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Professional

PORTRAIT PHOTOGRAPHYTechniques and Images from Master Photographers

Lou Jacobs Jr. Amherst Media®

PUBLISHER OF PHOTOGRAPHY BOOKS

Copyright © 2008 by Lou Jacobs Jr.All rights reserved.

Front cover photo by Frank Frost.Back cover photo by Chris Nelson.

Published by:Amherst Media, Inc.P.O. Box 586Buffalo, N.Y. 14226Fax: 716-874-4508www.AmherstMedia.com

Publisher: Craig AlesseSenior Editor/Production Manager: Michelle PerkinsAssistant Editor: Barbara A. Lynch-JohntEditorial Assistance: Carey Maines and John S. Loder

ISBN-13: 978-1-58428-229-7Library of Congress Control Number: 2007942649Printed in Korea.10 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, me-chanical, photocopied, recorded or otherwise, without prior written consent from the publisher.

Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. Theauthor and publisher will not be held liable for the use or misuse of the information in this book.

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

1. Steven Begleiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

2. Marcia Dolgin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

3. Beth Forester . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

4. Frank Frost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

5. Suzanne Maitland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

6. Chris Nelson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

7. Vicki Taufer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

8. Carl Caylor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92

9. Joshua Kessler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105

10. Simon Walden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127

CONTENTS

CONTENTS 3

One of the first historic photographs on record is atime-exposed French street scene created in 1839. In

the years that followed, imaging art and techniquesquickly improved. A photograph I recall vividly is a groupportrait of Lincoln and his generals, created by MathewBrady, who operated a popular portrait studio in Wash-ington, DC, in the 1860s. Professional portraits became

more popular via daguerreotypes and tin-types. Poses re-quired exposures of up to a minute. Glass plates werefaster, but the processing required was clumsy. You mayrecall some of the portraits by prominent photographersof the 19th and early 20th century, including Julia Mar-garet Cameron, Alfred Stieglitz, Edward Steichen, Au-gust Sander, and George Hurrell.In 1889, George Eastman introduced roll film, 100

exposures in a box camera that was sent to the factory forprocessing and reloading. The public began taking thou-sands of snapshots. Professionals graduated to sheet filmand roll film. By the mid-20th century, portrait studioshad sprung up everywhere to offer visual memories ofchildren, families, and friends. Today’s digital capture hasmade photography even more versatile. Portraiture wasand still is a gratifying way to make a living.

Fine PortraitureLike lasagna, not all portraits are created equally. I’ve or-dered lasagna in restaurants from Florence, Italy, to SanFrancisco, CA, and each had its own flavor. Portraits mayalso have individual characteristics in today’s market. Asthe images in this book show, the success of an image islargely due to individual tastes, talent, and techniques. Aphotographer’s personality can also influence the aes-thetic quality of portraits. Every photographer inter-viewed for this book agrees.

About Portrait StyleSnapshot portraits are mostly forgettable, though someamateur images can be terrific. However, professionalscan’t depend on happy accidents. We inspire expressionsand moods, modulate lighting, and adjust composition

4 PROFESSIONAL PORTRAIT PHOTOGRAPHY

INTRODUCTION

PHOTOGRAPH

BYBETH

FORESTER.

as we chat with our subjects. A pro-fessional photographer can createmagic in portraits that clients happilypay for.Portrait style is hard to define but

easier to recognize. It’s a mixture ofcreative seeing, artful lighting, a pre-cise sense of timing, a good instinctfor posing, and an attitude thatstrives to bring out the best in peo-ple. Mood is also created by lightingand expressions.It’s worth being influenced by

portrait work you like in this bookand everywhere you see it. Your ownstyle can evolve to please clients andmake you proud of producing fineportraits.

Movie Style. Director IngmarBergman said of Sven Nykvist, agreat cinematographer, “He has beenan inspiration for his natural, simplestyle of lighting. His work is ex-tremely subtle. We were both utterly captivated by theproblems of light.” A Los Angeles Times editorial added,“Nykvist was a believer in the power of faces, often zoom-ing in for intense . . . close-ups (“Death of a Swedish Re-alist,” Los Angeles Times, September 22, 2006: B12).”Nykvist won Oscars for JFK and The Aviator, and alsophotographed Sleepless in Seattle.Study cinema faces and magazine portraits. Decide if

the photographer showed character as well as beauty. Ex-periment with friends who model for you, or use a man-nequin. You will make discoveries that help you pleasemore clients and increase profits.Style is elusive. I often argue with myself and others

about individual portrait styles. I feel that many success-ful professionals do not have recognizable pictorial styles,but they prosper. So does style matter? Yes, because if itemerges, it helps you develop portrait individuality. Peo-ple skills also impact photographic style, as do handsomeprints that generate repeat business. Success may notbring you a yacht, but it keeps your studio looking sharpand fuels your creativity.

Why We Take PortraitsPortraits are made to please clients, relatives, friends, ed-itors, advertising art directors, curators, and potentiallovers. The portrait business is a stimulating way to makea living. Fine portraiture is a challenging form of creativ-ity. People save your prints for generations to come, so besure to put your name on your portraits.

Portrait TechniquesYou and your clients should be a comfortable team forsuccess. Anticipate how to make a subject look terrific,because or in spite of their personality, age, and appear-ance. Subtle or significant variations can be captured withslight changes in a pose, a camera angle, and/or lighting.Jane Brown’s portrait style evolves from clever ways to

avoid using flash. She photographs celebrities for an Eng-lish Sunday newspaper, almost all on location. Jane favorsstaircase settings because subjects can be placed above orbelow the camera, walls are usually plain, and windowlighting is available. She shoots in a lot of gardens, too,and as is evident in her fascinating book, Faces (Collinsand Brown, 2000), she charms her subjects.

INTRODUCTION 5

PHOTOGRAPH

BYVICKITAUFER.

Offbeat PortraitureBeautiful people are not guaranteed. Though photogenicfaces are always welcome, plain ones are often a challenge.Soft lighting, careful angles, and artful poses are cool so-lutions. Involve the handsome or the homely and you willreap rewards. Vary posing, lighting, or background op-tions to increase your odds of photographic success. Off-beat subjects can amaze you.Richard Avedon enjoyed a recognizable photographic

style. He was an artist who often shot stark portraits ofpeople staring pensively into the lens. He once took awhite photo tent and an assistant on a trip around theUnited States, photographing often grim-faced subjects.I feel some of his images are depressing and static, butthey are also riveting.Celebrity shooter Annie Leibovitz has had a notable

portrait career. Remember her pictures of a naked JohnLennon curled around Yoko Ono? Or Demi Moore,nude and pregnant on the cover of Vanity Fair? You willfind these and more in her book, A Photographer’s Life:1980–1995 (Random House, 2006). Annie has a notablestyle and a flair for capturing subjects with humorous oroffbeat attitudes.It’s healthy to seek the unconventional for print exhi-

bitions and for some types of clients, to expand your vi-sion. But beware of offbeat portraits made primarily toattract attention. I call them leg-pull art.

Personal Projects“There is nothing more satisfying than taking pictures foryourself,” says Steven H. Begleiter, author of The Por-trait Book: A Guide for Photographers (Amherst Media,2003). Steven advocates shooting portraits for your ownpleasure, without thinking about pleasing a client. “It’s atime for visual growth,” he adds. “Find a theme and suit-able subjects and let your intuition guide you. A collec-tion of personal portraits with your signature style mayencourage you to modify your other work.” Steven’swork and working habits are profiled in chapter 1.In the mid-20th century, I undertook a personal se-

ries of environmental portraits of California artists in theirstudios. Two newspaper art critics suggested subjects, anda few artists recommended me to others. All twenty-fivewere patient as I shot 4x5-inch black & white film, withmostly ambient light. The series spread over a year, and

among my subjects were Man Ray (who then lived inHollywood, CA) and Edward Weston (at home nearCarmel, CA). Their images plus others have appeared inmy books and exhibitions.

As You Read This BookEach photograph in this book was made with a point ofview about people (of various ages) and their personali-ties. Consider what you can learn from their examples.Eight photographers work from studios or their homes.Two, Josh Kessler and Steven Begleiter, are mainly edi-torial photographers who do portraits for publication.They all offer personal information and viewpoints, andtheir pictures are evidence of their enthusiastic expertise.Big bucks depend on your skills, dedication, business

acumen, self-esteem, and rapport with people. When tactand talent are paired, it’s amazing how much coopera-tion you receive and how much some clients are willingto pay. Enjoy yourself!


PHOTOGRAPH

BYSIMON

WALDEN.

Steven Begleiter of Missoula, MT, has had a varied career.After studying photojournalism at Kent State he was a news-paper photographer, then an assistant for numerous NewYork photographers. He ran his own successful studio in NewYork and Philadelphia and has taught at seminars. He shotassignments for many magazines and corporate annual re-ports. Steven has also written and illustrated three books,including The Portrait Book: A Guide for Photographers(Amherst Media, 2003). In Philadelphia he taught at theUniversity of Pennsylvania where students inspired him. In2006, Steven, his wife, and children moved to Montana,where he is on the faculty of the Rocky Mountain School ofPhotography.

Describe your background.I got hooked on photography at age fourteen when afriend with a darkroom showed me how to make prints.The rest of my career has been finding ways to make aliving as a photographer. My degree from Kent State wasin photojournalism and philosophy; the latter was veryuseful. I moved to New York City and learned moreabout commercial photography. My on-the-job skills in-cluded casting models, building sets, and collecting bills.Assisting Annie Leibovitz, I lugged heavy cases, metmany celebrities, and sometimes worked seven days aweek. I quit after a year over a salary dispute and was asought-after freelance photo assistant with photographerslike Mary Ellen Mark and Michael O’Brien. In 1982, Idecided to open my own studio in New York City.For almost twenty-five years I have specialized in por-

traiture, starting with a Fairchild Corporation trade pub-lication. My first national magazine assignment camefrom Forbes, followed by Business Week and Fortune.

When my first book, Fathers and Sons (Abbeville Press,1989), was published, I started getting assignments fromEsquire, Elle, and Us. My pictures gave me exposure inthe corporate photography world, and I began workingfor design firms on recruiting brochures and annualreports.

1. STEVEN BEGLEITER

Who are your influencesand mentors?I have to say my biggest influencewas Arnold Newman, and I have al-ways been drawn to photographingpeople in their environments. Myother hero is Irving Penn. He cantransform any visual into an iconicimage. Further influences includephotographers, teachers, artists, andseminar speakers. Annie [Leibovitz]influenced the way I thought abouttaking portraits, such as to pick up alot of information on my subject be-forehand. Mary Ellen Mark taughtme how to seek out the strong per-sonalities in a photo essay. She alsoinfluenced my narrative style of pho-tography.

Describe your studio.Presently, I am converting my garagein Montana into a studio. In NewYork City I had three studios over fif-teen years. The first was about 800square feet, shared with another pho-tographer. The next was a 3,000-square-foot studio in Soho, sharedwith a video company. My final stu-dio, in the garment district, was alsoabout 3,000 square feet, shared withtwo other photographers.I always had a studio manager

who was in charge of photo book-ings, accounting, organizing photo-graphs, and helping with promo-tions. We also hired freelance assis-tants. A studio is also handy for test-ing, and it offers more job oppor-tunities. Now if I need studio spacefor a large shoot I will rent it. Thismay be for my convenience or be-cause clients prefer it. I now employan assistant about 90 percent of thetime.


Do you have a philosophy that guides your approach tofine portraiture?I feel a good portrait is just as much about the photog-rapher as it is about the subject. I believe fine portraitureto be a mix of technical expertise and emotion during theshoot.I also feel it’s essential to shoot images for myself. It

brings me back to reasons why I love photography. It alsomanifests visual ideas.

Rule of Thumb. According to a traditional guideline,the rectangle of a picture can be divided into nine equalsegments [by imposing an imaginary tic-tac-toe grid overthe image]. Placing the important element on or near anintersection of the lines helps create an image that em-phasizes the subject and is more dynamic. To experiment,place a subject alternately at each intersection and decidewhat placement makes the most aesthetic sense. Whenyou analyze portraits, consider the grid. Would you havecomposed the portrait the same way? Remember, por-traits are not made by any one formula.

How do you approach your sessions?My approach to sessions depends on whether I am shoot-ing for myself or a private client. If it’s a shoot for publi-cation, I listen to the photo editor about the context ofthe portrait and learn something about the subject, thenI shape my vision around the article’s slant. Corporateannual report portraits are more about creating imagesthat exhibit confidence and strength. Once I satisfy theclient, and if there is time, I shoot for myself. I always tryto capture what I perceive to be truthful portraits.

Describe your approach to scheduling.Being a freelance photographer, I take jobs when theycome. I try not to schedule more than three shoots aweek, though I have had occasion to do as many as threeshoots in a day. It’s great when clients’ needs and my timesynchronize. I shoot when a job is confirmed and thetime is open.

Were your early business expectations realistic?I did not know what to expect when I got started. I triedto be in the moment and enjoyed the busy times. Pro-motion and personal projects were my most importantbusiness decisions early in my career. I started workingon Fathers and Sons while I was an assistant. As a personalproject it allowed me to stay creative while working forother photographers. When I stopped assisting I planneda marketing campaign of a series of promotional cards,follow-up calls, and appointments with my developingportfolio. My progress was emotional and technical. Themore I shot, the more I learned about my capabilities andmyself. I worried less and tried to be truer to my vision.

A Business Plan. It feels good to get paid to take por-traits, but at the end of the month if your bills outweighyour invoices, it’s time to reevaluate. Whatever your spe-cialties, you need a plan that supports your goals to suc-ceed professionally and make a profit. Figure your averagemonthly income (add your yearly gross and divide bytwelve) and deduct your average fixed monthly overhead.Estimate up to a third of your income, depending onyour specific circumstances, to cover federal, state, andlocal taxes. Add a percentage for insurance (your home-owner’s policy may not cover your business), salaries, pay-ments for supplies and equipment, rent, and maybe aretirement fund. Subtract the total overhead from your

gross, and what’s left is your profit. This advice is a gen-eral guideline.If you are starting in business, it’s wise to minimize

your expenses, buy only the necessities, and see how yourbusiness progresses. Once you are established, you maybe more elastic in what you spend, but be aware of youroverhead. For more on this subject, see The PortraitBook: A Guide for Photographers (Amherst Media, 2003).

STEVEN BEGLEITER 11

How do you approach posing?I don’t have any favorite poses, but I do like to have mysubjects turn three-quarters to the camera. Posing reallydepends on the subject’s physical characteristics. Is theimage being made for the subject and his family or forpublication? I really don’t think that certain poses fit sub-ject types such as young, older, beautiful, or handsome.Once I feel I have captured what the client expects I liketo experiment. I try to shoot from experience and by in-stinct. It is all about observing what moves you viscerallyand emotionally.

What strategies do you employ to communicatewith your subjects and elicit the desired expressionsfrom them?I constantly talk to my subjects during a shoot. I want toengage with my subjects as if they are my best friends.Most subjects need to be distracted. I’ve found that themost successful sessions are the ones where the subjectdoesn’t feel like he or she is being photographed. Again,instinct guides me in building rapport. Though I haveread Jung and Freud, I have to say that empirical knowl-edge is my greatest teacher.


I try not to ask for smiles unless Iam working with a professional mod-el. I stimulate gestures and expres-sions through encouraging move-ments. When I encounter someonewith a shy personality, I try to getcloser. I might also shoot sequencesbecause you never know when theunexpected portrait will be revealed.There are a few other things to

keep in mind to ensure the best-pos-sible session:

1. Compliments should be realisticand sound sincere. Be friendly,but not too personal.

2. Unless you have a true comicgift, don’t attempt a stand-uproutine.

3. Avoid hot topics like politics andreligion.

4. Try to encourage short re-sponses to avoid too many open-mouthed shots.

5. Avoid talking very much aboutyourself unless you are encour-aged to do so.

Which cameras and lensesdo you prefer?My primary camera used to be a Has-selblad with a 120mm macro lens,but since more of my work is nowdigital, I have been using a Canon20D or 30D with a 105mm lens, a28–135mm zoom, or a 20mm wide-angle lens.

What lighting equipmentand approaches do you favor?Lighting arrangements depend onthe intent and final use of the image.I try to keep the lighting simple. Thelarger the area I need to cover, thelarger the light source. To vary light-

STEVEN BEGLEITER 13

ing setups, I move the main light around to see how itshapes my subject. Charles Mingus, a great jazz musician,once said, “Anyone can make the simple complicated.Creativity is making the complicated simple.”Hard lighting is characterized by an abrupt falloff from

highlight to shadow. It creates a strong modeling effect,

emphasizing form and the facial outline or figure. Thiswas typical of Hollywood glamour images of the ’40s and’50s. Hard light is usually not diffused or modified. Spot-lights and direct sunlight are typical hard light sources.Soft lighting is characterized by a gradual transition

from highlight to shadow. It tends to reveal the charac-

ter of the subject. In a gradual highlight-to-shadow tran-sition, more midtones are created and more surface de-tail is captured. Larger light sources are usually used forsoft lighting. Realize that a softbox or umbrella too largeor too close to the subject produces few or no shadows.It’s also important to remember that the light itself, notthe bottom of the umbrella or softbox, should be slightlyabove the subject’s eye level. Light from below a face maycreate a ghoulish or dangerous look.Mood lighting creates more shadows and may hide

part of the subject. Rembrandt or butterfly light is a goodexample, coupled with a high lighting ratio. Butterflylighting is characteristically a narrow light, usually pro-duced by a grid spot placed near the camera, a couple offeet above the subject’s head. It creates a butterfly-shapedshadow underneath the subject’s nose, narrowing theface. A fill light is sometimes placed behind the mainlight with an optional fill light opposite the main light.Add a strong hair light, and you create a popular 1940slighting style.

