Chairman of the Board
Doug Peninger dpeninger@SEPPAonline.com
President
George Singleton gsingleton@SEPPAonline.com
1st Vice-President
Kevin Jiminez kjiminez@SEPPAonline.com
2nd Vice-President
Mary Fisk-Taylor mfisktaylor@SEPPAonline.com
Secretary-Treasurer
District of Columbia
Florida
Janet Boschker jboschker@SEPPAonline.com
Salon Exhibition Chair Executive Director
Delaware
Jessica Vogel jvogel@SEPPAonline.com
Georgia
*** Jim Hill
***Anthony Maril Joe Tessmer
*** Jackson Koontz Kaye Newsome
*** Spencer Smith Jason White
Rick Gibbons ExecutiveDirector@SEPPAonline.com
S out he r n E x p o su re
Souther n Exposure magazine is an online publication of SEPPA and is published monthly. Editor V ictoria Kelly vkelly@SEPPAonline.com 919.601.4258 Ad Sales & Business Manager Rick Gibbons ExecutiveDirector@SEPPAonline.com 866.982.4856
Maryland
Mississippi/Alabama
*** Lidia Miller Steve Clark
*** Shauna Denney Gil Brady
North Carolina
*** Ellis Williamson Rose Mary Cheek
South Carolina
*** Patty Hallman Gregg Martin
Article & Ad Submissions 5th of every month OnLine Publication 20th of each month SEPPA 3710 North Main Street High Point, NC 27265 866.982.4856 Acceptance o f a d v e r t i si n g d oe s n ot c a r r y w i th i t en dor se m e n t b y t h e p ub l i sh e r. Opi ni o ns expre sse d b y Sout h e r n Exp osure o r any o f i ts aut h or s d oe s n ot n e c e ssa r i l y refl ect t h e p osi t i on s of t h e Sou theaster n Pro fessi on a l P h ot ogr a p h e r s A ssoc ia t io n . Asso ci ati on f i n a n c i a l i n f or m a t i on avai l a b l e up on re q ue st .
Tennessee
Virginia
West Virginia
*** Jeannie Forehand Barbara White
*** Jim Carpenter Robert Holman
*** Pat Dodd Brent Kepner
*** state president SEPPA representative
Delaware
Mississippi/Alabama
District of Columbia
North Carolina
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www.ppofnc.com
Florida
South Carolina
www.fpponline.org
www.ppofsc.com
Georgia
Tennessee
www.gppa.com
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Maryland
Virginia
www.delawarephotographers.com
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SEPPA is a regional affiliate of the Professional Photographers of America and hosts an annual District Image Judging. To learn more about PPA, click HERE.
www.ppma.net
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West Virginia www.ppwv.org
Dear SEPPA Members, Although the PPA Southeast District Image Judging took place as scheduled, after two years of intense planning, excitement, re-branding, and untold hours of volunteer work, due to circumstances beyond our control, FLASH2015 did not take place. Along with the members of the SEPPA Executive Committee, I deeply regret that FLASH2015 did not take place as planned. We apologize for any inconveniences caused to our members, sponsors, vendors, speakers, volunteers, staff and others due to this situation. I want to assure you that no SEPPA staff, Executive Committee member, officer, volunteer, sponsor, vendor, speaker, affiliate, or PPA representative, in any way, caused the situation that lead to the event not taking place. In the coming weeks we will have a conference call with the SEPPA Board of Governors, (the Presidents of the SEPPA State Affiliates and one Affiliate Representative from each state). During this call, we will conduct the business meeting of the association that had been planned during FLASH2015, and to the greatest extent possible, outline the events that led to FLASH2015 not occurring as scheduled. Additionally, SEPPA has honored all speaker and vendor contracts. Speakers’ fees have been paid, and vendors’ trade show booth deposits have been refunded. We are deeply appreciative to those of you who have shared concern and support. We thank you. Sincerely, SEPPA President George Singleton, M.Photog.Cr., CPP, SPF, MDPPA Fellow Photographer PPA Councilor
Visit us online: www.SEPPAonline.com
“SET SOME LOFTY GOALS� Christine Walsh-Newton, M. Photog., Cr., CPP
