What Photographers Are Saying

Transcription

Official Publication of the Texas Professional Photographers Association, Inc.
VOLUME 51 - #2 Feb/Mar 2016
Magazine Editor
Bill Hedrick, M.Photog.Cr.
1506 E. Leach St.
Kilgore, TX 75662
903-985-1080
[email protected]
Executive Director
Doug Box, M.Photog.Cr
P.O. Box 1120
Caldwell, TX 77836
979-272-5200
[email protected]
Printing by
Complete Printing & Publishing
1501 W. Panola
Carthage, TX 75633
800-964-9521
www.CompletePrinting.com
6
ON THE COVER
“Simran” was a senior portrait created by
Marta Gulbe of Austin, Texas. Simran’s
mom wanted portraits to share with
grandparents and extended family and
as they worked together, the mom came
to the realization that the portraits of
Simran are actually for future generations.
The image earned Marta her first merit at
IPC. Marta has a Bachelor of Fine Arts
degree from Sam Houston State and
works at Evergreen Studios in Austin
with Susan Hoermann. Marta is a
Certified Professional Photographer and
was inspired to enter print competition
after attending the TPPA Summer
Roundup in 2014.
5
The Way I See It
6
In the Air with Vincent Laforet
A Message from TPPA President, Steve Kozak
His Nighttime Aerial Photos by Bill Hedrick
13
Texas 10 Workshops
17
Spotlight: Elena Hernandez
18
Bare Bulb Photography
22
Your Pathway to Success
25
Tribute to Roy Madearis
26
Photographing Interiors
33
Texas School 2016
36
Spotlight: Melanie Hall
41
Guild News
42
Memory Card Data Loss
13
Spring Workshops by Steve Kozak
“Toxic Canary”
The Naked Truth by Aboud Dweck
What TPPA Has To Offer
Past President TPPA 1978 by Doug Box
18
The Fine Art Details by Ron Castle
Don’t Miss Out! by Don Dickson
“The Fleet at Dusk”
What’s Happening Around the State
How to Prevent It by Mark McCall
26
The Texas Professional Photographer is the official publication of the Texas Professional Photographers Association, Inc. Acceptance of advertising or publishing of press releases does not imply
endorsement of any product or service by this association, publisher, or editor. Permission is granted to similar publications of the photographic industry to reprint contents of this publication,
provided that the author and this publication are credited as the source. Articles, with or without photographs, are welcomed for review for inclusion. However, the editor reserves the right to
refuse publication, or if accepted, the right to edit as necessary. For more information, visit www.TexasProPhotoMagazine.com. Send all communications, articles, or advertising to:
Texas Professional Photographer, 1506 E. Leach St., Kilgore, TX 75662. Phone (903) 985-1080, or [email protected].
TEXAS PROFESSIONAL PHOTOGRAPHER
Feb/Mar 2016
3
2016 TPPA Executive Council
President Steve Kozak
l
[email protected]
5323 Fig Tree Ln., Grand Prairie, TX 75052 (972) 601-9070
Vice-President Trey Homan
l
[email protected]
Vision Test
“An artist is not paid for his labor but for his vision.”
- James McNeill Whistler -
17222 Classen Rd., San Antonio, TX 78247 (210) 497-3809
Treasurer Tammy Graham
l
[email protected]
3300 Joyce Drive, Ft. Worth, TX 76116 (817) 300-0780
Secretary Ross Benton
l
[email protected]
1876 Nacogdoches Rd., San Antonio, TX 78209 (210) 804-1188
Councilman-at-Large Jenny Rhea Eisenhauer
l
[email protected]
12218 Old Stage Trail, Austin, TX 78750 (512) 626-3309
Councilman-at-Large Randy Pollard
l
[email protected]
54 Superior St., Victoria, TX 77905 (361) 570-8326
Chairman of the Board Stephanie Ludlow
l
[email protected]
205 N. Mays, Round Rock, TX 78644 (512) 246-0063
Executive Director Doug Box
I’m not sure if ol’ James was right about this, but it does help explain some things that some photographers might want to
address.
It has been my casual observation that the price of professional photography might be in decline. I see this primarily
through social media where it seems every other person is a photographer. While I know this is not the case, you would
have to agree that there are a lot more “photographers” out there today than there were 5 or 10 years ago.
With so many people with cameras out there, it could stand to reason that competition may be the reason for the price
decline. I suspect the natural tendency in a high competition marketplace is to lower prices.
Now, before you think I am sounding the alarm, hang in there and let’s examine the situation. If I needed someone to mow
my lawn at my home, I would not need to look too far to find someone who could do this for me...and who is willing to do
it cheap! I get a ton of door hangers on my front door from individuals and small businesses who all want to mow my lawn.
Because there are so many, it really is cheaper for me to let someone else do it - instead of mowing it myself.
It is cheap because there are a ton of folks simply willing to be paid for their labor. So, if we look at what James says, we
can understand that there are lots of people with cameras who are simply willing to be paid for their labor. These are the
folks who are working in the realm of competition at the lowest common denominator...price!
When businesses desire to get work by competing only with price, the result is almost always that the quality will go down
and prices will plummet since there is so much competition.
l
[email protected]
P.O. Box 1120, Caldwell, TX 77836 (979) 272-5200
Texas School Director Don Dickson
l
[email protected]
1501 West 5th, Plainview, TX 79072 (806) 296-2276
Magazine Editor Bill Hedrick
l
[email protected]
1506 E. Leach St., Kilgore, TX 75662 (903) 985-1080
PPA Councilors
Gabriel Alonso (Ft. Worth), Doug Box (Caldwell),
Don Dickson (Plainview), Walter Eagleton (Denton),
Elizabeth Homan (San Antonio), Trey Homan (San Antonio),
Steve Kozak (Grand Prairie), Dwayne Lee (Arlington),
Stephanie Ludlow (Round Rock), Mark McCall (Lubbock),
Cliff Ranson (McAllen), Richard Sturdevant (Garland),
Judy Dumas (Early).
To contact any of your PPA Councilors, you may obtain their
phone numbers from the TPPA Membership Directory
or visit the TPPA website at www.tppa.org
Complete financial information on Texas Professional Photographers Association is
available to any TPPA member by contacting
Doug Box, Executive Director,
P.O. 1120, Caldwell, TX 77836
[email protected].
