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 PHOTOGRAPHIC 
 STUDIOS 
 
 U.S. 
 
 DEPARTMENT 
 
 OF 
 
 COMMERCE 
 
 Economic 
 
 Development 
 
 Administration 
 
 Office of 
 
 Minority Business 
 
 Enterprise 
 
 
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For sale by Superintendent of Documents, U.S. Government Printing Office 
 Washington, D.C., 20402 - Price 25 cents 
 
URBAN 
 
 BUSINESS 
 
 PROFILE 
 
 PHOTOGRAPHIC 
 STUDIOS 
 
 SIC 7221 
 
 April 1972 
 EDA-72-59594 
 
 Prepared for 
 ECONOMIC DEVELOPMENT ADMINISTRATION 
 
 in cooperation with 
 OFFICE OF MINORITY BUSINESS ENTERPRISE 
 
 U. S. DEPARTMENT OF COMMERCE 
 Washington, D.C. 20230 
 
 Peter G. Peterson, Secretary 
 
 2, Robert A. Podesta, Assistant Secretary 
 
 m for Economic Development 
 
 1 John L. Jenkins, Director 
 
 I Office of Minority Business Enterprise 
 
 Sf 
 
This report was prepared by Boise Cascade Center for Community 
 Development, Washington, D.C., under contract with the Office of 
 Economic Research, Economic Development Administration. The 
 statements, findings, conclusions, recommendations, and other data 
 in this report are solely those of the contractor and do not necessar- 
 ily reflect the views of the Economic Development Administration. 
 
FOREWORD 
 
 As part of a continuing program to provide encouragement and 
 assistance to small business ventures, the U.S. Department of Com- 
 merce is issuing a series of Urban Business Profiles. 
 
 It is hoped that these reports will serve as a meaningful vehicle 
 to introduce the prospective small urban entrepreneur to selected 
 urban-oriented businesses. More specifically, a judicious use of 
 these profiles could: provide a potential businessman with a better 
 understanding of the opportunities, requirements, and problems 
 associated with particular businesses; provide guidelines on types 
 of information required for location-specific feasibility studies; 
 assist urban development groups in their business creation activities. 
 
 <L .^*<r-*0^7^ 
 
 Robert A. Podesta 
 Assistant Secretary 
 for Economic Development 
 
Table of Contents 
 
 Page 
 
 I. Recommendation 1 
 
 II. Description of the Industry 2 
 
 A. Identification of Industry Activities 2 
 
 B. Dimensions of the Industry 2 
 
 C. Characteristics of the Industry 3 
 
 Product — Photographer's Role — 
 Markets — Locations — Minority 
 Concerns 
 
 D. Requirements for Entering the Industry 5 
 
 Capital — Equipment Financing — 
 Franchising 
 
 III. Feasibility Analysis 6 
 
 A. Business Opportunities in the Industry 6 
 
 Sales Potential — Customer Relations — 
 Technical Proficiency — Profit Motive 
 
 B. Projections of Attainable Returns in the Industry 8 
 
 One-Man Studio — Three-Employee Studio 
 
 IV. Guidance in Establishing a Studio 9 
 
 BIBLIOGRAPHY 
 
 OFFICE OF MINORITY BUSINESS ENTERPRISE (OMBE) AFFILIATES 
 
 URBAN BUSINESS PROFILES 
 
URBAN BUSINESS PROFILE 
 
 Photographic Studios 
 
 (SIC 7221) 
 
 I. RECOMMENDATION 
 
 A variety of opportunities exist for individuals to participate in the 
 sizeable growth of the photographic industry. One of the most 
 accessible opportunities for industry participation is as the owner- 
 manager of a photographic studio that does portrait work for indi- 
 viduals or general photographic work for organizations and com- 
 mercial enterprises. The photographer who opens such a studio has 
 the opportunity to realize both a high degree of professional satis- 
 faction and an attractive return on a modest investment if he serves 
 his chosen market with insight, current techniques, and competitive 
 prices. The photographic industry itself is, however, as turbulent as 
 it is fast-growing. In 1969, equipment and photographic supplies 
 stores experienced the highest failure rate of all retail businesses. 
 The studio photographer must be able to keep abreast of the latest 
 developments in photographic technology if he is to succeed in this 
 easily-entered, highly competitive business. But his success is 
 dependent primarily upon his skill in using photographic equipment 
 to satisfy people rather than his possession of modern equipment. 
 The photographic studio business will continue to be based on 
 reputation and customer service, with the rewards going to those 
 who are more than just eager amateur photographers. 
 
