Each year, on New Year’s Day, many of us make promises or resolutions to make positive changes in our lives. Maybe it’s to lose weight, eat healthier, work less or spend more time with our fami-lies. Change can be a great thing for us, though it can be ter-rifying, many times change means growth!

If you haven’t noticed, there are a lot of changes happening in the big industry of photography. New photographers are appearing daily, clients want a CD as opposed to a professional print (to CD or not to CD, that is the question!) The average consumer is not looking for the classic portraiture we have so proudly delivered over the years. Clients are now armed with top quality cameras creating their own photography.

So, with that being said what is a professional photographer to do? For starters, stay up-to-date on the latest equipment, software and photographic discoveries. We should totally embrace the “social marketing era”... yes, that means taking time for blogging and Facebook! Most importantly, we must

continue to educate ourselves!For the last 17 years I have been a

member of the Professional Photogra-phers of North Carolina. Through this organization I have received an incred-ible education that has made me the photographer I am today.

Not only have I learned the funda-mentals of lighting (which by the way, will never change) posing, technical knowledge, the importance of marketing, and how to maintain a solvent business, I have also had the honor of networking with some of the finest “folks” and most talented photographers in this profes-sion. Each event hosted by PPNC is one more chance for me to learn and fellow-ship with my buds!

Naturally, my favorite time all year

is the PPNC convention! It’s loaded with everything any person crazy about photography could want. Oh, and the

trade show! I think my heart literally starts racing when

I walk through with all the excitement!

Over the years I have proudly served

my state association, ironically I am now the

president of PPNC. (Who would have thought?!)

In the year 2012, it is so important for us to maintain and continue to support this entity that has given so much to the art of photography. Consider your dues paid one of the best investments you can make in your career; it sure has been for me!

As we adapt, change, and continue to fight for our piece of the pie, it is through us we will continue to advance the art and enhance the profession. Share PPNC with every new photographer you know; make a difference!

GOD Bless,

Karen Goforth

From the presidentBy KAREN GOFORTH, M. Photog. Cr., F. Ph.

Be the Change You Want to See in the World

2See PPA‘s View on page 38

Dear Photographer,We know that many of you have been

following the developments with the Stop Online Piracy Act (SOPA) and the Protect Intellectual Property Act (PIPA).

There has been some confusion over the proposed legislation, which frankly is the intent of the bills’ opponents.

We wanted to take a moment to cor-rect some of the bad information, and to let you know where we stand.

We were disappointed by some of the heavy-handed tactics used by opponents of the bills.

The objective of those tactics was obviously to create fear and hysteria, while at the same time spreading false information about what the bills would actually accomplish.

We want you to know the following:

Both pieces of legislation (SOPA in the Senate and PIPA in the House) targeted off-shore pirating of works produced in the U.S.

We do not feel that the measures were perfect—no legislation is.

But the greater good demands that measures be taken to protect the rights of creators like you.

It is true that those mega-corpora-tions opposed to the bill could possibly have been inconvenienced by the legisla-tion. It is their job to make money, and their actions merely represented those purposes.

It is not true that the public would have been deprived of works to which it has rights, but rather, only those works that are copyrighted and being sold il-legally by rogue off-shore websites.

Particularly disturbing to every photographer should be the attempts by Google, Wikipedia and others to define copyright as censorship.

The tact is both offensive and inten-tionally false.

Of course, the word “censorship” was chosen by opponents of the legislation for its obvious emotional value.

Americans in particular are born with a deep-seated aversion to anything that loosely resembles censorship.

Those feelings are amplified in pho-tographers and other creators.

After all, you earn a living by SHAR-ING your work, not depriving people of it.

So when a behemoth corporate mon-

PPA’s take on SOPA and PIPA

Convention promises to be a winnerBy FULLER ROYALFocus on Carolina Editor

It is going to be a fine convention. There’s a lot of great stuff being offered that PPNC’s membership needs more than ever. And it’s going to be different.

For starters, it’s a day shorter. It’s more compact. There’s no more auction. The Saturday night party is now on Sun-day night and it takes place right after the business meeting.

It is a new day for PPNC and the con-vention’s lineup proves it.

Friday starts it allOn Friday, there are three pre-con-

vention programs from which to choose.All have additional fees.Pete Wright will present Film Noir, a

demonstration of how he recreates the Hollywood look of old.

Mary Fisk-Taylor and Jaime Hayes present How to Jump Start Your Business.

Newly minted double-Masters Pho-tographer Adrian Henson presents High Powered Location Lighting.

At 8 a.m. on Saturday, print judging commences in the auditorium. At the same time, something new begins – Club Merit. Sponsored by Proofcast, this new offering takes place in the Bull Durham room.

PPNC members can watch print judg-ing live, listen to the judges’ comments and then comment on their own to each other – and the judges will never know.

Think of it as a peanut gallery where frustrated print makers can vent over their 79’s or stupid comments by judges. It promises to be a hit.

At 9 a.m. David Ziser presents Mar-keting and Lighting while Cathy Benton and Rakesha Nookala present Connecting the Dots.

After lunch, print judging and Cafe Merit continue.

At 2 p.m., David Hakamaki presents

Dominating Your Sports Market & Cre-ating a Successful Home-based Studio, sponsored by Animoto, Kubota and Triple Scoop Music.

Here’s another major change for the convention.

The trade show dinner is on Saturday at 7 p.m. At 7:45 p.m., the trade show will open for members only with a ribbon

3See Convention on page 4

cutting.At 9:30 p.m. there will be a late night

shoot out.On Sunday, at 8 a.m., Jeremy Sutton

presents The Art of Creating Painterly Paintings from Your Photographs, spon-sored by Wacom.

Also at 8 a.m., Jen Hillenga presents Miracle in the Moments, sponsored by Millers Professional Imaging and jens-fabulousstuff.com.

At 11 a.m., Janice Clewis will lead a devotional. Also at 11, the trade show opens to members and public alike.

At 12 noon, all of the PPNC’s past presidents will gather for their annual luncheon.

Three prograns begin at 3:30 p.m.The first is Kay Eskridge as she pres-

ents The Business of Boudoir Photogra-phy – Bold and Beautiful, sponsored by White House Custom Color.

Travis Gudleman presents Taking Your Studio to the Next Level, also spon-sored by White House Custom Color.

Bruce Williamson and several judges will offer print critique as the third op-tion for participants.

A 4 p.m., the Carolina Photographic Education Foundation meets and at 5 p.m., new member orientation is offered.

In another major change for the convention, the annual PPNC Business Meeting will start at 6 p.m. followed at 8 p.m. by Saturday Night Live, the Sunday

Night Party featuring Jim Quick and the Coastline Band.

PPNC members and their guests are encouraged to come as their favorite characters from Saturday Night Live.