4
Feb/Mar 2016 TEXAS PROFESSIONAL PHOTOGRAPHER
So when James says, “An artist is not paid for his labor, but for his vision.” he is providing us with the keys to a
photographer’s success.
It is the creative “vision” of the artist that sets that artist in demand. It is also educating clients about your unique approach
in providing a deeply personal experience. It is your ability to inspire clients to demand more and expect higher standards
for their photography. It is your ability to create timeless works of art for your clients.It is showing clients properly printed
and displayed images which sets us apart from the hungry crowd. Finally, it is consistently providing outstanding customer
service.
If you are reading this message and you are currently not a member of TPPA, chances are you are competing in that
crowded mass of humanity who is struggling to have a photography business. If you are not making the kind of money you
would like to make, or if you are not finding a deep satisfaction in the quality of your work, you owe it to yourself to join
TPPA and let us show you how to build a business with “vision.” Go to TPPA.org right now and join TPPA.
Then, send me an email at [email protected] and I will be happy to share how TPPA can help you get where you want to go!
This is important because if you are only paid for your labor, you won’t be in this business long.
I think James got this one right. What do you think?
If you are not a member of Texas PPA, this is my personal invitation to you to join!
Email me personally at [email protected] or call 972-601-9070.
Feb/Mar 2016
5
CHICAGO, ILLINOIS
V
incent Laforet is at the height of his career... literally! This Pulitzer Prize winning
photographer spent much of this past year harnessed in the door of a helicopter at
11,000 feet taking breathtaking nighttime aerial photographs of iconic cities around the
world. He describes his experience as “magical.”
Born in Switzerland and growing up in France, Vincent has always had a passion for photography. His father
was a press photographer and the family was constantly “on the move” throughout the world. “Throughout my
career,” says Vincent, “I have been fortunate to witness extraordinary news events, the evolution of story-telling
technologies and work alongside many people who have inspired me. I’ve experienced and adjusted to new ways
SYDNEY, AUSTRALIA
by Bill Hedrick
NEW YORK CITY
6
Feb/Mar 2016
7
LOS ANGELES, CALIFORNIA
of life which have allowed me to
collaborate across the arts, media,
technology and communication
fields while feeding my own
curiosity and sharing what I’ve
learned.”
In the weeks following 9/11,
Vincent was sent to Pakistan as a
staff photographer for The New
York Times to photograph post 9/11 events that captured “the pain and
perseverance of people enduring protracted conflict in Afghanistan and
Pakistan.” He even spent a month onboard the USS Abraham Lincoln
aircraft carrier in the gulf during the start of the second Gulf War. He has
also directed four short films and numerous commercials and has worked
with numerous people in the film and commercial industries.
However, it seems that this excitement was not quite enough for Laforet.
During his world travels, he had always been fascinated with the city scape
images he saw outside his airliner window, especially at night. Even though
he admits to having a fear of heights, Vincent embarked on a personal
project that is truly “magical” and has caught the attention of worldwide
media. “I think when you’re in the middle of Fifth Avenue, you feel pretty
small and insignificant... you see all of our differences. But when you’re
up there, the world feels much smaller. Even the most bustling cities seem
hauntingly peaceful and intimate.”
In his new book, “AIR,” Laforet features stunning nighttime aerial
photographs of ten of the most iconic cities in the world including New
York, Chicago, Las Vegas, Barcelona (Spain), Berlin (Germany), Sydney
(Australia), and more. But what makes these photographs especially unique
is the timing. “A lot of these cities are changing their grid patterns to more
LED lighting that are bluer and you can see the different tones in the
photographs,” he told CBS. According to Laforet, these photographs would
not have been possible a few years ago for a couple of reasons. First, the
camera technology wasn’t quite there and, secondly, all the cities would
have looked yellow. “It’s kind of the perfect storm right now to do it,” he
says.
A possible fear of heights is just
one of the challenges faced by
photographers who might want to
try shooting nighttime aerials. Night
exposures from a moving platform
is a significant technological hurdle
and Laforet prefers a helicopter over
an airplane. “You can’t hover in a
plane and I find that I miss more
shots than I get if I’m shooting from
a plane,” he explains.
Even so, Laforet often has to use
shutter speeds as low as 1/20 of a
second while shooting “wide open”
at ISO speeds of around 3200. To
help stabilize the camera at such
slow shutter speeds, Laforet utilizes
a Kenyon Gyro Stabilizing system.
(continued, page 11)
MIAMI, FLORIDA
8
These systems can cost several thousand dollars but is a necessary cost
for anyone doing nighttime aerial photography. “I would not dare try this
without a gyro stabilizer,” says Laforet.
Flying over metropolitan areas in the United States, especially in controlled
air space around major airports, requires extensive planning and clearances.
Flying over major cities in other parts of the world can be even more
challenging, especially in European countries. One of Laforet’s missions
to photograph Paris was cancelled at the last minute.
But it is often the pilots themselves, who may have already flown over the
same city many times before, who are the most amazed by what Laforet
sees through the camera lens. “To have a pilot say ‘Wow!’ was one of the
biggest surprises to me,” he adds.
His new book, “Air,” is a personal project that Laforet has been thinking
about for some time now and has gained worldwide attention to Laforet’s
new art form. The images are different from anything done in the past and
the world is taking notice of Vincent Laforet.
It’s the type of thing that sets Vincent apart from the rest. “Everyone has a
camera on their phone so it’s really hard to find an image that no one has
seen before,” he explains. But that is why these images are so unique. “It is
a genuine sense of discovery for me and my pilots as well,” says Laforet.
“Even though they’ve flown over these places before, their jaws will drop.
Seeing their reactions is amazing.”
“Air” is a beautifully illustrated, 228 page, hardback book that sells for
$59.95 plus shipping. For more information on Vincent Laforet or to
order your own copy of “Air,” go to www.LaforetAir.com
Feb/Mar 2016
11
A Full Day of Fun for just $89
($99 for Non-TPPA Members)
u Register Online at www.TPPA.org while space is available u
CLASS SIZES LIMITED
Confirm Your Spot by Registering Today!
