mag2013 #4 - Florida Professional Photographers

Florida Photographer
Is the official publication of
the Florida Professional
Photographers, Inc.
Permission to reprint
contents on this publication is
granted to similar publications
of the photographic industry,
provided that the author and
THE FLORIDA PHOTOGRAPHER
are recognized as the sources.
The opinions expressed in any
article or column are those of
the author and does not necessarily represent the official position of the Florida Professional
Photographers, Inc.
The Florida Professional
Photographers exists solely for
the good of its members.
The association provides tools
and educational opportunities
for its members to achieve their
business and artistic goals. It is
committed to an ongoing
exchange of information and
experiences between all
members in an open and
friendly atmosphere.
publishing editor
advertising and design
Luis Melendi
828 Narragansett Lane
Key Largo, FL 33037
Tel 305.453.5441
Fax 305.453.5448
[email protected]
Best of Show
Illustrative
Hibiscus
Jane
Conner-ziser,
Cr.Photog.,
API
President’s Message
5
FCON 2013 Competition Results
7
Photo Competition Awards
10
FPP Awards and Degrees
11
Convention Wrap-Up
13
Door Prizes
16
FPP Committee Reports
17
Oh What a Night
18
Portrait Lighting Ratios
21
Design for Perpetual Marketing
24
Meet President Martin Gudz
26
FPP Fall Seminar
28
The Power of Personal Projects
28
Join the
Florida Professional Photographers
See membership Application on www.fpponline.org
Florida Photographer 3
President’s Message
MARTIN GUDZ, PHOTOG.CR, FSA, FED, LBIPP
Revolution… Evolution…
Change the World.
Words and phrases from the first
verse of a famous song written by a
couple of lads from Liverpool in
1968. They used their--what at the
time was considered radical music
and beliefs--to highlight the problems of their time. They went on to
not only change the way we looked
at music, but revolutionize both
popular culture and the music
If you want. . .
Prestige, Knowledge, Business
Development, Continuing
Education, Personal Growth,
Degrees, Development of
Ethics, Friends and Fellowship,
Fun, Awards, Leadership
Development, Annual
Convention and Trade Show,
Award Winning Publication,
Photographic Competition,
Seminars, PPA Affiliate School
and more!
Join the
Florida Professional
Photographers
Application information is
on www.fpponline.org
industry itself. Hence revolution,
evolution and they really did
change the world.
I am honored to be the incoming
president of the FPP for 2013/2014,
An organization that we all love so
dearly. We are truly more than
friends;we are family. We share not
only our successes, but also our
struggles, and we have all worked
very hard to support and maintain
this wonderful organization.
However, we have to accept being
a professional photographer is no
longer the same as it was 5 years
ago, let alone in 1968, and I am
very honored to spearhead the
changes that are upon us.
REVOLUTION
The FPP is strong on tradition.
Tradition is notably what keeps any
group of people together. However,
our organization has suffered over
the last several years because we
did not embrace the changes in our
industries dynamic fast enough. If
we want to survive we must change
some of our traditions and welcome
anyone who has an interest in
photography. We all started as
amateurs and made the leap. We
must embrace photographers of all
levels and make them feel the same
way I did 19 years ago; like family.
Changing this will take all of us.
Your Board has already changed the
days of convention so that we may
include photographers who otherwise would not have been able to
attend, but it is your job, as individuals, to extend the welcoming hand
of friendship.
EVOLUTION
Everything changes. Within the past
ten years more things have changed
in this industry than at any other
time in history. The way we operate
on a daily basis would have been
completely alien 10 years ago.
Image capture, retouching, printing
and marketing of our products and
services have been changed by
modern technology. These changes
have been difficult for some who
want to continue to hold onto the
“traditional” methods of working.
These changes have also been difficult for newer photographers who
do not have the training and history
of the past as a base for their businesses. It is time for both generations to come together so that we
may pass on the traditional ways
and embrace the new.
CHANGE THE WORLD
As President, may I suggest you
“Change the World.”
In order to evolve for the better, we
must make changes so that we can
succeed in the business of photography. We must continue to learn,
grow and support each other and
the art of this industry. It is not
about new or old, it is about
quality, professionalism and
community. It’s time to “Come
Together.”
I look forward to being your
President. Lets start the Revolution,
evolve and all together change
YOUR world. n
Florida Photographer 5
FPP SECTION’S WEB SITES
FPP, Inc.
Board of Directors
PRESIDENT
Martin Gudz, FSA, FED 2014
6174 SW CR 360
Madison, FL 32340
850.973.6376
[email protected]
VICE PRESIDENT
Jackson Koontz III, FSA, FED 2015
PO Box 6878
Ocala, FL 34478
352.369.4257
[email protected]
SECRETARY TREASURER
Cindy Strickland, FSA, FED 2013
5750 CR 12
Tallahassee, FL 32312
850.545.3110
[email protected]
DIRECTORS
Gary Hughes 2014
1603 Wilson Ave.
Orlando, FL 32804
321.279.0077
gary@hughesfioretti.com
Britney Kirby Fullgraf, 2013
302 East Belvedere Street
Lakeland, FL 33803
863.686.4980
[email protected]
Carol Walker, FDPE, FSA, FED 2015
7925 4th St. North
St. Petersburg, FL 33702
727.577.5626
[email protected]
Patrick Van Dusen, FSA 2015
3539 Bareback Trail
Ormond Beach, FL 32174
386.677.4897
[email protected]
Robin Adams, 2016
565 Hickory St.
Monticello, FL 32344
850-591-3364
[email protected]
Director of Affiliates Jackson Koontz, FSA, FED
PO Box 6878 Ocala, Florida 34478
352-369-4257 [email protected]
FPP Dalegate Chair: Marty Grivjack, Cr.Photog., FSA
1 7 1 1 4 1 2 3 rd Te rr. N . , J u pit e r, F L 3 3 4 7 8 - 5211
Mobile 561.714.6443 • e Mail [email protected]
B a y – B P P A : w w w . b ppa f l. c o m
F t . M y e rs – S W F P P A : w w w . pps w f . c o m
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F P P MA NA G E R S
P P A CO UNCILO R S
Convention - 727.481.9329
Debbie Alcorn
[email protected]
Keely Deuschle
904.403.9553
Kevin Newsome
813.968.2810
Britney Kirby Fullgraf
863.686.4980
Sandra Pearce
863.763.8684
Marybeth Hamberger
954.426.2562
Robin Phillips
863.682.6958
Gary Hughes
321.279.0077
Kim Warmolts
727.934.4456
Trade Show - 305.453.5441
Luis Melendi
[email protected]
School Director - 954.426.2562
Marybeth Hamberger
[email protected]
P a s t President
Sandra Pearce, FDPE, FDAE, FED 2014
1122 SW 15th Street
Okeechobee, FL 34974
863.763.2684
FPP Office - Executive Director
Kaye Newsome
Florida Professional Photographers, Inc.
11738 North Dale Mabry Hwy.
Tampa, FL 33618
813.760.1933
[email protected]
Florida Photographer 6
Our FPP Website - www.fpponline.org
The Rosen Plaza Hotel
Home of the 2014 FCON
800.627.8258
2013 FCON Photo
Competition Results
ROBIN ADAMS, COMPETITION MANAGER
As another Convention comes to a
close, I find myself more proud
than ever of our membership and
our organization. The number of
entries this year was fantastic, 394,
down just a bit from last year. But
what’s so very impressive is the
percentage of merits; our members
merited 166 images for 42%.
Florida should be proud of such
outstanding results – congratulations to all the makers!
