Carolina Photographer by Fuller Royal

Executive Board Chairman Bruce Williamson brucewilliamson49@gmail.com

President Ellis Williamson Ewilliamson17@nc.rr.com

President-Elect Rose Mary Cheek rosemarycheek@charter.net

Vice President Ned Winn studiomail@nc.rr.com

Treasurer Adrian Henson adrian@adrianhenson.com

CAROLINA PHOTOGRAPHER MAGAZINE is a monthly online publication of the Professional Photographers of North Carolina, Inc. Editor Rose Mary Cheek rosemarycheek@charter.net 828-322-2862 Sales & Business Manager Rose Mary Cheek Articles & Sales Submissions First of the Month Publication 15th of the Month

Secretary Tim Hester tim@timhesterphotography.com

Executive Director Loretta Byrd Loretta@ppofnc.com

PPNC 427 Greenleaf Road Angier, NC 27501 919-796-4747 www.ppofnc.com

Acceptance of advertising does not carry with it endorsement by the publisher. Opinions expressed by Carolina Photographer or any of its authors does not necessarily reflect the positions of the Professional Photographers of North Carolina, Inc. Association financial information available upon request.

Contents From the Editor Page 4 From the President Page 5 PLUS 1,Part 2 by tim hester Page 7 Member Spotlight - George Joell 3 Page 8 Why you should Ever Never Photograph Subject on Railroad Tracks Page 18 Make A Pledge Now.. Page 20 How to Score your Best in Image Compeition by Jane Conner-Ziser Page 22 9 Important Strategies for Raising Children In a World of Technology . Page 28 Print your Photos or Risk Loosing them to the Digital Dark Age Page 30 CPP Exam Tips Page 32 Tidying up isn't just great for Life, It's Great for Photography Page 34 PPA's newest Addition - PhotoVision Page 35 Shoot Socials Page 38

Who Are We? The Professional Photographers of North Carolina (PPNC) is NC’s largest association for professional photographers. We are an affiliate of the Professional Photographers of America. Led by an elected Board of working professional photographers, we are a non-profit, member owned association. We are a community in tune with each other’s challenges. Together, we help each other succeed. From a monthly digital magazine with numerous tips and techniques, to one of the state’s largest photographic conventions and trade show, competitions, seminars, and more, PPNC’s members are connected.

On our Cover

An affiliate of George Joell of Fayettville, NC credits giving clients what they want as the true secret to his success in photography. Sound simple? Find Fans of Professional Photographers of North Carolina

out how George does it in the Member Spotlight, page 8.

From the Editor Spring is finally in the air; beautiful irises, azaleas, and dogwoods are blooming in my garden. And coming up right around the corner is Southeastern Professional Photographer's Association's FLASH 2015. There is a wonderful article written by Jane Ziser on print competition where she explains in detail about the ins and outs of Print Competition. So do you have your prints ready? Have you found a mentor? Will you be doing prints or digital? These are many questions you might be asking yourself right now. But don't delay because you only have about two weeks left. Be sure to check out their website at http:// seppaonline.com/ to see the list of great speakers and educational opportunities that will be there. Eastern and Central Shoot Socials are continuing. There are two more Shoot Socials listed in the magazine so be sure to check out each one. Willis Brown's group will photograph a live ball game and Sarah Kehl has organized a Stylized Senior Photo Shoot. Shoot Socials are still rockin'. Rose Mary Cheek

PPNC Directors Angela Blankenship blankenshipa@embarqmail.com Willis Brown wbrown11@nc.rr.com Misty Felde imagesbymistyfelde@yahoo.com Deborah Hendrix porbydeb@gmail.com George Joel, III george@gpjoell3photography.com Michael Talylor michael@williamsonsphoto.com Bill Goode bill@billgoode.com

Seminar Chairmen Chris Garner tpsportraits@gmail.com Lauren McCardle info@mccardellstudios.com Tom McCabe tommccabe46@earthlink.net

PPA National Councilmen and Directors Bill Goode Cassie Stone Janet Boschker Joy Batchelor-King Adrian Henson

SEPPA Rep. Rose Mary Cheek

From the President Recently, I stood on my front porch and moaned about how much the grass had grown in just three days. It didn’t seem to matter that I had taken the extra time to make sure that the lawn had a nice “manicured look.” The grass grew just as fast, returning week after week, demanding my attention. It was certainly loyal!

Over this past month, I have been thinking about marketing and creating loyal customers. Have you ever stopped to think about what makes a client return to your photography business? You might think that it’s your advertising, your “two for one” special, or your unique photographic style. Of course, all of that comes into play. And while yes, you may produce an expected good image, the truth is that many times your clients return to your studio because of you. Developing an emotional or “good feeling experience” between you and your clients has been proven to increase the likelihood of making them a return customer. Once your clients are in your studio, YOU are the best marketing tool around. Here are a few little things that can tip the scales in favor of you making a loyal customer: Establish trust early on. Be a good listener. Be approachable. Be knowledgeable. Have a neat appearance. And finally, a sincere, friendly smile will go where words alone cannot begin to take you. In a world where two studios may exist on the same street, how clients feel about you as their photographer and their personal experience can make all the difference between a one and done deal or a loyal relationship that spans over many years.

Go cut the grass.

Now is the Time. Photographically yours, Ellis 5

Plus 1, Part 2

by Tim Hester, Secretary

for, it is probably the best they know. Think about it. We are seeing the rise of a generation that all of their worthwhile photos have been taken literally at arm’s length (their own arm mind you) with a cell phone. So this may well be the best photo ever taken of them or at least where they don’t have a “duck face”. How do you combat this? Education! Educate your market. Educate your consumer. Educate your competition. Yes, educate them!

