2015 new format fall/win 2015 2006 Annual Issue 10/21/15 2 ...aipress.com/2015Fall-Win.pdf · dence to: Today’s Photographer Magazine, P.O. Box 42, Hamptonville, NC 27020-0042 USA

PhotographerPhotographerthe Make Money With your Camera Magazinethe Make Money With your Camera Magazine

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InternationalInternational

My PASSIONFOR PReSS PHOtOGRaPHyLeD Me tO PReSIDeNtS aND MORe

My PASSIONFOR PReSS PHOtOGRaPHyLeD Me tO PReSIDeNtS aND MORe PaGe 28

CaPtURe World Class Winners CaPtURe World Class WinnersPaGeS 11 & 14

SHOOtING straight from theSIDeLINeSSHOOtING straight from theSIDeLINeS PaGe 23

CatCH theBURStCatCH theBURSt PaGe 5

SeIZe theMOMeNtSeIZe theMOMeNt PaGe 19

Beat theLIGHtING Challenge

Beat theLIGHtINGChallenge PaGe 7

2015 new format fall/win 2015_2006 Annual Issue 10/21/15 2:57 pM page 1

www.ifpo.net Today's Photographer International 1

MARcELLA MIRAnDE-kETchAM IfpObOcA RATOn, fL

ThERE IS nOThIng AS ExcITIng AS ThE hORSES bREAkIng OuT Of ThESTARTIng gATE. (MORE On pAgE 14) ©2015 MARcELLA MIRAnDE-kETchAM IfpO

OUta’ tHe Gate: GULFStReaM PaRk RaCe tRaCk IN HaLLaNDaLe, FLORIDa

With Brian Ratty, world famous photographer and educator

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2 Today's Photographer International www.ifpo.net www.ifpo.net Today's Photographer International 3

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tODay’S PHOtOGRaPHeR INteRNatIONaL 2015 FaLL/WINteR Volume 30, Number 1

Contents

FEATURES

11. GRaND PRIX De MONaCO 2015 (MONte CaRLO) WINNeR. © 2015 AnETT pATRIcE vAn YORk, IfpO MOnTE cARLO, MOnAcO

14. CaPtURING GReatNeSS: ORb wAS On hIS wAY TO wIn ThE 2013 kEnTuckY DERbY whEn I ShOT ThIS phOTO In 2013 AT ThEgRADE I fLORIDA DERbY AT guLfSTREAM pARk In hALLAnDALE bEAch, fLORIDA. ©2013 MARcELLA MIRAnDE-kETchAM IfpO, bOcA RATOn, fL.

44. SNaPSHOt OF a SUPeRStaR: AS A phOTOJOuRnALIST ThE OppORTunITY TO TAkE A pIcTuRE Of ThE wORLDS bEST SOccER pLAYERLIOnEL MESSIwAS ThE MOST IMpORTAnT EvEnT In MY phOTOgRAphIc hISTORY. © 2015 DIEgO pIETRO IfpO, hOuSTOn, Tx

ON tHe COveR: CatCHING tHe BURSt. © 2015 gEORgE AuSTIn IfpO, gREEnvILLE, kY

SHOOtING WINNeRS11 14

44



At LASt YOu CANPUt a LINk tO yOUR HOMePaGe on IFPO tOP PHOtOGRaPHeRS SIteA Link to your Homepage from the IFPO’s Top Photographers Site guides potential clients in your area to click directly toyour Home Page to see your work, find your contact information, pricing and other important information. Your listing onTop Photographers includes Your Name or Business Name, City, State/Province, and Country. Go towww.ifpo.net/topphotographers for examples of listings. ONLY $19.95/year. Register for this valuable service at:http://ifpo.net/toplinks.html

With your Credit Card CALL 1-800-654-9557 with the URL (LINK ADDRESS) to your Web-Site.

As a press photographer I spend a lot of timearound airports shooting air shows and othernews events. I am interested in anything that hap-

pens in the sky. I especially love shooting fireworks.Catching the burst requires concentration, practice and per-fect timing. A little patience also helps.

My technique is simple but it works. Follow the streakfrom the ground with camera in autofocus. When fireworksexplode, the light meter will have 1 to 2 seconds to focusand lock an exposure. The trick is not to zoom all the wayout causing the focus to have to travel back and forth topick up the explosion.

I use a panning technique with my finger on the shutterready to click at the very instant the burst goes off. Releas-ing the shutter a split second early or late spoils the shot.Practice, practice and determination make great resultsmore predictable.

These photos were taken at the 2015 Independence Daycelebration in Powderly, Kentucky produced by theGreenville and Graham fire departments. The event attract-ed about two thousand people. Ω

PHOTOS ©2015 George Austin IFPO, Greenville, KentuckynIkOn D3 wITh 70-200MM f/2.8 nIkOn LEnS, f/4, 1/400 SEcOnD, ISO 6400.

by george Austin IfpO, greenville, kYCatCHING t H e BURSt

5. CatCHING tHe BURSt: fOLLOw ThE STREAk

7. Beat tHe LIGHtING CHaLLeNGe: DAY AnD nIghT

11. eveNtS: fORMuLA OnE, fAShIOn, REgATTAS AnD ROYALS

17. PROteCt yOUR RIGHtS aND PHOtOS: IMAgES hAvE vALuE

19. SeIZe tHe MOMeNt: fOR REcOgnITIOn AnD pAY

20. CaPtURe SPeeD aND aCtION: TIpS fOR MOTOR SpORTS

23. SHOOt FROM tHe SIDeLINeS: InSIDERS vIEw

45. FaSHION PHOtOGRaPHy: TIpS ThAT wORk

TIPS AND AWARDS

28 19

7

ON aSSIGNMeNt:8. WILDFIRe

17. a RISING StaR

25. FavORIte PHOtOS

27. MaLta: ReMeMBRaNCe Day

28. PReSS: aWaRDS aND PReSIDeNtS

48. CaPtURING tHe Beat IN HOt-LaNtaCOLLeGe FOOtBaLL 23 28


www.ifpo.net Today's Photographer International 76 Today's Photographer International www.ifpo.net

My first feature on concert photog-raphy was published in this magazineseveral years ago featuring WillieNelson at a festival in Ozark, Alaba-ma. Since then I have shot a lot oflocal and regional festivals every yearfor lots of different reasons.

First, they are great fun. Secondly,attendees often ask me to shoot theirpictures so I get a few indirect salesplus the names of future potentialclients. More important I often bookother events to shoot later or at leastget leads for other projects. I amalways amazed at the number of fanswho request my business cards andhow to contact me later! Ching-Ching!! Covering festivals as a mem-ber of the media is absolutely one ofthe best investments of my time topromote my photography business.

I like to get my work published fre-quently (again to promote my photog-raphy business), so I always submitmy festival photos and articles to sev-eral different appropriate news outletsto be considered for publication.

My goal recently was to do a light-ing study at the Toadlick Music Festi-val in my hometown of Dothan,Alabama. This is a family orientedevent held yearly and one of thebiggest music festivals held in thegreat state of Alabama. It attractssome of the most popular entertainersin the music world. Festivals go onfor days and nights in all kinds of

HOWFROM tHe PUBLISHeRwe are announcing a very different format for future issues of

Today’s Photographer International magazine. beginning with thisissue all upcoming issues will allocate more pages for editorial materi-al which will increase the publishing opportunities for IfpO members.

IfpO programs and services, which have always taken many pagesin the magazine, will be listed in the IfpO Members Directory of Ser-vices on page 37 with the internet links to complete information andhow to join each program. Many other programs are still offered onpages listed below.

we believe this new design will be more attractive to IfpO memberswho are eager to get their work published.

Jack M. Gallimore

PublisherJack M. Gallimore

Editor in Chief Vonda H. Blackburn

Editorial Staff:Cass KerringtonRay Bream

Editors at large:Dennis HodgesElliot (Ed) Doering

Operations Staff:Annette BlackburnEloise BrinegarDebbie Cofer

tODay’SPHOtOGRaPHeRINteRNatIONaL

Today’s Photographer International Magazine

AMERIcAn IMAgE pRESSpO bOx 42, hAMpTOnvILLE, nc 27020(336) 468-1138 • fAx (336) 468-1899

Today’s Photographer International Magazine is published by American ImagePress in Hamptonville, NC 27020. Send advertising and editorial correspon-dence to: Today’s Photographer Magazine, P.O. Box 42, Hamptonville, NC27020-0042 USA. Subscription is free to IFPO members.

Please send change of address forms as well as subscription correspondence toToday’s Photographer Magazine, P.O. Box 42, Hamptonville, NC 27020-0042USA. Allow at least six weeks for the change of address to become effective.COPYRIGHT AMERICAN IMAGE, INC., ALL RIGHTS RESERVED.

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IfpO cORRESpOnDEnTS george Austin, greenville, kYJerome Dorn, Atlanta, gAkeith cephus, virginia beach, vAkeith gibson, Maltabecky hullar, Dothan, ALArthur wiegman, The netherlands

IFPO PHOTOGRAPHERS PUBLISHED IN THIS ISSUE

gEORgE AuSTInwADE bLAckwELLSTEphAnIE cAMpbELLELLIOT DOERIngJEROME DORnkEITh gIbSOnbEckY huLLARMARcELLA-MIRAnDA kETchAM

JAcOb LOwYDIEgO pIETROgARY RAffEnSbERgERROY SpELLER SR.cAL STEvEnSAnETT-pATRIcE vAn YORkJOSEph ZAhnLE

tO Beat tHe LIGHtING CHaLLeNGeCONCeRtPHOtOGRaPHyby becky hullar IfpO, Dothan, AL

bEckY huLLAR IS A MASTER phOTOgRAphER wITh OvER 30 YEARS Of fREELAncE pROfESSIOnALphOTOgRAphY ExpERIEncE In ALMOST EvERY vEnuE IMAgInAbLE. hER wORk hAS bEEn pubLIShEDLOcALLY, REgIOnALLY, nATIOnALLY AnD InTERnATIOnALLY (IncLuDIng Today’S PhoToGraPher MAg-AZInE SIncE 2006). ShE ATTRIbuTES hER SuccESS TO MAnY YEARS Of LEARnIng On hER Own AnDThE MAnY MEnTORS MET ALOng ThE wAY. ShE STARTED ShOOTIng SERIOuSLY AT ThE AgE Of 17.cOnTInuED pAgE 30

Editorial Submission guidelines 40IfpO Auto Emblems & freelance field kit 42IfpO business cards 2IfpO press hats and Emblems 10IfpO business forms 16IfpO Directory of complete Member Services 37IfpO Distributor program 43IfpO Membership Information and Specialty certificates 38IfpO press programs 39IfpO field kit and crew Tag ID 26IfpO hall of fame Information 36IfpO Master photographer Information 41IfpO Membership update cards 46IfpO Order form 47Stock gallery program 18press correspondent’s chase kit 22

IFPO MEMBERS DIRECTORY OF SERVICES page 37



fIRES fROM ThE SuR-ROunDIng STATES OfwAShIngTOn AnD OREgOnhAD A MASSIvEcLOuD Of SMOkE DRIfTInTO ThE cLEARwATERRIvER vALLEY In ThE SuM-MER Of 2014. ThIS phOTOwAS ShOT whILE I wASShOOTIng bOATS, RAMpS,pEOpLE AnD ScEnERY OnThE cLEARwATER RIvERfOR ThE buREAu AnDLAnD MAnAgEMEnT (bLM)SpRIng 2015 SpORTIngguIDE. IT wAS ALSO uSEDbY A LOcAL Tv STATIOn.

“OThER MEDIA OuTLETSARE MORE wILLIng TOcOnSIDER AnD AccEpT MYphOTOgRAphS nOw ThAT IhAvE MY IfpO ID cARDSAnD vERIfIcATIOn.”JOSEph ZAhnLE IfpOOROfInO, ID

GaLLeRy


EVENTPHOTOGRAPHY

10 Today’s Photographer International www.ifpo.net

www.ifpo.net Today’s Photographer International 1110 Today's Photographer International www.ifpo.net

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AnETT pATRIcE vAn YORk, IfpOMOnTE cARLO, MOnAcO

InTERnATIOnAL MEDIA SwARMS ThE fORMuLA 1 gRAnD pRIx DE MOnAcO2015 (MOnTE cARLO) wInnER MERcEDES’ nIcO ROSbERg. ROSbERgupSET hIS TEAMMATE LEwIS hAMILTOn LATE In ThE RAcE AfTER A vERYcOMpETITIvE Run. ©2015 Anett-Patrice van York, IFPO

(MORE On pAgE 13)

FORMULa 1 GRaND PRIX De MONaCO 2015 (MONte CaRLO) WINNeR


Les Voiles d'Antibes theannual sailing regatta inAntibes, France, hosted its20th edition this year witha selection of the mostbeautiful classic yachts inthe world! The racing tookplace with 74 registeredmagnificent yachts, alongthe coastline between thebay of Antibes and Juan-Les-Pins.

