Sep 2008
Going The Extra Mile
September/30/2008 Image
Marketing
More than a
few times I've had a prospective client tell me that
he or she would prefer to go to the dentist than to
have a portrait made. I love working with consumers
like this, because it gives me the opportunity to
perhaps erase the damage that one or more
not-so-professional photographers have done to that
prospect. Each time I confront a situation like this,
I think about my own dentist, Dr. Charles Pitt, who
runs an extraordinary practice in Lancaster County,
PA. The location isn't all that convenient for me; it
takes 50 minutes to get there. But I'm truly happy to
make the drive because Charlie is the absolute best:
he rescued my rapidly collapsing bite brought on my
many years of shoddy dentistry that used to the norm
for Army brats who moved as many times as I did.
I've known Charlie and his wife, Marla, since Jim and I did their wedding during the early days of our business. We were hired by Marla's late mom and dad, who became dear friends as well. I sought out Charlie in desperation, when my propensity for teeth-clenching was causing dental mayhem. What I saw when I first visited the practice made me know I was in the right place. And now, whenever I'm teaching about the importance of having a warm-and-welcoming studio environment, I describe Charlie's dental practice:
From the minute you walk in, you are struck by the home-like atmosphere that is decorated for the season with attractive florals. The waiting room is furnished like a living room, with comfortable furniture in attractive groupings, with occasional tables holding nicely arranged, up-to-date magazines. In the fall and winter a fire burns in the fireplace, and a large stuffed plush collie sits by it, which is a big hit with kids. You are always greeted by a friendly staff member who knows your name, and you don't experience the frenetic dashing around and shouting from one office to another that I find so irksome in other medical offices and facilities. One of the things that I appreciate most about the staff is that when you call in with an emergency, they don't treat you like you are a nuisance. With all the traveling I do, this so important, because Murphy's law being what it is, my dental emergencies always happen while I'm on the road on just when I'm about to leave (more about this in a moment).
I have a high tolerance for pain, so I don't need the many options this dental practice provides to reduce patient anxiety and discomfort, but I know this is the reason why many of their patients speak so highly of the practice. And when you do have a procedure that will result in pain later in the day, you leave with an attractive fabric "goodie bag" containing analgesics, written instructions on how to take care of your mouth as well as other ways to make you feel better, along with samples you are happy to receive.
Charlie's practice often makes the news because they give back to the community. Both he and his partner, Dusty, were raised by single mothers, and they actively contribute to organizations that support women's causes, and they have received community-wide honors for these efforts. They also make their large multi-purpose room available to community organizations, which helps to increase their community visibility.
So is there a lesson in this for photographers? I think yes. If a dental practice can make you feel good about your twice-annual checkup and do so even when you are there for what might be a painful procdeure, then we photographers can surely do the same. Everyone knows there's more competition in our industry than ever before, but most of it doesn't come close to the level of professionalism and customer care I get when I drive out of my way to Pitt-Loeffler Dental Associates. Yes, there are less-expensive dentists in my home town, just as there are cheaper photographers where you have your studio. But at the end of the day, I believe that people who can pay their routine bills — and still have even some discretionary income available to them — will seek out businesses and professionals who provide quality products and services set within a context of an exceptional experience. The appreciate dealing with those who truly are willing to go the extra mile.
Which brings me to the event that prompted this blog entry: On Friday evening, while Jim and I were eating dinner, I managed to dislodge a crown. Yes, it had been one of those teeth-clenching weeks :-). Jim wanted me to call Charlie's office right away so that I could get it re-cemented before we leave for Ireland early next week. I refused, citing the usual non-ending lists of last-minute things to do before leaving on a vacation. Well, on Saturday morning, Charlie and Marla, just happened to "drop by." I'm used to seeing Charlie on a Saturday because he and Jim often go to the shooting range to fire away at clay birds. This time, Charlie had a dental kit, because he and Marla didn't want me to be uncomfortable on vacation. So for the first time in my life, I received a dental house call. What a lovely gesture!! I would love to think that most of us would go a similar "extra mile" for our clients.
Thought you would enjoy this photo of "the procedure," being conducted in the comfort of my office desk chair. Talk about service!
I've known Charlie and his wife, Marla, since Jim and I did their wedding during the early days of our business. We were hired by Marla's late mom and dad, who became dear friends as well. I sought out Charlie in desperation, when my propensity for teeth-clenching was causing dental mayhem. What I saw when I first visited the practice made me know I was in the right place. And now, whenever I'm teaching about the importance of having a warm-and-welcoming studio environment, I describe Charlie's dental practice:
From the minute you walk in, you are struck by the home-like atmosphere that is decorated for the season with attractive florals. The waiting room is furnished like a living room, with comfortable furniture in attractive groupings, with occasional tables holding nicely arranged, up-to-date magazines. In the fall and winter a fire burns in the fireplace, and a large stuffed plush collie sits by it, which is a big hit with kids. You are always greeted by a friendly staff member who knows your name, and you don't experience the frenetic dashing around and shouting from one office to another that I find so irksome in other medical offices and facilities. One of the things that I appreciate most about the staff is that when you call in with an emergency, they don't treat you like you are a nuisance. With all the traveling I do, this so important, because Murphy's law being what it is, my dental emergencies always happen while I'm on the road on just when I'm about to leave (more about this in a moment).
I have a high tolerance for pain, so I don't need the many options this dental practice provides to reduce patient anxiety and discomfort, but I know this is the reason why many of their patients speak so highly of the practice. And when you do have a procedure that will result in pain later in the day, you leave with an attractive fabric "goodie bag" containing analgesics, written instructions on how to take care of your mouth as well as other ways to make you feel better, along with samples you are happy to receive.
