Meltdown: The New Normal Call of The Wild Gear of The Year

PROFESSIONAL PHOTOGRAPHER • AUGUST 2020
P.30 THE NEW NORMAL

Making It Work P.46 GEAR OF THE YEAR
2020 Hot Ones P.60 CALL OF THE WILD
Animal Adventures
Meltdown
PROFESSIONAL PHOTOGRAPHERS OF AMERICA INC.
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CONTENTS August 2020
©BRIAN SKERRY
76
©MICHELLE VALBERG
©TONY BYNUM
68 60
In Every Issue
8 Editor’s Note
17 Giveaway
20 On the Cover
20 Merited
86 President’s Message
86 Perspective
88 Affiliate School Calendar
90 Final Frame
Foreground
13 River Whimsy:
Waterway becomes scooterway
14 Enchanted Forest:
©STEPHANIE DEFRANCO
Enlightenment from a
firefly specialist
16 Happy Accidents:
Optical illusions on
46 New York City’s streets
Success
Features 29 Shifting Priorities:
What matters more to consumers
46 2020 Hot Ones now than before the pandemic
A selection of great products for all kinds of working pros 30 Pioneering the New Normal:
By Joan Sherwood
How photographers are
making it work
60 Call of the Wild By Betsy Finn
Michelle Valberg adventures into her native Canada and beyond
By Amanda Arnold
68 Vast Opportunity The Goods

Tony Bynum created a strategy to make his images multi-task 46 2020 Hot Ones
By Jeff Kent buyers guide
By Joan Sherwood
76 Ocean Advocate
Conserving aquatic environments is Brian Skerry’s mission
By Robert Kiener
PPMAG.COM AUGUST 2020 7

E D I TO R ’ S N OT E
Some Good News

KEEP WRITING YOUR STORY
For eight weeks this spring, millions of us were lifted up by actor-director John
Krasinski. His YouTube production, “Some Good News with John Krasinski,”
revealed that generosity, happiness, and hope can survive and thrive even in the
midst of an unprecedented year of troubles. He hosted a virtual prom, presided
over a marriage, and enabled a weighty global commencement conversation. He
made small but meaningful dreams come true. He revealed beautiful moments in
simple human interactions, and he gave people the opportunity to be silly when
many were harboring fear. He turned strangers into a community of contributors
intent on spreading hilarity and hope. Optimism reigned.
Despite the dread we’re enduring, the
story doesn’t have to stop there. We can
pick up the pen and keep writing. For
“If you want a happy ending,
photographers, in fact, the outlook as that depends, of course, on
America emerges from the coronavirus where you stop your story.”
pandemic holds real promise. —ORSON WELLES
Research released by Ipsos offers
©EDDIE TAPP
insights into social shifts that are taking

place right now. The report (“Post Covid-19 Consumer Perception Tracker”) cites a
number of timely consumer trends, and many of them point to opportunities for
entrepreneurial photographers now and into the future:
editors@ppa.com • Family has become more important as people shift back toward their core
values. Consumers say they value relationships and real people, particularly their
@ppmagazine children as well as elders.
• As American consumers increasingly feel out of control on a macro level,
@professionalphotographer_mag
they’re turning attention to small areas they can control, such as their personal
environment, including home decor.
@ppmagazine
• Home is seen as a place of refuge, and people have a desire for larger spaces.
• There’s growing interest in supporting local businesses.
• Aesthetically, there’s greater appetite for positive messages, bold colors, and
clean lines.
• Because consumers feel the world is plagued by uncertainty, they rely more on
emotions to make decisions.
Add up these insights, and what do you see? I see a flourishing interest in family por-
traits to hang on the walls of one’s home, to cherish in a beautiful album, and to share
with far-flung grandparents. Not to mention all the lovebirds who were able to only
hastily tie the knot this spring but still desire photographic evidence of their happy
new life. And add the parents of fresh-faced graduates who want to commemorate
that achievement even after the fact. I see that people will be clamoring for keepsakes
in the form of professional portraiture that can be enjoyed now and for generations.
During crises, people seek comfort. You can be there for them by creating the indis-
putable evidence they’re craving—that they and their loved ones are significant.
If you’re not seeing a happy ending yet, then keep writing your story. People are
depending on you to document their lives at this historic time. •
Jane Gaboury
Director of Publications
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FOREGROUND
By Amanda Arnold
River Whimsy
WATERWAY BECOMES SCOOTERWAY
The impossible seems possible in a dark Estonian river, thanks to Kylli painted the scooter white for contrast before the session. The most
Sparre’s composition, photographed as she lay face down on a rustic, challenging aspect was the facial appearance, she says. “Posing there
railing-free bridge. The subject was able to sustain her pose thanks to a with one ear in the water—it was difficult to get a natural expression.”
few large, flat rocks just under the surface of the water that supported her.
What Sparre loves most about the image: “How the bottom foot
“The river wasn’t very deep this time of year and luckily quite warm as curved above the break of the scooter. This just happened, and I was
well,” Sparre says, “so it wasn’t as terrible as it might sound.” Sparre had happy about that.”
©KYLLI SPARRE / sparrek.org

PROFESSIONAL PHOTOGRAPHER
FOREGROUND
14
©RADIM SCHREIBER / “Firefly Experience” / fireflyexperience.org
Enchanted
Forest
ENLIGHTENMENT FROM
A FIREFLY SPECIALIST
Radim Schreiber, firefly photographer and creator

of the photo book “Firefly Experience,” offers tips
for capturing the magic of bioluminescence:
• Scout your location one or two nights in ad-

vance. “While fireflies don’t migrate, they can change
dates and densities per location year to year.”
• Arrive at your location before sundown so
you can set up your composition and select a
depth of field before dark.
• Use a red flashlight, as a regular flash-
light will alter your vision and affect the fireflies.
• For macro photography, skip the insect
repellent, which distracts fireflies. •
EQUIPMENT
“For the longest time I have
used Canon full-frame cameras such as
the 5D and the 6D, but lately I’ve been giving
preference to mirrorless Sony a7S and a7R, perhaps
because their 4K video is much superior to Canon, and
the a7S is designed for low light. Of course I prefer fast lenses.”
NAILING IT
Photographed in Pennsylvania, the image “Misty River” (left) is
one of Schreiber’s newest favorites and most technically compli-
cated, he says. It was made with a Sony a7R III and a Sony 50mm
f/1.4 lens. The background is composed of several focus-stacked
layers, and the fireflies were stacked from more than 100 exposures.
“The blurring effect happens naturally with this kind of firefly,”
he says. “They’re called Chinese Lanterns and glow for
a second or two. That’s enough time for them to blur
and ‘paint’ short lines. There are different types of
species of fireflies with various glow lengths and
colors. Each of them can result in different
photos and also a different kind of
experience.”

FOREGROUND
Happy Accidents
OPTICAL ILLUSIONS ON NEW YORK CITY’S STREETS
Sometimes a figure in the foreground lines up with a figure in collection of his New York City street photography. In the book,
the background, and just like that: an alternate reality. These you’ll discover smoke rising from a man’s head, Mickey Mouse
serendipitous and often humorous moments are the subject of wearing a trench coat on the subway, and a man drawing a
Jonathan Higbee’s book “Coincidences” (Anthology Editions), a yellow line on a building. Or so it seems.
©JONATHAN HIGBEE / jonathanhigbee.com, anthology.net/books
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MERITED
ON THE COVER
Global Meltdown
Gina Gardner,
M.Photog.Cr., CPP
Breathe Photography LLC
Las Vegas, Nevada
PHOTOGRAPHER’S NOTE: “Global Meltdown” came

about while Gina Gardner attempted to create a
still life photo that would replicate the look of a
17th-century painting. “After days of deliberating
on how to bring my vision to life, my floral arrange-
ment began to wilt,” she says. “The dead flowers
inspired me to add a melting element to my arrange-
ment.” Since she had no Adobe Photoshop experi-
ence at the time, Gardner dropped paint directly
onto the flowers to get the look in camera. Later,
during a Photoshop workshop, she used her newly
acquired skills and the mixer brush to composite
the final image. From concept to completion, the
image took two years to make. “This journey was
a process of pure joy, satisfaction, frustration,
learning, and fun,” says Gardner.
CAMERA & LENS: Canon EOS 5D Mark III, Canon
EF 100mm f/2.8L Macro IS USM lens
EXPOSURE: 1/200 second at f/18, IS0 100
LIGHTING: Gardner used a Photogenic strobe
camera left with a Photogenic medium soft box and
grid, and two white fill cards.
©GINA GARDNER / breathe-photography.com

