Arkansas Professional Photographers Association


  • November 29, 2017 5:38 PM | Rebecca Hardgrave (Administrator)

    A poker table – and a good poker face – is what it took to get Little Rock commercial photographer Ron Jackson back in the business after a 24-year hiatus.

    Early in his career, Jackson knew the business of weddings and traditional portraiture did not appeal to him, and on the advice of another photographer, sought a degree from the Brooks Institute, one of the premier schools for photography education in the nation.

    When he graduated, he returned to Little Rock to work for a commercial photographer. “When I left Brooks, I had a job waiting here in Little Rock at a commercial studio with a guy I had never met,” Jackson explained. “My dad worked for AP&L and somehow he was in a conversation with a big ad agency here. Somehow the word got back to this photographer and he said tell him when he gets out of school he’s got a job waiting. He never saw my work, and had never met me, but I moved back to Little Rock and went to work for him.”

    After about a year of working with that photographer, Jackson opened his own commercial studio and started on a nine-year run in Arkansas, doing a majority of his work for Levi’s. Admittedly getting “burned out,” he left photography for 24 years while working in sales on the west coast.

    A work transfer took him to Florida, where after six months, the company terminated him. “A new guy came in and took over the company and fired me,” he said. “They were cutting overhead, and I was the highest paid salesman. They cut me out over the phone.

    “I had job offers if I wanted to go back to California, but I had basically just gotten to Florida. A friend of mine one night said, ‘You should go back into photography’, and I just laughed. I had been out for 24 years, and everything had gone digital, I didn’t know anything about any of that.”

    Upon reflection, Jackson decided to give it a shot. “I knew I had a severance package and I got to thinking about it, and I said, ‘I don’t ever want to work for someone again and be in the situation where I would be fired.’ Either I would make it on my own or I wouldn’t.”

    His first big break came when one of his Florida neighbors was walking in the neighborhood and noticed Jackson building a professional poker table in his garage.

    “He walked by, waved, passed and then backed up and said, ‘Are you building a poker table?’ And I said, ‘Why yes I am!’” Jackson recalled with a laugh.

    That same neighbor, who worked in the information technology field, was in a real estate broker’s office a few days later and dropped Jackson’s name as a potential photographer to his client.

    Despite using two other contract photographers – one of which was a contributor to Architectural Digest – the company needed another photographer to help keep up with the heavy schedule of property photography. She agreed to meet with Jackson to discuss hiring him.

    “Her first question was, ‘You do shoot digital, don’t you?’ and I said, ‘Well of course I do,’” Jackson said. “The funniest part of that is just about three or four days before I had been at Best Buy and walked by the cameras and bought my first digital which was the Nikon D70 with the kit lens and had been playing with it and could hardly figure it out. I’m used to throwing a roll of film in it and setting the ISO and the f-stop and shutter speed and basically you’re done. This digital camera was a little confusing.”

    His poker face landed him the job, which was at the end of April. He didn’t hear back from the company other than receiving a check and had assumed he blew the job. However, they called again in June for a few more jobs, and then began calling regularly for other assignments.

    “From then on, it was like turning on the water; it just poured,” he said. “August rolls around and I’m a happy camper because I’ve been shooting a lot of stuff for them. I handed in the latest project and I said, ‘Boy, this is crazy. Don’t get me wrong, I’m grateful, but if I’m this busy I can only imagine how busy those other two photographers are.’ And she said, ‘No, that’s why you’re this busy. You’re the only one shooting for us now.’”

    The other photographers’ complaints about the assignments led to Jackson’s exclusive status. “I was so grateful, I never complained. I would just go and do the job. So, what happened is they started feeding me all the jobs. One of them just begged to get back in.”

    “This is where my sales experience paid off. I used to teach my salesman, listen to your client because they’ll tell you more than you ever imagine. During that initial meeting with her, she mentioned these other two photographers she was using, she said, ‘Those two photographers drive me nuts. Every time they call, they whine. I don’t have time to listen to the whining. I just want to give the assignment.’”

