PPOC MAGAZINE
WINTER 2020
IN THIS EDITION: Cassandra Jones - Working With Children to Capture The Magic Moments Clare Louise - It’s Who You Are Being That Matters Melanie East - Safety and Creativity in Newborn Photography Story Wilkins - The Power of a Great Wedding Album Trevor Owen - Delivering Your Website Content Securely Victoria West - There’s No Crying in Pricing
WINTER 2020 | GALLERIE MAGAZINE | 2
Whatever it takes. We know what it means to set the benchmark high and never stop pushing your limits. That’s why professional photographers have been beating a path to Vistek for decades, and today’s budding videographers are following suit.
models and lenses but also gimbals, sliders and everything you need to light a shot or set, as well as reflectors of all sizes, boom arms, shoulder mounts and monitors, mixers, switchers, wireless mics and more.
We scour the planet in search of world-class gear you’ll find nowhere else. And we’re not just talking cameras, lenses and accessories. We carry equipment for each step of your workflow, including colour-correction tools, pro photo printers and more.
Need advice? Our knowledgeable staff share your vision and speak your language. If you’re thinking about adding video to your repertoire but not sure where to turn, they can point you in the right direction. You’ve already proved you’ve got what it takes. We’ve got what it takes to get you to the next level.
Hesitant about investing upfront? We’ve thought of that too: at Vistek, you can rent equipment and test it out before deciding to make the purchase – not just the latest photo and video camera
PH O T O | V ID E O | DI GI TAL | SALES | RENTALS | S E RV ICE TO R O N T O • MIS S IS S AUGA • OTTAWA • CALGARY • E DM ONT ON
V I STEK . C A
TA B L E O F CO NT E NT S 4 6
Message from the Chair Working With Children to Capture The Magic Moments
By Cassandra Jones
4
10
It’s Who You Are Being That Matters
14
Safety and Creativity in Newborn Photography
18
PO 2020 PPOC Convention Schedule P O S T
20
The Power of a Great Wedding Album
24
Delivering Your Website Content Securely
26
There’s No Crying in Pricing
29
My PPOC
30
About the Cover
By Clare Louise
By Melanie East
6
10
NED
By Storey Wilkins
14
20
By Trevor Owen
24
By Sébastien Lavallée, MPA
By Marc Durocher
30
WINTER 2020 | GALLERIE MAGAZINE | 3
By Victoria West, CPA
MESSAGE
from the Chair “PICTURING THE FUTURE” I had originally written this message March 1st 2020. It was full of excitement for the upcoming Canadian Imaging which was to be held in Saskatoon April 23-25th. COVID-19 jumped across borders and began to cause alarm here in Canada with the onslaught of cancelations and orders to stay home to help flatten the curve. The Board announced March 16th that the conference will be postponed.
Louise Vessey, MPA, SPA PPOC National Chair
PPOC is family, a community; PPOC is much more than simply dues, education, good insurance prices. PPOC is its members, its people. We are all affected by this unprecedented situation and as I type this (March 20th) things are changing rapidly by the hour. One thing I do know is that we need to stick together. To help one another through this crisis. With many photographers and their businesses struggling even more than usual, now is not the time to leave the community. Right now we are all in the same boat riding rough waves that are only going to get rougher. Eventually they will calm down and then we can reflect on the damage and perhaps the good things that have come out of this crisis. Together. Now is not the time to jump ship.
WINTER 2020 | GALLERIE MAGAZINE | 4
Your PPOC Board wants to find ways to help you and yes, keep you as members. We can do this together. Although the current days are worrisome, I have no doubt that the future will be bright. I must also add that I have never felt more patriotic and happy to be a Canadian. Few countries have been left out of the wrath of COVID-19. I can’t think of any country I would rather be in at this moment than Canada. I can’t imagine not having my PPOC community by my side. I’m so glad to ride the waves with you all.
Louise Vessey, MPA, SPA PPOC Chairwoman
GALLERIE IS THE PREMIER MAGAZINE FOR PROFESSIONAL PHOTOGRAPHERS ACROSS CANADA. EACH ISSUE FEATURES AWARD-WINNING IMAGES, EDITORIAL INFORMATION, TECHNICAL AND FEATURE ARTICLES, ADVERTISING, AND MEMBER SERVICES. ALL PHOTOGRAPHERS ARE WELCOME TO VIEW THE DIGITAL VERSIONS ON OUR WEBSITE. GALLERIE is published three times annually; - February (online issue) - June/July (print and online) - October (online issue) SUBSCRIPTION All PPOC members receive the printed issue directly to their doorstep. Online issues are available to all photographers. To be added to our email mailing list please contact the PPOC office (info@ppoc.ca) indicating your province of residence. Additional printed copies of Gallerie are $6.95, plus postage. Please contact the PPOC Office. SUBMISSIONS Articles and member stories are welcome, please submit them to the editor for consideration. ADVERTISING One single advertising package will secure your ad space in all three issues for the year. Double Page Spread Full Page Outside Back Cover Full Page Inside Cover Advertising Supplement Full Page Half Page Quarter Page
$1575/year $1375/year $1125/year $1000/year $975/year $630/year $400/year
PPOC Trade members receive a 20% discount. To reserve your ad, contact the advertising manager. EDITOR Bruce Allen Hendricks, F/PPOC, MPA p: 204-227-9447 e: editor@ppoc.ca DESIGNER AND COMPUTER GRAPHICS Josée Talbot, CPA p: 418-881-3998 e: josee@talbotphotoart.ca ADVERTISING MANAGER Brad Kelly, MPA e: advertising@ppoc.ca
WINTER 2020 | GALLERIE MAGAZINE | 5
WORKING WITH CHILDREN TO CAPTURE THE MAGIC MOMENTS
WINTER 2020 | GALLERIE MAGAZINE | 6
By Cassandra Jones PEOPLE ALWAYS ASK ME HOW I DO IT. HOW DO I GET CHILDREN TO COOPERATE AND DO THE THINGS THEY DO IN MY SESSIONS? IT IS REALLY ALL ABOUT CONNECTING WITH AND UNDERSTANDING THE NEEDS OF MY LITTLEST SUBJECTS AND PREPARING FOR A SUCCESSFUL SESSION. IN THIS ARTICLE, I WILL SHARE SOME TIPS TO GET YOU ON YOUR WAY TO CREATING MAGICAL MOMENTS TO CAPTURE IN YOUR SESSIONS WITH BABIES AND CHILDREN.