Our judges in 2013:
Bert Behnke, Cindy Benke, Ed
Booth, Jane Conner-ziser, Greg
Daniel, Frank Frost, Betty Huth,
Tim Kelly, Sandra Pearce, Christine
Reynolds, Richard Sturdevant, and
Paul Wingler. Our moderators were
Al Audleman and Michael Landis.
A big thank you to all the judges
and the moderators; you were all
professional, fair and oh so witty...
my team and I enjoyed working
with you all those long hours.
Thank you!
ProofCast was again a critical
component of Florida’s Print
Competition. I’d like to thank Jeff
Burton for his calm, cool attitude
no matter the level of crises I
(thought) was arising. Jeff rolled out
some great features to ProofCast’s
website this year just for us. His
great ideas and his ability to think
outside the box made our jobs so
much easier. ProofCast continues to
get better every year and we love
working with Jeff!
Finally, a big thank you to the
entire Salon Committee. You guys
rock and Salon would not have
happened without all of you
working so hard. The committee
this year: Marty Grivjack, Julie
Johnson, Linda Long, Trish
Mcfarlane, Karen White, Carol
Walker, Becky Jordan, A. Spencer
Schwartz, Olyn Long, Enrique
Munoz, III, Alberto Munoz, Paul
McDermott, Frances Gillard, and
Darla Sharp.
New this year was ProofCast
Lounge, a place where FPP
members and guests could hang out
and watch the judging without
observing the usual rules of
decorum in Salon. Translation:
ProofCast Lounge rocked the house!
With energy and excitement, Carol
Walker, Randy Van Duinen and
Gary Hughes answered questions,
played some lighthearted “guess the
score games” and made sure that
everyone learned a whole bunch
about competition in a great venue
as it was happening upstairs. Thank
you to a wonderful crew that
brought education, fun and energy
to the mysterious and often
confusing world of Salon. We can’t
wait for next year! And now, for
the statistics and awards:
2013 ENTRIES
Electronic Art
Digital Art:
Restoration:
Manipulation-Art:
12
10
23
Albums-Event
Album (Single-Maker):
Album (Multi-Maker):
2
0
Commercial
Advertising Illustration:
Architectural:
Industrial:
Photojournalism:
9
7
1
9
Illustrative
Abstract:
Landscape:
Open:
Wild Animals:
6
27
79
15
Portrait
Child:
Environmental:
Group:
Man:
Pet:
Woman:
45
23
20
22
9
51
Social Event
Formal Portraiture:
Open:
8
15
Total Entries:
Total Merits:
Percentage of Merits:
Digital entries judged:
Physical entries judged:
Print Scoring:
100: 0
95-99: 2
90-94: 4
85-89: 22
80-84: 138
75-79: 218
70-74: 10
394
166
42%
325
69
Florida Photographer 7
Following are the awards presented:
Electronic Imaging
Electronic Art:
First Place: Death in The Afternoon, MICHAEL ZERIVITZ
Distinguished: The Early Bird, JULIE FIORETTI
Distinguished: Ugh (Grunting Noise), WILLIAM
DZWONKOWSKI
Best of Show Commercial:
SeeSure, JOHN JERNIGAN
Restoration
First Place: Mildew Memories, JULIE JOHNSON
Distinguished: Danceline Dandies, JULIE JOHNSON
Distinguished: Scratched Siblings, JULIE JOHNSON
Illustrative:
Digital Art
First Place: Bent Wing, JULIE JOHNSON
Distinguished: Conceptual Equilibrium, MARINA
PROSKURINA
Distinguished: Sweet Sixteen, CATHERINE NOCERA
Abstract
First Place: Great Sand Dunes, Colorado, CHERILYN
NOCERA
Distinguished: No Award Given
Distinguished: No Award Given
Electronic Manipulation
Landscape
First Place: Fire Fog, Julie Johnson
Distinguished: Let There Be Light, REG GARDNER
Distinguished: The Sentinel, RANDY VAN DUINEN
Digital Illustrative Art
First Place: Hatched, RANDY VAN DUINEN
Distinguished: Metal Craftsman, CATHERINE NOCERA
Distinguished: Dark Angel, RANDY VAN DUINEN,
Best of Show Electronic Imaging:
Mildew Memories, JULIE JOHNSON
Photographic Open
Commercial:
Wildlife
First Place: Lagoon Landing, STEVEN BLANDIN
Distinguished: Gotcha, CHRISTINE REYNOLDS
Distinguished: Push Harder, PAT LOWE
Open
First Place: Hibiscus, JANE CONNER-ZISER
Distinguished: Young Dancer, ARNOLD (AJ) ABELLERA
Distinguished: Dream Catcher, CATHERINE NOCERA
Advertising Illustration
First Place: See Sure, JON JERNIGAN
Distinguished: GPS Guided Personalized Surgery,
SHEILA HARTLEY
Distinguished: Hybrid OR, MICHAEL POTTHAST
Social Event
Architectural
First Place: Embry Riddle University, RANDY VAN DUINEN
Distinguished: Aero Clave Lobby, RANDY VAN DUINEN
Distinguished: Dog House, PETER BURG
Social Event Formal Portraiture:
First Place: Mi Armor, TOMAS MUNOZ
Distinguished: Garden of Eden, TOMAS MUNOZ
Distinguished: Bonnie & Clyde, ALBERTO MUNOZ
Industrial
First Place: Super Clean Robotic Arms for Stacking
and Placing IT Wafers, CHRISTINE REYNOLDS
Distinguished: No Award Given
Distinguished: No Award Given
Social Event Open
First Place: Art of Love, TOMAS MUNOZ
Distinguished: Biltmore Romance, TOMAS MUNOZ
Distinguished: Blown Away, MARIO MUNOZ, JR.
Photojournalism
Florida Photographer 8
Best of Show Illustrative:
Hibiscus, JANE CONNER-ZISER
Best of Show Social Event:
The Art of Love, TOMAS MUNOZ
Albums
Event Album (Single-Maker)
First Place: Jasmine and Matthew, TOMAS MUNOZ
Distinguished: Keep Calm and Marry On, MARIO
MUNOZ, JR.
Distinguished: No Award Given
Event Album (Multi-Maker)
First Place: No Entries
Best of Show Album:
Jasmine and Matthew, TOMAS MUNOZ
Best of Show Portrait:
Redneck Yacht Club, CHERILYN NOCERA
Special Awards
Section Awards:
First: JPPG/Jacksonville with 15 entries, score 86.73
Second: OMCPPA/Ocala/Marion County with 29
entries, score 84.34
Third: BPPA/Bay with 25 entries, score 82.76
CPP Award: The Art of Love, TOMAS MUNOZ
ASP Award: The Garden of Eden, TOMAS MUNOZ
Portrait
Portrait of a Man:
First Place: Top Gear, SHEILA HARTLEY
Distinguished: The Champ, MICHAEL POTTHAST
Distinguished: Distinguished Gentleman, SCOTT
MEINCKE
People’s Choice Award: Heir to the Throne, BARB
SPRATLIN
Lexjet Sunset Award: Evil Eyes, PETER BURG
Fuji Masterpiece Award: Fire Fog, JULIE JOHNSON
Portrait of a Woman:
First Place: The Heiress, MICHAEL POTTHAST
Distinguished: Spellbound, BILL BARBOSA
Distinguished: A Man’s Dream, PETRA PRION
ProofCast’s Most Improved Photographer:
JULIE JOHNSON and LINDA LONG (tie)
Portrait of a Child:
First Place: Heir to the Throne, BARBARA
SPRATLIN
Distinguished: Cloaked In Wonder, RHEA LEWIS,
Distinguished: First Communion, KEVIN NEWSOME
Susan & Stewart Power’s Award - Album of the Year:
Jasmine and Matthew, TOMAS MUNOZ
Portrait of a Group:
First Place: Duet, JANE CONNER-ZISER
Distinguished: Reservoir Dogs, MARIO MUNOZ, JR.