The “Texas 10” is a group of photographers who support TPPA and educating photographers of all skill levels, holding workshops
throughout the state in September and October. These volunteer instructors are willing to share and to promote the success of all
photographers throughout Texas and beyond. You do not have to be a member of TPPA to attend.
Because many of the workshops are hosted in the photographer’s own studio, class size is very limited to ensure that everyone has an
opportunity to work with the instructor and to ask questions. Take one workshop or take them all! Secure your spot today!
Janine Campbell
Kellie Gann
April 16, 2016
February 28, 2016
Harlingen, Texas
Lufkin, Texas
Good to Great Portraiture
Family Portraiture
10 am - 5 pm
I
n portraiture, good posing and lighting can separate you from
your competition. This workshop will showcase different lighting
scenarios, indoors and outdoors for seniors, babies and family.
Strobes, soft boxes, reflectors and Nikon TTL system will be
shown. Posing concepts that can take you from good to great will
also be shared and demonstrated. You are guaranteed to leave with
fresh ideas to incorporate into your future sessions.
Feb/Mar 2016
8:30 am - 4 pm
J
oin Kellie Gann in Downtown Lufkin for a full day of outdoor
and in-studio family posing and lighting, Lightroom workflow
and in person sales using Pro Select and Animoto slide shows.
Learn how to create beautiful heirloom artwork from start to finish
and wow your clients. Topics will include studio and on-location
lighting, timeless posing and a sales presentation designed to take
your business to the next level. Set yourself up for success!
13
Tammy Graham
Robin Janson
Kathy Norwood
Guy T. Phillips
March 19, 2016
March 21, 2016
April 18, 2016
February 27, 2016
Fort Worth, Texas
Cypress, Texas
College Station, Texas
Denton, Texas
How to Catch a Client
Volume Photography
Increase Your Profitability
Through In Person Sales
Lightroom: The Basics
9 am - 4 pm
H
ave you been trying to land those great clients but feel like
you are fishing with the wrong bait? Learn how Tammy lures
in those big ones with simple but effective marketing techniques.
Not only will she show you how to hook them, she will also
show you how to keep them. Tammy specializes in using low
cost techniques to land a client in any aspect of their portrait life
cycle and keep them for life. You’ll be amazed at how easy and
inexpensive it can be!
V
olume photography can mean a variety of things to a variety
of photographers but one certain universal truth is…if it is
done right it is very PROFITABLE! Photographing primarily
Pre-Schools, Dance Schools, and Youth Sports Leagues, Robin
will share: how to market your services, the checklist of being
prepared for the day, different ways of proofing, how to handle
commissions, equipment, software, hardware, and run through.
Doc List
Curley Marshall
March 5, 2016
March 6, 2016
Austin, Texas
Houston, Texas
Creating
Composites
The Art Of
10 am - 5 pm
M
aybe you’ve tried creating composites but they just didn’t
have that oomph, or they weren’t quite as believable as
you hoped. If so, Doc can help you create more believable and
compelling composites. The first step will be clarifying the story
you want to tell. Next, you will extract the subject(s) and prepare
them for compositing before preparing the background. Finally,
you’ll do those subtle things that make it seem like it’s one thing.
Bring your computer, a tablet, and some ideas.
14 9 am - 5 pm
10 am - 5 pm
I
n person sales are a key part of the overall client experience,
and also to achieving consistent high sales year after year
that continue to grow. When your clients hire you they are not
only investing in your artistic style of photography, they are also
investing in your professional expertise and guidance through
every part of the process. You are the expert, and your clients
are looking to you for help to guide them through the process in
selecting the best ways to display their images.
9:30 am - 4 pm
Portrait Lighting
T
his course is for seasoned photographers, beginners, or those
who wants to boost their business. You’ll learn how to take
control of any light and to use shadows and highlights to create
stunning and dramatic portrait in studio and on locations. Curley
will cover studio and off-camera equipment, light modifiers, light
modifiers and ratios, lighting patterns and posing technique. Come
and take your photography to the next level.
9 am - 4 pm
J
oin Guy Phillips for a day of understanding the basics of using
Lightroom. Upon completion of this course, you will be able
to understand the elements of a productive workspace, effectively
control the panels within each of the common modules, use key
components to improve every image, identify keyboard shortcuts,
develop your own workflow, and to locate additional resources to
improve your skills. Bring your computer and an open mind, and
you’ll leave with a big smile!
Randy &Erick
Pollard
Debbie Riggs
March 21, 2016
Abilene, Texas
March 12, 2016
9 am - 4 pm
9 am - 4 pm
The Art & Business Of
Victoria, Texas
Sports Composites: Concept to Delivery
R
andy and Erick Pollard at On the Edge Photography will
show you their process of creating sports composites that sell!
Starting with developing the concept followed by a live shoot,
methods and tips for extraction and compositing, you’ll learn
everything you need to know to begin this lucrative sports market!
Extremely hands-on, this is the class you’ve been looking for - and
no Jedi mind tricks! You’ll want to bring your camera with a midfocal length lens, and your laptop with CC installed for creating
the composite.
Feb/Mar 2016
Photographing Families & Seniors
D
ebbie Riggs has the philosophy that you can take great
portraits anywhere if you have a handle on three key issues:
good lighting, good composition and if you really know your
client. Join Debbie as she shares her approach to taking family and
senior portraits using natural lighting and solid posing techniques.
Next, Debbie will turn her attention to the business of photography
and share the importance of client consultations, setting yourself
apart from the crowd, and the keys to success with in-person sales.
This is a program that you will not want to miss.
15
“Toxic Canary” - Elena Hernandez has
taught impromptu classes on off-camera
lighting to several members of Dallas
PPA. While scouting for a good photo
location, she found these doors that
reminded her of a mine shaft. The model
was Alex Gibbs who owned the vintage
gas mask. Elena supplied the outfit.The
image was made using two Nikon SB 800
flash units and a Nikon camera with an
85mm lens. Exposure was f8 at ISO 800.
The image was featured in the 2015 TPPA
Gallery Book after Summerfest ‘15.
Feb/Mar 2016
17
Ambient image after
a good amount of
curve adjustments
might be
acceptable...
A
s photographers, light is often our best friend and sometimes our worst enemy. In our quest for the perfect
image, we want light in the right quantity, from the right angle, and with the proper amount of diffusion or
contrast. Good luck with that.