1. Give them something to do. Giving children something to do while you photograph them will help keep them engaged, in position, and happy. Be sure to make it fun!
2. Play music. Ask mom and dad what the little ones’ favourite songs are, and play them during the session. You will get genuine smiles, laughter, and some great storytelling photos.
3. Let them be little. Babies and children are the easiest subjects in the world to photograph because everything they do is adorable. So, let them be. Chewing on a leaf, eating an apple, exploring their surroundings. It all makes for an adorable shot and real, palpable memories for mom and dad.
Set up a scene, position the children where you need them, and then sit back and see what unfolds. Often, children and babies give us exactly what we are looking for and more with little to no direction. You may be surprised by what beautiful portraits you can take allowing children to take the lead. Some of my favourite images are the most spontaneous and unplanned moments.
5. Make sure they are appropriately dressed. Little ones that are too hot or told cold are far less likely to cooperate than little ones that are comfortable. I always have extra sweaters and shawls on hand for my sessions and you will never see me photograph a young girl in a light dress outside in the middle of winter.
6. Instruct the parents not to feed the children a sugary, simple carb meal prior to the shoot. Little ones that have a tummy full of wholesome, healthy food are less likely to crash and burn during a session. I always ask parents not to feed their children sugar prior to our session and not to pack candies, sugary snacks, or soft drinks.
WINTER 2020 | GALLERIE MAGAZINE | 7
4. Act as an observer.
7. Bring an assistant. This is a big one! I bring an assistant to every shoot I do for a multitude of reasons. One, children are more likely to cooperate for a complete stranger than their own parents (it’s true). Two, my assistant knows exactly what I need to get the perfect shot and can reposition little ones in the perfect light, fix wardrobe, fix hair, and do anything else I ask her to very quickly because she does it every day and knows what I look for. Children have a very short attention span and young children and toddlers have a prime cooperation window of about 20 minutes or less. I need to be able to move through the shots very quickly. Three, I want mom and dad to be able to relax, not stress, and not interfere with what I am trying to accomplish by coaxing/bribing/threatening their children to listen. Mom and dad are more at ease (and therefore the children are also more at ease) when I have my assistant there to step in and help.
8. Give the children choices to involve them in the session. They will feel more important and invested if you allow them to make decisions. Try not to overwhelm them with tons of choices. Keep it simple. Allowing them to choose between three different props or toys that you could use in the session is a good start. When I want a child to hold a leaf or flower, I ask them which one they would like. Many of the actions I would like to incorporate in my photos to tell more story can be turned into a choice. Make conversation with your littlest clients and be sure to remember their answers.
9. Do not ask them to join your world, join theirs instead.
WINTER 2020 | GALLERIE MAGAZINE | 8
This is one of the most important things you can do when photographing children. Ask them what they enjoy doing and tailor the session specifically to them. My favorite example of this comes from working with a little boy with autism. When his mom mentioned that he loves numbers and counting, I set him up with his 6-month-old baby sister laying on the ground in front of him and asked him to tap her feet on his chest and count the taps. The result? Beautiful, real moments and a very happy big brother.
Cassandra is a world-renowned, multi-award-winning baby and child photographer based in Grande Prairie, Alberta. She is best known for her outdoor baby and child portraits and draws much of her outdoor inspiration from her childhood spent on a remote farm in northern Alberta. Her deep appreciation for the experiences that comprise our lives, coupled with her background in clinical psychology, has led Cassandra to develop a unique photographic style with deep roots in storytelling.
WINTER 2020 | GALLERIE MAGAZINE | 9
Cassandra Jones
IT’S WHO YOU ARE BEING THAT MATTERS WINTER 2020 | GALLERIE MAGAZINE | 10
By Clare Louise THE NEED TO SUCCEED AND CREATE OUR BEST WORK PREVENTS US FROM PLAYING WITH CREATIVITY, AND, AT ITS EXTREME, CAN STOP US FROM DOING ANYTHING WITH IT AT ALL, WOUNDING OUR CREATIVE SELF. AS WE OVERTHINK WE STAND IN OUR OWN WAY, PREVENTING OUR OWN FLIGHT. I’ve been overthinking for as long as I can remember, it’s an annoying trait of mine that I’ve had to learn to love about myself so I could recognise it, manage it, and grow through it. Most times these days I catch myself doing it early on, and then there are the times when I don’t. So I’ve also had to learn what I do when I don’t, by checking in with my feelings so I can recognise my own patterns. This discovery is something I’ve placed such high value on as a creative … because creativity does not live in the thinking state - it flows from who we are being. Overthinking, I have learned, is the killer of creativity. This need to succeed and create our best work is a shadow trait of the inner creator, which often sees us over-creating in a bid to find perfectionism. Take writing this article, for example, so far I’ve participated in the dance of creative avoidance - prioritising everything else (including the dishes, the laundry, an early lunch and endless cups of teas) I’ve also encountered my saboteur who, given the time and space, will take every opportunity to tell me I’m not good enough, and trust me, she didn’t let me down this morning.
As I sat and started this article from the perspective of not being good enough, I piled up some books ready to research, preparing myself to write the article I thought you would want to read, that shows my expertise by focussing on the logic and doing actions - that for some reason, I seem to think you are expecting. One thing I know for sure is that creativity, when it flows - isn’t difficult, and here I was finding this difficult, forcing it, overthinking it, feeling the pressure of perfectionism, frustrated and uninspired to create. So I connected to those feelings, put down the fear that is often disguised as control and let go of the critical and logical mind. Then I stopped listening to my unhealthy ego, who is striving for perfectionism and chose instead to connect to the other part of me, the whisper I’ve been ignoring all morning, who is asking me to show up as I am and create authentically from this space.