    One thing did stick out with Jackson during that first meeting. When he later took the client out to dinner to show his appreciation for their business, he asked why she never asked to see a portfolio. “She said, ‘Well, Mike said you were a photographer and you said you were a photographer. I assumed by the gray hair you knew what you were doing.”

    Laughing and pointing at his gray hair, Jackson said, “This right here passed as my portfolio!”

    Jackson primarily photographs apartment complexes, a specialty which sees him traveling much of the nation on assignment. He never flies, preferring to drive to avoid rising airline fees and tightening restrictions on traveling with camera gear. One specific client currently has a list of 40 properties to photograph this year alone.

    “With multiple buildings on a property, I can usually knock out . . . the exteriors on a typical large property in about two hours,” he said. “Interiors typically take a bit longer. Total shooting time on any given project, where I’m actually behind the camera . . . exterior, interior total, is maybe four hours.”

    A trademark of his work is including a nighttime shot of the exterior of the property, typically around the pool. He utilizes multiple exposures created by use of the CamRanger, a device that allows him to make multiple exposures great distances from his camera.

    “Back when I first started (painting with light), before I was just bracketing exposures, I didn’t have an assistant and I didn’t have a radio trigger, so what I would do is set the flash to remote, then I would set the camera to a 20-second self timer,” he explained. “I would click the shutter and I would literally sometimes run, because I might need to get 50 feet to the place where I needed to pop light. I would stand there and wait for the light to flash, and then I would go all the way back to the camera and do it again.

    “There would be times where I would see people standing outside the fence of the pool looking at me like ‘What in the world is he doing?’” he added with a laugh.

    Outside of the CamRanger and a speed light, much of Jackson’s work is accomplished with a Nikon D810 and a 16-35, always locked at the same aperture.

    “It doesn’t matter if it’s night shots or day shots, the one thing that never changes on my camera is my f-stop,” he said. “That lens is set at f/7.1, and if I could buy a lens that was 7.1 I would be fine with that. For the work I do, I don’t need a fast lens, I just need a sharp lens. Ninety percent of my work is done with a super wide lens.”

    Jackson returned to his native Little Rock for proximity and familiarity. “I grew up in Arkansas,” he said. “Where I lived in Florida, if I had a job in Houston it was 10 hours to get out of Florida.

    “Coming home to Little Rock was attractive for a couple of reasons. It put me back in the middle of the country, which makes all my jobs easier to get to unless I have to go back to south Florida. Also, I had lived in Los Angeles for 24 years, and south Florida for almost 10 years, and I started missing that southern lifestyle where people are just so friendly and courteous. I still had friends here and came to visit. I bought a house and here I am, back about five years.”

    “I don’t regret it until the temperature falls below 60,” he added. “After 24 years living in California and south Florida, my blood got adjusted to year-round spring and summer. That third and fourth season bother me now.”

    To see more of Jackson’s work, visit his web site at

  • January 13, 2017 10:26 AM | Rebecca Hardgrave (Administrator)

    article by Mike Kemp

    Ed Cooley was returning from a week long arctic cruise where he was photographing polar bears when he heard the news: he had been named a Professional Photographer Association’s Diamond Photographer.

    At first I could not believe it and did a few double takes,” he said recently following a tour of the Northeast to photograph fall foliage. “I was three merits away from my master which added to the suspense.”

    I had two merits in the bag from district and was on pins and needles waiting to see if I qualified.  My best selling image of the year was a scene of the Dark Hedges from North Ireland, which had not scored well in state or district. I just felt it was not properly understood by the judges so I stuck with it and took the risk.”

    Having all four of his competition images accepted into the Professional Photographers of America’s Loan Collection during the International Photographic Competition made Cooley one of 19 photographers granted this honor.

    The images were taken from all across the globe. “Enchanted” features a tree-lined street in northern Ireland, “Solitude” is a beautiful landscape from Tuscany, “Riveting” is a detail of a rusting abandoned grain hopper in Buffalo, NY, and “Majestic McKinley” is a breathtaking photo of a clearing storm over Mt. McKinley.