“Why in the world would I invite my competition here to learn the same stuff that I’m learning?” There is no doubt that some of you had this thought as you read my article from the last issue. So how can this really benefit your business? My father loves to tell the story of when I was 7 or 8, we were visiting a couple that had adopted me as their surrogate grandchild. They were going to take us out to dinner where ever we wanted. Much to my dad’s horror I said McDonald's. Why not a steak? Why not a fish house? I was 7! I didn’t know any better. My photography was much the same way. I look back at the first images I charged for and I cringe. I was new! I didn’t know any better. How did I grow? Well from eating too much McDonalds, but how did my taste grow? How did my photography grow? Education.

Would you have known how good Rembrandt’s paintings were if you hadn’t been educated on the nuances of the paint used and the strokes that are basically nonexistent? We even have a light pattern named after him! Would you have known how amazing some of the award winning photographs in our own Print Competition are if you weren’t educated on the rules and have known these great photographers and learned from them? So how is your competition going to know what makes a great portrait if they aren’t being taught? How is your customer going to know if they aren’t being taught?

One of the biggest complaints that you read in social media or hear in the side discussions at events is about how either a new photographer is giving their stuff away or how customers expect the world for nothing. This is a problem, but how do they know that this is problem? When you started in business, did you know how to figure up the true cost of a click of the shutter? The only way to know these costs is education.

It might be hard to believe, but raising the artistic ability of your competition will help to raise the expectations of the market and in turn help to raise the prices and most importantly the profit in your business. Wait! What? The glory of that statement is in this process you will have to stay ahead and there-

In a close second in the discussions is finding one of your friends went to a new photographer who is giving them the session because they are just starting out and even though everyone knows you get what you pay

Continues on Page 21

Member Spotlight On By Catherine Kouri

his interest in photography really ignited while he was stationed in Japan at a base outside Tokyo. At Camp Zama there were no professional photographers. In the four years he served at Camp Zama, George found himself rapidly progressing from a dad with a camera photographing his two sons to a semi-professional community photographer.

George Joell is a people pleaser and proud of it. While the term “pleaser” has acquired a somewhat pejorative connotation of late, George confidently asserts that pleasing people is the key to his successful photography business. A natural extrovert, George uses his gregarious personality and non-stop work ethic to determine what his clients want and then deliver it to them with a smile.

After military duty hours and on weekends, George photographed a myriad of activities for the Americans on base. Due to work and business restrictions for foreigners in Japan, George worked independently photographing everything from children’s visits to Santa Claus to special events to sports at Zama High School. In his last year at Camp Zama after being promoted to first sergeant, George completed the requirements for his bachelor’s degree in Information Systems Management. In addition to his community photography work, he

Born in Philadelphia, George and his family moved to San Diego when he was eight years old. At twenty, he joined the US Army as a teletype operator specializing in computer repair. George spent the next 24 years in the army, which afforded him the opportunity to live and work in many exciting and exotic places including Korea, Germany and his favorite duty station, Japan. While George says that he cannot remember a time when he was without a camera in his hand, 8

George Joell 3

at bridal shows and popular venues as well as providing beautiful albums and portrait displays in hotels and botanical gardens. He says a photographer can’t be complacent there because in a fast moving area “your competition is on the next plane landing at the airport!” Early in his photographic career, George made a conscious decision to create the best possible product for his clients as well as provide an enjoyable and memorable experience for them as they begin their new families. He is not concerned about competition from amateurs shooting on “P” because he builds professional quality and expertise into everything he does. George says his ideal client is one who values quality over quantity. To attract quality-seeking clients, he never compromises on delivering his best products and services. To

had a side job as a representative for Sony out of Hawaii. It was during this hectic period that George realized he wanted to retire from the army in order to pursue his passion for photography as a full time career. In 2004, George opened George Joell 3 Photography in Fayetteville, North Carolina. He specializes in weddings and family portraits with the goals of creating unique albums and large wall art. As a natural adjunct to his wedding business, George also offers maternity and baby portraits. Perhaps due to his army photographic experience, George includes all sorts of event photography, especially military events, in his repertoire. In Fayetteville, a very transient town, George markets vigorously 9

that end, George is always available to his clients on his cell phone.

not live without his Nikon 70-200 f/2.8 lens. He began his career in photography shooting film but switched to digital due to an incident at Camp Zama in Japan. While photographing a Black History event, George attempted to switch lenses in the dark. He inadvertently over tightened the lens and snapped the sensing mechanism inside the camera body. George then picked up his Sony DSC F828, an 8-megapixel digital camera, and completed the job. He says he never photographed another event with film from that day forward.

PPNC and PPA have played key roles in providing George with the opportunity to learn and grow both as a photographer and a business owner through ongoing professional education and networking. George has attended East Coast School for the past seven years and was convention chair last year. He is currently the director of Central Guild and has hosted three Shoot Socials. George says, “I love my PPNC family and I would not be where I am today without this amazing group of professionals.”

While George enjoys re-touching his images primarily in Photoshop and Camera Raw as well as with the now more user friendly Lightroom 5, he does not do his own printing. He relies on Miller’s Professional Imaging to be “an extension of my business” and provide the quality of printing his clients expect and deserve.