Monday’s treatsOn Day Four of the convention – Mon-

day – Mark Garber and Jennifer Gillman present Weddings at 8 a.m., sponsored by

American Color Imaging.Also at 8 a.m., Richard Sturdevant

presents Composites That Sell!, spon-sored by BWC Photo Imaging.

At 10:30 a.m., the trade show opens. At 1 p.m., the PPA Certification Exam will be offered.

At 2:45 p.m., Bruce and Josh Hudson

ConventionContinued from page 3

4See Convention on page 5

present Diversify or Die sponsored by H&H Color Lab.

Also at 2:45 p.m., J.B. Sallee presents Photoshop.

At 6 p.m., members and guests are invited to the pre-banqiet rception. The awards banquet starts at 6:30 p.m. and is emceed by Louis Tonsmeire.

The incoming president’s reception

follow the banquet.Tuesday rounds it out

Tuesday is the last day of the conven-tion.

At 8 a.m., Scott Robert Lim presents Amazing Light, Anytime, Anywhere, sponsored by White House Custom Color.

Also at 8 a.m., Scott and Adina Hayne present Weddings, sponsored by H&H

Color Lab.At 9 a.m., Jeremy Sutton presents an

all-day program on Painter. There is an additional $100 fee.

At 12:30 p.m., Darty & Co. present Stu-dio Success, sponsored by H&H Color Lab.

Also at 12:30, Alycia Alvarez presents “Bella Baby” Babies First Year, spon-sored by White House Custom Color.

ConventionContinued from page 4

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Friday, March 2, 20121 p.m. - 7 p.m. Pre-Convention Programs Limited Seating and Pre-registration Required Adrian Henson - Extra Cost - $69.00 Sandhills Room High Powered Location Lighting

Pete Wright - Extra Cost - $49.00 Piedmont Room Film Noir (Old Hollywood Style Photography)

Mary Fisk-Taylor & Jaime Hayes – Extra Cost Bull Durham - $69.00 “How to Jump Start Your Business” 1 p.m. - until Print Committee Meeting Royal A

1 p.m. - until Props Committee Meeting Royal B

6 p.m. - 7 p.m. Convention Committee & Board meeting Crystal Coast

7 p.m. - 11 p.m. Vendor Set Up Imperial

Saturday, March 3, 20127 a.m. - 7:45 a.m. Judges Breakfast Restaurant

7 a.m. - 6 a.m. Vendor Set up Imperial

7 a.m. - 4 p.m. Registration Desk Open Entrance Pre-registered in Empire Foyer

8 a.m. -12 noon Print Judging Auditorium

8 a.m. - 6 p.m. Club Merit Bull Durham Sponsored by Proofcast.com 9 a.m. - 12 noon David Ziser Empire D&E Marketing and Lighting

9 a.m. - 12 noon Cathy Benton and Rakesh Nookala Empire ABC Connecting the Dots

12 noon - 1 p.m. Judges & Print Committee Lunch Restaurant

12 p.m. - 1 p.m. Lunch on Your Own

1 p.m. - 6 p.m. Print Judging Continues Auditorium

2 p.m. - 5 p.m. David Hakamaki Empire DE Dominating Your Sports Market & Creating a Successful Home Based Studio Sponsored by Animoto, Kubota and Triple Scoop Music

6:30 p.m - 7 p.m. Trade Show Dinner - Vendors

7 p.m. - 7:45 p.m. Trade Show Dinner - Members Empire Salon

The 2012 PPNC TradeShow & Convention Schedule

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7:45 p.m. - 9:30 p.m. Trade Show Opens Ribbon Cutting Imperial PPNC Members Only

9:30 p.m. - 11 p.m. Late Night Shoot Out Empire Foyer

Sunday, March 4, 20127:30 a.m. - 4 p.m. Registration Desk Open Entrance

8 a.m. - 11 a.m. Jeremy Sutton Empire D&E The Art of Creating Painterly Paintings From Your Photographs Sponsored by Wacom 8: a.m. - 11 a.m. Jen Hillenga Empire ABC Miracle In the Moments Sponsored by Millers Professional Imaging & jensfabulousstuff.com 11 a.m. - 11:30 a.m. Devotional Empire D&E Janice Clewis 11 am. - 3:30 p.m. Trade Show Open Imperial Salon Lunch on your own Snacks are available in the Trade Show Area

12 noon - 1:30 p.m. Former President’s Luncheon Crystal Coast

3:30 p.m. - 5:45 p.m. Kay Eskridge Auditorium The Business of Boudoir Photography-Bold & Beautiful Sponsored by White House Custom Color

3:30 p.m. - 6 p.m. Travis Gugleman Crystal Coast Taking Your Studio to the Next Level Sponsored by White House Custom Color 3:30 p.m. - 5 p.m. Print Critique Piedmont Bruce Williamson

4 p.m. Carolina Photographic Education Foundation Crown

5 p.m. - 6 p.m. New Member Orientation Bull Durham

6 p.m. - 7 p.m. PPNC Business Meeting Auditorium All ACTIVE and LIFE members MUST attend All Members are encouraged to attend. Those who attend will receive a free gift. 8 p.m. - 11 p.m. Sunday Night Live! Party with Dinner Empire ABCDE & Jim Quick and the Coastline Band Come dressed as your favorite “Saturday Night Live” Character

Monday, March 5, 20127 a.m. - 4 p.m. Registration Desk Open 8 a.m. - 11 a.m. Mark Garber and Jennifer Gillman Empire DE Weddings Sponsored by American Color Imaging

8 a.m. - 11 a.m. Richard Sturdevant Empire ABC Composites That Sell!

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Sponsored by BWC Photo Imaging

8:30 a.m. - 10 a.m. Trade Show Vendor Meeting Crystal Coast & Breakfast 10:45 a.m. - 12 noon Guild Committee Meeting Crown

10:30 a.m. - 2:30 p.m. Trade Show Open Imperial Lunch on your own Snacks are available in the Trade Show Area

1 p.m. - 3:30 p.m. Certification Exam Sandhills Room 2:45 p.m. - 5:30 p.m. Bruce & Josh Hudson Auditorium Diversify or Die! Sponsored by H&H Color Lab

2:45 p.m. - 5:30 p.m. J. B. Sallee Crystal Coast Room Photoshop 5:30 p.m. - 6:30 p.m. Dress for Banquet

5 p.m. 2012- 2013 Officers/Directors Photographs Hotel Lobby

6 p.m. Pre-Banquet Reception - Cash Bar Empire Foyer

6:30 p.m. - until Awards Banquet Empire Ballroom MC – Louis Tonsmeire Following Banquet Award, Scholarship and Degree Recipient’s Photographs Empire Ballroom Please remain in the ballroom until your group is photographed.

