Official Publication of the Texas Professional Photographers Association, Inc.
VOLUME 51 - #4 June/July 2016
Magazine Editor
Bill Hedrick, M.Photog.Cr. 1506 E. Leach St. Kilgore, TX 75662 903-985-1080 Editor@cablelynx.com
Executive Director
Doug Box, M.Photog.Cr P.O. Box 1120 Caldwell, TX 77836 979-272-5200 dougbox@aol.com
Printing by
Complete Printing & Publishing 1501 W. Panola Carthage, TX 75633 800-964-9521 www.CompletePrinting.com
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ON THE COVER “You Can’t Make Me” was created by Victoria Kemp of Cresson, Texas. The subject is her grandaughter, Adalyn, just prior to her second birthday. The image was made in front of three antique doors bolted to the studio wall. Exposure was f11 at 1/100 second and lit with two Flashpoint 320-M Monolights. “The best thing about print competition is what you learn in the process,” says Victoria, who credits Brad Barton and Phaneendra Gudapati, among others, for their input after the image was originally entered on the guild level and won FWPPA Portrait of the Year in 2014. “Fellow competitors are so willing to help you improve your skills. Their input and critiques were priceless and the result is a merit image of which I am very proud.”
Don’t Miss It! See Pages 19-34
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5
The Way I See It
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Where Life Takes Us
A Message from TPPA President, Steve Kozak
A Photographic Odyssey by Earl Nottingham
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Spotlight: Karen Butts
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Product Photography
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PhotoGenesis 2016
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Spotlight: Tim Babiak
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Your Pathway to Success
38
Off-Camera Flash
44
Military Art
50
Guild News
“Enthralling Thoughts”
With the End in Mind by Cris Duncan
San Marcos, Sept. 30 - Oct. 2 by Trey Homan
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“Just Lounging”
What TPPA Has To Offer
From Daylight To Dark by Alison Carlino
Keeping It Authentic by Connor Fuller
What’s Happening Around the State
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The Texas Professional Photographer is the official publication of the Texas Professional Photographers Association, Inc. Acceptance of advertising or publishing of press releases does not imply endorsement of any product or service by this association, publisher, or editor. Permission is granted to similar publications of the photographic industry to reprint contents of this publication, provided that the author and this publication are credited as the source. Articles, with or without photographs, are welcomed for review for inclusion. However, the editor reserves the right to refuse publication, or if accepted, the right to edit as necessary. For more information, visit www.TexasProPhotoMagazine.com. Send all communications, articles, or advertising to: Texas Professional Photographer, 1506 E. Leach St., Kilgore, TX 75662. Phone (903) 985-1080, or Editor@cablelynx.com.
TEXAS PROFESSIONAL PHOTOGRAPHER
June/July 2016
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2016 TPPA Executive Council President Steve Kozak l
Steve@stevekozak.com
5323 Fig Tree Ln., Grand Prairie, TX 75052 (972) 601-9070
Vice-President Trey Homan l
Your TPPA Friends
Trey@ehoman.com
17222 Classen Rd., San Antonio, TX 78247 (210) 497-3809
Treasurer Tammy Graham l
Tammy@locationsphotography.com
3300 Joyce Drive, Ft. Worth, TX 76116 (817) 300-0780
Secretary Ross Benton l
Ross@StudioBenton.com
1876 Nacogdoches Rd., San Antonio, TX 78209 (210) 804-1188
Councilman-at-Large Jenny Rhea Eisenhauer l
photographybyjennyrhea@hotmail.com
12218 Old Stage Trail, Austin, TX 78750 (512) 626-3309
Councilman-at-Large Randy Pollard l
Randy@L-annimaging.com
54 Superior St., Victoria, TX 77905 (361) 570-8326
Chairman of the Board Stephanie Ludlow l
Stephanielonghorn@yahoo.com
205 N. Mays, Round Rock, TX 78644 (512) 246-0063
Executive Director Doug Box l
DougBox@aol.com
P.O. Box 1120, Caldwell, TX 77836 (979) 272-5200
Texas School Director Don Dickson l
Don@DonDickson.com
1501 West 5th, Plainview, TX 79072 (806) 296-2276
Magazine Editor Bill Hedrick l
Editor@cablelynx.com
1506 E. Leach St., Kilgore, TX 75662 (903) 985-1080
PPA Councilors
W
ow! Texas PPA has grown in 2016. We are very excited about having so many new friends at our events. But with this growth comes the challenges of getting everyone plugged in and connected. Networking and “breaking the ice” do not always come natural. So, with Summerfest coming up and PhotoGenesis right around the corner, here are a few tips that will help all of us get off on the right foot at these events. If you have been around TPPA for some time, you know the ropes. I encourage you to reach out and say hello to folks you don’t yet know. Ask them if they have any questions and share some of your favorite things about TPPA. Try asking someone you don’t know to join you for lunch or dinner or even just a coffee. Introduce them to other photographers who might be inspiring. Remember, most of our new friends are not full-time photographers and probably don’t have a studio. Let them know that is ok and that they are in the right place to learn how to take their photography and their business to the next level. You might want to tell them how you started out and what TPPA has meant to your success. Then, have your business cards ready to share with new friends who might like to follow up sometime after the event. If you are new to TPPA, make a point to attend all of the evening social events. These will be some of your best opportunities for making new friends, do some networking, and more. Do not sit by yourself or stay in your room. Get out there and introduce yourself and let folks know that you are new to TPPA. If you are one of our student members, resist the temptation to just hang out with your other student friends. It is important for you to plug in with the other members who will provide you with outstanding network opportunities. Remember, these are your new colleagues. A little effort goes a long way in helping new members get plugged into the TPPA family. I look forward to meeting all of you at a TPPA event very soon.
Gabriel Alonso (Ft. Worth), Brad Barton (Grand Prairie), Doug Box (Caldwell), Don Dickson (Plainview), Cris Duncan (Lubbock), Walter Eagleton (Denton), Elizabeth Homan (San Antonio), Trey Homan (San Antonio), Fonzie Munoz (Corpus Christi), Randy Pollard (Victoria), Cliff Ranson (McAllen). To contact any of your PPA Councilors, you may obtain their phone numbers from the TPPA Membership Directory or visit the TPPA website at www.tppa.org Complete financial information on Texas Professional Photographers Association is available to any TPPA member by contacting Doug Box, Executive Director, P.O. 1120, Caldwell, TX 77836 dougbox@aol.com.
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June/July 2016 TEXAS PROFESSIONAL PHOTOGRAPHER
If you are not a member of Texas PPA, this is my personal invitation to you to join! Email me personally at Steve@SteveKozak.com or call 972-601-9070.
