Pro Photo West Magazine Spring 2019

Photo by Randy Van Duinen 

Spring 2019

INSIDE THIS ISSUE 

6Editor’s PPA Director Message 

Meet Your Executive Team 

President’s 

8 10 11Gadget Girl 

Message 

16 

Simply Complex Black and White 

25 

Your 8x10’s Are How Much? 

Professional Photographers of California

SPRING 2019 

22 

Meet your Affiliates 

30 

Face Mask Histogram 

34 WCS Schedule 

39 

WCS Instructors 

28 

Photo-Biz 101 

32 

Are You Ready for West Coast School 2019 

www.prophotoca.com Spring 2019

CONGRATULATIONS 

Pete Rezac 

On this amazing accomplishment! 

Our very own PPC President Pete Rezac is 

also one of the newest Directors of 

Professional Photographers of America! 

6

A Huge Thank You to Our Sponsors! 

Your Support is Greatly Appreciated! 

Spring 2019 

7

2019 OFFICERS 

PRESIDENT 

Pete Rezac, M.Photog.Cr, CPP, 

M-PPC, S-PPC 

president@ppconline.com 

FIRST VICE PRESIDENT 

Jim Trapp, M.Photog.Cr, CPP 

S-PPC 

firstvp@ppconline.com 

SECOND VICE PRESIDENT 

Diane Costello, M.Photog.Cr, CPP 

M-PPC, S-PPC 

Professional Photographers of California, Inc. is a non-profit, 501(c)6 

trade association of professional photographers, employees, suppliers 

and others allied to the profession. Professional Photographers of 

California offers a variety of opportunities and benefits to its Members and 

is one of the largest state affiliates of Professional Photographers of 

America. Pro Photo West is the official publication of Professional 

Photographers of California and is published quarterly for the purpose of 

keeping Members informed of photographic information, news and 

activities of the state. Subscription is included with Member dues. 

Articles, with or without photographs, are welcome for review for inclusion 

in this publication; however the Editor reserves the right to edit and use 

articles on a space-available basis. Materials will not be returned unless a 

postage paid envelope is provided. Letters and contributions must include 

name, email and phone number. Send all communication, articles or 

advertising to the Editor. Articles appearing in Pro Photo West reflect the 

opinions of the writer. They do not necessarily represent those of the 

Editor or Professional Photographers of California. Permission to reprint 

contents of this magazine is granted to similar photographic publications, 

provided the author, Professional Photographers of California and Pro 

Photo West are credited as the source. 

secondvp@ppconline.com 

SECRETARY 

Tim Meyer, MFA, MA, M.Photog.Cr, 

F-PPC, S-PPC 

secretary@ppconline.com 

TREASURER 

Robin Swanson, M.Photog.Cr, CPP, 

F-PPC, S-PPC, CPA, CGMA 

treasurer@ppconline.com 

CHAIRMAN OF THE BOARD 

Marcy Dugan, M.Photog.Cr, CPP, M- 

PPC, F-PPC, S-PPC 

cob@ppconline.com 

STAFF 

EXECUTIVE 

ADMINISTRATOR 

Mel Carll, S-PPC 

exec_admin@ppconline.com 

DIRECTOR, 

WEST COAST SCHOOL 

David LaNeve, CPP 

director@westcoastschool.com 

8 


www.prophotoca.com Spring 2019 9

President’s Message 

We have made it through our first quarter of 2019 with a lot of positive steps forward. 

You know there has to be an easier and more personable and less boring way to communicate with 

all of you!!! 

Hey! Click this link and let’s cancel boring!! 

https://youtu.be/CXSvjhQKGbc 

10

Gadget Girl 

by Robin Hilton Swanson 

In this issue I am reviewing the new MagMod MagBox. 

There are so many things I love about this product that I’m not sure where to start. Let me begin by 

saying that I have tried pretty much every portable speedlite softbox out there. The main problems 

that I encountered with virtually all of them were that they were too complicated to assemble and just 

not enough light power (only 1 flash). MagBox addressed both these issues. I did an engagement 

shoot the day after I received my MagBox and thought to myself “this will be a great opportunity to 

test it out”. Now, I normally would not advocate trying out a new piece of equipment on a client; 

however, I did have a Plan B just in case it didn’t work out. I’m happy to say that I was very 

impressed with both the quantity of light (2 flashes) and the quality of light. I was also very happy with 

what I call the “ease of deployment”; it set up very fast and was up and working with no problems. 