Equipment. I have two 1200 Profoto power packs;one 2400 Profoto power pack; one 1200 Hensel Porty;small, medium, and large light banks; and umbrellas. Ialso use Canon EX flashes that complement the cameras.I use natural light in the studio if it looks good for por-traits. My window configurations face northwest andprovide even light in late day.Hot lights (quartz) enable you to observe lighting

changes as they happen. They are a great way to learnhow moving lights can alter the form and appearance ofyour subject. You may practice on still life or a man-nequin. Hot lighting systems are much less expensivethan electronic flash units, and you won’t need a separatestrobe meter. However, many photographers reserve hotlights for still life rather than portraiture since they canbecome uncomfortably warm.

What type of backgrounds work best for you?I use pull-down and canvas backdrops that are usuallypurchased, and I have created Jackson Pollack–like back-drops. As for props, I usually have chairs or other furni-ture handy that my subjects can lean on.

Do you conduct any location sessions?I shoot outdoors often, at various locations. I prefer trop-

ical, exotic places, but sometimes an alley will do.Whether I shoot portraits in or out of the studio dependson the client’s needs, weather, and time constraints. Onlocation, I may use ambient light or flash.

Do you create environmental portraits?We see these [environmental portraits] in magazines andnewspapers, and I enjoy doing them in settings that helpdefine the subject. They are about 80 percent of my busi-ness. Some subjects ask for them, or I may recommendthem when I feel someone will be more comfortable intheir own home or office.

STEVEN BEGLEITER 15

Do you sell many black & white prints?I love black & white, but most of my clients want color.I shoot my personal projects primarily in black & white.With the exception of the cover, my book Fathers andSons was shot in black & white. My community projectsare usually in black & white. I like the graphic quality and

the freedom from color restrictions that shooting in black& white provides.

Describe your workflow.I’m a bit of a control freak, so I do most postproductionwork myself. Now that I’m pretty adept with digital, I’mhaving fun again. I put in a lot of effort upfront to comeup with a great portrait, and there is nothing more dis-appointing than having it degraded in postproduction.My main printer is the Epson 1280.

How do you structure your pricing?Pricing for me depends on the usage of the photographs.I license my images for specific types of reproduction. Iam in the high-price category because of my experienceand reputation, and I raise my prices every year to matchinflation.

How do you promote your studio?I promote my business though my web site, promotioncards, and cold calls. I employ a professional to maintainmy web site, though I am considering switching to Live-Book service. I like prints, and I use my web site as a mar-keting tool. On occasion I have offered sittings forauction at charitable functions as a means of promotion.

How are your clients’ images presented?For presentation, I usually just show the client the goodimages.

Are there any business details you’d like to share?I have created a five-year business plan about five times,each time with certain improvements. I put away a per-centage of money from jobs for taxes, promotion, retire-ment, maintenance, and for the slow times. Mostnewcomers need help with their business plans.

How important is a photographer’s personality to his orher success?A photographer’s personality is very important. Thatdoesn’t mean just being nice; it’s more important to havea personality that can control the situation, plus the sen-sitivity to capture decisive moments. I do think that someportrait photographers may lose business because theydon’t communicate well.


Marcia Dolgin of Sharon, MA, says she has always aimed atartistry and craftsmanship in her work. She has had a long-time interest in portraiture arising from her study withartists and other professionals, especially when she workedwith an assistant to Ansel Adams. She specializes in por-traits of families, women, children, and high school seniorsin the studio and on location.

Describe your background.During my childhood in Vermont I used various creativemediums in my play activities. My grandfather was a well-known Massachusetts artist and designer who created

custom wallpapers for exclusive theaters in Boston, andmy father was a photo hobbyist.I received my BA in Fine Art from the College of Fine

Art at Boston University. It was a traditional programstructured around German Expressionism. Launchingany career in the arts with a studied background is forevervaluable.I started several successful graphic design businesses

where I was the illustrator, designer, and/or art director.Those were the days of pens and straightedges. When myhusband attended Stanford University to earn his gradu-ate degree in engineering, I worked to support us. Be-

2. MARCIA DOLGIN

tween jobs I had an opportunity tostudy photography at Foothill Com-munity College in Los Altos Hills,CA, thinking I could be creative dur-ing the week and still have my life.

I won a week at the Ansel Ad-ams Workshop at Yosemite, and itwas a powerful experience where Imade incredible contacts. I realizedhow well the masters knew the tech-niques of their craft, and that theywere dedicated and passionate to thepoint of personal sacrifice. Each be-lieved in their own vision, and theycould also communicate with othersabout their work.

I began my experience in large-format black & white photography.As a student, I was submerged inthe darkroom during three years ofworking with Mr. Adams’ assistants.I became a technical master but didnot yet have my visual voice. Return-ing to Massachusetts, I freelanced inlabs and later built a large-formatdarkroom for myself.

Fortunately, I was able to assistone of my mentors, Jenny Nourse ofJenny Nourse Photography, locatedin Canton, MA. She had just steppeddown as president of ProfessionalPhotographers of America (PPA). Ihave since taken many courses, but inthe digital realm I’m completely self-taught, starting a decade ago.

I’ve had my own business since1987. I originally started photo-graphing women only since that wasmy comfort ground. I made sureevery image was gorgeous and madeto suit my training in lighting andposing. Now I create artistic portraitsof individual adults and children aswell as families. I also occasionallyshoot commercial work on the side.


Who are your influences and mentors?Mr. Adams, Jenny Nourse, and others influenced mywork. I also look at the Expressionist movement andpaintings as my lead. Photography is a place of constantevolution for me. I am interested in dynamic movementand emotional connections as they apply to human rela-tionships. I must keep in mind my clients’ needs as well.

Describe your studio.My present (second) studio is about 2,000 square feet,with the public areas decorated to look like the home ofan upscale client. The layout is efficient, with a comfort-able amount of open space where I create images in threeout of four seasons. I also encourage clients to let us cre-ate portraits in their own home environment. I have threepart-time employees to assist with a high level of serviceand framing, and one full-time operations manager to runthe studio and relieve me of some administrative duties soI can focus on what I do best.

How do you approach your sessions?I’m looking for a “truth” that is accurate at the momentit is imbedded in the image sensor. The result must bebelievable. How I accomplish this depends on the per-son, so I try to create positive, nonthreatening relation-ships. It’s my job to allow subjects to trust me. I usuallyask permission to fix their hair or shirt, to gently moveinto their personal space for a brief time. I don’t patron-ize. I’m selectively truthful and tactful to give individualfeedback to enhance our mutual understanding and toarrive at the core of believability. I try to be intuitive,though each individual responds to me uniquely. It’s upto me to recognize those moments as they happen.

Do you have a philosophy that guides your approach tofine portraiture?My style is recognizable but not easily repeatable, evenfor me. No two people are alike, and I look for a differ-ent level of connection with everyone. The results areportraits unique to the moment and the subjects. Manyof my clients can tell a Dolgin print amongst others be-cause of my style.To me, fine portraiture means that the full technical

aspects of lighting, design, emotional content, final out-put, and presentation have been fulfilled. The finished

MARCIA DOLGIN 19

portrait should represent the best emotional and techni-cal balance that the artist could achieve from the raw el-ements that gave the original image its soul.

Describe your approach to scheduling.We schedule sessions Tuesday through Friday morning.Monday and Friday afternoons are reserved for studio

business and marketing. I only takechildren's’ sessions in the morningswhen the kids are fresh and offer me afew more minutes of childhood happi-ness. My goal is to have no more thanfour sessions per week. I edit and pre-pare the images for presentation (thistakes about two hours, on average),which should take place one week laterand is scheduled before the clientleaves. I am the main creative artist inthe studio. We have specialists such as aframe consultant and a custom holidaycard consultant, and I am the coffee-table book design expert.

Were your early business expectationsrealistic?My earliest expectations about the busi-ness were not realistic. I thought I

would be working Monday through Friday from 9:00AMto 5:00PM. I learned the hard way and I’m almost there,twenty years later! I started only making portraits thatwere comfortable for me. I was reasonably sure that Iknew what it was like to be a woman, and what mostwomen want. So for several years, that’s all that I pho-tographed, and I became famous for it.


My past biggest handicaps were my limited emotionalmaturity and lack of courage to ask what I am worth, interms of clients being happily invested in my work. Even-tually I came to understand my value. At the same time,I continue to strive to be cutting edge in my techniqueand to grow in my visual maturity. This struggle hasgiven me tremendous rewards.

How do you approach posing?Each subject is unique. My experience with people hasbeen very helpful and makes me more efficient. Posingseems to come to me naturally, but I do put a lot of ef-fort into observations and insights as people move intheir own space. I can combine the unique impressionsI have of a person along with technical aspects I need toachieve my goal. Each person has a unique feature and,depending on the goal, I capitalize on whatever I needto attain my purpose.Studying human faces and forms is very significant,

and it can help you advance your comfort of “posing”and your sense of portraiture. I only pose people to getthem started, but they quickly bring themselves to theforefront, giving me just what I’m looking for.

What strategies do you employ to communicate withyour subjects and elicit the desired expressions?I inform subjects of what I need from them before Ibegin. It’s a chance to get their minds in sync with mine.It’s amazing to see how people react to honesty and howpowerful trust can be for the one hour we share.I do not ask for smiles. If I can’t get a natural smile, I

just won’t try for one. All I can do is treat the personwell. They usually loosen up some before the session isover, and sometimes the best images are just around thecorner. I always look for opportunities to create se-quences, because they add to portrait potential and cre-ate additional income.

What lighting equipment and approaches do you favor?I prefer a window-type light, using natural light or a sin-gle large light box with one large reflector placed nearby.I usually place the light box in the horizontal position.The edge that is closest to the background should line upperpendicularly with the client’s position from the cam-era and be placed rather close to the subject. I use the

MARCIA DOLGIN 23

same type of light for couples as I do for individuals.Sometimes when I place the light source slightly off tothe side, it’s to slim a heavy person. I just pull the reflec-tor away a bit. My advice is, take a look at the modelinglight and let it tell you what to do. Mood lighting is

produced when the lighting setup provides a little morecontrast.

What type of backgrounds work best for you?I have many muslin fabrics and only a few painted back-

grounds. I try to have a collectionappropriate for the many skin tonesand hair colors I deal with. I use allkinds of fabrics, including tapestries,translucent fabrics, rich pillows, andthrows; I occasionally use furniture.I tend to stay away from too manyprops in a portrait that can be dis-tracting. That said, every rule is madeto be broken with good learnedjudgment evolving from your style.Sometimes a subject’s environmentis an important bit of informationthat imparts a little insight into theperson.

Do you conduct anylocation sessions?We have unpredictable weather inNew England, so winter is not usu-ally a comfortable time for outdoorportraits. In pleasant weather I plansessions in open shade areas withsimple backgrounds. I often use aflash or reflector as a fill light or as amain light off camera, depending onthe amount of action and the lightratios that exist at the location. I pre-fer to keep infants indoors and out ofthe sun. I use flash as a main lightwhen the existing light isn’t suitable.The quality of light impact is mostimportant to keeping my goals intact.

Which cameras and lenses do youprefer?I use the Canon EOS 1Ds Mark II,primarily with 70–200mm or a 35–70mm fast zoom lenses on location.This combination is excellent for


working with children and families since it offers a fastresponse time and a better range of ISOs and shutterspeeds. I also like using my Phase One H20 digital backmounted on a Hasselblad 500CM body with a Carl Zeiss80mm lens. I generally use it handheld in the studio forbetter mobility. Medium format with exceptional quality

reminds me of my view camera days. The 80mm lens isequal to a 135mm lens at a 1:1 ratio. I have several lensesthat I can use with the Phase One.

Do you sell many black & white prints?Black & white portraiture is a major part of my business.It is particularly nice when my prints are as neutral as I de-sire. When we are presenting the images, I display somein black & white, color, sepia, and handcolored, when Ifeel clients may be open to each. Sometimes I display the

MARCIA DOLGIN 25

same image in black & white and in color to show thedifference. Other times I display only what I feel is best.Some images are more compelling in black & white.Color, and the absence of it, is an element that shouldn’tbe abused. My clients are quite aware of their options.

Describe your workflow.I edit, enhance, and print my images in-house using finearchival papers. I use inkjet inks with the most powerfulRIP to give me the best prints possible. Having full con-trol allows me to make far better prints than any outsidesource can produce. I have a greater knowledge base thanmost of my competition, and it quickly becomes obvious.My work is the sum total of all of my knowledge and ex-perience. Since my company uses my name, I feel an ob-ligation to do my best.

How are your clients’ images presented?I use a digital projection system to present a body of workthat has been carefully edited and enhanced. There isnothing like projection to achieve higher sales. The im-pact of projection is more pronounced than a small proofor contact sheet. When an image is seen in a darkenedroom, it surrounds the client and becomes part of theirenvironment. The value of what the viewer sees is muchgreater, since they experience it instead of just looking at


it. It’s convincing, undiluted, and closer to what a portraitwould look like on their wall or in a gallery. Your profitswill skyrocket when the emotional impact of your por-traits is embraced by the investing client.The homey front room of our studio is designed for

client [image] reviews. It includes a 56x48-inch whitescreen in a beautiful frame across one wall and framedportraits on the other walls. Two comfortable leatherchairs face the projection screen, separated by a table forthe projector and computer. We prefer that only portrait

purchasers attend the review sessions, and I may resched-ule if children or pets cause distractions. My operationsmanager handles most review sessions, freeing me up toconcentrate on creative work and printing.We create our own albums using blank adhesive styles

manufactured outside of the studio.

How do you structure your pricing?We do not sell packages. I found that approach workswell when a studio is volume oriented but doesn’t suit a

MARCIA DOLGIN 27

service-oriented studio. I raise my prices three times peryear—on October 1st, December 1st, and July 4th. Pricesreturn to the October level in January, and the cycle startsagain. Our most popular print is the 24-inch size.

How do you promote your studio?We use specialty newspapers and magazines respected byparents, plus other publications geared toward families.Sittings are auctioned at charitable fund-raisers. We tryto rotate displays and galleries in public locations such asrestaurants, coffee shops, high-end hair salons, book-stores, and art galleries. Some events include a “meet theartist” open house for current clients, who are encour-

aged to bring a friend. We send out newsletters threetimes a year and mail promo postcards for reprints andreminders about upcoming events and holiday deadlines.We maintain our studio’s web site, but it is hosted by an-other organization.

Are there any business details you’d like to share?The Small Business Association (SBA) will help a newbusiness to develop a useful business plan as a free serv-ice. More information can be found at the SBA’s web site.Go to www.sba.gov.I did not pay myself a salary for many years because I

was a DBA. Now I’m an S Corporation and I’m requiredto give myself a salary.

How important is a photographer’spersonality to his or her success?A photographer’s personality is vitalto his or her success. I need to pro-tect client relationships so my clientstrust me. I can’t bring up personal is-sues that may distress people. Mygoal is to make my clients comfort-able enough to let me in, so I knowwhat their expectations are and canexceed their expectations.

You are the sum total of all ofyour experiences and desires. Yourattitude about life and people andyour work become a part of yourcommunication as an artist and pho-tographer. You are responsible foryour work. In the start-up phase,your work will reveal what you doand don’t know. As you progress,you will have more knowledge andpotential artistic control to truly ex-press your vision.


Beth Forester of Madison, WV, developed an interest in pho-tography in 1990 when her daughter Katherine was born.Five years later, her hobby became a portrait studio that isquite successful. Beth has three times been named West Vir-ginia Photographer of the Year (2004, 2006, and 2007) andhas twice been named Mid-East Photographer of the Year(2006 and 2007). Her work has been accepted into PPA’sLoan Collection. To learn nore, visit www.foresterphoto.com.

Describe your background.I have a BA in history from Centre College in Kentuckywhere I majored in secondary education, although I’venever taught school. In my 20s when Katherine was born,I shot black & white as an outlet for my creativity as astay-at-home mom. In school, I excelled in both art and

math, so I think digital photography has become a perfectfit.

