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 THE PHOTOGRAPHER’S GUIDE TO

Making
Money
150 Ideas for Cutting Costs
and Boosting Profits

Karen Dórame
Amherst Media ®
PUBLISHER OF PHOTOGRAPHY BOOKS
About the Author
As a trainer for Special Kids Photography of America, Karen Dórame teaches workshops to attendees whose pro-
ficiency levels range from just entering the professional scene, all the way up to Master Photographer and Crafts-
man level. Questions asked by those new to the business led Karen to explore the challenge of collecting helpful
money-saving (resulting in money-making) advice from skilled professionals who have learned the business
through years of schooling and experience.

View the companion blog to this book at: http://photoguidemoney-dorame.blogspot.com/

Check out Amherst Media’s other blogs at: http://portrait-photographer.blogspot.com/
http://weddingphotographer-amherstmedia.blogspot.com/

Copyright © 2009 by Karen Dórame.

All photographs by the author unless otherwise noted.

Photographs on front and back cover by Karen Dórame.

All rights reserved.

Published by:
Amherst Media®
P.O. Box 586
Buffalo, N.Y. 14226
Fax: 716-874-4508
www.AmherstMedia.com

Publisher: Craig Alesse

Senior Editor/Production Manager: Michelle Perkins
Assistant Editor: Barbara A. Lynch-Johnt
Editorial Assistance by John S. Loder and Charles Schweizer.

ISBN-13: 978-1-58428-257-0
Library of Congress Control Number: 2008942243
Printed in Korea.
10 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic,
mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.

Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions.
The author and publisher will not be held liable for the use or misuse of the information in this book.
 Contents

1. Specialize in a genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
2. Make the most of your abilities . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
3. Don’t try to fit a square peg in a round hole . . . . . . . . . . . . . . . . . .9
4. Consider unexpected specializations . . . . . . . . . . . . . . . . . . . . . . . .10
5. Develop a unique style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
6. Plan for success . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
7. Impress yourself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
8. Promote your work to those around you . . . . . . . . . . . . . . . . . . . .13
9. Bring in volunteers as models . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
10. Clearly define your fees when you become a paid professional . . .14
11. Compare your work to that of other artists . . . . . . . . . . . . . . . . .14
12. Know what a technically correct image looks like . . . . . . . . . . . . .14
13. Master your craft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
14. Practice is the cheapest training . . . . . . . . . . . . . . . . . . . . . . . . . .17
Front cover—Teen model Kailee Gow 15. Make yourself worth your fee . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
was photographed as part of a lighting
class led by Carl Caylorat Image Explo-
16. Build a resource library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
rations, a PPA Affiliate School in Victo- 17. Learn more about photography online . . . . . . . . . . . . . . . . . . . . .22
ria, BC. Photo by the author. Above—A 18. Photography conventions are well worth the investment . . . . . . .23
great hat collection can decrease your
costume or wardrobe costs. See tip #137 19. Buying does not equal learning . . . . . . . . . . . . . . . . . . . . . . . . . .24
for more money-saving, wardrobe build- 20. Keep your head about you at the trade show . . . . . . . . . . . . . . . .24
ing strategies. Photo by Stacy Bratton.
21. Industry magazines keep you current . . . . . . . . . . . . . . . . . . . . . .25
22. Find a mentor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
23. Get advice from the store where you purchase your equipment . .27
24. Join local professional photographers’ groups . . . . . . . . . . . . . . .27
25. Test your mettle in photography contests . . . . . . . . . . . . . . . . . . .27
26. Attend or enter national print competitions . . . . . . . . . . . . . . . . .27
27. Photography safaris and short-term photo schools
serve as vacations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
28. Don’t jump without a parachute . . . . . . . . . . . . . . . . . . . . . . . . .32
29. Join a professional photographic organization . . . . . . . . . . . . . . .32
30. Create a business plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
31. Develop your brand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
32. Know your cost of goods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
33. Raise prices instead of lowering them . . . . . . . . . . . . . . . . . . . . . .34
34. Put off hiring until you can afford it . . . . . . . . . . . . . . . . . . . . . .34

3
35. Sign on an intern or mentor an assistant photographer . . . . . . . . .35
36. Trade for services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
37. Secure your capital reserves . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
38. Equipment may not be your most important investment . . . . . . .35
39. Consider renting equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
40. Triage your equipment shopping list . . . . . . . . . . . . . . . . . . . . . .37
41. When you get new equipment, thoroughly learn to use it . . . . . .37
42. Save money on small purchases . . . . . . . . . . . . . . . . . . . . . . . . . .38
43. Assemble a small “tool” kit to accompany your camera gear . . . . .38
44. Less expensive imaging software is available . . . . . . . . . . . . . . . . .39
45. Don’t waste time fixing poor captures . . . . . . . . . . . . . . . . . . . . .39
46. Use plug-ins to save time—and images . . . . . . . . . . . . . . . . . . . .40
47. Don’t steal software (but don’t pay full price either) . . . . . . . . . .41
48. Use actions or digital filters to lighten your workload . . . . . . . . . .43
49. Use image manipulation as a sales edge . . . . . . . . . . . . . . . . . . . .43
50. Create an “old fashioned” image in a flash . . . . . . . . . . . . . . . . . .45
51. Paint in Photoshop (without additional software) . . . . . . . . . . . .46
52. Graphics tablets and other hardware can be acquired for less . . . .47
53. Learn new imaging techniques with free tutorials . . . . . . . . . . . . .48
54. Master natural light—it’s free . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
55. Don’t purchase studio lighting without a hands-on trial period . .48
56. Inexpensive daylight-balanced bulbs are a great option . . . . . . . . .49
57. Save time by mastering your camera’s white balance settings . . . .49
58. Use a gray card to ensure correct color rendition in your images . .50 Clever birth announcements make great
59. Try a white-balancing lens accessory . . . . . . . . . . . . . . . . . . . . . .50 add-on portrait products that will in-
crease your profits. Photo by the author.
60. Use software as a backup for perfecting color . . . . . . . . . . . . . . . .50
61. Find lighting looks you enjoy, then learn to emulate them . . . . . .50
62. Pop-up flash creates an amateur look in portraits . . . . . . . . . . . . .51
63. External flash is an excellent first lighting investment . . . . . . . . . .51
64. Make a light diffuser for less than $1 . . . . . . . . . . . . . . . . . . . . . .52
65. Build your own external-flash shield . . . . . . . . . . . . . . . . . . . . . . .52
66. Invest in light modifiers. You’ll never outgrow them . . . . . . . . . .53
67. The most clever light enhancer ever—for under $15 . . . . . . . . . .53
68. Use whatever is handy to add or subtract light . . . . . . . . . . . . . . .55
69. Build a small light tent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
70. Create an inexpensive background light/hair light . . . . . . . . . . . .55
71. Use a mirrored acrylic panel as a strong reflector . . . . . . . . . . . . .55
72. Try the freestanding “hunk” reflector . . . . . . . . . . . . . . . . . . . . .56
73. Paint nonmoving subjects with a spotlight . . . . . . . . . . . . . . . . . .57
74. Nuts and bolts help create ingenious lighting solutions . . . . . . . .58
Use simple artistic enhancements to
75. Build a “take apart” scrim for studio and location work . . . . . . . .58
take your portraits from ordinary to
76. Use an affordable shop light as a studio light source . . . . . . . . . . .59 extraordinary and watch your profits
77. Take lighting workshops to save time and money . . . . . . . . . . . . .60 grow. Photo by the author.