In the mid-1800’s pioneer photographers used flash powder to shorten exposures during daylight. Consider that
the first omni-directional portable light source, open flash as it were, now available to us as bare-bulb flash,
without those nasty explosive characteristics. If you are a user of supplemental light sources, you should get
familiar with bare bulb, the techniques for using it and some of the equipment available to you. Bare bulb is
available in both studio strobes and speed lights, power output and portability being the determining factor as to
which to choose.
Most of my work is architectural. I shoot in situations with multiple light sources, from florescent to halogen
to incandescent. I also work in layers, compositing my final images. Having a small, portable non-directional
daylight light source is a necessity. Bare bulb flash can be used by all kinds of shooters; event, portrait, interior
and product to name a few. Its primary characteristic is the ability to provide the simulation of a main light source
...but after adding
two bare bulb heads,
one bounced into a
silver reflecting panel
and the other off
the ceiling, a much
better image can be
obtained.
Feb/Mar 2016
19
Ambient Light Only
Direct Flash On Camera
and fill simultaneously. Placing the flash head close to the intersection of
the wall and ceiling you will get more definition and direction in the light,
unlike bouncing it off the ceiling which gives a flat light effect. Be aware of
colored surfaces in the room. Bounced light will be affected. While some
color correction can be done in post processing, it is better to avoid it while
shooting. To that end, I carry a large foldable reflector, silver on one side,
white on the other to position next to the flash head when color variance is
an issue.
The photograph of the bar offers up a good example of the challenges
of interior photography. It is a veneer with wood-variated surface, dark
marble top, chairs with chrome rings which can be a source of unwanted
spectral highlights, halogen light sources and tinted walls, not to mention
the daylight being filtered by the sheer curtains. As you can see, there are
several f/stops of variance between the light and dark areas of the image.
The ambient light image, after a good amount of curve adjustments might
be acceptable... unless you want something much better. To demonstrate, I
set up two bare bulb heads, one bounced into the silver reflecting panel, the
other off the ceiling.
In this particular case I used a shutter speed of 1/45 sec. @ F16, ISO
was 160. The “before” version was done with ambient light and a curve
adjustment. The bare bulb image had a minor curve adjustment and some
retouching to eliminate unwanted shadows and holes in the wall. The
reflections in the wine bottles and glasses look natural. Any highlights
caused by the flash can be easily be removed.
As previously mentioned, bare bulb can be used for all types of photography.
For this product shot of a bare bulb unit, I took a series of photos using
another one as the light source. You can see the varying quality of light in
ambient, direct on camera flash, on camera flash bounced into the built-in
white card and of course the bare bulb positioned on a light stand about 45
degrees off the subject. This is a good demonstration of the ability of bare
bulb light to wrap around the subject and act as both main and fill light.
I am not an expert on everything that is available in the bare bulb category.
Nor am I a gear geek. All I care about is real-world application and if I can
get what I need at a cost I can justify with my work. If your need or cash
for bare-bulb is limited, you might consider the Bolt or Cheetah brands,
manufactured by Godox in China. Bolt is sold through B&H and Cheetah is
sold online at www.cheetahstand.com.
B&H sells the Bolt VB-11 bare bulb kit (around 160 watt seconds) with
the flash head, battery pack, wireless transmitter and receiver along with a
plethora of light modifiers for about $600. The wireless transmitter allows
you to control the light output on several heads from your camera. The
20 Bounced On-Camera Flash
Bare Bulb Flash
Cheetah CL-180 is identical to the Bolt and I use two of them. Cheetah
currently has the more powerful CL-360 with head and reflector, battery
and wireless remote set for $459 which is a great deal for 360 watt seconds
of power output and less than I paid for my CL-180s a couple of years ago.
B&H sells the twin sister Volt VB-22 head, reflector and battery without the
wireless remote set for $725.
The Cadillac of bare-bulb is the made in the U.S.A Quantum T5D-R,
capable of wired and wireless control and camera specific TTL, the kit will
set you back $1500 for a 160 WS unit. If you want bare-bulb TTL, and if
you are an event or wedding photographer you probably will, you gotta pay
the piper. If you don’t need the TTL, the Cheetah is the obvious pick if price
is the deciding factor. I should make it clear that I have not used or handled
Quantum so I cannot give you an evaluation of the product itself, only a
price and feature comparison.
I have used the Cheetah for a couple of years now. Overall, I am very happy
with it. The construction could probably be more robust, but it has never
failed me and the ability to control the the flash heads from the camera
is a sweet feature. My kit consists of two Cheetah CL-180s, the wireless
bits, reflectors and an octabox and a beauty dish for the heads. Cheetah
offers about two dozen light modifiers and dozens of other accessories for
the heads. They work on all of the brands; Cheetah, Bolt, and Quantum.
Cheetah shows a lot more of the toys than B&H on their web site.
Aboud Dweck’s career in photography has spanned 44 years. For the first eight
years, he was a portrait photographer, then made the transition to commercial
work. His work grew more diverse as he took on
more advertising and corporate clients, shooting
everything from exploding soda bottles to a
stunt pilot doing barrel rolls over treetops in
Pennsylvania.
Dweck has always had a strong interest in
structure and space. Over the past six years
he has been shooting class-A office buildings
and apartments for developers and architects.
His most recent project for tourism combined
architectural, people and aerial photographing
wineries, recreational venues and craft breweries
in Virginia. Dweck splits his time between
Washington, D.C. and Boca Raton, Florida.
What Photographers Are Saying
About the Texas Professional Photographers Association
“My membership in TPPA has given me the
confidence to grow, not only in the business world,
but also as an artist. I joined because I wanted to
be taken seriously. It keeps me excited about my
photography and earning a living at what I am driven
to do” Dawn Ratliff
“There’s the yearly convention, Summerfest for the
entire family, the TPPA Magazine, and Texas School.
Access to all of these events start with your dues,
which are less than $100 a year - truly one of your
best investments!” John Barnhart
Texas PPA
2016 Calendar of Events
Feb. 27 - April 18
Texas 10 Spring Workshops
Various Locations throughout Texas
Taught by photographers in Texas who are anxious to share their
experetise with others, these workshops cover a variety of subjects.
Find one near you. See page 13 in this issue for details.