Charlie's practice often makes the news because they give back to the community. Both he and his partner, Dusty, were raised by single mothers, and they actively contribute to organizations that support women's causes, and they have received community-wide honors for these efforts. They also make their large multi-purpose room available to community organizations, which helps to increase their community visibility.
So is there a lesson in this for photographers? I think yes. If a dental practice can make you feel good about your twice-annual checkup and do so even when you are there for what might be a painful procdeure, then we photographers can surely do the same. Everyone knows there's more competition in our industry than ever before, but most of it doesn't come close to the level of professionalism and customer care I get when I drive out of my way to Pitt-Loeffler Dental Associates. Yes, there are less-expensive dentists in my home town, just as there are cheaper photographers where you have your studio. But at the end of the day, I believe that people who can pay their routine bills — and still have even some discretionary income available to them — will seek out businesses and professionals who provide quality products and services set within a context of an exceptional experience. The appreciate dealing with those who truly are willing to go the extra mile.
Which brings me to the event that prompted this blog entry: On Friday evening, while Jim and I were eating dinner, I managed to dislodge a crown. Yes, it had been one of those teeth-clenching weeks :-). Jim wanted me to call Charlie's office right away so that I could get it re-cemented before we leave for Ireland early next week. I refused, citing the usual non-ending lists of last-minute things to do before leaving on a vacation. Well, on Saturday morning, Charlie and Marla, just happened to "drop by." I'm used to seeing Charlie on a Saturday because he and Jim often go to the shooting range to fire away at clay birds. This time, Charlie had a dental kit, because he and Marla didn't want me to be uncomfortable on vacation. So for the first time in my life, I received a dental house call. What a lovely gesture!! I would love to think that most of us would go a similar "extra mile" for our clients.
Thought you would enjoy this photo of "the procedure," being conducted in the comfort of my office desk chair. Talk about service!
|
Conversation and Remembrance . . .
September/28/2008 Fascinating
Folks
Early this
month I had a lovely phone conversation with one of
the true Divas of our industry — none other than
Joyce Wilson — the single individual who is widely
regarded as THE woman who broke down the doors to
what used to be a totally male-dominated industry.
When I arrived on the scene in the late 1970s there
were a few women Master Photographers — mostly
working with their husbands — but there were less
than a handful who had made their way to the top in
photography absolutely on their own.
Joyce had no choice but to go it alone: Her high-school sweetheart husband had died suddenly and left her with a mortgage and three small children to raise. One of the few early photography jobs open to her was taking Santa pictures dressed in a green elf suit! Joyce once told me that male photographers in those days wouldn't share information with each other . . . let alone with a woman. So much of her learning came from the art world, which goes a long way in explaining why, when Joyce mastered photographic technique, she emerged as a brilliant talent.
I became aware of who she was at the first PPA National Convention Jim and I attended in Washington D.C. We had just finished viewing our first PPA print show, which made us recognize how far we would have to go to become serious professionals, when we happened upon Joyce's ASP Fellowship exhibition. Later we would learn that she was the first woman ASP Fellow. Gathered around her was a group of admirers, and I only caught a glimpse of the vivacious blond lady whom everyone wanted to meet. After viewing her exhibition I remember saying to Jim: "Look at these portraits. They are so unlike everything else in the print show. This is what I want to do!"
Well I was not the only one who wanted to emulate Joyce's work. Every woman (and eventually a lot of men) who had remotely considered doing photography wanted to study with Joyce. I can't remember how many of her seminars and workshops in her Indiana studio I attended, but I know they helped to shape the way I viewed the world, and they gave me a great deal of insight into the creative process. Along with Helen Yancy, Joyce was an essential mentor, role model and friend. These ladies' contributions to the art and technology of our industry today — for both men and women — are incaculable.
By the time Jim and I met Joyce, when we were all on the speaking circuit together, Joyce's kids were nearly grown, and she was a recent newlywed. Her darling husband, Tom, really hit it off with Jim, as they were avid fishermen. Jim still makes me laugh when he tells the story of one of their fishing adventures in a Canadian wilderness with their pot-smoking French fishing guides. When we discovered that we had skiing in common, for several years we enjoyed skiing vacations together in Colorado. They are some of my fondest memories. I even learned from Joyce while taking long uphill ski-lift rides.
Joyce's recent call came from her home in California, because she was preparing to teach a class for photographers in her home state of Indiana. She wanted to know if what she thought about the current state of affairs in photographic businesses squared with what I was seeing. Joyce really didn't need my advice, because she had already done her research: She had assembed a group of her daughters' and grand-daughters' friends to determine their attitudes about professional photography. And, of course, she got an ear full of good information from them. She did what every studio owner should do when they don't know what's going on the mind of consumers: Just ask them!
So it was wonderful opportunity to catch up with Joyce. After our talk, I took a moment to visit her website, and I hope you will too. If you've never met Joyce, read her bio: you'll be impressed; and spend some time studying her images: you'll learn a lot. And seriously consider taking a class from her: You're artistic life will never be the same!
Joyce had no choice but to go it alone: Her high-school sweetheart husband had died suddenly and left her with a mortgage and three small children to raise. One of the few early photography jobs open to her was taking Santa pictures dressed in a green elf suit! Joyce once told me that male photographers in those days wouldn't share information with each other . . . let alone with a woman. So much of her learning came from the art world, which goes a long way in explaining why, when Joyce mastered photographic technique, she emerged as a brilliant talent.
I became aware of who she was at the first PPA National Convention Jim and I attended in Washington D.C. We had just finished viewing our first PPA print show, which made us recognize how far we would have to go to become serious professionals, when we happened upon Joyce's ASP Fellowship exhibition. Later we would learn that she was the first woman ASP Fellow. Gathered around her was a group of admirers, and I only caught a glimpse of the vivacious blond lady whom everyone wanted to meet. After viewing her exhibition I remember saying to Jim: "Look at these portraits. They are so unlike everything else in the print show. This is what I want to do!"