Following Banquet - Until Incoming President’s Reception Atrium Come congratulate our new President – Paul Wingler

Tuesday, March 6, 20127:30 a.m. - 11:30 p.m. Registration Desk Open 8 a.m. - 11:30 a.m. Scott Robert Lim Empire ABC Amazing Light, Anytime, Anywhere Sponsored by White House Custom Color

8 a.m. - 11:30 a.m Scott & Adina Hayne Empire DE Weddings Sponsored by H&H Color Lab 9 a.m. - 4 p.m. Jeremy Sutton Auditorium Day Long Extra pay Class – Painter -$100.00 11:30 am - 12:30 p.m. Lunch on your own Buffet Available In Restaurant

11:30 a.m. PPNC Board Meeting & Luncheon Crown A&B Old & New Board Members

12:30 p.m. - 3:30 p.m. Darty & Co. Empire DE Studio Success Sponsored by H&H Color Lab

12:30 p.m. - 3:30 p.m. Alycia Alvarez Empire ABC “Bella Baby” Babies First Year Sponsored by White House Custom Color

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By FULLER ROYALFocus on Carolina Editor

Wanda Clayton and Christie Parrish are the owners of Timeless Photography in ....They have been in business for six years.

Clayton said she had a true passion for photography and for recording “that one moment in time ... because it will never be the same again.

“Especially with my family,” she said. “ I have tubs of photo albums of my fam-ily and events that have taken place in my personal life.

“My husband once said – and this is kind of embarrasing – ‘You would take a picture of a fart if you could see it,’” laughed Wanda.

“I want my grandchil-dren and their children, and so on, to see pictures of the generations be-fore them,” she said. “I remember, as a child, looking at old photo-graphs and there was this feeling that almost took me there.

“I guess that is why we love incorpo-rating ‘vintage’ images in our style of photography.”

She said she decided to pursue pho-tography as a career because of her love of photography.

“I just wanted to continue to learn ev-ery aspect of the craft,” she said. “When I first started to seriously think about do-

ing pho-t o g r a -p hy o n the side, I would have this vision in my head of how I w a n t e d

the picture to look and when it was printed on paper, it would not look like the vision I had in my mind.

“So, a very close friend of mine and fellow photographer, Linda Key, told me about the New York Institute of Photog-raphy school,” Wanda said. “I took the

Timeless PhotographyWanda Clayton and Christie Parrishwww.timelessphotographync.com

BIOGRAPHY PPNC: Getting to know our members

See Timeless on page 39

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BIOGRAPHY PPNC: Getting to know our members

By FULLER ROYALFocus on Carolina Editor

Dawn Freeland of Dawn Freeland Photography has been a professional photgrapher for nine years. She was previously home-based as DKF Photog-raphy and opened her studio and Dawn Freeland Photography last year.

“I have been a lifelong student and en-thusiast (of photography), but it wasn’t until I became a mom that I gave myself permission to pursue photography as a career,” she said. “My great uncle was a pioneer in cinematography many years ago (James Wong Howe) and my family has always been very much into imag-ing (photography, videography, etc.) but nobody in my family has chosen it as a vocation since Uncle Jimmy.

“I studied journalism in college, and while my focus was broadcasting, I recall that photojournalism was my favorite class,” she said. “I ended up pursuing a career in advertising where I managed photo shoots for commercial clients (but was always much more interested in what was happening on the photog-

raphy side of things, rather than the client-side.)

“In 2003, I had a child and decided to not return to a corporate advertising career, which opened up the possibilities for me to pursue my interest in photogra-phy. One thing led to another, and many years later, I›m a photography studio owner and loving it.”

She said her move to photography was unintentional.

“Like so many hobbyists, I answered the call to take photos of some friends’ children, and then again to photograph my son’s preschool,” she said. “It just kind of grew from there.”

Dawn Freeland Photographywww.dawnfreeland.com

10See Freeland on page 39

BIOGRAPHY PPNC: Getting to know our members

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“I got a fever! And the only prescription ... is more cowbell!” “Cheeseburger, cheeseburger. Pepsi, No

Coke.” “Never mind.” “Jane, you ignorant slut.” “Poor Mr. Loopner. He was born without a spine.”

“We are two wild and crazy guys.” “I am Hans. Und I am Franz. Und ve just vant to pump ... (clap) ... you up!” “Hear me now and believe me later.” “Would

you like to touch my monkey?” “I’m all verklempt. Talk amooangst yooaselves. Like buttah.” “Da

Bears.” “Party on garth.” “Babaliscious.” “Schhh-hhhhwinnnnng!” “Well, isn’t that SPE-CIAL?!” “How

con-VEEN-ient!” “Could it be ... SATAN?” “O’tay.” “Live in a van down by the river.” “Yeah, that’s the ticket.” “You look MAH-VELOUS!” “Sometimes, when I get nervous, I put my fingers under my arms and

then smell them like this.” “I am Beldar, this is my wife, Prymatt, and daughter, Connie. We are from

France.” “Consume mass quantities.” “I fell on some ice and later got thawed out by some of your sci-entists. Your world frightens and confuses me!” “It just goes to show you, it’s always something –

if it ain’t one thing, it’s another.” “Makin’ copies.” “It’s a beautiful day in the neighborhood…won’t you be my neighbor?” “I’m good enough, I’m smart enough, and doggone it, people like me.” “Cha-cha bootchie! Roll call!” “But nooooooo!” “We’re not worthy!” “Buh-bye” “Baseball been berry, berry good to me.” “Save the liver!” “We’ll get you your

money.” That’s my story, and I’m sticking to it.”“Wayne’s World. Wayne’s World. Party time. Excel-

lent.”

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Baba Wawa (Gilda Radner)The Church Lady (Dana Carvey)Bill Swerski’s Superfans (Da Bears!)The Blues Brothers (Dan Aykroyd and John Belushi)Buckwheat (Eddie Murphy)Cajun Man (Adam Sandler)Coffee Talk with Linda Richman (Mike Myers)The Coneheads (Dan Aykroyd, Jane Curtin and Laraine Newman)The Continental (Chrisopher Walken)The Anal Retentive Chef (Phil Hartman)The Dark Side with Nat X (Chris Rock)Debbie Downer (Rachel Dratch)The Delta Delta Delta GirlsDick Clark’s Receptionist (David Spade)Don’s Hairstyling (Eddie Murphy)E. Buzz Miller (Dan Aykroyd)Ed Grimley (Martin Short)Emily Litella (Gilda Radner)Father Guido Sarduci (Don Novello)Fernando’s Hideaway (Billy Crystal)The Festrunk Brothers - Wild and Crazy Guys (Martin, Aykroyd)The Gap Girls (Adam Sndler, Chris Farley and Davis Spade)Gilly (Kristen Wiig)Girl Watchers (Tom Hanks, Jon Lovitz)Goat Boy (Jim Breuer)Grumpy Old Man (Dana Carvey)Gumby (Eddie Murphy)James Brown – “Hot in the Hot Tub” (Eddie Murpy)Pumping Up with Hans and Franz (Dana Carvey and Kevin Nealon)The Keisters (Phil Hartman, Jan Hooks, Victoria Jackson)The Killer Bees (Belushi, Bill Murray, Garrett Morris, Aykroyd)Leon Phelps, The Ladies Man (Tim Meadows)Leonard Pinth-Garnell (Dan Aykroyd)