POST-CAPTURE: She photographed the arrange-
ment using two fill cards, one on the right to fill the
shadows, and one under the front to fill the front
lower portion of the arrangement. Then using a
remote shutter release, she photographed each
flower with paint drips on it. The images were put
together in Adobe Photoshop.
ABOUT THE LOAN COLLECTION: The current Loan Collection comprises more than 600 photographs chosen by jurors of PPA’s International Photographic
Competition. The compositions are considered the best of the best in contemporary professional photography, having been awarded the Loan Collection distinction based
on their success in meeting the 12 elements of a merited image. ppmag.com/12-elements
MERITED
Sculpted
Keith Howe,
M.Photog.M.Artist.MEI.Cr.
Photographic Images Inc.
North Platte, Nebraska
PHOTOGRAPHER’S NOTE: The bride had an

elegant, sophisticated look, which didn’t jibe with
her small, hometown church in rural Nebraska,
Keith Howe explains. So he looked for areas that
might connect with her style, settling on this side
aisle of the sanctuary, and using the stained glass
window as the light source.
CAMERA & LENS: Canon EOS-1Ds Mark II, Canon EF
70-200mm f/2.8L USM with lens shade
LIGHTING: Available light via the stained glass
window and light that reflected off a column.
“I positioned the subject just behind the actual
window to use the edge of the light,” he says. “This
gave a very nice soft yet directional lighting that
sculpted my subject.”
POST-CAPTURE: Howe used Adobe Lightroom to
process the raw file and Adobe Photoshop CC to
remove a second window from the background and
convert the image to black-and-white.
©KEITH HOWE / photographicimages1.com
MERITED
Crate Training ©AMY FEICK / twinshutterbugstudios.com
Amy Feick, M.Photog.Cr.

Twin Shutterbug Studios
Marysville, Michigan
CAMERA & LENS: Nikon D750, AF-S Nikkor 70-200mm f/2.8G ED VR II lens
LIGHTING: Amy Feick used a MoLight AD600 with a 7-foot parabolic umbrella
camera left, a Paul C. Buff AlienBees strobe with a 24-inch strip box placed
camera left and behind for rim lighting, and a Calumet Travelite with a Larson
4x6-foot soft box placed vertically camera right and to the side behind subject,
feathered to add a rim and fill.
POST-CAPTURE: The final image is a composite of five group shots of the
puppies. She used Adobe Lightroom for basic editing and then Adobe Photoshop
to composite and do dodging and burning to make the pups stand out. Finally,
she used Nik Silver Efex Pro and Color Efex to help bring out detail and add a
slight brown tone.
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MERITED
Grand Entrance
Andrew Joseph
Andrew Joseph Photography
St. Louis, Missouri
LOCATION: Union Station, St. Louis, Missouri

CAMERA & LENS: Canon EOS 5D Mark IV, Canon EF 70-200mm f/2.8L IS II USM lens
EXPOSURE: 1/125 second at f/2.8, IS0 1250
LIGHTING: Andrew Joseph’s assistant placed a Profoto B1X with a 4-inch octabox onto a light stand and extended it over the balcony so it would illuminate the couple
(“Scary, I know, with a very expensive light,” says Joseph). He used a Profoto trigger to remotely trigger the light from a balcony on the other side of the Grand Hall.
©ANDREW JOSEPH / andrewjosephportraits.com
More Loan Collection images and lighting diagrams

ppmag.com/loan
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SUCCESS
Shifting Priorities
Professional photography wasn’t considered essential business are also increasingly focused on making their living spaces a com-
during state and local shutdowns this spring, but positive consumer fortable refuge.
trends bring good news for the profession.
A recent study asked consumers how their values changed during the
Research shows a shift in values toward the importance of family, COVID-19 pandemic, and these were their top responses. Highlight
home, and friends, as well as supporting local businesses. People these ideas in your messaging, at your studio, and in client discussions.
What matters more to you now than

before the coronavirus crisis began?
FAMILY
SAFETY
PHYSICAL HEALTH
FRIENDSHIP
KINDNESS
Source: Deep Blue Insight: Post COVID-19 Consumer

Perception Tracker, Focus Ideas, and Inspiration PPMAG.COM AUGUST 2020 29
SUCCESS
Pioneering the New Normal

HOW PHOTOGRAPHERS ARE MAKING IT WORK
By Betsy Finn, M.Photog.Cr.
What does it look like to own a photography business while practicing social distancing or complying with stay-at-home mandates? And when
those mandates are lifted, what’s the new reality? We’re all in uncharted territory. Many photographers have been adapting and re-envisioning
their business. In June, I asked five photographers to describe their experience as business owners during the COVID-19 pandemic.
Betsy Finn, M.Photog.Cr., is a portrait artist and owner of Betsy’s Photography in Dexter, Michigan.
With Sports Cancelled, Focus Turns to Portait Planning

Ben Shirk, M.Photog.M.Artist.Cr., Shirk Photography, Wilton, Iowa
Ben Shirk has been in business for 14 years and specializes in photographing high school seniors and athletes.
He is also the owner of GameChanger Templates.
and studio policies clearly available helps make

our sessions run smoothly and meet expecta-
tions. Our questionnaire helps us learn more
about any ideas, fears, or confidences our
clients may have. The form also ensures they
have signed and agreed to all of our pricing
©SHIRK PHOTOGRAPHY / shirkphotography.com
and policies before the day of their session.
HOW WILL YOU ADAPT GOING FORWARD?

SHIRK: My studio policy of one session a week
allows clients to feel very comfortable, not
because of social distancing but because of
how I set my business up. However, that gives
the studio plenty of time to decontaminate. I
have also ordered a no-touch thermometer
for the studio.
I have been working on keeping my distance
and using minimal props, even keeping my
HOW HAS BUSINESS BEEN IMPACTED? distance from the roller system so that I am
SHIRK: We were not part of a mandated shut- nowhere a client typically goes. It’s hard, and I
down, but much of our work in the spring is with constantly have to remind myself to stay back
teams. Since all sports were cancelled, we when I want to help them reposition. I’m going
didn’t have our typical clients. My clients usual- without an assistant on my sessions to further
ly leave the sales session with everything they cut down on any possible exposure.
can afford so I don’t have many reprints later.
My clients travel from around the country to ANY ENCOURAGEMENT FOR YOUR PEERS?
our studio, so I typically do their portrait and SHIRK: If you haven’t started back to work yet,
sales session on the same day. We do nearly now is the time to organize your client guides,
all pre-consultations over the phone. We send website, take some online classes and better
a series of magazine-like guides and question- yourself so that you emerge from this a stron-
naires before our sessions to ensure clients ger, better photographer and businessperson.
are well prepared. Having all our information ª
Portraits as Unique as ey Are
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* Special thank you to Caroline Madsen and Jason Marino for use of their imagery.
SUCCESS
Remote Sales Are Landing Bigger Results