Distinguished: Wet, MARIO MUNOZ, JR.
Environmental Portrait:
First Place: Redneck Yacht Club, CHERILYN NOCERA
Distinguished: Nikolay 3 Time World Aerobatic
Champion, JOHN JERNIGAN
Distinguished: Young and Artsy, JOHN JERNIGAN
Portrait of a Pet:
First Place: Chocolate-Vanilla-Swirl, JENNIFER O'DEA
Distinguished: Mr. Bentley, MICHAEL POTTHAST
Distinguished: No Award Given
Kodak Gallery Award: Heir to the Throne, BARB SPRATLIN
Top 10 Photographers:
1. Tomas Munoz
2. Jane Conner-ziser
3. Sheila Hartley
4. Michael Potthast
5. John Jernigan
6. Steven Blanding / Joann Munoz (tie)
7. Julie Johnson
8. Manny Cruz
9. Randy Van Duinen
10. Jennifer O’Dea
Photographer of the Year: TOMAS MUNOZ
Artist of the Year: JULIE JOHNSON
Robert Becker Memorial Award for Creative
n
Photography: Duet, JANE CONNER-ZISER
Florida Photographer 9
2013 Photographic Competition Awards
MARTI NEWKIRK
The Robert Becker Memorial Award for Creative
Photography “Duet” by Jane Conner-ziser.
Top Ten Photographers attending the Banquet: Michael Potthast, Jane
Conner-ziser, Randy Van Duinen, Julie Johnson and Steve Blandin.
First Place Winners: Michael Potthast, Barbara Spratlin, Cherilyn Nocera,
Jane Conner-ziser, Randy Van Duinen, Julie Johnson, Steve Blandin and
Christine Reynolds.
People's Choice
Award “Heir to the
Throne” by
Barbara Spratlin
ProofCast
Most Improved
Photographers:
Julie Johnson
and Linda Long
Florida Photographer 10
Best of Show Winners: Cherilyn Nocera, Jane
Conner-ziser, Julie Johnson
FPP 2013 Awards Night
DEBBIE ALCORN, FSA, FED, CONVENTION MANAGER
For a bunch of photographers we
sure do clean up nice. Everyone
looked gorgeous for the night of
recognition for our best of the best.
Congratulations to all!
The Florida Service Award is
awarded when a member earns 30
merits for service given to the FPP.
Only 253 such awards have been
earned since 1966. This year we
add 2 more: Kaye Newsome, FED
and Christine Reynolds, FDPE.
Thank you ladies for you
continued service.
The Florida Education Award is
earned by continuing your education to achieve a higher level and
better understanding of our craft.
We have awarded 142 since 2001.
This year we add 6 more: Patrick
F. Ciatto, Jane Conner-ziser,
Darryl Jarmon, FDPE, Linda Long,
Carmen Schettino, FSA and
Melissa Sewell. Great job!
The Florida Degree of
Photographic Excellence is
awarded after 30 print merits have
been earned. Only 188 have been
earned since 1966. This year we
add 2 more: Patricia M. Macfarlane
and Michael Potthast. Great job,
be proud!
The Educational Scholarship
Award sends the recipient to our
fantastic Florida School in 2014.
This year’s recipient is Lou Gillard.
Congratulations, Lou!
The Past Presidents Award, established in 2008 is voted on by the
PP’s, of FPP. This prestigious
award is presented to someone
within our industry, who has gone
above and beyond the call of duty
in service to our association, our
industry and our profession as a
whole. This year’s recipient is the
vivacious Jane Conner-ziser.
Thank you so much Jane!
FSA Recipients: Christine Reynolds and
Kaye Newsome
The Southeastern Award was
established in 1967 and up until
1974 was always given for print
merits. Since 1974 it has been
given for service and dedication.
This year’s recipient is Debbie
Whitmer of Museum Bond.
Congratulations, Debbie!
The National Award was created
by the PPA in 1958. It is the
highest award presented to a PPA
Affiliate. It is presented in recognition of hard work and dedication
to our association and industry.
This year’s recipient is our new
President Martin Gudz. Way to go
Martin!
Receiving their FDPE Degree: Michael
Potthast and Patricia Macfarlane.
The Outstanding Service Awards
are chosen by the FPP Affiliate
Sections to honor their individuals
who consistently go the extra mile.
Congratulations go to:
BPPA: Donna Williams
SWFPPA: Barbara Spratlin
PPNCF: Tammy Griffin-Vincent
JPPG: Karen Joseph
PPGMF: Marti Newkirk
PPGF: Lou Gillard
OMCPPA: Jackson Koontz III
PPSCF: Ellyn Siviglia
PPGPB: Helen and Ray Haruben
NWSFPP: Mari Darr-Welch
SCPP: Karl Leopold
TPPG: Olyn Long
TAPPA: Rick Lewis n
FPP Past Presidents Award was presented
to Jane Conner-ziser by current president
Sandra Pearce.
Florida Photographer 11
FED was awarded to: Carmen Schettino, Melissa Sewell, Jane Connerziser, Linda Long and Darryl Jarmon.
SEPPA Award was presented to Debbie Whitmer from
Museum Bond by Kavin Jiminez and Sandra Pierce.
Florida Memorial Service Award was
bestowed to Ramfis Campiz by President
Sandra Pearce.
PPA President Ralf Romaguera presented the coveted National Award to VP Martin
Gudz, flanked by FPP President Sandra Pearce and Cindy Romaguera.
Theresa Saylor Scholarship Award was
given to Julie Johnson.
Richard Fowler Scholarship was
presented to Darla Sharp.
Florida Photographer 12
Jim Arbrish Memorial Award went to
Marty Grivjack.
FPP 2013 Convention Wrap-Up
DEBBIE ALCORN, FSA, FED, FPP CONVENTION MANAGER
It is so very hard for me to believe
FCON 2013 is actually over. All
the planning and working all year
and “poof” it’s over. Sort of like
Thanksgiving Dinner!
Thank you sounds like such a small
thing to say to everyone who
worked so hard to make FCON
2013 a success. When I say thank
you I truly mean it from the bottom
of my heart.
To our Speakers and Sponsors, great
job by all, thank you for sharing
your time and knowledge with us.
I am just sorry it all went by so fast,
would have loved to have more
time with all of you.
Thank you to Bridget Robertson for
being the invaluable Convention
Assistant. All the “undercover”
things you did all year were such a
huge help. Putting together the
program and getting it ready to
print was monumental, it looked
fabulous!
Well deserved my friend. It was
great seeing you.
Robin Adams, what can be said.
Constantly working and getting
everything done. You handled all
challenges with dignity and grace.
Thank you to you and your great
committee.
squirrels!
WebMaster Kevin Newsome, thank
you for all the eblasts and changes
you made to our website to keep
everyone informed. I’m not really
sure if everyone knows how hard
you work, so let it be said here.
Thank you for all your long hours
and hard work!
Proof Cast Lounge. Yahoo, what a
fun gathering! Thank you Jeff
Burton, and Dir. Carol Walker for
keeping it rockin and rollin! Super
duper job.
Most important of all are FPP’s
members, without the help and
support of all of you none of this
would have happened.
Thank you to Exec. Dir. Kaye
Newsome for “reminding” of something I had forgotten. Quite the
power house we have in her.