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Earl Nottingham, Chief Photographer Texas Parks and Wildlife Department
W
ith a deep sigh of relief, I watched the campus of East Texas State University fade in my rear view mirror as I drove out of Commerce, Texas, on graduation day in 1978. For the previous four years my young life had been confined to the small rural town where there was nothing to do but study, party and occasionally fish. I had originally chosen ETSU based upon its reputation as one of the finest universities in the country that offered a Bachelor’s degree in photography. And while it did offer a wide range of photo courses including commercial photography, portraiture and cinematography I soon found myself disillusioned by having to take a myriad of other classes that seemed to have no relevancy to my becoming a professional photographer.
by EARL NOTTINGHAM
“My passion is photographing the people, places and things of Texas. I’ll keep doing it as long as there is light in the sky and in my eyes.” 6
June/July 2016 TEXAS PROFESSIONAL PHOTOGRAPHER
Classes like marketing, retailing, art history, journalism and especially computer programming seemed to have no bearing at all on my plans in life and each put a major dent in my extracurricular activities; namely the aforementioned partying and fishing. Little did I know (or appreciate) at that time that this little school in the woods had given me the exact tools I needed to survive in the competitive world of photography by providing the fundamental skills required by various genres of photography. With a degree in my pocket and now freshly engaged to my high school sweetheart, my first career stop was at a commercial studio in Oklahoma City where I enjoyed shooting product and food photography as well as commercial aircraft. My previous darkroom training allowed me to process and print the images I shot. It wasn’t long however that the fiancé decided that Oklahoma City was a little too far from mom and dad (I should have seen the handwriting on the wall) so I returned to Central Texas where I began my own freelance photography business and contracted with other studios specializing in commercial photography and location portraiture. As with many businesses, the first few years were a financial and emotional struggle, resulting in heavy debt as well as a failed marriage to the high school sweetheart. However, over time, thanks to those business practices learned while at ETSU, along with a solid grounding of the technical and artistic requirements of a professional and marketable photograph, the balance sheet gradually turned black and good things started to happen – such as earning my PPA Masters degree and finding the perfect wife. TEXAS PROFESSIONAL PHOTOGRAPHER
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The wild wind hit me gradually, starting in the later 1980’s. Although I had developed a good reputation for my portrait and commercial work, there was that little voice in me wanting to try some other type of photography- something out of a studio. To help answer that question I spent over an hour one evening at the local book store’s magazine rack poring over every magazine that was on display asking myself, “Is this the type of photography I’d like to do?” Of course, National Geographic was at the top of the list but reality told me I needed to start with practical and obtainable goals. I noticed other travel-related magazines such as Condé Nast Traveler and Southern Living. Wow, who wouldn’t love traveling the world or US and shooting fun and exciting locales? But I noticed, hidden halfway behind those venerable travel publications, were side-by-side issues of Texas Highways and Texas Parks & Wildlife magazines. It immediately hit me that, as someone who loves to travel the state of Texas, and as an avid outdoorsman, this type of photography, and especially these two publications could offer a realistic path to shooting what I really love. But how to get a foot in the door...? Call it a wild hair or call it fate, I opened up the Texas Highways magazine and immediately on the masthead I saw the name of the photo editor. Directly below his name was an office phone number which I quickly jotted down on a piece of paper. Early the next morning I called the number and was surprised to immediately get the photo editor on the other end. Since he had no idea who I was I knew it would be pointless, unprofessional and even rude to just ask for an assignment. Instead, I told him my name and that I would be interested in shooting, on speculation, any holes they may have in any upcoming story. I was shocked to hear him say that there was a story scheduled on the Frio river that they could use some images on. That was all I needed to hear! For the next week, I photographed the Frio river to the best of my ability and not only did several of my images make it into the magazine but one turned out to be my first cover shot. My foot was in the door! Over the next few years, while maintaining my portrait and commercial work, I began to shoot more stories as a freelance for not only Texas Highways but other publications such as Texas Monthly, Southern Living, National Geographic, Traveler and others, especially Texas Parks & Wildlife. Then in 1996, an opening for a staff position as chief photographer for the Texas Parks & Wildlife Department came up. The job entailed not only shooting for the magazine but also for providing images agencywide for internal and marketing needs. It required not only shooting the iconic landscape, nature and wildlife images that the agency is known for, but also the routine, often mundane shots such as product photos, executive portraits and even the dreaded “grip-n-grins.” The photo editor for the magazine suggested that I apply for it but humorously added that everyone in Texas who owns a camera had applied for the position – there were hundreds of applications! Needless to say that I won the lottery but a lot of it was a result of the relationship that had been built up over several years as a freelance provider.
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June/July 2016 TEXAS PROFESSIONAL PHOTOGRAPHER
The road from East Texas State University to this mountaintop in the Big Bend where I’m sitting on a boulder and waiting for magic light has provided a wild and exciting ride; full of many unexpected turns and detours. However, just having the opportunity to pursue and execute a beautiful photograph (and I think I speak for most photographers) is what keeps us positive and seems to smooth out and even trivialize many of life’s little issues. I’ve never seen a group of unhappy photographers. That same road from East Texas has also instilled in me one truth about photography. If you are a good portrait or commercial photographer, you can be a good wildlife or nature photographer. If you are a good wildlife and nature photographer, you can be a great portrait or commercial photographer. The dirty little secret is that all genres of photography share similar common denominators that most professional photographers already instinctively know and practice. Those denominators include technical basics such as appropriate focus and exposure. Artistic considerations include impactful lighting (either natural or modified), classical composition using such elements as leading lines, rule-of-thirds, color harmony and, above all, that one serendipitous “cherry on top” that we never plan for but can make all the difference between a good photograph or a great one. In nature photography that “cherry” can be something as simple as a single dewdrop on a leaf or the unpredictable last evening ray of orange sunlight peeking through the clouds. Just as a portrait photographer would be ready to catch that split-second fleeting expression from a subject; so should the outdoor photographer be ready for nature’s own expressions and body language. To paraphrase one of my favorite lines from a movie - “Life (photography) never goes the way you intend it to. What happens instead can be the good stuff.” www.earlnottingham.com TEXAS PROFESSIONAL PHOTOGRAPHER
June/July 2016
“Enthralling Thoughts” was made by Karen Butts, M.Photog., CPP, of Cypress, Texas. The original capture of Karen’s two-year-old grandson was taking while visiting him in Austin. She loved the pose that he fell into while holding the stick and balancing on the tree. She also loved the natural light falling on his face, but was very distracted by the blown out background. Determined to save this capture of her grandson, she took parts of images taken during a family session at a more beautiful location and combined them in Photoshop to complete the image. The final image was then painted in Corel Painter. “Enthralling Thoughts” was her first Master Artist merit. Karen began her photography career at the age of 55 after attending the Texas School of Photography in 2004. She studied under Darton Drake and came home so inspired that she quit her day job to follow her heart. From the time she could hold a crayon, she wanted to become an artist, but life and three children got in the way. Karen has attended Texas School every year since 2004 eager to receive another jolt of inspiration. It was a given that she would be interested in taking Corel Painter classes from Helen Yancy and Jim Cunningham. This year she studied Painter under Marilyn Sholin.
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June/July 2016 TEXAS PROFESSIONAL PHOTOGRAPHER
by CRIS DUNCAN
I
f you have been in the photography industry for a while, you most likely have heard of the concept of “consultations” or “planning sessions.” No doubt, they are valuable tools for a studio to help educate a client about clothing, color harmony, locations and what products we have to offer. This time also affords us a time to truly understand what the client wants from the session. We do them in our studio as well and they most definitely benefit both the studio and the client, when the day of the session arrives. One of the questions we have learned to ask in these planning sessions is, “Where would the client like to display their portrait?” This will help me while photographing so I can give Deanna the best opportunity for greater sales. In portrait situations, very rarely does the image layout play a deciding factor in the image creation process other than a vertical or horizontal orientation and this is easily done with a quick rotation of the camera. Provide two options and the problem is resolved. In commercial photography, knowing the layout or the “end use” is extremely important. In fact, it can make or break the assignment. Thus, in the world of commercial photography, the “planning session” is critical. Unlike a portrait client that may make several image selections, a commercial client has a specific message to portray and many times your client only needs one image, so make sure the image you provide is the image they need. To ensure this, it is imperative that you know the “ending.”