The tools of his trade are important to George and because of his technical background he freely admits he loves having the latest and greatest equipment. Currently, he uses the Nikon D800 and D750 for capture and enjoys using Phottix speed lights and the Indra 500 strobes. George adds that he could

When asked about other profes-

sional photographers whose work inhe recognizes that listening to clients is spires him, George enthusiastically extremely valuable in order to determine cites the Muwhat it is they want from their noz brothers of photographer. When you are sellMunoz Photoging dreams and heirlooms and not raphy in Fort shiny cars George feels you must Lauderdale, know when to “stop, listen and Florida, as “the close the sale”. one group of In defining his business philosophotographers phy of “pleasing people” above all, that changed George Joell states that he lives the way I look by the adage, “If you give your at wedding clients exactly what they want, you will photography”. The four present day get exactly what you want.” He knows his brothers are the latest generation of clients want a great product and he wants a family wedding photography busito earn a living. George also knows that ness founded in Colon, Cuba in 1909 it is imperative that he deliver on his part and re-established in Fort Lauderdale in 1972. Georges admires the artistic of that equation first. But what gives him precision of the Munoz brothers’ lighting the most satisfaction in his work? George says without hesitation that a referral and posing as well as their reputation for impeccable client service. He says from a happy wedding or portrait client to humbly, “I have learned so much from a friend is his best reward and greatest compliment. them and their inspiration has helped define me as a photographer and lets me know I still have a long way to go.” George’s long military career has significantly influenced the way he conducts his photography business. As a soldier, a paratrooper, and an army recruiter he learned much about information gathering, what people want and effective sales techniques. George considers his naturally extroverted personality and his go-the-extra mile work ethic to be his best assets. But

Contact George Joell: George Joell 3 Photography 7716 Raeford Road Fayetteville, North Carolina 28304 910-797-1529

Why You Should Never, EVER Photograph Subjects on Railroad Tracks By Jacqueline Tobin // January 15, 2015 // Posted in Featured Articles, Industry News, Photography, Portrait

of Rangefinder. The article, titled “Senior Shoots For All,” was about a scholarship contest. I have contacted the organization awarding the scholarship as well, but wanted to reach out to you, as you may not be aware that the photo shown depicts a very dangerous and illegal practice.

In January’s Focus section, we ran a short blurb about a senior portrait scholarship program, and along with it, an image shot by a photography studio of a senior posed on railroad tracks. We’ve recently received a number of responses explaining the gravity of a location we had unintentionally overlooked.

Posing subjects and models on railroad tracks is a practice that the Professional Photographers of America joined Operation Lifesaver in strongly discouraging. I have attached information highlighting the dangers. Every three hours in the United States, someone is hit by a train. The vast majority of the fatalities are trespassers. Unfortunately, posing on tracks and shooting from railroad rights-of-way is trespassing, and subjects may not even know it. Train crews and others who have been subjected to the horror of these preventable incidents are deeply offended by these images as

Aside from this being a lesson for us, we thought we’d share it with our readers as well. Julie A. La Combe, Executive Director of Kansas Operation Lifesaver, sent me a gravely serious and incredibly important email last night, which she gave me permission to share here. Dear Ms. Tobin: I am writing in regard to a complaint I received from a concerned photographer about an article in your January 2015 publication 18

they bring into cruelly sharp focus the memory of those events. Seeing a person of any age sitting, standing or lying on a track is the last thing the train crew sees before that person loses his or her life. I know photographers are not intending to cause that kind of grief or endanger anyone, but that’s exactly what happens. People who see the images want to mimic the shots that glamorize trespassing, not knowing how dangerous it is. Photographers and their clients are subject to legal action when found on railroad property (which is private property), including citation and even arrest. Please join us in helping to educate your readers about the reality surrounding this illegal practice, and help us to save lives. —Julie A. LaCombe, Kansas Operation Lifesaver Of course, I immediately wrote an email back to Julie expressing my thanks and explaining that although I’ve been reporting/editing about the photography industry for almost 30 years, I’m upset and embarrassed that I let this image slipped through the cracks. “I can try and cite the usual ‘shortstaffed, holiday crunch’ type of excuses that I might potentially try to make in similar but far, far 19

less serious situations, but there truly are no excuses and I deeply thank you (as well as the photographers who are starting to write in) for calling us out on this matter,” I wrote to Julie. We are printing some of the letters we’ve been receiving in the Rf Conversations page of our February issue (due out in a few weeks), with a response from me on how we plan to bring attention to this important topic — including running an article on the importance of photo subject safety as well as the dangers of railroad shoots and the depiction thereof, whether on a live track or not. We want to make clear that Rangefinder does not, in any way, condone the practice of photographing subjects on train tracks. It is dangerous and irresponsible and has proven to be fatal. Also, it is not our intention to call out the photographer who shot this personally, or make her feel worse by posting this. We simply want our readers and our staff to be more aware of why this type of shoot can’t happen again anywhere (or with anyone). And yes, we’d like to publicly admit that we screwed up big time and are deeply sorry for the blunder. Thank you. —Jacqueline Tobin, Editor-in-Chief, Rangefinder magazine

MAKE YOUR PLEDGE NOW TO NOT USE RAIL TRACKS OR TRESTLES OR OTHER RAILROAD PROPERTY FOR PHOTO SHOOTS. OR YOU MAY END UP LISTED BELOW Trespassing Photographers

warmer weather arrives, Operation Lifesaver (www.oli. org), the rail safety education nonprofit organization, is urging professional photographers to refrain from taking photos of high school seniors, wedding parties, and other subjects on train tracks or trestles. “We know that photographers seek creative portrait settings; however, using train tracks as a backdrop for photos is not only dangerous, it is illegal trespassing,” said Operation Lifesaver, Inc. President and CEO Joyce Rose. A teacher who taught art and photography was struck and killed by a train while taking photos on the tracks late in 2012. In response to tragic and preventable incidents like this,Operation Lifesaver has worked with Professional Photographers of America on rail safety education outreach to the professional photographer community.

Operation Lifesaver has six “must-know” tips for professional photographers considering a photo shoot near railroad tracks: 1. Trains can’t stop quickly to avoid people or vehicles on the tracks. 2. An optical illusion makes it hard to determine a train’s distance from you, and its speed. 3. The average train overhangs the track by at least three feet. 4. Railroad tracks, trestles, yards and rights-of-way are private property. 5. No tracks should be assumed to be abandoned or inactive. 6. People in your community mimic your behavior. North Carolina Operation Lifesaver wants to recognize, on its website, professional photographers who make a pledge never to take photos on train tracks or trestles, so if you are as committed to safety education as we are, please click here to visit the website to complete the form.

