guidelines. (A word to the wise: Article reprints: Contact Professional Photographer reprint coordinator at
Entries may be submitted only as uploads to www.ppmag.com. Wrights’s Reprints; 1-877-652-5295.
Microfilm copies: University Microfilms International,
no print or e-mailed submissions will be accepted.) 300 North Zeeb Road, Ann Arbor, MI 48106
We’re looking forward to meeting you! I Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPA
Publications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta,
Cameron Bishopp
GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices.
Director of Publications Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed
cbishopp@ppa.com by Professional Photographer or any of its authors do not necessarily reflect positions of
Professional Photographers of America, Inc. Professional Photographer, official journal of the
Professional Photographers of America, Inc., is the oldest exclusively professional photographic
publication in the Western Hemisphere (founded 1907 by Charles Abel, Hon.M.Photog.), incorporating
Abel’s Photographic Weekly, St. Louis & Canadian Photographer, The Commercial Photographer,
The National Photographer, Professional Photographer, and
Professional Photographer Storytellers. Circulation audited and
verified by BPA Worldwide
10 • www.ppmag.com

11. Three amazing cameras designed to inspire. Starting with the powerful EOS-1Ds Mark III. With a 21.1-megapixel
full-frame CMOS sensor, dual DiG!C III Image Processors, and a 3-inch LCD monitor, it’s far and away the most remarkable
camera Canon has ever created. The innovative, feature-filled 10.1-megapixel EOS 40D lets
photographers take the next leap forward, with its DiG!C III Image Processor and 6.5 frames-
per-second shooting. Along with the exceptional EOS-1D Mark III with its blazingly fast 10.5
frames-per-second shooting and 10.1-megapixel CMOS sensor, Canon makes the creative
process easy, rewarding and, most important, inspiring.
To get more inspired about the Canon EOS system, go to: www.usa.canon.com/dlc
©2008 Canon U.S.A., Inc. Canon, EOS and DiG!C are registered trademarks of Canon Inc. in the United States. IMAGEANYWARE is a trademark of Canon. All rights reserved.

12. chairman of the board DOUG BOX DANA GROVES
*JACK REZNICKI M.Photog.Cr., API Director of Marketing &
Cr.Photog., Hon.M.Photog., API dbox@ppa.com Communications
jreznicki@ppa.com dgroves@ppa.com
DON MACGREGOR
Professional Photographers directors M.Photog.Cr., API SCOTT HERSH
of America DON DICKSON dmacgregor@ppa.com Director of Sales &
229 Peachtree St., NE, Suite 2200 M.Photog.Cr., CPP Strategic Alliances
Atlanta, GA 30303-1608 ddickson@ppa.com industry advisor shersh@ppa.com
404-522-8600; 800-786-6277 KEVIN CASEY
FAX: 404-614-6400 SANDY (SAM) PUC’ kcasey@ppa.com J. ALEXANDER HOPPER
www.ppa.com Director of Membership,
M.Photog.Cr., CPP, ABI
spuc@ppa.com Copyright and Government
legal counsel Affairs
2008-2009 PPA board
Howe and Hutton, ahopper@ppa.com
president RALPH ROMAGUERA, SR. Chicago
*DENNIS CRAFT M.Photog.Cr., CPP, API, F-ASP
WILDA OKEN
M.Photog.Cr., CPP, rromaguera@ppa.com
Director of Administration
API, F-ASP PPA staff
woken@ppa.com
dcraft@ppa.com CAROL ANDREWS DAVID TRUST
M.Photog.Cr., ABI Chief Executive Officer LENORE TAFFEL
vice president candrews@ppa.com trustd@ppa.com Director of Events/Education
*RON NICHOLS ltaffel@ppa.com
M.Photog.Cr., API SUSAN MICHAL SCOTT KURKIAN
rnichols@ppa.com M.Photog.Cr., CPP, ABI Chief Financial Officer SANDRA LANG
smichal@ppa.com skurkian@ppa.com Executive Assistant
treasurer slang@ppa.com
*LOUIS TONSMEIRE TIMOTHY WALDEN CAMERON BISHOPP
Cr.Photog., API M.Photog.Cr., F-ASP Director of Publications *Executive Committee
ltonsmeire@ppa.com twalden@ppa.com cbishopp@ppa.com of the Board
12 • www.ppmag.com

13. Expect More
Beautiful Color
At Miller’s, consistent, beautiful color is just as important to us as it
is to you. That’s why we offer color correction on our photographic prints
and press products. Every step of our process guarantees the color
of your printed images. We don’t simply press “print” .
When you look good we look good. Don’t settle for less.
www.millerslab.com

14. folio| Comprising images selected from the files of the PPA Loan Collection, Folio is a monthly sample of
award-winning photography by PPA members. The Loan Collection is a select group of some 500
photographs chosen annually by the PPA print judges from more than 5,000 entries.
©Thom Rouse
THOM ROUSE
“It has been greatly entertaining for me to watch viewers scrutinize this image,” says Thom Rouse, M.Photog.MEI.Cr., CPP, of
Rouse Imaging in Dekalb, Ill. Rouse combined several images taken with his Fujifilm FinePix S2 Pro digital SLR and 28-105mm
Tamron f/2.8 SP AF LD IF lens. Images in the mix include a weathered sidewalk for the background, a tree under an overcast sky,
and a portrait captured in mixed incandescent and window light. Rouse used Adobe Photoshop to create the final image, which
won a Fujifilm Masterpiece Award, ASP Regional Medallion, and ASP Gold Medallion.
14 • www.ppmag.com

15. MPIX
STANDOUTS!
Looking for a unique way to display your large print – something more contemporary?
Consider a Standout from Mpix. Our new Standouts are perfect for offices, galleries or the home.
Image courtesy of Barefoot Memories, San Diego, CA.
Visit www.mpix.com to see our full line of photographic and press products.