Recently I was communicating with another photographer who confided that their goal was to obtain their Master's Degree in two years. They seemed apologetic and embarrassed. They were keeping this goal quiet, for fear of ridicule. And failure. Screw that. I want you to have goals. Big goals, high goals, expensive goals, rich goals. I want you to reach for the top and own it. Never, never apologize for wanting to be excellent. For wanting to achieve. For trying to gain a position that is higher than the one you have now. Goals require work. The bigger and loftier the goal, well, the more you're gonna kick your own rear-end to get there. And how in the world could that ever be bad? So, do it! Drown yourself in print competition and pull off every merit you can. On your way there, you're going to shoot, reshoot and shoot some more. Then you're going to
spend many hours in front of your computer; practicing your technique, viewing tutorials and increasing the quality level of your processing until you've got it right. If competition isn't your thing, there are other routes to take. Your organizations can provide a variety of pathways to excellence and you can travel as few or as many of them as you wish. Although the result of each journey can be different, they are all similar in that the skills of the photographer are consistently tested and improved throughout the process. Sometimes the journeys are quick and joyful. And sometimes they're the longest, hardest, dustiest uneven excuse for a journey we've ever seen. That's kind of how goals and challenges go. And when your head is down and your heart is low because you feel like you keep getting kicked in the teeth, try and bear in mind how sweet that success is finally going to taste. Because it will. Eventually. We are lucky, we members of national organizations and local affiliates. There are builtin achievement levels; degrees, certifications, standards of excellence. Use them. You pay for them and they are available to you. Don't sit back and wait to be served, serve yourself. I have utilized a variety of these programs within my own goal structure. First, I challenged myself to earn my CPP, then to enter print competition and then to earn my Master's Degree. One year my goal was to complete thirteen speaking merits so I could apply for the Craftsman's Degree. Another year my goal was to achieve the Certified Professional Photographer of Ohio designation. Every single year I challenge myself with something that is already built into one of the professional organizations I belong to. It's considered a member benefit and boy, do I. Through my state organization, the PPA and the ASP, I'm surrounded by opportunities for skill improvement and personal skill enhancement. I'd be thirteen kinds of foolish if I didn't take advantage of them. I firmly believe you only get out of an organization what you put into it. I challenge you to make sure you're putting in more than just your dues payment. Go out now and kick some butt. Your own.
Christine is a portrait photographer and owner of Gallery C in Dover, Ohio. She is a co-author of “The Daily Book of Photography” and authors “Wootness: The Big Girl and Guy’s Guide to Starting a Photography Business.”
“Owning a Profitable, sustainable Business” Mary Fisk-Taylor, M. Photog., Cr., CPP, ABI, API For over 20 years my business partner, Jamie Hayes, and I have owned and operated a photography studio together. Through these years there have been many changes and we have had to shift our business in every single way. Of course we went through the digital transition and that was time consuming and very scary. We have had change our marketing focus from the Baby Boomers to the Generation “X” crowd and now trying to figure out the Millennials. We learned how to create and maintain a website, build a brand, post on Facebook, Pin, Tweet, Instagram and now tackling the world of YouTube and Vimeo with video. Yes, there are a lot of changes in the photography business and we understand that shift happens and we have to accept the changes.
Mary Fisk-Taylor, cont’d...