And breathe, this, this feels so much easier, it’s flowing, in fact, right now I feel like I could write forever. You see, we are more than who or what we think we are at any given moment. Overthinking is simply a set of limitations that we have put on our Self, a constraint that keeps us playing small keeps us safe and squeezes the life out of our creative flow. It makes us need to be a certain way and we begin trying too hard, striving, trying to meet expectations and people-pleasing, and ughhh this is sooo exhausting, uninspiring and utterly unnatural. So what was behind the need, the striving and the trying? Once I put down the fear and the perfectionism, I created space within myself to connect to what else I was feeling - like my truth, my inner inspiration and the seven words that I had intuitively written down this morning before I had even started to consciously think about putting together this article, were brought back to my attention. It’s who you are being that matters. That’s right. It’s who you are being that matters.
Creativity THRIVES in connection - and the deeper you connect to your Self - your truth, the deeper you connect to the world around you in a meaningful way that matters, and when we create from this space … we flow, and our voice can resonate on a deeper level and be heard by those who are ready to hear and feel it. But, but what if people don’t like it …? I hear you, it’s a battle I’ve had to fight too. There is a part of our brain that is constantly looking for something that tells us we are correct, that this is safe, it’s conditioned to seek out information that provides us with this safety and compares what it knows to what it is being presented with. It compares what we are ’doing’ to what it knows is already working, so we can find that centre point of certainty. When we start creating from this space our logical brain sets the tone and limitations of creativity, and, rather than flow with creativity from a place of who we are being, we get caught up in the doing actions - stifling our innate flow.
WINTER 2020 | GALLERIE MAGAZINE | 11
You see creativity really doesn’t care about perfectionism, it just wants to flow freely through you. It doesn’t matter to creativity if you’re not technically correct, it doesn’t matter if you are different to everyone else, it has no expectations … in fact, it LOVES your difference … your authenticity. When you start creating from your heart, from your truth, from who you are being, from what you are feeling, from your perfectly imperfect version of the world, this is when you begin to connect to your authentic creative voice.
We’ve been conditioned into focussing on the demands of logic, our unhealthy ego needs answers - it wants to make sense of everything before we’ve even started - it wants to know the outcome, the end result, it’s looking for a sure fast way to get to where we want to go in the safest and most certain way possible … it wants perfectionism, and that’s a way we can not possibly function when in a creative flow.
WINTER 2020 | GALLERIE MAGAZINE | 12
We are creative beings, our creative potential is found in our compassionate acceptance of who we are and where we are in a way that our logical mind can not comprehend. Compassion sees the beauty in everything, the perfection in the imperfection, the beauty in you, your vision, your voice, exactly as you are - for who you are, for no other reason than it knows. It knows that you are exactly as you are meant to be in any given moment and is asking you to create from this space. Out of the corner of my eye I see the time, I realise that I’ve only been writing for 20 minutes, I’ve not overthought, I’ve flowed from my truth, it feels right and I smile to myself as I think about the original article that after 90 minutes I was still trying to make work and get started on. So next time you get caught up in the doing state when creating, shift your perspective to who you are being at your most compassionate, creative and courageous self and ask your Self this … If I loved, believed and trusted in my Self 100% what would I create? P.S … if you are interested in some facts, the geek in me wants to share this with you: In 1968 a study of 1,600 five-year-old children was carried out by George Land, a systems scientist, who founded a research institute to study the enhancement of creative performance. The children were tested using the same process that NASA uses for its selection process of innovative engineers and scientists. At five, 98% of the children registered genius levels of creativity.
Retesting the same children at 10 and 15 this level of creative genius dropped alarmingly to 30% by the age of 10, and just 12% at age 15. This same test has been used on over 280,000 adults and placed their creative genius level at 2%. The conclusion of this study shows that non-creative behaviour is in fact learned behaviour. That as we grow into adulthood we become separated from a part of who we are as a fully functioning human being. It’s time to reconnect and create from the space of all of who you are. It’s who you are being that matters.
Clare Louise Creative Leadership Coach Creating deeper connections to ourselves and the world around us through authentic creativity
WINTER 2020 | GALLERIE MAGAZINE | 13
Be You. You are enough.
WINTER 2020 | GALLERIE MAGAZINE | 14
SAFETY AND CREATIVITY IN NEWBORN PHOTOGRAPHY By Melanie East ONE OF MY MAIN VALUES AS A NEWBORN PHOTOGRAPHER IS SAFETY. MY CLIENTS KNOW THIS, MY PROSPECTIVE CLIENTS KNOW THIS, THE DELEGATES WHOM I TEACH KNOW THIS, AND THE NEWBORN PHOTOGRAPHY INDUSTRY IN THE UK KNOWS THIS. IT’S A POWERFUL COMPELLING EMOTION FOR ME TO KEEP BABY ONE HUNDRED PERCENT SAFE WHILE IN MY CARE. EVERY TIME I AM ENTRUSTED TO POSE AND PHOTOGRAPH A NEWBORN BABY IT IS A COMPLETE HONOUR AND PRIVILEGE, NOT ONLY TO PHOTOGRAPH BUT TO DO SO IN THE SAFEST MANNER POSSIBLE. WITH THAT IN MIND, MY WORKFLOW IS ONE HUNDRED PERCENT RISK-FREE. When you work safely and you extoll the virtues of working safely, it builds a relationship of trust between you and your client. It enables the parents to sit back and watch you at work knowing that their baby is in the best care possible. It provides a calm and soothing environment where the client feels cherished and reassured, knowing that they will receive the most beautiful creative images, without any risk whatsoever and that you have their baby’s safety as paramount importance.
There are many very safe newborn photographers in the industry however there are also newborn photographers who aren’t working as safely or consciously taking the safety of their tiniest clients as seriously as they should. This can be for a variety of reasons - it may be a lack of knowledge, or it may
For the first part of my career, I worked as a lawyer, so it stands to reason that a legal standpoint, should something go wrong, is always in my mind. I specialised in personal injury and clinical negligence. It is in my nature to question the duty of care and what would happen if that duty was breached due to negligence, resulting in injury. Let’s take a hypothetical scenario - Let’s say the baby is in a prop, in a forward-facing pose. They are not supported and the spotter is paying attention to me rather than to the baby. Baby startles and hits their head on the side of the prop, or worse, falls out. This results in a head injury. What would, in fact, happen in the UK, is that I would have failed in my duty of care through negligence, I would have caused injury to my client, and the likelihood is that I would be sued. This would not only cause huge amounts of damage to my reputation as a business - it would also be a lifetime of regret and guilt which would never disappear.