Well I was not the only one who wanted to emulate Joyce's work. Every woman (and eventually a lot of men) who had remotely considered doing photography wanted to study with Joyce. I can't remember how many of her seminars and workshops in her Indiana studio I attended, but I know they helped to shape the way I viewed the world, and they gave me a great deal of insight into the creative process. Along with Helen Yancy, Joyce was an essential mentor, role model and friend. These ladies' contributions to the art and technology of our industry today — for both men and women — are incaculable.
By the time Jim and I met Joyce, when we were all on the speaking circuit together, Joyce's kids were nearly grown, and she was a recent newlywed. Her darling husband, Tom, really hit it off with Jim, as they were avid fishermen. Jim still makes me laugh when he tells the story of one of their fishing adventures in a Canadian wilderness with their pot-smoking French fishing guides. When we discovered that we had skiing in common, for several years we enjoyed skiing vacations together in Colorado. They are some of my fondest memories. I even learned from Joyce while taking long uphill ski-lift rides.
Joyce's recent call came from her home in California, because she was preparing to teach a class for photographers in her home state of Indiana. She wanted to know if what she thought about the current state of affairs in photographic businesses squared with what I was seeing. Joyce really didn't need my advice, because she had already done her research: She had assembed a group of her daughters' and grand-daughters' friends to determine their attitudes about professional photography. And, of course, she got an ear full of good information from them. She did what every studio owner should do when they don't know what's going on the mind of consumers: Just ask them!
So it was wonderful opportunity to catch up with Joyce. After our talk, I took a moment to visit her website, and I hope you will too. If you've never met Joyce, read her bio: you'll be impressed; and spend some time studying her images: you'll learn a lot. And seriously consider taking a class from her: You're artistic life will never be the same!
Want To Live Debt Free? See Frank & Tony Donnino.
September/27/2008 Financial
Management
Frank Donnino Tony Donnino
Several years ago Florida photographer Frank Donnino began telling me about a talk show radio program featuring Dave Ramsey, whose teachings he has been following in an effort to become totally debt free, both personally and professionally. I visited the Ramsey website and was impressed by the common sense strategies he espouses. Soon Frank was informally helping family members, friends, and other photographers get rid of debt that was causing stress or hampering their lifestyles.
Recently Frank informed me that he was officially debt free and that he and his son, Tony, had applied to become certified as official Ramsey debt councilors. Well, the Doninnos made the cut, and in November they will be Certified by the Ramsey organization so they can received referrals from Dave Ramsey directly.
Presently they are helping people by word of mouth, and I am impressed with his goals and how he has structured the service: Frank explains: "We will assist people in taking control of their out of control debt by using Dave Ramsey's teachings about becoming debt free. Through consultations by phone and via email, we can help people who are not only worried . . . but scared to death. A thirty-minute free consult starts the process, and we will not charge anyone unless they wish to take our recommendations and then we will continue to help them."
Most business experts agree that excessive debt, especially in times of economic slowdown, is the number-one business killer. So I'm glad that photographers will now have a place to turn for help, because I'm see far too many photographers whose businesses are crippled because of debt. If you want to learn more about the Donnino's service, log on to Don't Fret About Debt.com.
Here's a Wonderful Website to Enjoy . . .
September/26/2008 Internet
Marketing
I recently received an electronic message from Florida photographer Heather Donlan announcing her new website and blog launch, along with her move to a new studio space. I thought the communication was a well-designed and did an excellent job of attracting attention, so I took a look at her website. It is equally well done, so I thought you might like to visit heatherdonlan.com. What did I love? Great photography—beautifully displayed; exceptionally effective use of testimonials; a charming holiday card promotional section: and what a delightful, unstuffy, nicely illustrated bio!
Don't forget to take a look at Heather's blog as well.
Fantastic job, Heather!
China On My Mind
September/25/2008 Random
Thoughts
Because I was
working on some important projects during the
Olympics, I'm just now getting through all of the
DVRs of the event. The incredible spectacle that
played out in Beijing is still on my mind. When I
visited Beijing in 2006, it was hard to imagine what
how the city . . . exploding with mind-boggling
growth and clouded with gritty, grimy smog would step
into the world spotlight on 08-08-08. I was most
curious about the Bird's Nest. For the week during
which our PPA delegation visited with Chinese
photographers, our accommodations directly overlooked
the Bird's Nest construction area. To see the
finished structure at the Opening Night ceremonies
was magical, considering what the iconic structure
shown in the images below looked like only two years
earlier.
Here is a photo that I took in May, 2006:
No, this is not a case of my exposure being off. I took this on a "sunny" day, and I actually had to do a few Photoshop tricks to make the image legible. This is the smog that caused so much pre-Olympic concern on the part of athletes and trainers. I'm not sure that a democratic country would have been as successful as the Chinese were in convincing citizens to abandon their cars and shut down belching factories so that the city could be seen in a far better light. Several timely smog-dampening rains also helped to freshen the city. On a smog-free day, Beijing is an incredibly frenetic moving picture, juxtaposed with ageless treasures of art and architecture that can only be fully appreciated through the stillness of the studied human eye or through the aperture of a still camera. Occasionally the TV coverage did justice to the poetry of these contradictions of motion and serenity.
After replaying parts of the Opening Ceremonies several times and marveling at what I saw, I believe the true artistry of that extraordinary choreography was best revealed in some still news photographs that I found on Boston.com. Take a look and see what you think by clicking here. I believe the still camera did a far better job of showing what director Zhang Yimou created: a magnificent melding of people and technology . . . an deliberate metaphor that one cannot fulfill its destiny without the other.
