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By Mariah Ashley
Author's Note: Required Reading! The Go-Giver, by Bob Burg and John David Mann. A little story about a powerful business idea.
I was alone in the upstairs bedroom. Amanda (the bride) was late getting back from the salon so I spent my time photographing her dress and invitation. Her mother kept popping in with other things she thought I might find interesting, among them a pair of fabulous Louboutin sequined heels.
"Oh, fancy! Shoes are like porn for women," I joked cradling the shoe near my face.
"So true," said Amanda's mom, with a chuckle. "Everything about this wedding is a little over the top. (nods toward shoes).
"But Amanda is such a good girl, so smart and hardworking. She's such a humble and sweet girl. I just want this to be an amazing day for her."
Amanda's mom left me alone with the shoes and my thoughts. A few days earlier I listened to a podcast by former Imaging USA speaker Jeffery Shaw. He interviewed author Bob Burg on his national best-seller, The Go-Giver, which describes "giving as the most fulfilling and effective path to success."
Burg and co-author John David Mann map out the Five Laws of Stratospheric Success all focused on giving instead of getting. Intriguing! Trish ordered me the book and I devoured the parable in one sitting, highlighting passages like a mad woman. Since then I haven't been able to think about much else besides adding value to my clients lives, with the exception of thinking about how much I was dreading photographing Amanda's wedding.
When Amanda first contacted me, she had just experienced what she described as a "bad engagement session experience" with another photographer she had originally booked to photograph her wedding. She wanted to talk to me about that experience, get my opinion on whether or not her expectations had been unrealistic, and discuss the possibility of having us photograph her wedding instead.
A first-timer's account of the International Photographic Competition
By Penn Hansa, PPA Intern
I naïvely thought I had been at PPA long enough to know what to expect when we went to the International Photographic Competition - lots of images, seasoned judges sitting in a dim room deciding whether the image presented should merit and a solemn air of importance surrounding the entire event.
I was only half correct. IPC is much, much more.
It's an invaluable experience, a chance to learn from some of the most talented photographers in the industry and oddly enough, it feels like a family reunion -- if your family were made up of experienced IPC judges, that is.
"Do you want to see my granddaughter?" a judge asks, while waiting for the next round of judging to start. He pulls out his iPhone and flicks through the images before anyone replies.
"Only if I get to show you mine," another judge replies. "And then we can judge the images!" They all laugh.
But when the session starts, it's all business. In the digital room, the judges sit in twos or threes, and as an image comes on the screen in front of them, they'll review and tap in their vote on an iPod Touch. Oftentimes, they'll lean closer to the screen to see the image more closely, viewing it from different angles to make sure they haven't missed a pixel when considering it.
A common misconception about IPC is that the judges will favor images that suit their style. Because they score in a matter of seconds, it seems easy to believe it. But when a judge challenges an image, it's all laid out on the table and it's clear to see that their deliberation is intense. They'll each speak at length about why they favor an image to merit or what fell short, citing the 12 elements of a merit image.
"It's not about the treatment of an image, and whether I like it or not," said Allison Watkins, M.Photog.Cr., CPP. "I have to put my preferences aside to see the image impartially."
I wanted to see more of the thought process behind the deliberation, so I headed to the critique rooms, where judges offer their thoughts and constructive criticism about the image. For each image that is being critiqued, the judge will talk about the image as a whole, explaining their stream of thought as they look at it, including both the positive and the negative. It's a real learning experience to see exactly what makes an image merit and truly invaluable.
I settled behind Gregg Wurtzler, M.Photog.Cr., as he critiqued a few images, and then pulled up a new one. Wurtzler has 14 years of judging and critiquing images under his belt.
"What do you think about this one?" he asked me as he made his initial assessment.
I tried to keep in mind what I had learned about the 12 elements from watching earlier judging and critiques, but was drawing a blank. I liked the image, but something about it seemed off, and I couldn't place my finger on the correct term.
He just chuckled at my confusion and started his critique, first complimenting the photographer on his choice of subject and capturing the right moment, then describing how the photographer could have improved his composition, to notice the placing of the subject's hands and the busy background that was detracting from him.
"At first, it's sometimes difficult to look at the image and have to guess why the judges didn't merit it," Wurtzler said after he finished the critique. "But we've all been doing this long enough that we can usually pinpoint what it is."
Later, I sat behind Mark Garber, M.Photog.Cr., CPP, who has helped thousands of photographers with his critiques.
For any photographer who hasn't entered competitions, take this as an incentive: Garber is a huge advocate, and made a point to encourage all the photographers in his critiques to keep entering their images.
"Competition is quickest way to improve photographic skills," he said. "Every photographer has had images that didn't merit, so don't be discouraged when it happens to you."