Lothar of the Hill People (Mike Myers, Phil Hartman, Jon Lovitz)Mary Katherine Gallagher (Molly Shannon)Master Thespian (Jon Lovitz)The Miley Cyrus Show (Vanessa Bayer)Mister Robinson’s Neighborhood (Eddie Murphy)The Nerds (Lisa Loopner) (Gilda Radner, featuring Bill Murray as Todd, and Jane Curtin as Mrs. LoopnerNick The Lounge Singer (Bill Murray)Olympia Cafe (Cheeseburger, Cheeseburger) (John Belushi, Dan Aykroyd, Laraine Newman, Bill Murray) Opera Man (Adam Sandler)Pat (Julia Sweeney)Penelope (Kristen Wiig)The Richmeister (Copy Room Guy) (Rob Schneider)Roseanne Roseannadanna (Gilda Radner)The Roxbury Guys (Chris Kattan, Will Ferrell)Sally O’Malley (Molly Shannon)Saturday Night Live Samurai (Samurai Futaba) (Belushi)The Spartan Cheerleaders (Will Ferrell, Cheri Oteri)Sprockets - Dieter (Mike Myers)Stefon (Bill Hader)Daily Affirmation with Stuart Smalley (Al Franken)Theodoric of York, Medieval Barber (Steve Martin)Tommy Flanagan, the Pathological LiarUnfrozen Caveman Lawyer (Phil Hartman)Velvet Jones (Eddie Murphy)Wayne’s World (Dana Carvey, Mike Myers)What Up with That (Kenan Thompson)The Whiners (Joe Piscopo, Robin Duke)Tonto, Tarzan & Frankenstein’s Monster (Jon Lovitz, Kevin Nealon, Phil Hartman)Matt Foley (Chris Farley)and Mister Bill

Here a just a few SNL characters to choose from ....

Do Not Miss the Saturday Night Live Party on SUNDAY NIGHT

From 8 until 11 p.m., come prepared to dance and eat the night away dressed as your favorite character from 37 years of Satur-day Night Live. You can find all of these characters, their photos and their catchphrases on the Internet.

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BIOGRAPHY PPNC: Getting to know our members

TPS PhotographyChris Garnerwww.tpsphotography.com

Chris Garner has been a profes-sional photographer for 12 years. His business is called TPS Photography.

“I am a third-generation photog-rapher,” he said. “My step-grand-father had a studio in Morganton in the early 1960’s. My father took it over from the mid-60’s until 1984, and then closed the studio to open a print lab.

“I opened my studio in May of 2000,” he said. “I was fresh out of school and working for a newspaper in Pittsburgh, Pa.

“I loved the city, loved the job, but hated the hours – 6 p.m. to 2 a.m. My degree was in journalism, so I didn’t have many options other than newspaper.

“ So I went back to the family busi-ness,” Chris said. “It was the best decision I have ever made.”

He said the best part of being a professional photographer is build-ing relationships with his clients.

Chris concentrates on families and children’s portraits.

He said the most important tool in your arsenal is his telephone.

“I’m old-fashioned and prefer to do business over the phone versus

email,” he said. “I can rent a camera or lens if I need one. Or, as you all know, I could just borrow my clients’ camera to create the portrait. But if I don’t have my phone, I can’t get any business.”

Chris said the best photography investment he ever made was join-ing PPNC.

“And I’m being 100 percent seri-ous,” he said.

Chris is a PPA Certified Profes-sional Photographer and won third place honors for ahildren’s portrait at PPNC last year.

Business tips from Chris“Pretty pictures don’t sell them-selves. And, most importantly, never take advice from someone who isn’t where you want to be.”

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BIOGRAPHY PPNC: Getting to know our members

ASP Fellowship ThesisWilliam Branson III

Master of PhotographyPhotographic Craftsman

July 2011

IntroductionAs a little boy of 4, with no mother and

a father in name only to speak of, I found myself in the study of my grandparents’

grand home, staring up at someone I’d never met. But it was someone I knew nonetheless. He was dressed impres-sively and posed regally for a painting that seemed beyond life size to me at the time. I felt so close to him it was as if I could touch him. Though I didn’t know it at the time, this was the moment. The moment I fell in love with art and the moment I realized its impact upon the hearts of generations.

For thirty years now, I have been creat-ing fine portraiture for clients near and

far. For me, creating these portraits is an honor. They are something I know from experience will stand the test of time and become cherished family heirlooms in the years to come. Creating these portraits is a process that I have been studying and perfecting for many years. Beginning with a child’s love of art to a college student’s leap of faith, my jour-ney to having my own portrait studio and being a successful photographer is one

Last month, during the ASP Banquet in New Orleans, PPNC member Wil-liam Branson was made a Fellow of the American Society of Photographers, the highest honor that can be earned by a photographic artist. During the awards, photographer Greg Daniel introduced William to the audience. “Michael Buble is the modern day classical,” Greg said. “He has made modern day classic music

cool. William Branson is our Michael Buble of portraiture. He has made beau-tiful classic portraits cool. His portraits stand the test of time.”

William had to submit a portfolio of images characteristic of his finest work as well as write a paper incorporating his philosophy, life work and achievements in photography. A jury of peers judged his portfolio and thesis. The jury was

composed of five members of the ASP as selected by the ASP Board of Governors. All judges hold the Master’s degree and four hold the Fellowship degree. The decision for awarding of the Fellowship resides in this jury.

There have only been 111 ASP fellows in the world.

What follows is William’s thesis, in its entirety:

Through the Generations

Branson made an ASP Fellow

33See ASP on page 34

that impacts me on a daily basis.Photography and portraiture as a

business is the same as all businesses; it has its own set of difficulties and achiev-ing success is often an arduous process. It takes years of disciplined work, but striving for the goal is part of the joy of reaching it. I’ve found the three biggest keys for my own success are to stay moti-vated, seek knowledge, and remain vigi-lant. What seems to be common in those who are successful, the ones who thrive, is their passion and hard work. My desire to create art and capture the features and feelings of my subject drives me to do my very best and to devote myself to pushing the boundaries of my craft.

Each of us, as photographers, is at-tempting to create a unique body of work based on his or her individual artistic path. But we all speak the same visual “language.” Each of us has learned the fundamentals of photography that we use to express our individual visions. My own artistic vision was inspired by events of my childhood coupled with knowledge from other experienced pho-tographers and portrait artists. On my path to becoming a portrait artist, I’ve attempted to blend these experiences to capture the spark within each individual subject and the essence of each person.