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Other questions I ask any commercial client include how will the image(s) be used? Do you have a layout? What ratio will the final piece be? Will it have copy (text)? Is it for packaging? A magazine cover, spread or 1/3 page banner? Is it for a website header, window film, direct mail, point of sale, etc? One thing I have learned is that all of these require a different approach. For example, I was asked to photograph images for tea dispensers that would be in their local delis and convenience stores. The client already had a concept for the images. They wanted it to appear as though a fresh glass of tea was being filled at the dispenser. My questions were, “What are the dimensions of the dispenser? Where is the nozzle? Where will your copy be?” I photographed the following image (Image 1) at our studio and immediately opened the image in Photoshop and created a mock layout with the art director. (Image 2). The final ratio was 6” wide by 21” tall and
IMAGE - 1
IMAGE - 2
the dispenser valve was placed at 10” from the bottom. After some minor tweaking of the scale and camera position, we began to photograph each glass, knowing that they would work for the intended purpose. You can see the final product here. (Figure 3). Many of the commercial assignments we do are for promotional pieces and they seem to never have the same layout design. One in particular is for a year long promotion for a chain of Supermarkets called “Color Your Basket.” The marketing team had a concept of a piece that would feature all the fresh and healthy options their stores had to offer and is approx. 6 feet tall and 20 inches wide. The final design will also have copy in the top-middle portion, or about eye level. On the floor of my studio, we drew pencil marks in the exact size of the final layout and I then placed a manilla folder in the layout where the copy would be placed (Image 4). I will often do this technique when we are designing an image to make sure I leave room in the design for the ad-copy. Once again, I photographed tethered and created a crop
IMAGE - 3
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June/July 2016 TEXAS PROFESSIONAL PHOTOGRAPHER
IMAGE - 4
IMAGE - 5
preset in Lightroom so we could see how the layout was working. Once we had a design that worked, I removed the manilla folder and photographed the final image (Image 5). I have also included another image from the same shoot using the same process (image 6). One of my favorite parts of commercial photography is the collaboration with the client. Often, they will have a general idea and I have the opportunity to help them in bringing their idea to life. It is so much fun working through the process with your client and creating an image that serves their business. I encourage you not to be afraid to have productive discussions with the client. You are the expert and oftentimes will think of something they may have overlooked and together will create the image they are needing. One thing I was taught by Joe Glyda is that a commercial photographer must be a problem solver. Your ability to find a way to solve the issues you encounter will greatly serve you in this field. In the previous images, we all worked together arranging and moving items around thinking about color harmony, balance and scale. One final example is a job for a print house that was in need of some website header images that portrayed what they do. Again, I asked the same questions so that the images I created could be used in the way the client needed (Image 7 & 8).
IMAGE - 6
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In hindsight, I understand that this seems like a common sense approach. However, early in my career I was asked to photograph over 10,000 items for a product catalog. From a design standpoint it was fairly simple. All items were to be photographed on a white background. After the first shoot, the sales manager and art director called me and asked me to re-shoot some items because they “could not use these.” Needless to say, I was embarrassed and frustrated. It wasn’t that the images were bad, it was that they didn’t fit their layout design. I was photographing from a portrait mindset... some vertical, some horizontal, some close ups, some farther away, etc. What I had failed to do was ask some important questions. The client was very gracious and we had an extensive planning session and I asked to see a draft of the catalog, they obliged and I finished the assignment and all parties were satisfied. This was a valuable lesson. I hope that you will not have to go through what I did on that shoot so here are a few action items to help: 1. Always ask about the end use and for a layout. Ask for final sizes and where the copy will be. As you photograph, continue to make sure that images will work with the final design. 2. Photograph commercial assignments tethered. This will help give you and the art director a way to communicate and make sure you are on the same page when it comes to their layout and needs. I will often create a crop preset based upon the finished size to ensure my perspective though the viewfinder will translate to the final design. 3. Ask lots of questions. Many times, the client has a general idea and through a series of questions you will begin to collaborate and come up with a solid concept. This has many benefits, one obviously being that the image will serve the client, but also it shows the client that you care about their business and are there to help them succeed and that will build a long lasting business relationship. 4. You are an expert, do not be afraid to add your opinion and ideas to the shoot. Oftentimes, your input is something they did not think of. 5. Provide your client with images that require little post processing on their end. Many times, your client will have a marketing team that will do all art work on the final design. The less they have to do to your image, the better. That saves them money and they always appreciate that. 6. Have fun and happy creating.
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IMAGES - 7 & 8
Cris Duncan owns and operates CjDuncan Photography in Lubbock, Texas, with his bride, Deanna. They offer both portrait and commercial services. The Duncans are Texas School Instructors and founders of Find Your Focus Photographic Education. Learn more at www. cjduncan.com Cris will be presenting two workshops at Summerfest on “What Portrait Photographers Need to Know About Commercial Photography.”
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Texas Professional Photographers Association Convention
The PhotoGenesis Experience
September 30 - October 2 San Marcos, Texas
PHOTOGENISIS is for YOU! Come experience a new look for conventions. Spend time rejuvenating by exploring the roots of your origins in photography. Develop your inner artist by exploring other artists who have the same passion. Feel good about a new you by exploring the large outlet mall that is almost next door. Relax in the large, comfortable rooms of the Embassy Suites. Enjoy a free hot breakfast every day to stoke your creative fires. Experience new products by sharing in hands-on product training. Share your passion with someone else. And leave refreshed. Registration for this event is $129 for TPPA members or $159 for non-members. If you plan to attend any of the Location Excursions, there is an additional fee of $79 for TPPA members or $99 for non-members. Class sizes will be limited, so sign up early!
Test Drive Product Lab - Have you ever wanted to try something out before you bought
it? Come share in hands-on demonstrations with the best product representatives in the country. Get answers to your technical questions about a product. Try out new products with your own gear. These vendor-driven sessions will provide a clearer understanding about products and see how they can enhance your photography.
Photo Excursions - Bring your gear and get ready for a fun and inspiring photo shoot. These on-location venues provide you with a chance to photograph models and to try out different equipment. At the location will be a short demonstration by a Photo Coach who will be there to assist you. Come experience these one-of-a-kind locations and get ready for something new and unusual. Transportation is provided. People’s Choice Print Competition - You get to be a judge! Entries will be displayed and each attendee votes on their favorite images. Get your images critiqued for free. Then ribbons and trophies will be awarded to the favorites of the show. It’s easy and fun!
Walk-Up Workshops - Come to the ultimate share-and-learn workshop. Learn a new
technique or see an idea demonstrated by one of your peers. This is a very casual and informal learning environment where you walk up to a table that is hosted by a fellow photographer and see techniques, new concepts, or ask for advice. You can spend a couple of minutes checking things out or the entire 45 minutes of the host’s assigned time. These are not sales tables. Everyone is there to assist you in becoming a better photographer.
Inspire Workshops - Be inspired, be motivated, and get recharged! Listen as these photographic artists speak about their lives as photographers. These are relaxed programs that will change the way you think and feel about photography. Some workshops will also include hands-on art projects.