Thank you for keeping me on track
and stopping me from chasing
Time to get started on FCON 2014.
Call me 727-481-9329 or email me
[email protected] with any
ideas and suggestions. Looks like
we are gonna have a Revolution!
See you at the Fall Seminar! n
My two Lts., Dir. Britney Kirbey
Fullgraf and Dir. Cindy Strickland.
You guys were fantastic, never
missed a beat and if there were any
glitches they were handled without
anyone knowing. Thank you so
very much.
All of the Committee Chairs picked
the best people for the job and all
went off without a flaw. Many
were new Chair People this year
and you all proved without a doubt,
you could not only handle the job
but soared! Thank you, thank you,
you people are the best.
Luis, great Trade Show again and
thank you to Yvonne for stepping
up and helping. Not sure how
many of you know this but Yvonne
Melendi is one of the very few
people to receive an Honorary FSA!
Florida Photographer 13
More Pics from FCON Events!
Florida Photographer 14
Images by: Marti Newkirk, Bill
Barbosa, Vasilena Balabanova
and Pedro Carrillo.
Florida Photographer 15
Door Prize Committe
Theresa Saylor
GARY HUGHES
NANCY SOLES, PAST PRESIDENT
Some volunteers stay on the same
committee for decades at the FPP
and some, like me, bounce around
each year. Whether that is due to
some sort of hyperactive disorder
or an unquenchable thirst for new
and exciting experiences is irrelevant. Bottom line is that every year
I get to know different members on
a new level and I have the great
pleasure to say that as this year’s
Door Prize Chair I got to know my
committee, even the ones I
thought I knew well, a lot better.
Thank you to my awesome
committee, I can’t thank you
enough for picking up the slack, I
am very grateful for all of you.
As the door prize chair, the
generosity of our sponsors can be
overwhelming at times. It almost
gets to the point where you feel
like you might be buried under an
avalanche of prizes! Luckily there
are plenty of attendees to grab
them up! I would like to take this
opportunity to list and thank all of
the sponsors who donated door
prizes this year, they were
outstanding! So in no particular
order, our most humble thanks for
the continued support of:
Reedy Photo
Burrell Imaging
Museum Bond
Dale Laboratories
Into the Darkroom
Larson Enterprises
Artsy Couture
H & H Color Lab
Collages.Net
White House Custom Color
Tim Kelly
Pro Photo Cases
Professional Photographers of
America
Big Folio
It was a pleasure serving as Door
Prize Chair this year and I look
forward to bouncing around
convention again next year! Maybe
I will show up at the early morning
classes just to get the party started!
See you in November at the Fall
Seminar! n
FPP 2014 Board of Directors
Standing: Carol Walker, Patrick Van Dusen, VP Jackson Koonz, President Martin
Gudz, Gary Hughes, Britney Kirby-Fullgraf. Seated: Sec.Treas. Cindy Strickland,
Past Prez Sandra Pearce, Executive Director Kaye Newsome and Robin Adams.
Florida Photographer 16
When Theresa left this earth for
Heaven, I said I would write an
article for her. It has been the
hardest thing I have ever promised
to do. Many folks have given me
their input and to some degree it
made the job harder as I found
myself trying to speak for them.
So, I decided to speak of her as she
was to me, my friend.
My Friend Theresa Saylor:
Nothing can
describe the
heart and soul
of Theresa.
You could feel
that part of
her. We can
list her work
and accomplishments
until we are
blue in the
face (and the Theresa, Nancy and and
Past President Helen
list is that
long... truly). Ciallella - PPA 1992
"Who" she was, evokes the most
positive emotions, and thinking of
her brings a smile to my face and
covers me with a warmness I can
feel. The profound laughter we
have shared will never be
forgotten. She was truly my
encourager, confidant, and hero.
The wisdom, blessings and lessons
I received from having known and
loved her will be with me for the
rest of my life. Those that loved
her will mourn because her earthly
presence has been removed and
we will be robbed of her touch.
But the joy and love she gave, will
make us smile at the mention of
her name, and her memory will
live on in us. If you speak of her,
do it as she would speak of you ...
in love and kindness, with honor
and respect, and most importantly,
with a smile. Forever friends, In
God's Love, Nancy. n
FPP 2013 Convention Committee Report
BRITNEY KIRBY FULLFRAF
Well, we had another amazing year
at FPP Convention in Orlando!
Committee heads were busy
making sure every detail was in
place!
Chairs, Darla Sharp and Nikkia
Reed insured they got back and
forth from the airport on time and
in good health! Equally important at
each Convention is knowing where
to find our speakers and various
gatherings, and our Signs Chair Karen Barnett made that possible.
Thanks for all the many hands that
made this Florida Convention 2013
a wonderful and memorable one! n
AV Chair, Jackson Koontz did an
amazing job assuring that every
word could be heard and every
slide could be seen at each of our
amazing sessions. His support team
made up of Lee Burgess, Paul
Finkelstein and Sam Brill left no
stone, or pc cord, unturned!
Speaker Equip. Chair, A.J. Abalera
and Props Chair, Bill Cadzow were
one step ahead of any speaker
requests or special needs...backdrops, saw horses, you name it and
A.J. and Bill can make it happen!
A.J. was even there to make sure
there was replenished water to
refresh our hard working speakers!
Equipment Chair, Ed Robinson
pulled together a fine crew of Jesus
Cabrera, Lou Gillard, Robin
Phillips, Larry Carpenter, Paul
Finkelstein, Durga Garcia, Darryl
Jarmon and Nikkia Reed. Often
times working behind the scenes or
sequestered in the equipment room,
this hard working team made sure
that everything had a place and
everything was in its place before,
during and after our convention.
The old saying "a picture is worth a
thousand words" is never more true
than within our industry, and that
includes seeing a speaker work
hands on with a model during a
session. This year, Models Chair,
Charlie Coury made sure our
speakers had some great models to
work with, making it all the more
interesting and educational for the
rest of us.
It goes without saying our
Convention wouldn't be complete
without our speakers and Host
Florida Photographer 17
Oh What a Night!
JANE CONNER-ZISER, CR.PHOTOG, API
Florida Professional Photographers Association 2013
The Past President’s Award for
Outstanding Service to the Industry;
The Florida Education Degree for
Dedication to Education; First Place
Illustrative Open; First Place Portrait
of a Group; Best of Show Illustrative;
and the coveted Becker Award for
Creative Excellence. A once in a
lifetime experience! And a pretty
good night for my first foray into
print competition!
But most of you know that’s not
entirely true … I’ve been a professional photographer and retouching
artist for (gasp!) over 35 years. A
big part of my freelance business
specializes in retouching other
photographers’ work for competition … and I’ve learned and grown
as an artist along with many of my
Master friends. It might have been
the first time I entered my own
photographs, but I know what looks
good and I’m pretty familiar with
the process (I messed up on all of
the forms and had to do them a
couple of times before I got it right.)
I wanted to share my favorite
image, Hibiscus (PPA Loan), with
you, because it’s a pretty good
example of my creative thought
process. I wanted to also share my
full case of images so you can see
that although my top two images
were awesomely received, I had
two that scored in the low 80’s and
two that even got the dreaded
(shudder) 79.
Hibiscus began when Mike Potthast
Florida Photographer 18
and I decided to schedule a playtime together. He brought in the
dancer, I drove to Winter Haven
and we took turns setting up shots.
Mike photographed her jumping and
spinning. I posed her on a small set
of steps. We did some posing of her
reclined upon a curved bench … I
was drawn to her skirt, but from the
side, it just looked like a horizontal
line. When my turn came back
around, I asked for a ladder. I wanted
her lit from behind so there would
be a sense of mystery in the shadows.