It isn’t just my legal mind which ensures I work safely. As a newborn photographer, I also work with the parents’ thoughts and feelings at the forefront of my mind. How must they feel to see their baby manipulated into some poses and then balanced without proper thought for newborn safety? When I first started out as a newborn photographer, I felt pressure to do what everybody else was doing, the bucket poses, the forward-facing poses, the taco poses (albeit in the safest manner possible). When the baby was in a prop, or in a forward-facing pose, their little head was always supported to ensure safety. I felt, at that time, that I must create those poses and use those props because that is what all other newborn photographers were doing. As time has gone on, I have moved away from that workflow. I liaise closely with a consultant paediatrician in emergency medicine and both he, and I, believe that the safest place for baby, is on a padded surface, on their back, on the floor or on their back in a padded shallow bowl on the floor. It is, of course, vital not to stand on stools or stepladders (or in fact anything) over the baby, and to have your camera strap around your neck (or to use a hand strap). We believe a beanbag also to be safe as long as the surface area is large enough and a spotter supporting the baby’s head is used for a forward-facing pose. Beanbags should ideally not be placed on raised surfaces as if the baby was to startle and fall they would have further to fall. Why do we believe these to be the safer options? Let’s consider what could happen with the baby in a bucket balanced on a chair, with a spotter who is near but not supporting the baby. Baby could startle or sneeze and fall, and the point here is that the photographer is relying on the reflexes of the spotter. What if the spotter isn’t quick enough? What if the spotter looks away momentarily and baby startles and falls, or knocks their head, as in the hypothetical example above? This is why I believe babies’ heads should always be supported.
WINTER 2020 | GALLERIE MAGAZINE | 15
be they have watched videos where a photographer to whom they are looking for guidance may not be working in the safest manner. They may have unknowingly picked up poor working habits, or it may be that just because “nothing has gone wrong yet” they feel that nothing *can* go wrong.
The more I’ve learned, and the more I’ve focused more and more on safety above shot, the more it has made me take stock of what I’m doing. Over the last three years, my work has evolved because of this. I love the creative thought process knowing that because the baby will be on their back I don’t need to manipulate baby in any way. It has given me a much more simplified system during the actual session. It has streamlined my workflow. It no longer matters if the baby is awake or asleep and so, therefore, that anxiety of whether the baby would be fussy is removed. It’s made me create serene artwork where I’m more connected to the client and to the creative aspect. I have much more time within the session to refine my work so that it is the best it can possibly be right out of the camera. This has released more time to become more creative and my work over the last 3 years has evolved and continues to evolve as a result. I continue to grow creatively … and I love every single moment. I’ve been there. I’ve bought the props, I’ve posed babies on crates and beds and in buckets and baskets and all manner of props (albeit their heads were always supported). I was at one stage a complete propoholic. I know from experience when using lots of props that even when we have the baby at the forefront of our mind we are thinking how can we get this shot as quickly and safely as possible and pop baby into the next pose. And I used to really dread a very fussy baby! I know that it can be hard when parents’ eyes are boring into the back of your head. I know the pressure. I understand it.
Safety and creativity really can go together - and in my experience, it’s such a richer experience all around.
Dr. Daniel Langer is a consultant in paediatric emergency medicine. He is of the belief that babies should be photographed in the safest possible manner to negate any risk of injury.
WINTER 2020 | GALLERIE MAGAZINE | 16
“The safest place for babies is on their back. Upright balancing in props without proper support can raise the risk of accidents and therefore injury. A head injury to a baby can be catastrophic. Babies can startle and move without warning even when asleep. The Moro (startle reflex) can be induced by sudden hyperextension of the neck, loud noise, light and even sneezing. The “froggy” pose is unnatural in position and is likely to be putting a strain on the hip joint as the hips are very flexed in this position. There is a risk that putting a baby into this pose may dislocate the hip if congenital hip dysplasia has not been picked up before the newborn photography session. There is a possible risk of occluding an airway with the froggy pose as the baby is resting their head using their hands under the chin. Even if a spotter is holding a baby’s head, and the shot is carried out as a composite, the area under the chin is soft - it is not possible for the spotter to hold the head with one hand to ensure the head is not resting on the hands. It is therefore very easy to compress a baby’s airway. As an example, when a baby comes into resus with a respiratory problem, I have seen airways completely obstructed just by having the neck flexed too far forward or by inexperienced doctors holding the airway open by placing hands on the soft part under the chin. I believe newborn photographers believe the main risk with the froggy pose to be that of the baby falling, and whereas that is a real risk, there are other possible health risks to this pose as set out above.” - Dr. Daniel Langer: Consultant in Paediatric Emergency Medicine. How, therefore, do we create images which are creative, artistic, unique and still very very safe? Here’s what I have learned and continue to learn. Babies are generally very settled on their backs. They are in the safest possible position. Using textures and materials such as wool, felt, cotton, linen, and silk enabled me to go with my flow and be as creative as I wished. Having baby simply on their back opened a creative process for me. It enabled me to create more unique images and to develop my style. It taught me that I can actually be more creative and less reliant on props. It also means that because I know the baby is very safe, my creativity flows better.
Melanie East Dr. Langer and Melanie East are working together to increase the standards of newborn safety across the industry. MELANIE EAST © 2020.
Did you know
you can become a member of Canada’s oldest and most recognized professional photography association for as little as $26 monthly (plus tax) ?
1-888-643-PPOC (7762) info@ppoc.ca ppoc.ca
WINTER 2020 | GALLERIE MAGAZINE | 17
Apply to join today!
WINTER 2020 | GALLERIE MAGAZINE | 18
2020 PPOC CONVENTION SCHEDULE
P
S O
P T
N O
D E
Available with program’s full subscription Available with additional charge Free time PPOC events by invitation only
WINTER 2020 | GALLERIE MAGAZINE | 19
E IC H T F M O E D E S PA N U A B E CV I D - 1 9 CO
THE POWER OF A
GREAT WEDDING ALBUM
WINTER 2020 | GALLERIE MAGAZINE | 20
By Storey Wilkins THE POWER OF PRINT
BEGIN WITH THE END IN MIND
I BELIEVE IN THE POWER OF PRINT. EVERY TIME I WALK INTO MY HOME I AM GREETED BY THE WARMTH AND LOVE OF MY FAMILY’S SMILING FACES, IN BOTH THE FRAMED PRINTS ON MY WALLS AND IN THE TIMELESS ALBUMS I HAVE MADE OVER THE YEARS. THIS WOULD NOT BE POSSIBLE IF I HAD LEFT MY MOST IMPORTANT PHOTOGRAPHS ON HARD DRIVES.