11

Here is a sample of what the image looks like with just natural light. It’s very flat and boring. 

Then we set up the MagBox. Although there are several accessories that you can purchase with the 

system, there are 5 components you must have: 

1. MagBox 24 Octa 

2. MagRing 

3. MagShoe 

4. MagBox Fabric Diffuser 

5. Maggrip (If you currently use MagMod products, you already have the MagGrip) 

12

Gadget Girl 

I am using 2 Canon Speedlites and a Canon 

controller. Of course you don’t need to use this 

same setup. The MagGrip will fit on any speedlite 

and you can use whatever remote controller you 

normally use (i.e. pocket wizard, etc.) The 

MagBox can be used on a light stand or (my 

favorite) just have your assistant hold it. 

Here is the result using the MagBox. Nice soft light 

and a photo that pops. 

You can click here to see a short video of me setting up the MagBox. https://youtu.be/PJ0LShojvUw . 

Keep in mind it was just the second time I had set it up and you can see how quick and easy it is. 

This is a quality product and a lot of thought was put into its design. If you are looking for a portable 

softbox to use with your speedlites, I urge you to go to https://magnetmod.com and check out the 

MagBox system. 


13

Simply Complex Black and White 

Pete Rezac 

M.Photog.Cr, CPP, M-PPC, S-PPC 

There are many genres of the art, science, and craft 

of photography, but the genre that I love most is the 

black and white studio portrait. I’ve found that I’ve 

always been drawn to classic studio portraiture, and 

specifically those created in black and white. I’m 

also of the mindset that we as photographic artists 

like to produce what we enjoy looking at and for me I 

love to look at black and white portraiture. 

There is just something that speaks to me about the 

simplicity of using tones of gray to convey a story, 

feeling, and interest in my black and white work. 

That simplicity actually has more of a complex 

process to it than one might expect and in ways that 

are dfferent than one might think, as it’s not about 

post production. Rather, there is a fair amount of 

pre production and consultation work that aids in the 

successful completion of my visions for the portraits 

that I create. 

Most people know my work for the “Dirty” kids or what 

I refer to as my “Sand Lot Sessions”. My Sand Lot 

work is what really proved to me that I could make a 

go of moving my primary focus to black and white 

work. They proved to me that there can still be an 

honesty and craftsmanship to a photograph without 

having to rely on the computer and post production to 

make my vision. I’m not really all that skilled at 

photoshop. I have grand visions and appreciation for 

the artists that make computer work look like they are 

conducting a symphony. I don’t have that skill set but I know what authenticity looks like before I press the 

shutter release. I know how to make a child’s face look dirty. I know that a cowgirl with her saddle or 

authentically worn hat looks right at exposure because that’s how it looks. So what my Sand Lot sessions 

taught me was the key of authenticity, which is what I strive for in all my work, be it a business portrait or a 

dirty baseball kid, paying attention to the details that are authentic are small differences that make a huge 

difference! 


17

The other factor that plays into how I like my work 

to present itself is to use light that my friend Tim 

Meyer says has “Character and Personality”. The 

first time I heard Tim use those words to describe 

light changed a lot for me on how I look at lighting. 

I want light that has direction, that brings out 

texture, has “character and personality”. Early in 

my career I would subscribe to the one light, 

because there is only one sun school of thought, 

and there is nothing wrong with that. However, 

what I learned is that adding lights to specific parts 

of the scene start to add separation and depth to 

subject and photograph. I have learned that the 

quality of light doesn’t always have to be soft, that 

hard light can be equally beautiful specifically with 

black and white portraiture. Mixing hard and soft 

sources, having control over edge separations, 

controlled ratios, and lighting the background all 

contribute to the “personality and character” of the 

light, and if done properly can give the illusion that 

all were done with one light! 

Lastly, is proper exposure of the lighting. The 

handheld light meter is the most important tool 

other than my vision that I have in my tool box. I 

use it for precision measurement and establishment 

of ratios. 

I may want the face to be 2 stops brighter than the 

hands. Maybe I want it 3 stops brighter or 1 stop 

brighter. It all depends on my vision. I may want 

the background to render the actual tone it is, or 

render darker or lighter. I may want to have an 

edge light highlight within a highlight. All of those 

subtleties are achieved by using a hand held meter. 