John Hartman, M.Photog.M.Artist.Cr., CPP, A-ASP, EA-ASP, Contemporary Photography Inc., Stevens Point, Wisconsin
John Hartman has been in business for 46 years and specializes in portraiture, light painting, and commercial
photography. His typical clients are high school seniors, families, people seeking headshots, commercial product
companies, and automobile, motorcycle, and aircraft owners.
The remote sales system I’ve developed has

actually resulted in larger sales, so we’re ready
for this new normal.
The pandemic has affected everyone, but
those with businesses involving close people
contact, including photographers, will be required
to make changes in their standard operating
procedures for the foreseeable future. As we be-
gin to open up, the new norm will include physical
distancing, the wearing of masks, the use of dis-
infectants, and other medically recommended
steps to ensure the safety of both clients and
workers. My age puts me in a risk category
that makes these procedures even more im-
portant, so I will be following them closely.
We will be following all CDC guidelines and
will only have one client in at a time, with
HOW HAS BUSINESS BEEN IMPACTED? line of restoring damaged photos and design- cleaning and sanitizing between appointments.
HARTMAN: I’ve always been a believer in having wall arrangements of clients’ images from Ours isn’t a high-volume business, so these
ing multiple streams of income. Over the years vacations, of family members, and important procedures will be fairly simple to implement.
I have created product lines that sell without lifetime events. This has turned into a poten- We will also provide full rescheduling options
requiring me to always be face to face with clients. tially limitless opportunity, and I’ve done a few to assure clients they are not required to come
This has served me well over the past few of these jobs during the quarantine without if they or anyone in their household is not well.
months. Our recent income has been supple- the necessity of client contact.
mented by offering senior grad cards, which Commercial photography is a growing part of ANY ENCOURAGEMENT FOR YOUR PEERS?
have sold well and don’t require client contact. our business, and I’ve been able to do several HARTMAN: Owning my own studio for 46 years
We started a Fine Art of the Week program, product shoots in my studio during the lock- has provided me some perspective on the
where one of my fine art pieces is on sale for down without client contact, transferring files current situation. Yes, this pandemic has put
one week only. We’ve sold many large metal via iPad to the client at their location immedi- many people (including photographers) in a
prints online as a result, and the prints are drop- ately for review. tough and unfamiliar situation. But the survi-
shipped to the client for a touchless delivery. I’m also busy doing highly profitable light vors will be those who can stabilize their ship
I’ve partnered with our local Chamber of paintings, which are all done safely outdoors quickly, adapt to the changing circumstances,
Commerce on a headshot promotion where with virtually no client contact. And finally, I and innovate with new products and services
businesses and individuals can buy portrait do have other income sources from teaching that people will still want to own. I think it’s im-
certificates at a discount to be used any time local classes, light painting workshops, and portant to remember that even if there is, say,
in the next year. We will be offering this same software products for photographers. 30% unemployment, that means 70% are still
Buy It Now promotion to our high school seniors. working. No photography business is so large
I also donate a portion of the sale to our local HOW WILL YOU ADAPT GOING FORWARD? that it can’t find enough clients in that remain-
COVID-19 Relief Fund. This promotion has just HARTMAN: For some of our product lines I’ve ing 70% to earn a nice living. It’s not going to
started but already has resulted in dozens of been doing online and phone consultations be easy and, most certainly, it’s not going to
sales, providing cash flow now in exchange for and sales for a number of years, so the recent be the same. But I believe we will come out
work to be done at the client’s convenience. transition has been pretty seamless. When we of this stronger and better able to navigate
A few years ago, I began recognizing the get into our busy portrait season we will be the new normal.
value of old snapshots and began a product offering virtual appointments as requested. ª
Easy
as 1. Download
2. Share
3. Succeed
Show your clients that

who they hire as a
photographer matters.
Get your video resources today.
PPA.com/Easy123
SUCCESS
Moving Forward with a Reputation Built on Trust

Keith A. Howe, M.Photog.M.Artist.MEI.Cr., and Holly Howe, M.Photog.Cr., Photographic Images, North Platte, Nebraska
Keith and Holly Howe have been in business for 40 years. Their photographic specialties are portraits, families,
high school seniors, babies, and children. Because they live in a very small rural town, their typical client is not from any
one demographic but rather people who value photography and recognize technical skill.
changes to what props we use, just cleaning

between sessions. We have always had a clean-
COURTESY PHOTOGRAPHIC IMAGES / photographicimages1.com
ing service once a week, but we will wipe down

surfaces between sessions now.
We are established; we have a reputation.
Our clients already have a level of trust. I
might mention when scheduling something
like, “Hey, let’s maybe go 30 minutes later so
you don’t run into the people before you and
we have time to wipe everything down.” It will
just be as a part of a casual conversation. I will
not take anyone’s temperature. If I want them
to trust me, I have to trust them. If you have
built a relationship with your clients, it’s just
not an issue.
As far as cancellation or rescheduling, we’ve
never had a policy. Things happen in life and
plans change. If someone has to reschedule or
HOW HAS BUSINESS BEEN IMPACTED? tion. Our son is in sales, and his clients are cancel, we’re understanding of that.
THE HOWES: Our dance school rescheduled, high-level executives in multi-billion dollar
and our annual children’s special was cancelled. companies. He said it’s very humanizing to be ANY ENCOURAGEMENT FOR YOUR PEERS?
But instead of focusing on the bad, we’ve been talking to someone at that level and hear their THE HOWES: This is not the end of the
looking at what we can do. We marketed a re- kids interrupting in the background. Instead world. In 2013, Keith had cancer. We had to
order special for any images from 2018 and prior. of this being a detriment, we think it will forge shut down our studio for six months with no
Those orders could be handled via phone or more personal relationships. We think if you income whatsoever. By the time we got a
email. We promoted gift certificates. Those believe it’s a bad thing, it will be a bad thing. If diagnosis, we had already used up our savings
two things brought in about $6,500. As our you believe it’s going to have positive conse- on medical expenses, even with great insur-
state began opening up a little, we offered quences, it will. ance. We thought that was the end. Keith
quick-take sessions: one pose, pre-selected When in-person sales are not possible, it will was given a less than 20% chance of survival.
and pre-paid packages. We scheduled them be even more important to use the phone and So even if we could survive financially, we
30 minutes apart to avoid people crossing talk to your clients to develop those personal didn’t know if he would make it. Yet here we
paths and had 31 appointments booked within relationships. We have always tried to avoid are, seven years later, still full-time photogra-
a week. There is no one answer. Even though text and email because you can’t pick up on phers. While I do not want to belittle anyone’s
each idea is small, together it adds up. inflections in their voice. We will do Zoom ap- struggles, I know we will all be OK. We lived
Since our big dance studio (500 dancers) pointments where necessary but will continue thru 9/11. It was the same kind of general
cancelled its classes and recital, we had the to try for in-person. unease and fear of what the future holds.
dancers come to our studio on a staggered As far as how sessions will change, we will Yet post-9/11, our family portrait business
schedule. Our studio has front and side en- be more careful with hand washing and prob- skyrocketed. When life is uncertain, people
trances and two separate doors into the cam- ably wear masks when we can. Little children focus on what has meaning to them and is
era room, so dancers came through the build- respond to facial expressions, so it will be still an affordable investment. It makes sense
ing in a one-way flow. No one crosses paths. important for them to see our faces. Most that we will see an increase in family portrait
likely we will have clients adjust their own hair sales later this summer and fall just like we did
HOW WILL YOU ADAPT GOING FORWARD? and clothing when possible. But we will see post-9/11.
THE HOWES: Everyone is in the same situa- how it goes. We aren’t planning on making any ª
WHAT DOES WINNING LOOK LIKE IN 2020?
The Leader in Sports, Schools & Event Photography

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SUCCESS
A Personal Touch Helps People Who Want to Be Seen and Noticed