Embassy Suites San Marcos Hotel, Spa & Conference Center 1001 E. McCarty Lane San Marcos, Texas
512-392-6450 (ask for “PhotoGenesis Conference”) Or go to TPPA.org/photogenesis Room Rate: $139 plus tax
All Convention Series - Listen to high impact speakers who will change your life. Discover your inner artist and truly find your passion as a photographer.
2016 PhotoGenesis Regional Photo Conference & Trade Show
Friday, September 30 8:00 AM - 3:00 PM
Registration Desk Open - Convention Center
9:00 AM - 1:00 PM
*Excursion: Connor Fuller - “Photographing Weapons”
9:00 AM - 1:00 PM
*Excursion: Dominique Harmon & Barry Nelson - “Photographing Seniors”
9:00 AM - 1:00 PM
*Excursion: Jim Kryzak - “Photographing Ballet”
12:00 PM - 1:30 PM
Lunch on Your Own
3:00 PM - 5:30 PM
Tim Babiak - “Demystify Sales! Secrets for Photographers” - Veramendi A&B
3:00 PM - 5:30 PM
Kim Hartz - “Ins and Outs of Pet Photography”
sponsored by White House Custom Colour - Veramendi C&D
5:30 PM - 7:00 PM
Dinner on Your Own
7:00 PM - 10:00 PM
Alison Carlino - “Off-Camera Lighting, Daylight to Dark”
sponsored by Miller’s Lab & PhotoFlashDrive.com - Veramendi A&B
Saturday, October 1 7:00 AM
Registration Desk Opens - Convention Center
7:30 AM - 8:45 AM
Inspire Workshop - Jennifer & Robin Janson - “Sports Composites” - Veramendi A&B
7:30 AM - 8:45 AM
Inspire Workshop - Marc Bailey - “Simplicity is Genius” - Veramendi C&D
9:00 AM - 11:00 AM
Inspire Workshop - Doc List - “The Power of Passion Projects”
sponsored by Bay Photo - Veramendi A&B
9:00 AM - 11:00 AM
Inspire Workshop - Ron Castle - “Real Estate Photography” - Veramendi C&D
11:00 AM - 3:30 PM
Trade Show Open - Veramendi E
3:30 PM
Vendor Meeting in Trade Show
3:30 PM - 5:30 PM
Bryan Welsh - “The Craft of Photography: Using the 12 Elements Every Day” - Veramendi A&B
5:30 PM - 7:00 PM
Dinner on Your Own
7:00 PM - 9:00 PM
Cliff Ranson - “First Three Songs... No Flash” sponsored by Pounds Labs - Veramendi A&B
9:00 PM - Midnight
Flash Party Concert by “Costello” & Shooting Bays sponsored by Sweet Light - Veramendi A&B
Sunday, October 2 7:00 AM
Registration Desk Opens - Convention Center
7:30 AM - 8:45 AM
Inspire Workshop - Jennifer & Robin Janson - “Pre-School Photography” - Veramendi A&B
7:30 AM - 8:45 AM
Inspire Workshop - Marc Bailey - “The ABC’s of C.A.S.H.” - Veramendi C&D
9:00 AM - 11:00 AM
All Convention - Amanda Holloway - “Senior Portraiture”
sponsored by ProDPI and Fundy - Veramendi A&B
11:00 AM - 2:30 PM
Trade Show Open - Veramendi E
11:30 AM - 2:00 PM
Walk Up Workshops - Ten Speakers - in the Trade Show
1:00 PM
Print Awards Presentation - in theTradeShow Area
2:30 PM - 5:00 PM
All Convention - Lindsey Adler - “Fashion Flair to Wow Your Clients” sponsored by Canon USA
*Additional Fee Required for Excursions. Class size is limited (see registration at www.TPPA.org/photogenesis).
People’s Choice Print Competition and Portfolio Review ...and it is FREE!
A Photo Competition for Photographers of All Levels And YOU Get to Judge! No photo conference would be complete without a Photo Exhibit and the officers and staff of Texas PPA have this event where EVERYONE gets to select the winning images! That’s right, since we’re having a fall conference, and since we’ve just had an Affiliated Print Judging at the recent SWPPA Conference, we’ll have a fun and exciting People’s Choice Photo Contest and you are invited to be a part of it. All attendees are urged to bring two images to the show. They can be new images or they can be images that have already been judged and scored. It doesn’t matter. All of these images will be displayed and numbered and each attendee can vote on their favorite prints of the exhibit! Trophies and ribbons will be awarded to the winners and you might just be one of them! Join the fun and bring TWO prints to this year’s competition. There is NO ENTRY FEE as long as you are registered for PhotoGenesis 2016. Prints will be displayed and attendees will “vote” on their favorite entries. It’s a chance to judge prints for yourself. Prints must be a minimum of 16x20 and a maximum of 20x24 and must be mounted on sturdy artboard backing (minimum 1/8 inch thick, maximum 3/8 inch thick), including the photo itself. Images that are too thick or too thin CANNOT be displayed on our print display racks and therefore will not be judged. In addition, prints cannot be under glass and cannot be framed. Remember, it does NOT matter if your prints have been previously entered! So, bring two of your best prints and see what happens. Awards will be presented on Sunday afternoon. A complete list of rules as well as entry form can be found ONLINE at www.TPPA.org/photogenesis.
Portfolio Review - Have you ever wanted to have your photography reviewed by an expert? This is your chance. You’ll learn what the experts look for and how to improve your photography. These experts will be on hand Saturday afternoon for a “one-on-one” review in private. You will learn more in a few minutes than some learn in a lifetime about making great, winning photographs.
ENTRY FORM and GENERAL INSTRUCTIONS & RULES AVAILABLE ONLINE AT www.TPPA.org/photogenesis
LINDSAY ADLER
MARC BAILEY Simplicity is Genius. Simple Techniques. Big Results
Fashion Flair to WOW Your Portrait Clients
Saturday, Oct. 1 at 7:30 am to 8:45 am
Sunday, Oct. 2 at 2:30 pm - 5:00 pm Sponsored by Canon USA
“The ABC’s of C.A.S.H.” Sunday, Oct. 2 at 7:30 am to 8:45 am
F
ashion photographer Lindsay Adler’s fashion editorials have appeared in numerous fashion and photography publications including Marie Claire, InStyle, Elle, Rangefinder, Professional Photographer and dozens more. As a photographic educator, she is one of the most sought after speakers internationally. Her clean, bold, and graphic style has become the hallmark of her work, whether shooting advertising campaigns, designer look books, jewelry, hair campaigns, fashion editorials, or professional athletes. Lindsay’s energy and enthusiastic teaching style showcase her excitement to share her passion and knowledge with others, whether it is world-wide through prestigious platforms such as CreativeLive, KelbyOne, and the industry’s largest conferences, or through her blog, ipad and iphone apps, DVD videos, online tutorials or her four books. She is located in Manhattan, shooting fashion full-time, and is very honored to have been named a Canon Explorer of Light.
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oin Marc Bailey for two informative programs at this year’s TPPA Summerfest. Get up early and join the fun.