Competing were someof the most beautiful Vin-tage Yachts built before1950, Classic Yachts builtbefore 1976, Spirit of Tra-dition Yachts and ClassicMetric - 6MJI 8MJI andthe 12MJI, competing inAmerica's Cup from 1958to 1987, which haveshaped the history ofyachts since the late nine-teenth century! Ω

www.ifpo.net Today's Photographer International 1312 Today’s Photographer International www.ifpo.net

MAJOR SpORTS ARE DOMInATED bY MEn -- IncLuDIng MOST Of ThOSE bEhInD ThE cAMERAS! AS A wOMAn phOTOgRAphER I AM nOTInTIMIDATED. I wAS OnE Of OnLY A fEw wOMEn In ThE LInE up Of phOTOgRAphERS (AbOvE) cOvERIng ThE 2015 fORMuLA 1 gRAnDpRIx DE MOnAcO (MOnTE cARLO). AnETT-pATRIcE vAn YORk IfpO

If you are an event photographeryou mostly have to shoot events in thearea where you live. Because I live inMonaco, and the FORMULA 1GRAND PRIX DE MONACO (MonteCarlo) is one the most important andappreciated worldwide events of theyear, it is high on my agenda.

Although I have been in the fashionindustry for 30 years and cover theworld' s number one fashion week inParis as well as the one in London andothers, I was always interested in fastcars! I love challenge sports and theF1 racing events are some of the mostchallenging in motor sports.

Sailing is another one of my pas-sions. I am a sailor and luckily livenear the areas of Cannes, Antibes, St.Tropez and Monte Carlo) where theworld class regattas attract the mostbeautiful sailing yachts from all over.the world. It’s beauty for the eye andthe soul. Like the F1 Grand Prix, thebest of the best worldwide participate.The elite of the elite compete and

those are exactly the type of events Ilove to shoot!

Shooting almost any high profile

event is very competitive. From highfashion to racing to regattas, the firstchallenge always is to get access and

MOTORSPORTS

SHOOtING tIPS

chEck up bY ThE fERRARI TEchnIcAL TEAM bEfORE ThE fInAL RAcE In MOnTE cARLO. © 2015 AnETT-pATRIcE vAn YORk IfpO

LeS vOILeS D'aNtIBeS - tROPHee PaNeRaIONe OF tHe PRIMe SaILING eveNt OF tHe MeDIteRRaNeaN CIRCUIt!

FaSHIONbY AnETT-pATRIcE vAn YORk IfpO, MOnTE cARLO, MOnAcO

Shooting fashion is at the heart of my photography. I have beeninvolved in the fashion industry for 30 years, studying at the Cham-bre Syndicale de la Couture Parisienne, the best Haute Coutureschool in the world and the Syndic that organizes the world's num-ber one fashion week - Paris! I know what excellent couture is aboutand which designers have found their edge (most of them never do).

To find new techniques and styles today in fashion is very hard.Almost everything has been done already. What you hope to see isinnovation. Some of the most exciting fashion techniques are com-ing from places you never expect. Especially the poorer countrieswhere young designers create fabric from whatever they can find.Having no money or other resources makes them extremely cre-ative! Their creations were just amazing.

During London's Fall/Winter 2015 fashion week Serbian designerMarko Mitanovski, who is inspired by animal shells symbolizingshields of protection and surviving the cycle of life, impressed mewith his embossed leather creations. So look out for countrieswhere you never usually look for fashion!

To find them go to unknown designer showcases and London’syoung designer Fashion Scout’s presentations especially ‘The Onesto Watch.’ during Fashion Week. You always find treasures there.There just might be another Lee Alexander McQueen emerging oneday from there! Ω

SERbIAn DESIgnER MARkO MITAnOvSkI’SExquISITELY pLEATED AnD EMbOSSED LEAThER cREATIOn AT

LOnDOn fAShIOn wEEk fALL/wInTER 2015 ©2015 AnETT-pATRIcE vAn YORk IfpO

cLASSIc YAchT MARIquITA (LADYbIRD SAILS 8) buILT In 1911 IS pRObAbLY ThE LAST 19M In ExISTEncE. MOOnbEAM vI (SAILS c1) buILT In 1914. bOTh DESIgnED bY ARchITEcT wILLIAM fIvE.

©2015 AnETT-pATRIcE vAn YORk IfpO

cOnTInuED pAgE 34



CaPtURING

hOnOR cODE wITh JOckEY JAvIER cASTELLAnO wOn ITS MAIDEn AT guLf STREAM pARk RAcETRAck In JuLY 2015. ©2015 MARcELLA MIRAnDE-kETchAM IfpO

My love of photography, horses andracing are so entwined that it is some-times hard for me to keep them sepa-rated. I do not really know which onedrives me most but in the end my goalis to capture each horse at its best.Through years of experience I haverecognized a great horse or two in themaking -- one went on to win a Ken-tucky Derby. My goal always is to geta great photo of the winner crossingthe finish line. If it is breaking itsmaiden, it’s even more exciting.

After many years of covering racingthe most exciting moment for me stillis when I see all the horses coming tothe top of the stretch for home, and Isee the first time starter pull to thefront of the pack and head for the fin-ish line to win its first race. Breakingits maiden is extremely exciting, espe-cially when I am capturing that emo-tional moment. The excitement contin-ues because the horse knows it haswon and proudly prances to the win-ner's circle with head held high with

the jockey patting its neck in praise. My excitement continues as I see

them go on to win more prestigiousraces. Presently I am watching HonorCode and Paddy's Flight. To watch atalented horse run like Honor Code ismagical for me. In 2015 he won theFlorida Derby in April and the Whit-ney Stakes at Saratoga in August com-ing from last to first -- an unbelievablerun. To see a horse move from deadlast to win the race is simply phenom-enal. He is a great horse -- truly a

On MARch 30, 2013 ORb STARTED ASThE 29/10 SEcOnD fAvORITE fOR ThEgRADE I fLORIDA DERbY AT guLf-STREAM pARk In hALLAnDALE bEAch,fLORIDA. hE wAS SETTLED In fIfThpLAcE bEfORE MOvIng up On ThE OuT-SIDE TO TAkE ThE LEAD InSIDE ThE fInALfuRLOng AnD wOn bY 2 3/4 LEngThSfROM “ITSMYLuckYDAY.” This race wasnot his maiden but IT wAS OnE Of hISMOST IMpORTAnT wInS On hIS wAY TOwIn ThE 2013 kEnTuckY DERbY 2MOnThS LATER. Photo ©2013 MarcellaMirande-Ketcham IFPO

ONe OF My PRIDe aND jOySUBjeCtS “ORB” WON tHe2013 keNtUCky DeRBy.

GReatNeSS

I try to capture their greatness from the very beginning.MarCella MIrande-KeTChaM IfPo

thing of beauty and poetry in motion. Paddy's Flight is a new young filly

with potential being raced by PinnacleStables (I shoot for them). She's basi-cally a baby -- only 2 years old. She hasonly run two races, winning the firstand losing the second, but it takes timeto develop a young horse. I was therefor her first win to break her maiden soI am anxious to see if she can win moresince she started out so well. I am alsopartial to the greys, so she caught myeye right away. She’s a beauty and herdad Paddy O'Prado, now retired wonmany races.

My passion is shooting these horsesas they start their careers at Gulfstreamand go on to be the greatest athletes inthis sport. Following them and knowingthat I captured their FIRST win givesme a great sense of connection andpride. Every time they win an impor-tant race, I am excited, proud and emo-tional sometimes to the point of tears,with the happiness I feel for them. It’s aspecial connection that is hard todescribe.

My passion and my love for them isbeyond words. They are truly amazinganimals. My mission is to capture theirgreatness from the very beginning. Ω

pADDY’S fLIghT, A YOung TwO YEAR OLD fILLY, bROkE hER MAIDEn In hER fIRST RAcE AnD pROuDLY pRAncED TO ThE wInnER'S cIRcLE ATguLf STREAM pARk RAcE TRAck In JuLY 2015. ©2015 MARcELLA MIRAnDE-kETchAM IfpO

MARcELLA MIRAnDE-kETchAM IfpO, bOcA RATOn, fL



Many times over the years aphotographer has called orwritten to report that his or

her photos have been used without permis-sion, or with permission but without pay-ment, photo credit or other related prob-lems. In ninety-nine percent of the reportsthe problems could have been avoided byusing a cover letter or a simple agreementin writing or using an IFPO BusinessForm.

The following steps should provide pro-tection for most situations. 1) Copyrights are inherent to the photogra-

pher. However, an inventory list ofimages with the copyright notice(Ex:©2014) is a friendly reminder thatthe work is protected by copyright laws.Also a short notice such as, “All rightsreserved” could be added.

2) Each time a photo or digital imageleaves your possession, it should beaccompanied by signed and dated per-mission for use with terms and condi-tions stated. This is the first step to acontract for use -- even if no payment isinvolved. KEEP A COPY FOR YOURFILES.

3) Digital images require even more pro-tection. NEVER send your originalfiles. Not even just for someone to con-sider. Send a copy of digital images invery low resolution along with text filesof the first two items above.

4) Follow up by phone or email within 5-8business days to see if your imagesarrived and if there is interest etc. Men-tion that complete information is in thepackage.

5) ALWAYS send a postage paid returnenvelope when submitting by mail ifyou expect your work to be returned.

6) Submissions by email are just “outthere” in an unknown domain. It ismuch safer to mail a disc with yourname and copyright notice on the disc.We are not suggesting that you neveremail an image but you should knowand trust the receiver and believe thatterms for an agreement can be made.

7) Once there is an agreement for how animage is to be used, the terms must beset before the use occurs. Example: Onephoto may be used once for $25 or anyamount that is satisfactory. You mayeven want the benefit of having yourphotos published without payment. Ifso, that should be agreed upon up front.

8) Others conditions must also be met.Will you get photo credit? Will you geta copy of the work published? Can youbuy extra copies if you need them?

9) When is payment made? Upon publica-tion? Within 30 days? At the end of thepublishing cycle? It really doesn’t mat-ter as long as you understand and agreeto it.

10) Finally, all terms and conditionsshould be confirmed in writing and signedby both parties. Sounds like too muchwork? Not so. Two copies of a simplecover letter can do the job for you. Simplebusiness forms can do the job for you evenbetter. (See the offer for a lifetime supplyof IFPO Business Forms on pages 2 and 3for $39.95)

What happens if you have released yourimages without an agreement for use and

learn they have been used? Contact theuser. Try to work through the steps listedhere. Most everyone understands thatcopyright infringement can be serious busi-ness. In most situations, something fair andequitable can be negotiated even after pho-tos have been used.

It’s much easier to take the simple stepsrequired to protect your work at the time itleaves your possession than to try to getcontrol of it after use.

Keeping a log of photo packages, digitalimages etc that are in the hands of potentialusers helps you track usage, payments andpackages that should be returned. It alsooften serves as a reminder of where yourbest work is located and where and whyyou should submit it elsewhere.

Using business forms designed especial-ly for photographers not only help protectyour work, it’s a short cut to learning aboutcopyrights, rights to use, terms and condi-tions. Just select the form that seems tomatch your job and complete it! Youshould never have to worry about protect-ing the use of your photos again.

Finally, posting photos on social net-working sites is not recommended. If youpost a photo of a logo or trademark (prosports uniforms etc) without permission ofthe owner of such, you are violating logoand trademark regulations which could getyou into trouble. Don’t do it -- even thoughyou own the copyright to the photo. Youcan submit such photos for editorial pur-poses to a recognized publisher, TV orbroadcast outlets as a news item or a fea-ture story. So always remember to protectyourself as well as your work. Ω

How To Protect Your Rights and Photos By Vonda H. Blackburn, Edi tor

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I SHOOT A VARIET OF SPORTS AND ALOT OF LITTLE LEAGUE TEAMS.MANY OF MY SUBJECTS HAVE GONEON TO EXCELL ON HIGH SCHOOL ANDCOLLEGE TEAMS. ADRIAN AMOSSHOWED PROMISE FROM AN EARLYAGE IN HIS SPORTS CAREER. I AMPROUD TO HAVE HIM IN MY PORTFOLIOOF SUCCESSFUL ATHLETES.

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FULL WEDDING PHOTOGRAPHY PLANPeople and Places Shooting Plan, page 1 of 4

John Doe SmithWedding Photography Specialist

Home Town, USA Telephone: 000-111-2222

email: [email protected]



I agree to the above terms and conditions. I enclose my photos:#ST31, 12 photos, set-up fee $29.00 and monthly fee: $9.95#ST32, 24 photos, set-up fee $49.00 and monthly fee: $9.95

STOCK GALLERYSTOCK GALLERYREGISTRATION FORM (IFPO MEMBERS ONLY)

PHOtO INFORMatION(complete 1 for each photo)

Image #________-_________(your IfpO membership I.D.# followed by a 5-character

code provided by you that identifies your picture)photo title ____________________________________

subject _______________________________________

price (or print ”cALL”) ___________________________

Visa/MasterCard/American Express/Optima Card # expiration date

signature

business name (optional)

name IFPO Member #

address

city, state, zip, country

contact method: (phone, fax, or email)

mail to: IFPO PO BOX 42, HaMPtONvILLe, NC 27020-0042view the stock gallery on the internet at http://www.ifpo.net/stock.html

IMpORTAnT: Allow 30 days for IfpO personnel to scan your images and post them for sale in the Stockgallery. be sure to add the Stock gallery uRL (www.ifpo.net/stock) to your business cards, letterhead andall your promotional material.

teRMS aND CONDItIONSCredit Card Orders: when you submit your stock gallery materials, yourcredit card will be billed for the set-up fee only. Then your credit card will bebilled monthly on the first of the month beginning with the first FULL monthyour photos are ON-LINE. Your first partial month is FREE! Minimum 12-month commitment required. After 12 months, monthly charges will continueuntil member cancels with a 30-day notice. Visa, Mastercard, AmericanExpress, Optima accepted.Checks or Money Orders: when you submit your stock gallery materials,enclose a check or money order for the amount of the set-up fee PLUS $59.70,the first six months of the monthly fee. You will then be billed at 6 month inter-vals.

fOR EAch phOTO: (make as many copies as you need)

contact name:




subject _______________________________________





subject _______________________________________


IFPO’s Stock Listing ServiceThe following elements clearly distinguish the

differences in the IFPO Stock Listing Service anda stock agency:1. The service provided to IFPO members is a

STOCK PHOTO LISTING SERVICE andNOT an agency.