There is no magic formula for how many miles of photographic paper to print, how many books to read, or how many images to study before becom-ing successful. Each of us has our own journey on a path we forge and follow to become our own artist.

The BeginningAs a young child, my parents divorced

and my brother and I lived with my fa-ther. My father worked long hours and we were tended t o mostly by maids. My brother and I contracted tuberculosis from one of the maids, whose own condi-tion went undetected. Due to my illness, I was in complete isolation from age 3 to 4 and upon the recovery of both me and my brother, we moved in with my grandparents.

My love of art began growing up in the home of my paternal grandparents. Both of my grandparents came from families where life size oil portraits were commissioned and handed down through the generations. Being a rather lonely child, and receiving very little attention from my father or grandparents, these portraits were my family. I’d gaze up at them and imagine who these people

were and figure out how they fit into our family’s history. Each brush stroke helped tell the story of my ancestors and I’d marvel at how a painter was able to give them such a life-like appearance. As part of this grand tradition, I still have some of these original portraits hanging in my own home. And as I pass them, I remember the comfort they brought me as a child, until I created a new family all my own.

This feeling of being connected to the previous generation is never lost on me as I photograph individuals today. I hope that because of what I do families in the future will know their ancestry. The greater purpose of portraiture for me is to keep memories alive, to preserve an innocent time, to capture the joy, the growth, the change, and even sometimes the pains of life in the present. And hope-fully what is captured will be preserved so that future generations can learn, remember and appreciate what passed before them.

Defining MomentsAlready intrigued by the mammoth

art in our home, my grandmother was a painter of landscapes and had a studio in the house, which added to my interest in art. I spent hours in her studio watching her draw, mix colors, and paint. I learned much from her about composition and

perspective as she spent endless hours with me, patiently trying to teach me to draw.

It is strange the things you remember from childhood. I remember one par-ticular day quite well; I sneaked into my grandmother’s studio where she kept, along one wall, a work table lined with tin coffee cans and Ball jars filled with paintbrushes of all shapes and sizes. I remember taking some of these brushes and tickling the palm of my hand with their soft bristles. Tubes of oil paints cov-ered the table, some empty, some half full, some mashed and dented, others rolled up carefully from the end of the tubes forward. For me, this was a defining moment in my youth in which I realized a love of art and a desire for my life to be filled with creativity.

Although my grandmother spent many hours trying to help me express my creativity in her studio, I began to grow frustrated by not being able to paint people or capture their emotions in a way that I desired. The way I had seen them captured in those extraordinary oil paintings in my grandparents home.

When I reached high school and be-gan dating my wife, Dianne, her father introduced me to photography and my

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whole world changed. He was a retired Army veteran and had used photography to document the black market in Vietnam during his time with the CIA. When I saw what could be revealed through the lens, the camera became my medium of expression and I suddenly realized that I could capture the details of expres-sions and emotions that had eluded my paintbrush.

After entering college in 1971, a near miss with Uncle Sam and the Vietnam War left me without enrollment for the following semester.

Avoiding the horror of Vietnam was a relief to say the least and what I am even more thankful for is how it served as a catalyst for my career as a pho-tographer. After spending a couple of summers working in a portrait studio, I knew this was my opportunity to take the leap and begin working as a professional photographer.

My first studio was simply a desk in the back corner of a frame shop; all of my portraits were shot outdoors. Fortu-nately, outdoor photography was all the rage, so I started my business without a hefty investment in lighting equipment, canvas backgrounds, and props that a full studio would require.

I joined the Professional Photogra-phers of America and my state associa-tion so I could learn all I could.

InspirationDuring my early years, I came across a

book that I would read many times over. I knew of Paul Linwood Gittings and was aware that he had brought the field of portraiture to prominence in the United States. He photographed high-powered families and individuals in the style of classic portraiture, which resonated with me, harkening back to those oil paintings I’d grown up with. His book, Color Portraiture, showed me that truly fine portraiture could be produced with a camera. The book covered a range of topics from his back-story to marketing to composition. It was this book that showed me I could achieve success doing what I was passionate about as an art-ist, regardless of whether or not it was trendy at the time. I was, and still am, greatly influenced by his work.

For many years I created photograph-ic portraits I hoped would reach a level of artistry equal to Gittings. Then in the mid 1990s, I met and studied with Philip Stewart Charis, a former student and friend of Gittings and a close friend of mine to this day. Charis taught me how to produce the classical, life-sized, studio portraits and he moved me another giant step forward in my life’s journey. As the most influential photographer in my life, it was Charis who exposed me to the theory that Rembrandt discovered hun-

dreds of years ago. Before Rembrandt, all portraits were painted at 100% scale. Because the person was the exact same size as the painting, the painting was overwhelming to the viewer. It was Rem-brandt who discovered that a portrait painted at 80% of full scale still appeared to be life-sized, but was more pleasing to the viewer’s eye. Since that time, all fine portraits have been painted to this scale.

I successfully introduced this scale into my portraiture. This was, however, only one piece of the puzzle on the road to becoming an artist. I was aware that technical rules of photography existed and had to be learned; I knew that these rules were separate from individual artistic styles. I also knew that creat-ing life-size photographs did not fulfill my artistic desires. I wanted to create portraits through photography that were as impactful as the life-size painted portraits of my youth.

It was then that I discovered the software Painter. Painter allowed my computer to become a tool I could use to make my dream of producing painted portraiture for my clients a reality.

For more than 10 years now, I have been producing painted portraits using sophisticated inkjet printers, and I con-tinue to push the boundaries of my art. Eventually, I’d like to produce paintings on canvas using oil paint rather than the pigment inks used today. I have worked with people in other industries that are producing billboards this way. Although their images are good enough for view-ing from a great distance, the quality is far inferior to the results I get from pigment inks. I look forward to one day creating quality oil paintings from an image painted in a computer that will rival those of “free hand” painters. It is fascinating for me to be able to keep the grand tradition of fine portraiture while combining principals set forward by Rembrandt and using technology that continues to evolve each year.

PortfolioThe majority of my portraiture

features individuals, just like those por-traits hanging on the wall at my grand-parents’ house all those years ago. To me, the face is everything in fine portraiture, it’s always my starting point and what I feel gives the portrait its heart, its story, its life.

The portrait in the center of my port-

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folio is almost entirely a face and nothing more. I think it really symbolizes where my focus is as a photographer and what I value most in my portraits. That same portrait also happens to be of my daugh-ter. My wife and children are central to who I am. Coming from a rather cold and fractured family, they taught me how to love and be loved and they are always at the heart of everything I do.