However, there are many things, maybe even most things in our studio that have never changed. And I dare say that they might never have to change. We do pride ourselves on owning a studio that has garnered a sterling reputation, established a brand name with a wide consumer reach and we strive to give platinum customer service 100% of the time. I do believe that these practices have kept us not only in business, but allowed us to operate a very profitable and successful small business. These are values that are in the very foundation of the studio that we have built. There are several other business practices that have not shifted through the years. I truly believe that by staying grounded in these basic policies and relying on the foundation we built has allowed us to create a sustainable business and livelihood in the realm of professional photography. My top five #bemoresuccessful practices are below:
1. Create, maintain and follow a sound Business Plan. This seems very rudimentary and even mundane but it is so important. This is the foundation that our studio operates on throughout the year. Included in my business plan are my short term and long term goals, as well as my studio’s mission statement, editorial calendar, marketing plan and pricing as well as product lines. 2. Follow the Good, Better, Best and WOW when developing your product lines. This is something that I learned from the very beginning and it is the most basic concept of sales and selling. Generally people purchase in the middle, the buy the medium or mid-size/range item. So for me I wanted to put my products that I wanted to sell the most directly in the middle of my price lists. This applies whether it is a la carte products, portrait collections or even our creation fees. When the products or packages that I want to sell the most are in the middle then I tend to sell them the most. This is a very easy way to keep your sales averages exactly where you want them to be. And, in my experience if you are selling too many of your basic products then you are probably giving too much away at that level and if you are selling a lot of your WOW products then raise your prices. 3. In person or web based design consultations before portrait sessions. I believe that meeting a client and photographing them without meeting them beforehand would be like creating a dress for someone and not knowing their size. We would never do that, right? I have to have a pattern or a blueprint for the session itself. I want to know who we are photographing, the client’s preference for style of photography, images of the space that we are designing for so I understand color palettes, lighting
Mary Fisk-Taylor, cont’d...
patterns, etc. I use all of this information to help me plan the perfect session for my client. 4. Photograph for the sale. I often hear photographers complain about not selling albums, or large portraits, or extra images, etc. and the first question I ask is, “did you photograph for that album (portrait, additional item, etc.)?” It is a really easy question and actually something that is really easy to do however quite often we just do not do this. Why not? Even after 20 years I approach each and every session with the mind-set that I want to number one create a few images that would be appropriate for a wall portrait, then I make sure that I have “anchor” images to go with it just in case they client decides to purchase a wall portrait collection and then I make sure that I have at least 20 different images that the client can fall in love with an want in a portrait album. By no means do I sell all of those items each and every time, but I am much more likely to sell them if I have them to sell. So photograph for the WOW sale each and every time. 5. Be Authentic, Be Transparent and Be Nice. This sounds totally elementary, but it is important. Let’s face it; most of us do not live in communities that have just too few photographers. Competition is everywhere and I do mean everywhere. So we have to mind our customer service practices to the ultimate degree. Be authentic to who you truly are--clients will choose you because of YOU, so make sure the person and work that you are sharing is truly a reflection of who you are as a person and an artist. Make sure that all of your “rules and requirements” are clear and up front. Do not try to “pull something over on a client”. I promise you that this will not fare well for you in the future. And, lastly just be NICE. Say thank you, return phone calls and emails promptly, use kind words in your literature even if it is addressing your “rules”. Take time to write a real thank you note or make a real phone call. Just be nice, it’s free, it goes a long way and in the end you will #bemoresuccessful.
“FOCUS FOR THE GOOD” Bill Piacesi, M.Photog., Cr., CPP, FP “If a man tried to take his time on Earth And prove before he died what one man’s life could be worth, Well, I wonder what would happen to this world.” —Harry Chapin (singer/song writer/ humanitarian /recipient of The Congressional Gold Medal for his efforts to end hunger in America) You sometimes have experiences at a certain time in your life that seem inconsequential at the time only to discover, much later, that a seed had been planted because when the conditions were right, that seed began to grow. I had two such seeds planted in my mind when I was in high school: one grew almost immediately;the other would take twenty-five years to take root and grow. The seed that grew almost instantaneously was my interest in photography. My best friend in high school was (and still is!) a wonderful artist who, it seemed, could work in any medium. He tried unsuccessfully (though not for lack of trying!) to teach me how to paint, draw, watercolor and then he got into b&w photography learning how to shoot, process and print his own images. He taught me these skills and I finally had an outlet for the artistic visions that I wanted to create. Several years later, I began my career in professional photography when I started apprenticing with Tony Christiana, a Master Photographer that lived in the same town as I. Nearly 30 years later now, I have taken all of what Tony taught me over the years and have become a learned photographer earning the same degrees that Tony had (Master of Photography and Photographic Craftsman from PPA; and Fellow of Photography from the VirginiaProfessional Photographers’ Association).