    Cooley’s photographic career took a much different path than most. For 25 years, he and his wife Faith operated Strategy Systems, a technology firm that provided logistics software to over 600 trucking companies across the United States, Canada and Mexico.

    His love of photography began as a hobby to relieve work stresses, he said. “As with most hobbyists, I progressed in capability and equipment and really enjoyed the experience of being outdoors looking for scenes to photograph.”

    On a photography outing in October 2009, Cooley’s life took a radical change. While exploring the Richland Creek Wilderness area, he came upon the Twin Falls of the Devil’s Fork and began to establish his shot. In the process of doing that, the cliff he was standing on gave way, and he fell nearly 30 feet, landing at the base of the waterfall.

    He ended up in the basin of the falls with a small tree on top of him, pinning him in the cold waters up to his waist. However, a gift from his wife was instrumental in saving his life.

    Fortunately, I had a satellite beacon and after eight hours help arrived and dragged me out to the hospital,” Cooley said. It would take rescuers another 12 hours to get him out of the water and out of the canyon before a 50-mile trip to a hospital where he began his recovery.

    'During recovery I couldn't be stuck in the office and passed operation of my computer software company to my right hand and started photography full time,” he said. “A month after my surgeries and physical therapy I returned to work to resume my software development work and hated every minute.  After a couple of weeks I knew that part of my life was over and have not coded a line since.  Engaging in my photography career was therapy and lifted my spirits.”

    Although many members of the PPA specialize in portraiture, Cooley’s work concentrates on natural subject matter, with a heavy emphasis on landscapes and architecture. He sells his art to private collectors through his online gallery, as well as his storefront located in Rogers.

    And while Cooley travels far and wide to pursue his subject matter, he insists that the locale isn’t his primary motivation.

    It's not so much the subject matter I pursue as the technical qualities of light and composition that motivates me,” he explained. “Since I sell fine art prints of my work, I have to be realistic about subject matter that is marketable.”

    To view more of Cooley’s work, visit his website at His physical gallery is located at 115 South Second Street in Rogers, and is open 2-6 p.m. Wednesday through Friday, and from 10 a.m. to 2 p.m. on Saturdays.

  • July 11, 2016 10:41 AM | Rebecca Hardgrave (Administrator)

    If you are wondering what Use Tax is, and what you need to pay it on, we got this from a tax auditor who said less than 20% of the businesses he audits are paying Use Tax monthly when they report their sales tax. So many honest people do not know, then there are those that just hope not to get caught.  Don't be blindsided by an audit.

    Use Tax Fact Sheet.pdf

  • May 17, 2016 10:04 AM | Rebecca Hardgrave (Administrator)

    Last year, a bill was brought to the Arkansas Legislature that had an effect on professional photographers in Arkansas. We have been keeping a watch on the reintroduction of this bill and this morning, we became aware that a new bill is scheduled to come up in the special session soon.

    APPA Regional Director Rebecca Peterman, APPA member and PPA Board Member Stephen  Thetford, and APPA past president Joel Schmidt has been in contact with Professional Photographers of America, who has been working on the wording of the bill with the writers of the bill and received this news this morning from Lindsey Forson.