One of the portraits I relate to the most is three to the right of the center portrait. There are three children, all siblings in various positions on a sofa. These children were adopted by their aunt, after their parents lost custody. Their aunt has been a long time client of mine and having several portraits of her biological children, she wanted her nieces and nephew to feel they were just as much a part of the family as her own biological children. The little girl who is standing, is slowly going deaf, due to her mother’s drug use while she was in utero. I can’t help think how lucky these children are to have found such a wonder-ful, loving family and a safe, happy home with their aunt, uncle and cousins. And while I can’t compare my own family’s shortcomings with theirs, I understand what it’s like to have parents who don’t meet your expectations and every time I look at this portrait, I’m overwhelmed with joy, knowing the life they will have is immeasurably better than the life they left behind.

I think that all of these portraits, collectively, show the inherent value of life through the generations. There are children, parents, and seniors each representing different life stages and communicating joy, wisdom, love and contentment. They are the kinds of im-ages that will mark the stages of these people’s lives. They will be the memories that hang in dining rooms and living rooms and studies. They will be images by which those who come after them, mark their ancestry, just as I did when I was a child.

DevelopmentGiven that I don’t want to just repeat

the work of past centuries, I think one of the great challenges I face is discover-ing what I am going to create. To merely record the surface appearance of the subject has never been my desire. From the beginning, artists have recorded the things that had meaning to them and their works are a living record of their consciousness on earth. To continue the

testimony of what humans have seen, believed, felt, and thought is one of my main goals as a portrait artist. To seek beauty and meaning in our lives is to breathe life into art.

When budding photographers ask for my advice, I always tell them that it is a different journey for everyone, but high on the list of priorities is the need to thor-oughly study the craft and understand the technical aspects of photography and painting. Over the years I have not only studied with many great photographers to improve my skills but have studied the portrait painters of yesterday and today. Thankfully there were dedicated teachers and photographers who car-ried the torch of classical photography and passed it on. At this stage in my life it’s hard to remember exactly who taught me what, but I like to think I learn something from all the colleagues and teachers I meet. I think each of us has a responsibility to pass what we have learned onto those we encounter. If you are recording an image of some-one, you can just record facts. If you are creating a portrait, you must have a premise. The premise of a portrait is what guides me as I pose the subject(s) and continue to make decisions through-out the session. When creating someone’s portrait, I try and discover what that person represents and what I feel is nec-essary to express about life through him or her. I want to learn all I can about the subject before I begin, so that their fam-ily and those who come after them will have a portrait that is the full expression

of their loved one.It has taken me my entire life to create

portraits as I do. Most of the portraits hanging in museums represent years of tireless work on the part of the artist who painted them – beginning with a solid foundation in training and followed by a lifetime of experimentation and experience. I think most photographers would agree that their paths are similar in that they begin with a fundamental understanding of their craft and layer on experience after experience to develop their own brand of artistry. It is in those layers and experiences where the details live, the details that have led me to be-come the artist I am today.

I have discovered that the wise choice in life is to dream my dream without fear of failure and more importantly, without fear of success. Wisdom comes not from collecting information, but from integrating that information with what you do, who you are, and what you create.

It was not my desire to manipulate photography to fit my personal vision, but to use it to express what I see in the world and what I see in the faces of my clients.

To record for generations to come, their heritage, their ancestry, their fam-ily.

For me, photography is one of the greatest and most challenging occupa-tions of all: creating art that has emo-tional meaning, technical excellence and that, in its truthfulness and beauty, conveys worth to its owners. Each day is a challenge to which I fully devote myself.

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2012 PPNC Print Competition RulesPURPOSEThe purpose of this competition is to challenge photogra-

phers’ creativity and allow them to match their work against that of their peers. Photographic prints and albums will be judged relative to the 12 Elements of a Merit Print. (For more information including video tutorials and reference materials go to www.ppa.com/competitions/international.php.)

These rules pertain to still images entered as prints cre-ated by traditional photographic processes as well as those captured or created electronically.

ELIGIBILITY 1. Any member of PPNC, PPA or SEPPA in good standing

with dues paid and received by the PPNC Executive Director by Monday, January 31st , 2012 is eligible to enter.

2. Entrant must have captured and/or created the original exposure.

3. A maximum of six entries may be submitted per entrant per category.

4. No entry will be eligible that has been made under the supervision of an instructor or as a class assignment.

5. No two entries shall be of the same subject.6. Entries previously entered, including any image from an

album, and merited (receiving a score of 80 or higher in the PPNC Exhibit) are not eligible.

7. Entry media includes photographic prints, digital submis-sions, physical albums and digital albums.

8. The entrant’s name shall not appear anywhere in or on the face of the entry.

SUBMISSION OPTIONSEntrants may submit either prints (photographic or press

printed images presented for judging under lights) or digital submissions (digital files presented for judging on a monitor), or a combination of either entry type.

Print Submission

1. Entrants may submit printed images of any shape and size on a mount board a minimum of 80 square inches to a maximum of 480 square inches, with the largest dimension no longer than 24 inches. (Recommended mounting thickness is 1/8” to 3/8”.)

2. Print entries must be mounted on standard mount mate-rial (double weight mat board, gator board, ¼” foam, or Sintra). “Float” mounting is accepted at the entrant’s risk for damage. Images on metal and mounted to another standard material must have rounded corners and smooth edges. No mount that could potentially damage other entries or pose a danger to print handlers will be accepted. Masonite, glass, stretcher frames or conventional frames will not be accepted.

3. A digital reference file must be submitted with each print entry. This file must exactly match the submitted print entry (image and presentation). File specifications are the same as under the Digital Submission categories.

Digital SubmissionSee digital entry tutorial at www.ppa.com/competitions/

international.php.1. Files must be sized so the longest dimension is 4,000 pix-

els (20 inches at 200 ppi). Each file must contain an embedded color profile of either sRGB or Adobe RGB1998 and be saved at a JPEG quality setting of 12. Total file size should not exceed

3.5 MB.2. Files are to be named: ImageTitle.jpg (no spaces, capitalize

each new word – example): SeeSpotRun.jpg).PHOTOGRAPHIC COMPETITION CATEGORIESYou may enter one print case per classification (photo-

graphic open and/or electronic imaging), with a maximum of 6 entries per case. Each case entered requires a separate case fee.

Photographic Opena. PortraitSub-Categories: Children, Groups, Men, Women, Pictorial,

Pets and Animalsb. CommercialSub-Categories: General, Photojournalism, Unclassified,

Scenic and Fine Artc. Wedding/Social EventSub-Categories: Bridal Portrait, Wedding Candidd. AlbumsEvents Single MakerEvents Multi MakerNon-Events

2. Electronic ImagingThis category allows the entrant to demonstrate their elec-

tronic imaging skill and expertise. Entries will be judged for digital, artistic and technical proficiency. Entries must have been sourced, composited, manipulated and/or produced by digital means. Images entered in this classification are not eligible to be entered in the Photographic Open category by any entrant. Entries in this category may include a guide image. The guide image(s), if included, must be mounted adjacent to the finished print on the face of a 20”x24” mount board. Guide prints must not exceed 11”x14”. In the event of multiple guide prints, they must be included on the face of the 20”x24” board. Both the guide print/prints and entry must be viewed at the same time on one 20”x24” mount.