Describe your business plan.Since starting my studio twelve years ago, the businesshas always pushed further than my dreams. I have neverhad time to create a business plan or even to think,“Where do I want this business to be in five years?”Initially, I only wanted to photograph families and chil-dren, but client demands pushed me to include highschool seniors and weddings. My time is divided: 50–60percent seniors, 30 percent basic portraiture, and 10 per-cent weddings.Fortunately, I have made good decisions, and I earn a

nice living. I don’t consider myself a savvy businessper-

BETH FORESTER 29

3. BETH FORESTER

son, just a hard worker who happensto be a perfectionist.

What influences inspire your work?I am constantly looking at images inmagazines, books, television, or cin-ema. I am a huge movie buff, and alot of the imagery in my head comesfrom movie portrait stills. It’s thehuman element that draws me toportraits. I am definitely a peoplewatcher, interested in psychology,how different types of people areportrayed, and how their personali-ties are revealed.

Describe your studio.I rent a studio approximately 1,700square feet in size, and half of that isthe shooting area. There is a waitingarea, an order taking room, a com-puter work area, a framing room, achanging area, and storage space.This is my third studio. My first wasat home, though I shot mostly out-doors during that phase. I thenmoved into an old downtown build-ing, and my studio was only open byappointment. I worked alone andhad an answering machine. That stu-dio had a nice display window, whichhelped immensely in getting newbusiness.Five years ago I moved into a

building the owner was gutting. Helet me lay out my studio, which has ahip but classic style. A lot of my per-sonal photos and concert memora-bilia are displayed in the shootingroom, where people enjoy peekinginto my life. It helps them to bemore relaxed if they know a littleabout me.I currently have two full-time em-

ployees. One takes care of proof

preparation, retouching, and generalmanagement. The other books ap-pointments, downloads data backup,and does framing. They both takeclient orders, and sales have dramat-ically increased since they beganworking on commission. I generallydo not shoot in the studio withan assistant, though I take one toweddings.

How do you approach your sessions?I try to inspire emotion in my por-trait subjects to evoke viewers’ feel-ings, though it can be difficultbecause some subjects are not as in-spirational as others. However, eachday in the studio I try to bring thesame enthusiasm and work ethic toevery session. I want to feel that Igive 110 percent to every client. Iwould want the same from anyoneelse I was commissioning to take myportrait.I think most photographers, in-

cluding me, have a certain style whenwe create images. However, I amconstantly looking for new inspira-tion in the world around me to in-corporate into my work. I want tofeel I am growing as an artist and thatwith each new portrait I progress inmy craft.Since I started shooting digitally I have reduced my

number of weekly sessions. Much of what I want to ac-complish is done after image capture when I spend a lotof time color-correcting, editing, and retouching to givemy work a more personal edge. For every hour I spendin the studio, I spend an hour on the computer. I knowthat I am a perfectionist, but every image reflects on myability.

Personal Work. I really feel that personal work is animportant part of the creative process. Each year whenworking on my competition prints, I can see my growthas an artist. I wish I had more time to create work simply

to advance my creativity and style, but most of my timeis devoted to business.

Do you have a philosophy that guides your approach tofine portraiture?I feel that fine portraiture is work that in even fifty yearswill still move viewers to want to know or understand theportrait subject. I try my best to portray peoples’ best im-pressions and moods. Because people are generally criti-cal of themselves, I try to create images that please them.I work to hide flaws and enhance beauty, hoping subjectswill think, “Wow, I look amazing!”

BETH FORESTER 31

Were your early business expectations realistic?I had no real expectations, but I have achieved far beyondmy hopes. It wasn’t just dumb luck. Hard work andmaybe a little stubbornness have helped my progress. Ifthe light is not perfect or the pose isn’t perfect, I won’ttake the shot. I work about seventy hours a week—thirty-five in-studio and thirty-five on the computer. I do notbelieve in failure. I’ve rarely been in debt and didn’t buywhat I didn’t need. I built up my business gradually andreinvest a portion of my profits into it yearly.

How do you approach posing?I guess my favorite poses are those that seem to fit certaintypes of people. Poses are usually based on physical traits,and I modify posing to fit the subject’s proportions. Youwill find that many poses just don’t fit everyone, whichalso applies to lighting that needs to be modified a littlefor each subject. I shoot rather like I cook: I know thebasics and I work on the rest until it looks right. A lot ofinstinct is involved in creating portraits.

What strategies do you employ to communicatewith your subjects and elicit the desiredexpressions from them?I have an ability to “size up” people fairly quickly. I talka lot during sessions, to help people relax and get to knowthem better. Connecting helps them to assume more nat-ural poses. College psychology has helped me consider-ably throughout my adult life, as a mother, wife, friend,businesswoman, and photographer. My interest in humannature and personality is a welcome asset.I don’t encourage big portrait smiles. Eyes are the

most important aspect of a photograph because they


draw you into the image. Peoples’ eyes are proverbiallythe windows to their souls. Smiles may distort their eyes,but most mothers want smiles to see their children ashappy, so I oblige. Ninety-five percent of my clientele aremothers, so it is sensible to make their families and chil-dren appealing. However, expressions depend on the sub-jects and what type of mood I want to project in theirphotographs.

I do like to shoot sequential images, but they usuallyonly work with children. You never know what to expectfrom kids, so a sequence helps prepare you for surprises.

What lighting equipment and approaches do you favor?I generally use a four-light setup: a main light, fill light,background light, and a hair light. Sometimes for an ex-treme low key “mood” portrait I use a reflector instead


of a fill light. For individuals, couples,or groups I adjust the distance of themain softbox to the subjects. I usePhotogenic PowerLights and LarsonSoff Boxes. I find that various soft-boxes photograph differently, offer-ing variations on warm light.

What type of backgrounds work bestfor you?I like for images to emphasize thesubject, so I only use props to en-hance the story or the subject matter.Permanent sets in my studio fill allthe wall space. I use a pulley systemto raise and lower canvas back-grounds. I have picked up most ofthe backgrounds and props at an-tique or home decorating stores. Iavoid anything that looks fake.

Do you conduct any locationsessions?I often shoot outdoors and usuallychoose among many potential loca-tions based on the subject’s clothingand their wishes. I also recommend

several favorite spots and arrange the shooting scheduleto ensure sweet light according to seasonal changes.About the only time I use fill flash outdoors is when I ampulled to a location not of my choosing, and flash is theonly option for light balance. Certain locations, such asstreets or alleys, are primarily for senior portraits.

Do you create environmental portraits?I wish I had the time to do environmental portraits, be-cause I love them. I have done a few as commercial jobs,but they are not profitable or practical in a small WestVirginia town where I cannot charge a day’s work for one

or two images. I feel like I learn a little more about mycraft doing environmental portraits, but it’s just not eco-nomical.

Which cameras and lenses do you prefer?I use two digital Kodak Pro SLR cameras that are cur-rently discontinued. I’ve tried so many cameras and havenot been satisfied with their range in the midtone/skinareas. My favorite lens is a Tamron f/2.8 28–105mm for95 percent of my portrait work. I use several other lensesfor weddings.


Do you sell manyblack & white prints?When I first started, I shot primarilyT-Max black & white film, and Ilearned the advantages of proper ex-posure, contrast, and composition.In past art classes, I was drawn to andexcelled in monochromatic imagesdone with either pencil or pen andink. My style often leans towardmonochromatic imagery, and I maychoose a background in the sametonal range as the subject’s clothing.When I started shooting digitally,

I moved away from black & white. Istill prefer it, but I shoot 80 percentin color—for one reason, because Ifound it fascinating to color correctmy work by using layer masks and se-lections. I spent a grueling yearteaching myself to see color and tomake appropriate changes for a qual-ity image. Now I have gratifying con-trol and precision.

Describe your workflow.Enhancing, color correcting, and re-touching all my images for final out-put puts a personal stamp on myproduct. In film days, creativity wasmainly capturing the image. Nowcreativity has been expanded, and Ican make images look the way I en-visioned them. I was very fortunatewhen I moved into digital in that myhusband owns a professional lab andhas been a great instructor on how tocreate a custom print. I have im-proved tremendously as a photogra-pher with his support and know-ledge. Many things I learned in dig-ital processing helped me to improvemy craft in the studio.Before taking any images we show

a catalog of digitally enhanced por-

traits to clients. Enhancements are priced from $5.00 to$75.00 and are quite popular with my clientele, who areshown how the enhancements can make their photo-graphs more unique. We explain that this is custom work,

not based on templates. Because these artistic improve-ments are created “on the fly,” each subject’s images willbe slightly different than those of other clients, thoughcreated with the same effect.I have tried to paint the exact same picture twice, but

each painting had slightly different brush strokes or colorharmony, so exact duplication was elusive. It’s the samewith computer enhancements. Each image will look dif-ferent day to day and subject to subject, though the sameeffects are applied to different images.All of our prints are made at my husband’s pro lab on

photographic paper using a Fuji Frontier printer, up to10x15 inches, and a Durst Epsilon printer for up to 30inches wide.

How are your clients’ images presented?Paper proofs, 3.5x5 inches with a logo in the lower-rightcorner, work best in our studio. We tried digital contactsheets and booklets, but our sales were flat. We returnedto paper proofs with newly designed packages, and withina year our sales nearly doubled. Each package includes a


specific number of proofs. As the price of the package in-creases, so does the number of proofs. We have five pack-age levels, and with the fifth level the customer receivesall of their session proofs. Each year we increase the priceof the fifth level and find that a minimum of 75 percentof our customers purchase it anyway. About half of thoseadd framing and specialty products that are not includedin our packages. Our sales are very satisfying, and my ses-sions stay booked three to four months in advance.

How do you structure your pricing?Madison’s population is only 3,000, but I draw clientsfrom three counties, and I am probably the highest-priced studio in the whole area. We raise prices and re-design our packages every year. I try to set up thepackages to encourage customers to purchase specificitems, but not very large prints. The larger the print, themore time I spend retouching the file, so 24x30s andlarger are more stressful and not that much more prof-itable. Proofs increase our profits and encourage cus-tomers to purchase larger packages.The incentive program I offer my two employees has

also increased sales. I devised a tiered system. As sales in-

crease from 1 to 10 percent, com-missions increase, beginning at the$500.00 sales level. Staff morale hasincreased as well, and employees aremotivated to offer new products andcome up with new ideas that couldboost their incomes.Our senior and wedding albums

are not created using templates. Eachis a freestyle design.

How do you promote your studio?I have no time for self-promotion.We found that by the time we mighthave promoted a special or an up-coming senior portrait season, mycalendar was already booked fourmonths ahead. In early 2007, I hadtwenty to thirty seniors with prepaidappointments for the 2008 gradua-tion class. I didn’t finish shooting the2007 seniors until March.I would like to do more charitable

work in the future. Presently I have asixteen-year-old daughter who I planto send to a college of her choice, somaintaining my current level of in-come is vital. In about five or sixyears I hope to spend time shootingfor myself and for specific charitable organizations. I re-ally want to take my specific abilities and use them to givesomething back to society.

How important is a photographer’s personality to his orher success?I feel it is advantageous to be a woman in this field, be-cause 95 percent of our clients are women as subjects ormothers. I also feel that most senior girls prefer beingphotographed by a woman. They are more comfortable

if I fix their hair or clothing. I think that men find it un-comfortable to be touched by another man, so I’m morewelcome. When working with children, being a mothermyself, women may feel I more quickly understand thatthey want the photographs to reflect the personality andbeauty of their children.Because I dislike being scrutinized and photographed,

I do everything in my power to put portrait subjects atease. So I do feel that personality plays a large role in aphotographer’s success.

BETH FORESTER 41

Frank Frost of Albuquerque, NM, discovered his fascinationwith photography as a junior high student. At age sixteenhe was technically proficient enough to photograph his firstwedding. After graduating from high school he worked atMcDonalds. At age nineteen, he was McDonalds’ youngestmanager in the Southwest. Knowing he wanted to be a pho-tographer, he shot pictures in his spare time and saved upmoney to buy a mom-and-pop studio. Today, Frank runs athriving business in a deluxe studio. To learn more aboutfrank, please visit www.frankfrost.com.

Describe your background.I’ve been in business since 1982 and consider myself apeople rather than portrait photographer. I enjoy the

human element and could never be happy shooting inan-imate objects. The first two years of my business werespent part time. I managed a McDonalds and worked atthe studio on the side. In 1984, I took the plunge intofull-time photography. Today, we photograph families(40 percent), seniors (30 percent), children (15 percent),and weddings (15 percent).

Who are your influences and mentors?Unfortunately, I never had a mentor, but I have admiredthe work of countless photographers. I’ve taken practicaland aesthetic bits and pieces from a lot of people over theyears and made them my own. However, I don’t believein trying to emulate someone else’s style. In business

4. FRANK FROST

and philosophy Zig Ziglar, Charles(Chuckie) Lewis, Dale Carnegie, andNorman Vincent Peale are amongthose who inspired and helped edu-cate me.

Describe your studio.My studio for the past four years hasbeen in a 3,000-square-foot, two-story adobe building. It includes afront room, camera room, proproom, downstairs dressing room andrestroom, office/production room,pick-up area/concession stand, the-ater, upstairs office, upstairs gallery,full kitchen, frame room, restroom,and photographic lab. Previously Ileased an 1,800-square-foot spacewhere we had lots of exposure, bothdrive-by and foot traffic.I work with my wife, Cheri, and

my studio manager, Jennifer. Cheri isresponsible for marketing and re-touching. She is also a freelancewriter. Jennifer is my right hand forday-to-day studio operations, andboth Cheri and Jennifer assist withsessions involving small children. Ialso have a husband-and-wife team,Kerry and Andrea, who color correctand print all of my work.I shoot many sessions on location

and market myself to keep it thatway. It’s not for convenience, be-cause outdoor locations are at thewhim of mother nature. Rather, it’s because clients lovelocations because they are something different, and I lovegetting out to avoid becoming stagnant. The best way topromote creativity is to leave your comfort zone.

Do you have a philosophy that guides your approach tofine portraiture?I don’t think art should have to be explained. My phi-losophy about taking photographs is to make people looklike they feel. I mean, most people prepare before they

come for a session. Women shower, do their hair andmakeup, and carefully select clothes. They wish to looktheir best, and my goal is to make what they see in theirphotographs match their mental image. I want a client tosee photos and think, “My hips don’t look as wide as Ithought.” Or, “I look pretty good, don’t I?” I want themto look a little better than life. I’m not talking aboutchanging someone’s looks; I’m not into illusions. I be-lieve a “portrait” can be real, honest, comfortable, andflattering. I think the greatest compliments I receive are

FRANK FROST 43

when people say my work looks natural, the colors lookrich, and subjects look real.I’m a believer in learning clients’ names, whether it’s

a family of ten or a wedding party of twenty-five. I intro-duce myself immediately and learn everyone’s name atthe beginning of the session. I build my family sessionsaround the father as the nucleus of the group. It is a sym-bolic style I try to implement in each session.

Describe your approach to scheduling.I don’t employ staff photographers, because taking all thephotographs means I maintain control over them withfewer headaches. Our studio is open for regular businesshours Tuesday through Saturday, but out-of-town familygroups, weddings, and outdoor sessions may be sched-uled any day by appointment. I shoot all outdoor sessions

late in the day for optimal lighting conditions, usuallyone, maybe two location jobs a day.Owning the business allows us to schedule time out

for ourselves or the family as needed. However, I try notto be “closed” to someone wanting a session. If a per-sonal matter arises, I tell a client that I’m booked at thattime. If I can’t photograph a family session when theywant it, I try to find another time, even on a day I’m notusually in the studio. But I only work seven days a weekwhen circumstances make it necessary. Monday is a catch-up day, and I tend to edit some evenings at home, aftermy children are asleep.

Were your early business expectations realistic?When I opened the storefront studio, I decided what Iwanted to be when I “grew up.” That required a plan for

where I wanted to be ten, fifteen, or twenty years downthe road. I knew I wanted to grow my business into anupscale, low volume studio, so I had to increase my cus-tomer base and my studio’s name recognition. I knew Ihad to pay my dues.

How do you approach posing?I try not to have any favorite poses, and I experiment allthe time. I make sure when I try something new or off-the-wall I also shoot “safer” images for the client tochoose from. You can tell which clients are up for some-thing different, and which would rather be anywhere elsethan having their picture taken.

How does your communication with the subject play intothe outcome of the portrait?I talk all the time during a session because communica-tion between the photographer and the subject is veryimportant. During the setup phase, I talk about a client’sinterests such as family, career, or hobbies. My goal is toput a client at ease and make them willing to talk. Some-times I ask for smiles, and sometimes I don’t.When photographing children as part of a family or in-

dividually, I always use an assistant who works directlywith the children while I work with the adults. Our meth-ods are amusing, and I find the adults laughing just ashard as the children. Afterward, I tell them we weren’ttrying to amuse just the kids. Sometimes, when the ses-

FRANK FROST 45

sion calls for a more active portrait, a family will naturallyfall into an activity like looking at flowers, skippingstones, etc. If necessary, I’ll guide them in a direction by

suggesting an activity that translateswell into photographs.