I'm a sports nut, so I devour Olympic Games. Until Beijing, sadly, the most indelible games in my memory was the Munich Olympics, which was overshadowed by an unspeakable act of terrorism. Beijing had it's moment of horror for an American family singled out by a deranged individual. That tragedy aside, I still can't wrap my head around what went on in and around the games, because I suspect that the most important story of this Olympiad will be years in the telling. Like most Westerners who visit there, I see China as a huge question mark. How will this teeming population who, now that they have sampled the bounty that capitalism can produce, and now that they have felt the sense of pride in what they and their leaders have accomplished on the world stage . . . what will they do for an encore? How will they reconcile their modern aspirations with their ancient heritage? How will their potentially volcanic mixture of capitalism-wrapped-in-totalitarianism manage to coexist with the rest of the world?
I would love to visit Beijing again if for nothing more than to see how fast their world has turned and to learn how the photographers I met there are faring in their advance on capitalism. What I observed in 2006 is that most businesses still have at least some government strings that prevent them for achieving self-determination: some definitely more than others. The downtown studio shown below was still operating in "the old way." The plaque on the grand building said: "Top Ten Enterprises of National Photograph Industry," but the government-like interior and the faded portraits in the window said otherwise.
This decidedly modern studio was located in a suburban community built through a cooperative arrangement between the Chinese and Canadian governments. It was thoroughly up to date and housed in a beautifully constructed neo-Craftsman bungalow. Interestly, the overhead burden of the building alone would sink an American business.
Most of the studios looked like and seemingly operated much like the mom-and-pop studios that once dominated our profession.
While they were only a few years behind with their digital technology, they face an uphill battle because of exceptionally low prices that dominate their market. I suspect this will continue until middle class citizens can afford to decorate their homes more lavishly and they learn about the decorative potential of photography. When this happens, the dam will burst.
With all of this rolling around in my head, I began looking through some of the photos I took during my two visits to China to find a few that represented what I felt about China in 2006, so that I can use them as a baseline by which to measure the future I might see there on another visit. Nothing really stood out. But what I enjoyed revisiting most were the simple pictures of people going about their business in a remarkable country on the brink . . . a country that provokes thoughts that run in every direction at once. China is often on my mind.
Here is a photo that I took in May, 2006:
No, this is not a case of my exposure being off. I took this on a "sunny" day, and I actually had to do a few Photoshop tricks to make the image legible. This is the smog that caused so much pre-Olympic concern on the part of athletes and trainers. I'm not sure that a democratic country would have been as successful as the Chinese were in convincing citizens to abandon their cars and shut down belching factories so that the city could be seen in a far better light. Several timely smog-dampening rains also helped to freshen the city. On a smog-free day, Beijing is an incredibly frenetic moving picture, juxtaposed with ageless treasures of art and architecture that can only be fully appreciated through the stillness of the studied human eye or through the aperture of a still camera. Occasionally the TV coverage did justice to the poetry of these contradictions of motion and serenity.
After replaying parts of the Opening Ceremonies several times and marveling at what I saw, I believe the true artistry of that extraordinary choreography was best revealed in some still news photographs that I found on Boston.com. Take a look and see what you think by clicking here. I believe the still camera did a far better job of showing what director Zhang Yimou created: a magnificent melding of people and technology . . . an deliberate metaphor that one cannot fulfill its destiny without the other.
I'm a sports nut, so I devour Olympic Games. Until Beijing, sadly, the most indelible games in my memory was the Munich Olympics, which was overshadowed by an unspeakable act of terrorism. Beijing had it's moment of horror for an American family singled out by a deranged individual. That tragedy aside, I still can't wrap my head around what went on in and around the games, because I suspect that the most important story of this Olympiad will be years in the telling. Like most Westerners who visit there, I see China as a huge question mark. How will this teeming population who, now that they have sampled the bounty that capitalism can produce, and now that they have felt the sense of pride in what they and their leaders have accomplished on the world stage . . . what will they do for an encore? How will they reconcile their modern aspirations with their ancient heritage? How will their potentially volcanic mixture of capitalism-wrapped-in-totalitarianism manage to coexist with the rest of the world?
I would love to visit Beijing again if for nothing more than to see how fast their world has turned and to learn how the photographers I met there are faring in their advance on capitalism. What I observed in 2006 is that most businesses still have at least some government strings that prevent them for achieving self-determination: some definitely more than others. The downtown studio shown below was still operating in "the old way." The plaque on the grand building said: "Top Ten Enterprises of National Photograph Industry," but the government-like interior and the faded portraits in the window said otherwise.
This decidedly modern studio was located in a suburban community built through a cooperative arrangement between the Chinese and Canadian governments. It was thoroughly up to date and housed in a beautifully constructed neo-Craftsman bungalow. Interestly, the overhead burden of the building alone would sink an American business.
Most of the studios looked like and seemingly operated much like the mom-and-pop studios that once dominated our profession.
While they were only a few years behind with their digital technology, they face an uphill battle because of exceptionally low prices that dominate their market. I suspect this will continue until middle class citizens can afford to decorate their homes more lavishly and they learn about the decorative potential of photography. When this happens, the dam will burst.
With all of this rolling around in my head, I began looking through some of the photos I took during my two visits to China to find a few that represented what I felt about China in 2006, so that I can use them as a baseline by which to measure the future I might see there on another visit. Nothing really stood out. But what I enjoyed revisiting most were the simple pictures of people going about their business in a remarkable country on the brink . . . a country that provokes thoughts that run in every direction at once. China is often on my mind.