    • Good morning, all – I am writing regarding the Arkansas publicity rights bill which we expect to be introduced in committee this Thursday. I have attached the current language of the bill in case any of you do not have it. I want to offer you our (PPA’s Government Affairs team) thoughts on this version of the bill. As all of you are aware, PPA very strongly opposed the original version of this legislation which was vetoed by the governor during last year’s legislative session. After that, we were told by the bill’s sponsor, Senator Woods, and the primary writer of the legislation, Meredith Lowry, that they plan to reintroduce the bill whenever possible. Ms. Lowry has now informed us that the plan is to do so during the current special session. Since Senator Woods and Ms. Lowry, were aware of the fact that the photographic industry was instrumental in the bill’s defeat, they reached out to us in an effort to address our concerns. I have been in communication with Ms. Lowry during the past year and have requested that specific language be inserted into the bill to create exemptions for professional photographers. As a result of this (and through suggestions provided by other stakeholders), the following language is now included. I’ve highlighted the areas of particular relevance: Exempt use — Commercial use. (a)(1) It is not a violation of this subchapter if the name, voice, signature, photograph, or likeness of an individual is used: (A) In connection with a news, public affairs, or sports broadcast, including the promotion of and advertising for a sports broadcast, an account of public interest, or a political campaign; (B) In: (i) A play, book, magazine, newspaper, musical composition, visual work, work of art, audiovisual work, radio or television program if it is fictional or nonfictional entertainment, or a dramatic, literary, or musical work; (ii) A work of political, public interest, or newsworthy value including a comment, criticism, parody, satire, or a transformative creation of a work of authorship; or (iii) An advertisement or commercial announcement or any of the works described in subdivision (a)(1)(A) of this section or this subdivision (a)(1)(B); (C) In a photograph or likeness where the individual appears as a member of the public, an attendee of a photographed event, or in a public place, and the individual is not named; (D) By an institution of higher education or by a nonprofit organization, club, or supporting foundation that is authorized by the institution of higher education and established solely to advance the purposes of the institution of higher education if: (i) The use is for educational purposes or to promote the institution of higher education and its educational, athletic, or other institutional of higher education objectives; and (ii) The individual is or was affiliated with the institution, including without limitation as a: (a) Student or member of the faculty or staff; (b) Donor or campus visitor; or (c) Contractor, subcontractor, or employee; (E) By any person practicing the profession of photography or his or her representative: (i) To exhibit and display photographs in a personal portfolio, through physical media or digital media, unless the exhibit and display are continued by the person practicing the profession of photography after written notice objecting to the exhibit and display has been given by the individual or by his or her representative; (ii) To distribute photographs for license and sale or other transfer to third parties or to promote or advertise such activities; and (iii) To provide yearbooks to an educational institution or photographs for school publications; or Due to the inclusion of this list of exempt uses (see the full list on pg. 6-8 of the bill), we do not have any strong concerns regarding this legislation at this time. While we appreciate the bill’s supporters taking into account our concerns, we only use our resources to actively advocate in support of legislation or regulations when the legislative or regulatory change will make a substantial positive impact on the industry by improving the current situation. While we are much less concerned about the current version of the bill, we do not see any real significant benefit to the industry in this bill becoming law. On another note, this bill may very well be removed from the list of bills to be considered during the special session since it is not related to the reason the session was called. If this is the case, it may not be considered until the regular legislative session in 2017. In this situation, we will do our best to remain abreast of any amendments made to legislation during the next year. If we become aware of any changes that are made either now or later, we will adjust our position and plan of action as necessary. If you have any questions or concerns or would simply like to discuss further, please do not hesitate to give me a call directly (404-522-8600 ext.281). I have sent this to you because of your leadership status with either PPA or PPA’s Arkansas affiliate or because of your involvement in our efforts related to this bill last year. Please feel free to forward it along to anyone I may have missed. 

    • Best,  Lindsey Forson

  • April 29, 2016 6:41 AM | Rebecca Hardgrave (Administrator)

    Recently, I came across a comment on Facebook that said it was possible to get shutter speeds faster than the native sync speed by using a High Speed Sync compatible flash to optically trigger your studio strobe. The topic came up again at the APPA Spring Seminar where a Paul C. Buff Einstein was used in High Speed Sync mode to capture images of dancers in clouds of flower petals and flour.  The question was brought up if this was possible to shoot without the Einstein and HSS radio trigger.  I mentioned using hypersync, and tried to explain the idea briefly.  With it being a somewhat complicated topic, I felt it would be easier to explain if I went through it in writing.