16. ©Barry Rankin
BARRY RANKIN
With a Fujifilm FinePix S3 Pro digital SLR and Nikkor 80-200mm f/2.8D AF ED lens, Barry Rankin,
M.Photog.Cr., of Dirla Studio in Bay City, Mich., captured “Bewitched” for a Nashville singer’s CD cover.
A 300WS Photogenic PowerLight 1250 behind a 4x6-foot Larson Soff Box provided the main lighting,
with a second 300WS PowerLight 1250 and a 2x3-foot Larson Soff Box for fill. A 200WS Photogenic
PowerLight 1250 and a 14x48-inch Larson Soff Strip hung above the subject, while a 200WS
PowerLight and 14x48-inch Larson Soff Strip illuminated the left side of the frame.
CHRIS BELTRAMI ©Chris Beltrami
“Perkin’s Cove” is a favorite
spot for Chris Beltrami,
M.Photog.Cr., F-ASP, of
Beltrami Studios in Barre, Vt.,
and his wife, who regularly
visit Maine’s Ogunquit Beach
in the summertime. Waiting
for the late afternoon light to
fully grace these returning boats,
Beltrami aimed his Canon
EOS 20D digital SLR and
50mm Canon f/2.8 EF lens
from the deck of his rental
house and exposed the image
for 1/125 second at f/8, ISO
200. He digitally enhanced
the saturation and sharpness,
and embellished the reflections
in the water for the final image.

17. Our Product Development Team…
is Your Product Development Team!
_
What happens when you ask a group of nine fun, creative, and innovative women to
design a comprehensive product line for professional photographers?
They develop a beautiful, elegant, high-quality product collection that fits the product needs of every wedding and
portrait studio. Learn more about the products and how these women used the highest quality materials, the hottest
colors, and the most innovative design to create five best-in-class product lines at www. collages.net/creative.
Albums | High-End Cards | Press Printed Books | Gallery Wraps | Professional Printing | Online Presentation
Check out Collages.net’s comprehensive product line at www.collages.net/products.
©2008 Collages.net Inc. All rights reserved. Photo ©2008 Erik Matey.

18. 4 hours of darkness.
8 miles of glacial ice.
® ™
12 Nikon SB-800 Speedlights.
1 eye on the rising tide.
©2007 Nikon Inc.

19. See James Balog’s brilliant shots at stunningnikon.com/challenge
Shooting icebergs at night in Alaska under fast-changing conditions would have been infinitely harder for Nikon Pro James Balog
without the power and versatility of Nikon SB-800 Speedlights. “We really had to maximize our productivity and the system had a huge
impact on enabling me to do as many shots as possible.” The critical edge was Balog’s ability to control all 12 Speedlights from his
camera’s position. “Once I learned the incredible strengths of the Nikon Speedlight system—portability and ease—I said, ‘Wow…magic. ”
’

20. CONTACT SHEET
What’s New, Events, Hot Products, Great Ideas, Etc.
BY STEPHANIE BOOZER
©Kathy Malaspina

21. Looking to boost your
children’s portrait business?
Consider portrait parties and
watch the leads come in
If the thought of a sales party with a hostess
sends you running for the door, reconsider.
In-home sales gatherings have been working
for some pretty big companies.
“Some of my best clients come from portrait
parties,” says Kathy Malaspina, of Precious
Moments Photography in Tyner, N.C., who
has been reaping rewards from these events
for the last three years. “People have a great
time, and the parties are so easy to do.”
Here’s how it works: The hostess supplies
the guest list, mails the invitations, makes
the shooting schedule, and handles all the
hostess duties in her home or the photog-
rapher's studio. Malaspina shoots a series of
mini sessions with each child. Then she
packs up and leaves. “Some of my best clients
The hostess directs the guests to the studio's
Web site to view proofs, and encourages them
come from portrait
to place their orders within a specified time— parties. People have a
simple as pie you don't even have to bake. great time, and the
As an incentive, Malaspina grants the
parties are so easy to do.”
hostess a maximum of 15 percent commission,
which is credited toward the hostess’s own
purchase. She requires a minimum of 10
sessions for each event, which must be money as the exposure. Word of mouth is light, a table, a small backdrop, and maybe a
booked back-to-back to maximize her time. the best advertisement you can get.” few props, depending on the theme of the
Malaspina also offers a $35 credit for each Averaging about 10 parties a year, party. Shooting each mini-session outdoors
party the hostess books in a day, and an enough to generate a healthy number of is the best way to minimize your equipment
additional $25 credit for subsequent bookings. standard portrait sessions, Malaspina says needs. In her experience, it’s best to set up
“This really pushes the hostess to urge her portrait parties have become popular for the portrait area away from the rest of the
her friends to schedule parties,” she says. children’s birthday parties and sleepovers. guests, so each session is semi-private.
Malaspina provides the invitations, which You don’t have to limit yourself to kids. “A “You’ve definitely got to work it just like
include her images and studio info, and tips lot of people do pet parties,” says Malaspina, everything else,” says Malaspina. “But these
about preparing for the session. The hostess who also suggests marketing parties for wed- are a great way to go out and do something
will pick up and deliver the print orders. dings, family reunions, and other milestone quick and out of the norm, and they set you
“It’s not bad for an afternoon’s work,” says events. “They make great fundraisers, too. I apart from everyone else.”
Malaspina, who pulls in orders of $1,200 to did one last year for the local animal shelter.” For more about Kathy Malaspina and her
$2,500 per party. “It’s not so much the Malaspina’s setup is light, usually one studio, visit www.preciousmomentsphotos.com.
March 2008 • Professional Photographer • 21