Professional Active $95 - Open to photographers and employees of photographers who sell photographic services as a business and photographers employed by
a firm whose main business is selling photographs. State Law requires that all such individuals hold a Texas Limited Sales Tax permit.
Limited Associate $85 - Open to individuals seriously interested in photography and are engaged in an occupation other than photography.
Student $50 - Open to full-time students preparing for a career in photography, in a college or approved vocational/technical school. Service Firm $90 - Open to manufacturers, suppliers, laboratories and businesses supplying photographers; includes one person’s membership.
Staff Associate $55 - Open to individuals employed by a Professional Active or Service Firm member or the spouse of a Professional Active member. Staff
Associate membership may be accepted only if employer is current member.
Out of State $65 - Note: Only Professional Active members have all membership rights. Spouses of Professional Active members are exempt from dues, unless
they elect to become a Professional Active member in order to vote or exhibit prints. Limited Associate, Out of State, Student, Service or Staff Associate members
may not vote, hold office or enter photographs in competition, unless a special category has been established for them.
Join Texas PPA NOW at www.TPPA.org
(promo code: TexasProPhoto16)
22 Feb/Mar 2016 TEXAS PROFESSIONAL PHOTOGRAPHER
Dedicated to Serving Our Members
Ross Benton
Randy Pollard
April 24-29
Membership Categories & Rates
2016 TPPA Officers
Secretary
Councilman-At-Large
Texas School of Professional Photography
Jenny Rhea Eisenhauer
Councilman-At-Large
Tammy Graham
Intercontinental Hotel in Addison, Texas
Treasurer
Join 1,000 photographers for the biggest event of its kind in the
country! It’s the best education value in the country with world-class
instructors and plenty of fun. More info at www.TexasSchool.org.
June 26 - 29
Summerfest ‘16
La Torretta Lakeside Resort in Conroe, Texas
Combine a vacation and a seminar at this beautiful resort on Lake
Conroe. It’s for the entire family! Watch for more information in this
publication or at www.TPPA.org.
Sept. 30 - Oct. 2
Steve Kozak
PhotoGenesis ‘16
President
Embassy Suites in San Marcos, Texas
Join us in San Marcos, Texas, at the beautiful Embassy Suites and
spend some time rejuvenating your mind and exploring your roots in
photography. Watch for more information in this publication.
Feb/Mar 2016
Stephanie Ludlow
Trey Homan
Vice-President
Chairman of the Board
23
A Final Farewell To
Roy Madearis
by
Doug Box
O
n December 1, I lost my good friend, Roy Madearis, who was TPPA President in
1978. At a standing room only service at Bethel Methodist Church in Waxahachie,
Texas, I realized that being a photographer is different than almost any other profession
because that Church was packed with photographers.
I met Roy and Debbie at a TPPA event and we soon became close friends with most of our
conversation centered around photography and photographic events. Roy not only served as
President of TPPA, but also served as President of the Fort Worth Guild and SWPPA, each
one requiring six to ten years of commitment. He was a Master-Craftsman and TPPA Fellow,
recipient of the National Award from Texas and SWPPA, and was quite proud of being in the
Alpha Group of Kodak Mentors.
Roy was a gifted wedding photographer and his albums won top honors 17 years in a row and
was always a top contender in print competition. He and Debbie ran the print room for many
years. Roy truly loved photography and photographers!
Roy Madearis
(1945 - 2015)
TPPA President 1978
If you want to read what other photographers have said about Roy,
go to Facebook Friends of Roy and Debbie Madearis. There you
will read accounts from friends and clients alike. My favorite is a
poem written Charlotte Rains:
Debbie and Roy had a very successful studio in Arlington, Texas. After they sold their
building they moved their studio to Midlothian, Texas, near where they built their dream
home. Like many photographers today, as business slowed down, Roy went to work at Lowe’s
to get out of the house, make a little extra income and get some health insurance. I asked Roy
one time how he felt about working at Lowe’s and he told me, “Old photographers don’t go
away, they become grandfathers!” I know Roy’s nine grand children were the love of his life.
The Gift of Thee
What I learned from my friendship with Roy and Debbie is there is so much more to
belonging to an association than attending meetings. Associations are about friends and
friendships, lifelong friendships. I encourage you to get involved in your local, state and
national associations, not just in attending events, but get involved, help out, work behind the
scenes. That is where I met Roy and dozens of very special friends in photography!
With each tilt and turn of head
And while you clicked as many wed
You made the Hands of Time stand still
Wondrous “light and shadow” skill
For more that 40 years, he captured special milestones through his camera lens in the
Arlington and surrounding areas. His life was photography and his legacy was his love of his
craft. Roy Madearis was a photographer until the last day he could hold his camera.
Feb/Mar 2016
Oh! The tale your camera told
Of so many faces young and old
The Master’s Hand at work through you
Every color, every hue
I did not realize it then how I cherish
Those days “back when”
But countless others, especially me
Will always have the Gift of Thee
25
My goal with this article is to
lay down a few basics so you
can adapt them into your own
work flow. We’ll stick to the
problems encountered with real
estate photography since that’s
most likely where you’ll start
photographing interiors and
start with the capture process
before briefly discussing postprocessing.
First, you’ll absolutely need
a good tripod to photograph
interiors. I’d go as far as to
say, don’t even THINK about
hand-holding your camera for
interior shots if you’re serious
about producing professional
results! You’ll also need a good
quality wide-angle lens. If you
have deep pockets, a Tilt Shift
lens would be ideal, because it’s specifically designed for doing architectural photography. I use a
Canon L-series 17-40mm zoom lens for most of my interior work. Because I use Live-View mode on
my Canon 5D MKIII or my Canon 5DSr for every shot, I always take at least one spare camera battery
for each job. Live-View uses a lot of juice during a two-hour shoot (which is about the average amount
of time I spend on a home). The reason I take that long for a shoot is that I use the new HDR feature in
Adobe Lightroom CC for every setup, and I take a minimum of 3 exposures for each image.
Just as I do for landscapes, I use the two-second delay feature on my camera, to avoid camera shake
during the exposures. I always have the “Highlight Alert” feature on (the “blinkies”) so I can tell when
I’ve captured as much detail as possible in the interior light fixtures and the outdoor portions of the
images seen through windows. It’s really important that you have that detail to make the final image
shine. To me it’s the one of the things that distinguishes a professional image from what you typically
see on a real estate website taken by a realtor.