Convinced of the fun and invaluable experience IPC is yet? Find out more about entering your images, becoming a PPA-approved juror and other competitions at PPA.com/IPC.
by Mariah Ashley
My son Jacques is not a joiner, not a jock and let's just say not terribly motivated.
Upon my insistence, he has committed himself to participating in a high school sport. Since he abhors football, is bored to death by baseball and can't dribble to save his life, he is running on the cross country team.
The "unofficial" team training started in July under the very loose control of three senior brothers, triplet captains whose parents were Olympic runners. The coach has devised a running program that divides the team into three categories: those who will go on to be Olympians like their forefathers, those with gazelle blood in their veins and my snoozy soon to be sophomore son. After the team warms up together Jacques is left plodding along alone in his size fourteen sneakers while the other boys with normal sized feet rocket past him.
Each morning at 7 a.m. we have same routine.
"Jacques get up it's time for running."
"I don't want to go today," he pleads from under a mountain of blankets. "Can't I just run on my own?"
"No!" I insist, shaking the lump of blankets that contains my son. "You are part of a team; that means you run with the team. You joined this team, so you need to BE MORE dedicated!"
"But I don't run with the team. I run on my own. How about I run with you? Mother-son time?"
"Nice try. The captains need to see that you are showing up. It's about being together as a team. You need to BE MORE social."
"I don't care about that." He groans, rolling over and scooting like a 6' 1" caterpillar toward the far end of his bed.
"JUST GET UP! YOU ARE GOING!" I shout, slapping the lump. "Really, you need to BE MORE motivated."
The teenage lump finally rises and I drive it to the high school and park inconspicuously so as not to embarrass it. I notice a few cross country kids sitting on picnic tables at the far end of the parking lot. The lump doesn't move from his seat.
"Jacques, aren't you going to get out?"
"I'll wait a few more minutes till the rest of team shows up," he says reclining his seat all the way back, making himself invisible.
"Why? What's wrong with those kids? Why don't you go sit with them?"
"I don't like them," he mumbles. "They're seniors. They're jerks."
"It's weird to want to sit in the car with your mom. You should BE MORE friendly. Go ahead, get out of the car and go sit with your team," I insist pushing him out the door.
He makes his way reluctantly over to the older kids and sits down awkwardly at the far end of the table. Without a word directed in any direction he stuffs his headphones in his ears and stares at his phone. The rest of the team chats casually. This is painful to watch. The other boys are older, fitter, confident. Shirts are stripped off, flirtations exchanged with the girls running team and then they are off like a pack in one direction with Jacques running off alone in the other. My heart breaks a little for him and I fret about him for the next hour while I wait to pick him up.
Tom Bochsler's 50-plus year career took him all over the world as a photographer and speaker, but he didn't have to look far to find a home for his massive collection of images.
The 82-year-old Burlington, Ontario native decided to gift his life's work to the Hamilton Public Library. The recently completed donation took place over about six years and contained a total of 500,000 negatives. The library found value in the images as they provide a visual history of the area.
Bochsler, who was designated as having Outstanding Significance and National Importance by the Heritage-Cultural Property Export Review Board, started his career in Hamilton in 1956 and joined PPA not long after.
The collection spans the well-known industrial photographer's early years in photography and thousands of local images. Many of his black-and-white historical photographs were created using the 10-pound Speed Graphic camera, which used one-shot flashbulbs as its lighting source. Bochsler has photographed every single nuclear power plant in Canada, and the collection includes images of nuclear reactors, salt mines and steel factories from across Canada. The photos will stay in a climate-controlled archival vault to ensure the images don't decay over the years. The library's history and archives department is tasked with scanning the images and making them available to the public.
Last month, Bochsler also had the opportunity to give an audio/visual presentation in a display of selected images during Super Crawl, an annual art and musical festival downtown Hamilton. In addition to the collection, Bochsler published a book, , which features 272 of his favorite images from 1950 to 2003.
According to Bochsler, he donated his life's work rather than the alternative--throwing them in the trash.
"It's all very exciting for me," he said. "There are many members out there who find their old negatives and files a burden. I initiated the contacts to explore a home for my collection. Along the way I found people interested in saving history."
Got a cool story to tell? We're always looking for more! Email PPA's communications specialist, John Owens, with yours (put 'PPA Member Story' in the subject line) and we'll see if you're worthy of a spot on the mighty PPA blog!
We've (finally) got an update on the Walmart v. Huff case! Brush up on the story below first if you need a refresher.
At a recent case management hearing, the judge set the trial for the trial term beginning April 6, 2015 and ending April 30. This doesn't necessarily mean the case will go to trial April 6, just that the case is set to be tried sometime during that term.
Read the full story:
Your typical copyright infringement involves one photographer stealing another photographer's images, or reproducing copyrighted images without permission. But in this case, it's the largest retailer in the world bullying a small Arkansas studio.
