The Photographer - October/November 2018

Official Publication of the Texas Professional Photographers Association, Inc.

VOLUME 53- #6 Oct/Nov 2018

Magazine Editor

Bill Hedrick, M.Photog.Cr. 1506 E. Leach St. Kilgore, TX 75662 903-985-1080 Editor@ThePhotographerOnline.com

Executive Director

Steve Kozak, M.Photog.Cr 5323 Fig Tree Lane Grand Prairie, TX 75052 972-601-9070 Steve@tppa.org

Printing by

Complete Printing & Publishing 1501 W. Panola Carthage, TX 75633 800-964-9521 www.CompletePrinting.com

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ON THE COVER “Pinkalicious” was created by Dennis Kelley of San Antonio, Texas, using a Canon 5D Mark III and two Profoto B1’s with Chimera 24 inch Octa dishes. Taken at Mission San Jose in San Antonio, the image was used

by Angelica Park during her campaign to become Miss Texas’ Outstanding Teen in which she finished runner-up. It was also used in a promotional ad for grocery giant HEB. Dennis Kelley is a full-time professional photographer who has been awarded the Texas Top 10 Award and has images in the prestigious PPA Loan Collection.

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Reflecting On This Past Year

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iHeart Photo Conference

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Creative Composites

A Message from TPPA President, Tammy Graham

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October 12-14 in Grapevine by Steve Kozak

How Jason Ulsrud Rediscovered Photography by Bill Hedrick

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The Fashion Shoot

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In Search of the Perfect Sky

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The Essence of Life

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Breaking Rules

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Understanding Light

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Spotlight: Mark McCall

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Texas School ‘19 Classes Announced

What it Takes to Do It Right by Steve Ellinger

A Night Adventure in Big Bend by Alison Carlino

Being Rewarded for Your Work by William Branson III

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The Making of “Stairway to Sin” by Dave Montizambert

How To Pre-Visualize Your Exposure by Gary Meek

“Homecoming”

Scholarships Available by Don Dickson

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THE 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.ThePhotographerOnline.com. Send all communications, articles, or advertising to: THE PHOTOGRAPHER, 1506 E. Leach St., Kilgore, TX 75662. Phone (903) 985-1080, or Editor@ThePhotographerOnline.com.

THE PHOTOGRAPHER

Oct/Nov 2018

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2018 TPPA Executive Council President Tammy Graham l

Tammy@locationsphotography.com

3300 Joyce Drive, Ft. Worth, TX 76116 (817) 300-0780

Vice-President Ross Benton l

What Did You Do to Get Better This Year?

Ross@StudioBenton.com

1876 Nacogdoches Rd., San Antonio, TX 78209 (210) 804-1188

Treasurer Marla Horn l

Marla@ahh-photography.com

10716 Camelot Dr., Frisco, TX 75035 (972) 567-8613

Secretary Jenny Rhea Eisenhauer l

photographybyjennyrhea@hotmail.com

12218 Old Stage Trail, Austin, TX 78750 (512) 626-3309

Councilman-at-Large Doc List l

doc@doclistphotography.com

6001 W. Parmer Ln., Austin, TX 78727 (512) 924-9248

Councilman-at-Large Cris Duncan l

cjduncan@mac.com

2402 Slide Rd., Lubbock, TX 79407 (806) 781-2747

Chairman of the Board Trey Homan l

Trey@ehoman.com

17222 Classen Rd., San Antonio, TX 78247 (210) 497-3809

Executive Director Steve Kozak l

Steve@tppa.org

5323 Fig Tree Ln., Grand Prairie, TX 75052 (972) 601-9070

Texas School Director Don Dickson l

Don@DonDickson.com

1501 West 5th, Plainview, TX 79072 (806) 296-2276

Magazine Editor Bill Hedrick l

Editor@ThePhotographerOnline.com

1506 E. Leach St., Kilgore, TX 75662 (903) 985-1080

PPA Councilors Brad Barton (Grand Prairie), Ross Benton (San Antonio), Cris Duncan (Lubbock), Jenny Rhea Eisenhauer (Austin), Tammy Graham (Fort Worth), Phaneendra Gudapati (Plano), Elizabeth Homan (San Antonio), Trey Homan (San Antonio), Robin Janson (Cypress), Mark McCall (Lubbock), Robert Norwood (Montgomery).

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 Steve Kozak, Executive Director, 5323 Fig Tree Ln., Grand Prairie, TX 75052 Steve@tppa.org

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t seems like only yesterday that I became president of the largest PPA Affiliate, TPPA. It is amazing at how quickly time seems to pass. So, as I come to the end of my term, I find myself looking back and asking, “Am I better off now than I was at the beginning of the year?”

This is a question we should all be asking because, after all, we’ve all had the same amount of time to work with and we have all had the same potential for growth. I’m sure there are those who have grown their businesses and their skills by leaps and bounds while others have not made much progress, or even slipped out of sight with their business.

Here at TPPA, we see that in the churn of membership where we have a continuous flow of those leaving the business while others are entering the business. Those coming in are optimistic and hopeful of doing glorious things while those going out are often bitter and discouraged. So, what is the difference between the two? Why are some photographers so successful while others often seem to struggle? I believe it comes down to a few points: I believe successful photographers have a strong sense of discipline and commitment to plan ahead and to get things done when business is slow. Creating marketing materials, updating websites, and studying for the CPP exam are just a few things you could be doing during slow times. As one friend of mine says, “When business is slow, that is when you should be the busiest.”

It is my observation that successful photographers don’t get there by themselves. This is where the value of your membership in TPPA is priceless. From networking with other like-minded photographers to building lasting friendships and a strong sense of community, TPPA events offer the opportunity to be around other successful photographers who share, brainstorm, and support each other.

Successful photographers continue to refine their craft. This would seem to be obvious but, more often than not, most photographers do not take advantage of the live educational opportunities that are put before them. Our iHeart Photography Conference & Expo, Texas 10 Workshops, and TPPA Summerfest offer outstanding education and networking at a tremendous value which is why they attract those who are relentless about education. If you are not attending one, two, or all of these events, you are missing out on a huge potential to make a difference in your business.