4
 78. Where studio lighting is concerned, compare apples to apples . . .60
79. Do you really need a light meter? . . . . . . . . . . . . . . . . . . . . . . . . .60
80. Marketing is an investment in success . . . . . . . . . . . . . . . . . . . . . .61
81. Show only your best work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
82. Be a card-carrying photographer . . . . . . . . . . . . . . . . . . . . . . . . .61
83. Business cards are a waste of money if the type and pictures
are too small . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
84. Create specialized business cards . . . . . . . . . . . . . . . . . . . . . . . . .62
85. Order small batches of business cards with different images . . . . .63
You can create this light modifier for
86. Print business cards after each session . . . . . . . . . . . . . . . . . . . . . .63
less than a dollar. See tip #64 for de-
tails. Photo by the author. 87. Post a web site as soon as possible . . . . . . . . . . . . . . . . . . . . . . . .63
88. Get on the blog bandwagon . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
89. Postcard advertising pays off . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
90. More spending doesn’t equate to greater success . . . . . . . . . . . . .65
91. Build a resource file of marketing ideas . . . . . . . . . . . . . . . . . . . .65
92. Track your results to determine your success rate . . . . . . . . . . . . .65
93. Send out periodic (not weekly) e-mail announcements . . . . . . . . .65
94. Follow up with past clients to keep them coming back for more . .65
95. Offer gift cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66
96. Partner with retail stores . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
97. Learn to say no . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
98. Reach out to an untapped market . . . . . . . . . . . . . . . . . . . . . . . .69
99. Create public service/community awareness displays and
volunteer your services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
100. Get free publicity instead of, or before, buying it . . . . . . . . . . . .70
101. Look for free display opportunities . . . . . . . . . . . . . . . . . . . . . .71
102. Arrange speaking engagements . . . . . . . . . . . . . . . . . . . . . . . . .72
103. Get free marketing advice . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
104. Marketing workshops are good investments . . . . . . . . . . . . . . . .72
105. Improve your people skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Shop lights can serve as studio lighting
106. Use skits to encourage subject interaction . . . . . . . . . . . . . . . . .73
units when coupled with light modifiers.
Photo by the author. 107. Go on a “no cheese” diet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
108. Learn to inspire great expressions . . . . . . . . . . . . . . . . . . . . . . . .74
109. Collect verbal “smile catchers” and mood makers . . . . . . . . . . .74
110. Always be on the lookout for great images . . . . . . . . . . . . . . . . .77
111. A trained eye is the most valuable tool . . . . . . . . . . . . . . . . . . . .79
112. Don’t take all the advice that comes your way . . . . . . . . . . . . . .79
113. Explore the “unseen” in your photograph . . . . . . . . . . . . . . . . .81
114. Think quick, save a shot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
115. Save your leftovers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82
116. Don’t open a studio until you are certain you are ready . . . . . . .83
117. Think hard before opting for a storefront studio . . . . . . . . . . . .83
118. Consider a quaint or artsy studio location . . . . . . . . . . . . . . . . .85

5
119. Make good use of your studio’s surroundings
for shooting areas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
120. Be on the lookout for objects you can adapt for
photographic purposes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
121. Effective print displays sell larger wall art . . . . . . . . . . . . . . . . . .88
122. Build a “portrait pen” in your studio or garage . . . . . . . . . . . . .89
123. Construct portable studio risers . . . . . . . . . . . . . . . . . . . . . . . . .90
124. Create a studio on wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
125. Use the great outdoors as you would a studio . . . . . . . . . . . . . .92
126. Create a studio setting in your client’s home . . . . . . . . . . . . . . .92
127. Small items can be photographed in small spaces . . . . . . . . . . . .93
128. Photojournalistic photography doesn’t require a studio . . . . . . .93
Flea-market finds make fabulous por-
129. Don’t underestimate the important role the background plays . .94 trait props. For other seating ideas, see
130. Seek background inspiration from the masters . . . . . . . . . . . . . .94 tip #138. Photo by the author.
131. Create a custom background that suits your subject . . . . . . . . . .94
132. Hunt for public areas that look like expensive designer sets . . . .99
133. “Cool” backgrounds are easy to create using found items . . . .100
134. Create a canvas-like background, starting with only
two colors of paint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
135. Old window frames have many uses . . . . . . . . . . . . . . . . . . . . .101
136. Get friends and relatives to do “background checks” . . . . . . . .101
137. Save money on high-end photographic costuming by
skipping sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
138. Take a seat (or not) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105
139. Only portions of objects are needed to hint at a “set” . . . . . . .107
140. Soothing a fussy baby with a vibrating pillow may help you
avoid rescheduling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
141. Wearable art serves as mobile advertising for
the photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108 Make a great impression with clients by
142. Offer photo handbags that can be updated as the child grows . .109 sending them out the door with beauti-
fully presented photographs. See tip
143. Consider the high return framing brings . . . . . . . . . . . . . . . . . .110
#148 for more information. Photo by
144. Don’t stock up on frames—no matter how good the deal . . . .110 the author.
145. Canvas wraps bring in extra profits . . . . . . . . . . . . . . . . . . . . . .111
146. Albums are expensive. Always collect payment up front . . . . . .112
147. Printed books can be impressive sales incentives . . . . . . . . . . . .112
148. Make a statement with your packaging . . . . . . . . . . . . . . . . . . .112
149. Develop a “hand-over ritual” . . . . . . . . . . . . . . . . . . . . . . . . . .114
150. Use the money you’ve saved . . . . . . . . . . . . . . . . . . . . . . . . . .114

Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118

6
 TIP #1

Specialize in a genre.
There are numerous areas of specialization in professional photography:
senior portraits, commercial photography, fashion photography, weddings,
fine art, children’s portraits—the list goes on and on! The one rule you can
count on, though, is that you won’t be successful if you try to do them all.

Lisa Jane Murphy is known for her fan-

At most, you can probably be a real success in two or three areas. Special-
tasy sets and angelic portraits. izing will give your business direction and allow you to spend your time
 Top—(left) Kevin Newsome specializes in
children’s and family portraiture. (right)
Gigi Clark is a consummate artist who is
constantly exploring and delving into
the creative process, even under water.
Bottom—Teresa Wright has found a
special niche in photographing special
children participating in sports.

doing what you love most. Martha Fitzsimon, quoted in Professional Pho-
tographer Magazine (July 2006, p. 31), said, “[I wish I would have known]
the importance of focusing my business [on a particular genre]. I would-
n’t have spent a year doing other kinds of photography that weren’t me.”
To see some of Martha’s work, visit www.marthafitzsimon.com.

8
 TIP #2

Make the most of your abilities.

Specialization doesn’t mean you have to do the same thing day after day,
only that there’s a specific genre where you focus most of your efforts. For
example, Elizabeth Homan spends most of her time running a successful
San Antonio, TX, family-portrait studio called Artistic Images (family por-
traiture is a significant bread-and-butter area in professional photography).
However, she occasionally takes leave from her studio to pursue one of her
other passions: teaching. She has become a popular photography instruc-
tor, providing practical advice on what she does to obtain an average sale
of over $4,000 from a family session.

TIP #3

Don’t try to fit a square peg in a round hole.

Before you decide on a genre of specialization, think it through carefully.
Some people feel that wedding photography is the logical first step in
building a business. Though it’s true that high-end wedding photogra-
Elizabeth Homan’s high-grossing studio phers can profit greatly from their work, they are only able to do so because
focuses mainly on family portraiture.
they possess the special convergence of personality, talent, magnetism, and
Photo by Artistic Images—Portraits by
Elizabeth Homan. drive that is required. As a result, even many well-established and highly re-
spected studios do not cover weddings. (On the other hand, Mike Colón,
from Newport Beach, CA, is an excellent example of a wedding photog-
rapher who has achieved astounding success in his field. You can learn
about him at www.mikecolon.com.)
So, figure out where your passion and abilities really point you. Are you
a technical whiz who would enjoy crafting meticulous lighting setups for
product photography? Do you have the stamina and patience to spend
your days chasing high-energy toddlers around a set? Can you see yourself
pumping adrenaline every day while covering fast-paced events, calming an
anxious bride, or acting as mediator for hostile mothers in law? Top—If your passion is children’s pho-
tography, be sure to involve all the kids
as a group, then separately. You’ll likely
TIP #4
command higher profits. Photo by the
Consider unexpected specializations. author. Bottom—Leg? I’ll Show You Leg
is a playful pet photo that is sure to ap-
Be creative when thinking of genres that might interest you. “School pho- peal to the entire family. Photo by the
tography is one of the biggest money-makers in the industry,” says Scott author.
Dina Ivory’s high key style is polished Kurkian, CFO of the Professional Photographers of America (PPA). Al-
and professional.
though this specialty may not be as creative and as easy to break into as por-
traiture, there is a constant need. (Note: One way to “break in” with a
school is to offer unique and compassionate photographic services to their
children in special education classes.)

TIP #5

Develop a unique style.

Whether photographing fashion models, families, architecture, or pets,
professionals become known for their specialty. However, clients also seek
out particular photographers because of their unique style. Evaluate the
competition in your market and see what you can do differently, how you

11
can stand out. Perhaps yours is the only studio photographing babies and
young children against black backgrounds. Maybe you offer the most
glam-oriented senior portraits. Or maybe you offer unique locations or
backgrounds for your portraits—something clients can’t get anywhere else.
As Gregory Heilser said in Professional Photographer Magazine (Jan. 2007,
THE BEST PRICE PROTECTION
p. 125), “Ultimately, the best price protection someone can have is being
unique. When people follow trends and their style becomes less definable, SOMEONE CAN HAVE

it fuels their doom.” IS BEING UNIQUE.

Whatever your specialty, visit the web sites of all the photographers
doing the same type of work that you can Google up. Experience the ex-
citement when viewing the excellent work of photographers who are mas-
ters in their own imaging specialties. The list below is a good staring point
for your search.