         Here's the theory behind hypersync. Without the use of special HSS radio triggers, your strobes are locked into the native sync speed of the camera, typically a shutter speed of 1/200 or 1/250. The camera is programed to send the signal to fire your flash as the first curtain fully opens and the second curtain hasn't started moving. Once your shutter speed is faster than that sync speed, the second curtain starts moving before the first curtain has completely opened, therefore, there is not a moment when entire sensor is exposed to the flash. HSS overcomes this by using pulses of light rather than one single flash of light from the time the shutter opens until it closes. The problem is that most studio strobes can only dump their capacitors all at once, and not pulse the light like an HSS speedlight can do, so the question is: How do we get the strobe to fire as the shutter starts moving, no matter the shutter speed? The answer is by using the HSS signal from your camera to fire your strobe, either with an HSS radio trigger and HSS strobe, or by firing your non-HSS strobe optically with an HSS speedlight on the camera.

         First, I'll go through the steps I had to use to make this work with my equipment, then we'll look at some of the technical limitations of using hypersync in this way. I use a Canon 60D, Alien Bee B800, and a Yongnuo YN-568EX II, which is an HSS compatible flash. The Alien Bee strobes have a built in optical slave, so an external optical slave trigger (such as a Wein peanut) is not needed in my case. If your strobe does not have a built in optical trigger, you will need an external one. First thing is to set your speedlight in the hotshoe of the camera.  Make sure your speedlight is set to HSS.

       Set speedlight to High-Speed Sync

    Turn the flash compensation or manual power down so the speedlight is not adding light to the scene, and point the flash head directly at the optical trigger if shooting outdoors. Inside, the optical slave of the strobe usually has no problem seeing the flash. Depending on if your camera fires a pre-flash or not, you might have to press the Flash Exposure Lock (FEL or *) button prior to pressing the shutter button. Pressing this button will discharge the speedlight and strobe, so make sure the strobe recharges before pressing the shutter button. I found that I could avoid the pre-flash by setting my camera to fire the strobe with manual settings rather than using ETTL by going into Flash Control > External flash func. setting > Flash mode > Manual Flash, then setting the flash output to the lowest setting. A higher power setting on your speedlight might be needed when shooting in direct sunlight. 

    1/1000 f2.8 ISO100

    In the example above, notice that I used a shutter speed of 1/1000, which would be impossible without hypersyncing my strobes. 

         I have successfully used this method photographing a bridal party on a lake at high noon, so it can be used outdoors in bright light. It wasn't 100% consistent, but it worked well enough for a few quick shots. I do know that this method may not work with every camera/flash combination, so you'll have to test it out for yourself. One thing to keep in mind is the B800 has a flash duration of 1/1100 of a second at full power, or longer at lower power settings, so any shutter speed faster than that will drop the amount of light captured from the strobe in the same way as continuous light (double the shutter speed = -1 stop).  I would suggest going through the technical specs of your strobes and finding the flash duration at different power levels as they can vary wildly from on model to another. Another issue is a thin dark band near one of the edges at a shutter speed faster than 1/1000, so be prepared to crop if needed. Obviously, a dedicated HSS strobe and trigger system will work better, but this method works just fine in a pinch.  

        So what do you gain from hypersyncing your strobe?  You gain the ability to shoot at larger apertures since you now have more control over the ambient light by using your shutter speed.  It also gives you a better chance at completely stopping fast motion since you can shoot with as fast as a shutter speed as you want.  Get out there and try using hypersync in different situations to see what works best for you

  • January 28, 2016 12:23 PM | Rebecca Hardgrave (Administrator)

    So we made it over the holiday rush, rested up a little – now what? Typically January and the first part of February is a slow time as far as actual portrait sessions. But it does not have to be a slow time.  I think the hardest thing is getting motivated to use this time wisely. Here are some suggestions on making January and February just as “busy” so when your portrait sessions pick up, you are ready to go.

    1. Make a hand written to do list EVERY day. Something about having to rewrite my list with unfinished business bugs me, more than copy and pasting. I even put simple things on the list so I can mark them off with a sense of accomplishment. It may sound silly, but it really does help me.

    2. Start on your taxes. Get those mileage logs behind you. Log in all your credit card statements that you have put off. Get those bank statements logged in. Find your property tax receipts. I was soooo bad in 2014, I kept putting all this off, and had to file for an extension. I had plenty of time in January 2015, but I just hate doing it. This year is easier because I switched to Quickbooks online, and most of what I need is already there without having to manually enter it.