Tim Walden, M.Photog.Hon.M.Photog.Cr., CPP, F-ASP, and Beverly Walden, M.Photog.Cr., Walden’s Photography, Lexington, Kentucky
Tim and Beverly took over Walden’s Photography from Tim’s father in 1980 and developed their trademark relationship
style of black-and-white portraiture. They specialize in three portrait types: fine art relationship portraiture, color studies
reflecting a Renaissance pallet, and mixed media interpretive Beau Visage paintings by Beverly.
as we have always done it. Our facility layout

lends itself to a touchless experience; however
if someone is uncomfortable coming in, we
will offer to accommodate their request. We
expect to be able to direct our clients from the
distance required.
People want to be seen and noticed after all
this time quarantining. We believe a personal
©BEVERLY WALDEN / waldensphotography.com
touch is very effective: We watch for events in

our clients’ lives and comment on their Face-
book posts. The more they see our name, the
more comfortable we think they will feel when
they reconnect with us.
People are slowly coming back and are
talking to us about plans to come in, but it is
not yet at the level it was before we closed. We
continue to reach out to our clients through
email marketing, and we make sure the mes-
sage is soft and sensitive (usually by telling
stories). We feel it will take time for clients to
feel completely comfortable again, and we
HOW HAS BUSINESS BEEN IMPACTED? do an appointment virtually. The high-end want to be the first thing on their minds when
THE WALDENS: We were on mandated shut experience should carry through everything, that happens.
down from mid-March until reopening on including all designed pieces. We are busy planning for the future by
May 19. During that time, we filled orders creating new products, making short market-
that were already placed and took a few new HOW WILL YOU ADAPT GOING FORWARD? ing videos, and reaching out to clients one by
reprint orders. THE WALDENS: During our shutdown, we sent one. We are also shooting prototypes to fulfill
We developed processes to do more ap- several emails outlining our safety procedures. our vision for a new color line, asking previous
pointments virtually right now to be prepared Our studio space is large, so we are empha- clients to come in and model for us.
if needed. We feel our design appointments sizing that we can social distance very easily.
can happen more easily online than the selec- The use of props is not common in our studio, ANY ENCOURAGEMENT FOR YOUR PEERS?
tion appointment. We are planning for the con- but any that are used can be sanitized easily. THE WALDENS: There is no better time
tingency of online selection appointments for We are putting hand sanitizer and wipes on than now to message what is truly important,
those who may not feel comfortable coming counters as a visual reminder that we are sani- and that is keeping the heart in what we do.
in, but we will not offer that option unless it’s tizing all surfaces. We wipe every surface down We are storytellers. We have great purpose
requested by the client. We had been working before and after each client. We are removing as we create a legacy for our clients. Building
on this for our out-of-town clients to save all items from the dressing room with a note relationships and trust with our clients is still
them extra trips, so we were partially on the that the client can ask for any item they might the main focus as we continue to connect
way. As far as preparing the client and going need. We have purchased a touchless ther- with them any way we can, whether through a
over pricing, we have created several elec- mometer. Of course, any reschedules will be handwritten note, a comment on Facebook, a
tronic magazines that are both beautiful and graciously handled. Finally, we added a Safety text message, or an email. They need to know
informative. We are producing short videos Measures page to our website with all of this you care about them personally, now more
encouraging clients to mimic the experience information. than ever.
of being with us in person when we have to Our goal is to continue doing photography ª
A New Way to
Reach Your Goals
2020 is bringing many changes in the way people do
business and operate. With this, it’s now easier than ever
to learn more and track your achievements on PPA’s new
education platform!
No matter what type of learner you are or what stage of

your photography career you’re in, there’s a curriculum
to get you where you want to be,
all at your own pace.
Stride ahead and see how far you can go:
PPA.com/Forward
SUCCESS
Make it Easy and Intuitive

Rosh Sillars, White House Studios, Pleasant Ridge, Michigan
Rosh Sillars has been in business for 32 years and specializes in corporate portraits, food, and interiors. His
typical clients are ad agencies, marketing companies, and web designers. He is also the owner of Rosh Media.
the less resistance you will have from people

not as familiar. Test everything you expect
your clients and prospects to do while working
with you. Make sure it’s easy and intuitive. If
you believe they will figure it out, you’re mak-
ing them work too hard.
We’ll continue to use props and materials.
We will not take temperatures. Clients will have
full instructions about our protocols and proce-
dures. We will email them and place PDFs on
our website. It’s important to communicate well
©ROSH SILLARS / roshsillars.com
and have serious processes but not make it

seem like it’s too much trouble to work with us.
We will have to be flexible until we fully under-
stand clients’ new thresholds and expectations.
I will offer the same types of traditional pho-
tography, plus I will continue to expand with
new combinations of video and augmented
reality offerings.
HOW HAS BUSINESS BEEN IMPACTED? be standard for a while. My studio-mates and I ANY ENCOURAGEMENT FOR YOUR PEERS?
SILLARS: My commercial photography shut are currently developing studio protocols. Every SILLARS: When the Great Recession hit
down during the crisis. However, I developed visitor will know how we are keeping the studio Detroit, I thought the photography business
a communication plan and kept in touch with clean and safe, and our visitors will understand was most likely over. However, I looked forward
my clients. Michigan was under a stay-at-home the rules and recommendations for visiting to new ways of doing business. At the time,
order until June 12, and our landlord let us our studio. It’s all about communication. social media was the new thing. The combi-
back into the studio building June 1. Things nation of my photography and social media
are gradually opening back up. Clients are HOW WILL YOU ADAPT GOING FORWARD? took my career to new heights. There are
beginning to reach out. I’ve spent a lot of time SILLARS: Apps such as Calendly (for schedul- two constants in photography: change and
developing the next phase of my business. For- ing) and Zoom (for meetings) are very helpful. people complaining about the change. If you
tunately, clients are beginning to book again. I’ve been using PhotoShelter for years as an try to hold on to what was in the photography
We are taking advantage of Zoom for com- image delivery system. The key is to start a business, you may not be a photographer for
munication. It was not uncommon to work process and continue to refine it. The better much longer. There are more untapped oppor-
virtually before the shutdown; an art director you can communicate and give easy direction tunities for visual creators than ever before.
often worked from their office. Now it will as to how the process works with prospects, Go find your new winning combination. •
PPA COVID-19 related resources

ppa.com/inittogether
GRAPEVINE, TX
JAN 17–19, 2021
THREE DAYS OF EVERYTHING PHOTOGRAPHY
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DAVE SHELP, DIRECTOR OF BUSINESS DEVELOPMENT
Q: Kodak Alaris has a new product? Tell us more.

A: That’s right! At Kodak Alaris, we offer professional imaging
technology, developed by our innovative imaging scientists, to
professional print labs around the world.
Our goal has been to adapt that technology and bring it into the hands
of today’s modern photographer. And voila, Kodak Professional Select
was created. Select is designed to ease the burden of image culling
by applying our Artificial Intelligence (AI) to perform image selection,
automagically. To say we’re beyond excited to bring this straight to
photographers, is an understatement! Q: Is image culling all that Select does?
But let’s go back to the start of Select. First, we needed to do our A: Great question! Initially, Select was designed to just perform
research. We had an inkling that image culling was a huge pain point automated image selection. But as we involved photographers in
for photographers so we went straight to the source; hard working the development process, we learned that we could include tools
professional photographers, like you, making a business by capturing of convenience into the solution to help save even more time going
life through the lens. The feedback we gained was exceptional and forward. A few of the additional enhancements are:
very enlightening. Overwhelmingly, the #1 post-shoot pain point was • Keyword tagging
image culling. • Star rating
We were shocked to learn the number of hours that photographers • Image file organization
spend behind the computer looking at each and every image, one-by- • Filtering by keyword, star rating, and shooter
one. And we know, time behind the computer is time away from what Kodak Professional Select includes just the right amount of tools to
you love to do most – shooting and growing your business. So, we hit the help improve your workflow during image selection and as you move
ground running. forward to editing. We like to think of Select as your virtual assistant,
helping you to save valuable time.
Q: But how is this going to help a photographers’ business?

A: This is what we’re most excited about. Select not only helps speed up
your culling process, but it also offers tools of convenience and efficiency
that will ultimately save you a ton of time to get back out in the field and
focus on what you do best… shooting more events and growing your
business. Our goal with Select was to take the load off our photographers
in the post-event workflow and let Select be your virtual assistant.
Q: What makes Select one of a kind? Q: What’s next for Select?