Continued from page 7

fore raise your abilities as well. Yes inviting your competition to PPNC can improve your business. It raises the bar. It raises your bar. It raises the expectation of your clients. All of this helps you grow and so grows your business. You may even find out that your competition will become more a peer where you can assist each other achieve success in your market. I joined PPNC on the advice of a friend whilst standing in line at a wake of all places. This advice led to my meeting our current Chairman of the Board Bruce Williamson at a seminar in Wrightsville Beach. I asked for Bruce’s help. He asked me over to help him with an Easter Promotion. Thinking that he would show me how to use a camera and pose kids with bunnies while I stood taking notes. Instead, I picked up rabbit droppings in his studio for 2 days. But just by being there, he showed me how to treat clients and that being a business owner was more than a business card. Sometimes you have to pick up a bit of poo along the way. Bruce talked to me about

the importance of PPNC and the education opportunities that were in front of me. A member of PPNC in my market, my “competition”, took time to educate me on how to run an Easter Promotion, put me in a position to learn how to price my work. He guided me to meet other members of PPNC at various events where I learned a ton just by listening. Why did Bruce take time to teach a beginner how to run a successful photography business? He knew that by this education I would continue to educate the market. He also knew that he created a friend that would bend over backwards to help him, including standing in for him at wedding while he went shopping for a buy one get one sale at Belks. The other nice thing was the recognition that there are only so many open slots in a schedule and if we had a need that we couldn’t fill, we had someone that we could refer them to that we could trust. You Plus 1. Invite someone to join. Introduce them to your friends. You’ll find out that it really can benefit both of you!

How to Score Your Best in Image Competition by Jane Conner-ziser

don’t know your cute children and they can seem quite harsh in critiquing images that are emotionally important to you. They don’t care how hard it was for you to get the shot, what limitations you were working with in equipment and lighting, or what was there that prevented you from composing it perfectly. Many successful competitors form small groups of peers to share ideas and images with on a regular basis, and though the final selections are your decision to make, it’s easier when you have the input of others to consider along with what you think and feel yourself. If you know that you have a Fatal Flaw in your image, don’t enter it hoping that the judges won’t notice. They will. If you have to reshoot, do it.

Degrees of Photographic Excellence require that your work is recognized and rewarded by your professional peers for both artistic and technical excellence. It seems easy for some people to earn Golds or Merits, but for most of us, it’s a lot of hard work that often doesn’t pay off the way we hoped it would. Sometimes our images almost make it, but pushing them that last couple of points seems almost impossible to achieve. I’d like to share some hints that I’ve learned during my many years of working with Exhibition Imaging. 1. Shoot to win. Some image-makers select their competition images from client sessions (great for them!) but most plan and shoot for competition because the end goals are different. Clients care about nice expressions, wall appeal and clothing, props and environments that are personally meaningful. Judges care about Emotional Impact, Composition, Lighting, Body Posture, Color Harmony, Clothing and Prop Choices, Image Quality, Expression, Artistic and Technical Mastery, Quality of Retouching, and Image Presentation. One of my wise friends once said, “I can’t serve two Masters simultaneously. I can serve my client, or I can serve myself, but in trying to serve both, I give neither my best.” It is true for me as well; when I photograph clients, I’m trying to give them what they want and need. When I photograph for myself I want what I want. 2. Select the right images with a critical and impartial eye and if you can’t do it; get other people to help you. Judges

It is important to know the judging criteria for the competition in order for you to select images that will powerfully perform in each point of criteria. Here are some links to two of the top world image competition’s judging criteria for you to consider when selecting images that will do a good job for you: http://www.ppa.com/competitions/content. cfm?ItemNumber=1792 http://www.swpp.co.uk/photographic-competitions/what-the-judges-are-looking-for.htm If you have the opportunity to look at previous winning images, do it – check out the competition and get a feel for what the judges like. A great image is a great image regardless of where it’s viewed but the sociological preferences, or preferred “flavors” of images are

different in different associations and different parts of the world. It is common for high scoring images from one association’s judging not to do well in the other.

presentation should enhance the composition, color harmony and style of the image. If the image is soft, the presentation should also be soft. If the image is sharp, the presentation should match the mood. In addition, the presentation should stay in the background with no element that grabs attention away from what you want the judges to focus on. If the judging is digital, and most of them are these days, try to find out what the screen background color will be. It’s usually black or gray but it’s important to know because if you will be using a black underlay and the screen is also black, your underlay will disappear and you won’t have the benefit you achieved with your image placement. (You can add a minimal inner glow to the underlay, white for black screens, black or white for gray screens, so the judges will know where your image actually ends in these cases.) Ask questions so you won’t be unpleasantly surprised.

3. Once your images are selected, pre imagine your final images before you start preparing them, from Crop to Presentation. This doesn’t mean you can’t let the creation flow, but it’s easier to have a general idea of how the underlay and presentation might boost the crop and balance of the image rather than trying to make something fit an already finished piece. Don’t forget that you can stretch images, add background space and position the underlay off to one side or the other in order to compensate for less than perfect camera crop. 4. If you’re not a retouching expert, hire someone who is. Poor cloning, blurry skin, overly sharpened eyes, poor edges and composites made from multiple images of varying resolutions significantly count against you. On the flip side, beautiful retouching and image enhancements can buy you a lot of points. It is said that you can’t make a silk purse out of a sow’s ear, but with the capability of today’s imaging software, I beg to differ. Retouching isn’t just for touch ups and smoothing skin anymore; it’s a powerful medium for taking images way beyond what a camera can capture, even if no actual retouching is required. If your imaging and retouching skills are not at expert level, you might want to enlist some help because your work is going up against that of some of the best artists in the world.