I wanted a large light source so the
fall off of light would be soft. I asked
our model to bow down as if she
might be adjusting her shoe and I
made one exposure. Then I moved
the camera angle slightly and made
another. That’s it, two exposures. I
shot it low key, RAW.
That evening as I went through my
images from the day, the only one I
felt had potential was the one I
photographed from the ladder. I
brought it into ACR and, as is my
habit, I looked at it for a few minutes.
I rotated it so I could see it from all
angles. I zoomed in to check for
details. I took the exposure slider
and shot it all the way down to
black and then all the way up to
white, and “Hello Beautiful!” (our
cover photo) was in the soft dove
gray value range, securely held in
place by the deep black velvet of
her waist band and the little white
highlights on her back.Because it
was already close to being monochromatic, I tried it b/w and it was
even more powerful.
Image adjustment is critically
important so I took my time and
made sure that there was detail in
the specular highlights and in all
blacks, except the velvet. I remember
toning down a patch of skirt under
her chin in order to show off the
reflected rim light running down
her jawline and neck. I zoomed in,
zoomed out, looked and refined
until I felt it was as perfect as possible.
Then I opened it in Photoshop.
There was very little retouching on
this image. By this time it had a
name, Hibiscus, and my goal was
to present her as a flower. I rotated
the image until I could see the
flower clearly without it looking
contrived. In the final composition,
I particularly like the way the black
net creates edges around the skirt
that look like they were drawn in
with a pencil. I had to fill in some
background in order to perfect the
composition and added the slightest
glow to boost the feeling of gentle
elegance I was feeling with this
image. I love this image; I feel good
about my creative experience with
it. I made it for myself.
On to the competition, I give 80%
credit for me entering to Rick Bauer
who has encouraged (pestered) me
to enter for many years – as have
many of my other friends. I guess I
never entered before because … I
don’t know … I just never did. I
have shared excitement for
everyone else’s success and I
confess I LOVE making competition
images and seeing how they do
with the judges … I make lots of
images for myself … but anyway,
this year I thought “Why not? Let’s
do it!” and picked out six of my
images that might represent different
styles of photography that I like to do.
Preparing Hibiscus for competition
required that I consider whether or
not my image would benefit from a
mat or border. I decided it would,
and chose a simple piping, delicate
and simple, just like my image.
Also, it was important to find out
how the image would be displayed
during the judging. I asked and was
told that it would project on a black
background, which was fine for
Hibiscus, but three of my other
images had black mats so I dropped
in a light gray inner glow at the
outside edges so my crop and
borders could be seen. As it turned
out, my information was incorrect;
the viewing background color was
gray, but I was lucky because my
choice of gray coincidently
matched the background so the
only visible clue of my misinformation was that the outside edges on
my black mats were a trifle soft; I
don’t think anyone noticed. I say
this just to point out that you have
to consider every angle on a
competition image and then go
with your best information!
My two favorites from my case are
Hibiscus and Duet and I’m glad
they did well. I took a chance with
them in competition because both
of them are “quiet” images that feel
better the longer you look at them –
and judges usually score within
three seconds. Duet (below) is also
a bit “nude” for a PPA salon. I got
lucky – both of them were challenged and as the judges talked
about them, they grew bigger than
are heavily adjusted plus Duet has
some extensive Puppet Warp for
those of you who suspected :-) Both
of them have the slightest bit of
glow (NIK) but at such low settings
they were originally; even up to the
final judging I hear.
I think what gives me the most
you should feel it more than see it.
In my opinion, competition is our
outlet to share ourselves as artists.
It’s a good reason, for those of us
happiness in Hibiscus and Duet is
that both of them are pretty much
straight photography, and I love
beautiful photography! Both images
who need one, to step away from
babies with little knit caps and
families on the beach to explore
ourselves, connect withour feelings
and use our knowledge to more
successfully produce part of what
we carry inside into tangible
external creations that we can share
Florida Photographer 19
Right now I’m exploring beauty of
line, grace of composition and
simplicity. As I strive for perfection,
I see why people want it. What an
exquisite feeling to participate in
creating a universe in perfect
harmony; not a flaw nor hint of
discord … yet I’ve also learned that
it’s the imperfections that steal our
hearts and our imaginations - and
I’m learning how to carefully craft
them.
with others. It’s been my experience that the images that win are
the ones where you successfully
express feelings that make you cry,
laugh, love, -or dream out loud.
Am I there yet? NO! I’m not even
close! I feel like a little bird learning
how to fly in a flock of thousands!
I’m old enough to realize what I’m
not – I’ll never be an illustrator, nor
will I create the powerful imagery
of dark clouds and heavy metal that
I admire in other artists’ works.
So here’s to our flock, the thousands of us learning to fly, learning
to fly better, learning to soar.
Though our personal journeys are
imperfect, as we occupy our place
in the sky, receiving a word of
encouragement here, extending an
New FPP Members
The following people have applied for membership in the FLORIDA
PROFESSIONAL PHOTOGRAPHERS, Inc. Their names are published for
all members to review in accordance with the membership rules. If no
objections are received within thirty days of this publication, these individuals will be accepted pending approval from the FPP Board of Directors.
NAME
CITY
STATUS
Abby Liga
Isaac Hadid
Wendy Maillard
Lori Hoekstra
Pilar Ojeda Ferenus
Petra Prion
Matthew Genuardi
Steven Blandin
Terra Yates
Tanya Brown
Bruce O’Rourke
Nicolette Lindsey
Diana Jaramillo
Paul McDermott
Amber Wielgorecki
Emily Pattillo
Diane Arsenault
Beverly Caparella
Olivia Ginn
Dalton Hobbs
Elisa Lizt
Nick Palomba
Lilybet Sepulveda
Jessica Shaw
Winter Park
N. Miami Beach
Orlando
Ormond Beach
Bradenton
Venice
Orlando
Tampa
Sanford
St. Petersburg
Winter Park
Stuart
Hialeah
Lauderdale by the Sea
Ormond Beach
Cocoa Beach
Jacksonville
West Palm Beach
Eustis
Dunnellon
Orlando
Tampa
Orlando
Lecanto
Professional
Service
Member
Student
Student
Professional
Member
Professional
Professional
Student
Student
Member
Service
Associate
Student
Professional
Member
Member
Professional
Member
Member
Professional
Professional
Student
Florida Photographer 20
outstretched wing to help there, our
common journey becomes an
astonishing river of flight and a
perfect symphony of wings. We
grow individually and we grow
collectively through our schools,
our associations, our friendships
and our competitions.
See you next year I hope – I’m
already working on some images,
are you?
Jane Conner-ziser is a professional
photographer, freelance retouching
and painting artist, author and
teacher. She is an Adobe
Influencer, A Corel Painter Master,
X-rite Illluminati, Craftsman
Photographer and fine artist, who
teaches classes all over the world.
Visit Jane’s website
www.janecz.com to check out her
class schedule, online and DVD
training and samples of her work.
Email Jane at [email protected] n
Portrait Lighting Ratios
AL AUDLEMAN M.PHOTOG.CR., CPP, API, FDPE, FSA, FED, GFD
A “lighting ratio” is the ratio of the
main (or key) light to the fill light.
The main light (often called the key
light) is the primary light used to
create shadows on the subject.
Shadows are critical to a good
image as shadows are what create
shape and texture ... the “key” to a
good portrait. The fill light is used
to fill the shadow areas so they
have detail and are not so dark they
are distracting.