Finally, I believe the Texas School of Professional Photography may just be the biggest difference between a photographer’s success or struggle. If there is only one thing you do next year to help you get on a path to success, make it Texas School. No excuses. Yes, it costs a bit to attend. But when you realize that you can pay for your entire week of education with the sales from just one session, why would you stay home and struggle? Make your plans now, to register January 3rd at 11pm. It is an investment that pays huge dividends.

Finally, I want to thank you for the privilege of serving TPPA as your president. I am thrilled to be counted among those who came before me who have lead this wonderful association. I look forward to continuing to serve those who will follow in my footsteps. I am blessed to be a part of the finest photographic association on the planet.

Tammy Graham TPPA President

If you are not a member of Texas PPA, this is my personal invitation to you to join!

Email Steve Kozak, TPPA Executive Director, at Steve@tppa.org or call 972-601-9070.

THE PHOTOGRAPHER

Oct/Nov 2018

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by

Steve Kozak

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f you love photography, you should make plans to attend the iHeart Photo Conference in Grapevine, Texas, October 12-14. This conference features three days of programming for photographers of all skill levels. Pro photographers will enjoy an outstanding lineup of programs from marketing and inspiration and from babies to families in the Pro Track of programs designed to address the needs and expand the success of professional photographers. Photographic enthusiasts and pro’s alike will enjoy the Inspiration Track of programs featuring a variety of topics to foster creativity and inspiration.

In addition to the regular conference programs, there will be a lineup of “hands-on” excursions that take place on Friday. Bring your camera and be prepared to work side by side with a coach who will guide you through the process of creating outstanding images.

There will be excursions to the Fort Worth Zoo, AT&T Stadium, and other locations throughout the Metroplex.

Program topics include birds and other wildlife, nightscapes, photographing street people, volume photography, architectural photography, using light modifiers, photographing flowers, No conference would be complete without a Trade Show. landscapes, high school seniors, Catch up on the latest gadgets, techniques, and services. newborns, as well as marketing programs and much more. Excursions include wildlife, photographing food products, aerial drone photography, architecture, and a trip to AT&T Stadium, home of the Dallas Cowboys.

No conference would be complete without a Trade Show and this one is no exception. Vendors from throughout the country will be there to demonstrate the latest gadgets, accessories, and services that make photography fun and profitable.

Sponsors for the event include the Texas Professional Photographers Association, the Society of Novice and Professional Photographers, Arlington Camera, H&H Color Lab, and other generous sponsors.

Registration for the iHeart Photo Conference & Expo is $127 and includes admission to 18 programs. Excursions require a separate fee.

Grapevine Convention Center 1209 S. Main St, Grapevine, TX

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“It’s amazing what can happen when you give something 100% of your attention and focus.”

Jason Ulsrud

“With the photography industry changing with the inception of digital in the late 1990’s, I sensed a big disruption coming and knew many photographers would be put out of business, which is exactly what happened,” he explains. Rather than struggle through the transition from film to digital, Jason decided to get out of photography and enrolled in chiropractic school.

a friend one day and telling him I don’t know whether I should call myself a photographer or an illustrator, he came up with the perfect solution. He said, ‘You’re a Photillustrator!’ From that day on, I’ve been endlessly practicing to get better at my craft, tell better stories through my composites, and to build a sustainable business in a uniquely different way,” says Jason.

After 15 years, he found himself in his early 40’s and hating everything he was doing in chiropractic and hating himself for giving up on photography years earlier. It was time for a change.

Walking through the entire process, Jason explains that every portrait begins with a Discovery Session where he meets with the family in their home where they are most relaxed. He begins by showing samples of his work to start the creative process. “It’s super important that they have a full understanding that these aren’t just sit and smile portraits that will be done in a couple of weeks.”

“I hadn’t touched a professional camera in over 15 years and knew nothing about digital cameras.”

At that point, he began to ask himself if he could really give up chiropractic and go back to what truly made him happy... photography.

In December of 2014, inspired by a commercial photographer named Dave Hill, Jason picked up the digital camera he got in a trade and “borrowed some really crappy video lights” and made his first family portrait composite. Admittedly, he knew nothing about layers, non-destructive editing, how to dodge or burn, or anything else relating to Photoshop. But, when he saw his first composite, he knew without a doubt that this was what he wanted to do for the rest of his life.

by BILL HEDRICK

His next step was to teach himself everything he could about digital and composite photography. He was determined to pick up where he had left off and to become a commercial photographer. The problem was that he had no idea how to go about that. In the meantime, however, Jason decided to use what knowledge he had and to create some “fun family portraits.”

ason Ulsrud took his first photography class in college over 25 years ago and, like most photographers, fell in love with the craft.

It was a way for him to express himself and the way he saw the world. So, when the opportunity came for an internship with a premiere family portrait studio, Strauss Peyton in Kansas City, he jumped at the chance.

After getting back into photography and after seeing the massive talent throughout the profession, Jason realized he had “something different.”

He noticed that most of today’s portraits “portray” an individual or family within a specific space and time. His goal was to tell a story while, at the same time, capturing the unique personalities and interests of those within the story. But, throughout the process, Jason was suffering from an identity crisis.

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During his senior year in college, he entered four images in Missouri PPA competition and earned the honor of being a “Top Ten Missouri Photographer of the Year” as well as several other awards. “This was definitely the peak of my early photography career,” says Jason. Shortly after, he packed up and moved to Dallas, Texas, where he took a job as a photographer’s assistant doing commercial photography. Before long, he began landing editorial and commercial jobs of his own. But he wasn’t happy or satisfied.

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“Because the foundation of my work all starts with potography and my style is a consequence of digital artwork, I didn’t know whether to call myself a photographer or an illustrator. While having lunch with THE PHOTOGRAPHER

Oct/Nov 2018

According to Jason, the attraction for his clients is having something they can brag about and that nobody else has is what drives his clients to Photillustrator. “So, from the uniquely different family portrait my client will receive, to the creation of their portrait, to the delivery of their portrait, my number one goal is to deliver a uniquely different experience.”

Once they’ve built a rapport, they move on to brainstorming ideas. This brainstorming session also includes going through the family members’ personalities, interests, hobbies, careers, etc. Once that is done, Jason creates a concept sketch of their portrait before meeting with them a second time for their Approval Session where clients can make changes and then give their approval to move forward.