It is during that tense few hours before a wedding when I am in my “focus zone” that I start thinking about the album. I set an intention to make an album with a great story, their story, in fact, the best version of their story. It means I am on the hunt for not only the who … but the where when why and how as well. If I only shoot to make a few awe-inspiring images to satisfy their social media needs, it would be a very short (and less interesting) story.
I believe that everyone has a great story and that stories deserve to be preserved in print. As a Toronto wedding photographer, I have a wonderful opportunity to capture not only the most epic moments of my clients’ lives but also to approach those moments with the skill of a storyteller. A photographic album is something that will be handed down to children and grandchildren. I believe, strongly, that the story of a wedding belongs in a beautiful album (or coffee table book or any other bound medium), and not on a USB stick.
So what makes a great story? Most certainly I believe that equal amounts of ’asked for’ portraits, moments, and the documentation of ritual are essential. It is one that mimics the flow of the wedding day itself. This includes the four main elements of getting ready, the ceremony, portraits, and the reception. It is where the characters are made familiar, the emotional variants are revealed, and the plot moves quickly with a few unique twists until the end when you are left feeling connected to the couple and their loved ones in an unforgettable way.
TIMELESS DESIGN It is not enough to fill a wedding album with wonderful photographs. It also needs to be designed with great care and finesse so that the right images are used in the right place and presented in the right way.
The transitions between the scenes must be clear and the album as a whole must appear cohesive. This is done by careful use of color and tone, lighting, focal length, locations, emotions, characters and details, and storyline. Also, I have certain no-no’s in album design, such as no key lines, no drop shadows, no funky borders, no tilted images and no distracting “scrapbook” like effects. The key is to make every spread clean, elegant and timeless so that the images leap off the page, not the effects. I never want the clients’ grandkids to look at the album in the future and say, “whoa this is SO 2020!” I want the album to feel timeless.
GREAT ALBUM = GREAT PHOTOGRAPHER A great wedding photographer stands apart from the crowd by not only capturing lovely storytelling images but by shooting for the big picture and then funneling that story into print in a timelessly elegant and very well-crafted (ideally locally created) wedding album … in essence by telling the BEST version of a story. It is essential to limit the number of photographs in an album to the very best (or most treasured). Less is more here.
MAKE IT EASY FOR THE CLIENT The wedding album image selection and design process can be a little challenging for busy couples, so I provide full album services from image selection to design to cover selection to ease the pain.
WINTER 2020 | GALLERIE MAGAZINE | 21
I create the first draft design called an Artist’s Choice Album and then work with the couple to tweak it based on their preferences until the final piece of perfection is ready to print.
Choosing from my main album line of gorgeous, professionally bound books constructed from only the best quality materials and workmanship, I know my clients will love it.
WINTER 2020 | GALLERIE MAGAZINE | 22
My albums are often made with up to 80 pages and are available in square or vertical formats. Covers are available in a curated selection of linen and faux silk fabrics. Modern laser engraving and traditional die cuts are terrific ways to add monograms and other custom cover designs that are beautiful ways to personalize a book.
Storey Wilkins Please visit my website at www.storeywilkins.com for information on upcoming workshops and seminars for professional photographers. I will be presenting three seminars at Canadian Imaging in Saskatoon in April. I hope to see you there!
2020 ACCREDITATION DEADLINES - April 6th, 5pm EDT - July 6th, 5pm EDT - October 5th, 5pm EDT
GET ACCREDITED!
Canada’s full service School Portrait Lab - since 1959 Yes, we can offer you ...
A full range of Package printing options & pricing FLOW™, Opticon™, & green screen workflow support School Yearbook & Planner printing Customized Portrait Day Order Forms ... and so much more! www.adanacproimaging.com info@adanacproimaging.com Call us today! 888.323.2622
WINTER 2020 | GALLERIE MAGAZINE | 23
https://www.ppoc.ca/member_accreditation.php
DELIVERING YOUR
WEBSITE CONTENT SECURELY By Trevor Owen NOW, MORE THAN EVER, IT IS IMPORTANT TO DELIVER YOUR WEBSITE CONTENT SECURELY TO PREVENT HACKERS FROM INTERCEPTING YOUR CUSTOMERS’ COMMUNICATIONS USING EAVESDROPPING “MAN-IN-THE-MIDDLE” (MITM) ATTACKS. BY SECURING YOUR CONTENT, YOU ENCRYPT COMMUNICATIONS WITH YOUR CUSTOMER. THIS IS CRITICAL WHEN ENTERING USERNAMES, PASSWORDS AND CREDIT CARD INFORMATION ONLINE. THIS CAN BE ACCOMPLISHED BY MOVING FROM HTTP TO HTTPS PROTOCOL USING A SECURE SOCKET LAYER (SSL) ON YOUR WEBSITE.
HTTP VS HTTPS “HTTP” (Hyper Text Transfer Protocol)
WINTER 2020 | GALLERIE MAGAZINE | 24
In 1994, Tim Berners-Lee, the creator of the world wide web, introduced the Uniform Resource Locator (URL) as a common method to define the path to resources on the internet. HTTP (“http://”) was the most widely used protocol. Millions of sites still rely on this protocol. We are all familiar with the “http” (Hyper Text Transfer Protocol) prefix, “http://”, in a web address URL used to access content on the Internet. Chances are that you have typed this prefix into your browser address bar to get to a website or two. It is also likely that you have used this protocol when you originally authored your website. It allows you to get up and running quite quickly, is easily understood by your users and is the default behavior for most browsers. Once configured, users could access your site using the format http://yourdomainname.com. All good? Not so fast! The problem with HTTP protocol is that it is NOT secure. To address this issue, you can enable HTTPS on your site to provide end-to-end encryption.