What lighting equipment andapproaches do you favor?My studio lighting is very simple: aLarson Starfish is the main light, andI use a reflector, hair light, and some-times a background light. Outdoors,I use the ambient light, usually ahalf hour before and up to fifteenminutes after sunset for the “sweetlight.” The sky is my reflector. Inever use a strobe for outside por-traiture because I don’t like the lookof artificial light in a natural setting.I occasionally use a reflector for indi-viduals, but rarely for family groups.I shoot 50 percent of my sessions inoutdoor light, which I find appropri-ate for most portrait sessions.

I also shoot in my loft in historicdowntown Albuquerque, which hasonly window light, and I may use areflector. The main window facesnorth, so I can shoot almost any timeof the day. The loft, where I shootmostly seniors, is in a worn down,century-old building. It’s a no frills,no electricity, wonderful place withpeeling wallpaper and paint, oldwood floors, and original fixtures.Lately several movies have been shotthere.

What type of backgrounds work bestfor you?Permanently hung in my cameraroom is a 12x25-foot Old Masterscanvas backdrop, rich with blues andbrowns. I also have about twenty-fivedifferent rotating muslin backdrops

that I can hang in front of the canvas. They are not onpulleys because I want the flexibility of moving the muslinbackdrop to various positions. I have a variety of props,


but I rarely use them. Like sets, theyquickly become dated.I prefer to have clients bring their

own props such as a teddy bear or ablanket in a baby’s photograph thatgives their pictures meaning. I feelthe same about popular factory-madesets. I’d rather take a client on an ac-tual location where there are morepotentially interesting backgrounds.The same props or sets used over andover can become monotonous.

Which cameras and lensesdo you prefer?I use the Canon EOS 1D Mark IIand the Canon EOS 1Ds Mark II.The lenses I use most are 28–135mmand 24–70mm.

Do you create environmental portraits?Not many of my location photographs are environmen-tal portraits. However, I recently photographed a familythat owns an ice skating rink, and we shot the first set atthe rink and a second set with mountains as a backdrop.They picked a mountain shot for their wall portrait. Gofigure.

Do you sell many black & white prints?I find clients in their 30s or 40s ask for black & white be-cause they consider it “retro.” Seniors want black &white because it’s cool. Clients in their 50s and up usu-ally prefer color. They remember black & white, but itdoesn’t hold the same appeal for them.

Describe your workflow.I edit my images. Cheri does those that require advancedenhancement, while Kerry and Andrea do minimaltouch-ups. My lab is run by Kerry, because I believe asuccessful image is a team effort. It doesn’t matter howgreat an image is in the camera, if it isn’t enhanced orprinted properly, it won’t be successful. My lab providescontrol, and I know images will be rich and vibrant. I amalso able to service rush orders and offer specialized serv-ices.Using a Durst Epsilon LED printer as we do is not

rocket science. But it takes talent and experience to seecolor properly and manipulate it with finesse. I feel wehave to be careful in this industry because professional


cameras are becoming more afford-able and clients are able to print theirown images. We need to give themprints they can’t get at home. I didnot enjoy spending $100,000 on aprinter, but it was a worthwhile in-vestment that allows us to producedigital images on photographic paperwith colors so rich they pop off thepage.

How are your clients’ imagespresented?Clients used to take their paperproofs home for a while, then placean order for one 8x10 and four wal-lets. They had looked the picturesover so often that their appetite forthem was satisfied. I abandonedpaper proofs at least fifteen years ago.I used the Kodak prism system toshow images on a large screen in thestudio, and projected slides for loca-tion sessions. Now I project each ses-sion in the studio’s theater, completewith popcorn, candy, and iced Coke.I work with clients personally duringsales appointments since we have al-ready established a relationship. I amnot considered a “salesperson”; I’mthe photographer, the “expert” stu-dio owner who came from behindthe camera to give them the atten-tion they enjoy and appreciate.

How do you structure your pricing?I’m not certain if we are medium-high or high priced. It’s all subjec-tive. I consider myself medium-high,one of the more expensive in town. Icharge a minimum. Every client whobooks an appointment prepays a re-tainer. I don’t offer packages becauseI feel they tell a client what to buy. Iwould rather a client leave the studio

FRANK FROST 51

with one picture less than they needthan with a box full of surplus pho-tos. I like them to leave wantingmore.I don’t squeeze clients to buy. I

want to establish a long-term rela-tionship with them, and chances areif you pressure clients, you won’t seethem again. I gain more revenuefrom a ten-year relationship than bypushing to sell two extra 8x10s.Treasure your loyal clients and they’lldrum up business for you.

How do you promote your studio?I promote the studio via televisionand direct mail. All of my advertisingis geared toward building the studioimage. My wife writes and producesall of my spots and creates our printed pieces. We don’ttry to bait readers or TV viewers. I strongly believe it

costs less to keep your existing clients than to acquire newones.

FRANK FROST 53

I do photography for Comcast, and they provide mewith wonderful trade-outs, which I use during key timesof the year. I also rent a kiosk in a mall to display imagesand promotional take-home materials. I market heavilyto seniors, spring through fall, with multipiece cam-paigns. I provide gift certificates, which are auctioned atcharitable events. Certificates are for a set dollar amount,to be applied as the recipient sees fit rather than for a setportrait size. When a client comes into the studio with a$200.00 certificate, the amount is considered a credit tobe used however they wish, and many people use it toorder a variety of sizes. If you give a free print, you’retelling people what to choose, making it less likely they’llorder more. At each auction I also display a wall portraitalongside the certificate. With a large number of peopleattending these functions, it’s a good bet your work willget noticed.

Are there any business details you’d like to share?When I purchased the mom-and-pop studio I had sav-ings to get by on for two years, and everything I madewent back into the business. The studio had a good rep-utation, and I wanted preexisting clients. Though I paida lot for that little studio, in retrospect I don’t know if

it’s better to do what I did and work hard to keep it, orstart completely from the ground up. It’s such a personaldecision.With our business plan, I do pay myself a salary as a

normal expense.

How important is a photographer’s personality to his orher success?Personality is everything! You can be an average photog-rapher with a great personality and a great business senseand do exceptionally well. On the flip side, you can be agreat photographer with an average personality and aver-age business sense and find yourself applying for foodstamps. Personality and a head for business are a terrificcombination. Success also has to do with finding yourniche—one that makes you stand out from the crowd.


In late 2001, Suzanne Maitland was living happily in Mari-etta, GA, as a wife and mom. She felt that the pictures shetook of her sons were above average, and discoveringwww.zuga.net helped raise her photography to a higherlevel. She enrolled in a class with Monte Zucker, who in-spired her, and she learned her craft. Now she photographsfamilies and children, does all her own computer enhance-ment, and gets a thrill “documenting multiple generations.”To learn more, visit www.suzanneportraits.com.

Describe your background.I’ve heard it said, “The meaning of life is to find your gift;the purpose of life is to give it away.” This quote resonates

with me because I was forty-four years old before I dis-covered my gift—the ability to connect with peoplethrough photography. It was an amazing feeling to finallyknow what I was meant to do. Fortunately, I have beenable to create a business based on this gift and also use itto help others.With a BA in journalism, I worked in sales, copywrit-

ing, and office management. I wasn’t a photographydevotee, but I had always been intrigued by people andart, and I knew I wanted to have my own business some-day. This drove me to earn a masters degree in business(MBA) from Johns Hopkins University where I gradu-ated with honors in 1990.

5. SUZANNE MAITLAND

Soon after, we started our family, and I continued toponder where my life would lead me. It wasn’t until Ichanced upon a photography forum in 2002 and was en-couraged to study with Monte Zucker that I realizedwhere my entrepreneurial efforts would be directed. Fu-eled by passion and balanced by maturity and knowledge,I set out to start a business photographing people.

Who are your influences and mentors?I continued to study in-depth with Monte, who was afabulous mentor. I requested hard critiques, and he gavethem to me. I used his advice to improve my photogra-phy. He admired my diligence and ability to take itstraight. Additionally, he encouraged me to seek out char-itable work for both professional exposure and personalsatisfaction. Much of my growth as a photographer hascome as a result of giving away my gift.I’ve also been influenced by Tim Kelly, Joyce Ten-

nyson, Marc Hauser, and others. I look at imageryeverywhere for inspiration. I am active in Wedding and

Portrait Photographers International (WPPI), which Ihighly recommend.

How has your career evolved?I specialized in portraiture from the beginning, andgained confidence as sessions and sales increased. A solidtrack record of well-crafted images made me comfortablepresenting my artistic compositions. The clients I attractwant something different, and I educate them aboutcomposition and the opportunities artists have to provideprints of all shapes and sizes. I visualize and compose in-camera without worrying about making an image “fit”in an 8x10-inch frame.

Describe your studio.In April 2006, I moved to a residential studio that sits ontwo-plus acres. While I still encourage (and greatly enjoy)sessions at other locations, I am now able to offer out-door portraits on my studio grounds. I also added a cam-era room and began using continuous lights (hot lights)

SUZANNE MAITLAND 57

because they mimic the window light I use in natural set-tings. I use Westcott Spiderlite TD5s and have one largeand two medium-size units.My business is about 80 percent babies, children, and

teens; 10 percent families; and 10 percent adults. OftenI suggest a home environment for younger children.Multigenerational sessions are most conveniently done atthe client’s home. If the client has a lovely yard, I stressthe extra level of value this will add to their portraits. I in-clude an assistant at most sessions, except for adult head-shots when I want the least pressure on the client and we

can form a connection/collaboration more easily whilealone.

How do you approach your sessions?My goal is to stay in tune with the person in front of mylens. I talk constantly, watch for signs of tension, and offertips to achieve relaxed faces and bodies. My level of con-cern and attention to detail leads the subject to feelhe/she is working with a professional who cares. Enthu-siasm and excitement help tremendously too. I always ex-press delight when I like what I’m seeing. When I show


clients their images on the camera’s LCD, our collabora-tion intensifies.

Do you have a philosophy that guides your approach tofine portraiture?To me fine portraiture is simple, elegant, and real. Itstands the test of time.I believe photographers have their own unique style

because of who they are. They inject part of themselvesinto the image. The way the photographer interacts withthe subject makes a moment come into being. Each cap-tured moment exists because you made the choice toclick the shutter. The final, postproduction image bearsthe artist’s signature as well.

Describe your approach to scheduling.We do not schedule appointments for Mondays, which iswhen we prepare for the week ahead. Sessions, consulta-tions, presentations, and pickups take place Tuesdaythrough Friday. I schedule two sessions per week, exceptfor peak times when I do three sessions. Work with chil-dren is always scheduled to meet the youngest subject’sscheduling needs.I accept a maximum of two weekend sessions per

month—and these are offered at a premium, so onlythose who absolutely need a weekend will book. A ma-jority of clients would choose a weekend slot priced thesame as a weekday.

Were your early business expectations realistic?With an MBA and experience working for entrepreneurs,I had a realistic understanding of the struggles and timeframes for start-up success. I made sure I had an ac-countant before I started taking clients.

Most important was my choice to be a low-volume,high-end studio. From day one, I prepared everythingfrom prices to my web site and promotional materials ac-cordingly. For instance, I set my creation fee high to sig-nal “high-end.” That limited callers. I wanted to growslowly and take time refining my business. I wantedclients to appreciate the value of what I was creating forthem. In the first year I fine-tuned every aspect of mybusiness. I analyzed interactions with clients and realized

SUZANNE MAITLAND 61

that many problems were due to a lack of communica-tion. I made improvements. For example, people didn’tunderstand that my coffee-table books are priced on thenumber of images used, not on a set fee. I needed toclearly explain that each image has the same value,whether in the book or as an individual print.In 2003, I contacted a dance theater about a display

opportunity. That grew into a huge marketing/advertis-ing opportunity. That year I also established a coffee-house exhibit, which I still maintain.My career progress was both emotional and technical.

I learned a lot about people and selling, as well as equip-ment, Photoshop, posing, and lighting. I improved myworkflow process. Much knowledge was gained from fel-low photographers on online forums and at conventionsand workshops.

How do you approach posing?Because of my training in classical portraiture, a lot ofwhat I do with each subject is instinctive. I “read” them

and start where they are and work to flatter them photo-graphically. I pose for a natural look and want them tolove what I capture, their real essence.

How does your communication with the subject play intothe outcome of the portrait?I feel most subjects need to be engaged, made to feel fullya part of the process. I took a few entry-level college psy-chology courses, but I’ve gained more understandingthrough life experiences. Yoga has been instrumental inhelping me see tension in the body.I don’t ask for smiles from children under eight, but I

do from older kids and adults. I ask for a smile in the eyes,or say, “Let’s see your teeth.” I will often simulate thepose and explain how I am positioning myself. As for ges-tures, I act out how to place a hand or bend a leg.When a subject is shy, I try to get to know their inter-

ests and talk and laugh. I say how hard it is to be on theirside of the camera. I lighten the mood with oohsand aahs. I love the ability with digital to show images


to clients, especially for shy people. It helps build theirconfidence.I shoot sequences when I sense a series of poses will

naturally arise. As I click off frames, people usually relax.

What type of backgrounds work best for you?In the studio, I hang backgrounds from stands. I alsohave a free-standing corner unit that is hinged together soI can vary the angle of the corner. I am a minimalist whenit comes to sets. I have a collection of chairs and benchesand an antique tea cart I love to use. For props indoors,

I use only personal items brought in by the client. Out-doors I may use a cut flower, a stick for a young boy, peb-bles, or leaves. Less is more.

Do you conduct any location sessions?Outdoors I enjoy the variety and the challenge of findingthe right light. Overhead cover is a must. Sometimes it’sa porch, awning, part of a building, or shade from a tree,an umbrella, or a scrim. I control natural light with re-flectors and/or gobos. The decision to shoot outdoors isbased on the style or mood the client wants after review-

ing my work. For low-light situations in homes my West-cott Spiderlites are very handy.For senior pictures, the teen’s own room or a special

space adds tremendously to the photographs. Places thattell the viewer something about the person are satisfying.Grungy urban alleys and anything edgy or nontraditionalcan also be great.

Do you create environmental portraits?Toddlers, in particular, benefit from being in their ownspace. That comfort and security help young subjectsrelax. My coffee-table books are more meaningful whenthe child is photographed at home where many memoriesare included.For professional subjects environmental images are

often a perfect choice. Showing someone in their workor home environment adds another level of value to theimage.

Which cameras and lenses do you prefer?I use the Canon EOS 1D Mark II. The Canon 50mmf/1.4 lens is a favorite because it’s fast and I like to shootat wide apertures. With young children and babies I canget close to keep their attention. The Canon 70mm–200mm f/2.8 IS lens is great for super-tight headshots.It also works well for dance photography in low light.The Canon 28–135mm f/3.5–5.6 is ideal for groupportraits.

Do you sell many black & white prints?Some clients ask specifically for black & white, and I ex-plain the styles of my work that adapt best: generally re-lationship images and those with a storytelling feel.

Describe your workflow.I do all my own editing. Soft, flattering, believable re-touching and art-working such as cloning, enhancing,and vignetting all play a part in creating the look I want.I am very detail-oriented, and minor things that couldcatch the viewer’s eye—something as small as a white but-ton on a dark shirt—may be toned darker to avoid beinga distraction from someone’s face. Also, when I am edit-ing I see new things such as cropping variations.While I want control over the look of the image, I out-

source printing to experts. Miller’s Professional Imaging

makes all my photographic prints. Digital Arts Studio inAtlanta does my fine art prints (giclées on fine art paperor canvas).

How do you structure your pricing?I have always had a “first price point” for my images. La-beled “small prints,” they can be any size the client de-sires up to 8x10 inches. Wall portraits are a separatecategory and are available in three finishes: standard pho-tographic prints, fine art paper prints, and canvas prints.Each is more expensive than the previous type. I sell onlyà la carte, no packages. I am in a medium-to-high pricegroup in this area.I sell custom sizes and educate clients to view my im-

ages as art. Some compositions are not typical shapes,which makes my portraits stand out from the ordinary.These nontraditional formats work since most clientshave their prints custom framed. When a mat is used, theopening is simply cut to the print dimensions. I generallysell at least one or two prints in the 18-inch range. Largerwall portraits are done on fine art paper or canvasand generally sell at the 30-inch print size. I tell my clientsthat we don’t have to be locked into pre-set shapes.I want them coming to me because I offer somethingdifferent. I also offer coffee-table books and designthem myself using Asuka Book (www.asukabook.com)exclusively.

SUZANNE MAITLAND 65

How do you promote your studio?To gain exposure I use displays, referral programs, clientweb galleries, extensive pro bono work such as a localdance theater and my son’s high school band program. Idonate to charity promotions and fund-raising auctionsfor nonprofit organizations; this also helps the commu-nity. I require space for a framed print on a floor easelplus table space for business cards and information pack-ets. Only new clients are eligible for the donated session,which has an expiration date.My coffeehouse display is in a huge space and offers

incredible exposure to higher-income customers. I pho-tograph the shop’s employees as a thank you, and offerthem greatly reduced print pricing. They talk me up tocustomers and hand out my cards.