22. CONTACT SHEET
Nine months ago I was still fighting digital and
ESSAY a boatload of negativity. I went
dragging around
Vive la
digital!
Photography wasn’t broken.
How come we needed digital
technology to fix it? One holdout ©Laurie Klein
found a very good answer.
the spontaneity of the shoot to plunge into For example, for some time, I’ve been
BY LAURIE KLEIN total darkness for a change of film, while trying to reorient my business from pre-
praying the exposures were on the money. dominately wedding photography to mostly
Nine months ago I was still fighting digital With digital IR, most of the time they are. portraiture. From shooting 70 weddings a
and dragging around a boatload of negativity. I’m thinking about doing all my commer- year, I’m down to about 10. I used to take in
I went through the usual throes of resistance cial work digitally. I still like the results I get $1,800 per wedding, now my billing starts
and the arduous period of adjustment. There I from black-and-white film better. I’m not at $15,000. My brides come back time and
was, spending 75 percent of my time behind selling out, I think I’m becoming a smarter again for maternity, family and generational
a computer, no time to plan, no time to market, businesswoman. My personal fine-art work portraits. I had a gala to celebrate my 25
no time to grow creatively, no time to relearn will continue to be a mix of film and digital. years in business and more than 125 clients
infrared photography—a passion of mine—sans I hired a a recent college graduate to attended. They bought my fine-art prints,
film, working harder on less work and making handle my digital workflow, and I have my and I generated portrait bookings. To be
less money. Some boon, digital technology. life back again. I actually have the time to mindful of these successes is to feel grateful.
But in addition to changing my workflow in work on a new book and a huge project that I’m still passionate about photography.
the last year, I’ve worked on changing my atti- I feel will take my photographic business in My recent work is some of the best I’ve done
tude. You know what? Life is wonderful again. a new direction. in years. My clients don’t care if I’m digital
We are a healthy hybrid studio today. I With the help of Michael J. Losier’s “Law or not, as long as my passion is there and
have a digital camera converted for infrared of Attraction,” which I highly recommend, my photographs are brilliant.
photography and I love it. It’s different, and I’ve stopped dwelling on how tough things I had taken the digital movement
that’s the point. It gives clients another are. I need to embrace all that’s happening personally, feeling like the industry was out
option, and it frees me from having to kill in my life right now, and be grateful for it. to make my life difficult. Now I see what it’s
actually been doing—giving me this huge
opportunity to grow, to look at things
WINNER REDUX differently, to get out of my box and the way
I’ve done things for years and years. The
The sole winner of the 2008 Hot One Award for
Telephoto Zoom Lens is the smc Pentax-DA* most important thing for me, besides sup-
50-135mm f/2.8 ED AL[IF]SDM (right). In February’s porting my family, is to grow as an artist.
Professional Photographer, we called a tie between Laurie vs. the digital revolution? Doesn’t
the Pentax lens and the Tamron SP AF70-200mm work for me anymore.
f/2.8 Di LD (IF) Macro lens, which failed to meet all
Laurie Klein’s studio is in Brookfield, Conn.
eligibility requirements.
(www.laurieklein. com).
22 • www.ppmag.com