    3. Start on your marketing plan for at least the first 6 months of the year. You can design your ads for specials in all the ways you advertise – Facebook cover images, Google + cover images. Write several blog posts and schedule them, or at least have them ready to go when you don't have time to write.

    4. If you use Facebook, you can schedule up to 6 months worth of posts on your business FB page. So no more excuses for no posts going up for months on end. I went through some old files and pulled enough for a year's worth of “Throw Back Thursday” from 5-10 years ago. Every Thursday for the next 6 months, I do not have to worry about making a post or remember to post a TBT image, it is scheduled. The specials I have coming up have ads already scheduled. (Hint about this – I only use kids, babies, or seniors, unless I KNOW a couple is still together for family photos).

    5. I use Send Out Cards for Baby Plan reminders and birthday cards for my former baby clients. I schedule a year's worth of birthday cards. I can always go in and change the address if needed before they go out. You could do the same with handwritten cards kept in a monthly file to go out at the first of each month.

    6. Create or update your “Serial Numbers” file in a spreadsheet. All camera gear can be logged with serial numbers and model numbers, along with computers, hard drives, appliances, etc. Save this file on the cloud somewhere so in case of fire or theft, you can retrieve it.

    7. Go through those boxes of cords!! You know the one, tangled, all black cords. I ended up counting 20 sync cords – of which I have not used in over 10 years! I had a big box of cords and chargers of which I had no idea of what they went to, so I looked them up on the internet, bagged them separately in sandwich bags with a slip of paper of what they were. For my hoarder husband's sake, I saved them all in one big box and put them in storage, even the ones we don't have the gadget for anymore....

    8. Go though those other boxes that get filled with junk...umm other items you were not sure what to do with. Do you really need a bag of pens that are dried up? Are those loose batteries good or not? Are you really going to use this gadget that seemed so cool 10 years ago and has been in that box for 9.5 years?

    9. Deep clean! How does so much dust get under my desk?? I swear the dust bunnies are breeding. My dog comes to work with me everyday, so I clean a lot to keep the hair controlled. It is the human hair that I find dust bunnies adore. My window seals that are hidden behind curtains are out of sight out of mind most of the time.

    So as much as you would like to kick back, watch funny cat videos, stay home in your jammies, and look for more props and equipment – you have things to do!!

    --Becky Hardgrave CPP

  • January 18, 2016 3:53 PM | Rebecca Hardgrave (Administrator)

    Sales Tax and Professionalism

    Nobody likes paying taxes, and yes sometimes they seem unfair and excessive, but we all enjoy many of the benefits we derive from them. Good streets and highways, schools, police and fire protection just to name a few. As citizens it is our legal, moral and ethical responsibility.

    As photographers, if we sell goods and services, we are engaged in a “profession” defined as an occupation or vocation requiring training in a specialized field. Being in a “profession” we are defined as Professionals. That means that we derive at least a portion of our livelihood from this activity. Professionalism requires our assured competence in our chosen field. It also requires that we conduct ourselves and our businesses in a highly legal, moral and ethical manner. Most of the photographers, whether full or part time, that I know have a great deal of love for this profession but the playing field must be level for all to succeed. We all invest a great deal of time and money in equipment and perfecting our photographic abilities. It is easy to rationalize that since one only sells their goods and services occasionally it is a lot of trouble or inconvenient to report or pay sales tax or set up a sales tax account with the state. Just remember that you are breaking the law and are subject to fines, penalties or even imprisonment if you are caught and charged with a crime.

    Many of our stats Professional Photographers, myself included, have faced sales tax audits in recent years. Most of this was caused by misunderstanding or non-payment of Use Tax. If you purchase something on line, out of state or at a trade show for your business that is not for resale and the seller does not collect sales tax you are required to pay Arkansas Use Tax on these purchases. Examples we ran into during our audit were camera equipment, backgrounds, props and etc. purchased on-line or at trade shows.

    The Arkansas State Sales Tax rate is currently 6.5%. Most cities and counties have additional sales taxes. Theses are paid through your state reports and redistributed by the state. The Arkansas State Department of Finance and Administration can provide you with the information you need for your location.