2. Each photographer manages his own sales.3. No commissions will be charged ever. 4. Image buyers will browse the IFPO image

bank on the internet, select the photos, get theprice, index number and contact information toorder directly from the photographer whoowns the images.

5. Members may set their own pricing for eachphoto sold.

6. Complete copyright standards will be avail-able at the site for image buyers and IFPOmember photographers (the sellers).

7. Image searches by buyers may be made bysubject.

8. The most important part of any Stock PhotoService is its indexing system that allows an

image buyer to identify a photo for purchase.Members are asked to identify their pictures bytheir 5 digit member number plus a 5 charactercode of their own choosing. Example: IFPOmember 99999 might use Index Codes of99999-KID01, 99999-KID02, etc.

aDvaNtaGeS OF tHeIFPO StOCk GaLLeRy SeRvICe

www.ifpo.net/stock.html• List only the number of quality images

you wish to list -- not 10,000 to 50,000 asrequired by agencies.

• you can add fresh images at your conve-nience. no minimums are required -- suchas the 1000 new images per year by manyagencies.

• there are no contracts, exclusive orotherwise -- to tie up your images foryears as with an agency.

• the price you set is what you get --could never happen with an agency.

• there are no commissions ever -- unlikeagencies who always take at least 50 per-cent of sales.

• Income from sales is instant and allyours -- very different from agencieswhere payment usually follow sales by 6 to8 months.

• Model and other applicable releases arerequired for stock images listed with IfpO-- the same as with an agency.

• Current and new clients can see yourfresh images instantly and contact you tobuy -- which could never happen with astock agency.

• the more images you list with the IfpOpicture Listing Service the more likely youare to make money -- which is the same aswith an agency.

• the more SUBjeCtS you list with theIFPO Picture Listing Service, the morelikely you are to make money over the longhaul -- which is also true with an agency.

SELL PHOTOS YOU ALREADY HAVE!START SELLING YOUR PHOTOSSTART SELLING YOUR PHOTOS

Successful stock libraries contain HIGH QUALITY images of everyday life situations. IFPO members shoot such images everyday as a matter ofcourse. However, unless a photographer has hundreds or thousands of images, he may be shunned by the large stock houses. This could happen for tworeasons, he simply may not be recognized as a successful stock photographer or his stock of a few dozen images is too small for an agency to consider.The IFPO Stock Listing service removes these barriers totally and opens doors to the international sales market. I have been an IFPO Special Events Photographer for several years now and I

keep my credentials with me at all times. Even though I am now a senior at theHorace Greeley High School in NY, and my work and reputation have helped meland both paying and non-paying assignments, I think that having a connectionto the “outside” world of photography has helped boost my confidence to evencarry a camera. It has also taught me things I would never have learned in theseven photography classes that I have taken so far.

I joined IFPO to get an insider’s view of photography and am very glad that Idid, because there is always something to learn at any age. I hope to continuelearning, and to include all forms of photography, in whatever I do and whereever I end up after high school. Jacob Lowy

SeIZe tHe MOMeNt

tHe DIStaNt vaNISHING POINt Of cOLD bEnchES (bELOw) IS bALAncED bY ThE wARM AnD InTEnSE vAnIShIng pOInT Of MODEL ELISE h.’S TRAnSfIxEDgAZE InTO ThE fuTuRE. (vAnIShIng pOInT ASSIgnMEnT) © JAcOb LOwY 2014 IfpO

I still have much to learn, but here are afew thoughts looking back:

Learning beyond the classroom is impor-tant. But, so is the confidence that comesby carrying helpful credentials.

Build your reputation and exposurethrough Clubs and Organizations.

You don’t need the latest equipment!You need reliability and predictability; Iown a Nikon D100.

Don’t expect every shot to be great; 1out of every 10 - 20 is good.

Check your equipment, but carry backupand a sense of humor; you’ll need both.

Your favorite shots may not impress any-one else.

A model and your timing can make orbreak you. If you know one that is trulyspecial, or spot the shot of a lifetime, seizethe moment. Do not let either get away! Ω

tHe taSte OF vICtORy (WReStLING aSSIGNMeNt): hORAcE gREELEY hIgh SchOOL wRESTLIng cApTAIn (2014-15), ELIJAh kIM’S pRIcELESSExpRESSIOn ThE vERY MOMEnT bETwEEn MAT AnD MEDIcS. ©JAcOb LOwY 2014 IfpO chAppAquA, nY.

My interest in photography started with the basics.While a freshman in high school, I spent hours work-ing in the darkroom with – what else? Kodak Tri-X. Istill love spending time in the darkroom. I then movedinto digital color and learned more complex skills,like how to work with Adobe Lightroom, a tool I stilluse.

My teachers have all been supportive and have evenincluded some of my work in slide shows used onParent Night at school. Joining school photo/videoclubs has also been important to broaden my networkof peer photographers and teachers who know mywork. We all help each other and sometimes create,and then go on weekend “group” assignments. Shar-ing my work definitely helped me land two payingathletic assignments - last year alone.

Jacob Lowy IFPO, Chappaqua, NY“...cARRY bAckup EquIpMEnT AnD A SEnSE Of huMOR; YOu’LL nEED bOTh.”

“Once in a while you get shown the light in the strangest of places if you look at it right.”Robert Hunter, Lyricist


20 Today's Photographer International www.ifpo.net

By Elliot Doering IFPO, Shorewood, WI


degree, the lighting. The action pho-tographer doesn’t enjoy such luxuries.The motor sports photographer mustadapt to the racing environment,because he/she has less control of thedistances between the camera and sub-ject, and often, that distance is great.

Gaining press passes through IFPOwill usually enable you to get close to

the action yet you are kept at a safedistance from the action. Also, thephotographer can’t control when therace is run or where the sun will be rel-ative to the track. And if the exposureis off on a fabulous action sequence,the chance to get the same series ofshots will never occur again.

What all this means is that the seri-

ous motor sports photographer has tohave specialized equipment and skills.The modern digital SLR format is thetool of most photographers todaybecause it is especially suited for cap-turing action and speed. Many of themodern digital SLRs are equipped toaccept motor drives which enables the

FRaNCe’S SeBaStIaN BOURDaIS SCOReD tHe 2015 INDyFeSt WIN IN HIS HyDROXyCUt CHevy - 9 yeaRS aFteR HIS LaSt WIN at tHe MILWaUkee MILecAnOn EOS-7/D, cAnOn 28-300MM TELEphOTO LEnS. cREATIvE MODE, 1/500, f/11

©2015 ELLIOT DOERIng IfpO

continued on page 32

tHe CORNeRStONeS OF MOtOR SPORtS PHOtOGRaPHy

Speed. Action. Two simple littlewords, yet they epitomize the veryheart and soul of motor sports photog-raphy. Photographing a moving vehicleis so very different from any other formof portrait photography, and usuallyrequires more specialized equipment.The reason for this is yet another sim-ple little word – control.

In portrait photography, the photog-rapher can easily control the location,distances, time of day, and to some

My exposure to photography andmotorsports began in the 1960s,through a friend whose father had good35mm cameras. Yearly, my pal and I wentto the old United States Auto Club(USAC) Stock Car and Indy Car races,at the famous Milwaukee Mile in myhometown of Milwaukee, Wisconsin.That’s where I developed my interest in photography and motorsports.After serving in the military I was in California during the late 1960’s and

early 1970’s. I owned a small motorcycle and became interested in theAmerican Motorcycle Association (AMA) Mile Flat Track races such asthe San Jose Mile, Cal-Expo Mile and Stockton Mile. I also photographedAMA Road Racing events at Laguna Seca and Sears Point.Additionally, at that time, I started applying for photo passes but, with-

out backing from a recognized magazine or photographic association suchas we now have with IFPO, things were a bit difficult. In 1976, I returned home to Milwaukee, a wise move as most of the AMA

motorcycle races were then centered in the Midwest. I was shooting mainlyfor myself, developing portfolios to offer racing teams but in the 1980’s,joined IFPO, which greatly opened doors for me, and made press access alot easier. My greatest photographic experience came in 2004, when I gained an

official assignment from a small motorcycle related magazine to spend 5months in Europe, covering the prestigious MOTOGP series. This series isthe equivalent of Formula One, only for motorcycles. I jumped from countryto country, operating out of a hostel in London – GREAT FUN!I have been fairly successful as a motorsports photographer. I take great

pride in recognition of my work and have won photo awards. I have alsoenjoyed seeing my work published, especially through IFPO. These daysmoney is tight so I am sticking to races around Wisconsin and the Mid-west, saving up to return to do some of Europe’s great events. I now have two Canon EOS-5D digital cameras, a new EOS-7/D, Canon

28-300mm telephoto, 500mm Tamron telephoto, and a Tamron 18-135mmwide angle/light zoom. That along with a good photo vest is the extent ofmy photo gear.I find photography, especially motorsports, relaxes me. I can get into my

own “zone” or “space”, without distractions and just totally immersemyself in the cars, bikes and the whole racing atmosphere. It’s been verygood to me since the 1960s. I hope to continue it into old age. I’m now 68and still shooting. Ω

I am fortunate to havephotographed the famous

Lemans 24 Hours CarEndurance race, in

Lemans, France twice,plus the German TouringCar (DTM) races at theNorisring, Zandvoort and

Nurburgring. Elliot Doering IFPO

SPeeD aND aCtION:


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Q & AI already have Press Credentials.Why do I have to buy the Chase Kit? You DO NOT. The Chase Kit was simplydesigned to make the breaking NEWS COR-RESPONDENT’S job easy. It gives youeverything you need on the spot to do thejob, do it right and get it to your nearest edi-tor. The Chase Kit actually serves as yourassistant to make sure you collect all thefacts and then get them to the right place. What is a Chase photographer; whatdo they chase?We consider any photographer who is insearch of breaking news events to be a“Chase Hound”. He chases sports, entertain-ment, fires, accidents, storms, natural disas-ters, plane crashes, train wrecks, press con-ferences and even goodwill tours. Will the Chase Kit be recognized? Police will recognize the Press Credentialswhich must be used with the NEWS COR-RESPONDENT accreditation part of theChase Kit. Will Today’s Photographer publishthese news stories?Today’s Photographer WILL publish storiesabout YOU covering these stories. Thebreaking news stories themselves need to goto daily newspapers and wire services. How do I find out if a newspaper orTV station can use my news photos? Let’s use an auto accident as an example.You have photographed the wreck and areleaving the scene without having seen anyother photographers or news teams. Pick upthe nearest phone (using the numbers listedin your Reporter’s Field Directory) to notifynews agencies that photos of the accident areavailable even though the film has not beenprocessed. Breaking news is HOT andshould be reported immediately.

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Accreditation Certificate

The following correspondent photographer hasmet all standards and requirements to receive fullaccreditation as a

NEWSCORRESPONDENT

John Q. SmithAssignment Verification

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Accreditation CertificateThe following correspondent photographer has met all standards andrequirements to receive full accreditation as a

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John Q. SmithAssignment Verification Code: 00001SMI

Accredited: January 14, 1998use

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Accredited: January 14, 1998

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StRaIGHt FROM tHeSIDeLINeSbY STEphAnIE cAMpbELL IfpO, LAkE wInnEbAgO, MO

I began shooting photos in high school focusing on sports. I have continued through the years mainly shootingfootball because I truly love the game. That love has been key because I’ve learned that you have to be passion-ate about your subject and understand the game in order to be successful. Shooting for IFPO has opened manydoors and allowed me to take my photographic talent and assignments up several levels.

Last year 2014 was my third season covering the Kansas City Chiefs. Each year I learn more and more aboutshooting professional sports. It is imperative that you know everything (or as much as you can) about the sportyou are shooting.

I ShOOT ThEkAnSAS cITYchIEfS AnDMISSOuRIunIvERSITY hOMEfOOTbALL gAMES.MY pRIMARY gEARIS A cAnOn 1DxcAMERA wITh A300MM f2.8 LEnSOn A MOnOpOD.STePhanIeCaMPbell IfPo




SIDeLINeScontinued from page 23

kAnSAS cITY chIEfS LInEbAckER JuSTIn hOuSTOn wAS pRETTY ExcITED AfTER bREAkIng ThE fRAnchISE SIngLE SEASOn SAck REcORD AgAInST ThEchARgERS fInIShIng ThE DAY wITh 20.5 SAckS fOR ThE YEAR. ©2014 STePhanIe CaMPbell IfPo

You not only have to understand the game, you have to beaware of how the coaches react in certain situations depend-ing on the other team and their coaching staff. This includeshow each coach is most likely to use his players in this par-ticular game. While this is not an exact science, being ableto reasonably predict what a team is likely to do in specificsituations will enhance your chances to be in the right placeto get your best shot -- maybe that perfect shot.