Walmart and its founding family, the Waltons, have filed suit against Helen Huff, the widow of Arkansas photographer David A. Huff.
David Huff's studio, Bob's Studio of Photography, was founded by his late father, Robert A. Huff, in 1946, and created portraits of the Walton family before the expansion of Walmart grew them into one of the wealthiest families in the world. But now Walmart and the Walton family are demanding that Helen Huff hand over those works.
The complaint states that they (the Waltons) seek to obtain six or more boxes of photos, negatives, and proofs, alleging that over the years, Bob's Studio retained those items "as a courtesy" to Walmart and their family (they didn't). The complaint further states that the Waltons own intellectual property rights to the photos (they don't). The fact is, under federal law, photographers own the copyrights to their own works.
PPA has been working with Huff to support her case and thereby advocate for photographers' copyrights.
"If there were ever a David vs. Goliath situation, this is it" says PPA CEO David Trust. "We simply can't remain idle and allow this to happen--it would set a terrible precedent. In our opinion, this obviously is a violation of copyright law and it is beyond question that Ms. Huff owns the photographs and if the Waltons want the photographs, they should pay for them. PPA as an association stands behind Ms. Huff and supports her case as the rightful owner of these images. We have contacted her lawyers and offered to file an amicus brief* when and if that time comes."
*What's an amicus brief, you ask? It's is a legal opinion or testimony that is volunteered by a "friend of the court" who is not a party to a particular lawsuit but has a strong interest in the case. It is a way to introduce concerns ensuring that the possibly broad legal effects of a court decision will not depend solely on the parties directly involved in the case.
PPA also advised Huff and her attorney of a separate suit, Natkin v. Winfrey, in which Oprah Winfrey claimed she owned the rights to photos of her created on her set. Since the photographers were hired as independent contractors and had not signed work-for-hire contracts, they owned the full copyrights for the images, and Winfrey's argument was swiftly rejected by the court.
Walmart filed its lawsuit against Helen Huff in state court, but because it is a copyright issue, Huff's defense removed it to federal court. The defense argues in its answer to the Walmart complaint that Huff owns copyrights to all the works her late husband and father-in-law created for the Walton family, and that they worked as independent contractors for the Walton family. In addition, Huff's defense filed a counterclaim of copyright infringement, alleging that in the past Walmart has reproduced and allowed third parties to use Bob's Studio of Photography's copyrighted works. Huff and her attorney are awaiting Walmart's answer.
UPDATED 5/21: Walmart spokesman Randy Hargrove issued a statement this afternoon:
As you can imagine, many of the photos go back many years and commemorate the history, heritage and culture of our company. We believe that some of the photos that Bob's Studio has belong to Walmart. All we want is for the court to make it clear who rightfully owns these photographs. We tried very hard to resolve this without involving the courts. We never wanted the issue to reach this point and we've done everything possible to avoid this.
PPA always stands for photographers' copyright protection. As such, we will continue to provide information as these cases develop. Check back for updates!
Helping a friend and veteran leave a legacy
By Penn Hansa
Bruce Roscoe, CPP, orchestrated a portrait session of his best friend, Joe Rowe, that he'll remember for ages. As a photographer who served in the Vietnam War, taught workshops all over the United States and has been named as one of the top photographers in Arizona, Roscoe has had his share of photographic experiences. But this was the only shoot that he could give credit to fate for making it happen. "It could only have been divine intervention to have everything work out the way that it did," Roscoe said. "It was that incredible."
In a way, the photo shoot was 58 years in the making: Roscoe and Rowe have been friends since they were eight years old. "If I didn't see him in 10 years and then I saw him again, it would be just like yesterday," said Roscoe. "Nothing would change."
The origins of their friendship are a little hazy to both. "We probably met after getting in a fight with each other," Roscoe guessed. But they both recall the childhood they spent together on the East Coast. They sailed, surfed and snorkeled together at the beach, and spent hours in the forest climbing and exploring.
"We had it great growing up," Roscoe remembered. "We didn't know how poor we were. We bought a bike and it was Joe's and my bike. So he'd have it for a day, and then I'd ride it for a day, like a family bike."
When they finished high school in 1967, Rowe joined the Marines, and Roscoe decided to postpone college to join the army. The army recruiter asked if he had any special skills, and Roscoe told him that he wanted to be a photographer. It was the first thing that came to mind.
"My parents gave me a Brownie Bullet camera when I was younger, and I loved it," Roscoe said. "I thought I was going to travel and take pictures of kings and queens."
That wasn't quite what he ended up doing. After he went to school in the military to be trained as a combat photographer, his first orders were to go to Alaska.
But it was just a mistake - he was actually supposed to be in Vietnam.