There are times when supplemental lighting is absolutely necessary to get a great architectural image,
but for real estate work I find the multiple exposures and using the “exposure fusion” functionality of
the Lightroom HDR process
saves a lot of time and yields
very nice, acceptable results. I
do carry a small bag with a few
LED lights (daylight balanced)
with me just in case, but I very
rarely use them.
by
Ron Castle
W
hen most professional photographers think about photographing interiors, the word “boring” probably comes to mind along
with the thought “No problem. Piece of cake!” At least those were dancing through my head last year when I was asked by
a local realtor to do her a favor. The lady was a big fan of my portrait and landscape work, and she said she needed some “nice
pictures” of our local country club. Well, long story short, I ended up spending a lot more time on that project than I thought I would,
especially in post-production. BUT, it also taught me some valuable lessons, changed my mind about photographing interiors, and
unlocked a new passion and a new direction for my photography career!
One thing I came to appreciate very quickly about photographing interiors is that getting a professional-looking image of a room isn’t
a lot different than doing a portrait of a person or shooting a landscape. You have to use your light in a dramatic way. Your images
have to be properly color balanced, and you also have to come up with a compelling composition. In some ways it’s actually more
difficult to do all that with something like a bedroom or bathroom because of the limitations imposed by the building and the fact that
you often don’t have the luxury of deciding when to do the shoot.
This is especially true with real estate photography. You’re usually given a time when the homeowner will be there, and you’ll have
to do the best you can under those circumstances. At the time of your shoot, one room will likely have beautiful north facing window
light, while the room across the hall has bright, high-contrast light blasting in. You’ll also face numerous mixed lighting situations
that can be a nightmare to color balance in the final image. There’s no shortage of problems to solve when it comes to photographing
interior spaces, but the rewards, at least for me, are very satisfying.
Dealing with indoor (usually
tungsten) lights and exterior
sunlight coming through
windows and doors is another
difficult lighting issue. To help
“average” the mixed light
situations and provide a starting
point for balancing the color, I
always have my camera set to
Auto white balance. I then deal
with the mixed light problems
during post processing. That’s
one of many reasons I always
shoot RAW! When I can, and
when indoor lights don’t add
a lot to the composition, I turn
all the room lights off and use
the daylight exclusively for my
exposures (see image top-right).
Feb/Mar 2016
27
try facing a corner at
a 45 degree angle and
make that vertical corner
line as straight as you
can. The others will fall
into place. Even when
it’s not necessary, this
can often add some nice
drama to your shot.
A few other tips for the
capture process: Make
sure all ceiling fans are
OFF. Pay attention to
details in the room and
remove distractions.
Don’t be afraid to move
things around when
practical, to help your
compositions. If kitchen
cabinets or appliances
have interior or accent
lights, turn them on
to add drama to your
image.
Finally, one of the
absolute necessities of
a good interior image
is having the room’s
vertical lines straight!
Some of this can be done
in post-production in the
Lightroom lens calibration module, but it starts with the doing the best you
can in-camera. This is another reason I use Live-View. It’s so much easier to
see and adjust the lines. To the extent you can, always try to have the picture
plane on your camera parallel to the wall surface you’re facing.
Visualize placing your camera’s lens surface flat against the wall you’re
shooting, and then pulling it straight back without changing that angle. In
order to gather in as much of the room as you want for the image without
changing that surface angle, you’ll find that you need to reposition the height
of your camera or, if you can, zoom your lens out. When you can’t get the
shot you want using this technique (because of the room size or other factors)
Feb/Mar 2016
For my interior work,
the post-processing part
of it is the most fun and
rewarding, but it can be
very time-consuming if
you haven’t followed
some of the capture tips
outlined earlier. I try
to limit my real estate
image work flow to just
two programs, Adobe
Lightroom CC, and
for the final dynamic
contrast adjustments,
OnOne’s Perfect Photo Suite 10. Topaz will work just as well. I very rarely
take an image into Photoshop, but I will when I can’t get the results I want
with my verticals or some extreme mixed light situations. I don’t have space
in this article to get into all the post-processing techniques I use, but I do
want to touch briefly on mixed lighting fixes.
Until I started using the new HDR feature in Lightroom, I hadn’t been a fan
of using it for any of my work. The HDR images I’d tried to make before had
always taken too long to process, and the results just looked unnatural and
overdone. What I love about the Lightroom HDR process is the fact that it’s
fast, usually yields a very natural result, and it also leaves me with a DNG
29
HDR raw file that I can still work with to non-destructively change color balance and
further adjust tonality! (If you don’t convert your RAW files to DNG on import, the
HDR process will take longer because that process includes converting to DNG.)
The tools I use the most to balance out the mixed color temperatures are the local
adjustment brush (and graduated filter) as well as the HSL panel (see before/after
samples left). The adjustment brush (and graduated filter) has color temperature
sliders that can be used to change local color temperatures. This requires some
experimentation, but it can be effective. My favorite tool to remove the distracting blue
color casts you see around window areas in a predominantly indoor lighting situation is
the HSL panel. First, I select the “Saturation” tab, and place the targeting tool over the
purest blue. Then I start sliding it downward, de-saturating it, until the blues disappear.
BEFORE
AFTER
Feb/Mar 2016
Photographing interiors can be a rewarding experience and can test your photographic
skills in the real world. Producing a final product that clearly sets you apart from less
experienced photographers takes time and planning but can open doors for you and
your career.
Ron Castle is from Del Rio, Texas, and has a
BFA in Graphic Design and a Master of Science
in Business. He recently earned a Diamond
Photographer of the Year award at IPC 2015. Ron
will be one of the speakers for PhotoGenesis ‘16,
so plan to hear him then. Learn more about Ron
at: www.RonCastlePhotos.com.
31
The Texas School Experience...
Will Change Your Life!
Don Dickson
T
he 2016 Texas School of Professional Photography will once again be held at the
Intercontinental Hotel and Conference Center in Addison, Texas. Classes will be held
April 24-29, 2016. Over 1,000 photographers attend Texas School and we look forward to
another great year in 2016. The hotel, located north of Dallas, just off the North Dallas Toll
Road, is the setting for this event.