One my goals this year was to cover Justin Houston #50as he chased both the Kansas City Chiefs sack record heldby the late great Derek Thomas set back in 1990 as well asthe total NFL single season sack record. Houston broke theChiefs single season record and missed the NFL record byjust one half sack. Following Houston carefully all year andunderstanding the game played a big role in how I posi-tioned myself on the field to capture a winning shot of hissuccess.

As I prepare for each game, I make sure I know whichplayer is hot and which one might be the play maker. I gothrough a pre-game checklist. I check the weather and mostimportantly the lighting so I know how the shadows mayaffect my shots. Just like the players I come out in pre-gamewarmups to take test shots evaluating the lighting and con-

ditions. With all preparation in place, the bottom line still isthat you must have good equipment to do the job.

NFL games happen at NFL speed. Sometimes you don'tget a chance to look though the viewfinder before the playis over. So, before each play I set my camera setting andfocus so when the play comes right at me, I am ready. Ishoot with a Canon 1DX with a 300mm f2.8 lens on amonopod. I also carry around my neck a Canon 5D MarkIII with a 24-70mm f2.8 lens for the close ups. And onstand by, I have a 70-200mm f2.8 lens as well as a fish eyefor those special ‘artsy’ shots. Each is set up and ready togo at a seconds notice. After the game, I share some of myshots with the players and they always are grateful for mywork. Sports photography is like everything else in life --what you get out of it usually equals about what you putinto it. If you have a passion for shooting sports and spendlots of time practicing with the right equipment, you willrise up and become successful at it.

My final advice is to practice, refine your skills anddevelop your shooting techniques by shooting little leagueor high school sports. You will learn to capture the samekind of action as in the big leagues. It’s a sure thing that theNFL sidelines are not the place to learn to shoot. Ω

Sometime my favorites shots are not of my favorite plays -- especially when they score against myhome teams as the two shown here. Stephanie Campbell IFPO

FavORIte SHOtS

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PhoToS ©2014 STePhanIe CaMPbell IfPo



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phOTOS ©2016 Jerome Dorn IFPO

Jerome Dorn Photo ©2015 Robert Herbert IFPO

Among my most recent press assignments were at the White House with President BarackObama hosting NBA title winners the San Antonio Spurs and NFL Super Bowl Championsthe New England Patriots.

I also have covered the 2015 Stellar Awards; 2015 BET Awards; 2015 Trumpet Awards;UNCF Evening of the Stars and the 50th Anniversary of the March on Montgomery.

Recent festival coverage included the Baltimore African American Festival and the 40thAnniversary ODUNDE Festival. AND I recently landed a contract with Jet Magazine!

Jerome Dorn Ω

fIRST LADY MIchELLE ObAMA wORkS wITh chILDREn In ThE whITE hOuSE gARDEnphOTOS © 2015 JEROME DORn IfpO

P R E S SP H O tO G R a P H y

By Jerome Dorn IFPO, College Park, GA

fORMER fIRST LADY LAuRA buSh pRESIDEnT gEORgE w. buSh wITh fIRST LADY MIchELLE ObAMA AnD pRESIDEnT bARAck ObAMA wITh cIvILRIghTS LEADER AnD cOngRESSMAn JOhn LEwIS AT ThE 50Th AnnIvERSARY Of ThE MARch On MOnTgOMERY In MOnTgOMERY, ALAbAMA.



weather so it takes a lot ofknow how to shoot under con-stantly changing conditions.

I was honored to be approvedfor media clearance for theToadlick Festival and veryappreciative for the profession-alism shown to me by the eventstaff. However, due to the strictregulations, only the artists’personal photographers wereallowed access to the prime pitarea and on stage. I along with

the other media at large were vyingfor shooting positions where ever wecould find them.

Having covered many concertsthat go on all day and into the night,I know that shooting under the everchanging lighting conditions can bea challenge. This one was especiallyso, since I had just purchased a newNikon and wasn’t quite sure how toutilize all the intricate settings onthis fabulous camera. I decided tojust ‘go with the flow.’

I started out midmorning duringideal daylight hours. I was verypleased with the ease of photograph-ing Chase Rice, my first artist. Thelight was perfect for shooting onauto settings or experimenting withdifferent settings. I had no problemat all shooting at any angle regard-less of settings. Very little editingwas needed later.

I shot Brett Eldredge in the mid tolate afternoon period. The sunlightwas coming from his right side butmuch to my surprise it gave him awarm golden glow when shot at theright angle. Always remember nomatter how excited and caught up inthe moment you are to keep the sunat your back. Even with contrastand bright shadows, great imagescan be made!

I photographed Jana Kramer’sperformance the next day about midmorning. Again, the lighting wasperfect. There was no need for flash

CONCeRtPHOtOGRaPHyfROM pAgE 7

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and I set my camera on manual set-tings to achieve maximum exposure topreserve her delicately tanned skintone. All the photos were excellent atalmost any setting. Shooting early inthe day is much more versatile thanmid to late afternoon when the light isharsh and shadows are hard to avoid --especially those horrible shadows castby ball caps and cowboy hats thatmany artist tend to sport on stage.

By the time some of the legendscame on stage it was already pitchdark outside. Again due to the strictevent regulations for the media, I hadto shoot with my long lens of 70-200mm. Most shots were taken at ahigh ISO along with a high aperture. Itwas not an easy when you are only 5feet tall and competing with media --plus fans trying to get shots with theircell phones! However, after properlyintroducing myself to the fans andreassuring them I would be out of theirviewing space after just a few shots,they were more than accommodating. Ieven had a few young men to offer tolift me up to shoot!! Erring on the sideof safety, I opted to shoot from the

ground using my “aerial technique.”I learned the aerial technique from

one of my mentors with Easyridersmagazine. Simply place your cameraon continuous shooting mode. Hold itat arm’s length up in the air as high aspossible. Tilt your camera downwardslowly as you shoot continuously.Trust me, you are bound to get at leastone great shot! After doing severalaerial shots and experimenting withdifferent speeds and apertures, I wasvery pleased with the results. (Remem-ber to shot both vertical and horizontalformats.)

The last area I wanted to focus onwas shooting in less than desirablelighting…colored spot lighting!UGH!!! I hate this kind of lighting butfound after playing with settings andsimply letting the camera do its job,colored lighting can give a differentperspective and unique appearance asseen in the image of the long timecountry music legend, Merle Haggard.Although most of my night imagesshot from far away in were a tadgrainy, I still think they turned outpretty well. The reds, pinks and blues

of light cast on the artist gave an inter-esting look. If the colors are just toooff the wall, you can always convertyour images to black and white.

I always shoot in RAW image sizebecause you record all of the data fromthe sensor. This gives the highest qual-ity files. The difference when youshoot in JPEG format is that the cam-era does it’s own processing to convertthe RAW information into a JPEG.However, your camera is nowherenear as smart as your brain, nor is it aspowerful as your computer. When youshoot RAW, you are able to do thatprocessing yourself. So if you do needto make corrections on exposure orother areas, you have many moreoptions available. Afterwards, you canconvert to jpegs and adjust size.

I use Adobe Photoshop CS-5 forediting but there are several other goodediting software apps on the internetavailable for free! Remember,although the lighting might not bewhat you would wish for, it’s all inshooing from different angles and set-tings to get those great shots youdream about!! Ω

CHaSe RICeMIDMORNING IDeaL

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photographer to accomplish fantasticaction and speed shots in rapidsequence. Also, the digital SLR opensup all kinds of avenues for quickapplication of lenses, and the speed atwhich those can be changed. Occa-sionally in the pits, or on the startinggrid, a normal or wide-angle lens canbe used. However the nature of mosttracks is such that a telephoto or zoomis an absolute must because the cam-era to subject distance varies so much.

In the beginning telephoto lensesmay seem intimidating but it usuallyboils down again to two simple things.First, the relative depth of field for atelephoto lens is short which cancause problems if the subject is mov-ing toward, or going away from yourcamera. Thanks to auto-focus digitalSLRs, the photographer no longer hasto try to focus the lens to match thesubject’s speed and action. And, yoursubject will be rendered in the appro-priate depth of field.

I own a Canon EOS-7/D digitalSLR. There are two programs withinthis camera that I most often use inmotor sports photography. First, inFully Automatic shooting mode, I cansimply aim the auto focus frame overthe selected target. Several auto focuspoints within the camera, will then beincorporated to automatically focus,and usually the closest subject will bein perfect focus.

Second, the Creative Auto Modeenables the photographer to easilychange the picture’s brightness, depthof field and color tones, all extremelyimportant. By simply setting the modedial to the Creative Auto mode, andselecting a function, I can also movethe index marks for altering the back-ground which will look a bit moreblurred, to create an illusion of actionand speed. I can also use index marksto either set the image darker orlighter. If I use the Time Value mode,I can set a given shutter speed, usuallyat 1/60th to 1/125th, and use panningtechniques to also achieve those niceblurred backgrounds.

I use two techniques for capturingspeed and action. One is to establish azone on the race track ahead of time.With the modern digital SLR, andusing the aforementioned modes, thecamera will determine the depth offield, make all the proper camera set-tings, and once the subject enters thezone, the correct photograph will beperfectly rendered.

For capturing stopped action, yourbackground will be relatively steady,but not necessarily sharp, dependingagain on your depth of field. To stopand freeze the subject in your picture,a very fast shutter speed is required.In the aforementioned modes, themodern digital SLR takes the olddevelopment for an instinctive feel forthe proper shutter speed, and sets itautomatically to keep up with subjectstraveling at 200 miles per hour. Whilemost motor sports photographers stillposition themselves in corners of arace track, where speeds are a bitslower, the subject’s speed relative tothe camera will also be a bit slower,allowing the photographer to freezethe stopped action.

Another favorable technique is pan-ning. To pan, the photographer movesthe camera along with the movingsubject, keeping the subject in a moreor less fixed position in the viewfind-er. This allows a slower shutter speed,as I mentioned in using the TimeValue Mode, since the subject is notmoving relative to the camera. Sincethe background here is moving, it con-sequently will be blurred. As noted,1/60th to 1/125th shutter speed is agood starting point for panning, but itwill depend on the subject’s speed andyour distance from the subject. Thereal beauty of panning is that it virtu-ally guarantees a photograph that dis-plays speed and action. It’s really theonly technique that works with mod-ern digital SLRs.

When using the panning technique,one must be certain to start the pan-ning movement well ahead of theshutter release and continue the move-

ment after the shutter is released. Ifyou stop following the subject as soonas the shot is taken, the subject andbackground will be blurred. It’s not aneasy technique, but again, the moderndigital SLR makes it much easier thanin the old days of film SLRs.

Perfecting shooting techniques isimportant but practically useless ifyou do not have access to the venues.I mentioned the IFPO press programsup front which is key, but you alsomust develop the skills of a press pho-tographer. To cover major events inaddition to a press card you need tohave a mission which means you need

SPeeD aCtIONCONtINUeD FROM PaGe 21

to be well informed about each event.For example earlier this summer bykeeping up with the Verizon IndycarSeries, I learned that INDYFEST wasscheduled in July, at my home racetrack – the famous Milwaukee Mile--the oldest, continually operating racetrack in North America, dating back tothe 1890s. I did my internet research,and found that an on-line press passapplication was available through theIndycar channels. I completed it, andthen contacted my IFPO press editorto for an official assignment letter to

be submitted with my application.Shortly thereafter, I was granted pressaccess for this outstanding event.

I arrived early to pickup my passes,track map, and list of the cars and dri-vers entered in this race. This is a vitalmove that motor sports photographersmust utilize. You must be up to speedon the hot action zones of the track,and which cars to focus on. I made myway to turn three, one of the realaction zones on this one mile pavedoval, and found that I was allowedaccess to an old flagman’s platform,

from which I could easily shoot rightdown onto the passing cars. From thisvantage point, I eliminated those trou-blesome concrete walls or fences thatalways seem to get in the way of anice, clean shot. I was extremely fortu-nate that I was the only person usingthis platform throughout the entirerace!

I own a Canon 28-300mm telephoto,an 18-150mm wide angle to smalltelephoto, and a Tamron 500mmzoom. Being quite close to the action

MARcO AnDRETTI In ThE SnAppLE hOnDA DIcES wITh ScOTT DIxOn’S cOTTOnELLE chEvY AT InDYfESTcAnOn EOS-7/D, cAnOn 28-300MM TELEphOTO LEnS. cREATIvE MODE, 1/500, f/11

©2016 ELLIOT DOERIng IfpO




• Edit your work during the event(it’s too late after it’s over). Divideyour photos into categories of best,good and maybe. You can tell whichareas give the best results so those arewhere you want to shoot next. Try tobe better tomorrow than you are todayand you will become one of the best!