“Following the Approval Session, we begin with two to three photo sessions that begin with the photographing the scene I’m creating. Whether that scene is in their back yard or a fully fabricated scene that doesn’t exist, I dedicate an entire session to setting the scene.” The next photo session includes family members, their pets, and any fun details he discovers. If necessary, a third photo session will include any retakes, small detail items, or any items the family wants for their “Hidden Touches” feature.

Once the photography process is complete, the art work is done using Lightroom and Photoshop, taking anywhere from 20 to 40 hours for a typical assignment. “With the artwork finished, I hand deliver the digital copy of the portrait to Anthony at BWC where I’ve developed a fantastic relationship. They have the printing down to a science. I can’t emphasize enough how important it is to have a printer who understands your eccentric wants and needs in printing,” says Jason.

Jason believes that art is created to be enjoyed and not just looked at. Up to this point, the family hasn’t seen their amazing family portrait. That’s because the final step of the Photillustrator Process is the “BIG REVEAL” where he actually delivers and installs the portrait before covering it for the “Reveal Party.”

“This is their time in the spotlight. With their friends and family around, we make a big deal out of their portrait before counting down the reveal for all to see. It truly is magical for them, their guests, and for us at Photillustrator,” he explains.

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Each new portrait is a “learning experience” for Jason Ulsrud. “Each one gives me the opportunity to solve problems and to grow as a composite photographer as well as a digital artist, making each one my favorite. Whether it be calculating angles and perspectives, embracing unique personalities, dealing with unruly pets, or spending the weekend in a multi-million dollar mansion, each portrait brings me a new experience.”

Since Jason’s early tinkering with his “really crappy” video lights and a digital camera he acquired on a trade, he has moved to much more reliable equipment. “I’m not a gear junkie, but I do want good and reliable equipment, which means I’m always looking for something better and willing to try new things.” Right now, his arsenal is comprised of a Canon 6D with a 24-105mm lens, two Paul C. Buff strobes, a Gitzo tripod he’s had for over 20 years, his iMac computer and a used Wacom Tablet, and a bunch of other miscellaneous gear.

“I quickly realized, however, that if I wanted Photillustrator to be taken seriously, I had to take it seriously myself.”

Jason Ulsrud

Texas School Instructor 2019

But, even with his background in commercial photography, Jason has confined his photography to family composites. “In the beginning, I dabbled in wanting to do some editorial and commercial work and put a great deal of energy and money into that. I quickly realized, however, that if I wanted Photillustrator to be taken seriously, I had to take it seriously myself. So, I dropped everything else and made this my entire focus.”

Obviously, Jason loves what he does and has a lot of fun doing it. But he admits that his job and his focus is to deliver a unique and interesting experience for the client and to make that experience different from whatever they’ve encountered before. “If I can accomplish that,” he says, “I’ve done my job.”

Jason Ulsrud helps photographers bring their visions to life through the magic of Composite Photography and wants to help photographers discover their own unique style, bring it to life in an awesome picture, and make money doing what they love. He will be one of the program speakers at the iHeart Photo Conference and will also be an instructor at the 2019 Texas School of Professional Photography. You can connect with Jason at www.photiversity.com or email him at hitmeup@photiversity.com.

At the iHeart Photo Conference in October, attendees will have a unique opportunity to watch and listen to Jason in person. In his program, “Composite Photography Made Easy,” you will discover how to use composition and how to create more compelling and dynamic composites.

The presentation will take you through the planning stages and into the photography and Photoshop stages that will transform your photography into works of art. “It’s amazing what can happen when you give something 100% of your attention and focus,” says Jason.

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“Do one thing and do it very well.”

Steve Ellinger

I generally allow about 45 minutes for the team to do MUAH and styling. While they are doing that, I am setting up lights, backgrounds, stands, and anything else that is necessary so that, when the model walks out onto the set, all I have to do is take a quick light check and we are off and running. The model already knows what we are shooting for, so we don’t need time to figure out the shoot direction. Also, since the model is a professional agency model, she will be delivering the goods from the first click of the shutter.

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piece of advice given to me years ago was “Do one thing and do it very well.” As a fashion and agency photographer, that has proven to be good advice. But doing things very well often requires utilizing the skills of others as well. My fashion photography work has been published in this publication and many others, and it typically shows a professional model in fashion poses and looks. What you don’t see, until now at least, are those who work behind the scenes to make it happen, and there are often many.

As a frequent speaker at PPA events, I’m often asked, “Do you use a full team?” On a typical shoot, depending on its purpose, it will include (at a minimum) myself, a make-up and hair artist (MUAH), and a stylist. At times, I may also have an assistant to help with gear and set-up, or just general gopher work. I may also have a creative director on board who will work from a mood board, especially if it is for an editorial layout.

For a typical shoot day sequence, I always issue a call sheet with all details of the shoot, arrival times, etc., about three weeks prior to the shoot. This gives all parties involved ample time to plan for travel and other preparations. Although some other photographers do things differently, I ask the entire team to arrive at the same call time so that we can have a short team meeting to go over the day and what I expect.

The wardrobe stylist and I have already had a discussion at this point as to what is pulled and brought to the shoot. The make-up artist will then be thinking about how he/she wants to coordinate their work with the wardrobe for colors and styles. If a creative director is on board for an editorial, they will actually oversee that entire process so that the end results reflect what the editorial is all about.

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During the shoot, I am looking at pose, eyes, shadows, etc. The stylist, on the other hand, is looking at every detail on the wardrobe, such as the belt, collar, sleeves, hemline, to be sure that everything is just right. Meanwhile, the MUAH artist is looking at the makeup and hair. Both will often look at my screen... Is it too shiny?

Does the lip color photograph in the same shade as the garment?

There are a number of things they may notice that I probably will not see. Often, as I am about to pull the trigger and grab the shot, one of them will, without notice, walk on set to fix something.

Do they stop and ask me? No. They just do it because it can save time and stopping everything to adjust a sleeve will impeded my schedule. Do I mind? Not at all. That’s exactly what I want them to do. There is nothing worse than looking at the perfect capture in post-production, only to have it ruined because the hair is wrong or some other detail that is out of place. While I am shooting, these other professionals are standing near me, all working together and watching something entirely.