23. Smart
Transceiver
NEW PocketWizard PLUS II
Triggers your flash, camera
or both wirelessly from up to 1,600 feet away.
Auto-Sensing Transceiver Technology
Automatically Transmits or Receives for
faster, easier, carefree wireless triggering.
Auto-Relay mode
Wirelessly triggers a remote camera
and a remote flash at the same time.
Fast Triggering Speed
Triggers cameras and/or flash units
up to 12 frames per second.
Digital Wireless Radio Technology
Four 16-bit digitally coded channels
provide the world’s best
triggering performance.
The Plus II joins Profoto, Dyna-Lite, Profoto, Norman, PocketWizard Sekonic
Norman Packs and and Photogenic Plus II L-758DR
the growing system
Battery Packs Monoblocs MultiMax L-358
of photographic A built-in radio A built-in radio Trigger your flash, Choose which
products with built-in receiver provides receiver provides cameras or both flash unit to trigger
wireless triggering wireless triggering without wires from the and measure
PocketWizard simultaneously and
from a PocketWizard from a PocketWizard palm of your hand.
Wireless Freedom. Transmitter and Transmitter and even fire your camera.
Ask for these brands. wireless metering. wireless metering.
Wireless Radio Triggering
9 1 4 - 3 4 7 - 3 3 0 0
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26. CONTACT SHEET
Microsoft and Miller’s Professional Imaging.
Cover contest announced Prizes will be awarded to 2nd-, 3rd-,
4th- and 5th-place winners, and as many
Professional Photographer’s cover photo contest kicks off March 1 as 25 entrants will receive prizes for honor-
able mention.
Have you always dreamed of getting your work on
HOW TO ENTER
the cover of a magazine? Well, here’s your chance! Go to www.ppmag.com to enter. Only
This month you’re invited to submit photographs digital files uploaded at www.ppmag.com
for a chance to have your image featured on will be accepted. Mailed print images and
e-mailed digital images will not be
our cover. Just one talented photographer will accepted. Format/Specifications: Submit
see his or her image published on the cover of low-resolution images only, in standard
a 2008 issue of Professional Photographer digital formats (.jpg, .pdf, etc.). Images
should be 525x700 pixels; file size should
(mailing to almost 50,000 readers monthly). be no more than 250k. A high-resolution,
Images will be judged on technical, artistic Helping Professional Photographer print-quality version (300ppi at 9x12
and compositional merit. You may submit as magazine editors choose the best entries inches) must be available for each image.
many images as you wish, provided they are will be guest judge Helen K. Yancy, The submission deadline is Saturday,
representative of the work you sell to your M.Photog.M.Artist.MEI.Cr.Hon.M.Photog., May 31.
clients. What we’re seeking are real-world CPP, F-ASP, Hon. F-ASP, currently serving Don’t miss your chance to show the world
examples of portrait, wedding, commercial as the chairman of PPA’s Print Exhibition your talent! Head over to www.ppmag.com
and event photography. Committee. to learn more.
All work submitted must be previously In addition to landing the cover of a 2008
edition of Professional Photographer, the
unpublished and original, with written
releases on file from any subjects pictured winner will receive generous prizes from our
Go to www.ppmag.com
in the image. contest sponsors, Bogen, Canon, Kodak, to enter.
26 • www.ppmag.com

27. $9,999
COMPLE
TE SYST
EM
Mamiya 645ZD Mamiya Performance.
Now Digital.
22 megapixel System
• Mamiya 645AFD II Medium Format Camera
with 80mm f/2.8 AF lens
• Mamiya ZD 22 Megapixel Digital Back
• Large 48mm x 36mm Dalsa CCD Sensor
produces medium format results
• FREE Adobe® Photoshop® Lightroom™
software included
T: 9 1 4 . 3 4 7 . 3 3 0 0 • M A M I YA . C O M

28. CONTACT SHEET
Cliff Mautner turned a
1920s church into a studio
with SoHo soul
BY LORNA GENTRY
From sacred to sensational
The front door of Cliff Mautner’s photog-
raphy studio opens to an elegant foyer, but
it's the allure of the 2,000-square-foot space walk in and think, ‘This guy is credible, he and I mean everything—is new.” The
beyond that draws visitors to his studio in has style, he’s expensive, and he has good $225,000 renovation took about a year to
downtown Haddonfield, N.J. The large room taste.’ It’s all about the client experience.” complete, but the results are spectacular. A
is harmoniously divided among handsome Upstairs is a 1,300-square-foot. office he photojournalist with the Philadelphia
viewing, meeting and shooting areas. Light shares with studio manager Anne Vasquez, Inquirer for 15 years, Mautner had been a
fills the area between the 13-foot ceiling, and downstairs is a three-bedroom apart- home-based wedding, portrait and
wood floor and wainscoted walls. A 30x13- ment where he lives with his children. Built as commercial photographer for a decade
foot exposed brick wall spans the back of the a Baptist church in the 1920s, the building later before opening this studio in 2006.
studio, its faded and worn bricks seeming became a dance studio run by one of the orig-
original to the building, but they were inal Rockettes, which turned out to be a bless- Professional Photographer: Your shooting
installed as part of Mautner’s master plan. ing. For years, the main foot traffic here was area is so large. How did you design a
“Beyond being a place to shoot, I wanted the soft steps of barefoot dancers. so the lighting system with enough flexibility to
it to look like a SoHo art gallery to display nearly 90-year-old beech wood floors needed accommodate it?
my work,” says Mautner, a New York native, very little work. “The floor guy was floored,” Cliff Mautner: I have the option of stepping
who worked with interior designer Michelle Mautner laughs. back more than 50 feet to photograph my
Cheutin. “The exposed brick gives it a That was about the extent of a financial subjects. I have two zones of rails for the
distinct look. My goal was to have clients break for him, though. “Everything else— lighting system that allow me to position the
lights however I want them. On the rails are
All images ©Cliff Mautner four Profoto ComPact 600 monolights attached
to scissor mechanisms that can extend all
the way from the ceiling to the floor. That
gives me plenty of range—from the back to
the front third of studio. I can easily high-
key or drop them out altogether and use
natural light. I had four 10x14-foot windows
installed, which gives me northwest light, a
beautiful Rembrandt light not easy to
produce artificially. I have a Bogen
backdrop, but I also use the brick wall as
background, shooting at a shallow depth of
field so it drops out of focus.
Since you were going for a gallery look, why
isn’t your work hung traditionally?
28 • www.ppmag.com