Web Site. I designed my site and my husband pro-grammed it so I can easily update it myself with new in-

formation and images. New portraits keep clients com-ing back to your site.

Communication. It’s not only how you speak. Thewritten word is also a critical aspect of your business. Isyour business literature clear and concise? Write with sim-plicity. Don’t expect clients to read too much. I am con-stantly refining client information to convey my exactmeaning. Many things the photographer takes forgranted may be foreign to the client. Lucid education isvery important.

How are your clients’ images presented?Presentations begin with a slide show set to music. Thispreview sets the stage for the selection process (we useProSelect). I do not use paper proofs. Instead, I choosea few of my favorite images to make as 10x15-inch prints.They give the client a first-hand look at the finished prod-uct—at a size that sells them on going big. That messageis reinforced by the 30- and 40-inch prints I have framedand displayed.

Are there any business details you’d like to share?I have one full-time employee. She answers the phone,schedules sessions, confirms appointments, maintains dis-plays, does billing, packages orders, makes deliveries, as-sists at sessions, and keeps me on track. She will need anassistant soon. My husband provides technology support,from web site creation to computer management.My accountant insists that I pay myself a salary so that

taxes and Social Security are paid. A good accountant isa must. The Small Business Administration (SBA) canhelp. Just writing goals and the steps to achieve them isa great first step toward a comprehensive business plan.

How important is a photographer’s personality to his orher success?Your passion, enthusiasm, and hard work will be per-ceived by clients. An upbeat personality definitely makesa difference. People choose to collaborate with cheerfulphotographers. Being excited about your work is conta-gious! Getting your work seen is key. It is a springboardfor a conversation about you and your art—your uniqueproduct.


A former photojournalist and reporter,Chris used to supplement his incomeshooting weddings, advertising im-ages, and senior portraits. In highschool in the 1970s, he and his friendsbuilt a darkroom and shot for theschool paper, yearbook, and sportingevents. In 1991, he started a portrai-ture business now called Fall Creek Por-trait Design in Fall Creek, WI. Sinceportraiture became his lifelong inter-est, Chris has earned Accolades of Pho-tographic Mastery and OutstandingPhotographic Achievement from WPPI,and is proud of winning WPPI’s seniorportrait category in 2002 and 2004. Tolearn more about Chris and his work,please visit www.fallcreekphoto.com.

Describe your background.I studied at University of Wisconsin–Milwaukee and graduated with a BAin English with photojournalism andfine art photography as part of mystudies. While still in college, I didphotography and graphic design forthe college magazine, and after grad-uation, I worked at several newspa-pers as a reporter and photographer.Since my background was not por-traiture, I wanted to learn all I couldabout this new area, and joiningWPPI and PPA were great avenues.

6. CHRIS NELSON

Who are your influences and mentors?When I caught Monte Zucker’s 1999 tour, and that ofportrait artist Al Gilbert, I was blown away by their useof barebulb flash, as opposed to using softboxes, um-brellas, and reflectors. Those photographers had fluidposing styles that made subjects look really natural. I an-

alyzed what they were doing and adopted some of theirtechniques so my work would look different from mostother photographers’ portraits.Don Blair and Michele Gauger influenced the foun-

dations of my photographic style. Robert Lino and thelate Dean Collins influenced my glamour style. Whileglamour photography comprises only about 20 percent ofmy studio’s business, that style influences much of mywork. All my high school senior girls want to look likemodels, and seniors are 60 percent of my business.

Describe your studio.I worked out of my home studio during a three-year tran-sition from photojournalism to portraiture. I continuedto take assignments with the local newspaper and shot forChippewa Valley Technical College, creating images ofstudents for the school’s cutting-edge programs.In 1994, I moved into my current building, an 1880s

bank on the main street of Fall Creek, WI (population1,250). After renting half the building, I bought theproperty in 1998 and began restoration. In 2004, I


added a large window-lighted camera room, a new pro-duction room, and a second dressing room. The studio isnow about 3,000 square feet. Though I have two camerarooms, I still do a lot of location work because my clientsand I love the variety. Many photographers in the vicin-ity don’t leave their studios.I have three employees, my daughter Erin, my son

Tim, and Ashley who does a little of everything, exceptshooting. She specializes in Photoshop, retouching, andfinishing images, does client consultations, and a goodshare of the sales work.Erin is like Ashley’s understudy, with much the same

aptitude for graphics software applications. She has agreat eye for design and is in training for high school sen-ior album layout. Tim is a high school junior who enjoysbeing second camera at weddings, doing mostly candids.We expect when he’s in college he can shoot weddingson his own.

How do you approach your sessions?The root of portraiture is the word portray. Photogra-phers seek to visually portray their clients in artistic im-ages that describe aspects of their lives or personalities.Before sessions I normally do a consultation where weget to know each other and exchange ideas; that helpskeep us on track. How I approach getting what they wantevolves through my style, coming from my consciousnessand vision. If a casual observer can identify with and un-derstand the meanings conveyed by an image, it’s a good,if not a fine, portrait.

Describe your approach to scheduling.We’re constantly trying to bring order to scheduling be-cause demand is high and I’m the only shooter. I reserveSundays to catch my breath and spend time with my fam-ily. During April to October, Saturdays are wedding days.A third of my time is devoted to studio work, and the


final third is time off during which I may teach, attendworkshops, handle speaking engagements, and attendtrade shows January through March. I create all ouryearly advertising campaigns and tweak our marketingcalendar in winter.

Were your early business expectations realistic?Not at all. I thought I’d have success within five years,and it took ten. Early on I took an entrepreneurship classat the local technical college and learned how to controlcosts and manage cash flow. I also learned sound mar-keting and pricing methods. Newspaper assignmentshelped me maintain a meager but regular cash flow.In January 1997, I almost decided to give it up, but

didn’t because I lacked enough money to return twentyor so wedding down payments. I decided I was going tobe different and build a fresh professional image. I begana six-year relationship with Sondra Ayers and Jerry Deckof Power Consulting to help me build that image. I

learned I couldn’t market a product that didn’t have alook that expressed my style. I studied and attendedworkshops to hone my photography skills.

How do you approach posing?I have favorite poses, but they have to fit the subject. Apose might look great for one person and awkward foranother, so you have to analyze your subject. My job is toaccentuate the good features and downplay or hide whatwe don’t want to show through lighting. I try to make apositive aspect of the subject’s appearance so dramaticand compelling that viewers don’t notice a negative. Forexample, I created a glamour portrait of a woman whohad recently had a baby and hadn’t lost all of her belly.She said her husband loved her butt, so I posed her withit at about a 30-degree angle to the camera and had hertwist at the waist and look over her shoulder. This hid hertummy, and we chose a high key background with a hintof pink, which blended with her outfit.

CHRIS NELSON 73

In the last few years, I’ve adopted a new posing styleby letting people pose themselves. I have clients talkabout themselves and I watch their body language. When

they do something that looks good, Itell them and then light that pose soit looks natural. This saves the effortof trying to fit someone into a pose.For example, I told a senior girl topose on a stool in front of a formalbackground. Instead, she knelt on it,sitting on her hocks, a pose I’venever seen before. I said she lookedgreat. I turned the stool about 45 de-grees away from the main light, andshe turned to look at me. The picturewas uniquely her.

What strategies do you employ tocommunicate with your subjects andelicit the desired expressions?I often describe the photo session asa stage performance where the partclients play is to talk about them-selves. I reassure them, especially shyclients, that it’s my job to make themlook good. “What’s the most impor-tant thing about a picture?” I’ll ask,and I get all kinds of answers. I’ll say,“The real answer is that you lookgreat. The better I understand whatyou want, the better I can do this.”

In my orientation about posing,especially for women, I mention theability to move body parts separately,face toward the light, and tip theirhead over their left shoulder. I’ll tellthem, “Don’t move your upperbody, but turn your hips away fromme to the right.” I also tell people Idon’t want them to smile all thetime, that we need to capture a rangeof moods and expressions. I’ll sug-gest, “Point your chin toward me alittle,” often getting a slightly bewil-dered look. Their cooperation shows

they know I care what their images look like.Shooting sequences is critical. If you get a good pose,

quickly get different angles that really add variety to a sit-


ting. Ask clients not to abandon a pose as soon as theyhear the shutter click.

What lighting equipment and approaches do you favor?Dean Collins used to say, “People like their faces lookingthin.” For this I prefer a short light, meaning the sub-ject’s shadow side is toward the camera. For men, I fre-quently use a basic pattern, with body and face towardthe main light. For women, I’ll use afeminine pattern, with the lightcrossing her body and her faceturned back to the camera. This isforgiving and slimming and is gener-ally a good place to start while de-ciding which rules can be broken.There’s no single type of mood

lighting, but for lighting to be dra-matic, it needs to be directional. Forfaces, a loop pattern with the shortside toward the camera is my favorite,depending on the mood and atti-tude. For young beautiful faces, abutterfly pattern is great, angled a lit-tle to one side.A Rembrandt pattern works well

for round faces, and when you wanta softer look like in an engagementportrait. If you bump up your high-light-to-shadow ratio, you can get avery contrasty, edgy look with a dif-ferent message. Nothing is edgierthan a split light, which I often useon high-contrast black & white workwith seniors and with sports imagesfor an intense look.In the studio I use everything

from 4x6-foot softboxes, to honey-combs, to little video lights, to 1940sgooseneck lamps, to window light. Ihave one camera for strobe and arti-ficial light and another I use to pho-tograph by a 30-foot expanse of6-foot high windows facing northand west. I like afternoon light usedas a main or a separation light.

I often use modeling lights as hot lights, and I may usestrobe to light a face with tungsten on the background.I call some of my hot lighting Coppertones, in which weonly partially correct the tungsten. It’s great for Wiscon-sin complexions in winter. I also like using strip boxes fornarrow directional light. Honeycomb grids do much thesame, creating a narrow round beam. The more variedtypes of lighting I can use, the more creative I can be.

What type of backgrounds work best for you?When we expanded the building we left the exterior brickexposed. I add props such as an old antique radio andphonograph, or antique furniture. I prefer props you findby chance to those from photographic catalogs, thoughI do have some of those. I also own painted backdrops,both muslins and canvases.When a contractor remodeled a house near my studio

I was given great old columns, a couple of which nowframe the Plexiglas block window I built. I covered thecracked paint of the columns with a light coat ofturquoise paint that harmonizes with the earth tones. Thecolumns are used as the center of a set with the Plexiglaswindow backlit using a tungsten lamp.

Do you conduct any location sessions?At least 60 percent of my sessions include an outdoor seg-ment, which pleases seniors, couples, and families. We useone of our terrific locations like the rusty riveted steel andgeometric trusses of an old railroad bridge. I work in nat-

ural light at a dozen or so spots near my studio, and Ioften augment with a strobe. The sun is a main light, theambient light level is another, and my strobe or reflectoris a third.Where the sun is intense and there’s no shade or re-

flected light, I’ll use the sun as backlight with a portablestrobe as a main light. If the ambient light level is f/5.6at 1/250, I’ll set the strobe at f/5.6, which gives me an f/8highlight or a 2:1 ratio. An f/11 separation light (thesun) gives the subject’s hair a beautiful highlight.The junkyard is another favorite spot for seniors. I

found it doing a senior session for the owner’s son, andI immediately made arrangements to shoot there often. Ialso use a rustic barn with peeling paint, a hayloft, andantique implements. Horses, goats, geese, turkeys, andducks add to the atmosphere.

Which cameras and lenses do you prefer?My favorite camera is a Canon EOS 1D, the original11.1-megapixel version. It has hundreds of thousands of


exposures on it. My backup is a Canon EOS 5D, whichis also great, but though it’s newer it doesn’t produce thequality of skin tones the 1Ds does. Both use a full-framesensor (36x24mm) that takes full advantage of my Canonlenses, a 24–70mm f/2.8 and a 70–200mm f/2.8 IS. Ialso carry a Tamron 17–35mm f/3.5–4.5, and for ultra-wide-angle shots I have a 15mm fisheye.

Do you sell many black & white prints?My studio is known for images with deep blacks and bril-liant whites, and not a lot of gray in between. I use anolder Fuji S1 for black & white because, exposed prop-erly, files are useable with little tweaking. We do black &white because clients of all ages love it, and without coloras a distraction, it forces viewers to concentrate on yoursubject.

Describe your workflow.All our portraits are finished digitally. The heavy liftinggets done in Photoshop, but I also use iPhoto and AppleAperture to prepare images for polishing in Photoshop.Finished images in folders are transmitted via the Inter-net to our lab, WHCC, which prints them as we’ve pre-pared them. We require the help of a full-time employeeto get this done, but it’s a good trade-off because we cando finishing and design that was impossible just a fewyears ago.

About 75 percent of our output is still on silver halideprofessional papers, but that is changing. Probably 40percent of our session books are printed digital offset. Wealso do metallic papers and high-quality inkjet on fine artwatercolor-type papers, popular for wall portraits. We aregetting away from standard size prints in favor of sizesthat fit the composition of the picture.

How are your clients’ images presented?Since I have been projecting and showing slide shows mysales have steadily increased. However, the fact that I ammarketing my studio as the area’s cutting-edge one, andhave worked to improve my skills, are also factors in theincreased sales.Most clients get the option of viewing a slide show (we

call them screenings) of their sessions before they leavethe studio. Using iPhoto we can create slide shows fea-turing sixty images in about ten minutes, set it to music,and show it to our clients. Instant gratification is impres-sive, and 95 percent of clients buy session books imme-diately. The images are prepared for Photoshop andexported into a finishing folder immediately, so our tenminutes’ work is really valuable.

How do you structure your pricing?We probably rank third highest of the top ten more ex-pensive studios in our area, because we have built the rep-

utation as the most creative studio. We give clients a greatvalue. I raise prices pretty much every year in small in-crements. Also, I’m always coming out with new tech-niques, processes, and products, so the client’s perceivedvalue is always growing.Recently the two best selling print sizes for families are

16x24 and 12x24. These more panoramic sizes fit envi-ronmental portraits better and encourages people to pur-chase the frames we have custom made for them. Inexchange I keep my markup rather low on frames. It’sworth it to see a really nice looking framed portrait goout the door.

How do you promote your studio?One main advertising site is a mall kiosk where we havea 10x18-foot display at a key spot; it’s expensive butworth it. We rotate images often, and clients who appearin the display are flattered. Once a year, we sell the printsat 55 to 70 percent off list. Equally important is our website, which keeps growing and is really quite a bargain.Do your best to keep your web site fresh. The moreplaces you can reinforce your message, the better.You are in a position where your photography can pro-

mote a lot of other businesses (or nonprofits) and end upphotographing in the process of doing your job. This

type of networking is huge and often doesn’t cost much.I make images available to hotels, limo companies, bars,hair salons, radio stations, and hospitals for nothing morethan a photo credit. It’s surprising how much word ofmouth you get as a result.We also do as many as twenty different mailers a year,

many of them smaller like our re-order and customer ap-preciation sale, plus the four we do yearly to our seniorprospects. Always refer prospective clients to your website, where you can put more detailed information. I alsodo radio advertising and trades for promotional events aswell as giving sessions away to nonprofits and commu-nity organizations.

How important is a photographer’s personality to his orher success?Your personality and your ability to communicate withand understand your clients is critical. They will love youfor making the effort. In addition, you need to decidewhat kind of image you want people to have of your stu-dio. They need to understand what kind of photographyyou do. Image and branding is important, and you haveto make the decisions noted above. Once you decide onthe message, don’t ever water it down.


Vicki and Jed Taufer operate a very successful studio in Mor-ton, IL, a town of 17,000. They also market to two largercities and many small towns. Their V Gallery reception roomresembles the social center of an exclusive club. This is partof the special brand the couple has created for their busi-ness, which grew quickly from a basement studio to threecamera rooms in a 6,800-square-foot building they own.Vicki is the shooter, and Jed handles the business and pro-duction areas. Both are popular seminar and conventionspeakers. Vicki (who was interviewed for this chapter) says,

“Now I enjoy having employees doing the work I used tostay up late at night finishing.” To learn more about Vicki,please visit www.vgallery.net.

Describe your background.I received my first photo education in high school. WhenJed and I started dating he became my primary pictorialsubject. I only took one photography class in college, butafter I graduated I took a business class, which helped mecreate a detailed photographic business plan. I joined my

7. VICKI TAUFER

state photographic association along with PPA and dis-covered some amazing people. My main mentors at thebeginning were Darton Drake, Tim Kelly, and Tim andBeverly Walden. Over the years we’ve become friends,and I continue to admire their work and business sense.In 1999, we decided to open a studio in our home

basement, and within a year we signed a five-year leaseon a 2,500-square-foot space that needed complete re-modeling. With help from family and friends we did mostof the work, and a year later we expanded the space andwent digital, and Jed came on full time. We added on tothe studio the next year and employed a second photog-rapher who focused on babies and limited-edition ses-sions. I took care of children and families as well as seniorsand some weddings. The following year we spoke at somesmall events and entered some competitions.In 2005, we received several awards. That led to more

speaking engagements, including one in South Korea. Atthat point, studio consultations we had begun for indi-vidual photographers become well-attended workshops.In 2006, Jed and I spoke widely, including engagementsin Italy and the Philippines. Speaking and workshops havebecome an important part of what we do. We also havean educational retreat called Haven. In college both ofus expected to be teachers, so it has been a real reward toregularly teach photographic subjects.Children’s and family images make up half of our busi-

ness. The remainder is high school seniors and weddings.