6. Titles can give you points, take points away or just lie there and do nothing for you. Titles should be short and to the point. Try to come up with titles that enhance the feeling of your image rather than going against it or bringing in something that doesn’t belong. For instance, if there is a lot of wind, choose a title that feels windy. If there is no wind, don’t include the word wind in the title or the judges will start looking for wind. One recent image that comes to mind is a title “Just the Two of Us” for an image in which there were a total of six people – I know there were six people because I was one of the judges that was compelled to stop and count them because the title said there were only two. We were confused and I’m

5. Sweat the presentation. The

sure the print didn’t get extra points for the title. Titles can also explain things that a judge might not like, for example, if a Portrait of a Group entry contains people that are not relating to each other, consider a title that explains why. Don’t be afraid to change people’s names in order to make the image more appealing. Funny titles can buy you points but don’t guarantee a Gold on images that otherwise don’t deserve it … in a pinch, it’s worth a try. And finally, rather than use your title to present a personal or political opinion, choose a title that pertains to the subject and let the viewer form their own opinion based upon it.

When an image comes up, a judge will take a few seconds to “feel” the emotional impact of the image, then start looking for the technical strengths and weaknesses. If categories of excellence are provided, such as: PPA Judging Categories USA = Exceptional (100-95), Superior (94-90), Excellent (89-85), Deserving of Merit (84-80), Above Average (79-76), Average (75-74), Fair (73-70), Unacceptable (69-0) SWPP Judging Categories UK = Gold (highest standard), Silver (above standard), Bronze (acceptable), Unacceptable (below standard)

7. Prior to uploading your entries, sleep on them for a couple of days and then re examine them to make sure you haven’t missed anything. You want to feel confident that you’ve achieved the very best image execution at every level. Go back and read the judging criteria for the competition and evaluate how you believe your image holds up. The judges will form an opinion within about 3 seconds, so everything you do must point in the same emotional direction in order to garner maximum impact. 8. Make sure you read the submission information and do exactly what is needed. Not every competition requires the same file size and resolution and most of them require specific naming criteria. Type it once and check it twice to ensure your entries won’t be disqualified because you didn’t upload them correctly. Then breathe, and let go. You’ve done your best. Here’s how the competition generally unfolds from the judges’ point of view:

… the judge will likely place the image in the category he/she feels is appropriate for the image based upon his/her opinion and knowledge. If a numerical score is available, the judge’s score will position the image high or low within the category. For instance, in the USA, if a judge feels that an image is Excellent, the score will be between 85-89 points. If the judge feels that it barely makes Excellent, the score will likely be 85. If the judge feels it’s a solid Excellent, the score will be 82-84, and if the judge feels it is almost Superior (the next category up) the score will be 89. In the UK, the judges don’t assign numerical scores; they place the image in the overall category they feel accurately represents the image’s impact and technical excellence. In the USA, image competitions are held periodically at local, state and regional levels are live events for which 3-5 judges are provided. The images receive numerical scores and judges are allowed to challenge scores that they feel are too high or two low. Images that are challenged have the opportunity to go up or down in score depending on how the dis-

cussion goes regarding it. Images that receive merits at the regional level may be entered in the national competition with the merit intact. National judging is not a formal live event with a group. Individual judges assign categories of Loan Collection, Merit or “not”, plus provide critiques of the images if the makers pre request it. This means that competitors for PPA competitions have the opportunity to enter images they are considering at the local level, rework or replace them according to how they do and what the judges’ inputs are, enter them again at state, rework or replace again, enter them at regional, where the hope is that they will all merit before going on to national … where the hope is that they will Loan. Serious competitors take full advantage of these options, so their images that make it to national judging have been polished and refined for up to a year! The UK hosts 11 monthly competitions that are judged via Internet by individual international judges. Images that receive Gold standards are printed in their magazine, Professional Imagemaker that is published 6 times per year. Images that receive Silver are reviewed every 3 months with the potential of being upgraded to Gold. Every December all Gold images are judged by a live panel of judges, with discussion between judges acceptable in order to select and agree upon the top awards in all categories. These trophies and awards are presented during their annual convention each January. When it’s all said and done, your images receive the scores that the judges feel they deserve. Most of the time it’s pretty accurate but there are times that an image may score too low – or too high - because image competitions partly rely upon the feelings of individual human beings. In that way competitions are somewhat subjective.

9 Important Strategies for Raising Children in a World of Technology WRITTEN BY JOSHUA BECKER

“We refuse to turn off our computers, turn off our phone, log off Facebook, and just sit in silence, because in those moments we might actually have to face up to who we really are.” —Jefferson Bethke

middle place extremely uncomfortable, because I know what childhood and adolescence were like before the Internet, but all my parenting models came from that era…

Last September, Allison Slater Tate wrote an important article in the Washington Post: Parenting as a Gen Xer: We’re the first generation of parents in the age of iEverything. Allison articulates and draws attention to a unique struggle facing our generation of parents. Namely, how to raise children in an age of technology.

Technology wins the prize for being the trickiest parenting challenge I have faced. Parents today know the decisions we make for our kids concerning technology are important—but entirely without context. (tweet that) Our conversations on the sidelines at soccer games about these issues are never based on proven experience (When I was a kid, my mom used to…). Instead, it is based on guesswork and the little wisdom we have gained (Well, this is what we have decided to do. What about you guys?). Allison summarizes it well, “ What we are doing is unprecedented—no study yet knows exactly what this iChildhood will look like when our children are full grown people.”