A: Select accepts hundreds to thousands of images and applies our A: We feel like our horse has just left the starting gate with the introduc-
proprietary AI to evaluate each image on two major criteria: tion of Select! We really like and look forward to what’s on the horizon.
• Technical Attributes: color, focus, brightness, exposure, contrast, We have plans for bringing even more to the technology race to
sharpness benefit professional photographers, always keeping you in mind. In the
• Aesthetic Qualities: eyes open, smiles, faces centered meantime, stay tuned, keep in touch, and we’ll keep developing…
It takes all this data and automatically selects your best photos from across
the entire event and showcases them in an easy-to-use interface. You retain
total control to make the final selections. Select has the power to group
near duplicate images and curate the entire set in chronological order.
Select brings automation to the process of culling to not only
make it quick and efficient, but also allow photographers to have some
fun while utilizing it. Photographers have become accustomed to
spending hours, even days, looking at every image. But with our Select
AI, we’re changing those ways and performing image analysis in minutes.
IMAGES ©MICHELLE VALBERG / michellevalberg.com
By Amanda Arnold
Michelle Valberg
adventures into her
native Canada and beyond
Call of the Wild

Michelle Valberg
More of Valberg’s wildlife photography

ppmag.com/valberg-gallery
ichelle Valberg was out for din-
ner with girlfriends, politely
listening to them discuss shoes
and clothes, when, after about
30 minutes of idle fashion talk,
she couldn’t hold it in any lon-
ger. “Can we just change the
subject a little bit?” she piped
up. “Can I tell you that I just
swam with narwhals? Can we just get off
the shoe topic and maybe talk narwhal
for a second?”
“They call me Dora,” she laughs, as in
Dora the Explorer, the intrepid hero of
the animated children’s cartoon of the
same name. Having just returned from
a trip to the Arctic, Valberg was riding
a high from one of her most memora-
ble wildlife photography experiences:
taking underwater photographs of nar-
whals. “I was scared out of my wits,” she
says of the 52 minutes she spent bobbing
in freezing ocean water, wearing a dry
suit and waiting for a whale to appear.
“I was off the charts, but I loved every
second of it.”
What made the situation frighten-
ing? The freezing temperatures, for
one, she says. Also the fact that she was
in the vicinity of polar bears, who are
known to be opportunistic carnivores
(“If you have red blood you’re an open
target”). “The unknown of having a
whale approach you with a large tusk,”
she adds. And a few unavoidable facts:
“You’re on the edge of the ice and the
next stop is Greenland and there’s
3,000 feet of water below you. It’s pretty
intense.”
FINDING HER WAY

Valberg points out that making a living
as a wildlife photographer is not the eas-

SPIRIT BEAR MAGIC
LOCATION: Great Bear Rainforest, British Columbia, Canada
BACKSTORY: “In the Great Bear Rainforest, they call him Boss. He’s a rare spirit bear, a sub-species
of the black bear. They possess a recessive gene. A Tshimsian myth says, Raven made one in every 10
black bears white to remind the people of the time when glaciers covered this land. I was honored to
spend time with Boss on a remote island in northern British Columbia last October. As I watched him
fish for salmon, his power resonated and left me in awe. He then put his head under the water to eat
roe off the rocks and sand below. I crouched low for a good vantage point. I had my Nikon Z 7 with
800mm lens on a tripod next to me, another Z 7 with the 500mm PF (that was fogged up at the time)
and my Z 6 with the 70-200mm. He faced me. He was so close I used the shortest lens I had ready.
Anticipating that perfect moment takes patience. Eye to eye, Boss lifted his head and shook the water
off his fur. The water droplets illuminated against the dark forest background. [I was] grateful for one
opportunity, super grateful he provided more. Many clicks later I knew I had exactly what I was look-
ing for. I was happy I had on the Z 6 for the faster frame rate and higher ISO capability.”
EXPOSURE: 1/800 second at f/8, ISO 1000
iest thing to do, especially before you’ve
had a chance to make a name for your-
self. For nearly two decades, she took
wildlife photos as a hobby and earned
a living through wedding and portrait
photography. She employed a team of
photographers at her thriving Ottawa,
Ontario, studio, which at one point av-
eraged 115 weddings a year.
About 12 years ago, Valberg decided to
scratch the wildlife photography itch, set-
ting out to publish a photography book
on Canada’s wild places. It would have a
positive environmental message—“what
we have in our own country and what
we have to lose if we don’t take better
care of it,” she explains. She began the
project at the top of the world near Pond
Inlet, Canada, on the floe edge, “where
the ice ends and the water opens up.”
In springtime the ice begins to thaw
and break off, drawing an array of wild-
life who come to feed—narwhals, polar
bears, walrus, seals, various species
of birds. “As I stood there and waited
for the animals to come to me, I went,
OK, this is truly my calling. I need to do this
all the time.” After that point, Valberg’s
portrait and wedding work shifted to
a side hustle. These days, she makes

her living making wildlife photos. THE ART OF WILDLIFE PHOTOGRAPHY
One way she carved her wildlife
photography path was by snagging gigs Capture emotional impact. Viewers are drawn to wildlife photos that they can connect with
as a resource photographer on guided emotionally, so Valberg trains her lens on relatable moments—“the eye to eye connection be-
wildlife tours for companies such as Ad- tween two animals, like a mom and a calf or a cub, or maybe it’s two foes, like a dragonfly and
venture Canada, Abercrombie & Kent, a bee,” she says. To capture emotive moments, she follows one or two animals closely with her
and Frontiers North Adventures. Arctic lens for a long time, patiently waiting for a facial expression or behavior that will hook viewers.
travel is expensive—as much as $10,000 a On a recent trip to photograph gorillas in Uganda, she looked for the behaviors they share with
trip for air travel, guides, and accommo- human beings. “If you can touch someone with your photo it’s going to have an impact.”
dations. Teaching photography on these
tours is not only a way to get paid to be Build a relationship with your subject. Though Valberg travels far and wide for photography,
there, but it also gives her guided access one of her favorite shooting locales is her own backyard in Ottawa, Ontario. “With the pandemic,
to some of the most amazing wild places there are a lot of animals that are being seen in the city limits—more so than ever before,” she
on earth, including the Arctic, Antarc- says. “For the first time in 30 years of living where I do, our neighbors had a fox just around the
tica, and British Columbia’s Great Bear corner. For any wildlife photographer, that is an extreme gift, especially in pandemic time.”
Rainforest. Before the Coronavirus pan- It took several days for the fox to get comfortable with Valberg photographing her and her kits, which
demic halted travel, she was averaging Valberg did from her car. For consistency, she parked in the same spot at the same time of day each
10 to 12 trips a year. This year would have visit. At first Valberg carefully crawled over to the passenger seat and curled up in a ball, snapping
marked her 60th visit to the Arctic. “The the silent shutter of her Nikon Z 7 with 800mm lens and 2x teleconverter through the car win-
Arctic is such a compelling place,” she dow. Eventually, the fox was comfortable enough with her presence that she could open the car
says. “It stole my soul, really.” door. “It got to the point where I could walk out of my car and she didn’t flinch,” she says. It’s about
Here, Valberg shares some of what moving and positioning and more than anything watching to see what causes the animal distress, she
she’s learned about the art and the busi- says. “A couple of times the fox ran away on me,” she says. “She is bringing them food, so the last
ness of photography. • thing you want her to do is run away with food because of you and not have the kits being fed.”
THE BUSINESS OF WILDLIFE PHOTOGRAPHY
Be open to diverse means of earning money. While Valberg pays for her trips and earns mon-
ey by teaching photography on guided tours, she also sells large prints and stock images, and
she engages in editorial and commercial work. Last year her bear images were made into a
Canadian stamp booklet and a Canadian mint coin. Her work was also tapped by Global Affairs
Canada, where it’s displayed in Canadian embassies and consulates all over the world.
Position yourself for opportunities. It’s not enough to be a good wildlife photographer. You
have to find other ways to set yourself apart and elevate your image so you get noticed and
are perceived as an expert in your field. For example, Valberg does speaking engagements. She
started with local camera clubs and worked her way up to being selected as a Nikon Ambassa-
dor. Be engaged with your local community in philanthropic pursuits, which is an excellent way
to network. “If you’re working with a nonprofit, you never know who is working on the board
of directors.” She’s been invited to join boards herself, which has connected her with CEOs and
local government leaders. “If you’re not successful in your own community that is a shame,”
she says. “You have to start somewhere, and your own community is the best place to do it.”
Don’t be afraid to ask. When Valberg first set out to photograph arctic wildlife, she wanted to
explore Pond Inlet but had no idea where to start, she says. She reached out to David Reid, owner
of outfitter Polar Sea Adventures, who lives in the area, to see if they could talk over the phone.
After that conversation, he connected her with Adventure Canada, where she landed a photog-
raphy job on a trip that would have cost her $10,000. That gig led to more jobs within the ad-
venture travel field. “He ended up being a really great guy and a friend ever since,” she says.