Saturday Program: Grab a coffee with a lid, because you will be on the move with this energetic, live location photography demonstration. This fun session will show you how to use simple camera techniques that will immediately increase your skill level. Also, you will learn how to master any location, anywhere along with balancing natural & strobe lighting. Increase your skill to develop your style. So get up early and let the java flow. Sunday Program: Who needs money? We do. Find out how to make more without spending a dime. This fast energetic class will show you how to improve your process, policies & bottom line. What are the 5 golden rules to produce more cash? You will find out and leave this entertaining seminar ready to increase your cash flow. You will be amazed how these self-working adjustments will be a turning point in your career. Money isn’t everything, but it doesn’t hurt anything either.
ALISON CARLINO Lighting Off-Camera from Daylight to Dark
TIM BABIAK Demystify Sales! Secrets for Photographers
Friday, Sept. 30 at 7:00 pm to 10:00 pm
Friday, Sept. 30 at 3:00 pm - 5:30 pm
Sponsored by Miller’s Lab & PhotoFlashDrive.com
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hotographers are like most people – we don’t like selling! While some photographers are fortunate enough to employ dedicated sales people, most photographers find themselves in uncharted waters when it comes to asking for money in exchange for their work. While many photography resources talk about marketing, pricing, products and approaches like projection sales, none of them address the overall sales process. This presentation provides the road map to understand the overall sales process from “Hello” to “Thanks for the order.” Tim will reveal time-proven strategies and tactics to improve your top line, including: • Overview of the sales process •Increasing up-sales • Ten ways to gain favorable attention •Five ways to close the sale • Six classifications of objections •Uncovering hidden objections •The most important word everyone wants to hear •Five methods of handling objections •How to make your client want your product •How to know when your client is ready to buy •The number 1 key method to improving perceived value •Gaining referrals, reviews and testimonials
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oes flash or lighting off-camera terrify you? Perhaps you’re ready to take that flash off your hot shoe but aren’t sure where to start. Maybe you’ve been using off-camera lighting for a while and just want to see how someone else creates with it. Regardless of your situation, Alison Carlino has the answer. Sponsored by Miller’s Professional Imaging and PhotoFlashDrive.com, Alison will share a number of topics including: •4 ways to control lighting off-camera • How to visualize the style of the final image then work backward to light it • What kind of gear you need and don’t need • Using reflectors, speed lights, strobes, gels, light painting, and video light • Posing tips and cropping placement in camera for males and females • Live demo with a couple to demonstrate how Alison eases them into posing that feels natural to people who are not naturals
RON CASTLE Real Estate Photography: A Starting Point Saturday, Oct. 1 at 9:00 am to 11:00 am
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his program will cover some basics of architectural/real estate photography from capture through post-processing. Ron will cover setting up camera angles for good composition and how to minimize post-processing corrections through proper camera/ lens placement. He will emphasize the use of available light along with exposure fusion (of multiple exposures) to keep the capture process as fast and streamlined as possible. In addition, Ron will present a simple Lightroom CC-based post-processing workflow that helped him get started in the Real Estate photography field. Ron’s goal is to provide enough basic information for a prospective real estate photographer to get started and be able to produce high-quality, impactful images for their clients with a minimum of special equipment. Ron was featured in the February/March issue of the Texas Professional Photographer. To view that article, go to TexasProPhotoMagazine.com.
CONNOR FULLER Excursion: Photographing Weapons Friday, Sept. 30 at 9:00 am - 1:00 pm -additional fee required-
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oin Connor as he demonstrates how to create photographic art from a concept to a masterpiece. “I love taking a concept from whatever influences it and taking it through the process and coming up with a final print and whether it’s displayed in my home, a local art show, or the IPC gallery, these works mean a lot to me and are very personal and I want each of them to have a stirring emotion with anyone who sees them,” explains Connor. Program topics include: •Creative elements as well as the technical side of creating your art •Photographing weapons safely for realism •Executing a concept so that it works with your model •The “tricks of the trade” of photographing edged weapons and guns •Getting the proper expressions from models to convey the message of my concept To learn more about Connor, check out his article on page 44 of this issue of the Texas Professional Photographer.
DOMINIQUE HARMON & BARRY NELSON
Friday, Sept. 30 at 9:00 am to 1:00 pm
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You’ll not want to miss a minute of this informative and entertaining program packed with details about the quick rise of their business and how today’s senior market has allowed all of it to happen. This on-location, hands-on excursion will include models so you can see how it all works through the lens of your own camera. There is an extra fee and class size is limited, so register now and be a part of it all.
Senior Portraits with a Flair
Sunday, Oct. 2 at 9:00 am to 11:00 am
-additional fee required-
rom the very start of their highly successful photography business more than ten years ago, Barry Nelson and Dominique Harmon have focused on the lucrative senior market. Since that time, they have been named as one of the top senior photographers in the nation by Senior Photographers International and have shared their message with other photographers around the country.
KIM HARTZ
AMANDA HOLLOWAY
Excursion: Senior Photography
Sponsored by ProDPI & Fundy
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manda Holloway has gained the reputation as one of the top senior photographers in the industry, earning the respect of peers around the world and accolades from industry print and web media outlets. What she promises to her clients is a couture photography experience that focuses on their true beauty – inside and out. She works with her clients to transform them into the wonderful women they want to be, and feel as though they just walked off the pages of Vogue. In her field, Amanda is often called upon to share her experiences as a businesswoman and artist, speaking to professional gatherings and hosting knowledge-driven workshops to help improve the craft and businesses of others. Amanda’s approach to both business and photography is fresh and modern with bold, rich color – she brings art to the world for her clients and her contemporaries. Don’t miss a minute of this presentation.
JENNIFER & ROBIN Sports Composites JANSON Saturday, Oct. 1 at 7:30 am to 8:45 am Pre-Schools
The Ins and Outs of Pet Photography Friday, Sept. 30 at 3:00 pm to 5:30 pm Sponsored by White House Custom Colour
Sunday, Oct. 2 at 7:30 am to 8:45 am
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re you interested in adding pet photography to your business or expanding your current pet photography business? Understanding that pet photography is not just a snapshot of your client’s dog, but an art piece that happens to feature their fur baby is key to success in this market. You must know how to work with pets, how to pose them, and how to light them while also bringing your own distinct style and vision to your work. In this program, Kim will discuss the key points needed for both photographing pets and running a successful pet photography business. You will learn how to develop your artistic style so you can set yourself apart from other photographers in the same market. Knowing how to work with an animal is key to creating a dynamite image for clients and Kim will share her secrets. In addition, she will cover posing for single and multiple pets as well as how to light your pets to create depth and how to highlight their fur in the best possible way. Kim will also discuss the best types of props to use for pet photography as well as how to tailor your business to get pet clients. Pet Photography can be an amazing niche for your photography, so join Kim on Friday and learn how to corner this exciting market.
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olume photography can provide a viable business stream that will add revenue to your bottom line. Robin and Jennifer will discuss how they started in the Volume Business and how they continue to see positive growth in their business and bank account. It was Jennifer’s vision from the beginning to combine volume work with her portraiture, something which has been quite successful and lucrative. In this program you will discover out how to separate yourself from local competitors as well as national chains. Saturday program: Robin and Jennifer will explain and demonstrate their marketing, sales, workflow and delivery. Say goodbye to the past and all the hassles and road blocks that prevented you from getting into the Volume niche. This program will specifically target how to photograph, extract, and design composites that will set you apart from your competition and get you started doing Volume Photography! Sunday program: This will be an overview of Preschools and MDOs. Learn how they market their services, workflow, and how to handle commissions/fund-raisers. This is going to be an exciting 75 minutes of information, so get ready to VOLUME.