    You don’t have to be a full time photographer or earn 100% of your livelihood from photography to be a professional. If you conduct yourself and your photography in a professional (Legal, moral and ethical) manner everyone benefits.

    A good source of information to give new business owners a general overview of the different areas of taxation required by the state can be found on the Arkansas Department of Finance and Administration web-site

    Article by Bobby Jines Owner BW’s Studio Full time Professional Photographer since 1974

  • August 03, 2015 12:12 PM | Rebecca Hardgrave (Administrator)

    Why would a professional photographer want to be an APPA member? What does it mean to be a member of APPA and why should people seek out APPA members when hiring a photographer?

    I hope to address some of these in part with the APPA code of ethics that every member agrees to uphold when they become a member. 

    A big part of the code has to do with how we treat our fellow members of our profession.

    WE SHALL show a friendly spirit of cooperation to our fellow professional photographers and assist them in time of need whenever possible.

    The APPA is a fairly small group of professionals, and the friendships that are gained around a lunch table, working print crew together, and hanging out at member meetups is invaluable. You will hear it over and over again - when I was in time of need, I could call on my fellow APPA members to help me out. We are all small business owners - most of us do not have a staff of photographers that can step in and help us out in a time of emergency. It gets lonely not having other photographers to bounce ideas off of.  It is nice to have a colleague to call and ask something as simple as how they suggest to handle a client issue. 

    WE SHALL share our knowledge with them and encourage them individually and collectively so the status of professional photography may be constantly raised in the eyes of the public.

    One thing you can do all alone, is get technical information from the web. It is everywhere, no need to ever leave your computer desk. So why should you bother being a member of APPA and attending educational events? Because there is no substitute for live interaction, live questions, hands on experience with people that are there for YOU.  Do you ever have a day that you feel you just suck at being a photographer/business owner/marketer/scheduler? Even the best of us have those days. YOU have something to offer and something to learn from your fellow APPA members - no matter if you just picked up a camera today, or if you have been in this business 40 years. The technology and business of this industry changes FAST! But good solid photography skills remain the foundation. We could all learn more of both. And we ALL BENEFIT when other professional photographers get better in business practices, and photography. It looks bad on all of us when a professional photographer does not know how to work with clients but has beautiful photography, or can market their services, but cannot deliver quality images.  We are all called to learn and improve what we offer our paying clients.

    WE SHALL at all times avoid the use of unfair competitive practices, as determined by any court of competent jurisdiction and related laws and statutes.

    Work hard and play nice. This is a tough business. Lots of situations affect our businesses. Your fellow photographers are not your enemies.

    WE SHALL observe the highest standard of honesty in our transactions, avoiding the use of false, confusing, inaccurate and misleading terms, descriptions and claims.

    Be a honest business person. This also applies to having the required permits that Arkansas requires (Sales Tax Permit), that your individual counties or cities might have. I know, that part of business is not fun - but if you are a professional photographer, it comes with the job.  

    WE SHALL endeavor to produce photographs of quality equal or superior to the samples we display, to apply our finest efforts toward providing the best possible photographic services and to play our part in raising the general standards of photographic craftsmanship.

    The public that hires you is trusting you with their time, money, and memories.  Too many times recently, the news has reported photographers that have used other photographer's images on their Facebook, blog, website, and marketing. They did this because they didn't feel that they could produce their own images that clients would hire them for. There is even a website that busts out photographers that have done this. What a sad thing this is! Maybe you don't yet have a lot of experience - that is fine. But someone hiring you expects to get the same type of photos you display. Your images that you use in advertising  is your word out there saying "I can do this for you".   

    WE SHALL endeavor to maintain a dignity of manner in our behavior, in the presentation of our photography and photographic services, in our appearance and that of our place of business, and in all other forms of public contact.

    Represent yourself as a business person, and as a professional. No matter your personality - which is why most of your clients have hired you - do well by your clients. No matter your style, treat them with respect.  You may not have a brick and mortar studio, but you do meet with clients at sometime and somewhere - that is your place of business at that time. 