Learn from the Masters of the Craft

Angels and fairies—Lisa Jane Murphy (www.lisajane.com)

Celebrity—Amy Cantrell (www.amycantrell.com)
Children and family portraiture—Sandy Puc’ (www.expressionsphotos.com)
Commercial photography—Dave Montizambert (www.montizambert.com)
Documentary portraiture—Trish Reda (www.trishreda.com)
Fashion, glamour, avant garde—Cherie Steinberg Coté (www.cheriefoto.com)
Still life—Jim DiVitale (www.divitalephotography.com)
Landscape—Jeremy Turner (www.jturnerphotography.com)
Mothers and babies—Ana Brandt (www.anabrandt.com)
Pets—Bryant Dog Photography (www.bryantdogphotography.com)
Portraitist style—Arthur Rainville (www.studiorainville.com)
Senior portraits—John Ratchford (www.ratchfordphotographic.com)
Special children—Laura Popiel (www.laurapopielphotography.com)
Sports—Brad Mangin (www.manginphotography.com)
Weddings—Doug Gordon (www.patkenphotographer.com)

TIP #6

Plan for success.

Whether you want to start a photography business or grow the one you al-
ready have, you need a personal plan that embraces your vision and goals.
This involves arranging for the time you need to create your photography,
manage and promote your business, and continue your education about all
aspects of the profession—all while dealing with other demands in your
personal life. Once your personal plan is established, you can develop a
business plan to ensure your success. Only when both plans are in place will
you be ready to wear the professional badge.

12
 TIP #7

Impress yourself!
If you need a little kick start, get busy and create some really impressive im-
ages. This will build your confidence and enthusiasm. To create a constant
reminder of your art, have professional prints made of your best work and
hang them all around your home—especially in the entry hall, where guests
will be charmed with your imaging abilities.

TIP #8

Promote your work to those around you.

You probably won’t hear this simple marketing idea in a professional work-
shop; it is so low-key. For timid souls (and those who still have other jobs),
though, the “look what I have to show you!” method is a great way to get
started.
Start by creating a portfolio of your best images, showcasing your
unique style—the special “look” you want to use to draw in clients. This
album should feature one large (at least 8x8-inch), professionally printed
photograph per page. Shop around for a classy album; your work must
stand out as a formal volume of professional samples, not a scrapbook. Pro-
fessional album companies await your business and can create wonderful
products for established photographers. If you are new to the field and
likely to replace your “start-up” photos with improved images, select a
portfolio album with “lay flat, slip-in” plastic casings. The flat pages will
An album with a consistent image style allow you to view images on a flat plane, and the opening will allow you
will create a more professional impres-
sion than one filled with a variety of
to change out the photos as your work improves.
looks, picture sizes, and image effects. Once you have completed this showpiece collection, take it with you
Album pages with slip-in photo mats or
wherever you go. Get excited! Share that excitement with everyone you
plastic casings facilitate changing and
updating images. Photo by the author. know.
TIP #9

Bring in volunteers as models.

Announce to acquaintances that you are looking for models who will pose
for your portfolio—or, for more established photographers, for test shoots
that will allow you to experiment with new techniques in a casual setting
(before you integrate them into sessions with paying clients). After the ses-
sion, invite your volunteers to watch a slide show presentation of your fin-
ished images so they can select a free 8x10 as a thank-you gift. Have a price
list ready so you can take orders for any additional images they would like
to purchase.

TIP #10

Clearly define your fees when you become a paid professional.

If you are a new professional, your first assignments will likely come from
friends and family. If you’re not careful, this can be a rocky road. Woeful
is the too-familiar tale of a new pro photographer who was excited to be
asked by a friend to photograph a family reunion. The only thing the pho- ANNOUNCE TO ACQUAINTANCES
tographer forgot to mention was that he had since turned professional and
THAT YOU ARE LOOKING FOR
was now charging for his services. Imagine the surprise when the unsus-
pecting client (i.e., “former friend”) got a bill along with the prints. Need- MODELS WHO WILL POSE FOR YOUR

less to say, this sort of scenario will create hurt—even enraged—feelings. PORTFOLIO.
New pros must find a polite way to disclose their recently adopted profes-
sional status with acquaintances and relatives. The best way to avoid dis-
aster is by meeting ahead of time to discuss the session as well as the fees.
Ask for a prepaid session fee, just as you would with any other client.

TIP #11

Compare your work to that of other artists.

Don’t be afraid to get out there in the photo world and stare—it’s not as
though you are in a locker room with a bunch of naked bodies! Study the
works of professionals whose web sites are listed in this book. Their names
may not be as famous as Ansel Adams’, but their work is worth investi-
gating and comparing with yours. Know what it takes to emulate the work
of a great photographer.

TIP #12

Know what a technically correct image looks like.

Prior to focusing on developing a unique style, you must make certain your
photographs are technically correct. Don’t ever compromise when it comes
to quality. Make each photograph stand out from the pack with superb

14
Weddings are not a good place to start lighting and all-around
practicing your craft. Images from this
memorable chapter in life’s journey will
technical excellence. (For
be family treasures. These photos must some great examples of
be of the highest quality. Photos by the
top-quality photography,
author.
check out the work of
Stephanie Clark and Jen
Hillenga.)
We all thrill ourselves
with our own work. Un-
fortunately many new-
comers to the magical
world of photography are
blissfully unaware of what
constitutes a quality pho-
tograph. Listen and learn
from experts at photography conventions and workshops before attempt-
ing to sell your work to clients.
Today’s clients are very savvy about photography, so don’t presume that
they don’t know what to look for in a professional-quality image. The dig-
ital era has taken much of the mystique out of photography. As a result,
you’ll probably encounter clients who know just as much about your cam-
era and computer software as you do.

15
Random documents with unrelated
content Scribd suggests to you:
 No. 4.
Eben.—
What spirit is this that I feel?
This spirit of song, I feel,
Urging me to sing my song—
My song—in cadence soft and long,
As ’twere a bird, making these walls to ring;
Yea, like a bird I’ll sing, I’ll sing, I’ll sing.
I like a flute shall be,
Flowing with melody;
Ever and aye I’ll sing, I’ll sing, I’ll sing, I’ll sing,
I’ll sing,
I’ll sing.
What spirit is this that I feel?
This spirit of song, I feel?
Urging me to sing my song,
In measure long.