She sums up our current challenge like this: My generation, it seems, had the last of the truly low-tech childhoods, and now we are among the first of the truly high-tech parents… When it comes to parenting, I find this

There are no proven answers to the questions we are asking. That’s what makes this so difficult. Well, that, and the fact that even the questions are changing at an alarming rate. But this is a conversation we should be having. Not because we will all choose to parent the same, but because there is wisdom in numbers. And the more intentionality we apply to our parenting the better. I would like to start. My children are 12 and 8. Here are 9 important strategies we have sought to implement raising children in an age of technology: 1. Technology is not discouraged in our home. Technology, it appears, is going to be around for quite awhile. Our kids will need the skills in the future—they already do in the present. Parenting is not about shielding our children from the tools of the world, but equipping them to use those tools properly. We should be active and intentional in teaching them how to use technology effectively and to its fullest potential. In practical terms, this means both of my children received iPods on their 7th birthday. And they will receive phones

on their 13th. 2. Moderation is encouraged and modeled. While we know very little about the future of technology and how it might look, we do have ample study on the effects of screen time: Studies have shown that excessive media use can lead to attention problems, school difficulties, sleep and eating disorders, and obesity. Most recently, The American Academy of Pediatrics recommends television and other entertainment media should be avoided entirely for infants and children under age 2. For older kids, “To help them make wise media choices, parents should monitor their media diet for both duration and content.” We have adopted a similar philosophy to the one mentioned by Allison, “We make the children sit in public places when they are on devices or laptops, we look over shoulders, we check text message histories and set parental controls. We worry about their cyber footprints.” 3. Age restrictions on technology are an appropriate guideline. The minimum age for Facebook / Instagram is 13 years old. We are not allowing our kids to have accounts on those networks (or others) before the minimum age limit is reached. While some kids under the age of 13 may be mature enough to use the networks

wisely, there is a bigger issue at play—honesty. When we allow our children to misrepresent their age/identity solely for the purpose of gaining access, we set a dangerous precedent. 4. Technology is changing the way we relate to one another, but faceto-face conversation is still important in the present (and will likely be important in the future). Technology is permanently changing the way we communicate—whether it is for the better or not remains to be seen. Older generations will argue technology is destroying conversation, younger generations will argue technology is enhancing it. Only time will tell. But either way, our children will forever live in a world where their immediate elders (parents) respect and expect verbal conversation. Future generations may value it less. But in the meantime, for our children to be successful in communicating with older generations, they must be able to communicate both online and in-person. We should create safe opportunities where they can learn. 5. Technology increases opportunity for distraction. From leaving present conversations, procrastinating important work, or losing the ability to self-reflect, technology represents an ever-present temptation to leave difficult places. Those

who will succeed in the future will be the ones who learn to overcome this temptation. 6. Technology can be used for consumption or creation. Choose creation whenever possible. This is, perhaps, one of the most important distinctions concerning technology that we can teach our children. We can play video games… or we can create them. We can browse Facebook… or we can create places and communities that serve a purpose. There is a place in our world for technological consumption—but as an approach to life, creation trumps consumption every day. Help your children know the difference. 7. Your self-worth can not be calculated by likes and shares and retweets. The praise of others is a fickle thing upon which to measure our worth. It is a foolish, ever-changing target. It often negatively impacts the decisions we make and the life we choose to live, but it never fully satisfies our hearts or our souls. It is important for our kids to understand their self-worth must be found elsewhere. And it is equally important for us as adults to learn the same. 8. You can’t believe everything you see on the Internet. The Internet could use more fact checkers—though I am not overly concerned about this.

My elementary-aged kids already debate whether Wikipedia is a reliable source for school projects. Far more damaging, in my opinion, are the profiles we create representing ourselves online. We post our most glorious moments online, but hide the most painful. We build a facade of happiness, success, and an image of having it all together. But inside, we are as lost and broken as the next person. Our online selves need more authenticity. And our children need to know the danger of comparing themselves to the rose-

colored profiles created on social media. 9. Technology serves a purpose. It should solve problems. Purchasing technology purely for the sake of owning technology is a fool’s gold—and has run countless others into great debt. When it comes to buying (or using) technology, I want my children to be routinely asking the question, “What problem does it solve?” Because technology should make our lives easier and more efficient. And if a new technology is not solving an existing problem, it is only adding to them.

Print Your Photos or Risk Losing Them to the Digital Dark Age, Internet Pioneer Warned by Michael Zhang

Want to make sure a photograph survives your lifetime? Print it out. That’s the warning Internet pioneer Vint Cerf gave at a talk recently, saying that vast amounts of digital information may soon be lost in a new digital “dark age.”

Sometimes the standards we use to produce those objects fade away and are replaced by other alternatives and then software that is supposed to render images can’t render older formats, so the images are no longer visible.

In historiography, the “dark ages” refer to a period of time in Europe in which relatively few historical records survived, causing that section of history to be hidden from the view of modern historians. At a recent American Association for the Advancement of Science conference in San Jose, Cerf — one of the “fathers of the Internet” — warned that a second dark age may be looming in the horizon due to the fact that so much of our data these days is kept in digital formats. “If we don’t find a solution our 21st Century will be an information black hole,” Cerf warned the audience. “We think about digitizing things because we think we will preserve them, but what we don’t understand is that unless we take other steps, those digital versions may not be any better, and may even be worse, than the artifacts that we digitized.” He warned specifically about the loss of precious personal photos that may not be readable in the future:

This is starting to happen to people who are saving a lot of their digital photographs because they are just files of bits. The file system doesn’t know how to interpret them, you need software to do that. Now you’ve lost the photograph in effect. If there are pictures that you really really care about then creating a physical instance is probably a good idea. Print them out, literally. Backing up photos on multiple drives and discs may be a good option for the short term, but these digital storage methods all suffer from the same flaw in the long run: the gradual decay of data over many years — something known as data rot. A longer term option may be to store your data in the cloud with giant Internet corporations (e.g. Google, Amazon, Microsoft), but this can be a pricey option, and there’s no absolute guarantee these companies will still be around in the coming decades. As Cerf says, one of the best options you may have right now for ensuring the long term survival of important photos is to print them out physically (with materials designed for longevity) and to keep the prints in a safe place.

We have various formats for digital photographs and movies and those formats need software to correctly render those objects. 30

CPP Exam Preparation Tips By: Dave Goldman Cr. Photog., CPP

Preparing for the CPP exam can be a daunting and exhausting process to many people, so I want to share some quick tips, six to be exact, that I teach my candidates on my weekly CPP Skype classes. These can help aid you with the exam.