I’ve also found it’s far easier for me to get those 

dialed in prior to making the exposure, rather than 

trying to add them in post production. Having an 

image show up on the camera screen exactly how 

you see it in your head is a rush, and seems to 

build immediate credibility with clients. Of course, 

you have to also understand that I’ve migrated back 

to film for most of my client work and the only way 

to confirm lighting is to do a “digital Polaroid”, also 

known as a Nikon D750 shot prior to going to film to 

confirm light is landing where I want. It really looks 

fantastic on the black and white negative and print! 

I have the D750 set up to show a toned black and 

white image so we see exactly what we are going 

to get on the negative! 

18 


I hope this gives you a quick glimpse into how I arrive at my black and white portraiture. They may have a 

simple appearance, but now you know a bit about the pre-production work and thought process that goes 

into what I do! Cheers! 

www.prophotoca.com Spring 2019 19

A F F I L I A T E S H I G H L I G H T S 

AVPP - All Valley Professional Photographers 

Arthur Argote 

President 

allvalleypp.com 

Walter Wright 

Vice President 

CIPPA - Channel Islands Professional Photographers 

Larry Skibiski 

President 

www.cippa.org 


GCPPA - Gold Coast Professional Photographers 

Sandra Cortez 

President 

goldcoastppa.info 

Michael Collins 


IEPPV - Inland Empire Professional Photographers 

Nick Seth-Smith 

President 

ieppv.com 

David Schulman 


PPLAC - Professional Photographers of Los Angeles County 

John Grusd 

President 

pplac.org 

Eleanor Gray 


22

PPOC - Professional Photographers of Orange County 

Duane Murphy 

President 

ppoc.org 

Trudy Brown 


PPSDC - Professional Photographers of San Diego County 

Janet Bark 

President 

ppsdc.com 

Monica Royal 


PPSV - Professional Photographers of Sacramento Valley 

Kimberly Olker 

President 

ppsv.org 

Suzanne Hambleton 


HPP - Hispanic Professional Photographers 

Rutilo Corona 

President 

Nicolas Curtis 

Secretary 

https://www.facebook.com/groups/1621796218145137 

PPSCV - Professional Photographers of Santa Clara Valley 

Roberto Gonzalez 

President 

Jim Skintauy 


https://www.ppscv.net 


23

24

Your 

8x10’s 

Are 

How 

Much? 

Arica Dorff, Cr.Photog. 


25

“How much are your 8x10’s?” 

It’s the question that so many photographers dread hearing from potential clients. Well, instead of 

viewing the question as a negative, how about looking at it as a positive. Think of it as a way to educate 

a potential client on the services and products that you offer. Plus, let’s cut these potential clients a little 

slack - they aren’t asking “How much are your 8x10’s?” because they really care exactly what the price 

of your 8x10s are. They’re asking because they don’t know what else to ask. Potential clients are not 

going to call and say, “Can you please sell me on your portrait experience?”. 

In order for you to answer the “How much are your 8x10’s” question with any hope of having that person 

become a client, that person has to understand the value of what they are paying for. After all, in the 

absence of value, price is always an issue. Imagine that you were recently hired by a bakery shop and 

today is your first day. The phone rings and the bakery shop owner looks at you and says, “Can you 

answer that?”. Ahh! Immediate panic sets in! You don’t know anything about the bakery’s products or 

pricing. It’s only your first day! You answer the phone and the person on the other line says, “How much 

do your wedding cakes cost?”. You look over and the bakery shop employees are all helping other 

customers so you can’t hand the phone to them. Quick! Your customer is waiting for an answer! You 

could sheepishly admit, “Today is my first day and I haven’t learned that yet.”. Instead you utter the 

words, “Who is getting married?”. The customer responds, “I am”. And you say, “Congratulations!”. The 

bride wants nothing more than to chat about her big day so you start information gathering. “How many 

people are going to be at the wedding?” “What are the wedding colors going to be?” After she answers, 

you enthusiastically agree with her choice, “Oh I love those colors! What a beautiful combination!” 