JIMMY KRYZAK
CLIFF RANSON
Excursion: Ballet (ogrophy) Friday, Sept. 30 at 9:00 am - 1:00 pm -additional fee required-
First Three Songs... No Flash! Saturday, Oct. 1 at 7:00 pm to 9:00 pm Sponsored by Pounds Labs
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n this on-location excursion, you will be guided through the fun and glorious art of photographing ballet dancers. Ballet dancers are incredible athletes, artists and performers. This will be a hands-on journey into dance photography. It begins with how to talk to the dancer and to get the desired emotion and pose, from the classic ballet positions to incredible poses that you can only get from ballerinas. Several set-ups will be available to provide many different looks.
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or concert photographers, “First three songs, no flash” is the industry standard announcement immediately before leaving the media holding area. After securing your position in the pit, you wait for the lights to go down, the energy rises, and then, there are no second chances. You must capture everything you need for the venue during the first three songs, no excuses.
At the end of the workshops, the group will chassé over to the wine bar across the street and cap off your time together. Jimmy Kryzak has been involved in photography for over 40 years in one way or another. From being the model being photographed to owning a full custom lab in Chicago, he has also been the guy looking through the lens. Jim and his wife Deborah own a dance studio in McAllen, Texas, and are the owners of the Rio Grande Valley Ballet. The Ballet company has been producing shows in South Texas and this year will be the 44th annual presentation of The Nutcracker. They are the longest running show in the Rio Grande Valley.
DOC LIST
Cliff Ranson will detail probably the most exciting fifteen minutes a photographer can experience from the pit directly in front of the concert stage. He will also reveal what it is like to deal with all the backstage personalities associated with the music industry. Having been the House Photographer for the State Farm Arena in Hidalgo, Texas, since 2003, Cliff has photographed over 400 concerts and events. This program will teach you how to photograph in large or small venues, whether professional or amateur events.
The Power of Passion Projects
BRYAN WELSH
Saturday, Oct. 1 at 9:00 am to 11:00 am
The Craft of Photography Using the 12 Elements to Improve Everyday Work Saturday, Oct. 1 at 3:30 pm to 5:30 pm
Sponsored by Bay Photo
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hat excites you? If you could choose ANYTHING, what would you photograph and/or create? What would it take? Who would you work with? WHAT ARE YOU AFRAID OF? Doc has spent the last couple of years exploring the subjects that interest him, from learning how to create composites to his Austin Bodies Project to recreating classic paintings. Each of these efforts has brought Doc several things: overcoming fears, achieving greater mastery of his technique and technology, improving his craft and artistry, establishing a broader reputation, and getting new clients. During this process, Doc had to learn about renting studio space by the hour and as a subtenant. He had to learn about using lights, working with hair and makeup artists, shooting in different locations, finding models, finding inspiration, scheduling, and all the rest. Everything you’ve worried about... Doc has probably worried about, too. In this program, you will talk about your fears and blockers. You’ll explore the obstacles that block your way. You’ll ask the questions that you’ve been wanting to ask but didn’t know who to ask (or you were afraid to reveal your ignorance or inexperience, BOTH of which are curable). Join Doc as he demonstrates how to create a passion piece and how to identify and plan your own passion project.
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o often we think of Print Competition as a way to get hardware (i.e. trophies) but the true value of Print Competition comes in its ability to make us see our work through more critical eyes. Only then can we excel in our own craft and reach our true potential. Using the “Twelve Elements of a Merit Print” as a guide, Bryan will show how you can use the principles of Print Competition to become a better photographer by seeing the world more carefully and with an eye to creating images that will not only please your clients but perhaps win you that coveted trophy you desire. It is a program for anyone who truly wants to succeed in this profession and who wants to separate themselves from all the rest. Make plans to join Bryan in this most informative program on Saturday afternoon.
“Just Lounging,” a merit print by Tim Babiak of Austin, Texas, is the story of a journey in PPA print competition. Back in 2012, Tim found himself enamored with the work of legendary pinup illustrator Gil Elvgren. Tim’s vision was to create work in the style of Elvgren that was a cross between illustrative and photographic. After studying Elvgren’s work, Tim consulted with Austin stylist Allison Lowery of the University of Texas Performing Arts Center. To test the vision, Babiak and Lowery set up a test shoot enlisting the help of local designer and photographer Mark Heaps. Lowery provided wardrobe, makeup and wigs to create the look of the old pinups while Babiak and Heaps studied light and modifiers. In the end, the Westcott 45” soft silver umbrella provided the perfect illustrative look while a loop pattern with a 3:1 ratio appeared similar to Elvgren’s work. Babiak approached a former client who was eager to have a session with this style of photography. After the session was completed, Babiak went to work in Photoshop idealizing the subject and adding the illustrative effect. The image was entered in the monthly print competition at the Austin Professional Photographers Association and took the blue ribbon. Babiak entered the print at PhotoGenesis 2015 where it scored an 84. Afterwards, he submitted the print at IPC and it earned a bronze medal.
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What Photographers Are Saying
About the Texas Professional Photographers Association “I have been a member of TPPA for a number of years and I really enjoy it! All the information and opportunities to become a better photographer are amazing! I also enjoy getting to meet all the other photographers and making new friends.” Cecy Ayala
“TPPA is where I met some of my best friends. These are not only photography friends, they are life friends. It’s one of the best things I have ever done.” Fonzie Munoz
Texas PPA
2016-17 Calendar of Events
Dedicated to Serving Our Members
June 26 - 29, 2016
Summerfest ‘16
La Torretta Lakeside Resort in Conroe, Texas Combine a vacation and a seminar at this beautiful resort on Lake Conroe. It’s for the entire family! Watch for more information in this publication or at www.TPPA.org.
Membership Categories & Rates Professional Active $95 - Open to photographers and employees of photographers who sell photographic services as a business and photographers employed by a firm whose main business is selling photographs. State Law requires that all such individuals hold a Texas Limited Sales Tax permit.
Limited Associate $85 - Open to individuals seriously interested in photography and are engaged in an occupation other than photography. Student $50 - Open to full-time students preparing for a career in photography, in a college or approved vocational/technical school. Service Firm $90 - Open to manufacturers, suppliers, laboratories and businesses supplying photographers; includes one person’s membership. Staff Associate $55 - Open to individuals employed by a Professional Active or Service Firm member or the spouse of a Professional Active member. Staff
Associate membership may be accepted only if employer is current member.
Out of State $65 - Note: Only Professional Active members have all membership rights. Spouses of Professional Active members are exempt from dues, unless
they elect to become a Professional Active member in order to vote or exhibit prints. Limited Associate, Out of State, Student, Service or Staff Associate members may not vote, hold office or enter photographs in competition, unless a special category has been established for them.
2016 TPPA Officers
Ross Benton
Randy Pollard
Secretary
Councilman-At-Large
Jenny Rhea Eisenhauer Councilman-At-Large
Tammy Graham Treasurer
Sept. 30 - Oct. 2, 2016 PhotoGenesis ‘16
Embassy Suites in San Marcos, Texas Join us in San Marcos, Texas, at the beautiful Embassy Suites and spend some time rejuvenating your mind and exploring your roots in photography. See details in this issue.