In a studio lighting situation, the
exposure value (EV) is controlled by
the output strength of the lights.
While the true EV is the combination of both shutter speed and fstop, when using strobes indoors
the shutter speed is not an overly
important consideration. Just
remember two things regarding
shutter speeds in the studio: 1) If it
is set too high, in most cases over
1/250th of a second, the strobes
will not synchronize (sync) with the
shutter. This means that you will
not get a consistent exposure over
the sensor, leaving parts of the
image under-exposed. 2) If you set
it too low, say less than 1/15th of a
second, you may pick up background lighting that will contaminate your color and also allow for
some subject movement, giving you
a blurred image in some cases.
This, of course, depends on the
ambient lighting in the camera
room. It is like “dragging the
shutter.” Keeping the shutter
speed at 1/60th to 1/125th is a
good range, allowing good synchronization and eliminating any effect
from ambient lighting.
This is assuming that you are using
a somewhat “normal” ISO setting -400 or less hopefully. As you
move up in the ISO ratings, you
pick up noise and may find that
there is some color contamination
from ambient lighting.
Now if you wonder why there
would even BE any ambient light,
here’s a tip and a good one to
remember. If your camera room is
dark, the pupils in the subject’s
eyes will dilate (open up wide) and
you will lose most of the color in
the eyes. It is also not very flattering since there are a few other
things that cause the eyes to dilate
and some of them are considered
inappropriate for general portraits,
depending, of course, on client and
the situation.
Lighting ratios are expressed as X:Y
where “X” is the highlight side of
the face and “Y” is the shadow side.
Ratios are important to understand
since the correct ratio is important
to portraying the subject in a flattering manner. For example, a
lower ratio, like 1:1, means that
both sides of the face are lit equally
and there are no shadows. This is
often used in photographing
glamour shots. At 2:1, the amount
of light from the main is close to
the amount of light from the fill,
actually a one stop difference,
creating very light shadows. This is
very acceptable and often used for
small babies and children. A 3:1
ratio is considered the “catch-all” of
ratios since it is a universally
accepted ratio with good highlights
and lots of detail in the shadow
areas but with still plenty of shape
and form for the subject’s face.
This is a generally accepted ratio for
lighting women.
As the ratios go higher, 4:1, 5:1 or
more, the shadows get progressively darker and the less detail you
will have in them. Higher ratios
work better on men than they do
on women but they also help create
a “mood” or feeling. Also higher
ratios can be used to “hide” problems, like scars, on a subject’s face.
You will deal with the ratio of main
to fill to create flattering portraits,
whether the fill is another light or a
reflector. In the case of using two
lights, the ratio can be determined
in two different manners.
The two methods, when using
two lights are:
1) Metering the main and fill separately. In this case, the fill is turned
off and the main metered. Then the
main is turned off and the fill is
metered. In both cases, the effect
on the final exposure of the
combined lights is not considered.
It is simply used to obtain a specific
ratio. I term this the “Light Ratio.”
2) Metering the highlight and
shadow side of the face when both
the main and fill lights are being
used. To help you understand, I
use the term “Lighting Ratio” in this
case. This is often referred to as
“Layered Lighting.”
While the “Light Ratio” is easiest to
demonstrate, the “Lighting Ratio” is
Florida Photographer 21
more appropriate since we do not
make two exposures using the main
and fill separately. It is important to
know that there are two separate
methods to determine the ratios.
However, it has been a source of
confusion on the CPP Exam. In
June of 2013, the exam was
changed so that candidates will be
tested on only one method …
layered lighting where both lights
are used to determine the exposure
and ratio.
Light Ratio -- Metering main
and Fill Separately:
Set up your main lights at the angle
you want, depending on what type
of lighting you want to use. We
will examine portrait lighting
patterns in another article. For
now, assume a basic lighting
pattern where the main is the
smaller light source to produce
shadowing and is placed high and
about 45º off the axis of the
camera-to-subject line. The fill is
traditionally a large, soft light
source placed behind the camera.
The actual placement of the fill light
considered to be the most correct is
where the fill is lined up with the
nose of the subject but that means
that both your main and your fill
must be moved each time the
subject is directed to turn his or her
head one way or the other. Many
camera rooms have the fill light
“attached” to the back wall and
never moved. It works so don’t
struggle with the concept. In the
instances shown here to determine
ratios, the subject will be facing the
camera and the fill will be behind
the camera.
In determining the light ratio, the
Florida Photographer 22
ratios are shown in “units.” Units
will vary but will always have a
relationship with each other, called
a ratio.
In the diagram, we meter the fill
light with the main light turned off
and determine that the exposure
would be f5.6. We will use this
amount of light as ONE UNIT. It
does not matter how much light it
is, just how it relates to the ISO
setting we have pre-determined. By
that I mean if we set a low ISO (like
100), it will take much more light
to get to f5.6 than if we use a much
higher ISO (like 800). Don’t be
confused at this point with ISO
settings, simply what the f-stop reads
on your meter with the set ISO.
Next, we turn on the main and turn
off the fill and read the highlight
side of the face (the one toward the
main light), and we get a meter
reading of f8. Considering the relationship between “stops” of light,
we know that f8 is one stop more
of light ... twice as much. Dealing
with “units” for determining ratios
and knowing that in this case f5.6 is
one unit, f8 is twice that amount of
light ... or two units.
Now it is simple math. On the
shadow side of the face, only one
unit of light reaches it. On the
highlight side of the face, we get
two units of light from the main but
we also get one unit from the fill.
Adding them together (2+1), we
get three units of light on the highlight side. So we compare three
units on the highlight side to one
unit on the shadow side ... or three
to one, written
3:1 ... for a three
to one ratio.
So the basic
concept here is
that if the main
is ONE STOP
brighter than the
fill, the ratio is
3:1 ... provided
you measure
them separately!
As we expand this concept, no
matter what the meter reads from
the fill light, it will ALWAYS be one
unit (the lesser of the two lights)
and the ratio is determined by how
it compares to the main light. For
example, if the fill reads f2.8, the
the main must meter at f4 for a 3:1
ratio. If the fill is f16, then in a 3:1
ratio, the main must meter at f22.
Going a bit farther with this version
of light ratios, what is a 5:1 ratio?
When we meter the fill, we always
get one unit. In order to get five
units on the highlight side of the
face and understanding that we
always get one unit there from the
fill, how much more light do we
need from the main? To get to five,
we need four more units (4+1 from
the fill = five). Four units would be
four times as much light. How
many “stops” is four times the
amount of light? TWO STOPS. So
it takes two more stops of light from
the main as from the fill to make it
5:1. In number terms, if the fill is
f5.6 as in the diagram (right), the
main now must read f11 to give us
a 5:1 ratio.
Layered Lighting -- Metering
combined effect of both:
You should also understand what
the lighting ratio is if you turn both
the main and fill on and then meter
the shadow and highlight side of
the face. Please understand that the
final exposure is based on metering
the combined effect of both lights.
So does this make any difference in
exposures? Absolutely!
Looking at the diagram, think about
the “question” presented. If you
metered the main separately and
got a reading of f8 and the fill,
metered separately, was f5.6, when
they are both on, there is a cumulative effect -- layered lighting. The
reading of the shadow side of the
face will be unaffected by the main,
so the reading will still be f5.6. But
the reading on the highlight side of
the face will include the light from
both the main AND the fill. But
now you have to compare the light
actually reaching the highlight side
to the light reaching the shadow
side of the face.