“HTTPS” (Hyper Text Transfer Protocol Secure) HTTPS encrypts traffic by using an SSL (Secure Socket Layer) certificate. This ensures a secure connection between the user and the resource using an encrypted “key”. This is the prominent method to encrypt traffic. Installing SSL for your website involves purchasing a certificate from a Certificate Authority (CA) and configuring its use on your server. The CA ensures the identity of entities like a company, website, email address or person. It is possible that your web host includes a certificate with your hosting. You may need to talk to your host to confirm proper installation for your specific server.
There are also different levels of encryption available. The rule of thumb is the more secure the better. Budget does become a consideration when purchasing SSL certificates. Once configured, your site will display the desired “lock” icon to the left of the address:
As well, there is a confirmation of secure connection:
Additional information about the certificate, its owner, details and certification path are also available:
AVOID “INSECURE” WARNINGS In an effort to promote a secure Internet, Google announced in July 2018 that it would bring attention to a website’s protocol if serving unsecured content. They did this with visual cues as shown in this Chrome browser address bar/Omnibox to warn users of potential security issues. Example:
If the user clicks on the information icon, it will expand like this:
Once you have SSL available on your site, you can redirect traffic to the secure path using a 301 redirect. This will indicate in your server response that your site link http://yourdomainname.com has been moved and will now permanently resolve to https://yourdomainname.com If a user previously bookmarked your site or entered a non-https link, they will be redirected to the secure path automatically.
BENEFITS OF SERVING YOUR WEB CONTENT SECURELY There are a number of benefits to delivering your content securely. These include: • Level of trust increases. This leads to longer engagement times as users are much less likely to immediately abandon the site.
Nobody wants their users to see a warning like this. Users will abandon the site very quickly to pursue other secure links. As awareness surrounding security is heightened, this behavior becomes more pronounced. Additionally, sites that are not secured are scored down in search engine returns resulting in reduced visibility. Thankfully, “https” is available to help mitigate this situation.
WORTH THE EFFORT? While there are a variety of tasks involved, securing your site is well worth the effort. You may need to enlist help to accomplish the tasks but you will be rewarded with better ranking signals used by search engines, users who trust your content and better protection from “Man-in-the-middle” (MITM) attacks.
ARE YOU SERVING YOUR CONTENT SECURELY? If you have yet to update your website handling to ensure a secure connection, you should as quickly as possible. If you need help, contact your hosting provider or a developer. Your business and your customers will benefit.
• The data transmitted cannot be altered in transfer through 3rd party manipulation. • Complies with European Union’s General Data Protection Regulation (GDPR). • Avoids warnings.
Trevor Owen, Trystan Media Inc. Active in internet development since 1998, Trevor brings a wealth of experience over many disciplines with a primary focus on Interaction Design & User Experience development. Trevor has been project lead for Software as a Service (SaaS) frameworks, business process automation, content management & data control systems for business, non-profits, sports leagues, and manufacturers. He pursues exceptional web performance in the day-to-day business of web development. When not coding, you will find Trevor busy in his shop building electric guitars.
WINTER 2020 | GALLERIE MAGAZINE | 25
NAVIGATING TRAFFIC TO SECURE PATH
THERE’S NO CRYING
IN PRICING By Victoria West, CPA
HOW DID YOU COME UP WITH YOUR PRICING?
WINTER 2020 | GALLERIE MAGAZINE | 26
IF YOU LOOKED AROUND YOUR AREA (OR ONLINE) TO SEE WHAT OTHER PHOTOGRAPHERS WERE CHARGING, YOU DID IT WRONG. WHY? BECAUSE YOU HAVE NO IDEA IF THOSE PHOTOGRAPHERS ARE RUNNING PROFITABLE BUSINESSES, AND BECAUSE NOT ALL BUSINESSES ARE THE SAME, WITH THE SAME OVERHEAD, EXPENSES, ETC. If you sat down and thought about what prices you would feel comfortable charging, you did it wrong. Why? Because price lists aren’t places for our emotions. Price lists should be based on real numbers. That’s how you build a price list you are confident in, one that sets you up for success. So how do you do that? Figure out your cost of doing business. 8 years ago my sales average was $300. I had a 5-page long price list and offered every product a client could ever want, yet all I ever sold were digital files. I was struggling to get by and getting deeper into debt each year. Sound familiar? I knew something had to change so I finally sat down and figured out my cost of doing business (google how to do that if you aren’t sure). I realized that in order to be paid $25 an hour, at the time, I needed to sell $1200 to each client. uh oh. So I changed my business model entirely. I switched to in-person sales because hardly anyone is going to order $1200 worth of product from an online gallery. And then I built a price list that would encourage people to spend what I needed to make, $1200. And guess what? I made $1200 every. single. time.
It was uncanny. Here’s how you do that.
1. Sell what you love. I sell folio boxes. I think they look amazing. I love the built-in frame so you can showcase each individual image. I love that I can keep them in stock and have them ready to go within the week for clients. I love that, and they even come with their own packaging and make my life easier. And I especially love the idea of that beautiful box becoming a family heirloom. I love folio boxes so I sell folio boxes 99% of the time. You will sell what you genuinely love because your clients will believe you and trust you. If I sold you on folio boxes, I order mine from 3XM and you get yourself a bonus 1000 reward points with the code “Burton”. So get rid of any products that you don’t love since you likely won’t sell them anyway.
2. Build a 1-page price list. Clearly my novel-sized price list wasn’t doing my business or my clients any favours. A confused mind doesn’t buy so keep it simple and don’t force anyone to do any math with complicated credit or discount systems.
3. Top-down. If I show you a $20 shirt, a $50 shirt, and a $100 shirt, then the $100 shirt seems expensive. But if I show you an $800 shirt, a $400 shirt, and a $100 shirt, then
PROFESSIONAL PHOTOGRAPHERS OF CANADA (PPOC) is a diversified group of creative artists dedicated to the highest standards in professional imaging. We welcome photographers of all genres to join our community of dedicated professionals.
suddenly the $100 shirt seems like a real deal. So build your price list from the top down and if you want to sell $1200, make sure that’s your bottom price.