29. I added chair rails to wainscoting that was
already there so I could prop up my photos
on it. I did that so clients can pick them up
and inspect them. I didn’t want them to be
untouchable. It also makes it easy to change
the images. Cable lighting enables me to
direct the lights in any direction, and they
add to the studio’s gallery look.
What’s the most impressive feature of your
studio?
The DWIN TransVision 4 projector, with a
separate video processor and high-definition
capabilities. It projects to a 92-inch hi-def
Da-Lite Neutral Gray screen, which enriches
the blacks in my images. This system is used
in home theatres and has film-like quality,
and yes, I do watch some sporting events
on it! It took quite a bit of vision to see what this derelict
old building could become, and Cliff Mautner supplied it.
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30. Listening. Creating.
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32. Have you always dreamed of seeing your work on the cover of a national magazine?
Here’s your chance! Beginning March 1, 2008, submit your photographs for an
opportunity to be featured on the cover of Professional Photographer.
Contest Rules & Judging: Images will be submitted must be original and previously un- How to enter: Go to www.ppmag.com to
judged on technical and artistic merit. Helping published, and you must have written releases enter. Only digital files will be accepted. Print
Professional Photographer magazine editors on file from any subjects pictured in the image. images and e-mailed images will NOT be
choose the best entries will be guest judge accepted. Upload your electronic images to
Helen K. Yancy, M.Photog.M.Artist.MEI.Cr.Hon. Prizes: In addition to landing the cover of a www.ppmag.com.
M.Photog., CPP, F-ASP, Hon. F-ASP, the chair- 2008 edition of Professional Photographer, the
man of PPA’s Print Exhibition Committee. winner will be awarded a selection of prizes Format/Specifications: Submit low-resolution
from among our cover photo contest sponsors, images only, in standard digital formats (.jpg,
You may submit as many images as you wish, Bogen, Canon, Kodak, Microsoft and Miller’s .pdf, etc.). Images should be 525x700 pixels;
provided they are representative of the work Professional Imaging. Prizes will also be file size can’t be more than 250k. A high-reso-
you sell to your clients. What we’re seeking awarded to 2nd-, 3rd-, 4th- and 5th-place win- lution, print-quality version (300ppi at 9x12
are real-world examples of portrait, wedding, ners, and as many as 25 entrants will receive inches) must be available for each image.
commercial and event photography. All work prizes for honorable mention.
GO TO PPMAG.COM TO ENTER
Submission deadline: Saturday, May 31, 2008

33. Professional Photographer P R E S E N T S Business, Marketing and Sales Strategies
What I think
Pricing for profit leads David
Schwartz to long-term success
What do you wish you knew when you were first
starting out? That it takes time to develop a look.
I spent so much time attempting to emulate
others. I should have spent the time soul-
searching and stretching myself to come up with
new ideas and techniques that felt right to me.
Reaching an affluent client requires having a look
he can only get from you.
What’s the biggest business risk you’ve ever taken?
I walked away from a nice salary to pursue
something I’ve always loved. Making the leap to
full-time photography was a tremendous risk.
What’s your deal breaker? I pre-qualify my
clients before we meet. I make sure they
completely understand my pricing and that my
photography fits within their budget. I don’t
negotiate on price when they visit, and if they
attempt to do so, I will cut the meeting short.
What is the biggest business mistake pro photog-
raphers make? Attempting to run every aspect of their
business. I believe in farming things out to spend
more time behind the camera. We need to remember
that we make our money taking pictures.
What is the most important element in a successful
photography business? Pricing. Ensure that your
pricing strategy brings you the income you need to live.
IMAGE BY DAVID SCHWARTZ
WWW.DAVIDSCHWARTZPHOTOGRAPHY.COM
March 2008 • Professional Photographer • 33

34. Photography by Gregory Heisler.

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36. PROFIT CENTER
Recognized with the 2007 PPA AN-NE “Every year there are 22 percent more
photographers in the marketplace,” says an
Marketing Award, these three marketing animated Christa Hoffarth of South Lake
campaigns share a focus on the importance of Tahoe, Calif. “That number scares me.”
targeted promotion, attention to detail, and A healthy fear of competition may propel
maintaining effective Web sites and blogs. Hoffarth to work harder, but what distances
her from the pack is smart marketing for
BY LORNA GENTRY
her eponymous wedding photography
business. Her deft techniques were recently
Married INNOVATIVE
MARKETING
STRATEGIES
recognized with the 2007 PPA AN-NE
Marketing Award for her outstanding
wedding marketing campaign. The annual
to marketing
award, which honors member photographers’
creativity and effectiveness in marketing, also
went to finalists Peter Holcombe, API, CPP,
All images ©Cheryl Pearson
Christa Hoffarth designed her
AN-NE award winning-wedding
marketing campaign to make a big
first impression on upscale clients.
36 • www.ppmag.com