“Where is the wedding taking place?” You chime in about the wedding you attended last month at the 

same location and how beautiful the venue was. Before you know it, you’ve been on the phone for 10 

minutes and this bride has already decided that she’s getting her wedding cake through your shop even 

though you haven’t given her any pricing yet. The bride had called two other bakeries before calling you 

and she asked them, “How much do your wedding cakes cost?” and the answers went something like, 

“Our wedding cakes range from $200-$1,200.”. “Oh okay, thanks” and she hangs up. Again, clients don’t 

know what else to ask, so they ask about pricing. It’s our job as photographers to explain our portrait 

experience and the value of what they’re getting. So, that’s the simple secret to answering the “How 

much are your 8x10’s” question - you answer the question with a question. I would start by saying “I’d be 

happy to explain our pricing to you! We offer a variety of portrait sessions and packages, so let me get 

some information from you so I can steer you in the right direction.” 

Here are some information gathering questions and conversation starters: “How did you hear about us?” 

“Do you need the portraits by a certain date?” “Who’s going to be in the portraits?” “When’s the last time 

you had a professional family portrait done?” “Have you thought about where you want to display your 

portraits in your home?” Since I’m a pet photographer, I’d ask, “What kind of pets do you have?” and 

“Are your pets on a grooming schedule?”. Clients have to Know, Like and Trust you in order to feel 

comfortable working with you and, ultimately, become lifetime clients. This is an opportunity to start 

building that relationship. In doing so, your ideal clientele will think ‘This is the photographer I want to 

work with’ before they even hear your pricing. Now I know what some of you are thinking - what about 

26

people who don’t want to hear all the fluff or answer the questions and just keep saying, “I really just want 

to know how much your 8x10s are?”. Well for starters, they are probably not your ideal client if they aren’t 

interested in you getting to know them and understanding their needs. And, secondly, if someone insisted 

on knowing the price before I was done information gathering, I would reemphasize, “I just want to have a 

better understanding of what you’re looking for because we offer a variety of portrait sessions and each 

session has a different Creation Fee. After the Creation Fee, our 8x10s can be purchased a la carte or you 

get a discount if you’re purchasing multiple 8x10’s.”. So I’m not stalling on giving them an answer simply to 

buy time in hopes that I’ll win them over, I’m truly trying to get a better understanding of what their needs 

are. Do they just need a few good images? Maybe a Mini Session would work best for them. Are they 

interested in me capturing candid lifestyle images? Maybe my ‘Day In The Life’ session would be a good 

fit. Are they planning on doing outfit changes? Do they prefer studio or outdoors? I have to know all of this 

before I can accurately quote them a price for their portrait experience. 

Whether you do a Planning Session in-person or over the phone, once you’ve done your information 

gathering, explained how your portrait experience works, NOW tell the client the price of your Creation 

Fee and what’s included. NOW explain your portrait pricing and all of the different products that you offer. 

NOW there’s value in the price that you’re quoting them. So the next time the phone rings or you do an inperson 

consultation, remember the bakery example. Be an information gatherer. Be a good listener. Ask 

these new potential clients to show you images of their family (as a pet photographer this is vital so I can 

give my clients ‘what to wear’ suggestions based on their pets’ coloring). Suggest a background color or 

location idea. Clients want your expertise - it’s part of what they are paying you for. Now go out there and 

confidently tackle the “How much are your 8x10’s” question by turning it into a relationship-building 

conversation. It’s no longer a dreaded question and your answer is no longer just a price. 

Arica Dorff, Cr.Photog. 

www.aricadorff.com 


27

Robin Swanson, CPA, CGMA 

QUICKBOOKS…IS IT FOR YOU? 

Well, another tax season has come and gone and now is the time that many people are thinking next 

year they will be more prepared. As a CPA and a Professional Photographer, I am often asked if 

QuickBooks can be used to account for the finances of Professional Photographers. As a Professional 

Photographer who uses QuickBooks, I can tell you that the answer is yes! Now, I’ll be the first to tell 

you that QuickBooks doesn’t do “everything”. There are some excellent studio management programs 

that “do it all” and are made specifically for professional photographers; however, some are very 

expensive and others do a great job of studio management but only a fair job of accounting for your 

finances. If you have a large photography studio, then I suggest you look into one of these specialized 

programs…but do your homework and make sure it does everything you want/need it to do. If, 

however, you are a small studio or an independent photographer working out of your home, I suggest 

you give QuickBooks a try. 