Who are your influences and mentors?Our mentors include Sandy Puc’, Dave Junion, MichaelTaylor, Sana Antisdel, and Kia Bondurant. All have be-come good friends; we are lucky to be able to use themas a resource for our photographic and business questionsand appreciate their empathy.

Describe your studio.We have a 6,800-square-foot studio with a lot of windowlight in three camera rooms. Currently V Gallery is op-erated by Jed and myself with the help of three full-timeemployees: an office manager, a graphic designer, and asalesperson. We employ a second photographer part time,and my sister Michelle does retouching, bookkeeping,and is webmistress.Our studio was designed and decorated to look and

feel like a boutique so clients might feel our fees wereworth every penny. Recently we’ve expanded the studioby over 3,000 square feet to create Haven, our educa-tional retreat. The space also doubles as two more cam-era rooms. In the last two years we’ve hosted over adozen workshops, and we plan to do about twenty moreover the next eighteen months. For more details, seewww.vgalleryhaven.com.Jed and I have made sure our roles are well-defined. I

am the primary photographer, and I mainly shoot in thestudio, usually without an assistant. I take care of most(brand-based) marketing for the studio. Occasionally I

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take Jed with me on location. He’s a jack-of-all-trades incharge of everything technical.

Do you have a philosophy that guides your approach tofine portraiture?My philosophy centers around making sure clients arecomfortable and enjoying the session experience in an at-mosphere where they can relax and be themselves. This isan important part of my style and may even be my defin-ing attribute. We love to hear that a husband or fatherhas enjoyed his time with us. That’s exactly what “fineportraiture” is all about. It’s more than beautiful light-ing, posing, expressions, or backgrounds. It’s an experi-ence.

Describe your approach to scheduling.Most of our sessions are shot Tuesday through Fridaywith a few on Saturdays. We reserve several weeks in theyear to attend or speak at photographic events. We wouldlike to take more time for ourselves, but we become over-

whelmed with business opportunities. We realize takinga break has its advantages; many of our best ideas origi-nate away from the chaos of the studio when we seethings from different perspectives.Some of our best creative conversations occur when

we can think without distractions, but in the last fewyears, time off has usually been a day or two tacked ontoa speaking trip. This is when we take most of our per-sonal pictures. Images from Italy are all over our homeand studio.

Were your early business expectations realistic?I was pretty aggressive when I created our business plan,but I didn’t really know what to expect. Starting a busi-ness was fairly easy, but managing it effectively was a com-pletely different thing. Coming to that realization forcedus to think about both the short-term and long-term ef-fects of our decisions. And the most important decisionswere who we hired to work with us. Our employees arecentral to our business, and managing people is very chal-


lenging for me. Jed has helped a lotbecause he has a tactful way withhandling certain situations.A key benefit of working with

your spouse is filling in the gaps foreach other; he or she can also providesupport. One person’s strengths canhelp to offset the other’s weaknesses.From an emotional standpoint, ahuge challenge for us is dealing withfear. It pops up out of nowhere andas our careers have progressed, usingfear as a motivator has been a majorsign of growth and maturity for us.It’s definitely easier said than done,but as time passes, dealing with fearbecomes an almost normal part ofthe business process, and it isn’t thatscary.

How do you approach posing?As opposed to formal posing, I tagmy style as “unposed.” I see myselfas the conductor of a symphony. I tryto offer limited guidance and sug-gestions at a session, because I wantsubjects to do most of the “work”themselves. Sometimes I’ll demon-strate what I want by posing myself,but I rarely touch my subjects inorder to pose them. I’ve found that Ican achieve a natural look more eas-ily if I leave most of the movementand posing up to them.

What strategies do you employ tocommunicate with your subjects andelicit the desired expressions?I spend much of my energy through-out the shoot just talking to and en-couraging clients to make them feelcomfortable. I’m not talking to dis-tract them but to encourage them toopen up and relax. Jed has helped mequite a bit as he is very good at read-

ing people. If I’m having trouble witha family or even a small child, I’ll askhim into a session. He has a way ofmaking people laugh and open up.

Smiles. Often the easiest way toget someone to smile or laugh is totell them not to. Or ask for a fakelaugh that usually turns real. Thisworks for all ages. I get some of myfavorite images this way. With shypeople I pay close attention to helpthem get comfortably involved.However, some people will never beat ease being photographed, and asan antidote, I offer the most pleasantexperience possible.

What lighting equipment andapproaches do you favor?My stance on lighting is to keep itsimple so I can focus on relating tothe client. Half of my sessions arephotographed with a large north win-dow light, and I bring in whateverbackgrounds or furniture I need.When the weather or time of day ex-cludes daylight, I photograph withLarson 4x6 and 3x4 Soff Boxes withPhotogenic strobes because theymimic window light. I also use Lar-son reflectors. My light is usually tothe left of the subject creating a wallof light. I can angle a reflector to ei-ther add or reduce the light.

What type of backgroundswork best for you?My favorite props are couches, mostlypurchased at estate sales. I also love working with rugsand fabrics. My favorite background companies areRobert Andrew Designs, PhotoShowcase, and TheShooting Gallery (formerly Les Brandt Backgrounds). Iuse both painted muslins and canvases, but prefer can-vases on my roller system, which is easy to use—plus, thebackgrounds don’t get wrinkled.

Do you conduct any location sessions?We photograph most high school seniors and large fam-ily portraits on location. We listen to our clients’ needsduring a consultation to better create the type of sessionthat’s best for them. Outdoors we use available light andreflectors, and only rarely do I use flash. For seniors, myfavorite locations are usually old buildings downtown. I

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also enjoy an easily accessible lake and waterfall ontwenty-five photogenic acres. Six months of the year wepay to use a 50,000-square-foot warehouse with a lot ofgreat shooting spaces and window light. It’s popular withfamilies and high school seniors.

Do you create environmental portraits?Though 80 percent of V Gallery portraits are pho-tographed in the studio, a specialty is the Real Life ses-

sion. We photograph a family or child on location in theirhome or at a favorite spot, and we include a black &white coffee-table book with the session.

Which cameras and lenses do you prefer?We use Canon cameras and lenses, most often the Canon5D and the Canon EOS 1Ds Mark II. We have manylenses, but my two favorites are the Canon 70–200mmf/2.8 and the Canon 85mm f/1.2.

Do you sell many black & white prints?V Gallery offers color, black & white, and sepia for fin-ished images. Thirty to 40 percent of our family portraitsales are sepia. We show many images in sepia in ourgallery displays, and it has become a signature look forus. You will sell what you show.

Describe your workflow.Four of our staff have graphic design skills that allow usto edit and enhance our images in-house. We outsourceall printing to White House Custom Colour. It has been

very important for us to have close relationships with ourvendors and take care of each other. Besides traditionalprinting, we are able to get products such as gallerywraps, metallic prints, and press printed products, all fromthe same location with the same great customer service.

How are your clients’ images presented?All sessions at V Gallery are sold through projection by adedicated salesperson in a comfortable room where weshowcase all of our products. For our sales software weuse ProSelect, which helps us stay organized and sell big-

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ger, better, and easier. It is important to make this part ofthe process relaxing since it might take 1.5 hours. Weoffer refreshments to clients sitting on our comfortablefurniture. Sales doubled when we switched to projecting.It enhances the education of clients about appropriate im-ages and sizes. We sell various albums, some outsourced,others assembled at the studio.

How do you structure your pricing?All portraits and products from V Gallery are à la carte,with the exception of one package called MasterpieceCollection, which can only be ordered after a client hasinvested in a minimum order. The package includes fourposes and eight classic gift prints, which are images 8x10inches or smaller, all priced the same. This has simplifiedour pricing structure and allows us to avoid standardcrops in favor of crops that look best.

All our wall portraits are priced from the longest side.For example, a 10x20-inch print costs the same as a16x20-inch print. Most of our clients purchase a wall por-trait, but our sales averages are raised by offering add-onssuch as coffee-table books, collages, jewelry, and hand-bags. V Gallery is higher priced than most other photog-raphers in our area. We used to raise prices multiple timesa year, until we arrived at our current high level, but weswitched to once a year.

How do you promote your studio?We promote our studio through two main concepts: re-lationship marketing and event marketing. Relationshipmarketing is when we work with other businesses in thesame market niche and display images in their stores. Wealso build relationships with the owners and employees.We send them business cards and gifts for the holidays.


We photograph their families so they can fall in love withthe experience we offer. We advise following up on a reg-ular basis. Our best displays are in women’s and children’sclothing boutiques plus spas and hair salons.We also do event marketing, which gets people in our

community talking about our studio. One of our biggestannual events is Girls’ Night Out. When we host thisevent on a February evening, twenty-five vendors selleverything from handmade jewelry to clothing and minineck massages. Each vendor pays $50, brings food, ad-vertises the event, donates an item to the 250 gift bags wegive away, and donates a large item for a raffle.The proceeds are given to a charity. V Gallerypromotes new products and offers specialprices on frames and sessions booked. Of theaverage 300 women who attend, thirty willbook sessions. If you don’t have a large studiospace to host such an event, share the costs byhosting with another business in the sameniche market.

Web Site and Blog. Both web sites andblogs are great marketing tools. My sister han-dles them in-house. We have considered out-sourcing some of the web site, while main-taining control of content. V Gallery also of-fers four to five limited-edition specials a yearfor Mother’s Day and Christmas, which in-cludes holiday cards. Year round we offer theBebe Collection; my associate photographs ababy three times during the infant’s first year.Clients also buy matted images, collages, andcoffee-table books from these sessions.We donate to numerous auctions and char-

ities that agree to return our display. We alsodonate our time for a variety of nonprofitorganizations.

Are there any business detailsyou’d like to share?The first two years we put our money back inthe business, but for the past six years Jed andI have paid ourselves a salary. We also put re-tirement funds away from each paycheck. It isimportant to have money saved to fall backon.

How important is a photographer’s personality to his orher success?Communicating is very important to successful portraitphotography. When clients pay for sessions, they expectus to responsibly make them feel comfortable. Theyexpect their portraits to include honest and true expres-sions. Some clients have told me about negative experi-ences they have had with other photographers whosepersonalities seemed indifferent. Being aware of the ex-perience you offer your clients pays off in mutual satis-faction as well as income.

Carl Caylor’s studio is located in Iron Mountain, MI,though his clientele is from a wide area. He de-scribes himself as an artist who chooses themedium of photography. Portraiture, he says, isboth art and family history. He creates portraits offamilies, high school seniors, and children. He isPPA Certified, a Master Photographer, PhotographicCraftsman, and Kodak Mentor. He conducts profes-sional photography seminars and has won manynational awards from Kodak and Fuji as well as fif-teen PPA Loan Collection images. A former Wis-consin resident, he was Photographer of the Yeartwo years in a row in that state. To learn more,please visit www.photoimagesbycarl.net.

Describe your background.I was introduced to photography by my auntand uncle, and later by my high school yearbookadvisor. Love and passion for photography tookroot, and I studied it at the University of Wis-consin–Platteville, where I worked for the uni-versity while pursuing my BA. I also shot forseveral newspapers and portrait studios and didcustom darkroom work. Photography has alwaysbeen my true occupational calling.

How long have you been in business?I have owned my own studio since 1995, origi-nally in my hometown of Pulaski, WI, where Iconverted an old shoe and clothing store into anatural light studio. I’ve always specialized inportraiture but also do weddings and occasionalcommercial work.

8. CARL CAYLOR

Who are your influences and mentors?I have been greatly influenced by Jay Stock, Scott Dupras,Darton Drake, Fuzzy Duenkel, Mille Totushek, DonnaSwiecichowski, Teri Shevy, and others. From an artisticstandpoint, I have been inspired by the French Impres-sionists, as well as painters such as Andrew Wyeth, SteveHanks, and Norman Rockwell.

Describe your studio.In Iron Mountain, I designed and built a 5,000-square-foot home and studio around a north light camera roommeasuring 24x36 feet with 26x18-foot windows. I haveno full-time employees, but I occasionally employ co-opstudents in a work study program for a few hours. Mostof my portrait sessions are done by myself or with the as-sistance of a parent or friend of the subject. My wife,Theresa, helps with client consultations and office work.My high school senior sessions include in-studio and

on-location portraits. I prefer to photograph a family ina wooded area by a stream or in another scenic spot.

Describe your approach to fine portraiture.If beauty was only skin deep, every photograph would re-veal the same personality. An artistic expression in a por-trait goes past the outer layer, beyond first impressions,and into the depth of one’s defining essence.My philosophy for sessions evolves. I find a location

with good quality light and a great background to createdepth and dimension, to help tell the subject’s story. Ithen let subjects exist in that space and be themselves. Itry to be intuitive about their personality as quickly aspossible so my words, actions, and body language en-courage them to be natural and comfortable. I strive toimprove my artistic skills to make my style recognizable.

How do you approach your sessions?Clients’ consultations are scheduled to discuss clothing,ideas, locations, etc. We create images during daylighthours. Senior sessions are done both in-studio and on lo-cation. My Fridays are reserved for production work orfamily time. Image presentations, sales, and more pro-

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duction work are done after dark. I do fewer weddingsnow, so occasional family portrait specials are done onweekends.I constantly take client portraits for myself in order to

experiment artistically, for display purposes, competitions,or to test new equipment and software. Additionally, Iannually photograph my family for Christmas cards.Shared with clients and friends, these images becomepowerful advertisements.

How do you approach your teaching?I began a speaking career in 1996 while pursuing my PPAPhotographic Craftsman degree. A Kodak rep who at-tended one of my programs asked me to join the Kodakteam, and since then I have become a Kodak Mentor.The company sponsors some photographic schools andconventions, but I choose where I go and they pay theorganizations directly. Payment as a speaker doesn’t comeclose to what I can make in the studio, but my goal is to


give back to the photographic industryand continue my own education. Myspeaking curriculum stays consistentthroughout the year but evolves to in-clude new technology and expandedknowledge. Many other professional pho-tographers speak in the “circuit” on vari-ous topics. I learn a lot by being around adiverse group of talented speakers.My programs cover human cognition,

portrait lighting, composition, emotionalelements, color harmony, style, story-telling, etc. The topic I find to be mostmisunderstood lately is basic camera tech-niques. Photographers need to under-stand camera functions to produce thevisions in their imaginations. In weeklongclasses, we combine lectures and hands-on photography with models and locationsetups so students learn the psychology ofphotography as well as techniques.

Were your early business expectationsrealistic?My early business expectations were notnecessarily realistic. I tend to set highgoals, so even if I don’t reach them fully,my efforts are still successful. One earlydecision I still adhere to was to consis-tently provide a quality product andmemorable experience for my clients. Iworked for years before I actually consid-ered myself a professional photographer. Iam passionate about anything I do, so ithas been an emotional roller coaster. I in-vest my time, talents, and heart in all mysessions and all my images. Many profes-sionals find that it’s difficult to produceart while needing to run a financially prof-itable business, but it can be done.

How do you approach posing?Posing is about composition. It’s aboutstorytelling. I let clients pose themselves,and then I tweak them so they are photo-


graphically correct. I look for anglesand curves in body parts, hair, andclothing to emphasize what I wantviewers to see. The pose must then belit in such a way that it harmonizeswith the facial expression or emotionof the subject’s body language. Sub-ject and environment colors shouldwork together. Everything within theimage should help tell the subject’sstory.

What strategies do you employ tocommunicate with your subjects andelicit the desired expressions?A successful session is all about psy-chology. It’s helpful to start with adiscussion about the person prior tocreating images. Get to know theirlikes and dislikes to sense their per-sonality. Teamwork helps reveal thesubject’s true story.How much I may or may not talk

depends on the subject. I want chil-dren to get bored so I ignore them,and they entertain themselves andshow their true personality.Large family groups require more

orchestration to ensure pictures aremade in a timely manner. My experi-ence in coaching athletics has helpedme command attention in a positiveand constructive way.In any session, you need to com-

municate confidence in your artisticskills and your knowledge of equip-ment. If you seem nervous or con-fused, your subject will react nega-tively. If you are comfortable andcongenial during the session, you areseen as cool and professional.Our high school seniors love the

unique style of my work. In their re-ferrals, they tell friends they had agreat time, felt really good about

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themselves, and loved the pictures. Variations on thesesentiments are true for most types of my portrait sessions.When a mother thinks we ended with nothing after a ses-sion with an uncooperative child, and I present beautifulwall portraits they love, I feel rewarded. Sometimes it’s agame of patience, and I hate to lose.Smiles are highly overrated, though at times they are

important, and they are typical in albums or on a shelf ordesk. Wall portraits, however, require a more natural,pleasant expression that tells more stories. Expressions arelike reading between the lines of a good book where youcan use your own imagination. Smiles may allow only onestory—happy—and it will get old eventually. When I dowant a smile, I ask the subject to giggle or to tell a storythat produces a happy feeling. Specifically asking for asmile may create a corny grin, resulting in an image noone wants to buy.