When taking the CPP exam you are only allowed (2) No. 2 pencils, an eraser and a simple calculator (if needed). Two key things that you are not allowed in the examination area are scratch paper and electronic devices of any sort. A lot of candidates will ask me “When I am taking an exam how do I take notes?” This is a great question! I am here to tell you that you will have available to you the examination envelope and test as your items of choice. You are free and able to write on any available space on both of those items. Now, here comes the fun part! Right before or after the test starts you will have a few minutes to do a full brain dump on to the available scratch space. This will greatly aid in answering questions throughout the examination.

TIP 1. Find enough room for three (3) columns so you can write down your Aperture, Shutter speeds and ISO’s. Apertures should read left to right: 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, 45, 64, 90, 128. NOTE: Notice that these are full f-stops. Underneath f16 write 1/250 and then from left to right fill out the rest of the shutter settings as such: 1 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1k 2k 4k 8k. Underneath 1/250 write 200 for your ISO’s. To the right of that write 100 and then fill out the rest of the ISO’s so they look like this: 6400, 3200, 1600, 800, 400, 200, 100. These above will help you with your equivalent or reciprocal exposures so you don’t do them in your head. Tip 2. In the top left corner above 1 write 2X and a small arrow pointing up and at the left side near f128

write 1/2X and an arrow pointing down NOTE: When you go ‘Open up a stop from (f8 to f5.6) you’re doubling the amount of light reaching the film plane/chip. When you ‘Step down a stop from (f8 to f11) you’re allowing only half the amount of light to reach the sensor.

lows) / FL (lens focal length in inches = f( your initial aperture) / X (what your final aperture will be. Tip 6. This is for ISL (Inverse Square Law). In some available space write SUBJECT. About six inches below that write FLASH f8. Draw a line from the “S” of subject to the “F” of flash and label that line 10 feet. Draw another line from “T” about half way down and label that line five feet. At the bottom of that shorter line write FLASH f16. This is a down and dirty graphic representation of the Inverse Square Law: Simply when you double the distance of the light from the subject, you lose two stops of light. When you move the light double the distance closer to your subject you increase the light by two stops of light.

Tip 3. Color wheel is next. Draw a 6-point star (two triangles one upside down over the other). Starting at the top point write an “R”. From here going clockwise write Y, G, C, B, M at the respecting following points of the triangles. One acronym that always stuck with me to help me remember the color wheel is: “Real Young Girls Can’t Bake Muffins” which is the following colors: Red Yellow Green Cyan Blue Magenta. Tip 4. Next to your color wheel write down Primary Colors (R, G, B), then Secondary Colors (C, Y, M, K), then Complimentary colors (Red - Cyan, Yellow - Blue, Green - Magenta). Trust me when I tell you that when you are under stress a simple question like this can eat up a good amount of time. The simple ones always can get ya!

The rest of the available space can be for whatever else you want or need to add to these 6 tips. I hope that you all find these tips helpful and good luck on taking the CPP exam.

Tip 5. This is the Bellow Extension Factor. You will want to write B(bel33

Tidying Up Isn’t Just Great For Life, It’s Great For Photography by HANNA BROOKS OLSEN

This year, the book everyone’s raving is about getting rid of things. Marie Kondo’s bestseller, The Life-Changing Magic of Tidying Up, has become a go-to guide for modern folks who are hankering for a more simple, minimalist style. And while that’s great for peace of mind in your life and your home, clearing out old things you don’t really like can also be extremely powerful in your photography business. Minialism in photography is having a real moment right now, but tidying up isn’t just about what’s in your images – newborn photographer Kelly Brown says it’s also what’s in your studio. Because when you outgrow props, costumes, or even lenses or other gear, the inclination might be to keep it around. But why? “I got an email once from a photographer I’d mentored, and she was like ‘you know, I’m having a really hard time editing this image.’ And I looked at the image and I said ‘well, what’s the problem with it?’ and she said ‘it’s the blanket…I just don’t even like it.’ And I said ‘then why is it in your studio?’” Kelly explains.

We all have the tendency to hold on to items, either because they’re sentimental or because we think they just might come in handy some day. But if you’ve got clients who are choosing what they want – and this could even be as basic as a location for a shoot that you no longer like to visit, or a pose that you think is hopelessly outdated – you want to make sure they’re choosing only from things that match with your current style, not your style from previous years.

“Remove everything that doesn’t fit with what you love,” says Kelly.

Take the time to clear things out of your photography business, whether it’s photos in your portfolio that no longer represent you and your style, or props or costumes that you simply don’t like as much as you once did. You can also tidy up your branding. Do you have multiple logos, several Facebook pages, or a lot of mismatched marketing materials? Clean them up and opt for a more streamlined approach. By tidying up both your physical space (and making some room in the studio!) and your online presence, you’ll be sure that no matter what yours clients choose, you’ll be happy with it. This may also include vendors you work with. If a particular vendor has traditionally been a bear to work with, or simply doesn’t operate in your favorite way anymore, remove them from your list. It may seem cruel, but think of it like this: Everything and everyone is right for someone, but that doesn’t mean they need to be right for you. Anything that doesn’t fit perfectly for you might be a great fit for someone else. When all else fails, remember the immortal words of Coco Chanel: “Before you leave the house, look in the mirror and take one thing off.”