4. Communicate your value with imagery, not words. You are a photographer after all!
PPOC offers photographers a way to rise to professional status. Educational opportunities, networking, direct member benefits and the ability to earn awards and designations will assist in your potential for growth and economic improvement.
I send my price list in the back of a pdf that is a portfolio of sorts. It also shows behind the scenes and what to expect. There are a few short quotes from happy clients and a few titles but nothing to read, other than the onepage price list and my bio in the back. This is a good extra reminder to potential clients why I’m worth it.
Did you know you can become a member of Canada’s oldest and most recognized professional photography association for as little as $26 monthly (plus tax)?
5. Have a short answer. If you ask me how much I charge my answer is “I charge $190 for the photoshoot including hair and makeup, and my packages start at $1400”. If someone asks you how much you cost, you should be able to answer that question without telling a story. If you can’t, you need to keep paring down until you can.
Observer membership will entitle you to discounted pricing on educational events, access to a peer network upon whose knowledge you can draw, preferred rates with many of our industry partners, critiques of your imagery, and will open the door for you to submit for Accreditation in your chosen photographic field(s). You can even sign up for a Mentor to help you get the most out of your PPOC membership!
Now, if you’ve read all that and you’re thinking “well, I’m not good enough to charge $1200”, STOP.
Once you’ve achieved your Accreditation, you’ll be able to upgrade to full “PPOC Accredited Photographer” membership status, and will be listed on our “Search for a Photographer” feature on our website. You can promote yourself using the PPOC Logo and will also be eligible to vie for prestigious awards in National Image Competition, and to work toward earning the designations of Craftsman of Photographic Arts (CPA), Master of Photographic Arts (MPA), and Service of Photographic Arts (SPA).
When I started charging $1200 eight years ago, I was far from amazing. But that didn’t matter. My sales average changed overnight and it wasn’t because I did anything other than changing my pricing and I started selling. Things don’t sell themselves. Every company on earth markets, advertises and sells to you. That’s business.
WINTER 2020 | GALLERIE MAGAZINE | 28
**Side note, I also live in the poorest province in Canada according to the latest numbers so your geographic location is not the reason you aren’t making money. So, If you are good enough to call yourself a professional, accredited photographer, then you most definitely are good enough to make a living wage. But don’t get hung up on whether or not your work is worthy because that’s irrelevant in business. It only matters that you charge what makes financial sense. Of course, building a good price list isn’t the only important step to business success but it’s one essential part of the puzzle.
When you build a price list this way, based on numbers, you won’t feel bad/scared/ nervous asking for money. I had no issue charging $1200 because I knew that $25 per hour was the least that I deserved. Because I felt confident in the value of my price list, my clients also did. And no one questioned it even though they used to question $300.
Are you ready to take your photographic career to the next level? Become recognized as a member of PPOC, stand out from the crowd, and take advantage of the benefits of membership! Create an Observer membership profile by following the links to join at www.ppoc.ca, and activate that membership with payment in full online, or by contacting us by phone at (888) 643-PPOC (7762) to set up a convenient monthly payment plan using your VISA or MasterCard. Apply TODAY!
Victoria West, CPA Victoria West is a full-time portrait photographer. She’s built a strong reputation and business in Oromocto, NB, by creating portraits for people who hate being photographed (just like her). She’s a proud PPOC member and serves on the board of the Atlantic Region. She is also an internationally awarded photographer having top 3 finishes at WPPI, WPE and World Photographic Cup in 2019. She’s also 2019 Portrait Photographer of the Year for PPOC. Victoria is also a passionate animal rights activist and lives with her husband, 5 dogs, and 1 unlucky cat.
https://ppoc.formstack.com/forms/ membership_application_web CONTACT 1-888-643-PPOC (7762) Phone: 519-537-2555 Info@ppoc.ca | www.ppoc.ca MAILING ADDRESS: 209 Light St. Woodstock (Ontario) N4S 6H6 Canada
MY PPOC MY EXPERIENCE
AS A PPOC MEMBER “YOU SHOULD JOIN PPOC, IT WOULD BE REALLY GOOD FOR YOUR CAREER.” THAT’S HOW IT ALL STARTED: WHEN MY FRIEND AND FELLOW PHOTOGRAPHER CLAUDE BRAZEAU FIRST SUGGESTED TO ME THAT I SHOULD JOIN THE ASSOCIATION IN ORDER TO GROW MY BUSINESS. BACK THEN, I THOUGHT PPOC WAS ONLY A PORTRAIT AND WEDDING PHOTOGRAPHERS’ ASSOCIATION. IT WAS THE ONLY THING I COULD SEE AND I MUST ADMIT THAT THE YOUNG PHOTOJOURNALIST AND EVENT PHOTOGRAPHER THAT I WAS THEN COULD NOT SEE HOW I COULD FIT IN WITH THE STYLE OF IMAGES PRODUCED IN THIS ASSOCIATION. NEVERTHELESS, I TRUSTED MY FRIEND AND JOINED.
I remember the first time I entered the National Competition and was surprised to see that we were authorized to retouch images in the press class. Being from the photojournalistic world, I could not understand how this could be the case so I talked to the NEC about it. I was not the only one with that concern and that class was modified a few years later to reflect what press photography essence was. How could the NEC (or anyone else) know that if nobody with that perception was there to ask about it and voice their concerns? This is the part that is always the hardest to explain to non-members. They never seem to understand how a selfemployed professional would want to share “secrets” with other photographers. The truth is that we’re all different and we’ll always end up reaching our own clients according to who we are and what we have to offer. There’s nothing to lose and so much to gain in learning from other’s experiences. I can’t count how many times I’ve avoided silly mistakes by asking a fellow member about how to approach a specific job or to have an external opinion on how to more efficiently retouch an image in Photoshop. After a while, I was also the one helping others by offering advice based on my own experience. That camaraderie starts with sharing knowledge in order to make everyone around us better, but it also reflects in who we decide to refer for specific jobs that we’re not able to accomplish. Since I believe in our Accreditation process, referring someone outside of PPOC has become very difficult. I always try to find a photographer inside the Association before anyone else. If a client of mine needs headshots of some employees in Vancouver, I know who to send it to in all confidence. The same goes with specialties I won’t do, like newborn photography. The Association made it very easy for me to find capable photographers who excel in their field and be able to refer those photographers with confidence.