There are several different options to consider: 

QuickBooks Desktop 

• Pro 2019 

• QuickBooks Mac Desktop 2019 

• Premier 2019 

• Enterprise 

Click here to compare Desktop versions: https://quickbooks.intuit.com/desktop/ 

QuickBooks Online 

• Simple Start 

• Essentials 

• Plus 

• Advanced 

Click here to compare on-line versions: https://quickbooks.intuit.com/pricing/ 

It boggles the mind the myriad of choices and options. That being said, most small photography 

businesses can be well managed with either Pro 2019 or Mac Desktop 2019 in the Desktop versions 

OR the QuickBooks Online Plus subscription. Consider whether you want access to QuickBooks from 

different locations or if you want easy access for your accountant – then the online option might be 

right for you. However, if you have spotty internet service, or you don’t really need access to your 

books away from your home or studio – the desktop version might be a better choice. There are 

many other things to consider so I urge you to click on the links above and compare. Intuit (the 

makers of QuickBooks) have been slowly pushing towards getting people to use the On-Line Version. 

This link compares the on-line subscriptions to the desktop version https://quickbooks.intuit.com/ 

move-to-online/#compare. 

Once you have made your choice, now you’re ready for business! You can easily create estimates and

invoices; print checks, pay bills, & track expenses; keep track of customers and vendors; create 

customizable reports like Profit & Loss Statements and sales reports; export data to Excel 

spreadsheets; download credit card and bank transactions; and just about anything else you can think 

of! 

There are a few features that I believe are worth delving into a little deeper: 

Class Tracking: One of my favorite features (that I think is very under-used) is the “Class Tracking” 

feature. You can assign each transaction (income and expenses) to a class. Classes can be anything 

you want to track more closely. The classes I use are my profit centers, i.e. Wedding, Event, Portrait, 

Pets, etc. By assigning classes to transactions, you can run profit and loss reports on each class, 

thereby finding out which activities are money makers and which are losers. 

Customizable Forms: Image is everything! If you hand a customer an invoice scribbled on a generic 

“Office Depot” invoice, you’re not going to present a very professional image. All of the forms you 

generate in QuickBooks can be customized with your Logo and business information (very 

professional!). 

Check Printing: I really hate to do double work. By purchasing QuickBooks compatible checks I only 

have to enter the transaction once and then hit the print button. Yahoo! Virtually all check printing 

companies sell QuickBooks compatible checks (you can also order them directly from Intuit) 

Sales-Tax: If you read my article about Sales Tax, you know the importance of charging (and paying) 

sales tax. Once you set up sales tax codes in QuickBooks, the program automatically calculates sales 

tax on invoices and generates a sales-tax report to help you complete your sales tax return when it is 

due. It truly simplifies the process and takes the mystery out of sales tax. 

Your Accountant Will Love You: When tax-time rolls around (and it always does) all you have to do 

is print two reports (Profit & Loss and Balance Sheet) and give them to your accountant. No more 

shoe boxes full of receipts (although you still need to keep receipts) to rummage through looking for 

every deduction. It’s already accounted for in QuickBooks. 

One more item that I would like to touch on is the ever-elusive “Chart of Accounts” (COA). For those of 

you that don’t know what a COA is, it is a listing of all the accounts that you will use to track your 

finances (i.e. Assets, Liabilities, Income, Expenses and Owner’s Equity). Starting with a meaningful 

chart of accounts is a must if you are going to reap the full benefits of any financial software. For 

example, it’s a good idea for aphotographer who does his/her own printing to have a “Printing 

Supplies” account; conversely, it wouldn’t make any sense at all for a photographer who does not 

have any employees to have an “Employee Benefit” expense account. A couple of ways to start 

creating your Chart of Accounts is to 1) Check with your accountant (if you have one); 2) Look at last 

year’s tax return (if you filed one) to see what income and expenses were reported (some items are 

required to be reported separately on your tax return. Finally, don’t stress over it. With QuickBooks, 

you can easily add or subtract accounts to your Chart of Accounts as you need to. 

I could go on and on about all the great features that are available in QuickBooks; however, there are 

just too many to mention here. Do your homework and dive into the wonderful world of bookkeeping. 

So, what are you waiting for? It’s time to put the “Professional” back in Professional Photographer and 

start taking care of the business side of your Photography business.

Face Mask Histograms 

Tim Meyer, MFA, MA, M.Photog.Cr, CPP, 

M-PPC, S-PPC 

Determining exposure in today's digital world is easier than ever. Determining correct exposure is 

somewhat more elusive. 

The definition of "correct" exposure is going to vary depending on multiple factors. A landscape artist, 

commercial photographer and a portrait photographer may all have different ideas about what a 

correctly exposed file might look like. Each could/should be correct for their specific application. 