Bill Piacesi, cont’d...
I am forever grateful for what I learned from Tony and I have tried my best to “pay it forward” as I have freely shared my knowledge and experience with the up-and-coming generation of young photographers. The second seed took a much longer time to sprout: using art as a way of creating a better world. That seed was planted in my mind by becoming familiar with the work of Harry Chapin. If you are familiar at all with his name, it’s probably as the folk singer/songwriter who sang “Cat’s in the Cradle” and maybe even “Taxi”. I developed a pretty deep interest in him because of the “story songs” he wrote: All different types of people from all walks of life trying their best to get through what life had handed them. Some succeeded (to some degree), some failed miserably but continued on with dignity. There was never any sort of judgement about the characters in his stories— just a recounting of what made these individuals who they were and any possible moral from their stories was left for the listener to infer. The songs were really “portraits” of the people. And, of course, that tied in nicely with my interest in photography. In learning about Harry, I found that he was a tireless proponent for those who suffered from hunger in America. He started a national non-profit organization, World Hunger Year, which is still operating today. He lobbied congress many times and was named to the Presidential Commission on Hunger. In the last five years of his short life (died at
age 38 in a car accident), he and his band performed nearly 250 shows per year, half of which were for charity. His philosophy was “one for me; one for the other guy”. For all of his efforts, he was awarded posthumously The Congressional Gold Medal (the highest civilian honor Congress awards) on what would have been his 45th birthday. It was seeing Harry using his art to help create a better world that always struck a resonant chord in me. This was something to which I wanted to aspire. In 2010, my then-wife and I moved to Memphis for her new job. Memphis has struggled throughout most of its history and probably more in the last 50 years than any other American city save for Detroit. But there is also a strong sense of “grit and grind” there and the citizens who are able to do so, give so much of their time and talent to create a better city. It was in moving to Memphis that I first came face-to-face with the reality of homelessness in America. The Great Recession that followed added greatly to the city’s woes. Being inspired by all the efforts of everyday people volunteering in all parts of the city, I wanted to get involved and help with the issue of homelessness. Unfortunately, I had no training in or education about social services. All I could offer were photographic skills. But then I realized that those skills could be incredibly helpful! I connected with several non-profits that worked directly with the homeless and other underserved communities and offered them greatly-reduced prices for my services. We were able to work together to create powerful images that they could use to promote their ser-
Bill Piacesi, cont’d...
vices and help with fundraising.
they shared the photos with their friends.
I developed the idea of creating fine-art b&w portraits of people who were part of the homeless or underserved communities and then displaying those images in places where the rest of the community could see them.
We heard numerous times that these were first portraits they had been in since elementary school. We heard from many that they would be sending a photo back to their familiesto let them know they were doing ok.
My thought was that if people could see these individuals portrayed as fine-art subjects, the subjects’ humanity would shine through and that might lead to them being seen more as people and not just statistics. I started connecting with local churches and soup kitchens and started setting up portrait stations where we could create portraits of those who came for a meal. We named the collection of images, “The Forgotten Faces of Memphis” and now have over 200 portraits in that collection. We have been able to display the collection of portraits in various places around the city and have been amazed by the response we havereceived. There was one response that I had not anticipated: We offered 2-5x7s and 4-wallets to anyone who wanted to have their portrait made as our way of saying thanks for letting us photograph them and making their portraits part of our collection. When we would return to the various soup kitchens a week after the portrait sessions to distribute the prints, the response from the people receiving their portraits was overwhelming.