37. of Holcombe Photography in Lafayette,
Colo., and Albert Lewis of Mulberry
Photography in Truckee, Calif.
These three photographers agree on the
importance of focused promotion, paying
attention to detail, and maintaining effective
Web sites and blogs. They differ in approach
when it comes to brochures, due in part to
their differing markets, business strategies
and targeted audiences. The three promotions
are a study in contrasts, but the effect is the
same: greater profits.
Christa Hoffarth is a natural at marketing.
Last year she designed a new brochure and
other promotional material for her wedding
photography business. Because most of her
clients are out-of-towners, Hoffarth says her
Web site and brochure are the only selling
tools she has. And because competition in
Albert Lewis targets his brochure to event planners. The quality of every component communicates
her marketing area—San Francisco, San Jose,
the sophisticated aesthetic that he will bring to a wedding.
Sacramento and Lake Tahoe—is fierce, she
has to make a lasting first impression in print.
Targeted at upscale wedding clients, her press information page, and a page with an and aesthetically pleasing. She figured her
brochure denotes sophistication. “My clients explanation of her philosophy of wedding clients would feel the same way about high-
spend anywhere from $200,000 to $1 photography. A DVD of her work—an quality promotional items, and apparently
million on their weddings, with the average “indispensable portable marketing tool,” she she was right. “My brides keep these
being $300,000,” says Hoffarth. “Most of says—is seated in a sleeve affixed to the brochures and give them to their friends, so
my brides are MBA grads. In fact, a lot of back. A clear plastic routed business card they continue to market for me for years.”
my brides were together in the same MBA foil-stamped with her contact information Once a couple hires Hoffarth, she mails
program, like at Stanford, for example.” goes on the front cover. For mailing, she the contract and payment information with
slips the brochure into a transparent self- thank-you cards and a complimentary
CHAIN REACTION. To appeal to these sealing envelope. bride’s emergency survival kit in a clear
monied professionals, Hoffarth’s brochure “These brochures have texture appeal acrylic box. Inside are dress chalk, safety
design is eye-catching, sleek, contemporary and sound to them,” says Hoffarth. “They pins, hairpins, deodorant, stain remover,
and fun. The six pages of the 6x6-inch, matte- have a feeling of immediacy, and the clear sewing kit, breath mints and pain reliever.
finish brochure are bound with an elegant plastic envelope makes the brochure even Ever mindful of branding, all her packaging
silver chain. Her printer, Blossom Publishing more apparent.” and marketing materials are color and logo
in Winona, Minn., drills holes in the card- Each brochure costs $3.50 to produce, so coordinated. Hoffarth’s colors are a con-
stock pages, and Hoffarth finishes each hole Hoffarth pre-qualifies brides who request centrated light blue and white, which appear
with a silver grommet before threading the one. She got the idea for the piece from her as solid colors and in a loose floral pattern.
ball chain through the pages. Following the enjoyment of saving shopping bags from “I still print proofs, so I package them in a
photo-imprinted cover page are two pages on expensive boutiques. “I use them again and beautiful black-and-white box and use my
pricing, a page about reprints and albums, a again,” she admits, because they’re well made brand colors as accents—a blue silk ribbon
March 2008 • Professional Photographer • 37

38. PROFIT CENTER
Naturally, he’s selective about whom he markets
to, and he screens the recipients carefully.
With a background in graphic design,
fashion photography and art direction (he
was an art director for Nordstrom and
Neiman Marcus), Lewis knows good visual
marketing. “My degree is in graphic design
so it’s in my blood,” he chuckles. “It’s hard to
design for yourself, so I work with a design
firm. With the brochure, we tried to integrate
the photography and guts of the piece with
the overall design. The design catches the
eye of the type of client we’re going for. This
is not in-your-face marketing. We wanted to
create a mood and drive business on the
sophistication of the piece. This brochure says,
‘If we can do this, then we can apply these same
aesthetics to photographing your wedding.’”
Lewis’ 2007 ad campaign also included
five No. 10 envelope-size cards mailed peri-
odically throughout the year. Each card fea-
Peter and Kathy Holcombe garnered the favor of wedding planners by sending them four-packs of tured images from a wedding the studio
custom-labeled Jones Soda.
photographed, along with one-word head-
lines (such as “Luminous,” “Bliss,” “Captivating”)
and custom tag that I write a personal note wedding coordinators have been very and a heartfelt account of how he and his
on. With the package I send a gift, a 3x3- complimentary. Many tell me they keep it wife and fellow photographer, Tari, felt
inch bride book. We also send a first-year on their desks, and some call after they about the wedding. There is no sales language.
wedding anniversary gift, an accordion receive it. Because our clients come from all Reading like a wedding photographer’s blog,
photo book in our colors with graphics and over the country, we mail it nationwide.” these cards are intended to generate enthusiasm,
black-and-white images. The outside of the Clean and elegant, the gate-folded bro- showcase Mulberry’s work, and keep the
box is a floral black-and-white print that chure opens to an impressive 26 inches long. studio’s name in the eye of their target audience.
matches our marketing motif.” Inside is a mini portfolio of the studio’s work,
which is showcased on individual sheets of MAILBOX WOW. Peter and Kathy
NATIONAL FOCUS. Like Hoffarth, AN- heavy matte card stock held in place by Holcombe’s printed brochure wasn’t taking
NE finalist Albert Lewis of Truckee, Calif., small rivets. The outside cover is fine-ribbed, their business in the direction they wanted
caters to affluent wedding clients in the grayish-green paper embossed with the to go. “In 2005 we were averaging $3,500
Lake Tahoe area, as well as in Palm Springs. studio’s logo, a stylized mulberry tree. Inside, on wedding packages,” says Peter. “We
Lewis, too, relies on a sophisticated brochure the colors are cream and a serene green, with wanted to break out of that mold and go
to sell his services. Unlike Hoffarth’s, however, the exception of the contact page, which is after high-end clientele. So in 2006 we did
Lewis’ targets wedding coordinators and standout mauve, the color of mulberries. something different from the tri-fold, printed
event planners. “Eight-five percent of my Hand assembled, each brochure costs Lewis piece we had been doing.”
brochures go to event planners,” he says. a whopping $32, but he maintains that these “We feel a brochure is limiting,” Kathy adds.
“The piece communicates quality and the head-turners are generating high-end business. “It doesn’t show off our images or demon-
38 • www.ppmag.com