• After the event follow up with themedia relations people so that theywill remember you and invite you forthe following year. Send them a fewpictures and ask to be placed on theirpress list.

• You don’t need a big camera to bea great photographer! Have a goodeye, choose your angles, subjects,lights and frames right, and don’t beafraid of risks. My camera is anOlympus E-M5 High Speed DigitalSystem with 150mm lens (15 pics persecond). It is a fast very efficient cam-era and very handy to carry around(perfect for fashion shows). When thelens gets dirty use a lens cleaning pen.When the lens gets wet (during regat-tas) and the pen is not sufficient, aneyeglass cleaning fabric will work.Make sure it’s kept in clean plasticwrap where no dirt can enter toscratch your lens.

If you want to be a great photogra-pher, you have to take risks. Out of allof the registered photographers for theF1 Grand Prix, I was the only womanalong with two men who dared toshoot in the allowed danger zones (butnever all of us at the same time). I hadhot rubber tire shreds flying into myface, but I got some of my best pic-tures in these zones. Always makesure to assess your risks carefully anderr on the side of safety.

Cover events that are well knownand appreciated worldwide andimportant for your city. If you are newin a city, like me in Monte Carlo, goto the specific public relations officeof each organization ask for theirevent program for the year. This is agood time to offer a few prints fromone of your most important recentevents. Ask if they would like for youto cover certain events on their behalf.

Maybe in thebeginning theyonly invite you toattend and youwill be on yourown (good forconnections), buteventually theywill take you in,and you will beable to addanother impor-tant client nameto your profile.Your goal is toget global accep-tance as quicklyas possible!

I am honoredthat my photosare recognizedand admired bymany importantassociations herein Monaco --since I movedhere one yearago.

Soon after theF1 event I wasinvited by theMonaco pressoffice (I was reg-istered there) to cover the 10thAnniversary Celebration of the reignof H.S.H. Prince Albert, SovereignPrince of Monaco. I was one of only afew photographers allowed to go up tothe palace for the ceremony. Needlessto say it was a great experience.Afterwards I provided photos to thePalace and to the Monaco govern-ment’s main press office.

The Automobile Club of Monacoalso recently asked for my F1 GrandPrix photos which was another vote ofconfidence for my work. I am also ontheir VIP press list now.

Right now I am shooting the kind ofevents I’ve always aspired to shoot.Getting to this point was not shortlived or accidental. It took years ofstudy and working plus in-depthknowledge and interest in my many

subjects from fashion to racing. Working in the fashion industry for

30 years plus my studies at the 'Cham-bre Syndicale de la Couture Parisi-enne' prepared me to shoot high fash-ion all over the world.

As a sailor I understand the intricatetechniques of sailing and how to cap-ture a great sailing photo. My interestin fast cars enhanced my knowledgein motor sports and who’s who in thatindustry.

You can achieve your goals as aphotographer. Work hard and set tar-gets that may seem unachievable andyou will end up at the top! Believe inyourself, have knowledge of your sub-jects, continue to stretch beyond yourlimits and you will succeed! ΩEditor’s note: To see more of anett-patrice van york’s work go to: www.anett-patrice-van-york.com

and then compete for shooting posi-tions on the scene to get the job done.Back up and support from an editorialstaff is mandatory to get access; thepress badge only is hardly sufficient.However, preparation is key.

Most major sporting events aredominated by men including the menbehind the cameras. Getting fullaccess to a F1 event is very hard --being a woman makes it even harder.So I was delighted to be granted an all

access pass. I am absolutely NOTintimidated by men even when theysometimes comment negatively aboutmy equipment. My highly digital sys-tem camera is much faster and morepowerful than many of their big cam-eras.

I am always certain that I have theright tools and that I am ready to meetthe demands of my own efficient andpersonal techniques. To achieve thatconfidence I always prepare carefully

for each assignment. Prep timedepends on the magnitude of the eventbut the following steps should be con-sidered for every event:

• Start early to get access. Knowthe deadlines and make sure you meetthem. Get the name of the person whois in charge of media and find outwhat they need from you. Send asmuch information as possible aboutyourself (assignment letter from yourpublication, copy of your press badge,website of your publication, your ownupdated website, related photos andpreviously published articles ofyours.) Also be aware that the mediarelations for the American press isvery different than for the Europeanpress. Make sure you understand eachprocess and follow completely.

• Upon approval find out exactlywhen and where you pick up yourpasses and press guidelines. It’s notalways indicated. This is the pointwhere you will learn where you areallowed to shoot and if there arerestricted areas. Be sure you under-stand the guidelines and attend pressorientation meetings if available.

• Dress appropriately on the day ofthe event while focusing on comfort.It is especially important to wear com-fortable shoes for standing or walkingmiles as at the F1 Race. Be preparedfor hours in the sun, so pack sunblockers, a hat and lots of drinkingwater. Also pack several chip cardsand charged batteries for your cameraand lens cleaning tools.

• Determine the areas which are thebest for shooting regarding distances,angles and the direction of the sun-light before the event actually starts.For racing cover the qualifying roundsfor your test shoot. Find out exactlywhere the major events within theevent are happening. Be certain thatyou can be in the right position toreach them all within the time limits(distances can be very long during theF1 Grand Prix of Monaco). Alwaysmake sure that you are shooting inareas that are NOT cut off from otherevent areas because of cross oversecurity paths.

nO fEncE ShOOTIng ZOnE pROvIDED SOME Of ThE bEST ShOOTIng OppORTunITIES In ThE RAcE buTIT IS REALLY hIgh RISk bEcAuSE hOT TIRE ShREDS ARE fLYIng EvERYwhERE.

© 2015 AnETT-pATRIcE vAn YORk IfpO

pRIncESS chARLEnE, pRIncE ALbERT II AnD MAYOR gEORgES MARSAnAfTER ThEIR SpEEchES AT ThE 10Th AnnIvERSARY cELEbRATIOn Of ThEREIgn Of h.S.h. ALbERT II SOvEREIgn pRIncE Of MOnAcO.

©2015 AnETT-pATRIcE vAn YORk IfpO

pRIncE ALbERT II AnD pRIncESS chARLEnE gREET ThE SELEcTED MOn-TEgASquE vIp cROwD In fROnT Of ThE gRIMALDI pALAcE AT pRIncEALbERT II 'S 10 YEAR cELEbRATIOn. ©2015 AnETT-pATRIcE vAn YORk IfpO

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© 2015AnETT-pATRIcEvAn YORk IfpO

SHOOtING tIPS CONtINUeD FROM PaGe 13



The International Freelance Photographers Organization (IFPO) was founded in 1984. Now, thirtyone years and more than 80,000 members later, the original mission of IFPO -- to be the primarysource of support for the universe of freelance photographers -- has stood the test of time and has sure-ly grown beyond the wildest imaginations of the original founders and charter members. Now by pop-ular demand freelance journalists and other media professionals are also taking advantage of IFPO'sunique programs. Membership is open to everyone.

Because of the broad range of services developed over the years to meet the extensive interests ofthe membership base, our programs and services are now fully explained on the internet along with theitems that are included in each program. In this Directory of Services we have listed each programwith a brief description and direct link to the internet. Optionally, you can go to http://www.ifpo.net/and click around to find the very same list of services.IFPO Lifetime Membership Information and application: http://www.ifpo.net/application.htmlIFPO Members Replacement cards: http://www.ifpo.net/membersonly/index.htmlPress Credentials (available to IFPO members only) http://www.aipress.com/press.html

Gold Press Credentials: http://ifpo.net/pressgold.htmlAI News Service Universal Credentials: http://www.ifpo.net/univ/index.htmlAI News Service Global Press Certification: http://www.ifpo.net/global/index.htmlAI News Service Sports Credentials: http://www.ifpo.net/aisports/index.htmlAI News Service Motor Sports Credentials: http://www.ifpo.net/motorsports/index.htmlUSPRESSCORPS Credentials: http://www.ifpo.net/uspressaa/index.htmlPress Renewals: http://www.ifpo.net/membersonly/pressren.html

Other Member programs:IFPO Assignment Data Bank: http://www.ifpo.net/assignment.htmlIFPO Business Forms and Contracts: http://www.ifpo.net/forms.htmlIFPO Distributor Program: http://www.ifpo.net/distr/distributorIFPO Glamour Elite: http://www.ifpo.net/glamourelite/index.htmlIFPO Group Memberships: http://www.ifpo.net/group/IFPO Hall of Fame: http://www.aipress.com/hof/index.htmlHats, Patches, Magnetic Signs: http://www.ifpo.net/hat/index.htmlIFPO Lifetime Distinction of Honor program: http://www.aipress.com/diploma/index.htmlIFPO Master Photographer Credentials: http://www.ifpo.net/pmaster.htmlIFPO Model Consulting/New Discoveries Program: http://www.ifpo.net/mc/index.htmlIFPO Stock Gallery: http://www.ifpo.net/stock.htmlIFPO Top Photographers: http://www.ifpo.net/toplinks.htmlGroup Affiliates List: http://www.ifpo.net/groups/index.htmlToday's Photographer International magazine: http://www.ifpo.net/tpmag.html

To verify a member in specific programs:AI News Service Press Verification: http://www.aipress.com/ainsIFPO Member verify: http://www.ifpo.net/indverify.htmlGold Press verification: http://www.aipress.com/verifyHall of Fame: http://www.aipress.com/halloffame/index.htmlMaster photographer: http://www.aipress.com/masterverifyNew Discoveries Verification: http://www.ifpo.net/discoveries/US PRESS verification page: http://www.uspresscorps.org/

IFPO Members ’ D i rectory of Serv ices

More than seven years agoto celebrate the 25thAnniversary of IFPO

many things were considered. Theintent was to commemorate our first25 years in a way to honor the contri-butions of the members who had beenthe driving force and heart of the orga-nization. After long deliberation it wasdetermined to induct those still activecharter members and other deservingmembers into a permanent FreelancePhotographer’s Hall of Fame and toaward each an Honorary Degree ofDistinction title.

When the International FreelancePhotographers Organization (IFPO)was founded in 1983, no one couldhave possibly foreseen 25 to 30 yearsinto the future. Now, 30 some yearslater, the original mission of IFPO --to be the primary source of support forthe universe of freelance photogra-phers -- has stood the test of time andhas surely grown beyond the wildestimaginations of the original foundersand members.

IFPO’s first member was actuallyenrolled on January 9, 1984. Fromthat day forward IFPO evolved into amember driven organization. Thatsimply means that members asked forservices and support and IFPOresponded with research and develop-ment. That process evolved over theyears to make IFPO what it is today,the longest continuing central sourceof support for freelance photographersaround the world.

Fortunately, it was easy to identifythe original Hall of Fame candidates.Since day one IFPO has maintained atransactional data base that recordsevery single activity of each IFPO

member. That includes program par-ticipation, editorial submissions, pressassignments, photo contest entrantsand other information such as publish-ing credits, internet home pages URLsand more. Many members have sharedtheir success stories outside IFPOwhich is also noted in our membershiprecords. The original process pinpoint-ed 3319 IFPO members (out of 78,656at that time) to be permanently induct-ed into the IFPO Hall of Fame.

The first Hall of Fame IFPO mem-bers were inducted on January 2,2008. Each one was notified by letteror e-mail. If you were not notified, butbelieve you may qualify, you maycheck to see if your name is listed as aHall of Fame member atwww.ifpo.net/halloffame. Enter yourmember number plus the first 3 char-acters of your last name (8 characterstotal). If you were inducted your namewill appear on the list.

It is possible that there are deserv-ing Hall of Fame Members that wewere not able to identify from ourextensive records and other researchwho should be honored. If you did notreceive notification of your inductionand feel that you should be considered,please call 336-468-1138 to updateyour records and discuss your poten-tial to be inducted.

To further honor and recognize theFreelance Photographers Hall of Famemembers, IFPO created a unique,definitive Hall of Fame Portfolioexclusively designed to share the Hon-orary Degree of Distinction withclients and the most discerning friendsand family. Each item in the portfoliois graced with the distinctive IFPOHall of Fame Logo.

T h eportfolio includes 1 Commemorative25th Anniversary IFPO Hall of FameLapel Pin of silver inlaid into a field ofblack, 1 IFPO Hall of Fame HonoraryDegree of Distinction Diploma andCharter in a Leatherette PresentationCase plus 1 IFPO Hall of Fame Mem-ber Passport distinctly marked.

The Freelance Photographer’s Hallof Fame will be permanently locatedon the IFPO internet site. Each Hall ofFame member’s record will be alsomarked permanently. But it is the Hallof Fame Portfolio -- The Lapel Pin,Honorary Degree of Distinction Diplo-ma, Charter and Passport ... that con-vey the prestige of being inducted intothe IFPO Freelance Photographer’sHall of Fame.

Congratulations to each of you. Itwas your lasting interest and ceaselesssuggestions that drove an organizationfrom its infancy in 1983 to more than80,000 plus members strong withinternational recognition in 2015 ...and still growing.