In the diagram, you are getting f5.6
on the shadow side while the highlight side is f8 PLUS f5.6 and the
meter should read closer to f9.5
(also incorrectly called f8-1/2 but it
is still universally acceptable). So
what is the lighting ratio in this
case? You have to break it down a
bit differently
About the author:
Al Audleman is past president of the FPP and has earned the
credential of Master Photographer, Photographic Craftsman,
Certified Professional Photographer, Approved Photographic
Instructor, Florida Degree of Photographic Excellence, Florida
Service Award, Florida Education Degree, Georgia Fellowship
Degree. He has been teaching at PPA affiliated schools since
1996. He is past chairman of the PPA Certification group and
involved in the development of CPP exams since 2000. He
recently authored a comprehensive CPP Study Guide available
by emailing him at [email protected]. n
Here is a break-down of ratios,
differences and usages:
In a 1:1 ratio, the “highlight” and
“shadow” side of the face are the
same. Technically there is no highlight or shadow side of the face.
In a 2:1 ratio, the highlight side of
the face receives twice as much
light as the shadow side of the face.
This is a one-stop difference.
At a 4:1 ratio there is four times as
much light on the highlight side of
the face -- a two stop difference.
If you want more drama and
contrast, using an 8:1 ratio, there
will be a three-stop difference
between the meter readings on the
highlight and shadow side of the
face respectively.
As shown in the chart above, the
popular 3:1 ratio (the most important ratio for the CPP Image
Submission process), there will be a
meter reading difference of one and
one half stops (1½ stops) between
the highlight and shadow.
Florida Photographer 23
Design for Perpetual Marketing
GREGORY DANIEL FDPE, FSA, M.PHOTOG.CR., F-ASP
Would you be interested in a business model that was inherently
designed to reduce marketing costs,
increase profits and perpetually
build the buz over time? This has
certainly been our experience for
over 33 years. We have successfully stood the test of many fads,
economic rollercoaster rides and
the digital revolution without
changing our basic business model.
Hopefully some of the following
thoughts will generate some ideas
and a review of your current business model and help with the
development of an action plan for
the future.
Third party display marketing has
been one of the most powerful
institutional marketing tools the
photography industry has touted for
decades. We all know that landing
a display at the local children’s
boutique or in the premier mall
entrance can be one of the best
forms of keeping your name in front
of potential clients. As wonderful
as this sounds, landing these
displays are not always easy and
can be extremely costly. Over the
years I have experienced difficulty
in finding just the right business
match that not only loves a Gregory
Daniel Portrait but also is willing to
display the portrait on their most
valuable merchandizing wall. The
predominate wall for a local
merchant is typically prime real
estate that needs to be graced with
income producing products
bringing large profits to the table.
This is why partnership marketing is
so very important to the merchant
and ultimately cost you through
kickbacks or shared profits via
certificates sold or honored from
the generation of sales as a direct
result of the display. There are
many other types of displays that
we have successfully used in the
past and still employ today. This
article is not to address all of the
normally taught standard practices
in our industry today but have you
explore the idea of a proven much
more sustainable approach to long
term powerful marketing.
Consider setting up a photography
business that is focused on creating
timeless classics that are designed
to hang on the predominate walls
of all your clients. These are clients
that have purchased your artwork
because they love what you do.
Naturally their portrait is something
they are emotionally attached to
forever. Typically it was created
during a very special time in their
life capturing their family, as they
want to see them today and in the
future. They have displayed this
timeless, priceless portrait in the
most desirable place in their home
Florida Photographer 24
to be seen everyday.
Let’s say you work with 100 clients
each year for over 5 years you
would have over 500 wall displays
in the target homes of your
marketing sweet spot. These are
display holders of people that love
you because of the wonderful gift
and treasure you have given them
for a lifetime. These are homes
were parties are held each weekend
throughout the year every year.
Where new potential clients are
immersed in conversations centered
around the most important topics of
these families. Can you imagine the
perpetual marketing buz this
produces? The type of third party
marketing from having one of your
clients share their
experience during
the creation of their
timeless masterpiece is priceless.
I believe a business
designed to create a
timeless recognizable brand of
personal art that is
displayed on the
wow walls of your
clients is a blueprint
for a sustainable,
successful business.
I would suggest
perpetual marketing
that is built into
your products is a valuable concept
that can and will reduce your direct
marketing costs and continually
increase your profits... This
concept is one of the foundation
blocks of our business and has
proven itself worthy and standing
the test of time. n
The Florida
Photographer
NEXT ISSUE
DEADLINE
November
15th
Florida Photographer 25
Meet President
Martin Gudz
Martin Gudz. Photog.Cr., FSA, FED,
LBIPP Born in Staffordshire, England.
Martin attended West Bromwich
College where he received his
LBIPP, the British equivalent to our
CPP. Coming to America in 1984
working as a cruise ship photographer he settled shore side in 1988.
Moving to Florida in 1991 he
opened Tudor Rose Photography in
1992. Visited by his album rep Stan
Rhoden in 1993, Stan suggested he
join FPP. Visiting the FPP Trade
Show in 1994 he decided to return
as a member the following year. The
first people he met were Ramfis and
Donna Campiz. Encouraged by their
welcome and friendship the FPP has
been his second family ever since.
Martin is a three time president of
the Tallahassee guild and received
the outstanding service award three
times for TPPG. Has served on many
committees for the FPP, Assistant
Salon Manager, Convention Speaker
Support Chairman, Convention
Manager. Forum Moderator, Section
Delegate , Speaker and Judge. FPP
Seminar Chair and served as a PPA
Councilor from 2010 to 2012. He
was awarded the Teresa Saylor
Award in 1999, earned his FSA in
2001, FED in 2006 and his PPA
Craftsman in 2008. 1 merit away
from his FDPE and 4 from his PPA
Masters. Martin has served on the
board since 2009. He was just
award the National Award from PPA.
Married to Brigitte, a school teacher,
for 25 years, he has 3 boys. Adam,
24, who is currently serving in the
Airforce as a TACP (Tacp’s are the
guys based on the ground who call
in the airstrikes and blow stuff up
with really big bombs). Adam is
married and has a 9 month old
daughter, Madisyn. “Her smile lights
Florida Photographer 26
up my world.” He is currently based
at Fort Benning, GA. Bladen, 22,
currently studying at Jacksonville
University and the kicker for their
football team. Bladen is still
exploring his options for a career.
Cullen, 18, who just graduated and
is finishing his AA at NFCC and will
transfer to FSU in the spring to study
music before doing his doctorate in
medicine. He plays the tuba and
hopes to play with in the FSU
Marching Chiefs. It is his dream to
one day be a surgeon.
Outside of photography Martin
enjoys gardening. Describing it as
his “Zen place” he loves mowing the
grass and tending to his studio and
vegetable gardens. Food and
cooking are also a big part of his life.
Taking inspiration from chefs off the
food network, he loves to try new
things. He’s English, so he will eat
anything and lists his favourite food
as steak and kidney pie. Football
(our soccer) is his favourite sport.
Coaching the High School soccer
team, he has been a Wolverhampton
Wanderers fan all his life..
Martin credits his mentors Bruce
Evensen and Michael Redford for
helping him define his style, which
he describes as a combination of
traditional and contemporary.
Although he says he has received a
lot of encouragement and support
from other master photographers
along the way, he also expressed his
gratitude to the many friends who
have supported him these last few,
as he describes, them “difficult and
trying”years. Amongst those are
Carol Walker, Kaye and Kevin
Newsome, Debbie Alcorn and
Reedy Photo, Randy Van Duinen,
Cindy Strickland and Robin Adams. n
The birth of my grandaughter Madisyn
The most interesting men in the world!
With Bruce Evensen and Carol Walker at
PPA Craftsman Awards presentation.