(End up singing with a loud creak and snap.)

Prof.—
He’s stopped!

Sassy.—
Run down!

Prof.—
How’s that for grand success?
The Princess ought to hear that voice!

Sassy.—
Oh! yes
—
Why don’t you go and get her?

Prof.—
That is so,
We’ll bring her here at once. Come, let us go.
Sassy.—
Oh! we’ll stay here.

Prof.—
Oh, no! you won’t.

Sassy.—
W
e will!!
We all have headaches, and feel very ill.
Now, Paracelsus, dear! be good and kind,
You’re such a darling—let us stay behind.
Go, sweetest!

Maids (beseechingly).—
Please go. Please go.

(Sassy. and Maids push Prof. out by force l. door.)

Sassy.—
The horrid thing!

(Suitors look through window at back c.)

Suitors.—
Hey! girls!

Maids (frightened).—
Good gracious
me!

Sassy.—
Who’s that!

1st Suitor.—
Avengers!—is the coast all free?

Sassy.—
Yes!—come along.

(Suitors all get in by window, turn and see Dummy.)

1st Suitor.—
Ah! that’s that wretched beau;
Come, fellows, let us smash it up.

(Suitors all start forward.)

Sassy. (stopping them).—

No! no!
Here is the way!

(Takes Cin. Heart from pocket.)

You see this Cinnamon Heart,

It’s now our turn to try a little art.

No. 5.
(Music.)

To Cin. Heart.

The Princess fainted when she saw you first;

King Nougat, from your presence, feared the
worst;
That bad Professor nearly died with fear
And anguish least you might be mixed in here.

(Takes down heart mixture from shelf.)

I’m only thirty cents’ worth—is it so!

I’m Sassy. Ducky, am I—in you go!!

(Throws Cin. Heart into mixture.)

Maids.—
{ We’re ducky darlings—are we?
Suitors.—
{ We’re cast off suitors—are we?
Maids.—
{ We’re thirty cents’ worth—are we?
Suitors.—
{ We’re to be laughed at—are we?
Maids.—
{ We’re to be snubbed too—are we?
Suitors.—
{ We’re to be kicked out—are we?

(All go up in turn and grind Cin. Heart into Mixture.)

All.—
There!!! (All grind again.)

Sassy.—
That, I think, will mix things up a mite;
Hark!—some one’s coming!

Maids.—
Oh!

Suitors.—
Prepare for
flight!

Sassy.—
You haven’t time!—here—with these feminine
aids,
We’ll dress you up, and turn you into maids.

(Maids all take off cloaks and bonnets and dress up Suitors to look like
girls.)

Quick!—all sit down and very quiet keep,

They’re coming—we must all be fast asleep.

(All sit and feign to sleep. Enter Chemists, Prof., King, and Cara., Chemists
singing.)

No. 6.
(Music.)
Chemists (singing).—
“When you are ill, etc.”

(All enter and take positions—King turns and sees Suitors and Maids.)

King.—
Hullo!—a boarding school!!—asleep, I vow!
Hi—wake up!—it’s no time to slumber now!

(Pokes Sassy.—all wake up.)

Cara. (seeing Dummy).—

Good gracious me!!
Oh my!—is that my beau;
That lovely creature—can I touch him?

Prof. (starting in alarm).—

No!
Not yet!—you’d rub the paint off—wait awhile,
And see us do the business up in style.

(Prof. turns to Chemists—loud.)

Prepare the ice cream freezer. Hi! you flats!

Go, get the thunder ready—bring the cats!
Drag out that box of bloody paving stones!
Strike up the lightning—rattle out the groans!

(Chemists all run about and bring properties. Thunder and noises—gas down
and low music.)

Now don’t be frightened, Princess. Now to biz.

Ahem! are all things ready?

Chemists (very low).—

Aye! they is.

(Prof. ties rope from ice cream freezer to leg of Dummy—low rumbling and
noises—fire and low music.)
 No. 7.
Music. (Prof. sings.)

Prof.—
Silence!! (Crash.) Silence! (Crash.)
Don’t let a sound be heard. (All groan.)
Silence! (Crash.) Silence! (Crash.)
Don’t even breathe a word. (All groan.)
Silence! Silence! Silence! Silence!

(Aside to Chemists.)

Give us a little less thunder, and don’t

Rattle that box of paving stones quite so hard.

(Rumbling and fire.)

All.—
Oh! how my heart thrills,
With shivers and chills,
That run down my back,
In a serpentine track.
Oh! how my heart thrills
With shivers and chills,
That run down my back,
In a serpentine track.

Prof.—
Tremble!

All.—
Horror! Awful magic!
Such horrible, tragical,
Wonderful, magical
Works of Satanical
Mischief and craft.
Such horrible, tragical,
Wonderful, magical
Works of Satanical
 Mischief and craft.
Such horrible, wonderful,
Tragical, magical craft.

No. 8.
Prof.—
Demons of darkest night
Lend me thy aid.

(Puts red light on fire. Dummy is quickly changed for Eben. by turning
pivot.)

Hobgoblins and witches,

I will be obeyed.
Blood! blood! snakes and vipers!
I will be obeyed.
Hobgoblins and witches,
Oh! lend us thy aid.

All.—
Oh! abracadabra,
Enchantment and spell;
Oh! abracadabra,
Don’t turn out a sell.

Cara.—
Noble spirits, I pray thee
To heed our despair,
Oh! shades, I implore thee
To listen to our prayer.

All.—
Oh! abracadabra,
Enchantment and spell;
Oh! abracadabra,
Don’t turn out a sell.
Don’t turn out a sell,
Don’t turn out a sell.
 (Eben. moves, yawns, opens his eyes and looks about in a dazed way.)

Quartette. (Cara., Sassy., King and Prof.)

He winks! he moves! he trembles!

Our prayers have worked the spell!
He lives! and he resembles
Our fondest ideal;
He lives! and he resembles
Our fondest ideal.