Portrait photographers tend to be interested in correct exposure for the face. This too can vary 

somewhat depending on if it is a scenic view or how important the environment is in the image. For the 

sake of simplicity, however, I would like to describe a technique that works very well for traditional 

portraiture. 

This technique is called "Face Mask Histogram." This is by far the most consistent means I know to 

achieve repeatable results in portrait exposures. It is what I have used for years and it has remained a 

valuable technique. 

The Face Mask Histogram technique is built around the use of histograms to determine exposure. The 

histogram is a graphic representation of the tonal range in a photograph. The histogram depicts the 

range of tones in an image from the darkest on the left of the graph (0 in digital terms) to the lightest on 

the right side (255 in digital terms). You can find histograms in the menus of most modern digital 

cameras and in today's popular Lightroom, Bridge and Photoshop applications. 

Figure 1 

In "Figure 1" you will see how a histogram is found in Adobe's Lightroom application. The histogram 

here indicates that there are very few areas of the image that are dark (note the left side of the 

histogram) and many areas that are light (note the right hand side of the histogram). There are also 

areas in the image that are over exposed. When parts of the histogram push up against the right or left 

side of the histogram, it indicates clipping or under or overexposure. In this case on the right or 

highlight side indicates overexposure 

30

Traditionally a "correct" histogram or normally exposed file has no clipping. It is very important at this 

point to understand that histograms indicate the tonal values for the complete image. This particular 

image has a very broad range of tonality beyond what can normally be captured digitally. So knowing 

that there are some areas in this image that are too bright for the camera to handle, how can I 

determine correct exposure for this scene? 

Figure 2 Figure 3 

In Figures 2 and 3 I have moved the histogram onto the image for ease of reading. Again in Figure 1 

you can see the histogram for the complete scene. So how can I see a histogram for only the face? 

By using the cropping tool (this works for Lightroom, Photoshop and Bridge's Camera Raw programs), 

crop only to the area of the face that you are interested in. The histogram will indicate the tonal ranges 

in the area that you have selected. (Note Figure 3.) 

The histogram in Figure 3 indicates that the face has a near perfect exposure. There is no clipping in 

either the shadow or the highlights and tonal distribution look exactly like what I have come to expect 

from properly exposed faces. This translates into excellent results when receiving prints from my lab. 

Please note that in this case there is a very bright edge light on the child's face coming from the sun. I 

purposely did not include that in my crop. I wanted to know the values on the child's face and knew that 

the very bright edge light would impact the Face Mask Histogram. 

This technique works equally well in the studio. Just remember to crop to the "mask" of the face. 

Obviously most portrait photographers do not shoot tethered to computers and therefore cannot use the 

Face Mask Histogram technique out in the field or in studio. I use the technique upon returning to the 

studio as a means of double checking my in studio or on location exposure technique. I also use it 

when producing digital files for ordering. I will check the Face Mask Histogram of all my files to make 

sure that they will print the way that I expect. 

Hopefully you find the Face Mask Histogram technique as useful as I have. 

Tim Meyer Photographer, educator and author, Tim Meyer is passionate about the field of 

photography. With over 30 years as a professional photographer, he brings experience and sustained 

energy to his work. Mixing our rich artistic heritage with today’s modern styles, his images enlighten 

and inspire. 

Spring 2019 31

ARE YOU READY? 

To Have fun? Learn? Laugh? Eat? 

Play? Shoot? 

Class of 2018 

You Could 

Be Here!!! 

32


33

2019 West Coast 

Sunday, June 9 

2:00 pm – Registration & Dorm Check in – Maher Hall Lobby 

4:00 pm – Orientation – Solomon Lecture Hall (Maher Hall) 

5:30 pm - Class Photo in front of Serra Hall. Please wear your WCS shirt 

for the photo! 

6:00 pm – Dinner – Pavilion Dining Hall 

7:00 pm - Social at Alcala Apts. 

Monday, June 10 

8:30 am – Class starts 

12:00 noon – Lunch – Pavilion Dining Hall 

1:30 pm – Class 


6:30-9:00 pm – Super Shoot! Meet in front of Maher Hall 

Tuesday, June 11 



12:30 – 1:00 Class Open House 



6:30-9:00 pm – Vendor Night / Swap Meet, Speaker – Hahn Center 

34

School Schedule 

Wednesday, June 12 





6:30 pm – Field Trip with class 

Thursday, June 13 




5:00 pm – Dinner with your class 

7:00 pm – WCS Social & Auction at Alcala Apts. 