With your continued interest theIFPO Hall of Fame will continue toreview members’ qualifications andinduct even more members in the nexttwenty-five years. Ω

IFPOIFPOFReeLANCe PHOTOGRAPHeRS HALL OF FAMe FReeLANCe PHOTOGRAPHeRS HALL OF FAMe

eSTAbLISHeD IN 2008 TO COMMeMORATe THe 25TH ANNIVeRSARY OF IFPO 1983- 2015


IFPO Sponsors 3 Press Credential Programs for members only. All three press programs are FULLY SUPPORTED bythe editorial staff at American Image Press and Today's Photographer International Magazine. IFPO member photogra-phers, journalists, photojournalists, reporters, broadcasters, and others who need media access may participate in these pro-grams. FULLY SUPPORTED means that our editors (with more than 30 years of experience) are available to answer yourquestions about how to use your press credentials, approach an assignment or answer questions related to an assignment.For most events, you will simply show up early with your press card. For other more competitive events we provide morespecific instructions with your credentials.

IFPO Press photographers control their own assignments and the release of thier work:• Choose assignments that are convenient.• Retain all rights to their photos and are encouraged to also submit their work to multiple media outlets.• Are on assignment for Today's Photographer International magazine. • Submit their photos and articles to be considered for publication in Today’s Photographer International magazine• Photographers may join IFPO and enroll in one of the press programs at the same time. • IFPO membership fee is lifetime - you pay only once.On weekends and holidays assignments may be verified by calling 1-800-654-9557 or using the internet verification site

which is set up for you as one of the numerous support systems for your press credentials.GOLD PReSS PROGRAM: http://ifpo.net/pressgold.htmlThis was the first gain access program inaugurated in 1986. Thousands of IFPO members still swear by the this programand would never use anything else. The Gold Press Credentials will get you and your camera where you could never goalone - behind the scenes at sports, entertainment and breaking news events. The backbone of this unique program isToday's Photographer International magazine and American Image Press. Member photographers and journalists are onassignment for the magazine. If needed, the editorial staff will help you gain access to the events you choose.401-GP-II GOLD PRESS CREDENTIALS $109 plus $10 USA s&h (Issued for 3 years)

American International News Service UNIVeRSAL Program (A.I. News): http://www.ifpo.net/univ/index.htmlHistorically, American International News Service and Universal Credentials were "birthed" from the Gold Press Programusers who had become so experienced in press photography that they were pushing the Gold Press Credentials to the "outerlimits." IFPO's veteran press members were pushing into global calamities and war zones from Hurricane Katrina, the Hait-ian Earthquake, Indonesian Tsunami, Iraq and Afghanistan Wars, Sudan Civil Strife and more. These members asked for acomplete program with more items and international recognition to get them into the biggest news events around the world.The AI News Universal is the most complete press program offered by IFPO. For veteran photographers and journalists.UNIV-M UNIVERSAL PRESS CREDENTIALS $199 plus $10 USA s&h (Issued for 3 years)

USPReSSCORPS.ORG: U.S. PReSSCORPS: http://www.ifpo.net/uspressaa/index.htmlDesigned for instant recognition and to open the toughest barriers, gates and doors. In addition, members report that wear-ing the hard card badge with lanyard while traveling can yield preferential treatment with airlines, hotels and restaurants.You are a member of a distinct and impressive group: the U.S. Press Corps. In many situations, these cards can carry moreclout than the other credentials because of their name appeal. Again, experienced members will come to know which worksbest in each situation. USPRESSCORPS.ORG is permanently limited to 1500 experienced IFPO press photographers and journalists.USPReSSCORPS.ORG CREDENTIALS $159 plus $10 USA s&h (Issued for 3 years)

Other Specialized Press Programs:AI News Service Global Press Credentials: http://www.ifpo.net/global/index.html

AI News Service Sports Credentials: http://www.ifpo.net/aisports/index.htmlAI News Service Motor Sports Credentials: http://www.ifpo.net/motorsports/index.html


INT

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IFPOWindshield Stickers#791A - 2 for $9.95adhere to inside of windshield or window.

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$9.95 each or ANY 5 CERTIFICATESABOVE #57XX for only $39.95be sure to give your name as you wish it toappear on the certificate(s).IfpO members only! give your 5-digit I.D. num-ber when ordering.

√ Cat# CATeGORY ....573A ........Freelance Photographer ....573B ........Sports Photographer ....573C ........Concert Photographer ....573D ........Wedding Photographer ....573E.........Portrait Photographer ....573F.........Wildlife Photographer ....573G ........Nature Photographer ....573H ........Glamour Photographer ....573J..........Model Photographer ....573K ........Model Portfolio Photographer ....573L.........Nude Study Photographer ....573X ........OTHER (SPECIFY)

Credit Card orders:

Call Free:Call Free: 1-800-654-9557 1-800-654-9557 Mail Orders:

Use the ORDeR FORM on page 47

____________________________________________________________________________name____________________________________________________________________________

(optional) business name____________________________________________________________________________

address____________________________________________________________________________

city/st/zip____________________________________________________________________________

phone number/FAX number____________________________________________________________________________

(optional) email address____________________________________________________________________________

TITLE Choices: Freelance Photographer, Photojournalist, Journalist, Professional Photographer, etc.

Visa/MasterCard/American Express/Optima Card #

ENCLOSE CHECK, MONEY ORDEROR PAY BY MAJOR CREDIT CARD

expiration date

International Freelance Photographers Organization

MEMBERSHIP FORM

• My membership packet willinclude details on how I can par-ticipate in IFPO's PROVENPROGRAMS for getting PUB-LISHED, making MONEY andgaining PRESS ACCESS withmy camera.

* Hard Card ID’s are similar to your driver’s license,your photo is manufactured into the card. Almost anyphoto will do. We can crop, size or mask out back-grounds. Email your photo to [email protected] with your name in the subject line or mail yourphoto to IFPO, PO Box 42, Hamptonville NC 27020.

Enroll me as an IFPO Lifetime Member and Send My Membership Packet including:• Hard Card Membership Photo I.D.* with Custom Title (Ex: Photographer, Journalist, Photojournalist etc)• Hard Card Badge Photo I.D.* with Lanyard with Custom Title• Membership Certificate and Charter in Handsome Portfolio Folder.• First issue of your subscription to Today’s Photographer magazine.• Member’s Guide to IFPO

I Enclose $84 plus $5.85 USA shipping and handling($89.85 total) for IFPO LIFETIME Membershipand Subscription to Today’s Photographer Magazine.

NOTE: Foreign shipping and handling is $26.50 USD.

by mail: IFPO, P.O. Box 42, Hamptonville, NC 27020-0042 USA

OR use your credit card and: CALL FREE 1-800-654-9557 or FAX 1-336-468-1899

GAIN ACCESS to SPORTS, CONCERTS, BREAKING NEWS and More

IFPO Press Programs(For Members Only)

http://www.aipress.com/press.html

American Image Gold Press • USPReSSCORPS.ORG • AI News Service Universal

For complete information go to: http://www.aipress.com/press.html • email: [email protected] the Order Form on Page 47

Credit Card orders phone: 1-800-654-9557 ••• Fax 1-336-468-1899MAIL ORDERS: IFPO PRESS OFFICE, P.O. Box 42, Hamptonville, NC 27020-0042 USA



IFPO members who have beenactive for more than 10 years or havebeen published 5 or more times arequalified to participate in the IFPOMaster Photographer program. Otherswho can offer different validating crite-ria may also apply.

Photographers only apply once forMaster Photographer status. It is sug-gested that the actual credentials beupdated every 3 years for validationpurposes. (Images of the credentialsare not shown here for security rea-sons.) However, satisfaction uponarrival is guaranteed or a full refundwill be issued.

Master Photographers are assigned averification code which can be used toverify members’ status by anyone withthat code 24/7. Also, we provideinstructions for you to update your ownPlatinum Master verification site asoften as you wish.

The Platinum Master PhotographerPortfolio is offered in two parts to giveIFPO members more options. The Plat-inum Master Diploma Portfolio (item#PMA for $99) includes a MasterDiploma and a copy of the IFPO Mas-ter Charter. Each is signed by twofounding directors and printed on 8 1/2x 11" parchment paper, embellishedwith the Master Photographer logo andpresented in a fully padded leather tex-tured case. A laminated wallet sizereplica of the Master Diploma is alsoincluded. It is not necessary to updatethis portion of the portfolio every 3years.

The Platinum Master PhotographerCredentials Portfolio (item #PMB for$99) includes a full set of badge andwallet ID’s plus internet verificationand a Master Photographer 3" Embroi-dered Patch. The credentials are issuedfor 3 years. A new set of credentialswith updated photos are issued witheach renewal.

The Platinum Master FULL Portfolio(item #PMF for $198) includes every-thing in the two options above. Go tohttp://www.ifpo.net/pmaster.html/ oruse the order from on page 47. Ω

You May Qualify as a Master Photographer

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IFPO Member# __________________ or enclose dues (see page 17 for membership information)

name __________________________________________________________________________________

address ______________________________________ _________________________________________

city/st/zip ______________________________________________________________________________

phone/FAX ____________________________________________________________________________

use check,Money Order,Or credit card:


gExx glamour Elite bundle: . . . . . . . . . . . $99.00- wallet hard card- badge hard card + Lanyard- glamour Elite passport

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credit cards: cALL FRee1-800-654-9557or fax 1-336-468-1899mail orders to: IFPO Order Dept., PO Box 42, Hamptonville, NC 27020-0042

signature____________________________________________________________________

Become a Photographer for

Glamour Elite magazine

E d i t o r i a l E d i t o r i a l Submission guidelines Submission guidelines

LOOk at tHe MaGaZINe!! when you look at examples of what isactually published in the magazine, it's like looking at the testanswers before taking the test!!

HOW tO SUCCeeD is what we are all about! how to make money,gain access and get published. how did you get the celebrity to letyou get the picture. how did you get the model to pose for you. whatsurprise barriers were you able to overcome? how did you get thosedeath defying pictures right from your car window?

INSPIRatION is the word our readers use most to describe the mag-azine and it's content! have you had some success with your cameraor an idea that would inspire others?

SeLDOM SHOOteRS: So you only picked up your camera once ortwice in the past few years, shot a lot of film for an afternoon or aweek, then let it get away from you. what was so important thatcaused you to pick your camera up? family reunion? Your kid's bigsoccer game? beach trip of a lifetime? favorite group finally came totown in concert? house down the street caught fire? 2 weeks in Yel-lowstone? big celebration at work?

DIFFeReNt DRUMMeRS: Maybe you have a story with a differentslant — submit it. You may inspire us to expand our editorial range.consider an editorial submission even if you have never made a onebefore. publishing your story and/or photos is another way for us toreward our readers who share a special bond in their passion forsucceeding as photographers ... and making money. Again, our reso-lution is to support that effort in every issue and to make sure thatToday’s Photographer “works” for you.

USe THIS FORM to submit ARTICLeS, PHOTOS, and TIPS to be considered forpublication in Today's Photographer. USe THIS FORM and follow these guidelines tomake sure your submission package is complete.

IFPO Member# _____________Name: ______________________________________________________________________________ keep this submission and make it AvAILAbLE for publication in all future issues. I hAvE inclosed a RETuRn MAILER with adequate pOSTAgE.

please consider this submission for publication for the next ______ issues OnLY, then return it to me.Address: ____________________________________________________________________________

City / State: _________________________________________________________________________

Zip Code/ Country ____________________________________________________________________

Phone: _____________________________________ Fax: ____________________________________Submission of my entry grants Today’s Photographer permission to publish my story or photos.

signature ______________________________________________________ date _______________________________Editorial Submissions, PO Box 42, Hamptonville, NC 27020-0042

Editorial SubmissionCHECKLIST A photo of YOuRSELf (suggestions: with your cam-

era, at the scene, with someone important, etc.). A text file or clearly hand-printed copy of your Make

Money Article, Sidetrip, Success Story, Tech Tip orgain Access story.

pRInTS, TRAnSpAREncIES or digital images (jpeg)that illustrate your story.

A list of captions or titles for each photo. Tell us about your past awards, publishing accom-

plishments, hobbies, or even a funny story that wouldinterest a reader. Do you shoot part time or full time?

Your submission including all of the above items maybe mailed on disk to the address below.

A press photographer’s reputation is based on his own code ofethics. Although getting the story is the ultimate goal, ethical stan-dards can “make or break” a career. It is the duty of a press photog-rapher to document newsworthy happenings — never altering cir-cumstances or interfering with action to enhance your photographs.Your photos should tell a story just as it happened. Meeting the highstandards of press photography requires patience, determinationand strong ethics.

first, foremost and always remember that Press access is aprivilege not to be abused. use the following code of Ethics toguide you:• arrive early — at least 45 minutes before an event is scheduled to

begin — to find the press area, check out the stage or facility lay-out and choose a vantage point.

• Never show up unprepared. not only should you have all theproper equipment, you should have a basic knowledge and under-standing of the event. Do your homework!

• try to work with promoters and authorized officials not againstthem.

• Conduct yourself in a professional manner. photographers whocomplain or cause problems aren’t likely to be admitted again.

• Don’t just start shooting. Think about what you’re covering.• Stay within the boundaries of the press area. never interfere

with the action, criticize a player or performer or interrupt an offi-cial.

• exercise patience. Resist the urge to inconvenience other pho-tographers by changing positions. Your opportunity will come.

• although it is necessary to get a good position, courtesypays. Other photographers are usually willing to share their space-- if you share yours. Develop good relations with other membersof the press.