PPA’s Newest Addition: PhotoVision By: Lauren Walters

If you missed Imaging USA, you might not have heard the news: PhotoVision is now a PPA membership benefit! What does this mean? It means that PPA photographers now have full access to PhotoVision’s monthly streaming at no additional cost. It now comes included with your PPA membership! PhotoVision is the popular bi-monthly DVD and streaming photography learning program founded by Ed Pierce, M.Photog.Cr. For 17 years, PhotoVision has offered photographers professional education and solutions through cinematic-quality HD videos from some of the biggest names in photography. “Bringing PhotoVision under the PPA umbrella takes our educational offerings to another level and furthers PPA’s mission to raise the bar in our ever-growing industry,” said David Trust, CEO. What exactly does PhotoVision do for you as a photographer? PhotoVision videos feature tips, processes and techniques from real, working, successful professional photographers. The videos expand and strengthen the professional photography

industry as a whole, aligning well with PPA’s mission to do the same. Ed Pierce will continue to produce PhotoVision’s videos. “Nobody does this better than Ed,” said David Trust, CEO. “He is the gold standard and it is a lot of fun work so closely with him on this.” While PhotoVision continues to operate as its separate entity, PPA photographers now can tap into PhotoVision’s entire library of 800+ videos through PhotoVision’s 24/7 monthly streaming. “PPA members are always seeking to grow as artists and business professionals,” said Angela Kurkian, director of education. “I’m so excited we’re able to offer this under the PPA umbrella of benefits. PhotoVision offers such a wealth of information, it’s easy to access and this is the type quality learning our members look for.” Photographers who belong to PPA also receive 50% off all PhotoVision DVDs. Non PPA photographers can still subscribe to or renew with PhotoVision at their current rates. For more information, visit PPA.com/PhotoVision.

Memorials Ronnie Barr, father of PPNC member Amy Ward

Welcome New Members Monica Henderson Monkey See Photography, LLC 1303 Indian Camp Road Clayton, NC 27520 919-410-7688 Thomas Henn THPhotographic Studio 310 Hoover Rd Hampstead, NC 28433 910-319-0010 Tammy Henn-Campbell THPhotographic Studio 379 Cross Creek Drive Hampstead, NC 28433 Dexter Howard 5529 Alafia Ct Raleigh, NC 27616 9190303-3704 James Jillson 114 Whitehaven Lane Cary, NC 27619 919-303-3704 Melinda Lamm Photo Artistry by Melinda 1415 Jonestown Rd Winston-Salem, NC 27103 336-407-3655 Earl Moniz 7340 Reedy Creek Drive Fayetteville, NC 28314 910-988-4837

June 14-17 2015 Holiday Inn Downtown Raleigh NC 5 Great Courses To Choose From

Richard Sturdevant

Extreme Photography and Photoshop Tuition $595.00 Take your images to the next level with advanced photographic artist composites. This class is for advanced photographers with a strong understanding of photoshop and are looking for new ways to set themselves apart.

Cris & Deanna Duncan Lighting For Sales Tuition $595.00

Join Cris and Deanna Duncan for a hands-on experience LEARN LIGHTING--Lighting anywhere, in any situation with any light LEARN LIGHTING PRINCIPLES--Why does it do that? How can it work for me? LEARN TO MAKE A LIVING--Light, compose and design with the end in mind to ensure profitable sessions.

Register Online at www.EastCoastSchool.com Loretta Byrd 919-796-4747 Rex Truell - ECS Director 336-476-4938 705 Randolph Street Thomasville, NC 27360

Janet Boschker

Do What You Love – Children and Families Tuition $595.00 Nurture creativity - Find your style – Explore possibilities…. are all themes of this class. Lighting. Composition. Presentation. Set yourself apart as a professional in the studio and on location. Creativity. Style. Technique. Refine your craft, elevate your images, and rewards will follow.

Linda Weaver

Do What You Love – Children and Families Tuition $595.00 Linda Weaver’s oil painting class is designed to teach students color mixing, brush selection, applying the paint to canvas, finishing and marketing. There will be painting demonstrations through the class and handout materials will be available with step by step instructions. This class is perfect for the photographer/artist who wants to expand their business with hand painted portraits. Beginners as well as advanced students are welcome.

Al Audleman

Preparing For The Certification Exam Tuition $595.00 plus study guide fee The class is a concentrated study of serious photographic knowledge requirements and ends with the Certification Exam. Topics covered include f-stops, shutter speeds and exposure, plus lighting ratios, portrait lighting patterns, portrait styles, technical lighting, lens selection, perspective, the inverse square law, guide numbers, etc. This class will conclude with a short review on the last day, immediately followed by the Certification Exam, giving you the benefit of having gone over the material immediately prior to the test. In order to take the exam, you must declare your candidacy through PPA’s website and pay the required fee prior to the test.

The Value of Membership • Annual Carolina Photo Expo with Nationally Known Speakers Sharing the Current Trends in Photography with one of the largest State Trade Shows in the Southeast. (PPNC members attend for free) • Three seminars per year packed with education • East Coast School Photographic Workshops is a week-long event held each year with classes taught by top instructors from around the country, with classes from beginner to advanced. • Scholarships to East Coast School • Photographic print competitions – an excellent way to gain invaluable knowledge • On Line Membership Directory that is accessible to thousands of potential clients • A digital monthly magazine packed with ideas from posing and lighting to business and marketing • Private Print Critiques – Advice from a Master Photographer on how to improve your photographic images • Quarterly Shoot Socials – Networking and learning with other PPNC members in your trade area • Referrals – PPNC makes many referrals over the year. Once you become a PPNC member, our staff can refer your studio to potential clients. • Degree Program – The steps it takes to earn the PPNC Associate Fellowship and Fellowship degrees are symbols of quality and will strengthen your skills. Earning a PPNC degree is a way of telling potential clients to call you and not a competitor. • Networking – PPNC members develop friendships and relationships that last a lifetime. A fellow PPNC member is always available to help in times of crisis. • As a member of PPNC, you automatically become a member of the regional Southeast Professional Photographers Association, providing you with even more access to information and technology.SEPPA produces a monthly magazine full of information plus a biennial convention and trade show free to all PPNC members. • Insurance - Insurance for home based and store front studios (errors and omission and property)