(continued on page 34)
Feb/Mar 2016
33
Ross Benton
Doug Box
William Branson III
Carl Caylor
Tony Corbell
Bry Cox
David Edmonson
Hanson Fong
Beth Forester
Dan Frievalt
Joel Grimes
Jeff Gump
Russ Harrington
John Hartman
Julia L. Kelleher
Britney Kirby Fullgraf
Steve Kozak
Don MacGregor
Sandra Pearce
Sandy Puc
Thom Rouse
James Schmeizer
Marilyn Sholin
Richard Sturdevant
Woody Walters
Mike & Suzy Fulton
Trey & Elizabeth Homan
Gregory & Lesa Daniel
Laurie Klein & Kyle Klein Perler
John Wilson
Cris & Deanna Duncan
Steve Winslow & Sophie Lane
The 523 room Intercontinental Hotel has agreed to a room rate of only $121, 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 the 2016 Texas School began on January 3rd and many
classes booked in only a few seconds. But the good news is that there are still
some openings left in several classes, although they are going fast! 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 are 36 classes covering
every topic imaginable and all are designed to help your business grow and be
Gary & Kathryn Meek
Billy Welliver & Mitch Daniels
Janice Wendt
Jamie Hayes & Mary Fisk-Taylor
successful. In addition, we are going to repeat the Big Texas Shootout where
every student will be able to practice what you have learned in class and compete
for prizes and cash. Last year, we gave away over $50,000 in prizes.
As everyone knows, the photography industry is changing. You have to be on top
of your game. Texas School offers everyone the best education in the country and
at the most affordable prices. 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 for April 24-29
and come and see what the “Texas School Experience” is all about.
Registration Form and More Texas School Information at
www.TexasSchool.org
“The Fleet at Dusk” - Melanie Hall, M.Photog.Cr., CPP of Conroe, Texas, was approached by her client, Million Air, with an idea to photograph their fleet of jets
which are available to charter at their Houston FBO. The client also wanted to showcase their new headquarters at Houston Hobby Airport that glowed their signature
green at night. They discussed the basic design of the desired image ahead of time and spent the day, 9/11/14, moving their airplanes into position. When she arrived on
location, the client asked if she was scared of heights, she responded with, “I can’t remember.” An hour before dusk, she scaled a 45-foot lift to see if any of the planes
needed to be rearranged or more added. In using the ambient hangar lights to illuminate the airplanes, she knew there would be a very short window of about 10 minutes
when both the sky and the aircraft would be exposed correctly so that her camera’s dynamic range could hold detail in the highlights and the shadows. Her goal was to
capture the image in one shot, with very little post production needed. She knew she needed to shoot at least f16 to have the lights in the background create a starburst
effect while maintaining the lowest ISO possible for a clean image, all while hoping the wind wouldn’t sway the lift too much. Luckily, she was able to capture this
2-second exposure between the bursts of wind. The image scored 82 at Summerfest ’15. In February 2015, the image placed 2nd at BVPPA. In March 2015, the image
scored 82 and placed 3rd in the active division at PPGH. Hall is 2015 Brazos Valley Photographer of the Year.
Schedule of Events
Print Competition... March 31 - April 3, 2016
Friday:
AM -
Kent Shirley........................ “Hands-On Photoshop” (extra fee)
Chris Wunder .................... “Church Directories” (extra fee)
PM - Kent Shirley (cont.)
Chris Wunder (cont.)
Dixie Dixon ........................ “Fashion & Modeling”
Evening - Jen Rozenbaum................. “Boudoir”
David & Luke Edmonson.. “Weddings”
Robert Trawick................... “Photo Walk Safari” (extra fee)
by
Mike Scalf
T
he Southwest Professional Photographers Association represents several states, including Texas.
If you are a member of any of those affiliate states, you are automatically a member of SWPPA.
So come and join them on April 1-4 in Frisco, Texas. The Regional Convention & Trade Show will
be held at the luxurious Embassy Suites Hotel and Conference Center.
With a host of exceptional program speakers, this promises to be both entertaining as well as
educational. Come and learn the latest techniques on Photoshop, Church Directories, Fashion,
Boudoir, Weddings, Workflow, Architectural & Commercial, Sports, Children, Business/Sales,
Classic Portraiture, and much more.
Browse through one of the largest Trade Shows in the region and party until the lights go out. It’s a
time to recharge your inner battery and set the world on fire!
Chris Wunder
David & Luke
Edmonson
Marathon Press
Jen Rozenbaum
Sigma Lens
Thibault Roland
Sony
38 Drake Busath
Dixie Dixon
WHCC & Italy Workshops
Robert Trawick
Ron Jackson
Ted & Laura Unruh
Tim Kelly
Christie Kline
Gary & Pam Box
Jason & Rebecca Weaver
Michele Celentano
Kodak Alaris & WHCC
ACI
ACI
Mary Waters........................ “Workflow Hacking”
Ron Jackson...................... “Architectural & Commercial”
Drake Busath..................... “Family Portraiture”
Thibault Roland................. “Fine Art Landscapes”
Trade Show (open noon)
PM-
Jeff Gump........................... “Sports Photography”
Christie Kline...................... “Photographing Children”
Trade Show (closes 4pm)
Party with Ice Cream Bar & Cash Bar
SWPPA Inaugural Fellowship Award Program
Sunday:
Ted & Laura Unruh............. “Contemporary Children”
Rebecca & Jason Weaver..“Business & Sales”
Robert Trawick................... “Photo Walk Safari” (extra fee)
Tim Kelly............................. “Classic Portraiture”
AM -
PM - Gary & Pam Box................ “High School Seniors”
Monday:
AM -
Michele Celentano............ “Working with Groups - Weddings”
More Information
www.SWPPA.com
H&H Color
Mary Waters
Miller’s Lab
AM - Jeff Gump
Nikon
Kent Shirley
Full Color
Saturday:
H&H Color
Miller’s Lab
Canon USA
Feb/Mar 2016
39
Contributors: Heart of Texas - Tom Sergent; Houston - Dixie Dobbins; Brazos Valley - Kathy Norwood
Brazos Valley Guild - In November, the Brazos Valley Guild hosted
Karen Butts, of Natural Images. Her program was “Discovering Who
You are as An Artist.” As photographers, our goal is to create something
beautiful that will be cherished by our clients. Karen explained how to
tap into your inner self to discover your own style and learn to develop it.