April 23 - 28, 2017
Texas School of Professional Photography Intercontinental Hotel in Addison, Texas
Join 1,000 photographers for the biggest event of its kind in the country! It’s the best education value in the country for world-class instructors and plenty of fun. More info at www.TexasSchool.org.
Steve Kozak President
Stephanie Ludlow
Trey Homan
Vice-President
Chairman of the Board
Join Texas PPA NOW at www.TPPA.org (promo code: TexasProPhoto16)
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“I have been to and I have photographed at the First Church of Uglyville. There, I said it. Perhaps you’ve been there once or twice, too.” Alison Carlino
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fter 13 years in this industry, I still book venues that challenge every creative bone in my body and, every time I step on these grounds to work, I find myself sticking to the same principles of “lighting” first and “location” second. That’s not to say that I don’t notice the lovely red carpet, wood paneled walls, spotlights on the altar/pews, and the overall gold altar lights that turn the bride’s dress tan and makes her flowers look wilted.
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However, I no longer roll my eyes out of my head because I know the lighting recipes it takes to drown out the loveliness! For the first two years of my career, I was terrified of using flash and wanted nothing to do with it. Instead, I photographed using ambient light. So, if the skies turned to dark clouds or if it rained, it usually meant that I didn’t work that day. The turning point came for me when I was frustrated that I couldn’t record those deep blue skies and the person at the same time. It was at that point when I started adding a speed light near the end of every session to “create” something different... something that made my images stand out. For a long time afterwards, I used that speed light on the camera’s hot shoe. Since there was nowhere to bounce light outdoors, the flash was generally pointed at the subject, creating flat light. This caused me to dig deeper into why my images were so lifeless and I discovered that taking the flash off the camera, placing it on a light stand, and reducing the power settings was the secret! One light turned into two, then three, and then video lights at night.
Several years ago, I began using theatrical gels, something which opened doors to colors the client couldn’t see and, more importantly, something they couldn’t produce on their phone. In the past, I feared the darkness but now I beg my couples to steal away from the dance floor to create imagery they’ll never forget. I love it when it rains and, during the consultation, my clients know that if they’re willing to stand under an umbrella in the pouring rain for 3 or 4 minutes, I can create a backlit masterpiece. So, why should you bother with lighting off camera? The answer is simple... to control the light and to create defined, directional imagery. You want to control the direction, quantity, quality, and color of what is cast onto your subjects. Will the light come from the side, top, bottom, back, or front? Will you use one light or several? The more you add, the less flat the image will be. Will it be soft and diffused or hard and direct? Will you correct the color or add bold new colors to the scene? There is no right or wrong light. It all depends on the type of image you’re trying to achieve. Dramatic colors and bold lighting are the two elements that define my style. I use Profoto D1Air 500w/sec strobes with the Air Remote and Phottix Mitros Plus speed lights with the Odin transceiver to make that happen. I use Profoto’s white beauty dish and a whole host of soft boxes, grids, and yes, I still use the humble umbrella indoors. My favorite combination of lighting is a main light and a backlight. That backlight could be the sun, a reflector, another flash, or a video light... whatever it takes to make my couple pop off the background. The last couple of years, I have inserted four elements into my high school senior and engagement sessions that have really gotten us noticed: smoke, water, gels, and fire! For example, I use ½ CTO gels to drain out warmness in a room along with a custom white balance of about 3500 degrees. The theatricals gels can be used as an accent color to complement the clothing or used two at a time to create a happy accident of fun colors! To add the smoke look, I use baby powder and a smoke machine depending on the look I am striving to achieve. For the water, I use my sprinkler and two lights (main and back) to create a bold water look behind my seniors at night. I also use a common, household spray bottle and colored gels to create finer water droplets behind the subject. Backlight is the key to getting water and smoke to show up. Finally, for the fire, I have used the long-burn
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flash power settings or move the light stand closer or farther away to see how the shadows change. Reflectors serve as off-camera “lights” as well. The first “light” I ever owned is one that I still use to this day: Photoflex 5-in-1 MultiDisc Reflector. I love making an image with one speed light and a reflector opposite it and having the results look like two lights were used. I also use the Lowel iD video light with Bescor battery pack to add a warm kiss of light in front of or behind the couple. Truly, with this light, “what you see is what you get.” Point and shoot, Baby! The truth is that a flash can sometimes kill that romantic mood, no matter how low the power setting. That’s where the video light excels. However, try not to get wrapped up in the gear and simply consider approaching off-camera lighting in a different way. What if you thought about the final look you’re trying to achieve and then worked backwards building the lights, positions, and modifiers to create that image? wedding sparklers to light paint words and shapes in the sky and to draw around the couple. We also spin fire using steel wool with a bungee cord and a whisk! I am also a big fan of underexposing the ambient light. Funny, isn’t it? In reality, I’m actually trying to kill the one thing that I built my business on for the first two years! I like to crank that shutter to sync speed and raise that aperture until the dramatic skies appear and then simply use flash or video light to illuminate the person. Oftentimes, I’ll use different
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If color is the issue, imagine what the final color should be and then work backwards to correct it using filters that drain out that nasty shade. At PhotoGenesis ‘16, I will discuss and show sample photos of many behind-the-scenes lighting setups and exposure settings as well as videos of spinning fire, the lawn sprinkler effect, and playing with the smoke machine. I will also discuss posing men and women and how I work with couples that don’t walk runways for a living. I truly hope you’ll join me in at PhotoGenesis ‘16!
June/July 2016 TEXAS PROFESSIONAL PHOTOGRAPHER
Since that time, I’ve discovered that my artwork has the unique ability to touch the lives of other people and I’ve been privileged to present it to several veterans and even Governor Abbot of Texas. Their reactions are always amazing to me. Working with weaponry and military gear is quite different than many other things commonly photographed in a portrait setting and one of the key aspects to doing it correctly is keen attention to detail. Everything from their wardrobe, to their gear, to the way they hold their weapons, and even their own posture must be correct and convincing. But one of the most critical aspects when handling firearms is safety. Always keep the gun pointed in a safe direction. Always keep your finger off the trigger until it’s time to snap the image. Always treat every firearm as if it is loaded and ready to fire. Besides the obvious safety rules, I also have a few of my own. I was 19 years old when I first began my photographic career and was photographing a senior girl one day who was a competition skeet shooter. Instead of a class ring, she got a very nice semi-automatic 12 gauge shotgun and wanted to include that in her senior session. During that session, I broke a couple of the rules and stood directly in front of the shotgun to get the image. By the time I moved on to the next pose, she pulled the charging handle back and, much to our surprise, out popped a shell from the chamber. I realized in an instant how close I had come to being shot in the face. As a result, I came up with a couple more safety rules of my own... always put your hands on the weapon and ALWAYS put YOUR hands on the weapon! I’m very adamant about these rule, too! I make sure that I handle every firearm that comes into my studio and that I handle them at each location and at all times. The fact is that some hunters and gun enthusiasts get into a habit of loading a round into the chamber whenever their shotgun or rifle comes out of the case.. It is just muscle memory and they think nothing of it. Therefore, I always double and triple check each firearm. This is particularly important because, during a photo session, there are times when we must slightly bend some of the original rules about pointing a weapon and putting the finger on the trigger in order to create an authentic image. Creating any good image begins with a vision. What is your message? What emotions do you want to convey? What is the concept? Are you drawing your inspiration from a video game, a movie, or a real-life story? Once you have the vision, you must tweak it to make it your own. Once that vision is finalized in your mind, it is time to gather the people and props to make it happen. Of course, everything must be authentic to the image. For instance, you would not want to have a military man wearing a mis-matched uniform. If the weapon is a pistol, they should not have a belt with rifle bullets. You get the idea. So be complete in your concept and pay close attention to every detail.
by CONNOR FULLER
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ver since my parents bought me my first set of plastic six shooters, I’ve always been obsessed with guns. I love to shoot them and I love to “shoot” them! But, along with my love of weaponry, I’ve always had a deep passion for the military. On September 11, 2001, I was in the seventh grade and the events of that day made a profound impact on me. Although my intentions at that time were to get into the United States Air Force Academy, my life took a different turn and I eventually fell into this amazing career that I love... photography.