Depending on the intent of the shoot, I can usually capture the “look” in 5 to 10 minutes. Once I feel like I have it “in the can,” I am ready to go to the next “look.” Since time is everything on a fashion shoot, the model and team quickly head back to the dressing room for the next wardrobe which is already arranged in order.

The MUAH already knows the next look and all are readying the model for the next set. There is no “So, what do we do next?” It’s already decided, laid out, and ready to go. With military precision, THE PHOTOGRAPHER

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Model Meandra Nel, New York Model Management, working with the MUAH artist during her fashion shoot.

the team starts the prep and, in very short order, out walks the model and the team for the next look and, with every set, at least 3 to 4 sets of eyes are on the model, each gazing in detail at different things. At this point, an assistant will usually be bagging and re-hanging the previous wardrobe, checking it on the pull list from the designer or boutique, and having the next look ready. There is no downtime.

I’m known as one of the fastest shooters out there and that reputation is recognized by the team so they know to be expedient in the model turn around.

At times, it is necessary to make changes to the set, lighting, or backdrops. If I know that up front, I will usually have an assistant on hand to make that happen quickly. These changes should never take over 8 to 10 minutes so as to not hold up the shoot. Having an assistant who has worked with me previously is preferable since they know what I need. “Just give me a high-key white set-up...” or “give me a full linear parallel light set-up...” and, bam, it gets done. I love doing studio work because I can control everything. But, when I do shoot on location, the team also must be looking at weather elements, perspiration, continuously changing light, bystanders (yes, that can be a problem), and equipment. Location shooting means their work gets harder, especially in the extreme West Texas elements. Having a photographer’s assistant can be most beneficial and I’m constantly being asked to let someone intern for me.

My recommendation is to always have a professional team onboard, even at additional cost. If one is to be serious about doing great fashion and agency work and building a reputation, then it is paramount to include the very people that can make it happen. At the very least, having a MUAH artist is a must. Also, I can assure you that agencies DO have a specific look they want to see and, if you vary from that, your images will never see the pages of an agency portfolio, comp card, or website.

Here is another important tip. A correct, minimal make-up look will generally take more skill than an over the top look. Agency testing needs to be minimal, clean, and clear. It takes a professional.

So, where does a beginning agency photographer look for work?

Consider your local Facebook pages (most have a local MUAH group), the credits of photographers work you like, or even a visit with local salons. They are out there. Styling can be a bit more difficult, however, because that requires local sources or stylists that have a good reputation with designers. I’ve seen new photographers who have tried to do this with no budget or without including a professional team. But, in most cases, the end result looks very amateur. If you are reading this magazine, the word “professional” already means something to you. So, use a “professional” team to make it happen for you!

Steve Ellinger, CPP will be teaching his class “The Fashionable Side of Photography” at the Texas School of Professional Photography in April! To see more of Steve’s work his website is: www.steveellinger.com.

The Dragonfly Agency’s Julia Hamilton works with the team during her location shoot.

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“I remember tearing up and just pausing to reflect on God’s Hand of Creation.”

The next factor to consider is location. A great source for this is “Dark Sky Finder” (www.jshine.net/astronomy/dark_sky/) which rates locations around the world by zones on a scale from 1 to 10, with 1 being the darkest sky. After seeing Houston lit up like a Christmas tree, my group of four adventurous photographers decided to “go west.” In fact, the darkest spot in the lower 48 states was only a 9.5 hour drive from Houston... Big Bend National Park. After noting the moon phases for a three month period, we decided on July 12-16.

We also learned of an app called PhotoPills (www.photopills.com) for $9.99 that uses augmented reality (AR) to overlay the position of the Milky Way to get an idea of our final compositions. This app even gives the correct time that the Milky Way will rise, when the core is vertical in the sky, and when it will fade away. It also provides times for the rise and set of the moon and the sun.

After several weeks of studying, reading, and watching videos, I had come up with a “starting point” for exposures of the core and the Milky Way: ISO 3200-5000 at 2.8 for approximately 20 to 25 seconds, White Balance at 3500 to 5000 Kelvin, Manual Focus, Mirror to “Lock Up,” turn on Long Exposure Noise Reduction, file size to RAW, and LCD brightness to 1, with two options for Focus... use auto-focus at infinity earlier in the day with gaffer tape on the lens ring, changing to manual-focus after... or, at night, using auto-focus to focus on the brightest star and then switching to manual afterwards. In addition, we would use the compass on the iPhone to locate southeastern and southwestern skies.

As the night progressed, we remembered reading “What truly makes a Milky Way image sing is the foreground,” so we attempted to light paint the path from our camper towards the mountain range as the bottom compositional element. I even brought out the Pixelstick, had someone spin behind me, and captured my very first Milky Way Selfie! (below)

In the early morning hours of July 12, we began our journey. Nearly 10 hours later, we had a park pass and were picking the brains of park rangers at the Panther Junction Visitors Center for the best overlooks for viewing the stars, road conditions, driving times from one location to another, and what wildlife we could expect to see. With summer temperatures reading 109, we were glad we brought plenty of water. Texans are tough! Anything for a photo, right?

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his year, my business celebrates fifteen years of documenting the lives of humans. In an effort to keep the inspiration flowing and pursue something different, I decided to turn my focus to the night skies, specifically the Milky Way and the galactic core. I have long admired the creative work by astro photographers who travel to amazing locations to capture landscapes by day and stars by night that take your breath away. But I soon discovered what a difficult journey these photographers endure.

While planning this adventure, I learned that there is actually a “Milky Way season” and that, in the northern hemisphere, the best viewing of the Milky Way is from late April to late July because the galactic core is visible for longer periods in the night sky.

Although the Milky Way can also be seen during winter months, their core is not visible. In addition, I found a helpful blog called “National Parks at Night” which offers workshops around the USA on how to capture night skies, how to light paint objects, and how to handle post-processing. Essential to the process is a good understanding of the moon phases. Three days before a new moon, the night of the new moon, and three days after the new moon produce the least amount of light in the sky. This means the stars and the core are more visible.