Test Driving The Awesome New Tools In ProSelect 4
September/24/2008 ProSelect
If you
haven't upgraded to ProsSelect Version 4 yet, PLEASE
don't go through the upcoming prime-time portrait
season without doing so! It won't take long to master
the fabulous new sales tools included in this
upgrade. In fact the first thing that I did when I
had a few days at home was to begin working with two
of the features that make this upgrade worth its
weight in gold . . . gold that will find its way
directly into your pocket.
The expanded Apply Custom Effect feature is one of the best sales-building time-savers out there; it allows you to apply your favorite Photoshop Actions to selected images with a simple mouse click; then, after the sale, those actions can be applied automatically to your RAW or jpg file when you do your Photoshop processing through ProSelect. This is a great time-saver.
I have always taken issue with those who insist on laboriously "pretouching" every preview image. But I was thrilled when I learned from Ron Nichols how quickly you can pretouch using the Imagenomic Portraiture plugin. I have previously posted Ron's movie on that subject, and you can still view it by clicking here. As Ron explains, you can download a bunch of really helpful actions from his website, but you must own Imagenomic's Portriature plug-in to activate his four Pretouch PS Actions in ProSelect. If you don't own it already, you can save 20% by using Ron's RNDS07 code when you order. The action and the plug-in are terrific because they do their softening only on skin, so the image does not become mushy or over-softened. In the example below, the image on the left is shown as it came out of the camera, and at right it is just slightly softened by Ron's lowest-level Pretouch Action.
In the following example, the image at left is untouched, and I dialed up the softening a bit on the right by using Ron's Pretouch+1Action.
The Custom Effects feature has been part of ProSelect since I first began using it, but there were only 5 slots for Photoshop Actions, so I didn't pay much attention to it. Now that the capacity has expanded to 25 slots, and the Action-loading process is simplified to a drag-and-drop procedure, I'm having a ball with it, and I'm saving a lot of time in prepping images. If I need a little exposure bump or to lighten or darken and image or an image group, I just click on an Action, and the job is done instantly! I've also added some of my favorite effects such as this ParkerJ Brown Tone from Parker Pfister's outstanding set of PS Actions.
I couldn't wait to try the new Room View feature, and what I found out is that when it is combined with the upgraded Layouts section and Frames feature, ProSelect now offers a world of possibilities for showing images in room settings with frames around them — including composites that you can design as a template, then process automatically in Photoshop through the time-saving ProSelect Production module. When completed, the images are ready to send on to your lab for output.
I began the learning process by working with a large number of images from a very complicated session involving numerous pose groupings that easily could become a confusing sales nightmare, both for me and for the client. The lengthy session involved the daughter of long-time friends of ours; she was about to leave for college, accompanied by her dressage horse. Her parents felt that now was the perfect time for casual and formal portraits of her with the pony, as well as for a family portrait in the woods. Even with Jim and me working together to control and direct the horse, I knew we would generate many more images from this session than usual. So I was determined to make use of ProSelect's new presentation tools to help pull together this difficult presentation. As a business instructor, I am continually dismayed by how chronic over-shooters compound their felony by putting images online, expecting their clients to determine which images to choose and how to display them, without any help from the photographer who created them. In my opinion this is both lazy and unprofessional. Clients want and need your guidance, and they value your opinion.
One of the ProSelect Version 4 features that is easiest to implement is the ability to add frames to images without mats . . .
. . . or you can just as easily show a matted image displayed inside the frame of your choice. The application comes with several sizes of stock frames, or you can add photographs of your favorite frames. You can even add color and dimension to mats that can be output as virtual mats, along with their images, through ProSelect Production.
From the time that Layouts were introduced in ProSelect, I have found this feature to be a wonderful way to present secondary images in composites that literally sell themselves. Being able to add frames to these sets puts the icing on the cake!
Rather than just stand around while my subject was preparing herself and her mount for a formal dressage portrait, I decided to record the lengthy step-by-step preparation process with an eye toward creating a photojournalistic product. Of course there's always the possibility of creating a book from such images, but I finally decided to present the family with the option of a framed composite. It took me only a matter of minutes to build a 25-pose 30x30-inch composite, which I can process through ProSelect's Production module and send on to the lab.
The aspect of ProSelect 4 that I most anticipated was being able to show a featured image through the new Room Views tool. I learned how it worked by using a photo of my own living room fireplace, discovering how easy it is not only to show clients various sizes of the image over the mantle, but also the impact difference between the two images that I plan to suggest would be the best options for their primary wall portrait. This way they can actually see the decorative effect of the casual pose . . .
. . . versus the effect of the more formal one.
Now that I've mastered this feature, I've decided to visit the client's home and photograph their available display areas so that they can make a truly informed choice about their purchase. Honestly, these tools can make the sales process an absolute pleasure when you take the time to organize the images intelligently and with the needs of the client in mind.
While ProSelect comes with an excellent User Guide, I would recommend getting started on the learning curve by viewing the resource movies provided on the ProSelect TimeExposure.com website. Click here to get to a log-in page where you can view ProSelect Tutorial Movies. I strongly suggest that you view each of the movies in the Advanced list before you start using the application's new features. Another helpful movie that shows many of these features is one created by Ron Nichols, which I previously posted. Ron does not sell by recommendation the way I do, but you will learn a lot about both ProSelect and his sales process by clicking here.
I know that some ProSelect users still don't know how easy it is to create a downloadable slideshow through ProSelect: It's simply a matter of preparing your slide show and hitting the Export/Quicktime Slideshow command. You can see the show that I will be presenting to the family after we get back from our upcoming trip to Ireland by clicking here.
To ProSelect developer Peter Howlett and his photographer wife Fran over in Perth, Australia, a great big THANK YOU for continuing to help photographers worldwide to benefit from maximizing our sales and satisfying our clients.
Cheers!