(Eben. rubs his eyes and looks about. Cara. goes down front.)

Cara.—
What is this—in my heart,
In my soul—that I feel
This spirit of love?
Is it true, is it real,
This beating of my heart
To another heart’s beat?
Has my love come to life?
Is my lover complete?
And thou, candy, away!!

(Throws away box of candy.)

Never more shalt thou move

My soul, for I live
By the spirit of love.
It is true. It is real.
’Tis the spirit of love.

Quartette.—
He winks, he moves, he trembles,
Our prayers have worked the spell;
He lives, and he resembles
Our fondest ideal;
He lives and he resembles
Our fondest ideal.
 (Interlude.)

(Prof. seizes ice cream freezer and grinds furiously.)

No. 9.
Prof.—
Grind him up again.

Cara.—
Grind him up again.

All.—
Grind him up again,
Grindy—windy, windy, windy, windy, etc.

(All sing “windy, windy,” as acc. to solo by Eben. Eben. steps down from
back, comes forward, takes up note and sings.)

Eben.—
Good morning all, (Bows.)
How do you do;
I believe it’s the thing
To bow to you;
I think it right
That I should state,
That I’m alive
And feel first rate;

Eben.—
{ I think it right,
Cara.—
{ Oh blessed sight,

Eben.—
{ And fortunate,
Cara.—
{ And fortunate,

Eben.—
 { That I’m alive,
Cara.—
{ That you’re alive,

Eben.—
{ And feel first rate.
Cara.—
{ And feel first rate.

All.—
Oh blessed sight,
And fortunate,
That he’s alive,
And feels first rate.

(Eben. shows signs of disliking Chemists, Suitors, and Maids, and Prof. sends
them out.)

Prof.—
Go!—he don’t like you!

(Exeunt Chemists, Suitors, and Maids, l.)

(Pointing to Eben.) There! miss.

Cara.—
Mighty seer!
Unequaled, famed, admired far and near,
How can I sing your praises, how reward
Your glorious—

King (interrupting).—
That’s enough!
(To Prof.) We can’t afford
To recompense you as we wish we could,
But we are pleased—your work is very good.

Cara.—
Ah! sir!—I thank you!—I can do no more.
 (Turns to Eben., who, through all has been examining himself and things
about him.)

(To Eben.) And you—you thank him with me, too.

Eben.—
Wh
at for?

(Eben. says following in a low voice and uninterested manner.)

Cara.—
For having made you.

Eben.—
Well?

Cara.—
Oh, please be good,
And thank him with me—Ah!—I wish you would.

Eben.—
Why should I thank him—just observe that leg—
Is that a masterpiece—that wooden peg?
Is that the kind of thing to drag about?
It isn’t decent—there’s no sort of doubt;
And then, those thumbs—he’s put ’em wrong
side on—
That left one should be like the other one.
They’re wrong—and then, he’s made me much
too short;
I ought to have been taller—yes!—I ought;
And look at all that hair—that ugly nose;
Would you be satisfied with ears like those;
Well I’m—not satisfied.

Cara.—
Don’t be so sad!
I think you’re lovely.

Eben.—
 Then I hope you’re
glad.

(Goes up to table, sits on it and swings his legs.)

Cara.—
I’m very glad—and think you should agree;
Now thank the kind Professor, please, for me.

Eben.—
I won’t!

Cara.—
Please! Don’t you like him?

Eben.—
No!

Cara.—
Why
not?

Eben.—
Why should I—he’s no better than the lot.
They all are very ugly.

King.—
What’s he at?
Do you include your Pa-in-law in that?

Eben.—
Are you my Pa-in-law?

King.—
Your Pa-in-law!!
And shall expect more deference.

Eben.—
Oh pshaw!

King.—
 What’s this? (Turning angrily.)

Cara.—
Oh! father, please leave him to me.
He don’t know any better—can’t you see?
Ah! charming lover!

Eben.—
Lover?

Cara.—
Yes; my beau.
You are to love and marry me.

Eben.—
Oh! ho!
Then that’s the reason why I have been made—
You might have asked me first.

Cara.—
Our plans were
laid.
But are you sorry?

Eben.—
Yes; of course I am.

Cara.—
And don’t you care to live?

Eben.—
Don’t care a d
——

All (very loud).—

A
hem!!!

King.—
Young man! What! in our presence do you
swear?
 Before King Nougat First?

Eben.—
Oh! I don’t care!

King.—
Good gracious!

Cara.—
Please, dear father, don’t you
see
You’re taking his attention off from me?
My dearest, may I speak?

Eben.—
Oh! go ahead.

Cara.—
You are to love me dearly, and to wed
Whenever I am ready. And—what’s more—
I’m—ready now.

Eben.—
You said all that before.

Cara.—
Am I not pretty?

Eben.—
Rather.

Cara.—
Then your lot
Is not so very hard.

Eben.—
I’d rather not.

Cara.—
Ah, me! though cruel, still to him I cling;
Perhaps he will be kinder if I sing.
 (Turns, weeping.)

No. 10.
(Music.)

Cara.—
Cans’t thou see me sadly crying?
Hoping still thy heart to move?

Eben.—
I’d rather not!

Cara.—
Cans’t thou still resist the sighing
Of a heart-imploring love?

Eben.—
I’d rather not!

Cara.—
Think what a beautiful wedding
We can have, if agreeable you are.

Eben.—
I’d rather not!

Cara.—
Expenses you needn’t be dreading,
For they will all be borne by pa.
Ah!
Flowers, and silk and satin for me;
Jewelry, wine, tobacco for thee.
A beautiful house, all shining and new,
With ebonized chairs and furniture for two.

Eben.—
But notwithstanding that, I’d rather not!

Cara. & Eben.—

 Ah!

Cara.—
{ Flowers, and silk and satin for me.
Eben.—
{ Flowers, and silk and satin for thee,

Cara.—
{ Jewelry, wine, tobacco for thee.
Eben.—
{ Jewelry, wine, tobacco for me.