This, for us, was the most rewarding and highly unanticipated benefit. It really did remind us of the power of photography. Not only in raising awareness of the humanity of those who found themselves homeless but also on a personal level for those we were photographing. They saw themselves as someone who was worth being the subject of a fine-art project and not just a part of our society that most people would like to avoid on the streets. Truly a moving experience. What we’ve done in Memphis can be replicated in any location. It just takes photographers with big hearts and some free-time. If you feel like you would like to do something similar in your area, just reach out to non-profits that serve this population in your community. They will be able to help you get started and, soon enough, your work will be helping to create a better world for those who are usually overlooked.
It was like kids at school when they first get their school photos!
It might just be the most fulfilling photography you do.
Everyone was SO happy and excited as
It is for me.
Bill Piacesi, cont’d...
IN MEMORIAM: TONY CHRISTIANA Bill Piacesi, M.Photog., Cr., CPP, FP When you view one piece of art, you see the subject more than you do the artist. When you view 50 years of work by an artist, you see the artist more than his work. When you can see the influence the artist had on those whom he mentored and the influence his apprentices had, in turn, on those who followed them, you begin to see the artist's legacy. Tony's photographic career spanned more than 50 years. He started as an in-home baby photographer for a diaper service in NYC. He calculated that by the time he left that job, he had photographed over 100,000 babies. He then worked for American Photograph Corporation also in NYC where he worked his way up to regional manager and his territory covered everything east of the Mississippi River. In the late '60's he moved to Northern, Virginia and became owner and general manager of Laurel Studios in Arlington. From there he moved on to be studio manager and portrait photographer for Chase Studios in DC. In 1977, he opened his own studio on his farm in Catlett, Virginia where he photographed weddings, portraits and commercial work. For Tony, photography was more than just a job--it was his passion. And just as he had learned his craft from those who came before him, he freely shared his knowledge and skill with those who followed. He was very active in professional photography associations at the local, state, regional and national level. He was a member of the VPPA for close to 50 years and served in every capacity at the district level and state level. He was the first person in the VPPA to serve twice as President. For 20+ years he served as councilor to the PPA representing Virginia and was also the annual state print competition jury chairman. From the VPPA he earned the Fellow of Photography degree which is their highest degree, was awarded The PPA National Award and was made a Life Member in honor of his service to the association.
At the regional level, he served on the board of SEPPA which culminated with him serving as its President. From PPA, Tony earned his Master of Photography and Photographic Craftsman degrees--the two highest photographic degrees they offer and was honored with a Life Membership in 2012. I started working for Tony in 1986 as his assistant. He took the interest that I had in photography and turned it into a marketable skill and a lifelong talent. He taught me everything about good photography: not only the artistic side—proper lighting & posing, composition and color balance but also the business side. His studio had not only a black & white darkroom but a color darkroom as well and so I learned those techniques which, even in today's world of digital photography, serve me well. As Tony used to say, a great image is a great image no matter the medium. I say without hesitation or second thought: I would not be the photographer I am today without having known and learned from Tony. Tony was a true believer in "paying it forward". When I joined VPPA in 1987, he told me that, as a new member, I would learn from those who were longtime members and it would save me a lot of heartache by learning from the mistakes they had made when they were first starting out. I would then pay it forward and help new members myself when I became a longtime member. Had I not worked for Tony, I probably never would have joined VPPA and would not now have 25+ years worth of memories and photographer-friends that I have gained through my membership. For that, and many more reasons, I am eternally grateful. Tony's photographic legacy lives on through the photographers he mentored and through those that his apprentices have, in turn, mentored. He has not left the world of photography because he died. He will leave the world of photography when all of those he taught--directly and indirectly--die. I see that as a long time from now. There was a time in the late 80's and early 90's when Tony's wife, Jo, would yell to us, "Have fun storming the castle" (which came from the movie, “The Princess Bride”) as we would leave the studio on Saturdays to photograph a wedding. Throughout the 90's that Tony would announce, "High roller coming through" (from the television show, “Coach”) as he would pass by me in the darkroom. Even today, some 20 years later, I always think of him when I hear those. So for one more time I’d like to say, “Tony—have fun storming the castle” and I'd like to ask everyone to join in me in announcing, "High roller coming through”.