39. strate the quality of our work. We decided to four wedding photographs was printed on On the bottlenecks they hung custom-made
produce a DVD that shows how we’re different.” each bottle, along with catchy messages on tags with fun wedding images, like a close-up
Once the Holcombes created the DVD, the labels, such as, “Holcombe Photography: of a bride putting on mascara, along with such
they packaged it in a striking way. “Our refreshingly unique,” “Don’t trust your pithy tag lines as “Keep an eye out for us.”
materials arrive in a padded silver envelope, wedding photography to the bland,” and The Holcombes shipped the bottles by
which gives it the ‘wow’ factor right out of the “Call us for full-flavored images and service.” UPS and FedEx so they could track delivery.
mailbox. The DVD is wrapped in a rectangular
aluminum tin with a custom sticker, ribbons
and tissue paper. Fitted inside the tin is a bro-
chure with rounded corners.” Brides feel that
opening the tin first gives them the feeling of
opening a gift. "It has really given us a leg up.”
Right away the results were dramatic.
Within a year bookings increased and the
Holcombes averaged $7,800 per wedding,
which handsomely offset the $10-per cost of
the mailing. (They also screen brides before
going to the expense of mailing to them.)
Now Holcombe Photography attracts a
clientele that’s in the 27 to 32 age range,
who, says Kathy, are professionals with at
least a B.A. degree. Peter adds, “We do get
the younger clients too, usually from families
who can afford [an upscale] wedding.”
JONESING FOR ATTENTION. In 2007,
the Holcombes decided to continue with the
tins, and go out a little further on the creative
limb with a dynamic new campaign involving
Jones Soda. This time the target wasn’t brides
but event planners at upscale venues in the
area. The Holcombes had been knocking on
their doors for five years with little success.
Peter likes to research marketing ideas on
the Web, and he learned from Photojojo, an
online photo newsletter (photojojo.com), that
the makers of the popular soft drink Jones
Soda will print personal photos on its bottles
for a fee. “We thought it would be a clever way
to make a first impression on people we’ve
been trying to get to know,” says Kathy.
They ordered 16 sets of four-bottle
packages in four Jones Soda flavors. One of
March 2008 • Professional Photographer • 39

40. PROFIT CENTER
now display their wall portraits and books.
MARKETING ON THE ROAD The cost of the campaign was high, about
Christa Hoffarth shares her marketing knowledge this month alongside another savvy $70 per venue, but the return on the invest-
marketer, Laura Novak (www.novakphotography.com), in a workshop at Novak’s ment more than paid for it, they say. The
Wilmington, Del., studio, March 4-5. Holcombes now average $12,000 per wedding.
Hoffarth creates templates that photographers can use in their promotions to Says Peter, “I think marketing is one of
ensure their brand is uniformly reinforced in their brochures, business cards, the most exciting aspects of this business.
letterhead, tags and more. Checkout Hoffarth’s marketing site for photographers, It’s all problem-solving and thinking
Jellyfingers.wordpress.com. through.” “We’re passionate about marketing
Kathy and Peter Holcombe share their know-how in increasing wedding sales at the and our business,” adds Kathy. “We calculate
Imaging Workshops of Colorado, (www.coloradoworkshops.com) May 19-21. carefully. At the beginning of each year we
figure out how much we want to work, how
much we need to make, and then design our
A day after delivery, they called each recipient, the follow-up phone call was to set up a [marketing] materials according to that.”
and they were blown away by the response. meeting to show our book and get to know For the Holcombes, provocative market-
“The amazing thing is that we got thank-you them. We got a meeting with everyone.” ing fuels a business that underwrites the
notes from these coordinators,” says Kathy. “I This imaginative campaign put Holcombe good life. I
don’t think anyone gets thank-you notes for Photography on 12 of the 16 venues’ preferred
promo materials,” Peter marvels. “Our goal of photographer list, and five of the venues Lorna Gentry is a freelance writer in Atlanta.
40 • www.ppmag.com

42. PROFIT CENTER C H A R L E S J . L E W I S , M . P H O T O G .C R .
It’s not the price, it’s the way you present it. Train understand how she feels—“I know exactly
yourself to be comfortable talking about your fees. how you feel, and I understand.” You want
to continue working with this prospect, so
Because you’re worth it don’t argue, confront or correct.
KNOW YOUR LINES. How many
times have you thought of the perfect
The better you become at presenting your anyone. You can make a great living by comeback too late? Write down and
fees, the higher those fees can be. Here are being honest! memorize good replies to typical questions
five keys to successful presentation. You want to sound as if the studio is and likely objections in all phases of the
SELF-CONFIDENCE. You need to busy. You want clients to see that you have sales process. For example, early on you
practice—no kidding, practice—presenting to pore over your booking calendar to find might take control of the conversation like
your fees in a self-assured way that says cus- an opening for them. this: “Before we go any further, let me give
tomers are already gladly paying those fees. GENTLE DISARMAMENT. When a you an idea of what you can plan on investing.
You need to look, act and sound self- prospect says something negative, such as, Is that okay? For a portrait of the kind you
confident and successful, even before you “Your fees are high,” be ready with a cush- described, most folks invest between [your
are. I’m not suggesting that you lie to ioned response. First, acknowledge that you figures here] and get a large framed portrait
42 • www.ppmag.com

