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"Somebody doesn't like you? Good!"

That sounds crazy, doesn't it? But Gail Blanke's excellent article in this month's Real Simple magazine proves the point!

Here is a great excerpt:

"No one ever made an impact on the world without standing out from the crowd. So embrace your unique qualities. They're what make you unforgettable.

Most of us are afraid to be controversial, or even to be too intensely who we are. We're like lemonade with too much water in it and too few lemons. We dilute our "flavor" so we won't offend anyone. And, in the process, we give away our power, the essence of who we are that makes us unique and unforgettable.

Truth is, the world belongs not to the one who fits in but to the one that stands out. In music, art, architecture, entertainment, literature, politics, and business, it's the maverick, the one who gets 'carried away,' who wins the day."

Don't try to be all things to all people. Be one thing -- unabashedly yourself!

In my opinion, this truth is the cornerstone of good branding!

To read more of Gail's insights, check out her monthly Column.

During my holiday vacation, I was perusing websites and I stumbled across this wonderful quote, thanks to Amanda Kohn. Amanda will be attending our Business of Storytelling workshop in February.

"Great people are those who make others feel that they, too, can become great." —Mark Twain

Mark Twain's insight is simple but true. The people in my life whom I most admire are those who selflessly challenge me to believe in myself and encourage me to purposefully pursue photography as a calling.

They are:

My parents, who introduced me to the concept of calling.
My professor, who patiently taught me to truly see light.
My friend, who believed in me when I was pursuing an idealistic photo project in the Dominican Republic.
My mentor, who enables me to see the hope inside myself.
My business partners, who allow me to dream big.
My husband, who emboldens me to chase my dreams.

I am indebted to each of these incredible people. Their greatness grows from their humility and they have made my life richer by simply believing in me.

I stood mesmerized.

After staggering through crowded, chattering galleries at the Rijksmuseum in Amsterdam, I was stunned to discover an entire group of patrons standing silently in front of a few diminutive canvases. No one dared interrupt the intimacy portrayed in Jan Vermeer's paintings.

Very few artists have the power to render an entire group of hurried tourists speechless. Jan Vermeer's paintings stop you in your tracks. They inspire contemplation.

Moving toward my favorite of the four paintings, "The Love Letter," I realized that I was looking at a seventeenth-century snapshot.

A scene of domestic intimacy is revealed by a curtain pulled aside. A woman, clothed in yellow, is handed a letter. She glances up questioningly at her maid and pauses her music. The room is brilliantly illuminated by window light; the space in front is darker. A broom and a basket of clothing sit on the graphic tiled floor. The tiles, in turn, lead us straight into the center of the composition — the woman's heart. Vermeer masterfully depicted a quiet, unassuming moment in a spontaneous, sacred manner.

I stood there for nearly 15 minutes, transfixed by the stillness of the moment.

Years ago, my art history professor encouraged me, the lone photojournalist in his class, to attend a colloquium about Jan Vermeer's use of a camera obscura. Since then, I have been hooked on the Dutch master's work.

The term "camera obscura" means "dark room," and the optical device intensifies what is seen with the naked eye. A small hole in a booth or box pulls the image that is directly outside, via light rays, into a darkened space. Then, the image is projected (often upside down) on the booth or box's opposite side. The camera obscura was used as early as the mid-fifteenth century, and could project an image of sunlit objects placed before it with extraordinary realism. A keen sensitivity to the effects of light and color, and an interest in defining spatial relationships, encouraged Vermeer to experiment with a camera obscura.

Vermeer had an uncanny relationship with photography — he was on a quest to discover the way light shapes our view of the world. The manipulation of light and shadow served to intensify his compositions. Light was Vermeer's muse; he experimented with it constantly. Radiant light comes from somewhere beside or behind his canvases. Subtle gradations of reflected light are skillfully depicted on exquisite jewelry, bright eyes, kitchen utensils, musical instruments or a woman's open lips. All objects catch the light, creating a calming, otherworldly atmosphere. Indeed, it is the lens-like quality of Vermeer's paintings that makes them seem a small step away from actual photographs.

If you want to read more about Vermeer and the camera obscura, read Philip Steadman's excellent book Vermeer's Camera: Uncovering the Truth Behind the Masterpieces.

I received an email today from a very polite foreigner asking if I could photograph his wedding reception at the 21 Club in New York. He only needs me for three hours and it should be a very colorful event, according to his description. Sounds great...we can fly to New York, shoot this grand event and take the rest of the day to sight-see. There must be a catch...

...there is. I thought it might be interesting to do research and find out what this is about. As it turns out, the PPA did a recent press release about this topic.

Here's the scam: A foreign "client" (scam artist) hires you to shoot their wedding. They complete the paperwork and send a check, except they "accidentally" send a check for too much money. Then, they ask you to wire the amount overpaid back to their bank account. The catch is the original check is counterfeit and will eventually bounce. Then, you're out several thousand dollars, and you feel stupid!

Look out for things that are too good to be true. ***CLICK HERE*** to view the email.

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