ALBUM ENTRIESAlbum entries may be submitted in the form of a Physical

Album (an album printed and bound as a book for judging under lights) or a Digital Album (a set of digital files to be judged as sequential layouts on monitors). Each album will be considered one open Photographic Open Entry. No multiple albums allowed.

1. MULTI-MAKER ALBUMSa. Each participating photographer must have a minimum

of 20% of his/her images in album.b. Each entrant must pay the appropriate entry fee.c. Each contributing entrant’s name must be included on

the CD and back label.3. TRADITIONAL ALBUM ENTRIESa. May be any type of printed and bound album with a cover

between 63 and 400 square inches.b. Any studio identification or entrant’s name in the album

must be covered. 4. ELECTRONIC ALBUM ENTRIESa. Must be submitted on Non-Rewritable CDs.b. All files MUST be 2560 pixels wide x 1600 pixels tall. The

color space is sRGB. The file type is JPEG at Quality setting 12. c. Each canvas/file may be a single album side or a spread

with as many images as you desire.

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d. An entry may contain up to 36 “Canvases/files”.e. Identify Canvas/files in the order to be viewed using two

digits (i.e. 01.jpg, 02.jpg, 03.jpg, etc.)f. Canvas/file 01.jpg MUST be blank - filled with BLACK.g. All Canvas/files for one entry must be in one folder named

with the title of your entry.h. Limit (1) album entry per CD.i. Entrant’s Name/s and title MUST be written directly on

the CD for identification. NOTE: In order to prevent jamming, NO labels can be affixed to the CD! Attach the back label to your jewel case.

j. Studio identification or entrant’s name cannot appear on any file within the album entry.

FEES1. $85 per case for PPNC members who pre- register on the Internet by Friday, March 2 at 5:30 p.m.2. $100 per case for SEPPA and PPA members only, (non PPNC) who pre-register on the Internet by Friday, March 2 at 5:30 p.m..3. If not pre-registering, a CD of a JPEG file of each entry is required and an additional fee of $25.

SHIPPING INSTRUCTIONS1. For any entry to be returned, it must be shipped in an

approved print case. Cases must be received by 12:00 Noon on Wednesday, February 29, 2012.

2. Ship to: PPNC Print Exhibit, c/o Cindy Smith, 541 Pylon Drive, Raleigh, NC 27606.

3. Hand delivered cases will be accepted in the Print Salon,

Royal A, Sheraton Imperial Hotel, Durham, N.C. on Friday, March 2nd, 2012 between 3:30 and 5:30 PM.

4. Payment to PPNC must be enclosed with entries. 5. If not pre-registering, a CD of a JPEG file of each entry

is required.6. PPNC assumes no responsibility for damage to entries.

ENTRANTS ARE ONLY REQUIRED TO INCLUDE A CD WITH A JPEG FILE OF EACH ENTRY IF THEY DID NOT PRE-REGISTER.

NOTE: Failure to comply with these rules may result in disqualification of entry. The decision of the Print Salon Committee is final.

HOW TO PRE-REGISTER ONLINE FOR PRINT SALON 20111. Go to PPNC website: www.ppofnc.com 2. Click on Education, Convention, Print Competition On-

Line Entry3. Request password and/or log-on4. Pre-register your entries (ALL IMAGES MUST BE

TITLED) 5. Upload your sample images for each entry6. Print back labels and attach to the back of each entry7. Print your completed entry form8. Print shipping labels9. Ship/Deliver Each case should include:· Entries· Pre-registration form· Payment· CD with a JPEG of each entry, (if not pre-registered)

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ey-maker like Google attempts to stand on the backs of photographers to increase its profits, we as your associa-tion take exception.

(As a side note, we appreciate all of the words of support you regularly extend to us as we defend those rights.)

It is important to recognize that Google, while it claims to be a friend to copyright, is anything but.

PPA is one of several associations joined together in a lawsuit against the search engine giant for illegally scanning and posting copyrighted pho-tographs on the Internet.

A similar lawsuit filed by publishers and authors is also underway.

It is our opinion that following Google’s lead in defending intellectual property is something like depending on the fox to defend the hen house.

That Americans have bought into the false and misleading rhetoric is-sued over the past few weeks by oppo-nents of the bills is unfortunate.

We were surprised that a few cre-ators were swayed by last week’s Inter-net blackout.

And we were disappointed that some members of Congress, who are typi-cally more reasoned in their consider-ation of copyright issues, crumbled in front of the scare tactics used by the bills’ opponents.

We will continue our Capitol Hill work on your behalf to educate mem-bers of Congress. Copyright is not a “Hollywood issue.”

The vast majority of copyright hold-ers in the U.S. are small businesses.

While Hollywood makes an easy target, the tactic is little more than a

smoke screen designed to draw atten-tion away from the true issue—online companies wanting to increase profits at the expense of mom-and-pop cre-ators.

Americans have always valued and defended small-business rights.

Each of us must work to be more en-lightened about the real issues, and en-courage our friends and neighbors not to be led astray by the fear-mongering of Internet bullies.

In the meantime, PPA will continue its efforts to defend the rights of pho-tographers now and in the future.

Best wishes for a successful 2012,David Trust,Chief Executive OfficerProfessional Photographers of

America

PPA’s viewContinued from page 2

course and was able to do this online and by mail. Over a three-year time period, I graduated and received my diploma.

“During this time I worked full time as an office manager for a local dentist and kept books for my husband’s business.”

She originally thought she would have her photography business as a part-time job on the side.

“Since that time, I have been full time in my business almost 2-1/2 years,” she said. “I quit my office manager posi-tion in September 2009 because we had picked up so many clients that I could not keep up with my full time job and do photography.

“After this leap of faith and a lot of praying, I have never looked back,” she said. “I get to run my home-based studio on a fulltime basis. I get to keep my two beautiful grandchildren a couple of days a week and watch them actually grow up and I have never looked back and certainly have no regrets. God has truly blessed us in so many ways.”

And the best part of being a profes-sional photographer?

“We always open up our sales session with a slideshow of all of the edited im-ages (using Animoto) and of course it is set to music,,” she said. “The best part is watching the client watching the video

and when tears come out of their eyes and are speechless ... that is the absolute best part of being a photographer.

“Knowing you have done something that has totally affected someone in a good way and has touched another per-son’s life and heart, that’s just the best feeling and no amount of money can buy that. That’s why I love doing what I do.”

Wanda works mostly with high school senior and porrait photography as well as wedding coverage.

“Our favorite is high school senior girls,” she said. “They love it and by the end of the sessions they leave feeling like they are the next America’s Top Models.”

She cites continuing education as the

most important tool in her arsenal? “Never stop educating yourself,” she

said. “I have learned so much from so many people, classes, educational DVD’s and networking with other photogra-phers inside and outside of PPNC.