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Finding the right location to fit your concept sometimes requires special permission that goes above and beyond your normal permission or allowances. After all, weapons are involved. People sometimes get nervous seeing a group of people walking down the street armed. When photographing an image titled “Some Gave ALL,” we were next to public school property and used a public street. Permission had to be obtained from the Superintendent of Schools and the local Police Chief. But, even with all the advance notice, we were checked out by a patrolling police officer. Fortunately, he was one of my former high school classmates and loved watching the photo session. Another thing I will do, especially when on a location other than the studio, is to bring along a friend who is or was in the military. This “military consultant” provides valuable insight when certain questions come up... “would someone draw their pistol like that?” or “how would this situation be approached?” Once again, the goal is complete authenticity. One of the TEXAS PROFESSIONAL PHOTOGRAPHER
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finest compliments I’ve ever received from civilians was, “Were you really overseas for this?” Of course, the subject’s expression is a key ingredient in any masterpiece. We don’t always get to use veterans or military personnel when photographing but we still want to get their proper facial cues and emotions. Drawing those emotions from our models can be a real challenge. Whether we need grit, depression, or a “thousand yard stare,” the expression must be on the spot. I find that music often helps to put the model into the correct mind-set. Yelling and physical excursions (pushups, sprints, things of that nature) also help.
When photographing an image titled “Some Gave ALL,” we were next to public school property and used a public street. Permission had to be obtained from the Superintendent of Schools and the local Police Chief.
One of my most recent pieces was a difficult one, not only photographing it, but preparing for it. For “The Price,” I wanted to set the scene of a young woman in her mid-20’s who was holding a folded flag symbolizing that her husband was killed in action. On her right hand, she had a simple golden band which was supposed to really drive home that point. My wife modeled for the shot and knocked it out of the park. But getting “into character” for her took about 30 minutes of watching Grey’s Anatomy, listening to sad music, and me refraining from trying to “cheer her up.” Not everyone is a trained actor/actress like my wife, so talking to your model and letting them in on your vision can provide the final element of the image. “Amphibious Assault” was presented to Texas Governor Greg Abbott With “Amphibious Assault,” I got lucky in the fact that Ssgt. Dillon Palmer, of the USMC, is a grade-A “bad-ass” and we sat down on the bank of a river and discussed my concept with him, telling him the direction I was going and how we needed to get there. He pulled out his phone, played some “Five Finger Death Punch,” and got into character. With his personal investment in this image, we got one of the most intense expressions to date. The real reward for me was presenting that image to Texas Governor Greg Abbott recently. Connor Fuller is a 27 year old photographer from Kirbyville, Texas, who began his photographic career Remember, when you’re trying to create in 2008 as a part-time photographer and moved to a your concept and bring it to life, don’t full-time career the next year. By the time he was 21, he had become a Certified Professional Photographer and, skimp on the safety. Scout your location by age 25, earned his Photographic Craftsman degree and inform the proper authorities. Finally, from PPA. Connor is also one of the program speakers for connect with your model and really focus PhotoGenesis ‘16. on the details!”
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Contributors: Austin - Tim Babiak; Heart of Texas - Tom Sergent; Brazos Valley - Sallie Gillispie
Austin Guild - The March meeting of the Austin Professional Photographers Association was held at Precision Camera and Video in Austin, Texas. Steve Armstrong and Don Rogers presented a program on “Print Competition 101.” They reviewed the PPA print competition system in detail and provided examples of images demonstrating the 12 Elements of a Merit Image. On the afternoon prior to that meeting, Don and Steve presented another program called “Don’t Judge Us, We’ll Judge You” where participants had their images judged by the two speakers. Participation in the March Print Competition continued to be strong. John Rogers received the award for first place, Stephanie Sharif placed second, and Jim Debth placed third. John Rogers also received the award for Speaker’s Choice. Speakers for the April meeting of the Austin Professional Photographers Association were Laura Ann and Randy Pollard of Victoria, Texas, who presented a program on “The Family Portrait - Posing, Lighting, and Sales.”
They covered a number of aspects of family portraiture and demonstrated challenging posing situations using members from the audience. In the April Print Competition, John rogers won first place with Stephanie Sharif placing second and Joe MacKay placing third. David Migues received the award for Speaker’s Choice.
Brazos Valley Guild - The guild’s own Kathy Norwood was the speaker for the March meeting of the Brazos Valley Guild. Kathy presented a very informative and entertaining talk on “Increasing Your Profits w/In Person Sales” and demonstrated how dramatically they can impact your business. Kathy was also one of the “TEXAS 10” speakers this spring for TPPA. March winners of the monthly print competition were: Cristi Reddehase, first place; Melanie Hall, second place; and, tied for third place, were Cristi Reddehase and Kim Kuhlman.
Heart of Texas Guild - The Heart of Texas Professional Photography Guild did not meet in March. Instead, the regular March meeting hosted three top-notch instructors in a program titled “Light Trips.” Carl Caylor, Dan Frievalt, and Michael Mowbray, three Master-Craftsman photographers, presented “hands-on” programs on “Natural Light Portraiture,” “Indra HSS on Location,” and “Speedlights Everywhere.”
This presentation attracted PPA and non-PPA photographers from around the state and was a great educational day for everyone who attended. Attendees were afforded the opportunity to accompany each of these fine photographers as they ventured out into the downtown Waco area and worked their craft. It was a very successful program which HOTPPG hopes to repeat annually. Since this was an all-day program there was no image competition or other business conducted this month. In April, the Heart of Texas Guild hosted Kathy Norwood who presented an excellent program on “Increasing Your Sales Through Using a Personal Screening Sales Presentation.” Kathy covered all the bases from the initial call to the final presentation and ordering of prints. The guild also held their regular Photographer of the Year image competitions as well as a “Challenge” competition on the subject of “Spring.” The winner of the Associate of the Year competition was Rick Duhrkopf. Darrell Vickers placing second. The Professional Photographer of the Year competition was won by Heather Hitt. Rhonda Williams placed second and Cecy Ayala finished third. The “Challenge competition was won by Rhonda Williams. Rick Duhrkopf placed second and Heather Hitt placed third.
Correction in Last Issue- The Texas Professional Photographer would like to correct a discrepancy in the April/May issue. Summerfest speaker, Gary Hughes, is indeed sponsored by White House Custom Colour as well as PPA Charities. We apologize for any confusion due to that error.
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June/July 2016 TEXAS PROFESSIONAL PHOTOGRAPHER