At Florida School party.
We always seem to find a pub!
FPP Friends at someone 50th.
Above: Friends at Florida School,
from left to right... oh never mind.
With friends before Florida School begins.
Left: At PPA Imaging in New Orleans.
Blanden
Cullen’s Graduation.
Cullen
Adam
Madisyn
Shooting at the Beach.
Florida Photographer 27
FPP Fall Seminar The Power
of Personal
Projects
CAROL WALKER, FDPE, FSA, FED
Save the Date!
November 3rd, 2013
9AM to 5PM
Daytona State College
A Sexy Soirée with Stacie Frazier
Building a Better Boudoir Business
Bou•doir (/ˈbuːd.wɑːr/; French:
[bu.dwaʁ]): a lady's private bedroom, sitting room or dressing room.
The term derives from the French
verb bouder, meaning "to be sulky."
So…what does that have to do with
photography? Everything, if you’re
tuned into trends or just love
making your female clients feel
confident and sexy. Boudoir
photography is back, and hotter
than ever! With the emphasis on
the aesthetic qualities of each
subject and the craftsmanship of the
photographic process, Boudoir
photography can be a fun and
lucrative way to build your business! No studio? No problem.
Your ‘studio’ is your client’s
bedroom, hotel room, or any location that creates an intimate setting
to create classy and romantic images.
Our Fall Seminar speaker, Stacie
Frazier hails from Las Vegas, NV
where she has built a loyal and
diverse clientele from all over the
globe. Stacie began her journey as
a Boudoir photographer in 2009
and has rapidly gained acclaim as a
true professional in her field with
the ability to bring out the beauty in
every woman, no matter her age,
shape, or size. Her photography has
been described as "high-gloss
glamour and drama” but her
favorite response to her images is "I
can't believe that's me!"
Stacie has been featured in
Florida Photographer 28
“Boudoir Photography: The QuickStart Guide for Professional
Photographers” by Ed Verosky and
“Canon Speedlite System Digital
Field Guide” by Michael Corsentino.
She also released her own ebook
for women preparing for their own
boudoir sessions, “How to be a
Boudoir Bombshell”, as well as "5
Boudoir Poses, 15 Sellable Images"
for fellow photographers.
Stacie is thrilled to be sharing her
secrets with us in this all-day lecture
and live demo workshop. Join us
on Sunday, November 3rd at
Daytona State College. Bonus: PPA
members receive one Education
Merit for attending!
Sponsored by the FPP, Miller’s Lab,
Post Edits, and PPA’s Continuing
Education System, don’t miss this
opportunity to catch Stacie in an
intimate setting before she speaks at
PPA’s Imaging USA convention in
Phoenix in 2014!
When: Sunday, November 3rd
Time: 9:00am. – 5:00pm.
Where: Daytona State College
Cost: $59 for FPP Members; $79
for Non-Members IF PRE-REGISTERED BY OCTOBER 27TH! (Add
$10 after deadline and at the door).
Lunch on your own.
Hotel: Daytona Beach Resort and
Conference Center. Call 386-6723770 for reservations and use the
code PHOTO to get the special
room rate of $79 per night.
For more information, visit
www.fpponline.org. n
STACIE FRAZIER
The Power of Personal Projects
As busy business owners, it’s
incredibly difficult to take time for
ourselves. With so many photographers working day and night,
seven days a week, it might even
seem impossible. But there’s one
area where you need to get greedy
with: your time. Drop the guilt
and indulge yourself a little and
begin a personal project. Personal
projects are not only good for a
photographers soul, but can actually help bring in more business.
They can help grow your skills as
a photographer and also help put a
spotlight on your business.
A personal project can be something you work on all year, or a
one time shoot only. My most
successful projects were also the
most time consuming, ranging
from a few months to a full year.
The more you put into it, the more
you will get out of it.
I began experimenting with
personal projects when I added a
spokesmodel to my team. In the
beginning we did a lot of test
shoots for new ideas that I didn’t
want to try out on paying clients,
but wanted to perfect beforehand.
These quickly inspired me and we
began to take on bigger and more
ambitious projects, sometimes
including past clients as well.
I have found that competitions
can be a great starting point for
personal projects. You really get to
push your boundaries by shooting
to compete. For instance, I never
would have been able to talk a
client into doing her shoot as
Cleopatra or a creepy Ouija Board
spirit, for instance.
makeup and it ended up being the
cover for a local magazine that did
a writeup on our project.
Currently, my team and I are working
on a different sort of project. The
Boudoir Body Challenge. We are
encouraging women to get healthy,
fit and more confident by working
on our fitness, together for three
months. So far, we have over 200
women from all over the World
participating in this challenge. And,
while this is not exactly a photog-
Businesses love collaborating on
meaningful causes so get out there
and scratch each others backs to
pull from an even larger audience.
Open the project up to the public.
They will be your greatest ambassadors and will send referrals to you
like crazy.
Get in on the action yourself!
Don’t forget that you can also make
a great subject yourself! And it
helps others feel more comfortable
volunteering for your project if they
see you were brave enough to do it
yourself.
Use your projects as a gift for past
clients. This is a great way of
getting the people who love you
already talking about you all over
again! Most of them are so happy to
get to spend time with you again,
working on something meaningful
for both of you.
My first longterm project was with
my Pure Beauty project. The idea
behind this was showing women
that they are beautiful even without
makeup on. We shot this for a year
before we ended with a no makeup
shoot event. I even shot myself sans
raphy project per se, it certainly is a
personal one, and one that ties in
beautifully for my business.
Ready to embark on your own
personal project? Here are some
tips to help get you going:
Select a topic that is close to your
heart. The more meaningful your
project is to you, the easier it will
be to find time for it. And, because
you are passionate about it, people
will naturally be drawn to what you
are doing.
Think outside of the box. Your
personal project doesn’t always
have to be photography specific.
But it does need to speak to your
target audience.
Reach out to potential sponsors.
Give and ye shall receive.
Consumers are becoming more
marketing savvy these days, and
because of this they are turned off
by traditional forms of advertising.
They want to do business with only
the most giving of companies. This
is especially true of women consumers.
So, be prepared to give them something from their time spent helping
you with your project.
Reach out to the press. This is
exactly the sort of news the media
is looking for. So, don’t be afraid to
send out a press release about your
endeavor.
Honor your project with proper
closure. Celebrate it with an event
or document it by creating a book.
Selfpublishing is so simple these
days, that there's no reason you
shouldn't do this.
Most importantly, have fun! Take
your time and enjoy the journey.
Rediscover why you got into
photography in the first place with
these projects. You are sure to be
rewarded with a renewed sense of
passion for your work but also with
new and returning business. n
Florida Photographer 29
Our History
In 1933, A convention was organized by Kodak and some of the
suppliers of photographic equipment
and chemistry (yes, chemistry), and
held on campus at the University of
Florida. The attendees decided to
form an organization to represent
the professional photographers in
attendance from all over Florida.
The Florida Photographers
Association was officially formed
during that convention on May 3,
1933, with approximately 30
members, each paying $2 for their
annual dues.
During WWII, due to gas and food
rationing, the FPA did not hold a
convention for three full years ('42'44). They resumed their convention
schedule in 1945, forever putting
the number of conventions two
years behind the actual age of the
association. in 1985, the FPP celebrated the 50th Convention, but the
association was 52 years old.
In the 1950's, the organization
changed its name to the Florida
Professional Photographers and have
continued to educate its members
through conventions, seminars, and
schools. n
Florida
Photographer
Next Issue
Deadline
November 15th
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Florida Photographer 30