    Of course some of these might seem common sense to you, but they have always been very important values in APPA. No matter how much technology changes, or who makes up our membership, having these values will always be appreciated by the clients that buy photography.

  • July 31, 2015 9:19 AM | Rebecca Hardgrave (Administrator)

    At the last General Membership meeting of APPA held on July 14th in Conway, the following officers were elected to serve on the Board of Directors for the following year. Without the volunteerism of our directors, APPA would cease to exist. There is a map of the regions at the bottom of this post. 

    2015-16 Board Members


              Phil Hobby 501-860-3432 

    Vice President

              Rebecca Hardgrave  479-885-3835


              Jeff Nemetz  479-595-2990 


              Jeremy Jines          501-623-8412 

    Northwest Regional Director

              Kimberly McNabb 


              *Alternate – Amy Jones 

    Northeast Regional Director

              Clark Sanders


              *Alternate – Tamara Smith

      Southeast Regional Director

              Carolyn Jordan 

                       870 304-6118 

              *Alternate – Tara Dickson 

    Southwest Regional Director

              Rebecca Peterman 


              *Alternate – Kathy Meek 

    Central Regional Director

              Jennifer Schmidt 


              *Altenate – Jim Cunningham 

  • July 30, 2015 5:00 PM | Rebecca Hardgrave (Administrator)

    Photographers of the Year With  Scores of 498 
    Kimberly Murphy and Kathy Meek

    Portrait General Division

    First Place General Division         Abby Malone…War Frisbee

    Distinguished Prints 

    Tamara Smith...Window to the Soul

    Amy Jones…Leader Board

    Abby Malone…Brrr I Should Have Brought My Fur Coat

    Portrait Salon Division

    First Place Salon Division   Kimberly Murphy…Leah

    Distinguished Prints

    Kim Murphy…Emma     

    Gary Meek…Bent by Time    

    Illustrative General Division

    First Place Ed Cooley…Enter the Kingdom

    Distinguished Prints

    Rebecca Hargrave…Stacked Deck     

    Amy Jones…Up     

    Rebecca Hargrave…Spanish Remains   

    Kimberly McNabb…Sweet as Sugar   

    Illustrative Salon Division

    First Place Kathy Meek…City by the Sea

    Distinguished Print

    Gary Meek…Down Life’s Pathway

    Best Photograph of a Woman Gary Meek - Down Life’s Pathway 

    Best Photograph of a Man Gary Meek - Bent by Time                   

    Best Photograph of a Child Kimberly Murphy - Leah                    

    Best Photograph of a Group Kathy Meek - The Swiss Guard         

    Best Photograph of an Animal Abby Malone - War Frisbee          

    Best Photograph of a Bride Greg Owens - Waiting                        

    Best Photograph of a High School Senior Tamara Smith - Window to the Soul

    Best Photograph by a First Time Entrant Greg Owens - Waiting     

    Cpp Award Kathy Meek…City by the Sea                                       

    ASP State Elite Award Kathryn Meek…City by the Sea (93)          

    Kodak Amy Jones...Up                                                                      

    Lexjet Kathryn Meek...City by the Sea                                              

    Fuji Ed Cooley...Enter the Kingdom                                                  

    Ben Red Award (Best Photo décor) Kathryn Meek...City by the Sea

    Delores Shrader Award(Best Black & White) Abby Malone - War Frisbee

    Pete Major Award (best print of show selected by judges Abby Malone -War Frisbee 

    William Hughes Award best print selected by membership  Kathryn Meek…City by the Sea

    The Past President's Award   selected by past president's Kathryn Meek…City by the Sea

    Judge's Ribbons

    Michael Kathy Meek - City by the Sea 

    Tina Kimberly Murphy - Leah 

    Barry Tamara Smith - Window to the Soul 

    Leslie Ed Cooley - Enter the Kingdom    

    Dominique Abby Malone - War Frisbee    

Arkansas Professional Photographers Association

P.O. Box 1134, Beebe, AR  72012;

Powered by Wild Apricot Membership Software