The expanded Apply Custom Effect feature is one of the best sales-building time-savers out there; it allows you to apply your favorite Photoshop Actions to selected images with a simple mouse click; then, after the sale, those actions can be applied automatically to your RAW or jpg file when you do your Photoshop processing through ProSelect. This is a great time-saver.
I have always taken issue with those who insist on laboriously "pretouching" every preview image. But I was thrilled when I learned from Ron Nichols how quickly you can pretouch using the Imagenomic Portraiture plugin. I have previously posted Ron's movie on that subject, and you can still view it by clicking here. As Ron explains, you can download a bunch of really helpful actions from his website, but you must own Imagenomic's Portriature plug-in to activate his four Pretouch PS Actions in ProSelect. If you don't own it already, you can save 20% by using Ron's RNDS07 code when you order. The action and the plug-in are terrific because they do their softening only on skin, so the image does not become mushy or over-softened. In the example below, the image on the left is shown as it came out of the camera, and at right it is just slightly softened by Ron's lowest-level Pretouch Action.
In the following example, the image at left is untouched, and I dialed up the softening a bit on the right by using Ron's Pretouch+1Action.
The Custom Effects feature has been part of ProSelect since I first began using it, but there were only 5 slots for Photoshop Actions, so I didn't pay much attention to it. Now that the capacity has expanded to 25 slots, and the Action-loading process is simplified to a drag-and-drop procedure, I'm having a ball with it, and I'm saving a lot of time in prepping images. If I need a little exposure bump or to lighten or darken and image or an image group, I just click on an Action, and the job is done instantly! I've also added some of my favorite effects such as this ParkerJ Brown Tone from Parker Pfister's outstanding set of PS Actions.
I couldn't wait to try the new Room View feature, and what I found out is that when it is combined with the upgraded Layouts section and Frames feature, ProSelect now offers a world of possibilities for showing images in room settings with frames around them — including composites that you can design as a template, then process automatically in Photoshop through the time-saving ProSelect Production module. When completed, the images are ready to send on to your lab for output.
I began the learning process by working with a large number of images from a very complicated session involving numerous pose groupings that easily could become a confusing sales nightmare, both for me and for the client. The lengthy session involved the daughter of long-time friends of ours; she was about to leave for college, accompanied by her dressage horse. Her parents felt that now was the perfect time for casual and formal portraits of her with the pony, as well as for a family portrait in the woods. Even with Jim and me working together to control and direct the horse, I knew we would generate many more images from this session than usual. So I was determined to make use of ProSelect's new presentation tools to help pull together this difficult presentation. As a business instructor, I am continually dismayed by how chronic over-shooters compound their felony by putting images online, expecting their clients to determine which images to choose and how to display them, without any help from the photographer who created them. In my opinion this is both lazy and unprofessional. Clients want and need your guidance, and they value your opinion.
One of the ProSelect Version 4 features that is easiest to implement is the ability to add frames to images without mats . . .
. . . or you can just as easily show a matted image displayed inside the frame of your choice. The application comes with several sizes of stock frames, or you can add photographs of your favorite frames. You can even add color and dimension to mats that can be output as virtual mats, along with their images, through ProSelect Production.
From the time that Layouts were introduced in ProSelect, I have found this feature to be a wonderful way to present secondary images in composites that literally sell themselves. Being able to add frames to these sets puts the icing on the cake!
Rather than just stand around while my subject was preparing herself and her mount for a formal dressage portrait, I decided to record the lengthy step-by-step preparation process with an eye toward creating a photojournalistic product. Of course there's always the possibility of creating a book from such images, but I finally decided to present the family with the option of a framed composite. It took me only a matter of minutes to build a 25-pose 30x30-inch composite, which I can process through ProSelect's Production module and send on to the lab.
The aspect of ProSelect 4 that I most anticipated was being able to show a featured image through the new Room Views tool. I learned how it worked by using a photo of my own living room fireplace, discovering how easy it is not only to show clients various sizes of the image over the mantle, but also the impact difference between the two images that I plan to suggest would be the best options for their primary wall portrait. This way they can actually see the decorative effect of the casual pose . . .
. . . versus the effect of the more formal one.
Now that I've mastered this feature, I've decided to visit the client's home and photograph their available display areas so that they can make a truly informed choice about their purchase. Honestly, these tools can make the sales process an absolute pleasure when you take the time to organize the images intelligently and with the needs of the client in mind.
While ProSelect comes with an excellent User Guide, I would recommend getting started on the learning curve by viewing the resource movies provided on the ProSelect TimeExposure.com website. Click here to get to a log-in page where you can view ProSelect Tutorial Movies. I strongly suggest that you view each of the movies in the Advanced list before you start using the application's new features. Another helpful movie that shows many of these features is one created by Ron Nichols, which I previously posted. Ron does not sell by recommendation the way I do, but you will learn a lot about both ProSelect and his sales process by clicking here.
I know that some ProSelect users still don't know how easy it is to create a downloadable slideshow through ProSelect: It's simply a matter of preparing your slide show and hitting the Export/Quicktime Slideshow command. You can see the show that I will be presenting to the family after we get back from our upcoming trip to Ireland by clicking here.
To ProSelect developer Peter Howlett and his photographer wife Fran over in Perth, Australia, a great big THANK YOU for continuing to help photographers worldwide to benefit from maximizing our sales and satisfying our clients.
Cheers!
A Lesson In Business Strategy From What the Duck
September/22/2008 Buzz
Marketing
I know that lots of you follow the adventures of that camera-loving online cartoon character, "What the Duck," drawn by Wisconsin cartoonist and bass-playing band member Aaron Johnson. The strip tells about the trials and tribulations of a professional photographer who happens to be a duck. I believe that I qualify as a What Junkie. In fact I just ordered what is bound to become my second-favorite t-shirt: It features the duck and was designed by his creator. See it below:
In case you are wondering about my most-favorite t-shirt, here's what it says: The more you complain, the longer God lets you live." I believe this sentiment might just appeal to my duck-buddy What.