During their service in Vietnam from 1967-68, Roscoe and Rowe never saw each other, and only had vague ideas of where the other was. When they returned, they were changed people. Both suffered from post-traumatic stress disorder.
"It was just different. We had our issues. We never knew what life was going to be like in a warzone. We changed, not for the good or the bad. We just came back as good as we could be," Roscoe said.
For years, Roscoe didn't touch a camera. "I always had a love for photography, but because of the memories I had associated with a camera, I had to be ok with myself before I got back into it," he said. When he eventually returned to the art, portraiture became his specialty.
"I think why I got into portraiture is because some of the pictures I took overseas and some of the ways people's faces looked told a story. And I thought, Well, you know what - if I can learn how to capture faces in a storytelling way, that's what I need to do. I need to start capturing people and telling a story with their face."
Roscoe ended up in Arizona and joined PPA in 2008. He became a Certified Professional Photographer in 2010, focusing on photographing the elderly.
"There's just so much character in their faces. In young people, you don't have the wrinkles, the character lines, the things that show how much time you've been in this world," Roscoe explained. "For these people who are grandparents, I want to pull a character out of them to leave a legacy for the younger generations."
As they lived their lives on separate American coasts - Roscoe in the west, Rowe in the east - they stayed in touch through their families and the occasional phone call. "Joe's mom was like my mom. I'd find out from her how he was doing, and she would tell him how I was doing," Roscoe said.
And then one day, Roscoe got a call from his friend Joe. Rowe told him he had been diagnosed with lung cancer, which his doctor said had been caused by Agent Orange, one of the herbicides and defoliants the U.S. military used as part of the herbicidal warfare program Operation Ranch Hand. The effects of the spraying affect both the Vietnamese and Americans as terrible remnants from a war that no one wants to remember.
Shortly after hearing the news, Roscoe left for Rhode Island to take Rowe's portrait. It wasn't a question of obligation, just a sense of duty to his friend and those who loved him. "I was trying to create Joe's final image for his family," Roscoe said.
He called the Veterans of Foreign Wars post in Wakefield, and they graciously allowed Roscoe to use their hall for a temporary studio. But it left the question of lighting equipment, things that Roscoe couldn't bring from Arizona for the session. So he did an online search for photographers near Providence and came across Chris Garrison's studio. Roscoe emailed him and explained what he was trying to accomplish, and asked to borrow his gear. Without hesitation, Garrison heagreed to share his studio's equipment.
"I didn't know him before this email," Roscoe said. "I asked him why he would let me, a complete stranger, borrow his equipment and he told me, 'You know, Bruce, I've had people help me out when I needed them. I'm just trying to return the favor.'"
Fellow PPA member Roger Salls from Roger Salls Photography, who had attended one of Roscoe's photography workshops, came from Connecticut with a makeup artist to help with the shoot. Roscoe, recognizing the importance of the event, also contacted the Providence Journal for a reporter to cover their story.
The shoot only took a little more than an hour. Rowe arrived and spent an hour with the makeup artist, then Roscoe started doing his job. The Providence Journal sent a reporter, who was also a Vietnam veteran, to interview Rowe. It was as if all the stars had aligned. Everyone who was there that day was there for Rowe and to help create an image that would capture his character. "I felt like a movie star," Rowe said to his friend. "It lifted my spirits, and we had lots of fun."
It was a highly emotional shoot for Roscoe, who realized that this would be the last portrait he would take of his friend. "It is crushing to be losing one of the people you can really talk to without having any problems," he said. "There's not a lot of people you can call your best friend, and Joe is one of mine."
Rowe, who works with PeaceTrees Vietnam to raise money for schools and libraries in Vietnamese villages, asked his friend to help make his last wish come true: to see through the completion of a library in the village of Mo O, close to where Rowe was stationed in the war.
Thinking back on the shoot, Roscoe couldn't believe that it all happened so perfectly. After all, if he didn't have the venue, the lighting, or the assistant and makeup artist, the final image wouldn't have been as meaningful as it is for both him and Rowe. "I find it interesting that you can get photographers from all over the country together, and you can make something happen," he said. "Nobody got any money from it. There wasn't any incentive. They were just doing it to help."
The ties of friendship and kinship, he realized, were stronger than he could have ever imagined.
Hello July! Holy smokes--where has this year gone? It's already half over! How is your business shaping up? Check out these top discussions on theLoop to see how you can always improve your skills, your business and your bottom line.
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Where do you stand on the slippery slope of offering discounts? Does everyone get one? Are you 100% against them? Join the conversation and help this photographer get out of a sticky situation!
Don't forget, theLoop is YOUR safe and secure online community where PPA members can discuss various photography topics... away from the public eye!
You don't belong to PPA? Don't be left out! It's so easy to join, do it today!