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We had acquired a camper trailer in a remote location and, on that first night, were literally able to step off the porch and capture the Milky Way. Just as the PhotoPills app predicted, the core became visible at 10:29 pm.

By this time, adrenaline had taken over and we were anxiously anticipating what was to come. I remember tearing up and just pausing to reflect on God’s Hand of Creation. We continued to capture images until nearly 3:00 am. It was breathtaking.

Each of us brought similar photographic gear... heavy-duty tripods (a smooth ball head will make life easier), cameras with either intervalometers or shutter release devices, a variety of focal-length lenses (the wider your lens, the longer you can expose without trails showing), batteries and chargers, memory cards, headlamps with red lights, a flashlight for light painting, some speed lights with Eneloop batteries and transceiver, MagMod grid, gel pack and sphere, Pixelstick for light painting, iPhones with appropriate apps, notebooks with exposure notes, and a printed map of Big Bend and the Terlingua area. In addition, we brought along an enormous dose of courage because everything is much more difficult in the dark!

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“Everything is much more difficult in the dark.”

The hardest lesson that night revolved around focusing and zooming in constantly to make sure I had the stars in focus. If I didn’t, obvious trailing would appear. This is a great feature when you set out to do it on purpose but definitely is not welcomed when you want a sharp core. The method of auto focusing on the brightest star and then setting it back to manual focus seemed to work best. Perhaps I was past the point of tiredness or perhaps I didn’t want to admit to needing my glasses, but it seemed I was setting the focus a lot!

On day two, we traveled back into the tiny town of Terlingua to scout locations at the Ghost Town. We framed compositions with our cell phones and noted directions with our iPhone compass before heading back into the park to enjoy the daylight sights of this national treasure. As dusk approached, we headed out to the Ghost Town to set up. After allowing some other photographers to finish their shots, we did some light painting on the crosses and the scene came to life (below and right).

I discovered quickly that my flashlight was too powerful on spot beam so I placed it under my red shirt. This not only diffused the light but produced the red gel glow that looked nice with the bluer skies. Think of light painting as a studio lighting set up. If you paint from camera position, that would create a flat light. Consider side lighting at a 45 degree angle to create highlights and shadows or even back lighting for a more dramatic effect. If the object you want to paint is close to you, use short, quick swipes. If it’s farther away, use longer, slower side to side motions.

Day three found our group heading into the Chisos Mountain Basin area where temperatures were forecasted to be cooler. That evening, our chosen location to capture the Milky Way was the Sotol Vista Overlook, recommended by the ranger. This location (on title page) was quite high in elevation and I personally had to dig deep for courage once it got dark and a lightning storm rolled in. Laugh all you want, but lightning seems even scarier when everything else around you is so dark! Ahead of that incoming storm, we struggled with passing clouds blocking our view of the core but as they passed on and the lightning remained in the distance, we captured truly amazing images.

Some of the best advice I can give to those who wish to undertake such an adventure is to practice first! Then, plan your locations ahead of time and scout once you arrive to confirm. The weather isn’t in your control and can really have a negative impact on your Milky Way images if the skies aren’t clear. Finally, remember that everything is harder in the dark.

I have so much more to learn about the art of astrophotography. The next captures I want to attempt are water reflections of the Milky Way and star trail images with foreground components. May my next fifteen years in this industry be filled with nocturnal moments!

Alison Carlino will be teaching a class, “Off-Camera Flash & Modern Posing” at the 2019 Texas School of Professional Photography. She will also be speaking at the iHeart Photo Conference, October 12-14 in Grapevine, Texas, on “The Right Light & The Right Pose.”

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Talented photographers bring joy and beauty into the homes and offices of all those who own their work. The difference between being a mediocre photographer and one making millions of dollars is marketing. You see, Van Gogh died a poor man, while Picasso died with riches. Who do you think was better at marketing?

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sn’t being financially acknowledged and rewarded for your talent what you want? The problem is most gifted photographers feel uncomfortable promoting their work. In order to be successful you have to be great at more than one thing. The world is full of great photographers who have never been heard of and who have never sold anything. Understanding marketing is the sign of a successful photographer. When I began my photographic career I was not great at marketing. Over the years everything that I have learned has come from my failures. Do you want someone whose business has always been great to teach you marketing? Of course not! You want someone who has worried about losing their business, someone who has cried in fear, and someone that has almost gone bankrupt to teach you marketing. You see adversity is where the lessons lie. Nothing happens when you do not market.

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Oct/Nov 2018

You have learned photography, but you need to learn the other skills in order to be successful. People who are selling photography are running a business, yet few would like to admit that. However, anyone who is self employed in photography is running a business. Some people think that marketing is easy for me, that is not true. In my early years, I struggled in my business because I did not understand marketing. I learned it by trial and error as well as getting guidance from other photographers. To be successful you have to make a lifetime commitment to marketing and to have a successful marketing plan you must have the right mindset. I do not know how many times I have heard someone say to me, “I am a photographer, not a business person” or “I have a social media account. I do not need a website, do I?” or “I do not like to market, I would rather be photographing.”

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“There is nothing romantic about being a starving photographer!”

There is nothing noble about being a starving photographer. Van Gogh, I believe, is the poster boy for the starving artist in the world. He only sold a couple of paintings in his lifetime. It was his brother and sister-in-law that sold his paintings after he had died. Van Gogh may have been a great artist but it appears he was a miserable and depressed man. Imagine what a different life he would have lived had he marketed his paintings. I ask you, do you want to be today’s Van Gogh and live a life like he did? I don’t!

First you must get the right mindset and turn negative thoughts into positive ones. Imagine success. What would success look like for you? Get rid of negative thinking, especially negative thinking about money. You must think positively about money. It is not the only measure of success but it will be an important measure of your success. Your success is up to you and no one else. There is an old saying, “If it is to be, it is up to me.” Nothing could be truer. When you get a negative thought, push it out of your head. Negative thoughts change your behavior. You must visualize success. Visualization works. It may sound crazy, but it’s not. There is a lot of science in regards to having a positive mindset. Whatever success is to you, if you want to be successful, you have to have passion, vision, and clear goals. Without passion you are going to fail. Once you have that passion, you must keep telling yourself that you can do anything you want. Norman Vincent Peale said, “Shoot for the moon. Even if you miss, you will land among the stars.”