Vast
opportunity
IMAGES ©TONY BYNUM / tonybynum.com
Tony Bynum created
a strategy to make
his images multi-task
By Jeff Kent

A Westerner by birth and by nature, Tony Bynum has always favored
the expanse of America’s most rugged wilderness. When he found
himself in Washington, D.C., around the turn of the 21st century,
hemmed in by tall buildings, narrow avenues, and crowds, he turned
to photography to come to terms with his space and his place in it.
The photographic exploration may have kept him sane, but it didn’t
keep him in D.C. Bynum realized that his place was far from the
hustle of the big city, so he moved back West in 2002 and settled in
East Glacier Park, Montana. While working part-time as a consultant,
Bynum photographed constantly, covering people, rodeos, events,
and as much of Montana’s wide-open space as he could get in front of
his lens. He staged his own shoots, on his own dime, easily spending
$50,000 in a year on equipment and travel. Everything he did had a
specific purpose: to build up a portfolio he could use to launch him- Tony Bynum
self into full-time photography work.
“My idea was to make the portfolio big enough and good enough
that nobody could say no because I didn’t have the material,” he re-

members. “I realized early on that when you work with editors, you
need to solve problems for them. It’s a business, and they have busi-
ness needs that you can address with images. You have to show that
you can provide solutions.”
By 2005, Bynum’s portfolio and professional network were estab-
lished enough for him to dedicate himself to photography full time. It
had to work. He’d spent all his savings, he was raising a daughter, and
he was going to be broke in a hurry if things didn’t pan out.
But they did. Bynum built his business step by step, leveraging
connections in the outdoor industry and the conservation commu-
nity while approaching media outlets and commercial clients with a
robust portfolio that could serve as a ready-made stock photography
resource. At the time, changes in the stock photography world made
stock agencies a less viable source of income for photographers. How-
ever, the simultaneous rise of ubiquitous online search presented a
powerful marketing tool.
Bynum recognized that a simple, well-optimized web presence
could connect him to a global audience for his work. So he dove in,
spending thousands of hours categorizing images, investigating key-
word targeting strategies, and presenting his images as solutions to
the image needs of the marketplace. The underlying idea was to skip
the stock agencies and go directly to the image buyers. “I decided that
Google offered a way for me to be my own stock agency,” he explains.
“I found places to be relevant with my imagery. I put material out
there and connected everything back to my website.”
The simple formula: Identified need + answered need = sales.
Bynum diligently researched the marketplace and identified gaps in More of Bynum’s images
ppmag.com/bynum-gallery
the available photography. Then he staged shoots to create images to
fill those gaps, hiring locals as models and producing everything him-
self. When positioned correctly and backed by good search engine op-
timization, images from Bynum’s self-directed shoots would typically
double the investment he made in the production.
These days, Bynum’s work has evolved to include four primary
segments: stock, art print sales, work with conservation-oriented
nonprofits, and editorial. The key to making a living, he says, is multi-
purposing whenever possible. Every time he goes on a shoot, he thinks
about how he can create images for stock, images that will work for
art prints, images that can tell a conservation story, and images that
will work for editorial needs—all from the same location. Then by
categorizing and positioning images appropriately, he can generate

multiple revenue streams each time he clicks the shutter. “This is how That means accepting what’s available to you and shooting the story.”
you have to think when you’re super niche oriented,” he says. That story may not narrowly focus on the specific item Bynum’s
Part of the reason Bynum’s images have been so well received is being paid to photograph, but that’s OK. Whether he’s getting paid to
his authenticity. He’s not a big-city photographer flying in for a day show the effects of a potentially devastating oil boom along the edge
to cover a topic that’s unfamiliar. He’s an outdoorsman, he lives the of Glacier National Park or to highlight the newest offerings from an
lifestyle, and he cares deeply about issues surrounding conservation. outdoor gear company, the story becomes bigger than pump jacks
When he takes a photo, he understands the background, literally and or backpacks. It’s more conceptual, and it shows the surrounding
figuratively, and that informs his work. The results are photos that are lifestyle that the client needs to depict. “A lot of this work is in the
firmly rooted in context. moment,” says Bynum. “There’s no script, no retakes. You know where
This authenticity is particularly appealing in the conservation you are and what you’re after, but it’s all about the real-life view that
realm, where nonprofit organizations place a high value on people shows what really happened. That’s what’s in demand.”
they can trust to tell a particular story—perhaps even a story that could Bynum has almost never been on a project where everything went
resonate with people for years to come. “Conservation folks want to according to plan A. More often, he has to move on to plan B or plan
know they are working with someone who is real,” says Bynum. “It is C, or even throw all the plans out the window.
serious work and they expect an authentic product.” “When you’re working outdoors in nature, it’s unpredictable, espe-
These expectations suit Bynum well. Given the choice, he’d almost cially when wildlife is involved,” he says. “You can’t step in and blow
always prefer to be out on his own discovering a location in depth. the scene. You have to relax and formulate a strategy on the fly, which
“Location is everything. Understanding the environment is everything,” often means pulling back and not focusing overly on one element.
he says. “Can you manage to produce the results a client needs, when Think about the whole lifestyle, not a particular element. So I’m not
they need them, regardless of the circumstances? That’s what you’re photographing the binoculars or the gun or the bag. I’m photograph-
getting paid for in this type of work. You can’t control the environment, ing the entire story around it. After all, that’s what people are really
you can’t control the weather, you can’t control anything about your interested in, and being able to convey that story is what gives good
situation, yet you still have to come home with a creative product. outdoor photography a great deal of value.” •
Curveball?
It’s not IF but WHEN.
In business, you never know what will be
thrown at you next. That’s why it’s so important
to have a contract for every assignment.
As you get back out there, make sure your

contracts are complete and cover all the
important details to protect yourself
from any unforeseeable curveball.
Free Contract Resources:

PPA.com/Contracts
IMAGES ©BRIAN SKERRY / brianskerry.com
O cean Advocate
Brian Skerry works to

conserve aquatic environments
By Robert Kiener
©STEVE DE NEEF
“There’s nothing as
frightening as seeing
firsthand what
mankind has done to
the oceans over just
the four last decades
I’ve been diving.”
—BRIAN SKERRY