She also discussed the 12 Elements of a Merit Image, with an emphasis on
color balance and composition. In December, the Brazos Valley Guild held
their Year End Awards Party and Festivities.
Heart of Texas Guild - In October, the Heart of Texas Professional
Photographers Guild hosted their annual photography shoot-out. The
winners of the shoot-out were announced at the November meeting.
They were: Rhonda Williams, first place; Cecy Ayala, second place; and
Jill Hubbert, third place. Dwayne Lee, of Southern Flair Photography,
presented his program on “Guerrilla Marketing.” Lee introduced many
creative and inexpensive ways in which a studio can make contact with
potential clients.
Winners of the November image competitions in the Professional category
were: Rhonda Williams, first place; Cecy Ayala, second place; and Jill
Hubbert, third place. Associate winners were: Billy Lauderdale, first place;
Darrell Vickers, second place; and Rick Duhrkopf, third place. People’s
Choice Award winners were: Cecy Ayala, first place; Luke Stokes, second
place; and Billy Lauderdale, third place. The 2016 officers were also
elected at this meeting: Luke Stokes, President; Rick Duhrkopf, VicePresident; and Darrell Vickers, Treasurer.
Tom Bailey Passes Away- It was at press time that we learned of
the passing of one of TPPA’s most beloved members from Houston, Tom
Bailey. Tom was an active member of the Professional Photographers Guild
of Houston as well at TPPA and, along with his wife, Bettie, was a familiar
face at TPPA events for many years.
Long time friend, Belinda Higgins, said it best, “Tom was bigger than life
and never met a stranger. He was always the first to step up to serve and to
help anywhere he was needed throughout the years. He shared his smiles
with anyone, loved to dance, loved desserts, loved everyone... especially
God. He touched the hearts of many with his infectious joy, enthusiasm,
humor, kindness, and genuine love of people and will remain in the hearts
and thoughts of all of us at PPGH.”
In case you haven’t learned by now, members of the Texas Professional
Photographers Association are one big family and the loss of any one of
them is a loss to us all. We were all better for knowing Tom and will miss
him.
In December, the Heart of Texas Professional Photographer’s Guild held
its annual Christmas party and awards ceremony at Manny’s on the River
in Waco. Awards for the 2015 competition season were then handed out by
Tim Williams. The 2015 Professional Photographer of the year was Rhonda
Williams and the Associate Photographer of the year was Darrell Vickers.
Darrell also won the Black and White Artist of the Year award and Rhonda
Williams also won the People’s choice award. In addition, Distinguished
Photographer Awards were presented to our top competitors of 2015.
Receiving the D.P.A. was Rhonda Williams, Cecy Ayala, Darrell Vickers
and Billy Lauderdale.
Houston Guild - The Houston Professional Photographers guild hosted
the multi talented husband and wife duo Jennifer and Ted Penland for an
all day program on “Pin Up Photography.” The Penlands brought two
models and taught us all sorts of great info on photographing Pin-Up
style photography, including proper makeup, clothing, shoes, jewelry and
props. They stressed the importance of keeping the style true to the era of
1940s and 50s style. Attendees also learned how to market and to attract
clients and attracting paying clients as opposed to models who want free
photography.
The print competition was also held during the evening program with the
following results. Award winners in the Master division were: Cat Dybala,
first place and second place; and Dixie Dobbins, third place. Winners in the
Active division were: Francie Baltazar, first place; Teri Whittaker, second
place; and Francie Baltazar, third place. The Houston Guild meets the third
Tuesday of each month at various locations within the Houston area.
Feb/Mar 2016
41
Preventing
MEMORY CARD DATA
LOSS
Mark McCall
T
here are two types of digital photographers... those who have expereienced
a corrupt memory card and those who will experience a corrupt memory
card. Keeping your data secure and safe is crucial because there are so many
things that can affect the precious images on your cards. First, let’s talk what
causes truncation (corruption), then we’ll talk workflow to prevent it.
Memory card corruption can be caused by several things including: removing
the card during the image save process, turning the camera off during the save
process, neglecting to format a card before a session, fluctuation of power
during the save process, forgetting to digitally eject the card from a card
reader (Macs), physical damage to the card, or deleting images in camera.
The most common cause of corrupt cards is shooting with a low camera
battery. The camera needs a steady flow of electricity to safely and securely
put those images onto the card. A low battery cause the flow of electricity to
fluctuate, causing truncation. It’s also possible to corrupt the card statically by
keeping an unprotected card in your pocket or purse. Keep all cards in a static
free container.
Corrupting or truncating your memory cards isn’t necessarily a death knell.
Very often, images can be retrieved after a card is truncated, even formatted.
The first step in reversing any damage is to stop using a card the minute you
realize you have a problem.
A corrupt card
is often just
a broken File
Allocation Table
or “roadmap” to
your images. Your
images could be
still on the card,
just unreadable
because the FAT
is broken. Using
memory card
recovery software,
images can often
be completely
recovered.
Once you’re ready to download and back up your cards,
Preventing image
quarantine the cards. A simple and inexpensive idea is
card corruption
to place a Post-a-Note on each memory card and write
starts in camera
the name of the client or job on the note.
and there are some
simple precautions
you can take to give you peace of mind.
iFirst of all, use fresh batteries. If your camera model uses an external add-on battery pack, use it. It’ll allow you to shoot longer before the camera experiences a drop in voltage.
iDo not try to save card space by deleting images in camera. Storage is cheap. Cards are reusable. Deleting images in camera can truncate the entire card.
iDo not format the memory cards using a computer. Instead, format cards in the camera.
iWhen cards are not in the camera, keep them in a static-free case.
iGive your camera time to buffer and save each image after a capture and always protect camera and card case from shock.
iOnce you’re ready to download and back up your cards, quarantine the cards. A simple and inexpensive idea is to place a Post-a-Note on each memory card and write the name of the client or job on the note. Then, put it away and do not use it again until the job is delivered to the client. If a computer or hard drive fails, you still have the initial camera images that can be worked up to complete the job.
Digital file corruption is more common than you might think. If you’ve not
yet experienced memory card corruption... YOU WILL!

What Photographers Are Saying

Transcription

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