I suggest that you plan out your ideal life. Roy Williams, a New York Times best selling author of Wizard of Ads talks about how life is defined by what you are unwilling to do. To define success for yourself, you must first determine what you do not want to do. For instance, I do not like owing money to anyone, not even a bank. There will be times when we have to do things we do not want to do, but the goal is not doing it most of the time.

What does being successful mean to you? Is it being a great photographer or a great parent? Maybe it’s just being wealthy. There is no right or wrong in my opinion. To help you, imagine that you are in your doctor’s office and he tells you that you only have one year to live. What are you going to do? What is the first thing comes to your mind? I would guess that the first thing that comes to your mind would be the most important thing in your life. Is it your family, your photography? I suggest you find what is the most important thing to you. This will help you as you plan your life.

Most people refuse to plan. I recommend that you plan your ideal life. Be specific and build a road map that will give you direction. What is going to make you happy, because happy people are successful people. Consider joining a mastermind group. What if you had a mind that was larger than the one you have now, one that was made up from lots of different minds? That is what a mastermind group is. It is a group of like-minded businesses that get together and share ideas that help one another.

I have been a member of a mastermind group for almost 10 years now. We get together once a year for three to four days and discuss what is happening in our businesses along with any issues we are having. With the help of

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those in the group I am able to stay on course and stay successful.

Throughout the year we have phone conferences to discuss new issues. The important thing is to learn and grow with like-minded studios.

Running a business today is not easy. You must work at it all the time. I am looking forward to again sharing with my Texas School class next year where we will spend time discussing marketing in more detail as well as other aspects of a photography studio. If you have never attended Texas School, I recommend that next year is the year you start!

William Branson is a portrait artist living in Durham, North Carolina. He holds the Master of Photography and Craftsmen Degrees from Professional Photographers of America and the Fellowship Degree from The American Society of Photography.

He is a member of the prestigious Cameracraftsmen of America and is one of the founding members of the International Society of Portrait Artist.

William also holds Associate Degrees from the British Institute of Professional Photography and the Royal Photographic Society (both in Europe) and he has the Masters of Portrait Photography Degree within the Master Photography International Organization.

William will also be teaching at the 2019 Texas School of Professional Photography.

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“Stairway to Sin”

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ot only does this photographic exposé entitled “Stairway to Sin,” of well-heeled model Renée Robyn and not so well-heeled Tyler Baker, tread on some toes with its suggestive nature, it also steps on the photographic toes of traditional lighting and its “rules.”

In fact it steps so far away from traditional lighting that there isn’t even a fill light. It is selectively lit with five lights, each light emphasizing to a lesser or greater degree, an area of the scene. What? No fill? Will I burn in hell as a result? Will I be excommunicated by the photographic community and hung, drawn, and quartered at the next convention for breaking the rules?

In principle I am opposed to rules, especially in photographic lighting.

In my mind, rules are the tools of people trying to manipulate others, not always for the bad but usually at the expense of thinking and free will. At any rate, photographers are always talking in hushed tones about “breaking the rules” as if these photographic rules are somehow sacred. I suppose using the term “rule” is harmless enough, but I believe that the words we use reflect and shape our base philosophies. It seems to me that a rule suggests something that must be followed and breaking it is at your own peril.

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Oct/Nov 2018

I’m not suggesting chaos here. This rant of mine is really about semantics.

I think we need guidelines to live by and by which to create lighting, so it would please me to no end if we turned our lighting rules into guidelines and consider them as starting points rather than fixed “Don’t mess with me” entities. Enough philosophizing. Now, on with my “rule busting” shoot.

The setup: Our Madame of the staircase Renée, clad in a dazzling “it’sso-red-it-hurts” cocktail gown, is seen pausing on the stairs in what seems to be a discreet transaction with drunken sailor, Tyler. The scene takes place long ago in a bordello at night, so the look is dark and dramatic. To help create this dramatic feel, a full frame sensor DSLR, paired with 17 mm lens, was positioned low on a 3 foot tripod, some 6 feet away from Renée. This low angle and the distortion created by shooting so close to the subjects, offers much dramatic affect.

In this image, like all my images, I use light to separate the subjects from their surroundings. An overall set light was placed to camera left side of the photo-set some 9 feet away from Renée and sat 7 feet above the floor.

This 1200 watt-second studio strobe was fitted with a 24 inch Octabox which had a 30 inch soft egg-crate affixed to its front. The soft egg-crate grid narrows the beam of light emphasizing the subjects and not the

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background. The power of this light, measured with an incident meter placed against Renée and with its dome pointed back at the Octabox, was adjusted to underexpose the area by 1 stop.

To see the effect of this light and to see the effect on the image with and without the soft egg-crate, compare images A and B. Also, note the positioning of this light labelled A&B in the lighting diagram portion.

Suffice it to say, Renée is the main attraction in this image. She is further drawn out from her surroundings by the placement of a second 1200 watt-second strobe. This light acts as a main light to her and was placed some 6 feet from Renée on the camera-right side of the photo-set and was raised to sit 8 feet above the floor. It was fitted with an another 24 inch Octabox and sports a 40 inch soft egg-crate.

The power of this light, measured with an incident meter placed against Renée’s face and with its dome pointed at the Octabox, was adjusted to correctly expose her flesh. While this soft egg-crate focuses most of the light on Renée, it does allow some to spill past onto Tyler, partially illuminating his face. Compare images B and C. Also note the positioning of the light labelled C in the lighting diagram portion.

The fact that Tyler’s face appears underexposed in version C helped to make him secondary to Renée. But he appeared just a little too dark for my liking and so I decided to brighten him up using a 700 watt-second strobe fitted with a medium honeycomb grid placed some 9 feet from him on the camera-right side of the photo-set and raised up to sit 7 feet above the floor. The power of this light, measured with an incident meter placed against Tyler’s face and with its dome pointed at the strobe, was adjusted to set the accumulation of both this light and the previous light for a 1 stop underexposure at his face.

Compare images C and D and note the positioning of this light labelled D in the lighting diagram portion.

Just like Tyler’s face, the lower portion of the scene also needs more light and so a third 1200 watt-second strobe fitted with a coarse honeycomb grid was placed some 9 feet from Renée on the camera-left side of the photoset and was supported with a floor stand some 8 inches above the floor.