Well if you haven't heard, What the Duck is going big time! Aaron's strip is being syndicated by Universal Press Syndicate (UPS), so What might even be coming to a newspaper in YOUR town, and a book deal for 2009 also is in the works!
As you can probably guess, the odds of a cartoonist getting his strip syndicated are about as good as a gun-toting, moose-stalking mother of 5 from a little town in Alaska running for vice-president of the United States. Fortunately for all of us What-lovers, UPS will allowWhattheDuck.net (and now .com as well) to flourish, and bloggers can continue to link to strips that strike their fancy to their sites, as I've done in the past. Hooray! Apparently UPS understands how helpful unfettered Internet access and social media marketing can be to its bottom line.
And that's exactly what caught my attention about Aaron and his curiously appealing duck in the first place: Arron's very interesting use of the Internet and social sites to propel his duck to cult status. It seemed to me that there is something for all of us to learn from Aaron about capturing the attention of the public by studying this audacious business strategy. Many students in my classes are quick to argue with my thinking about giving your work away to the right audience, under the right circumstances. Clearly that strategy has paid off for Aaron Johnson and his buddy What. So I continue to believe there's a lesson here for studio owners: If you want to get attention and set the right people talking about you . . . go where they are and be generous!!
To read the particulars about What's syndication click here. Inside this PopPhoto.com article, you'll find a link to an earlier article about the What the Duck's business strategy. In case you miss it there, just click here.
And and every now and then, look to the sky: If you see a duck flying overhead with a camera around his neck, it's just What the Duck moving on to bigger and brighter horizons.
More About Sam . . . She's At It Again!
September/21/2008 Fascinating
Folks
As I said in
a recent post (August 22), it is not humanly possible
to keep up with Sam Puc'. I no sooner blogged about
her new book than I learned about her new business
venture: a delightful-sounding gift shop located in
the downtown district of Littleton, CO, the town
where Sam made her mark with Expressions Photography.
The boutique, which will open in October, is called "Chiaroscuro," an artsy term that refers to the skillful blending of light and shadow. The English teacher in me has always loved the sound of this beautiful word. According to Sam's blog, the shop was developed "with clients like you in mind. We know how much you value family and understand the importance of capturing memories. Our gifts and gift baskets are a reflection of the love and attention you pour into the treasures you select for your home and the gifts you give to loved ones." What a wonderful concept: giving people who love Sam's photography another place to spend some of their discretionary budget in a way that enhances their love of home and family! Wow!
When I spoke to Sam a week ago, she and the clan had just come from church, and they were working on getting the place in order. Here's a peak at the store front:
You can drop by Sam's blog to see what she's up to and learn more about her fascinating new "memory displays and home decor" business concept by clicking here. What a fabulous idea!
The boutique, which will open in October, is called "Chiaroscuro," an artsy term that refers to the skillful blending of light and shadow. The English teacher in me has always loved the sound of this beautiful word. According to Sam's blog, the shop was developed "with clients like you in mind. We know how much you value family and understand the importance of capturing memories. Our gifts and gift baskets are a reflection of the love and attention you pour into the treasures you select for your home and the gifts you give to loved ones." What a wonderful concept: giving people who love Sam's photography another place to spend some of their discretionary budget in a way that enhances their love of home and family! Wow!
When I spoke to Sam a week ago, she and the clan had just come from church, and they were working on getting the place in order. Here's a peak at the store front:
You can drop by Sam's blog to see what she's up to and learn more about her fascinating new "memory displays and home decor" business concept by clicking here. What a fabulous idea!
Family Portrait Month . . . All Year Long!
September/16/2008 Charitable
Marketing
If you
haven't signed up for Family Portrait Month,
scheduled for October, it's not too late. In fact you
can use this wonderful charity-driven marketing
opportunity any time you want for either or both of
these reasons: the altruistic reason of supporting
one of the most appealing charities anywhere —
Operation Smile — or for the practical purpose of
building business for your studio while enhancing
your community image. In my opinion you do both when
you choose to raise funds for one of the most
perfectly matched charities for portrait
photographers who, after all, frequently make our
livings by capturing the beautiful smiles of
children.
You can sign up for Family Portrait Month by contributing only $25 to PPA Charities, which supports this cause-related marketing effort. Once you've registered, you'll receive a password that allows you to download marketing resources and read about how others have used the promotion to benefit their businesses. And as I said . . . it's not too late to use the promotion in 2008. In fact I'll be doing just that, because Jim and I will be vacationing in Ireland for most of October. So we're sending a sales letter to all clients who have spent $1,000 or more with us, explaining that during November and December, they will pay no session fee (unless they want to donate it to Operation Smile), and we will send 10% of their portrait sale to Operation Smile. Some of these payments will, of course, carry over to the 2009 Family Portrait Month campaign, but no matter . . . we are happy to participate at any time of the year: it's good business.
To learn about PPA Charities, Family Portrait Month, and Operation Smile, click here.
If you don't want to waste any time getting started you can click here to make your $25 (or more) donation. And whatever you do, take just a few moments to view some beautiful photographs, made by Dallas photographer Angie Weedon, who, as the top 2006 Family Portrait Month contributor, was privileged to photograph an Operation Smile Mission in Honduras. Please click here, and you'll see just exactly why your participation in Family Portrait Month is so important.