“We have made so many good friends in a field that is so competitive. If I were to give anyone who is starting out any advice, I would say listen to every in-structor that you can, learn all that you can and think really hard about what you have just learned and take that priceless knowledge and put it into prospective.

“Ask yourself, ‘How can I make my photography better?’ Not every instruc-tor will be your style, but I guarantee, you will walk away with something new that you can use.

“I know I have so much more to learn and am so hungry to learn all that I can,”she said.

Wanda said the best photography investment she has made was a good computer monitor.

“We have Adrian Henson to thank for that,” she said. “We actually have a lot to thank Adrian for. He has been a great friend, confidant, mentor and all that is good, wrapped up into a great big ball of knowledge.

“Honestly, we would not be where

She said the best part of being a professional photographer is “I love that I’m able to put into practice all the things that inspire me – great branding, children, laughter, creativity, learning, entrepreneurship and, of course, con-tinuing my growth as an artist and pho-tographer.

Dawn mostly concentrates on families and children.

She said the most important tool in her arsenal is the access she has to “in-credible mentors in the industry who have encouraged me to step up my ‘game’ in every way.”

Dawn said the best photography in-vestment she ever made was attending her first Imaging USA convention.

“It opened my eyes to the industry and provided me some much needed direction and inspiration to be a better business owner while also being the best

I can be at my craft,” she said.A big part of Dawn’s photography

business is marketing.“Marketing is something I’m passion-

ate about, and it comes very naturally to me,” she said. “In my opinion, the biggest challenge in the industry today is that so many people are not pricing their work correctly.

“I am saddened every time I see someone using Groupon or other mass-discount approaches to bring in new business,” she said. “This isn’t market-ing. It’s cannibalism, not only of the value of that person’s art, but of the industry as a whole.

“I view good pricing and product mix (for portrait/wedding photographers, especially) as an essential ingredient to a well-executed marketing plan.

Dawn’s website is www.dawnfreeland.com.

“It currently is redirecting to my blog, as I’ve got new commercial and por-trait websites in development,” she said.

Editor’s Note: Dawn’s great uncle, James Wong Howe, was considered one of the 10 most influential cinematographers in the worldwide film industry with more than 130 films to his credit with 10 Oscar nominations and two wins (“Hud” and “The Rose Tatoo”). He was known for his use of shadows and was one of the first cinematographers to use deep-focus tech-niques. He began his career with Cecil B DeMille in the silent era and by the 1930’s, he was Holluwood’s first “celebrity” direc-tor of photography.

Marketing tip from Wanda“Be different. Be different in your work, in your advertisement pieces and find your own niche. Join your local chamber and get involved with the community. Word-of-mouth is the most pow-erful marketing tool that you will ever have.

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TimelessContinued from page 9

FreelandContinued from page 10

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f/’s stopBy FULLER ROYAL, M. Photog. Cr., F. Ph.

WelcomeI can’t believe it’s convention time.

I am afraid the older I get, the faster they come around. This will be Janet’s and my 22nd convention.

It’s going to feel strange this year with a convention that’s a day shorter.

I think it is definitely for the bet-ter. There is so much crammed into the remaining days there is no time to be bored.

I always thought Tuesday after-noons waiting for the banquet were kind of sluggish and there’s more planned on Tuesday now than in pre-vious years.

Five days for the price of four.I know some folks will miss the

auction but as more and more pho-tographers sell their old stuff on eBay and Craigslist, the selection of quality used items has become thinner and thinner.

I like the idea of the Saturday night party on Sunday night. Far too many people have not been able to get to the convention in time for the party.

And this year’s party will be a trip. See the article on all the possible Sat-urday Night Live characters you can come as and I do expect you to come as a character.

If I can dress up like motivational speaker Matt Foley and make a fool out of myself at last year’ banquet, the least you folks can do is arrive as “Samurai Photographer.” (Hint, hint Rex.)

Print CompetitionThere are two new aspects of print

competition. For the first time, en-trants can submit digital files of their prints.

For many photographers, cost has been a factor (or excuse) for not enter-ing. The average competition print can run $50.

Now, you can create to your heart’s content and simply ship your entries in via the Internet.

The other new offering is the Cafe

Merit – a room where we can watch print judging live and say out loud just what we think of the judges and the prints. That should prove to be the most interesting experiment of the entire convention.

ProgramsThere is an incredible mix of pro-

grams this year – something for ev-erybody. I don’t think there will be as much meandering in the hallways this year. Everybody is going to be glued to their seats in these programs – it’s a matter of survival.

NewbiesIn my December edition of f/’s stop,

I reported that there were 29 other pho-tographers within 30 minutes of me. I am proud to report that the number has risen to 42 photographers.

The trough gets smaller and small-er. We have to get smarter and smarter.

It’s interesting that only one or two of these photographers will speak to me. That’s probably a good thing.

One who did speak asked me some basic questions. She asked about the prospects for the future of photogra-phy in Columbus County.

I told her that the amount of gross sales and subsequent profits we en-joyed in the 1980s and 1990s would not be seen again in the foreseeable future.

Too few customers with expendable income divided up by way too many photographers.

I told her the water is so muddy, that it will take years for the business to sort itself out.

I said there are several things that she must do in order to make any kind of living in photography.

First, she must produce photogra-phy at a level that the average consum-er cannot do herself. She must produce work that is better than a serious amateur. She must produce work that is better than “photo mama.”

That means she must know and understand lighting, composition and the qualities and capabilities of

lenses. Non-stop education and experi-mentation is one secret to this.

Secondly, she must provide an ex-perience that is beyond compare. She must be the “Disney World of pho-tography.” The session should be full of music, laughter and refreshments. If a client does not leave a session “pumped up” then we have failed in the first and most important part of our mission.

When I take my family to Disney World, it’s expensive, but it is the only money I ever spend that I have no re-grets spending.

Portraits should be the same way.New cameras, technologyThe older I get, the more careful I

am about the cameras I buy. I don’t need every new bell and whistle that comes along.

I can’t afford it.It’s amazing to see what the camera

companies will come out with.As I write this, Nikon has just re-

leased the D800. For $3,000 you get 36 megapixels of image plus 1080p high definition video with stereo sound.

The problem with buying a camera like that? You have to buy a bigger, faster computer to handle the images. Bigger storage. Bigger film cards. Lon-ger processing times.

Where does it stop?On top of that, Adobe is going to

make Photoshop users purchase each and every upgrade or risk having to pay full price for the software if they skip a version.

I like to buy every other version, but I know photographers who are happy with much older versions. They stick with them until they are forced by changing operating systems to upgrade.

Enough for now. I have some com-petition prints to create. I can’t let Adrian and those younger fellows have ALL the glory.

It’s convention timeand an assortment of other thingsthat are on what’s left of my mind