The power of this light, measured with an incident meter placed against the bottom of Renée’s gown and with its dome pointed at the light, was adjusted to underexpose the area by approximately 1 stop. Compare images D and E and note the positioning of this light labelled E in the lighting diagram portion.

Finally, to bring up the background exposure a little in the upper portion of the image frame, a fourth 1200 watt-second strobe fitted with a coarse honeycomb grid is placed just out of frame at the top of the staircase on the camera-left side of the set. This light was approximately 12 feet from background area that it was lighting. The power of this light, measured with an incident meter placed against the background wall and with its dome pointed at this fifth light, was adjusted to underexpose the area by approximately 3 stops. Compare images E and F and note the positioning of this light labelled F in the lighting diagram portion.

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As you can see by the preceding description of this image, the lighting doesn’t follow standard portrait methods. I should point out that it was not created in this way for the sake of “breaking the rules.” Instead, it was created with a particular dramatic look in mind that standard portrait lighting wouldn’t achieve. I would also like to point out that photographic rules are not unbreakable laws. In photography, the only laws you cannot break are the laws of physics, unless of course you own Photoshop. So, to wrap-up my rules-rant, I would like to finish with this: I think we should keep photography democratic rather than autocratic... creative rather than restrictive.

Dave Montizambert lectures internationally on lighting, digital photography, and Adobe Photoshop. He is also a published author having written two books on lighting and digital photography (www.montizambert. com) plus numerous magazine articles on these topics in North America, Europe, Russia and Asia. Dave also creates Photoshop tutorial DVDs for www.softwarecinema.com. Dave is available for lectures and workshops in your area and can be reached through www.montizambert.com.

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THE PHOTOGRAPHER

Three of these elements can be altered after capture, whether we are traditionalist and use film or we thrive in the digital world. They are Brightness (Quantity), Contrast and Color.

We can also describe these three elements in numerical terms because our eyes cannot be depended upon to objectively evaluate them.

Brightness can be described by footcandles or exposure value. Contrast can be evaluated by the use of a ratio such as 3:1 or 5:1. The color of light can be related to in Kelvin temperature such as 3200K or 5400K. Let us take just a few moments, which could revolutionize the way that you look at photography, and look at just one of these elements of light... Brightness. But let’s call it Quantity.

We measure the quantity of light with a light meter. There are basically two types of meters, hand held or in the camera. The Incident meter measures light that falls on the subject, Illuminance. This is done by placing the meter at the subject spot and metering back toward the camera or light source. Most incident meters measure light at a 180 degree angle of view. Some incident meters use a flat dome that meters light coming in from one direction.

The Reflected meter measures the Luminance, the light reflected or emitted by a subject. The meter is pointed at the subject to record the brightness of the scene. This meter usually measures light in a 30 to 50 degree angle of view. A special type of the reflected light meter is the SPOT METER. This meter measures light in a 1 to 5 degree spot on the subject. The reflected light meter is the type of meter that is in your DSLR cameras.

by Gary A. Meek

Texas School Instructor

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hen we look at visible light we need to be able to accurately analyze what is there for us to use. There are six elements of the visual light that we work with. They are Brightness (Quantity), Diffusion (Quality), Color (Kelvin temperature), Direction, Specular, and Contrast. Three of the elements are basically fixed once we “push the button.” They are Specular, Diffuse, and Direction.

Yes, we can “fix it in Photoshop,” to some extent, but it is really better to get it right in the first place and not catch the Photoshop disease. Photoshop disease makes us look like an average scene histogram... a large hump in the middle (I’m not going to tell you how much weight I’ve put on because of Photoshop).

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It is a good idea to understand what your meter is actually measuring. All exposure meters are trying to make your reading an 18% middle grey, 128 in digital, the middle of 0 to 255. Zero (0) is the blackest black and 255 is the whitest white, therefore 128 is in the center. This is also Zone V in the Zone System (see the illustration on the next page). Zone 0 is the blackest black and Zone X is the whitest white. Each zone is one stop difference from the adjacent zone.

The incident meter really does not care what the subject sense consists of as far as brightness levels. It measures the LIGHT that falls on the subject and therefore, if properly used, can give you a more accurate exposure and not require exposure adjustment because of the brightness levels in the scene.

The reflected light meter is trying to make everything in the scene 18% grey.

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That is okay if the scene is average in tonality. But what do you do if you have purchased a new Sekonic meter (a great meter, by the way) for $500 to $600 and the battery goes out when you are in a photo session? To be prepared for this, buy an 18% grey card (be sure to get a “Kodak” grey card). There are a number of “grey cards” on the market, all colors and densities and filled with gimmicks as a selling point. There are even some with a nice gloss or semi gloss surface. There is no way that you can get a good exposure reading from some of these and forget getting a good white balance.

When you get your Kodak grey card, photograph the grey card without anything else visible and fill the frame with nothing but the gray card. Your histogram should have a spike in dead center if properly exposed. That is what that screen on the back of your camera is for – not to look at after every exposure. Now, over-expose by one stop and mark the cover on the back of your camera. Next, over-expose two stops and mark. Then, go the other direction and mark one stop and two stops under. Take the cover off and mark it from underneath so the marks will stay visible.

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Most photographers who might have heard of the Zone System think it is only for OLD photographers who photographed only in black and white. However, knowing just a little about the Zone System will help you understand the brightness levels and therefore the quantity of light. In the Zone System, light quantity can be divided into eleven segments or zones.

There is one stop difference between each segment.

So why did we do all of this? According to the Zone system, zone V is middle grey, one stop over, Zone VI is light grey and Zone VII is the whitest white with FULL detail. Likewise going the other direction, Zone IV, one stop under exposed, is dark grey and Zone III is the blackest black with FULL detail (see diagrams above).

One of the MOST important things to do is pre-visualize the scene. By doing this you can pre-determine what the histogram should look like. If you have a subject on white sand or snow you know that your histogram should be about two stops greater than 18%, 128 or Zone V. Since your reflected meter is going to try to make everything 18 % grey, you are going to need to open up about 1 ½ to 2 stops to make the scene white. You can verify this on the back of your camera because you have marked one stop over and two stops over, Zones VI and Zone VII. The opposite holds true for let’s say a black dog on a dark background.