You can sign up for Family Portrait Month by contributing only $25 to PPA Charities, which supports this cause-related marketing effort. Once you've registered, you'll receive a password that allows you to download marketing resources and read about how others have used the promotion to benefit their businesses. And as I said . . . it's not too late to use the promotion in 2008. In fact I'll be doing just that, because Jim and I will be vacationing in Ireland for most of October. So we're sending a sales letter to all clients who have spent $1,000 or more with us, explaining that during November and December, they will pay no session fee (unless they want to donate it to Operation Smile), and we will send 10% of their portrait sale to Operation Smile. Some of these payments will, of course, carry over to the 2009 Family Portrait Month campaign, but no matter . . . we are happy to participate at any time of the year: it's good business.
To learn about PPA Charities, Family Portrait Month, and Operation Smile, click here.
If you don't want to waste any time getting started you can click here to make your $25 (or more) donation. And whatever you do, take just a few moments to view some beautiful photographs, made by Dallas photographer Angie Weedon, who, as the top 2006 Family Portrait Month contributor, was privileged to photograph an Operation Smile Mission in Honduras. Please click here, and you'll see just exactly why your participation in Family Portrait Month is so important.
What A Nice Honor!
September/15/2008
I was so pleased to learn from Cameron Bishopp, editor of Professional Photographer magazine, that an article I wrote for the May 2007 issue was honored with a Gold Award from the Southeast Magazine Association. Entitled "What Women Want," the article explained how boutique studios appeal to upscale women clients. It was part of a package created on marketing and selling to women. If you wish to download a copy, just click here. Thanks to the following boutique studio owners who allowed me to pick their brains for the article: Lori Nordstrom, Sarah Petty, Sam Puc', Vicki and Jed Taufer, Beverly and Tim Walden, and Jeff and Julia Woods.
It was great to learn that the magazine earned a bunch of awards (7 Golds and 1 Silver), and best of all . . . First Place for General Excellence, awarded to the magazine that presents the best overall packaging, showcasing excellence in content selection, writing and reporting, as well as design and illustration.
Great job, Cameron!!
A Very Special 10th Anniversary
September/09/2008 Guerrilla
Workshops
It's hard to
believe that it's been 10 years since Judy Grann and
I hosted our first hand's-on workshop designed to
help photographers improve the financial performance
of their businesses. Back in 1997, only a year before
the first workshop, I was fairly certain that I had
taught my last Business of Photography class because
it was so hard to attract business students to
affiliate schools, where students were far more
interested in studying posing and lighting. What's
more, teaching the information using paper forms,
pencils, erasers, and adding machines was painful for
everyone involved.
What emboldened Judy and me to attempt our first two Guerrilla Management Workshops in the fall of 1998 was the possibility of using as a teaching tool the Planning and Pricing modules of SuccessWare, the new fully integrated studio management software developed by Judy's company. Our expectation was that we could allow students to use the software to quickly analyze the financial position of their businesses, then we could help them with strategies that would zero in on where and how to earn more profit. Well it worked! And the clarity that the software brought to the financial side of studio management was beyond my wildest expectation. What it had taken me two weeks to teach could now be absorbed in four days.
Since those first two 1998 classes, nearly 700 studio owners have attended our Guerrilla Management Workshops, and Judy and I continue to marvel at their accomplishments. Many have made huge improvements in their business, and some are now among the most successful studios in the country. We are so pleased that many graduates keep us up to date on their activities, and what is especially satisfying to me is how many have taken what they learned about financial management and are now teaching others. It's also nice to know that our workshops helped to inspire Scott Kurkian, PPA's CFO, to ask the PPA Board to launch the Association's Studio Management Services, which now is in its 6th year of educating and advising photography businesses.
We couldn't have hand-picked a better group for our 10th anniversary workshop! They are shown below on the deck of my Deep Creek Lake, MD home, where we hold our spring and fall workshops.
I am absolutely certain that this group will make the most of what they learned, and I fully expect to hear some extra-special success stories from them. I wouldn't be surprised if an instructor or two emerged from this group as well.
So thanks to everyone who has supported our workshops over the past decade. As I celebrate this special anniversary, I am mindful of what a privilege it is to teach because of how much the teachers learn from their students, both in the classroom and in the years to come. Judy and I look forward to many more great workshops and to making many more long-lasting friendships.
Cheers!
What emboldened Judy and me to attempt our first two Guerrilla Management Workshops in the fall of 1998 was the possibility of using as a teaching tool the Planning and Pricing modules of SuccessWare, the new fully integrated studio management software developed by Judy's company. Our expectation was that we could allow students to use the software to quickly analyze the financial position of their businesses, then we could help them with strategies that would zero in on where and how to earn more profit. Well it worked! And the clarity that the software brought to the financial side of studio management was beyond my wildest expectation. What it had taken me two weeks to teach could now be absorbed in four days.
Since those first two 1998 classes, nearly 700 studio owners have attended our Guerrilla Management Workshops, and Judy and I continue to marvel at their accomplishments. Many have made huge improvements in their business, and some are now among the most successful studios in the country. We are so pleased that many graduates keep us up to date on their activities, and what is especially satisfying to me is how many have taken what they learned about financial management and are now teaching others. It's also nice to know that our workshops helped to inspire Scott Kurkian, PPA's CFO, to ask the PPA Board to launch the Association's Studio Management Services, which now is in its 6th year of educating and advising photography businesses.
We couldn't have hand-picked a better group for our 10th anniversary workshop! They are shown below on the deck of my Deep Creek Lake, MD home, where we hold our spring and fall workshops.
I am absolutely certain that this group will make the most of what they learned, and I fully expect to hear some extra-special success stories from them. I wouldn't be surprised if an instructor or two emerged from this group as well.
So thanks to everyone who has supported our workshops over the past decade. As I celebrate this special anniversary, I am mindful of what a privilege it is to teach because of how much the teachers learn from their students, both in the classroom and in the years to come. Judy and I look forward to many more great workshops and to making many more long-lasting friendships.
Cheers!