Cara.—
{ A beautiful house, all shining and new,
Eben.—
{ A beautiful house, all shining and new,

Cara.—
{ With ebonized chairs, and furniture for two.
Eben.—
{ With ebonized chairs, and furniture for two.

Cara.—
Oh! dearest, wilt thou be my beau? (Holds last
note.)

Eben.—
I’m sorry, but it can’t be so.

Cara.—
Oh! dearest, please to be my beau. (Holds last
note.)

Eben.—
I’d rather not; I tell you no!

Cara.—
{ To be married so happily, say, wilt thou go?
Eben.—
{ To be married so happily, I will not go!
Cara.—
{ He’d rather not.
Eben.—
{ I’d rather not.

(Cara. turns slowly, weeping. Eben. still sits on table and swings his legs.)

Cara.—
What shall I do? (Weeping.)

King.—
By all the Pins—of which I am the king—
If you don’t love my daughter, I will wring
Your neck, and have you taken by the ear
And pounded into jelly. Do you hear?
Yes; pounded! mashed up! Aye, reduced to
slosh!
As quick as you can wink your eye!

Eben.—
Oh, bosh!

King.—
What? Bosh! to me?

Cara.—
Oh! sir, one last appeal;
Just one more chance to win him. He must feel
The weight of burning love. (Kneels to Eben.)
My own! My life!
A princess here implores to be your wife.
Oh! love me just a little.
Here I swear to worship you; to soften every
care;
To comfort you in sorrow—all I vow,
If you will love me just a little now.
You do not answer. Haven’t you a heart?
Speak!—won’t you love me now?

Eben.—
 I’d rather not.

King.—
It is enough!—the villain!

Cara. (turning angrily to

Prof.)—
Nay! not so!
There!—is the villain! there!—our secret foe!

(Pointing to Prof.)

’Tis he!—I say!

King.—
What’s all this row about?
You’ve left some necessary organ out!

(Prof. falls on his knees.)

Prof.—
Oh, honored Nougat!—Mighty King!

King.—
Enough!
Cease complimenting!—I am in a huff.
(Calling.) Hey! chemists!!

(Enter Chemists and Maids l.—Suitors look through window.)

Chemists.—
Yes! your Highness!

King.—
What’s
the row?

Prof.—
The vital organs all are in.

Chemists.—
 We vow!

King.—
There’s something wrong!

Cara.—
His heart is what I
miss.

Prof.—
He has a heart—I’m certain!

Sassy. (taking down heart

mixture)—
What is this?

Prof.—
The mixture of the heart!!—Oh, woe is me!
But we can make him drink it!

Sassy. (aside to Maids).—

Now we’ll see!
We’re ducky darlings, are we!—Where’s his
nurse?
For drinking that I think he’ll turn out worse.

(Prof. approaches Eben. with heart mixture.)

Cara.—
But will it hurt him?

Prof.—
No! it’s nice and sweet!
It’s made of caramels, from your receipt.
Here, gentle creature.

(Offers mixture to Eben.)

Cara.—
If he only would!
Please drink the mixture, dearest!
Eben.—
Is it good?

Cara.—
Delicious! it will soften all your woes.

Sassy. (sarcastically).—
Oh, yes! it’s very soothing!

Eben.—
Well, here goes!

No. 11.
(Eben. takes mixture from Prof. and drinks, then sings.)

Eben.—
I feel a sort of heavenly spirit!
I think there must be ginger in it.

(Drinks again.)

I now begin to feel more frisky!

I think it must be Bourbon whiskey.

(Drinks all.)

(Interlude. Eben. begins to skip about and dance.)

No. 12.
Eben.—
What a charming state is this,
Glowing with ecstatic bliss,
Pulse so full—so vigorous flows
From head to heels—’way down to toes.
I’ll up for action—strike for fame,
I’ll win renown, as sure’s my name—
I’ll win renown, as sure’s my name is—
 As sure’s my name is—

(Pause—comes down.)

(Speaks.)

Ah! horrid thought—I have no name.

Great Heavens!!

(Turning to Cara. and King.)

What’s my name!!—do you hear me?

What’s my name!!!

(Low music through following; Eben. walks furiously up and down; King and
Prof. speak low, down l.; while Cara. stands deeply thinking r.)

Cara.—
Good gracious! (Thinks.)

Prof.—
Murder!—here he has us flat.
He has no name—we didn’t think of that!

King.—
No name?—that’s so! We left it out—great guns!

(Pause, thinking.)

Great guns! great guns! great guns!

Professor, what’s the rhyme for guns?

Prof. (hurriedly, breaking into prose).—See! he’s getting very angry—it’s

no time for rhyme now.—Speak in prose—quick, for gracious sakes! and
think of something; get up some kind of a name, and tell him—if he gets
mad it will ruin all!
King.—That’s a fact! He is getting very angry. I can’t think—you think of
something, Professor—he’s scowling at me!
Prof.—I see the force of your argument, and also observe the satanic
depression of the eye-brows you refer to; but, for the life of me, I can’t
think of anything but Johnny.
King.—Well, call him Johnny—quick!
Prof. (turning to Eben).—Ahem! your name is—
Cara. (suddenly coming front).—Oh! I have it! It is a name I always
wanted my lover to have. How lucky it was that I remembered it. Oh! it’s
perfectly lovely!

No. 13.
Cara.—
Oh! goddess fair. Ah! heavenly maid;
Thou of Cyprian fame;
I thank thee for thy loving aid
In giving me this name—
This most delightful name.
No earthly radiance can compare,
In beauty, with this name so fair.

All.—
No earthly radiance can compare.

Cara.—
This name for which I long have sought,
Before which other names are naught;
Most beautiful and charming name—
Most exquisite and lovely name.