• always live up to your obligations to promoters and publica-tions. press photos are for editorial purposes only -- not to be soldcommercially nor to be posted on social media sites.

• Posting press photos on social media sites violates this code.• always clean up after yourself -- snack wrappers, water bottles

etc.• Never photograph anyone in a compromising situation (back-

stage, locker rooms) unless it’s a public figure in a public placewhich qualifies for news. never abuse the privileges of the press.

• Remember you are a photographer on the job -- not a specta-tor.finally, the nature of breaking news makes preparation impossi-

ble. however, you should use the same ethical standards as forscheduled media events. with practice and common sense, highethical standards should come as naturally as clicking the shutter. Ω

The American Image Press Photographer ’s Code of Ethics

best for getting large images in myviewfinder and enabled close crop-ping.

From keeping well abreast of theIndycar Series, I had learned that thepoints battle for the Indycar Champi-onship was now extremely tight. So, Ifocused on getting good shots of thosecars and drivers in the heat of thepoints chase, always a very good strat-

egy no matter what series of racingyou cover.

The Internet is a valuable resource tokeep you updated on developmentswithin motor sports in your interest.This is essential if you want to developinto a professional motor sports pho-tographer, because it will allow you tobe aware of those teams and drivers towhich you can offer your photographic

services and land you additionalassignments. Also your photos willhave more appeal to publications ifyou focus on potential news makers.

I hope you will gain something fromthis basic approach to capturing actionand speed in motor sports photography-- as well as improving your skills as apress photographer. And as always,good luck, and good shooting. Ω

SPeeD aCtIONCONtINUeD FROM PaGe 33



YOU CAN BE AN IFPO DISTRIBUTORIFPO DISTRIBUTOR

THE ADVANTAGEAn IFPO Distributorship is an exceptional

opportunity for IFPO members to achieve suc-cess and make money by taking advantage of themillions of dollars and 15 years of research thathave gone into developing the IFPO / Today'sPhotographer Magazine Concept. The modestdistributor's fee gives you the value of MIL-LIONS of dollars that have been invested in 15years of advertising IFPO’s dependability, quali-ty and services.

Today's Photographer Magazine and its asso-ciated products gets more exposure than anyother photography magazine. It is advertised reg-ularly in display space advertising in PopularPhotography, Photographic, Outdoor Photogra-pher, American Photographer and Shutterbug. Asa distributor, you get the direct benefit of thisadvertising.

Today's Photographer is sold on Newsstandsthroughout the United States, Canada, andaround the world.

IFPO is recognized in more than 140 coun-tries on all continents of the world and has morethan 67,000 members. Today's PhotographerMagazine is currently being distributed to morethan 80,000 photography enthusiasts 4 times ayear.

Typically, distributorships or franchises thatgive a distributor this kind of exposure, promo-tion and value are priced from $10,000.00 to$150,000.00.

YOU CAN:•You can start a new business and coast in thewake of the IFPO flagship. Let its research,product development, name recognition and dol-lars spent on advertising make money for you.Let IFPO's rapid success plan turn into financialgrowth for you.•You can reap the profits from more than 2.5 mil-lion dollars already spent on advertising in all themajor photography and video magazines. Letthese IFPO advertising dollars work for you andyour business by building name recognition forthe IFPO products and programs that you sell.•You can offer IFPO products and programs toyour clients without spending a penny for marketresearch or product development. IFPO is con-stantly upgrading its products and services tomaintain its leadership position in the interna-tional marketplace.•You can guarantee satisfaction for each productand program you offer. That customer satisfac-tion is backed up by IFPO and is a vital part ofthe IFPO success story._________________FREQUENTLY ASKED QUESTIONS:

http://www.ifpo.net/dfaq

HOW IT WORKS1. DISTRIBUTOR DISCOUNT: You are enti-tled to order products and services from a cur-rent issue of Today's Photographer at a only50% of the listed standard price. For example:multiply list prices by 0.5 (a $68 membershipwould be $34.00). Half of $39.95 for example,would be $19.98 (rounded off to the nearestcent).2. QUANTITIES AND SHIPMENTS: Order inany quantity. IFPO will ship to you or your cus-tomer direct. No minimums or quotas.3. EXCLUSIONS: You CANNOT apply yourdistributor's discount to: USA or Foreign ship-ping • Workshop programs • Quantity discountpackages such as 3R0X, 3VVX, item numberscontaining “X”, or special offers with expirationdates • Classified and display a dvertising •Items in out-of-date issues may no longer bevalid • Items not sold by IFPO/American Imageare excluded. Items not sold in Today’s Photog-rapher magazine are excluded.

WHY YOU?•You may wish to purchase many IFPO pro-grams or services for yourself. A distributorshipwill save you 50%.•You may be associated with a group such as acamera club, family members or close associateswho may want to participate in IFPO productsand services at discount prices.•If you have a photography studio or similarbusiness may wish to arm all of your staff mem-bers with memberships and press program cre-dentials from IFPO to make them more competi-tive. An IFPO Distributorship would enablethem to do this at reduced costs to the studio orcompany.•You may want to start down the road of beingyour own boss with an IFPO distributorship. Youcan start small, order in any quantities, part timeor full time. Most of all, you may have a fewhours a week to invest in your financial future.

MAKE MONEY:•A distributor could sell only 2 videos a weekand net up to $2000.00 a year. He could buildhis business up to 200 videos a week and bepulling in potentially $200,000.00 per year.•A distributor could set up a network of 100Model Consultants "talent scouts" in an area.He would make nearly $15,000 just on themodel consultant kits and IFPO memberships,then would make more on the videos, forms,books and other items that consultants frequent-ly buy.•A distributor could sell to schools and educa-tional institutions. IFPO's instructional videosare very popular with schools of all kinds(Junior Highs, High Schools, Colleges, TradeSchools, etc.). Schools typically purchase inlarger quantities, often 10 to 20 videos at a time.Currently, about 100 schools are purchasingfrom IFPO. There are tens of thousands more inthis country alone.•Recreational groups sponsored by governmentor other non-profit groups. For example, Mili-tary bases have recreational programs thatinclude self-help and how-to programs on video.Currently, IFPO does a brisk business with mili-tary base purchase orders from only a few bases.•Many other groups sponsor recreational pro-grams that would be very interested in photogra-phy instructional videos. Groups plan trips.Vacationers use cameras and camcorders.•Photographer's swap meets or flee markets areideal places to set a booth and market IFPOproducts. In these situations, having merchan-dise to sell (like videos) is a plus. But if youdon't have the merchandise, be sure to get thename, address, and phone number of each per-son that stops by your booth. Each one is aprospective customer for the future. If you run

out of copies of Today's Photographer at yourbooth, you can always mail them one in thefuture with a special offer flyer of some kind.REPEAT CUSTOMERS

The best opportunity you have to makemoney as a distributor is to give your customersa REASON to do business with you. You canuse your own liberal distributor discount to youradvantage. If you can give your customers a 5or 10% discount by purchasing through you,then they have a reason to order with youinstead of ordering directly through mail orderwith IFPO. Your own margins may be a littleslimmer, but your volume would be much high-er.

Now you could consider distributingToday's Photographer Magazines liberally withyour business card attached and a notice thatoffers your own 5% or 10% discount if theyorder through you.

In this way, you would get the full advan-tage of repeat orders from the same customers.Here is a sample list of schools and institutionsthat have already placed large orders directlywith IFPO:

AFETA, Camp Peary, VA; Miami KillianSenior High School, Miami, FL; Leon County Schools,FL; River East School Division, Winnipeg, Manitoba,Canada; Aims Community College, Greeley, CO; CBNUniversity Library, Virginia Beach, VA; SouthwestState University Library, Marshall, MN;University ofPittsburgh, Pittsburgh, PA; NAF Fort Sam Houston,TX; Stockton Unified School District, Stockton, CA;Phillipsburg Board of Education, NJ; Roberts HighSchool, Florence, CO; Oakton Community College,Des Plaines, IL; Greenville Technical College, SC;Curtis Jr High School, Tacoma, WA; MinutemanRegional Vocational Technical School District, MA;Ferris State College Library, Big Rapids, MI; Marico-pa Community College, Phoenix, AZ; SoutheasternMass. University, MA; Sparta Senior High School,Sparta, WI; and many, many more.

The List Price of the IFPO Distributor Program is $387. For a limited time, the price is reduced to $187 plus $12shipping ($24.75 USD Foreign Shipping) but will only remain at this special price for a limited time.

call the IFPO office at 336-945-9867 or 1-800-654-9557with your credit cardwww.ifpo.net Today's Photographer International 4342 Today’s Photographer www.ifpo.net

signature __________________________________________________________________



name ___________________________________________________________________

address _________________________________________________________________

city/st/zip ________________________________________________________________

phone/fax________________________________________________________________

email/U.R.L. ____________________________________________________________________


aI NeWS SeRvICe auto emblemITEM cODE pRIcE DEScRIpTIOnAI-MAg-1A $39.95 1 Magnet Auto EmblemAI-MAg-2A $69.95 2 Magnet Auto Emblem Set

USPReSSCORPS.ORG auto emblemITEM cODE pRIcE DEScRIpTIOnuSp-MAg-1A $39.95 1 Magnet Auto EmblemuSp-MAg-2A $69.95 2 Magnet Auto Emblem SetShIppIng uSA $9.00 ($19 foreign shipping)

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MaGNetIC PReSS aUtO eMBLeMSYOuR cAR cAn gAIn AccESS TOO!

Magnetic car Emblems are an effective tool to get you past roadblocks, police barricades and into choice parking spots.

They tell officials that your car is on official press business.They are weather-resistant, durable, flexible, and easy to place andreposition. They will stay where you put it, but will also peel off whenyou need to remove it, and are 40 mil magnet material with uv resis-tant laminated finish printed outdoor quality vinyl.

freelance field kit (fR11). . . . . . . . .. . . . . . . . . . . . $49.001 - wallet hard card I.D. with custom photo

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Mail check or money order to:IFPO, PO Box 42, Hamptonville NC 27020-0042

To use your credit card:CALL 1-800-654-9557 or fax: 1-336-468-1899

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FR11 Freelance Photography FIeLD kIt


name _________________________________________________address________________________________________________city/st/zip ______________________________________________phone/fax______________________________________________email/U.R.L. ________________________________________________Custom Flag. ________________________________________________

hard card credentials are made from the highest quality pvc plastic just like yourdriver’s license or credit cards. Your photo is manufactured into the card. Emailyour photo as an attachment to [email protected] with your namein the subject line. we can crop, size or mask out the background in the photo. noemail? Mail your photo to IfpO, pO box 42, hamptonville nc 27020. If we haveyour photo on file, we will use it.

signature __________________________________________________________________




FaSHION PHOtOGRaPHy

The digital age has literallychanged the way the worldthinks and does business. In

photography we are literally lightyears away from how we operated justa short time ago. Especially, photogra-phers working with models. Modelscan still be found almost anywherethere is a client base of support. In theold days they built portfolios fromtheir work in local runways, editorial,catalog, magazines, trade shows, con-ventions, and other assignments.

Now the same types of freelancemodels can easily promote themselveson Facebook and other social mediasites in addition to model web hostingsites on the internet. What has notchanged is that they still need an expe-rienced photographer to create theimages for their successful promotion.

Today’s challenge is still linking theright photographer to the right model.Most successful photographers whofind themselves at the foot of themajor runways have spent years build-ing their own portfolios while shootinglocal model portfolios and composites.

While most fashion photographersdream of shooting the major fashionshows in New York, London andParis, that’s the height of achievementand not where you start. Shooting atthat level requires skill and techniquethat often takes years to develop.

IFPO has a model consulting pro-gram available to members to solvethe age old problem of finding modelswithout spending an arm and a legwith a modeling agency and withoutpotential models being skeptical of thephotographer’s intentions. And it gen-erally does not require spendingmoney for advertising which takesaway working capital.

Internet advertising today is virtual-

ly free so most serious models have awebsite or post their portfolios onhosting sites. Photographers cansearch for models available in theirlocal areas for assignments or to fur-ther develop the model’s portfolio ortheir portfolios. Most models look for

a photographer with a solid back-ground and fresh ideas with a specialtyin fashion, swimsuit, design or other.

Consulting and planning are key to asuccessful venture for both parties.IFPO model consultants have the toolsand know how to make that happen. Ω


DESIgnER DESIguA SpRIng fAShIOnS AT ThE nYfw 2016 hELD AT SkYLIghT MOnAhAnSTATIOn. nYfw REpLAcES ThE MERcEDES-bEnZ fAShIOn wEEk AT ThE LIncOLn cEn-TER. ©2015 Roy Speller Sr. IFPO, Bronx, NY.