rian Skerry’s been there, done that. One of the world’s best known underwater photographers, Skerry is a longtime National Geographic
magazine contributor as well as an author, a lecturer, and the winner of a boatload of prestigious photography awards and accolades.
Perched on a stool in his coastal Maine office and studio, the 58-year-old quickly reels off a list of the challenges of his profession.
“Let’s see; you’re working in an alien—always cold—environment, you need life support equipment, and it can be dan-
gerous,” he says. His blue eyes light up, and without taking a pause he continues, “You have to get very close—within several
feet—to your subjects because the water is filled with particles and acts like a giant filter and reflects, refracts, and scatters light.
Water also removes colors and makes everything monochromatic the deeper you go. Also, because your camera has to go in a housing, you
cannot change lenses, film, or media cards underwater. You have to use whatever you jumped into the water with. For example, if I’m shooting
with a macro lens and a whale swims by, I’m out of luck.”
He smiles, takes a deep breath and adds, “My terrestrial counterparts may be able to sit in a camouflage blind and wait for a month for some
elusive animal to wander by, and they can then shoot a picture with a 600mm lens, but we underwater photographers have to get in the water,
get up close, and get our picture—and do all that within an hour. It’s a challenge.”
He pauses. “But what a chal- marker buoys above their heads.
lenge! That’s what I love about it. Still, they weren’t spotted.
There’s nothing like it!” “You go through a range or emo-
tions in a situation like that,” says
PERIL BELOW Skerry. “First, you laugh and think,
Dangerous. Skerry did mention Those idiots can’t see us. Then
that underwater photography can you get angry and think, What’s
be just that, but he’s not one to wrong with them? Can’t they just
dwell on the potential hazards of follow the drift and locate us?’’
the profession. Probe a bit more, As the dive boat became small-
and he’ll explain that he has had er and smaller in the distance,
some frightening moments dur- Skerry and his assistant hooked
ing his nearly four decades and themselves together by their
more than 10,000 hours of under- dive belts so they would drift to-
water photography. For example, gether. Eventually, they spotted
while shooting off the southwest- a rescue helicopter. But their
ern coast of Ireland for a National hearts sank when they realized
Geographic assignment, he and the rescuers couldn’t see them.
an assistant emerged from their After an hour or so of moving
dive to see they’d surfaced far ever farther into the cold Atlantic,
away from their dive boat. Skerry began thinking of the 4-
“We could see the boat, but be- week-old daughter he’d left behind
cause there was such a strong for this trip. “Dark thoughts began
current we couldn’t swim to it. popping into my head,” he says.
In fact, the current was sweeping Skerry and his companion
us out to sea,” he remembers. were two and a half hours adrift
Skerry and his assistant began when an Irish fishing boat cap-
yelling at the boat, but the crew tain, who had heard of the miss-
couldn’t hear them over the ing pair on his maritime radio,
noise of the engines. “Even worse,” spotted and rescued them. Since
says Skerry, “the sun was at our then, Skerry carries a two-way
back and there was a lot of glare radio, a GPS monitor, and strobe
and big swells, so that made it even lights when he dives.
harder for the crew to see us.” The “The afternoon off Ireland also
pair kept yelling but the powerful taught me a good lesson about
current continued to sweep them this profession,” says Skerry.
farther and farther out to sea. “Uncertainty is a given. So be
They inflated and waved 4-foot prepared and never give up.”
long, bright orange submersible Another close call: “I was doing
another story for National Geo- it’ll come close enough for me to had mostly disappeared. “The
graphic about harp seals. I was capture an image. But sometimes more I traveled, the more I ex-
diving under the ice in Canada’s as they approach, my heart will plored the oceans, the more envi-
Gulf of St. Lawrence and was so start to race and I’ll wonder what ronmental damage I came across,”
entranced by a big male harp seal I’ve gotten myself into.” says Skerry who landed his first
that I was stalking him with my But the biggest underwater National Geographic assignment in
camera. Before long, I realized scare Skerry’s ever had is man- 1998. Plastic pollution is every-
the ice above me had shifted, and made, he says. “There’s nothing where. Coral reefs are disappear-
I couldn’t find my entry hole. It as frightening as seeing firsthand ing. Oceans are acidifying. The
had closed up. That was scary. what mankind has done to the numbers are terrifying. Every
The water was 29 degrees, you oceans over just the four last de- year 18 billion pounds of plastic
only have the air on your back, cades I’ve been diving.” waste enter the world’s oceans.
and if you panic and start breath- When Skerry started diving in In the past 30 years 50 percent of
ing heavy, it’s all over.” He found the late 1970s he was bowled over the world’s coral reefs have died.
another exit hole just in time. by the colorful fish and coral he Thanks largely to overfishing,
explored and eventually pho- 90 percent of the big fish, such
BECOMING A tographed. “I remember when as Atlantic salmon, tuna, halibut
CONSERVATIONIST I was a kid diving off the coasts and swordfish, have disappeared
Skerry has been attacked by a of Massachusetts and Maine I’d from the world’s oceans in just
giant Humboldt squid, chased often see big, teeming schools half a century. More than 100
by a massive sperm whale, had of baby fish such as pollock, million sharks a year are killed,
decompression sickness, and herring, and cod. Those huge many just for their fins. As the
been “nipped” by various sharks. schools of fish thrilled me as I Washington Post has noted, “If we
“When I see a shark out in the swam through them.” don’t allow for proper recovery,
blue void, I’m often praying that Two decades later those fish these fish risk total extinction.”
It was grim statistics like these been named one of National Geo- critical to conservation because Royal Geographic Society in Lon-
that compelled Skerry and other graphic magazine’s “50 Greatest it makes a difference. I am proud don, and at the World Economic
like-minded photographers to Photographs of All Time.” to call him a colleague, friend, Forum in Davos, Switzerland.
found the International League Writer Gregory Stone is a long- and fellow ocean advocate. The Despite his successes and acco-
of Conservation Photographers time collaborator with Skerry. planet needs more like him.” lades, Skerry is quick to explain,
in 2005. “I realized I had this “Brian has that rare ability to In addition to “Ocean Soul,” “Like an athlete I am only as good
unique opportunity, after I’d be- make pictures that interpret Skerry has published 10 oth- as my last game, or in my case,
come a contributor to National subjects in new ways—pictures er well-received books. He is my last assignment. Failure is
Geographic magazine, to alert their that show far more than simply an 11-time award winner in the not an option. I know that if I fail
audience of 50 million to the dif- where and what was happening, Wildlife Photographer of the to deliver the goods, I’m done.
ferent environmental factors that also including the true nature of Year competition and is the only So I always have to be prepared
are endangering our oceans,” the moment, the ethereal, almost photographer to win the Peter for inevitable problems such as
says Skerry. “There were articles spiritual, aspect of his subject,” Benchley Award for Excellence bad weather, poor visibility, or
about conservation on land, but Stone notes in Skerry’s book in Media. A frequent lecturer on the animals I hope to shoot not
there was very little about the “Ocean Soul.” photography, exploration, and turning up. It’s all part of the
need to save the oceans. I felt a Fellow photographer David conservation, Skerry has spoken challenge. But like I said, there’s
sense of urgency and a duty to Doubilet says, “Brian Skerry’s about the importance of pro- nothing like it!” •
change that.” Happily, the editors photography is many things: It tecting the oceans at the United
at National Geographic agreed, and is impactful, influential, and it is Nations General Assembly, the Robert Kiener is a writer in Vermont.
he began producing stories with
a heavy environmental slant.
ENGAGING IMAGES
The greatest challenge of conser-
vation photography, says Skerry,
is engaging the reader. To under-
stand the science behind a story,
he spends months researching
an article idea before submitting
it to his editors. However, while
it is easy to fill an article with
information about the impor-
tance of conservation, a photog-
rapher has to create images that
resonate with people and also tell
a story. “Humans are very visual
creatures,” says Skerry, “and we
respond emotionally and viscer-
ally to powerful pictures.”
He’s become world-famous
for his evocative, iconic images
and explains, “What I am really
trying to do is capture the poetry
that lives in the sea.” To illustrate
an article on the slaughter of
sharks, he wanted to produce a
picture that would disprove the
notion that sharks are villains.
On a dive in Mexico’s Sea of Cor-
tez he stumbled across a bigeye
thresher shark that had just died
in a gill net. “It looked to me like
a crucifixion,” says Skerry, “so I
framed it that way” (page 79, top
right). The striking image has

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PERSPECTIVE
It’s Not About You