All.—
A pleasant sound it has, no doubt.
So now, at once, let’s have it out,
That name—at once—let’s have it out,
Is—

Cara.—
E-b-eb-e-n-ez-e-r, spells Ebenezer,
And R-i-l-e-y, spells Riley;
Ebenezer Riley is his name.
All.—
E-b-eb-e-n-ez-e-r, spells Ebenezer,
And R-i-l-e-y spells Riley.
Ebenezer Riley is his name.

Cara.—
Oh! beautiful!

Eben (angrily).—
’Tis damnable!

All.—
Oh! beautiful!

Eben.—
No; damnable!

All.—
We think it beautiful!

Eben.—
Damnable! damnable!
Damnable! damnable, etc.

(Ad lib., until it leads into)

No. 14.
Eben.—
Odious creatures! you’ve used me vilely,
To give me such a name as Ebenezer Riley.
Bah!
Bah! bah! bah! bah!

(Walking up and down furiously.)

All.—
How he’s raving! how he’s storming!
Oh! I wish we’d given him another name.
This is really quite alarming,
 I’m awful sorry that I came,
I’m awful sorry that I came;
I’m sorry that I came,
I’m sorry that I came.

(Interlude.)

Eben.—
Since you’ve named me Ebenezer—
Ground me out of that hanged old freezer;
And have worked your plans so slyly,
By adding on the name of Riley,—
Since it’s so you’ll find me a teazer;
I’m going to get on my Ebenezer.
Since it’s so I will be rily.
With a vengeance I will rile.

All.—
How he’s raving! how he’s storming!
Oh! I wish we’d given him another name.
This is really quite alarming,
I’m awful sorry that I came,
I’m awful sorry that I came;
I’m sorry that I came,
I’m sorry that I came.

Eben.—
{ Oh! I will break up all your furniture and
paraphernalia.
Cara. & S.—
{ See!! how he’s raving!
Chorus.—
{ Oh!—just—see—how—he—is—rav—ing!

Eben.—
{ I will exterminate, and devil a thing that can
avail ye;
Cara. & S.—
{ Strangely behaving.
Chorus.—
 { How—in—de—cent—ly—be—hav—ing.

Eben.—
{ Break all your window-glass and play the
dickens generally.
Cara. & S.—
{ Sad, this is getting.
Chorus.—
{ This—is—get—ting—most—vex—a—tious.

Eben.—
{ Yes! I will raise the very deuce!
Cara. & S.—
{ And alarming, too,
Chorus.—
{ And—a—larm—ing—too—good—gra—cious!

Eben.—
{ Oh! I will break up all your furniture and
paraphernalia.
Cara. & S.—
{ Oh! dear me. Oh! dear me?
Chorus.—
{ ” ” ” ” ” ”

Eben.—
{ I will exterminate, and devil a thing that can
avail ye.
Cara. & S.—
{ Can it be That is he?
Chorus.—
{ ” ” ” ” ” ”

Eben.—
{ Break all your window-glass, and play the
dickens generally.
Cara. & S.—
{ Oh! dear me. Can it be?
Chorus.—
{ ” ” ” ” ” ”
Eben.—
{ Yes! I will raise the very deuce!!
Cara. & S.—
{ That is he.
Chorus.—
{ ” ” ”

(Eben. seizes glass retort and chases all out—Prof. dodges behind table and
Eben. chases him around—breaks retort.)

(Curtain.)
 ACT III.
(Same scene as First Act, but windows all broken and everything
smashed—placard nailed up: “Recruits Wanted!!” “Expedition Against
Ebenezer Riley.” Telephone hung by l. c. door.)
(Curtain rises upon Suitors, worn and dejected looking, sitting in a row
on back wall, holding guitars, all fast asleep.)

No. 1.
(Music.)

(Music gradually gets louder—at each rise of music, a suitor yawns and
awakes.)

1st Suitor (awakening,

yawns).—
A
h——a!

(Pause for music.)

2d Suitor.—
A
h——a!

(Pause.)

3d Suitor.—
A
h——a!

(Pause.)

4th Suitor.—
 A
h——a!

(Pause.)

5th Suitor.—
A
h——a!

(Pause.)

6th Suitor.—
A
h——a!

All (yawning).—
Ah!—Ah!—Ah!—Ah!—

(Then continue in monotone.)

All.—
Oh! how cold and stiff I am,
Is it morning yet?
Can the music of the guitar melt the heart
Of the daughter of the King?
No!—the music of the guitar can not melt
The heart of the daughter of the King.
We have played all the tunes we know;
This is the only one we have left,
And still she is not melted!

No. 2.
(Music for King’s entrance.)

(Enter King c. door, in night-gown and cap, with sceptre.)

King.—
Uneasy lies the head that wears a crown;
 The live-long night, since e’er I laid me down,
Such horrid sounds—such vile, unearthly yells
Have echoed hence, as ’twere from deepest
hells;
That slumber, filled with horror at it, fled,
And left me to my loneliness—in bed.
From hence, it came.

(Looks around—sees Suitors—starts.)

Good gracious! Oh! it’s

you?

Suitors (very meekly).—

Yes! please your Highness.

King.—
You’re a handsome
crew!

Suitors.—
Yes! please your Highness.

King.—
Were you here all
night?

Suitors.—
Yes! please your Highness.

King.—
Did you come to
fight?

Suitors.—
Yes! please your Highness.

King.—
 You enlist with
me?

Suitors.—
Yes! please your Highness.

King.—
Then we all agree?
This Ebenezer Riley we must kill.
You swear to sweep him from the earth.

Suitors (very loud).—

We
will!!

(Suitors all get down from wall, and come forward.)

King.—
That’s right!—Hey! captain!

(1st S. comes forward.)

We must have
the head
Of Ebenezer Riley—’live or dead.
Your regiment—’tis ready?

Capt. (1st Suitor).—

Fully manned!
Besides this regiment, I’ve brought a band.

King.—
’Tis well!—march out the army!

Capt.—
’Tention—all!!
Four’s right by two along that garden wall.
Left wheel, and form a parabolic arch,
And stop right in the centre—forward—march!
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