TpI EDITORIAL STAff

Leo Messi (blue shirt number 10) wAS pLAYIng fOR ARgEnTInA'S nATIOnAL TEAM On ThE unITED STATES TOuR. I wAS ThRILLED TO cOvER ThEgAMES AnD TRAInIngS. ARgEnTInA wOn AgAInST bOLIvIA In hOuSTOn,TExAS AT ThE bbvA cOMpASS STADIuM wITh A fInAL ScORE Of 7 - 0. ©2015DIEgO pIETRO IfpO

AS A phOTOJOuRnALIST ThE OppORTunITY TO TAkE ApIcTuRE Of LIOnEL MESSI, ThE bEST SOccER pLAYER InwhOLE wORLD, wAS ThE MOST IMpORTAnT EvEnT In MYphOTOgRAphIc hISTORY. hIS REcORDS ARE MAnY --ThE bEST wAY TO LEARn hIS STORY IS TO gO TOwIkIpEDIA. DIEGO PIETRO IFPO, HOUSTON, TXSNaPSHOtOF a SUPeR StaR


ADDRESS CHANGE MEMbER# REquIRED!!NeW address aBOve (in “ShIp TO:”), OLD address BeLOW

print old address, city, state, zip

exp. date signature

card

INFORMATION or CUSTOMER SERVICE: For GENERAL INFORMATION or tocheck ORDER STATUS or errors: 1-336-468-1138 weekdays 10:00 -5:00 Eastern time(except holidays) or use our 24 hr FAX 1-336-468-1899. Mail your requests or queries to: Cus-tomer Service, P.O. Box 42, Hamptonville, NC 27020-0042

C.O.D. ORDERS: C.O.D. orders will be accepted for the convenience of customers who wantquick service, but do not wish to use a credit card. C.O.D. orders will be accepted ONLY by callingCustomer Service, 1-336-468-1138. Customer Service is open 9 to 5 Eastern time weekdays.C.O.D. orders will NOT be accepted by MAIL, FAX, or on the 800 number order line.

You will be required to pay a fee to cover the shipping and C.O.D. fee charged by the carrier.For orders under $100.00, the C.O.D. handling and shipping charge is $15.00. For orders$100.00 or more, the charge is $20.00. When you place your order, our customer service repre-sentative will give you the total charges for the order. C.O.D. means “Cash On Delivery.” Whenyour package arrives, you must pay the carrier in cash or money order!

SHIPPING & HANDLING: Shipping & Handling charges must be added to each order.

SATISFACTION GUARANTEED: All of our merchandise is 100% guaranteed. If for anyreason you are not satisfied, we will refund your money or send a replacement, no questions asked.Call Customer Service at 1-336-468-1138 about RETURNS, EXCHANGES or REFUNDS. Ship-ping or C.O.D. charges will NOT be refunded under any circumstances. Refunds will not be madefor used merchandise or items held by the customer for more than 30 days. Video Cassette Returnsmay be subject to a restocking fee. To qualify for a refund, merchandise must be returned in thesame condition it was received with packing slip within 30 days. Postage due packages will not beaccepted. Send returns via US MAIL to Customer Service, P.O. Box 42, Hamptonville, NC27020-0042.

CHECK or MONEY ORDER enclosed($15 service charge on all returned checks)

o visa, o Mastercard, o American Express, o Optima

SHIPPING & HANDLINGDEpEnDAbLE DELIvERY bY ThE u.S. pOSTAL SERvIcE.(Delivery by other carriers by special request only)

USAOrder total 1st Class/Priority

$0 - 25.00................$7.00 (u.S. Dollars)25.01 - 75.00................$9.00 (u.S. Dollars)75.01 - 150.00..............$12.00 (u.S. Dollars)

150.01 and up..............$17.00 (u.S. Dollars)NeXt Day NeXt Day DeLIveRy:DeLIveRy: add $28 to above fees.add $28 to above fees.

INTeRNATIONAL (including Canada/Mexico)Order total International Priority$0 - 25.00..............$26.50 (u.S. Dollars)

25.01 - 75.00..............$26.50 (u.S. Dollars)75.01 - 150.00..............$36.00 (u.S. Dollars)

150.01 and up..............$46.00 (u.S. Dollars)

TOTAL ORDeR AMOUNT

SHIP TO: ORDERED ITEMS

Credit Card orders phone: or fax:1-800-654-9557 1-336-468-1899

MAIL ORDERS: IFPO Order Dept. p.O. box 42, hamptonville, nc 27020-0042 uSAInformation or customer Service calls: 336-468-1138

ORDER TOLL fREE complete IFPO Programs and Catalog

www.ifpo.net 47ORDER FORM

CREDIT CARD ORDERS

ITEM# DEScRIpTIOn pRIcE

MAIL ORDERS: IFPO Order Dept. p.O. box 42, hamptonville, nc 27020-0042 uSA

IfpO MEMbER# (needed for “MEMbER OnLY” items or include dues, see page 17)

name

this is a new address, please update my records

business name

address

city/state

zip/country

phone/fax/email

O R D e R F O R M

$9.00

price EA.

TOTAL AMOUNT ENCLOSED

cat# Description

USA Shipping(All other foreign shipping $24.75 USD)

signature __________________________________________________________________


IFPO Member# ____________________name ___________________________________________address__________________________________________city/st/zip ________________________________________phone/fax________________________________________email ________________________________________________CUSTOM Title _______________________________________

$39.95722A Membership Update Kit+ Wallet Hard Card with Custom Photo+ Badge Hard Card with Custom Photo+ Lanyard for Badge Card+ Membership Certificate + Charter+ Ready-To-Display Portfolio Folder forCertificate and Charter

+ Full Internet Verification

update your I.D. card and certificate to the nEw IfpOMembership kit with hard cards and portfolio.

722a IFPO Membership Update kitLong-Time Members can get The new hard card Membership kit!

Made of hard card stock just like your drivers license or creditcards. wE wILL pLAcE YOuR phOTO on the hard cards for you!Email your photo as an attachment to: [email protected] with your name in the subject line. no email? Mail yourphoto to IfpO, pO box 42, hamptonville, nc 27020.


$9.00

price EA.

TOTAL AMOUNT ENCLOSED

cat# Description

USA Shipping(All other foreign shipping $24.75 USD)

signature __________________________________________________________________


5 Digit IFPO Member# ____________________name ___________________________________________address__________________________________________city/st/zip ________________________________________phone/fax________________________________________email ________________________________________________CUSTOM FLAG ______________________________________

$39.95723A IFPO Passport Credential

+ Optional Contact Information+ Optional Flag of your choice (we have allnational flags, U.S. State flags, CanadaProvince flags, UN flag and EU flag in ourlibrary)

update your Membership credentials to include the newIfpO passport-style credential. (has nO Expiration Date)

723a IFPO Membership PassportLong-Time and new Members can get The new IfpO passport

by popular Demand following the recent IfpO update kit offer-ing. we will place your photo for you! here's how: Email yourphoto as an attachment to: [email protected] withyour name in the subject line. no email? Mail your photo to IfpO,pO box 42, hamptonville, nc 27020. we may already have yourphoto on file!





DvD01 Digital Photography: the Camera 85 min $54.95

Digital photography has changed the way photographers create images with anew sense of imagination that can be instantly changed and improved.

Digital Photography, the Camera is about teaching the fundamentals of thisnew creative tool. If you’re new to photography or an experienced film user youwill find this useful program full of practical information, creative ideas andinstruction on digital imaging. 14 Educational chapters: Introduction, f-Stops, Shutter Speeds, Digital history,how Digital works, how to choose a Digital camera, using Your Digital cam-era, files & Memory, bOnuS - Text files: key Terms, Digital glossary,Teacher’s guide, quick quiz (30 questions), using Light, Lenses, Depth offield, when to use Digital, Exposure control, Your Digital Images, Digitalpathways. $54.95

DvDLP4 Learn to Critique Photography, Film & Digital60 minutes $54.95

To be successful, a photographer must learn to critique photography. This pro-gram examines over 100 images to understand why some pictures work and whyothers don't. If offers the critical skills needed to craft the most dynamic imagespossible.Eleven educational lessons: visual themes, Light, color, focus, Design, Seeingimages, people photography, Action photography, Travel photography, naturephotography and candid photography. 60 minutes, DvD format $54.95.

#DVD04 - $139.95(#DVD01,DvD02, DVDLP bundle of 3) 4 Hours

With Brian Ratty, world famous photographer and educator

Digital Photography Instructions on DVD

DvD02Digital Photography, Crafting Images

98 minutes $54.95

Teaches the fundamentals of the ‘art and craft’ of making, not taking, digital images.This 98 minute program includes 32 key photographic concepts and 56 specific digitalshooting tips. This interactive program will help develop good photographic tech-niques and provides inspiration on starting to ‘see’ photographic images that are allaround us. 10 Educational chapters: Introduction, The camera (review), properties of Light,Exposure control, photographic Design, critiquing Images, visual Themes, visualSubjects, Shooting Accessories, The gift of photography. $54.95

ORDER TOLL FREEORDER TOLL FREE 7 days7 days 1-800-654-95571-800-654-9557 or useor use ORDER FORMORDER FORM on page 47on page 47

As a photographer and former AirForce percussionist I am interested inmusical events throughout the Atlantametro area. I've taken photos of per-forming musicians over the years atthe Centennial Olympic Park andnever had to worry about producingmedia credentials until this year!

In the spring of 2015 I submitted my

letter of press assignment fromToday’s Photographer Internationalmagazine and received an unlimitedpress pass to the Centennial OlympicPark. Using that pass I have been ableto take photographs up close of thefeatured bands each evening.

A local band The PR Experience asix-year old Atlanta group, made up

mostly of middle and high school edu-cators really inspired me. My firstthought was that this band needs moreexposure in the Atlanta metro area andmaybe I could be a part of that by get-ting their name out and their photospublished. So I made contact withtheir manager and we are developing arelationship (I think it helps that I playdrums). We now have plans for me totake photos at their other venues whichI hope to get published as often as pos-sible. During this process I've alsobeen getting calls to take photos ofother groups at Centennial OlympicPark!

I think being a percussionist and apress photographer gives me an edgeand qualifies me to recognize and cap-ture the essence of the emerging musi-cal groups in the Atlanta area. Ω

cApTuRIng ThE

BEAT inHOT-LANTA

TRuMpETER AnD bAnD LEADER nELSOn L. REnDER Of The Pr exPerIenCe pERfORMS AT ThEcEnTEnnIAL OLYMpIc pARk In ATLAnTA. ©2015 cAL STEvEnS IfpO

bY cAL STEvEnS IfpO, DEcATuR, gA

JORDAn wESTERkAMp ThE TEAM cApTAIn fOR ThE nEbRASkA cORnhuSkERS AvOIDS bEIng TAckLEDbY MIAMI huRRIcAnES MARquES gAYOT (L) DuRIng A punT RETuRn. wIDE REcEIvER AnD punTRETuRnER wESTERkAMp IS bEST knOwn fOR hAvIng MADE ESpn'S cATch Of ThE YEAR fOR ThE2014. STARIng SOphOMORE TAILbAck JOSEph YEARbY (R) hAS A nIcE Run SETTIng up MIAMI fOR ATOuchDOwn. MIAMI wOn In OvERTIME 36-33. phOTOS ©2015 gARY RAffEnSbERgER IfpO

COLLeGe FOOtBaLL UP CLOSebY gARY RAffEnSbERgER IfpO, pAMpAnO bEAch, fL


TODAY’S phOTOgRAphERp.O. bOx 42, hamptonville, nc 27020-0042

www.ifpo.netpRSRT STD

uS pOSTAgEPaID

bAngOR MEpERMIT nO 112

IFPO CReDeNtIaLS WORk aGaIN!By Lyndon Johnson, IFPO Photojournalist, AI News Service Press, Goldsboro, NC

nOpI nATIOnALS, MYRTLE bEAch SpEEDwAY, MYRTLE bEAch, Sc: ThAnkS TOIfpO AnD ThE AI nEwS pRESS pROgRAM I wAS AbLE TO cOvER ThIS EvEnT. OvER700 cARS, MOTORcYcLES, AnD TRuckS cOMpETED AT nOpI (nuMbER OnE pARTS,Inc.) nATIOnALS cAR, TRuck AnD bIkE ShOw AT ThE MYRTLE bEAch SpEEDwAY JuLY24-26, 2015. OvER 2000 SpEcTATORS ATTEnDED ThE EvEnT. I wAS gIvEn AccESS TOThE bEST pOSITIOnS TO ShOOT wITh ThE REST Of ThE phOTOgRAphERS AnD MEDIASTAff. I hAvE uSED ThE AI pRESS pROgRAM fOR vARIOuS SpEcIAL EvEnTS fORYEARS AnD IT hAS wORkED fOR ME 100% SO fAR. RIghT nOw OnE Of MY IMAgESfROM ThIS EvEnT IS ThE ADvERTISIng bAnnER fOR nOpI’S fAcEbOOk pAgE.(More at ljimages.com/nopimb2015)

taNDeM DRIFtING DeMONStRatION at NOPITwO cARS TAkE TuRnS AS ThE LEAD cAR AnD ThE chASIng cAR fOR An OffEnSIvE/DEfEnSIvE SETup DESIgnED TO fInD OuT whO cAn DRIfT bESTunDER pRESSuRE. A DRIvER whO SpInS OuT OR cAuSES cOnTAcT AuTOMATIcALLY LOSES ThE TAnDEM Run. ©2015 Lyndon Johnson, IFPO


Documents

2015 new format fall/win 2015 2006 Annual Issue 10/21/15 2 ...aipress.com/2015Fall-Win.pdf · dence to: Today’s Photographer Magazine, P.O. Box 42, Hamptonville, NC 27020-0042 USA