I’ve made some really good friends along the way. Mainly because I’ve always preferred taking advantage of the strength of many instead of staying alone in my own bubble. I even share a studio space with other PPOC members for the past three years! We know what are the strengths of each of us and we won’t hesitate to refer one another. I also have complete trust in those colleagues and I would not hesitate to have them work with one of my clients knowing that it will benefit me in the long run. My friend Claude has worked “for me” on several occasions, especially when I was on tour with a band last year and I couldn’t provide my services for my other regular clients. That help was really precious for me since I was gone for several weeks at a time. If I did not have that assistance, I could have lost several clients over this over the months. Personally, I feel like each year I get way more than my dues worth out of the Association. All the help, the knowledge, that I’ve gained. All the mistakes that I avoided over the years. All the referrals I got from other photographers… and that’s not mentioning the benefits that we also get as members. Sometimes, you just have to look at it from a different perspective to understand the true value of PPOC. Almost two years ago, I switched from Canon to Nikon. While I was in transition between the brands, I got a lot of help from Nikon NPS: they even loaned me some gear while I was selling my Canon equipment so I could keep on working without any issues. They’ve also always been very kind and understanding while I was asking many questions and trying out their gear in all the trade shows I’ve been to! All this help was only possible because I’ve met the representative of the company in several PPOC events and developed a relationship with them over the years.
Sébastien Lavallée, MPA Sébastien Lavallée is a commercial photographer based in Gatineau (QC) but who worked all around the province in the last years. He’s been working as a full-time freelance photographer for almost twelve years. His work focuses mostly on events, architecture and corporate portraits but he also does video and photojournalism. Photo: Claude Brazeau, MPA
WINTER 2020 | GALLERIE MAGAZINE | 29
I’ve learned quickly how PPOC would affect my business and how much I would grow as a photographer with the help of the Association. My first revelation was when I realized that PPOC was made for its membership, and not the opposite. The style, the decision, how it is managed: it’s all done by and for the members. It’s in constant evolution. I soon realized that what I thought was the “style” of PPOC was simply the image of what the current membership was aiming for. It could not be “like me” since I was not a part of it yet. The more like-minded people would join, the more we could shape the Association with our own voices and do our part to make the Association grow.
ABOUT THE COVER ON THE ROAD AGAIN By Marc Durocher ANDREA ELIZABETH FRAPPIER FOLLOWED HER HEART AND ATTENDED HUMBER COLLEGE FROM 1999-2001 AND BECAME A LICENCED FUNERAL DIRECTOR AND WORKED IN THAT FIELD FOR MANY YEARS, ASSISTING BEREAVED FAMILIES AS THEY SAID GOODBYE TO THEIR LOVED ONES.
Andrea and Bill were married in July 2004 and had three, blue-eyed boys, Xander, Dylan, and Tyler. After working a short while as a Funeral Director in Kirkland Lake, she decided to shift her focus and stay at home with her growing family. Eventually, the Frappier family moved to the little town of Holtyre, in Northern Ontario. It was during this time that a friend of hers introduced her to photography and she started taking local classes in 2010 and practiced every chance she could, taking photos of her kids and nature scenes. In 2011, Andrea started her own Photography business, Northern Accents.
WINTER 2020 | GALLERIE MAGAZINE | 30
Andrea joined PPOC in January of 2014 and was an active member of the North Eastern Ontario branch. She attended several Ontario Region Conferences and the National Convention in Niagara Falls. Andrea was one of the first members Accredited in the newly created Birth Photography category in February 2014. She especially loved being present to capture the first images of a family welcoming their newest addition.
Andrea was passionate about her art and followed up with Accreditations in Newborn Photography in July 2014, Children and Infant Portrait in April 2016 and Nature Accreditation in October 2018. Upon entering the National Salon for the first time in 2017, Andrea received one Merit and two Accepted images. She repeated her first success with another two Accepted images and one Merit image in 2018. In 2019, Andrea received one Accepted image, but also a Merit and Judge’s Choice for “On The Road Again”, which was also selected to be the cover of this issue of Gallerie Magazine. Andrea was recognized at the 2019 National Awards Gala as a 2019 CPA. Andrea loved babies and nature and her photographs On The Road Again bore witness to that. With her background as a Funeral Director, it is no surprise that Andrea was also a proud supporter and photographer for Now I Lay Me Down to Sleep. NILMDTS (www.nowilaymedowntosleep.org) is a non-profit organization that aims to offer every family experiencing the death of a baby the healing power of remembrance at no cost to the family. It was with profound sadness that the family announced Andrea’s death following an accident. Andrea passed away at Health Sciences North on Friday, July 19, 2019, surrounded by her loving family.
Andrea Elizabeth Frappier (born Dowling), CPA Andrea was born on September 19, 1977, and was raised in Arthur, Ontario. From a young age, she took great pride in helping people. To save for college, Andrea worked as a counselor at a summer camp for the mentally challenged and it was there that she met another counselor, Bill Frappier, who would eventually become her husband.
When family and friends gathered to celebrate and remember Andrea’s life it was in a hall filled with displays of her beautiful photography and the awards that she was so proud of. Andrea will be forever remembered for her sense of humour and her fun-loving ways, she has left behind a legacy of generosity, kindness, and caring. Andrea’s beautiful smile is one not easily forgotten.
WINTER 2020 | GALLERIE MAGAZINE | 31
AF BREAKTHROUGHS FOR STILLS AND VIDEO
CAPTURE TOMORROW
V E R S A T I L I T Y M E E T S A G I L I T Y From fast-moving action to rich 4K HDR video, the new Nikon D780 helps your vision take flight. Its unique combination of autofocus systems offers the best of two different worlds. Optical viewfinder shooting gives you fast and accurate AF, with innovations including an algorithm adapted from the flagship D5. Meanwhile, live view shooting brings all the advantages of hybrid AF using focal-plane phase-detection AF technology, including eye-detection AF and wide 273-point coverage. Combined with shutter speeds from 1/8000 s to 900 s, and advanced video and time-lapse features, the D780 embodies true versatility.
24MP | 7 FPS | 100-51200 ISO | EYE AF | 4K UHD | 10-BIT N-LOG
www.nikon.ca