43. for themselves, plus a few smaller prints for Keep mentioning that if the caller isn’t thrilled with your
friends, family and the workplace. Does that
fit into your budget?” Notice that no exact
work, you’ll do whatever’s necessary to delight her, or you
print sizes have been mentioned. will return her money in full, no hassles, no hard feelings.
You want the ballpark figure you’re
quoting to be an honest representation. Add
up the sitting fee, an 8x10 print (the prospect
probably considers that “large”) and a couple
of 4x5s. That’s the starting figure. For the
high figure, add about 20 percent to cover a The owner of this RAID storage device
few more of the small prints.
heard some really good news
Closer to closing the sale or ending the
conversation, ask a well-worded question
to see how close the prospect is to making
a decision. My favorite is, “How do you
feel about that?” I use it all the time, in
all sales situations, including the presenta-
tion of the fees.
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Memorize the unique qualities you specified
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your guarantee of satisfaction.
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March 2008 • Professional Photographer • 43

44. TM
THE JOY OF MARKETING S A R A H P E T T Y, C P P
competitor offers a certain item, you don’t
have to if it doesn’t go with your brand or if
you simply don’t like it.
In a clever marketing strategy, pricing can actually Boutique items such as photo jewelry,
enhance your studio’s image. Pricing can even purses and personalized greeting cards
make fine add-ons and incentives, but
make people do what you want them to do! aren’t necessarily high-profit items. You
Party like it’s
don’t want to undermine your more
profitable portrait sales, so it’s a good idea
to make a separate rate card for them, or
even require a minimum purchase before
$1,999
clients can order them.
TIPS FOR CREATING Use prices to make people do what you
ATTRACTIVE PRICING want them to do. Take the session fee, for
example. If it’s better for you not to
photograph on location, set your location
Remember that “silly little millimeter”? The more you have to explain, the more session fees twice as high as studio
When you buy something for $1,999, they have to employ logic to make the sessions. If the fee doesn’t discourage the
you say you’ve spent less than $2,000. Well, decision. client, it will be worth your while to do it.
you have, by $1. That little bit less than two If you have more than one target market, If you notice that your in-studio sessions
grand makes a big difference psychologically. you can have more than one set of prod- average three times more sales than
When I consult on marketing with pho- ucts, and certainly more than one rate location sessions and take half the time to
tographers, I like to start by determining if card. For example, you might offer albums do, you might lower the studio session fee.
their expenses are in line, including the to high school seniors, but not to buyers If you want to limit your Saturday or
cost of sales, employee wages, administra- of child and family photography. You need evening hours, it’s amazing how higher
tive expenses, and general overhead. If separate, exclusive lists of your products session fees or minimum purchase
those are in line, I like to evaluate their and prices. requirements will encourage people to find
pricing. Sometimes studio owners ask what And you don’t have to offer every great time to come in during the week.
their pricing has to do with marketing. product you saw at Imaging USA, especially I’m a big believer in using business
Believe it or not, pricing is a key ingredient in a boutique business. Just because a management software that helps you
of the marketing mix.
‘‘
I’ve seen photographers struggle with
pricing and creating a rate card, and I’d
like to share some tips to make it easier. I’m a big believer in using business
One of the largest problems with pho-
tographer rate cards is that they’re con-
management software that helps you
fusing, often overwhelming. Simplify! If identify your most profitable sessions. It
you present too many choices, it’s going to
take way too long to explain it all to your
can help you decide if you you should
clients. You want to keep clients inter- charge more for large groups, additional
preting information through the emotional
side of their brain, not totting up the facts. clothing changes, all manner of extras.
44 • www.ppmag.com

46. TM
THE JOY OF MARKETING
identify your most profitable sessions. It can simple and clearly worded. I don’t have a effective to produce full-color rate cards in
help you decide if you you should charge problem with a rate card leaving the studio, small quantities. We order ours from White
more for large groups, additional clothing but only if it’s part of your sales plan. I don’t House Custom Colour in quantities of 25 or
changes, all manner of extras. You might believe in posting prices on the Web. I want 50, so if we need to adjust our prices, it’s not
find that the large orders that result from prospects to call the studio so we can chat. a huge expense. We like to print them on
group portraits make it unnecessary to Rate cards can also help illustrate the value small, elegant folded cards—it makes such a
charge higher session fees. of your photography. They must be difference in how people perceive your work.
You also need to weigh the benefits of beautiful! One of my favorite guidebooks is Always include a very high-priced item on
packages against a la carte pricing. There “The Non-Designer’s Design Book,” by your price cards. You may never sell the
really isn’t a right or wrong answer. Looking Robin Williams (Peachpit Press). It presents item, but it will lend value to your other
at your sales averages will help you choose a the principles of using type and graphics products and will allow you to keep raising
method. If you do offer packages, make sure effectively. Use photography to illustrate the the prices. Now we all dread presenting
they contain enough value for the price to products wherever possible. It is much price increases, but the increase is less
encourage people to invest in more than easier to sell a collection of six images if glaring when you use odd numbers: $1,999
they would otherwise. people can see how they look together. The is less than $2,000! I
Rate cards are not a marketing brochure look and colors of the design must also be
for your company, but a vehicle for stating consistent with your brand identity. Sarah Petty Photography is in Springfield,
your prices. Still, they should be well designed, With the ease of digital printing, it’s cost Ill. (www.sarahpetty.com).
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