I photograph shy people by talking quietly and mov-ing slowly. It’s all about your body language and conver-sational skills. Let the subject warm up to you gradually,and use the extra time to make them comfortable.

What lighting equipment and approaches do you favor?I specialize in natural light photography and look forlovely light that adds to the mood of a session, especiallywith happy people whose facial features—eyes, nose,mouth—we want to light. More somber expressions canbe broadly lit, leaving parts of the face in shadow. Softlight is required for soft subjects. Harsh shadows producestronger or more sculptured looks. Lighting shouldmatch the story being told.Wraparound lighting is a myth. Light does not wrap

around, because it always travels in a straight line. Thelength of your light source, such as a softbox, gives you


the effect of wraparound light. When you use the edge ofthe light source, light should skim across a subject. Thisis the only way we can create texture and shape on ahuman face at the same time.

What type of backgrounds work best for you?In my studio there are many canvases, muslins, and fab-rics. I painted many myself and purchased others fromShooter’s Gallery Backgrounds. I have no permanentsets, and I use only a few props such as a chair or a fa-vorite item the subject brings. I keep things simple, be-cause sets can easily get you into a creative rut using thesame backgrounds and poses with different faces.

Do you conduct any location sessions?I look for architectural and graphic elements that createdepth and harmonize with the subject’s coloration, per-sonality, style, etc. At some times of day the light requiresus to switch to different areas within a location to guar-antee greater variety.Usually I look for open shade with open sky. The sun

is our enemy. For large groups and family portraits I pre-fer soft outdoor illumination. Using a location that hasmeaning to a family helps create a better experience thanan in-studio session.

Do you create environmental portraits?These are a large portion of my family and high schoolsenior photography. During client consultation we dis-cuss this type of portrait, which helps create a more mem-orable experience. These settings also generate moreprofitable wall portraits and draw more word-of-mouthattention.In my studio, we do not deal with standard 16x20- or

20x24-inch prints. Wall portraits are sold as 20- inchprints, 24-inch prints, 30-inch prints, etc. As the artist, Ican present the image in the proportion that suits it best.

Which cameras and lenses do you prefer?I use Canon 1DS Mark II and Canon 5D cameras, withCanon 70–200mm f/2.8 IS and Canon 16–35mm f/2.8lenses. A longer lens with its narrower angle of view al-lows you to make backgrounds less distracting. In groupshots the long lens allows subjects in the foreground tostay more consistently sized with subjects in rows behindthem.

Do you sell many black & white prints?This is a big part of my signature series portraits. I usemy darkroom experience to create custom black & whitecanvases. There should be a reason for black & white,such as to enhance an emotion, subdue a color to create

better harmony, or to emphasize areas that color mightpull a viewer’s attention away from. Black & white canmake a powerful presentation.

Describe your workflow.I photograph in raw format and convert to JPEGs for ed-iting and image presentation. After an order is placed, Iconvert raw files to TIFFs, which are retouched and cus-tom enhanced in Photoshop for print preparation. Someimages are softened or given other effects, like Nik filters,prior to printing. Images are saved with the client’s rawfiles on a set of external hard drives for reorders or futurereference.Black & white canvas and watercolor portraits are sent

to my in-house Epson 7600 inkjet printer. All other pho-tographic images are done by White House CustomColour Lab, which also has a press printing divisionwhere we design and order graduation, holiday cards, andbusiness cards, bookmarks, and posters. Recently the lab

has begun printing albums, and we will again expand ourproduct line.

How are your clients’ images presented?We do not believe in using traditional paper proofs, whichcan be easily copied. Copyright laws are misunderstoodor ignored, so we prepare an electronic slide show pro-jected larger than life size. After the show we open all ofthe images and, with the clients, we edit down to their fa-vorites, especially where expressions are concerned. Wealso make suggestions about which images are best suitedfor wall portraits, gift sizes, wallets, black & white, can-vas, or watercolor.Prior to presentation we print a book with a Xerox

Phaser 8400 laser printer that uses solid wax inks and pro-duces smooth, photo-realistic images. Prints are four ona page with copyright markings and file numbers. This isdone easily with an action set called QuickProofs, whichwe purchased from John Hartman.


After editing we mark images inthe client’s Xeroxed book to helpthem make final decisions. A proofdeposit is collected and credited to-ward orders if placed in a timely man-ner. We also make an appointmentfor clients to return to order. We dis-play the albums we design, but mostare printed and/or bound by profes-sional publishing firms.

How do you structure your pricing?I do not care for portrait packagesbecause I feel clients should get ex-actly the images and sizes they want.There is always a demand for 5x7-and 8x10-inch prints, plus wallets.Our most popular wall size is a 20-inch print.In our area we are perceived as

being very expensive, but manyclients are delighted to find that ourdistinguished prints are actually closein price to some from other studios.Those who come to us do so for ourartistic quality and for the rewardingexperience they have heard about—expensive or not.In the last five years, we’ve only

raised prices twice. You need to knowyour market area to determine whatto charge without pricing yourselfout of business. For example, thereare only 463 high school seniors inmy area, with thirteen studios vyingfor their business. Most of those stu-dios charge half (or less) what we do,so we are careful to price prudently.In a larger community, my pricescould be two to three times higher.Your research will help you discoverwhat people are willing to pay.You need to know your costs and

profit margins. I believe many of ourcompetitors will go out of business

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because they do not consider their true costs. They thinkmainly about what they are “taking in.” However, whilethey’re around they impact what our market will bear.While our lab costs have decreased over the years,

other costs, including equipment and travel, have in-creased. Time has become a huge “cost” too. I couldspend endless hours doing image enhancement and artis-tic design, but at what return? Time truly is money.

How do you promote your studio?Most of our promotions are word of mouth. We also havedisplays in a mall, at a birthing center, and at area clinics.We direct clients to our web site, which we update our-selves. On occasion we send direct specials to high schoolseniors, plus special session announcements for familiesand children. We also offer sessions for local fund-raisersand auctions. We cannot write off donated services, butwe can deduct product value.

Are there any business details you’d like to share?I created one business plan for my Wisconsin studio andanother for my studio here in Michigan. We did another

business plan in 2007 to address new technologies, newproduct lines, and the changing market. We incorporatedin 2006, and I’m now paid as an employee, which offerstax benefits and helps protect us from liability risks.

How important is a photographer’s personality to his orher success?Personality is a huge part of my business, though I amfamiliar with photographers who lose business becausethey lack the ability to communicate. Photographers witha lot of outside interests relate better to clients becausethey understand their likes and dislikes. In my seminars Itell photographers to listen to different types of music,travel widely, and try not to be too opinionated. It’s kindof like dating: the more you have in common with peo-ple, the better you’ll get along. Expand your frame of ref-erence and you’ll connect better with others.The more we can understand about human cognition,

the better we’ll understand why people like certain im-ages and which ones tell them stories. Basically, we needto learn how to mess with people’s minds in a nice way,visually.


Joshua Kessler lives in New York City. I dis-covered his editorial portraits in AARP TheMagazine. The article was titled “10 PeopleWho Improved Our World,” and among theindividuals profiled were Michael J. Fox,Naomi Judd, Dr. Norman McSwain (a heroduring Hurricane Katrina in New Orleans),actress Jane Kaczmarek, Harry Belafonte,and Mike Huckabee, governor of Arkansas.Joshua grew up in Ohio, the last of sixchildren. He works mostly on location forpublications that value fine portraiture. Hehas recently worked in London, Alaska,Puerto Rico, and at the Sundance Film Fes-tival in Utah. To learn more, please visitwww.joshuakessler.com.

Describe your background.I decided to become a photographerwhen I was six, and I still have my firstcamera from that time. I attended OhioUniversity and graduated from RIT witha BFA in photography. Equally impor-tant to my education was a year off fromschool to play in a band. Also, immedi-ately after RIT I spent a year (1992–1993) working full time as a photo as-sistant for Annie Leibovitz. I then free-lanced as an assistant for a year-and-a-half for photographers such as JosefAstor and Steve Klein in New York.When I went on my own I claimed

that I photographed bands and babies

9. JOSHUA KESSLER

because my first two clients were Alternative Press, amusic magazine, and Child. That helped me build myfirst portfolio and gain access to record company clientswhere I mostly did publicity photos. The two biggestalbum covers I’ve done were the Foo Fighters’ secondalbum [The Colour and the Shape] and John Mayer’s first[Room for Squares].

Who are your influences and mentors?A friend of my father owned a camera store, and thereseemed to be an abundance of still and movie cameras inour house. Among my early influences were my olderbrother, Rebel, who was in film school, and my cousinWendy, who lived across the street and also went to RIT.In college I was fortunate to have great teachers such asDenis Defibaugh and Jim Megargee. Denis taught mehow to appreciate and incorporate the vast world of pho-tography. He showed us slides of current work and led ayearly trip to NYC to meet with working photographers.(He and his classes have visited my studio for the past tenyears.) Jim taught me to shoot what you know, the art ofthe personal document.Annie Leibovitz taught me to do my homework. In

the editorial field, the more you know about your sub-jects, the easier it will be to relate to them and make themcomfortable. Josef Astor and Bill Zules, Annie’s first as-sistant during my time, also influenced me. Josef is trulyan artist, and I hope some of that rubbed off on me.Most of my lighting skills came from Bill, who helped me


really understand how to handle lights when shooting avariety of portrait subjects.

Describe your studio.I can shoot portraits in my apartment, but it is more of ahome than a studio, because in recent years I have pho-tographed mostly on location. In New York there is anabundance of rental studios, and clients are happy to paywhen you use them, so the overhead to own a studio isn’t

necessary. However, I do like personal projects and small-budget jobs I can shoot in my apartment.

Do you have a philosophy that guides your approach tofine portraiture?The closest I have to a philosophy is that portraits aremore than photographs. They are documents of conver-sations between a subject and myself, a collaboration dur-ing which we both contribute our unique personalities

and skills. Many celebrities are able to pose more easilythan the average person. Fine portraiture tells somethingabout the subject, compared to a passport shot, which isjust visual information.Annie Leibovitz uses what she knows about a subject

to influence the vibe of the shoot. It’s all about making

the subject comfortable, and the better you relate, thebetter the chances you will make a great image.

Describe your approach to scheduling.Unlike a studio portrait photographer who may bookahead for weeks or months, as a freelance editorial


shooter I work whenever I’m called. Some jobs comein on almost an emergency basis, when an editor or artdirector finds that a subject is available tomorrow andis somewhat frantic to hire a shooter he can trust.My clients realize I stay cool in such situations, and Idon’t pass on any anxieties to subjects, who in turn leavetheir problems at the door of the studio and are veryprofessional.Location scouting is frequently an important part of

my business, but too often I have little or no pre-shoottime. On larger jobs, locations are almost always scouteda day or two ahead, and clients pay for this research time.When magazine and corporate editors do plan ahead thejob is more comfortable for everyone. When an art di-rector or editor and I are acquainted, I usually get lim-ited guidelines. When it comes to a big advertising job,every little detail is discussed. On a last-minute editorialjob I may not know what I’m going to shoot until I walkin the door. Scheduling and preparation just depends onthe job. I always have at least one assistant on location orin the studio, and two for larger jobs.

Were your early business expectations realistic?Ignorance is bliss. I just knew that everything would workout and I would become a published photographer. How-ever, I am constantly convinced that I will never workagain, which may be good because it keeps me from beingcomplacent. The good and bad news is that your wholeworld can change with one phone call. While you arewaiting, you’ve got to keep your equipment ready to goand test new techniques. It’s like going to the gym. I amconstantly learning and evolving as a photographer andin business matters. I hope that never changes.

How do you approach posing?During our collaboration every subject brings a personal-ity and attitude that help him or her communicate withme and the camera. I tend to see what poses fit peoplenaturally.Generally, the first poses at a session are reconnaissance

to discover what works. Sometimes I’m fortunate to workwith celebrities who know how to pose, but I steer themto my views—gently. I learn about them beforehand,which allows me to engage them more easily and buildthe shoot around features of their personality. Once I have

an idea of what they are about, I can make better deci-sions on posing, props, lighting, and backgrounds.

Describe your approach to indoor and outdoor locationshoots.Indoors on location I use lighting as if I were in the stu-dio. Outside I generally mix ambient light with strobe,sometimes to add contrast. Often when I have to shoota subject in a specific location, it’s the client’s request, orit accommodates the subject’s schedule.I once photographed Denise Richards at the Sundance

Film Festival in a stairwell behind a soda machine. I’vealso shot in swimming pools with underwater cameras.The trick is to find a good location when it doesn’t seemthat there is one with a detail, surface, or pattern that isinteresting.

It’s true that some people canhandle harsher light than others,such as a model with very good hairand makeup. I generally like a softerlight that looks good on most peo-ple. I just follow two old rules. Thecloser the subject to the light sourcethe softer it will be, and the biggerthe light, the softer the light. As thelight gets farther away I adjust ap-propriately.

My location gear depends on thejob. The most basic setup is four Pro-foto 1200w/s packs, six heads, twohead extensions, two Profoto globes,two custom-made medium soft-boxes, two large Chimera Lanternsoftboxes, one mini Chimera soft-box, four reflectors, two C-stands,four regular stands, one silver/whiteflex fill, three AC extension cords,miscellaneous clamps, gels, and al-ways gaffer’s tape.

Believe it or not, all that fits intofour cases and a camera bag. I usetwo Tenba hard cases for packs andheads, and two long soft cases forstands, softboxes, and grip equip-ment. I could consolidate more, but

new airline weight restrictions make it necessary to evenout the load. When I do not have access to power I takebattery-powered Profoto 7Bs and extra batteries. The ex-ception is when I work in Los Angeles, where you canrent anything, so I just take the camera bag and one bagwith my softboxes I choose not to rent.

Which cameras and lenses do you prefer?When shooting film, I work with a Hasselblad 500C/M,and generally go against convention with normal (80mm)to wide-angle (50mm) lenses. When necessary I switchto a 120mm short telephoto. I handhold except when Iam in a mixed lighting situation and need a tripod forslower shutter speeds to accommodate the ambient light.I shoot Fuji NPH 400 exclusively, unless the client re-quests transparency film. Color negatives give me the


look I like. For digital capture, I use a Nikon D2x with an18–55mm zoom lens.I really shoot whatever the client requests, but the

more I work with digital the more I like it. I have alwayspreferred wide angle and normal lenses because they giveyou a sense of space. Telephoto lenses squish things toomuch.Photographers are a strange bunch when it comes to

equipment. I don’t think two photographers in the world

have identical setups. The best equipment is what worksfor you and for your style. I still carry my Hasselblad onjobs even when they are digital, just because it is an oldfriend.

Do you sell many black & white prints?My clients like the way I use color, so I am generally notasked to shoot black & white. I once used it for personalwork, but I’ve switched to digital color.

Painter Edward Hopper is an artist whose color palettehas always influenced me. It is vibrant without being highcontrast, much like Technicolor movies, my other maininfluence. I consider color as a kind of prop, whether it isseamless and taken for granted or it’s prominent in a sub-ject’s clothes or home.

Describe your workflow.I process digital files in-house and do minor corrections.I convert the raw files and do color correction and basicretouching. If extensive retouching or compositing isneeded I send it to a lab. If a job was shot on film, I de-liver contact sheets and then final prints to the client. Ifit’s shot digitally, I deliver low-resolution JPEGs onDVDs or upload them to my FTP site to be downloaded.

How do you structure your pricing?Prices vary for each individual job, depending on theusage. Fees consist of a day rate in addition to all ex-penses. If the image is for editorial, one-time use and I re-

JOSHUA KESSLER 113

tain the copyright, the fee is substantially lower than ifthe client wishes to buy all rights, such as advertisingagencies often prefer. Expenses include air fare, mileage,hotels, meals, equipment rentals, and everything relatedto the job that I pay for.

How do you promote your studio?I use a combination of methods, because today synergy is

important in all aspects of promotingyourself. My web site is the mainfocus followed by e-mail promotions,printed promotions, source bookads, and the old mainstay—going onappointments to show my work. Itake time for the latter when I feelthat while talking to a client, the giveand take of ideas can help me cinchassignments. If they already like mywork, they can be convinced to hireme at our meeting.

Do you shoot any personalassignments?My personal work mainly revolvesaround keeping a photo documentof my family. I am the last of sixchildren with thirteen nieces andnephews and eighteen first cousins. Iused to shoot black & white withwith an old Nikon in natural light.Since I started a series of environ-mental portraits of my siblings,cousins, and aunts, I’ve used colorand images are fully lighted. I havealso been making digital slide showsof pictures taken during my travels.