PRESIDENT’S MESSAGE
By Gregory Daniel, M.Photog.Cr., CPP, F-ASP
As much as we like to think, It’s not about you, entele will help you create effective market-
our clients predominantly care about them- ing strategies and clarify your messaging.
selves. And rightfully so. Put yourself in their One way to meet clients where they are is to
shoes for a moment. Think how you’ve felt educate them instead of selling to them. Our
when entering into a buying experience. family loves Blue Ridge, Georgia. We take
Recently my wife and I remodeled our multiple getaways a year to this community
master bathroom and learned so many that is rich in Southern hospitality. One of the
applicable business lessons. We thought the establishments we visit each time we travel
remodel was something we could handle there is a shop called Out of the Blue. Our
on our own but quickly found out we were love for the store is more about Sarah, the
wrong. Your client may feel the same way owner, than the shop. She connects on a per-
©TIM KELLY AND KYLA RENEE PAINTINGS
about creating an important portrait—that it’s sonal level with each customer who enters.
something they can do on their own with a Sarah’s secret recipe is that she genuinely
point-and-shoot camera. loves people. She’s able to quickly assess each
As we began to seek help for our remodel, individual’s needs and identify solutions.
we learned there’s a big difference between a Many times we walk into the shop not know-
decorator and an interior designer, for exam- ing we had a need, then walk out with the
ple. Portrait photographers, too, range from perfect solution. She’ll say, “I am not trying
hobbyists to certified and degree holders. to sell you, just educate.” I love this approach.
If we want to convince a potential client She is a guide leading us to the right solution.
they need us to execute their vision, much Whoever your target clients are, there’s
like Lesa and I needed a professional to exe- a good chance they’re overwhelmed, as
cute our remodel vision, we have to start by we live in a fast-paced world with endless
identifying our target clients as well as their choices. As you work to solve their prob-
needs, desires, likes, and dislikes. lems, think of yourself like Sarah. Be a guide,
Have you identified your perfect client? shepherding clients through uncertainty and
Who would you like to do business with every delivering clear messages about how you can
day? Can you describe that ideal client in serve them.
detail? Here are some questions to help you Once you know who your ideal clients are,
home in on the demographic you believe deciphering their unique needs is crucial to
holds the best potential for you: the design and purpose of the product you’ll
• Where do your clients like to shop? offer. Remember you’re in business to offer
• Do they believe in a particular cause? solutions to your client’s needs. Where does
• Do they represent a specific generation? your client want to go? Do you have the prod-
• Are they primarily involved in a unique uct to help them achieve their goals? Is it easy
business or field of work? for your clients to tell other potential clients
• Do they have a common income level? how you solved their problem? Are they able
• Are these clients located in a particular to communicate easily how you made their
area of town? life better?
• Do they routinely shop or dine in the Be the guide, keep your clients from being
same establishments? overwhelmed, and remember: It’s not about
Knowing such details about your ideal cli- you; it’s about them. •
What Drives Clients
Bill Gates once said, “Your most unhappy cus-

tomers are your greatest source of learning.”
This sentiment—that dissatisfied consumers
can provide the most constructive feed-
back—isn’t just an opinion; it’s reflected in
real-world data. According to PPA research,
the majority of photography consumers are
happy with their experience, but those who
aren’t happy typically don’t share negative
comments with the photographer.
As with any relationship, communication is
key. Building interpersonal connections with
clients makes them feel comfortable voicing
their less-than-favorable experiences. And while
criticism of one’s work can be hard to hear, put-
ting aside the ego for the sake of the business
is a necessity. Tools such as online surveys, re-
view websites, and email are excellent options
for soliciting critiques from clients, as people
are sometimes more forthcoming in expressing
dissatisfaction with the internet as a buffer.
Ready to learn more about consumer be-
havior? PPA’s consumer research provides
insight into buyers’ decisions and opinions.
Beautifully designed and easy-to-understand,
the research reports use bar graphs and other
visualizations to highlight who your potential
customers are, what they buy, the amount
they spend, and how they feel when working
with a professional photographer. •
ppa.com/research
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PERSPECTIVE
Big Waves, Little Legwork

ENHANCE YOUR PROFILE
Today more platforms than ever allow pho- for hire. But to make the most of this benefit,
tographers to share their unique perspec- members need to customize their listing.
tives. Yet taking advantage of the wealth of
technology can be overwhelming. That’s why CUSTOMIZATION IS QUICK AND EASY:
it’s important for entrepreneurs to prioritize 1. Log in at ppa.com and navigate to the my-
opportunities with both a high potential for Profile menu, then click Find a Photographer.
return and a minimal investment in time. 2. Check your location, contact informa- It’s a simple task that instantly gives your list-
One way to make big waves with minimal tion, and specialties, then update anything ing personality and credibility. You’ll be that
legwork is through PPA’s Find a Photographer that isn’t current. much more noticeable to the thousands of
platform. Find a Photographer is a public 3. Upload a profile photo (consider a pro- potential clients who visit Find a Photogra-
listing of PPA members visited by thousands fessional headshot or well-lit selfie). pher each month. That next dream client
of consumers monthly. Ultimately, it markets 4. Upload samples that best represent your could be just a couple clicks away. Don’t let
members as PPA-approved photographers photographic work. them scroll past you. •
Best Time for a “Ugh, really? We have to go to the studio for a portrait?”
My mum was visiting from London as she did every year and my husband, Udi Edni,
M.Photog, CPP, wanted to create a portrait of her with me and the children. We weren’t
Family Portrait against the idea but, as always, there were other things we wanted to do. However, Udi,
being Udi, insisted. And so we went. I remember telling him that he owed us “big time.”
TODAY IS ALWAYS GOOD It was February 2016. We got dressed and did our hair. My mum wore one of my necklaces.
I laugh when I think of us having broken our studio golden rule: Don’t come to your portrait
By Susan Edni session hungry. After an hour or so at the studio, we were famished. We left poor Udi to
finish up while the rest of us walked to the nearest restaurant.
A few weeks later, mum was back in London, and Udi showed me the portrait. Like any
woman, I immediately focused on the way I looked and picked on everything. Here’s what I
didn’t know. At the time we sat for this portrait, my mum was not well. Six months later she
died from Leukemia. She never got to see our finished portrait.
It took me quite a while to be able to look at that portrait without being overcome with tears,
but when I did, I saw it with very different eyes. I saw the most beautiful and precious image.
The touch of our hands linking us together (my mum had the most beautiful hands), the necklace
she borrowed, the cheeky grin of Ollie, who made us laugh that day, and Roni, who was growing
up so fast. Both children loved spending time with their grandmother and were close to her.
It didn’t matter how I looked anymore. I saw three generations of my family together. I felt
©UDI EDNI / 48fineart.com
such emotion. I could hear the laughter between us all and feel how every room lit up with
my mum’s smile. This is exactly how she would want to be remembered, how she would want
us to think of her. She no doubt would laugh with us today about the experience, but she,
too, would be grateful that we have this portrait now that someday will be for my children,
and one day for future generations.
I have photos on my phone, of course, and in boxes and in albums. I look at them on occasion,
as do my children. But this portrait on my wall that I see every day is different. It allows me
to touch my mum’s face as if she is in the room and to feel instantly connected to her. I see
her smile every day, and I see how much the children have grown up but yet are still the same.
So now it is I who owes Udi big time. If we had waited, we would never have this portrait.
My mum didn’t come to the studio to create this portrait for herself. She did it for me and
my children. I thank her every day when I see her portrait. •
Susan and Udi Edni are the owners of 48FineArt Portrait Studio & Gallery in the Boston area.
PROFESSIONAL PHOTOGRAPHER
FINAL FRAME
90
©MICHELLE VALBERG / michellevalberg.com
2020
FLUSH MATTE METAL CAMEO

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Design. Print. Websites. Marketing.

w w w. M a r a t h o n P re s s . c o m | (800) 228.0629
Stronger Together
Join Your Local Affiliate
Photographers helping photographers is what PPA Affiliates are all about. These local
creative communities nurture and provide the support and tools to help you grow.
As an Affiliate member, you will:
• Connect with peers and mentors • Get recognized, build credibility,

and set yourself apart
• Sharpen your skills by competing in
your local image competitions • Give back to your photographic
community
• Earn merits towards your PPA
degree by attending or speaking at a • And much more!
PPA Approved Education Workshop
There’s never been a better time to get involved. After all, it’s together that we thrive.
Find a PPA Affiliate near you: PPA.com/Affiliates

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PROFESSIONAL PHOTOGRAPHER • AUGUST 2020

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