You can pre-visualize your histogram as being Zone III. To achieve this (if you metered on the dog), stop down about 1 ½ to 2 stops to make the scene and subject dark. You WILL have FULL detail in the dog’s hair. Again, this can be verified on the back of your camera since you have marked Zone IV and Zone III. With this being said, remember that we only have about a five stop range, Zone III through Zone VII, to get FULL details. Not every scene has all eleven zones. But knowing what you have in the scene, pre-visualizing and capturing the most important parts and exposing for that part of the scene will help make you a much better photographer. PRE-VISUALIZE and always start with the proper exposure and you will cut down your time that you are using to “FIX IT IN PHOTOSHOP.”

Gary Meek, of Hot Springs, Arkansas, will be teaching “Don’t Gamble with Your Certification... Prepare, Prepare, Prepare” at the 2019 Texas School of Professional Photography. Gary has been teaching Certification Preparation Classes for 25 years and is a PPA Approved Photographic Instructor.

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“Homecoming,” a PPA Loan Collection image, was created by Mark McCall, of Lubbock, Texas. According to Mark, the image was inspired by a few things... one of which was the story of Pat Tillman, professional football player, who gave up a lucrative career in professional football to serve in the US Army 2nd Ranger Battalion. Tillman fell to friendly fire during the fog of the Afghanistan war in 2004. The second inspiration was an image Mark had seen of a soldier’s travel coffin being prepped for unloading from an aircraft cargo hold while other travelers peered on through the windows of the plane. “I have a funeral director in my family.

So I approached him with the idea for the image. I’d photographed this Marine’s wedding a few years before and, even though he was no longer in the military, he looked young enough to fit the part and the uniform still fit.” The funeral home supplied the flag and coffin. In the role of the grieving parents were some local florists that Mark had worked with often at weddings. “I arrived early to set up the lighting so that it would be ready when the models arrived. Ten minutes later, we had the image,” Mark explains. A print of the image hangs in the offices of the funeral home, a memorial to all of those who did not make it home.

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2019 Texas School Instructors Jim Cunningham

Bree Adams

Kimberly Smith

Ross Benton

by Don Dickson

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he 2019 Texas School of Professional Photography will once again be held at the Renaissance Hotel and Conference Center in Addison, Texas. Over 1,000 photographers attend Texas School and we look forward to another great year in 2019. The hotel, located north of Dallas, just off the North Dallas Toll Road, is the setting for this event.

Jamie Hayes

The 523 room Renaissance Hotel has agreed to a room rate of only $129, so more people will be able to stay at the host hotel. More information is available on the Texas School website at www.texasschool.org. You might want to go ahead and book your room because they will sell out fast.

Online registration for Texas School ‘19 begins at 11pm on January 3, 2019. Last year the first class booked in only 3 seconds with several others within 2 minutes! If you’ve never experienced Texas School, you’ve missed out on one of the best learning experiences available to photographers in the world. There will be at least 36 classes covering every topic imaginable and all are designed to help your business grow and be successful.

Along with classroom instruction, there is a fun and exciting social life at Texas School with parties, meal events, entertainment and an impressive trade show. Another good reason to attend is that all evening meals will be FREE, thanks to our many sponsors. Mark your calendar now for April 28 - May 3, 2019, and come and see what the “Texas School Experience” is all about.

John Hartman

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Bree Adams Ross Benton Doug Box Gary Box Ana Brandt William Branson III Alison Carlino Carl Caylor Tony Corbell & Rob Hull Bry Cox Jim Cunningham Gregory & Lesa Daniel Bob Davis Cris & Deanna Duncan Kristi Elias Steve Ellinger Kay Eskridge Joel Grimes Jeff Gump John Hartman Jamie Hayes & Mary Fisk-Taylor Elizabeth Homan Steve Kozak Don MacGregor Gary & Kathryn Meek Dave Montizambert Sandra Pearce Guy T. Phillips Thom Rouse Kimberly Smith Craig Stidham Francie Stonestreet & Chris Smith Richard Sturdevant Ethan Tweedie Jason Ulsrud John Wilson THE PHOTOGRAPHER

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Scholarships Available Texas School of Professional Photography by Don Dickson

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ach year the Texas Professional Photographers Association grants a number of scholarships to the Texas School of Professional Photography to be held at the Renaissance Hotel and Conference Center in Addison, Texas. These scholarships are available to newcomers to the profession as well as photographers who have been in photography for several years and meet certain requirements. You may qualify!

Two types of scholarships are available. The first is a classroom scholarship that pays the week’s tuition to a class. To be eligible for this scholarship, you must be a member of TPPA by July 1, 2018, and you must renew your 2019 membership prior to attending the 2019 Texas School. In addition, you must not have received a Texas School scholarship during the previous ten years. Also, you must not have been in photography for more than five years, or if you have been in photography for more than five years, you must have earned a minimum of 20 Fellowship Points from TPPA. The final requirement is that only one application per studio or firm will be accepted.

The second type of scholarship is a “Wrangler Scholarship.” To be eligible, you must be a current (2019) member of Texas PPA, have

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attended the Texas School in the past, willing to work, able to get along well with people, able to take directions well, must have a car, must have satisfactory computer skills, and must be available by 9 am on April 28, 2019, through 2 pm on Friday, May 3, 2019.

If you want to be a part of a very elite, fabulous, hard working group of people who are a very important part of the success of Texas School, and would like to be considered as a wrangler, then apply online today at www.texasschool.org/wrangler-application. To apply for the classroom scholarship, go to www.TexasSchool.org.

If you have any questions, ask any of the trustees, talk to someone who has been a wrangler in the past, or contact Cindy Romaguera, at 504-799-9729 or email her at Cindy@Romaguera.com. Remember, a Wrangler Scholarship is a “working scholarship.” When you are a wrangler, you get very close to your instructor, classmates, other wranglers, and the Texas School staff.

You can apply for these scholarships online at www.TexasSchool.org, so sign up now and check the website and this magazine for further Texas School information and updates.

Oct/Nov 2018

THE PHOTOGRAPHER