Friday, June 14 

7:00 am - 8:30 am – Check out of dorm, Maher Hall 

10:00 am – 2:00 pm – Class 

11:00 am – 1:00pm – CPP Test (register at ppa.com) 

For a quick list on a few things recommended to bring, turn the page… 


36


Professional Photographers of California proudly present the 

West Coast School of Photography 

Instructor Line-up for 2019. 

http://www.westcoastschool.com/ 

West Coast School is a Professional Photographers of America (PPA) Affiliate School founded in 

1956 and is considered to be one of the top five photographic institutions in the country! West 

Coast School is a non-profit organization operated by the Professional Photographers of California 

and offers an amazing week of hands-on Professional Imaging Creativity, Photography, Business 

Developement and FUN! 

Instructors are internationally recognized and share the same goal of helping you with the growth 

of your photography business. Each year, nationally acclaimed working professionals celebrate 

the craft of photography by sharing their knowledge and expertise with their students. Hands-on 

participation is emphasized as students learn the latest techniques from a successful professional. 

West Coast School offers an outstanding lineup of instructors and a full schedule of special events. 

Our commitment has been to teach attendees practical, real-world skill that can be used to build a 

satisfying and prosperous career in professional photography. 

For more information about West Coast School 

http://www.westcoastschool.com/about-wcs/ 

Are You ready to register? 

Registration Closes 

REGISTER NOW! May 3 

38

TIM MEYER 

FUNDAMENTALS OF LIGHTING AND POSING 

Tim will show you how to work in studio and 

outdoors with basic to creative lighting 

equipment and natural light. This class 

provides the opportunity for learning the 

posing and lighting techniques that are the 

backbone of a successful professional portrait 

or wedding studio. 

http://www.westcoastschool.com/staff-item/ 

fundamentals-of-lighting-and-posing/ 

TONY CORBELL 

BETWEEN LIGHT & SHADOW 

Understanding and controlling light quality 

is at the core of all of Tony’s workshops and 

presentations. Attendees will learn how to 

see a unique perspective and not be afraid 

to push the limits of their experience and 

talents. 

http://www.westcoastschool.com/staff-item/tonycorbell-between-light-and-shadow/ 


SANDRA PEARCE 

ADVANCED PAINTING WITH PHOTOSHOP 

Sandra Pearce is one of the most sought after 

digital artists in the photographic industry today. 

With so many teachers in the photography world, 

we all need a good reason to take a class that will 

help our business grow and prosper. 

Pre-requisite: Must have taken Sandra’s 

beginning class. 

http://www.westcoastschool.com/staff-item/peterezac-black-and-white-film-exposure-to-print/ 

http://www.westcoastschool.com/staff-item/sandrapearce/ 

PETE REZAC 

BLACK AND WHITE FILM - EXPOSURE TO PRINT 

Pete still chooses to work with medium and 

large format cameras and film in creating his 

fine art portraiture because of the tactile process 

it provides him in creating his work, along with 

the rich tones and high fidelity of the 

photographs that come from these tools. 

Seeking an authentic look to his children’s 

character portraits, Pete was inspired to create 

timeless portraits showing children at their best. 

40

BRY COX 

THE BUSINESS OF PHOTOGRAPHY 

With more competition, it’s more crucial than ever 

to have a high-end style that blends emotion, 

creativity, pro techniques, and business savvy. 

Having an eye-grabbing portfolio, killer marketing 

images, and shooting stronger images presented 

in the right way means making more money and 

attracting better clients. Whether you photograph 

families, children, weddings, or high school 

seniors, come learn to create more powerful 

images with more variety, while actually shooting 

fewer images, and also be ninja-fast in 

your workflow. 

http://www.westcoastschool.com/staff-item/brycox-the-business-of-photography/ 

RANDY VAN DUINEN 

ARCHITECTURE AND LANDSCAPE 

This is a unique two-part class where you 

will learn Architectural and Landscape 

Photography and how to put both together to 

create stunning images. 

http://www.westcoastschool.com/staff-item/ 

randy-van-duien-landscape-andarchitecture/ 


41

Pro Photo West Magazine Spring 2019

Create successful ePaper yourself

Delete template?

Save as template?