How important is a photographer’spersonality to his or her success?As noted previously, photographersshould realize the advantages of skill-ful, cheerful interaction with the sub-ject that makes them feel comfor-table. When I interact with celebritiesit’s as simple as treating them like real

people. I find something to talk about that they are in-terested in, other than the current project they are pro-moting, and I think they find it refreshing. I alwaysconsider a photo session as a conversation between twopeople. I need to be comfortable to work, and I helpthem relax, talk, and “perform” for me in a usually low-key way. I learned early on not to be intimidated, and Ishow my ease in the way I talk and work.


Simon Walden opened FilmPhoto.Co.UK at Cheltenham FilmStudios in the English Cotswolds in 2005, moving from ahome studio. Cheltenham, population 100,000, is aboutsixty miles west of London. Simon’s studio includes numer-ous sets and an extensive adjacent garden. He enjoy creat-ing high-color and high-contrast images that excite viewers.He also does film and TV, CD covers, and weddings. To learnmore, please visit www.filmphoto.co.uk.

Describe your background.At Exeter University I dabbled in art photography, butmy career goal was in information technology. In 1995,I became involved in web design and graphics, and thecomputer unleashed my untapped artistic creativity.My wife, Ingrid, inspired me to work at improving my

concepts and techniques. I photographed her often, andworked to improve my digital manipulations. The local

10. SIMON WALDEN

camera club gave me a good boost inunderstanding why images work. In2003, I started advertising as a por-trait photographer in a convertedgarage, and I went to workshops.Let’s face it: it’s not hard to learnphotographic theory if you masterone main aspect: how shall I directthe light?In 2005, I moved to a much

larger studio in our nearest town,Cheltenham, happily continuing myphotography career. I concentrate onpeople photography, and hearing,“Oh wow! Don’t I look wonderful?”is my big thrill. Portraiture, modelportfolios, and wedding photogra-phy dominate my time equally, but Ialso do fashion, film, theater, andevents. I’m fascinated by how emo-tions are captured with a camera.

Who are your influencesand mentors?Two artists inspired me. Willi Kiss-mer makes photo-realistic engrav-ings, many quite erotic without nudi-ty. Form is revealed through clothdrapes. Howard Schatz creates stun-ning underwater images with humorand perfect composition.To discuss and develop photogra-

phy I joined a group of four localphotographers whose work I respect.I’m a great believer that the personbehind the camera is the most im-portant part of the process. A think-ing photographer will always findsomething extra through intuition,experience, and inspiration.

Describe your studio.It’s 1,000 square feet including 600square feet of shooting area, plus of-fice and storage space. In the UK it’s

a large and expensive chunk of real estate. In the shoot-ing area are a large white backdrop, a black backdrop, amock castle wall, and a mock Mediterranean wall as per-manent fixtures. I like a minimum of furniture—twochairs, and one settee on wheels. I nearly always workalone, though I bring in makeup artists when required.The studio is situated in lovely grounds with a lake,

woods, rocks, sculptured gardens, and a manor housethat I can use as background. Most of my sessions areboth indoors and outdoors, which gives me an edge inthe UK, where few studios do outdoor work. I lease now,but I will buy when I find the right property. Real estateis very expensive, but commitment to a large monthly billcan be a strong business driver.

How do you approach your sessions?What I want from every session are images that truly cap-ture the individual spirit, and with some subjects that isnot always feasible. Some clients only want a formal tra-ditional style. Others seek something more dynamic.

You have to believe the client chose you because ofyour style, your distinctive touch. They may say simply, “Ilike your photos,” and your enthusiasm must show.There’s nothing clever about simply taking a photograph.A teenager running the shopping mall baby photo boothproves that. I set out in each session to create uniqueworks of art.

Describe your approach to scheduling.I try to schedule only a single portrait shoot a day, and iftime allows I move to editing when the shoot is finished,though I have to be flexible. I never do more than onewedding in a day. Weekends are kept clear for Ingrid andme except for weddings and big group pictures. Meetingclients’ needs often makes spontaneity necessary.I also make time to take pictures for myself, for the fun

of being creative. I’m fortunate to do quite a lot of modelportfolios, so I can talk subjects into doing somethingdifferent to explore my vision and give them somethingspecial too.


Were your early business expectations realistic?There’s a difference between realistic expectations andactually managing your business to achieve goals. In mytransition from designing web sites to photography, Ifound that time is precious and needs to be focused. Mostbusiness owners discover that administration uses up toomuch time.I found I had to do more marketing, more than just

advertising. I make opportunities to network with peoplewho can bring me business through word of mouth.

How do you approach posing?I rely on standard poses until I feel a sitter is capable ofsomething more. The usual poses offer a lot of comfortvalue and will produce reasonably attractive images. If theportrait subject is outgoing, I try more and differentposes. Be flexible. Realize the client’s personal well-beinghelps dictate where the session goes.I begin with a subject seated on a chair, and shoot

some easy and fairly formal poses. When the subject ismore at ease I’ll photograph them standing and moving

from place to place, saying, “Stand against the wall, siton the floor, be casual on the sofa.” I like to shoot quicklyand keep the energy and fluidity going. I also encouragenumerous clothing changes.I recommend working hard to practice posing clients.

Your direction should be instinctive enough to avoid theclient feeling you think he or she is fat. If a pose doesn’twork, it’s your fault. The client can’t see what you see, sobe positive. Straighten the subject’s back “for a greatbody line,” not “to make you look less heavy.”For most clients, I work around three core styles. The

first is straight and formal, often on a white or mottledbackground. The second is a high-contrast, richly coloredlook for maximum impact. The third is a moodier, moreromantic look, colorful, but with plenty of shadowaround, and sometimes on, the subject. This style oftencomes with a soft focus treatment for emphasis. I rarelywork with props unless there is a pictorial reason.I believe experimenting is fundamental to your im-

agery. Whenever possible I experiment, trying a lightingstyle or an offbeat pose. Most experiments are variations

of themes, such as moving lights oradding or removing them, or doingsomething with reflectors. These canall be incorporated into a session.

What strategies do you employ tocommunicate with your subjectsand elicit the desired expressions?I’m not naturally a big talker but Itry, mostly saying, “good, excellent,brilliant, well done.” If I want aspontaneous expression, I ask thesubject to shake their head, give it atwirl, or even jump up and down. Istart a session with these top tips forposing like a supermodel:

• Place weight on the back legand tilt your hip.

• Turn hands side-on to avoid“banana fingers.”

• Lean forward to look moreinteresting.

• Don’t lean on a hand posednear the face; delicately touchit to face.

• Straighten your back, pulltummy in, chest out (oftenrepeated).

• Find a genuine laugh inside toexpress itself in a smile.

The last tip is most crucial. Whenthey are smiling inside it really doesshow in the image. For most poses Ishow how I want them to look. Tomove the face I suggest, “Lift yourchin a little, turn to the right a little.”

What lighting equipment andapproaches do you favor?I use a maximum of three lights. Mymain light is a 2-meter octobox soft-light, and it’s my friend. Turn itsquare on for good even beauty

lighting, flip it round to the side for a nice feathered butmodeled light. My second light has either an umbrella ora tight reflector with a grid and is used for fill and spotlighting. My third light is permanently fitted with abeauty dish (a larger soft lighting reflector) that illumi-nates the backdrop, or is a hair light/backlight. Foradded interest I drop colored gels over the lights.I start a session with the big octobox almost directly

on the subject to ensure a well-lit face. Moving it to theside brings out more modeling. I position the subject sothe lit side of the face is turned away from the camera togive it a thinner, more elegant structure.Currently, I’m using more backlighting on the subject

to enhance an image, which clients feel looks “profes-sional” in the final image. Of course it helps separate thesubject from the background and adds a glamoroustouch.Outdoors I nearly always shoot with a dedicated flash,

either on-camera or on a flexible extension I can hold.

This adds a bit of fill and sparkle. In interesting lightingconditions the flash is turned off. I do most locationphotography in my garden at the studio where I knowhow the light works, and which backgrounds are themost useful.On indoor locations I shoot without flash, using the

camera’s ISO adjustment to compensate for low light lev-els. I use image stabilized lenses, though I throw in a lotof motion blur or camera shake images. For indoor loca-tion fashion shoots my full studio lighting rig comes intoplay. I also take a complete portable studio to wedding re-ceptions for guest portraits using a single umbrella lightagainst a simple white backdrop. Photography is easierwith happy and slightly intoxicated guests, uninhibitedand smiling.

Which cameras and lenses do you prefer?I use the Canon 30D with a 24–75mm IS zoom lens, andI switch to a long zoom 70–300mm for some outdoor


work. I feel that if you’re a good photographer, you’lltake good pictures with almost any kind of professionalkit.

Do you sell many black & white prints?Clients are presented with all their images in color andmonochrome. I encourage them to go for the mono-chrome, which I feel is nearly always a longer-lastingimage and more artistic. Butclients often choose color be-cause of its impact.

Describe your workflow.I do all my own editing and en-hancing using a whole set of se-quences and custom-built fil-ters. Most editing is cleaningup facial blemishes, flyawayhairs, marks on the floor, etc.My photographic style, in theshoot and in the final prints, isbased on the images being dig-itally processed. I use PaintShop Pro, which in some circlesis seen as budget software, butit has a very customizable in-terface, and I’ve built a pro-gram that does what I wantquickly and easily.Almost everything is re-

corded as a script (equivalent toactions in Photoshop), so I canpull many different styles of fin-ished images out at the click ofa button. My sequence of oper-ations produces a particularstyle, such as a sepia tone, orcomplex multilayered actionsto create unique images. Evenwith discipline I usually find Ihave chosen too many picturesfor the final edit, which I realizeextends postproduction time.I hate printing. Every printer

I’ve ever owned has been a

pain; the paper misfeeds, the inks run out, it’s too slow.So I upload images and order from a professional lab. It’ssimple and grief-free.

How are your clients’ images presented?At my studio clients see their pictures projected on ascreen. Sometimes I send them a CD with a slide showpresentation or put their pictures online. The best sales

come from presentation in the studio, where clients al-ways choose more pictures and larger prints.A CD slide show includes my sequence of images in

color and black & white set to music to create an impactwhen they first see them. The CD is only active for fifteendays, but they can purchase a permanent CD or DVD.

How do you structure your pricing?Here’s how I see pricing: you are selling your time andexpertise, and the client is buying prints. Perhaps we

ought to charge on the basis of shooting and postpro-duction time. In my experience, when some clients firstcall they say they want one picture. By the time they fin-ish they buy several prints, larger than they expected.So, when a client first inquires, I’d like to say, “It’s £X

pounds for the whole shoot, and your prints are free.” Xis a large number representing what my work is worth.What the client wants to hear is that prints cost a smallnumber. I have not been brave enough to do this, but Iwant to. I have not yet generated enough word of mouth

among high-end clientele. In themeantime, my shoots are free andprints are in the medium price range.This has been successful in that theclient is encouraged to make an ap-pointment, and if they don’t like mywork, they’ve spent nothing, thoughthat’s happened only once.

I offer packages to models or ac-tors for portfolios at a fixed price fora limited shoot with selected imageson CD for them to print or e-mail.Models are looking for a range ofpictures for different purposes thanclients who put them on a wall.

How do you promote your studio?Yellow Pages, my web site, and wordof mouth are equal providers of newbusiness. My company name is myweb address: www.filmphoto.co.uk.Prospective clients decide if my worksuits their tastes, and more impor-tantly, decide if my pictures impressthem more than my competitor’s. Ibuild and maintain my own website—that’s my previous career. I alsosend a regular newsletter to past andprospective clients, with special offersand vouchers.

Are there any business details you’dlike to share?I don’t pay myself a fixed salary. Myoverall income is a part of the busi-

ness plan. My new, larger studio took me away from myold customers, so it’s like building a new business withvariable income. I don’t employ staff; instead, I use free-lance makeup artists or models when I need them.New portrait photographers must consider marketing

expenditures. Some opportunities that seem temptingwill generate no income. Be budget conscious, but beprepared to spend more than you expected.

How important is a photographer’s personality to his orher success?I’m not a very gregarious person, but I am social, polite,and presentable. I smile a lot throughout a session to helpmy clients feel they have my personal touch. When I amselling, I am factual. I help clients with prices and selec-tions but never push sales. I know other photographerswho sell very hard, and clients spend more, but theydon’t always feel happy about it.To me a shoot is like a jazz improvisation. Jazz musi-

cians know that great music comes through practice.Great musicians practice incessantly to revisit old tech-

niques and learn new ones. They keep their fingers andminds supple. Photographers are also aware that improv-isation is based on practice.

SIMON WALDEN 125

As you look through this book, you will find all kindsof portraits. Some are formal, some are candid, some

are informally posed—and while no contributing pho-tographer shoots just one type, each has a style and vi-sion that is uniquely their own. How they have developedthis style varies from photographer to photographer.Some look to comtemporary portrait artists for inspira-tion, others look back to the great portrait painters.For my part, I would encourage you to study the work

of the great pre-digital portrait photographers whensearching for ways to enhance and expand your reper-toire. Study the work of Joseph Karsh, who had a verysuccessful way with celebrities and world figures. Hislighting techniques might have been a bit formulaic forcontemporary tastes—but what a formula!Another terrific portrait photographer I’d recommend

studying is David LaClaire. Although he is no longerpracticing, David did a book of his own (self-published),a beautiful compendium of a life’s work starting with hisfather’s early 20th-century photographs. David devel-oped an affluent clientele in Michigan and was also afriend of President Gerald Ford, whom he photographedoften. His classic imagery is just what his rich clientswanted—and just what he loved to do.Maybe I’m just nostalgic about classic portraiture. If

so, it’s just a counterpoint to the marvelous examples ofmore contemporary images that illustrate this book. Por-

traiture, in one form or another is as old as history. Makethe most of it for yourself in your 21st-century business.


CONCLUSION

PORTRAIT OF MAN RAY BY LOU JACOBS JR.

BBackground selection, 15, 24, 35,

46–47, 63, 76, 87, 101Begleiter, Steven, 7–16Business skills, 11, 20–23, 29–30,

32, 44–45, 61–62, 73,82–85, 96, 109, 119

CCaylor, Carl, 92–104Commuication, 12–13, 23, 32–34,

45–46, 62–63, 74–75,85–87, 99–100, 120

DDolgin, Marcia, 17–28

EEquipment selection, 13, 24–25, 36,

47, 65, 76–77, 88, 101,110–12, 122–23

FFine portraiture, 4Forester, Beth, 4, 29–41Frost, Frank, 42–54

KKessler, Joshua, 105–115

LLighting, 13–15, 23–24, 34–35, 75,

87, 100–101, 120–22Location portraits, 15, 24, 35–36,

48, 63–65, 76, 87–88, 101,110

MMaitland, Suzanne, 55–66Marketing, 16, 28, 41, 42–43,

53–54, 66, 78, 90–91, 104,114, 124

Mentors, role of, 8, 19, 57, 68, 81,93, 106–7, 117

NNelson, Chris, 67–79

OOffbeat portraiture, 6

PPersonal projects, 6, 31, 114Posing, 12, 23, 32, 45, 46–47, 62,

73–74, 85, 96–99, 109–10,119–20

Pricing, 16, 27, 40–41, 51–53, 65,77–78, 90, 103–4, 113–14,124

Proofing, 26–27, 38–40, 51, 66, 77,89–90, 102–3, 123–24

Purpose of portraits, 5

SScheduling, 11, 20, 44, 60, 70–73,

82, 108–9, 118Studio design, 8, 19, 30–31, 43,

57–58, 68–70, 81–82, 93,107, 117–18

Style, 4–5, 9, 19–20, 31, 43–44, 60,82, 93, 107–8

TTaufer, Vicki, 5, 80–91Teaching, 94–95

WWalden, Simon, 6, 116–25Workflow, 16, 26, 37–38, 48–51,

65, 77, 89, 102, 113, 123

INDEX 127

INDEX

Amherst MediaPUBLISHER OF PHOTOGRAPHY BOOKS

PO Box 586Buffalo, NY 14226

www.AmherstMedia.com

$34.95 USA$38.95 Canada

#2003

P R O P H O T O W O R K S H O P TM

MASTER THE TECHNIQUES PROFESSIONALS USE TO CREATE MEMORABLE PORTRAITS

Go behind the scenes with ten professional photogra-

phers and learn the secrets that have helped them rise to

the top. Packed with tips for achieving success in every aspect

of the business, this book is a must-have for those who as-

pire to create great portraits—and make a living doing it.

FEATURES:

Choosing the right cameras, lenses, and equipment

Planning an efficient and successful shoot

Techniques for posing and lighting

Tips for communicating more effectively with your clients

Working in the studio or on location

Customizing a workflow to best suit your needs

Marketing techniques to attract new clients

Pricing and selling tips to boost your bottom line

INCLUDES TECHNIQUES AND IMAGES FROM:

Steven Begleiter

Marcia Dolgin

Beth Forester

Frank Frost

SuzanneMaitland

Chris Nelson

Vicki Taufer

Carl Caylor

Joshua Kessler

SimonWalden

professional - portrait photography - soul-foto.ru

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