II. DESCRIPTION OF THE INDUSTRY 
 
 A. Identification of Industry Activities 
 
 The photographic studio covered by Standard Industrial Classifi- 
 cation (SIC) code 7221 is engaged in portrait photography for the 
 general public and somewhat broader photographic services for 
 commercial clients. It may develop film and process prints, but firms 
 primarily engaged in processing and developing are not covered in 
 this profile. 
 
 B. Dimensions of the Industry 
 
 The number of photographic studios has risen rapidly in recent 
 years. From 1963 to 1967, for example, the number of studios rose 
 from 19,544 to 26,558 while the value of their receipts climbed 50 
 percent to three-quarters of a billion dollars. The number of em- 
 ployees in studios has kept pace with the rise in the number of 
 establishments: the 1969 figure of 42,500 photographic studio 
 employees indicates that the industry continues to be characterized 
 primarily by one- or two-employee operations. Individual proprie- 
 torships, in fact, make up about 80 percent of the industry by number 
 of establishments, although they share equally with corporations in 
 volume of industry receipts. 
 
 The growth in photographic studio operations is, of course, 
 directly related to the rapidly increasing importance of photography 
 in our daily lives. The 620-percent increase in the value of photo- 
 graphic equipment and supplies shipped to the American consumer 
 from domestic and foreign producers between 1950 and 1969 rep- 
 resented nearly three times the rate of growth in Gross National 
 Product in the corresponding period. And this growth only suggests 
 the extent to which the American public has come to rely on 
 accurate photographic representations of people, places, and events 
 to communicate with each other. 
 
 The results of this increased reliance on photographic represen- 
 tation has had a mixed effect on the business and the professional 
 photographer. He is more and more bypassed as the source of 
 routine pictures, but he has been able to profit by the general public 
 appreciation of skilled craftsmen and quality photographs created by 
 this technology boom. The significant turnover among photographic 
 studios indicates no lack of entrepreneurs willing to take a chance 
 at proving their photographic skill in the marketplace. 
 
 The importance of the customer in this industry suggests a rela- 
 tively attractive business opportunity for the skilled minority photog- 
 rapher, and minorities have already begun to penetrate the market. 
 
A recent survey by Flourney Coles indicates that photographic studios 
 comprise about 20 percent of the black professional service busi- 
 nesses in seven cities with large black populations. Spanish-speaking 
 communities also contain a number of studios serving their ethnic 
 market. The extent to which these photographers have tapped the 
 larger market usually is limited, however. 
 
 C. Characteristics of the Industry 
 
 The photographic studio's product is more than a picture of a 
 particular subject. The customer — whether he be an individual 
 portrait-sitter or a business advertiser — seeks a photographic repre- 
 sentation of his ideas about the subject being photographed. The 
 photographer who is technically proficient in the use of camera, 
 lighting, and development material may fail to satisfy if he cannot 
 relate to these ideas. Particularly successful photographers not only 
 convey the image that the customer seeks, but have the creative 
 talent to discover new ways of expressing the concept that the 
 customer has of himself or his product. 
 
 This understanding of the professional photographer's role sug- 
 gests the range of activities in which he may engage. Commercial 
 studios generally perform a range of photographic work in advertis- 
 ing, recordkeeping, and public relations for commercial clients. These 
 studios may also take photographs of events in their locale on con- 
 tract to other commercial clients. Portrait photographers specialize 
 in portrait photography in their studios, at institutions such as 
 schools, and on location elsewhere. Portrait photographers also 
 cover the growing field of wedding photography. Only about 20 
 percent of all studios engage in both portrait and commercial 
 photography. 
 
 The market for each of these two types of studios continues to 
 grow strongly. Audiovisual expenditures rose to a new high of $1.37 
 billion in 1969, with schools and business accounting for over half a 
 billion dollars apiece. Over 26,000 photographic studios currently 
 compete for this commercial market with about 6,000 corporate 
 photo departments and even more photographers employed full- or 
 part-time by schools and companies. Business management's growing 
 awareness of the value of photography for obtaining information, 
 selling products, and keeping records has afforded expanding oppor- 
 tunities for all these industry participants. 
 
 The portrait studio, considered the more traditional part of the 
 industry, is also riding some significant growth trends. The Profes- 
 sional Photographers of America estimate that one-third of all 
 households buy at least one professional portrait in a 3-year period, 
 
and this figure is expected to rise with the growing affluence of the 
 population and increasing acceptance of the photograph as an essen- 
 tial part of new life styles. The increase in the number of memorable 
 events at which professional photographers are usually preferred — 
 weddings, graduations, and births — is another source of strength 
 for the portrait photographer who does onsite photo work. School 
 photography in particular has been an excellent source of business 
 for the studios. An industry survey taken in 1970 showed that the 
 high school senior market alone was worth over $100 million, and 
 at least 70 percent of all school children are photographed for class 
 pictures every year. This business is not only profitable — the average 
 price of a portrait package for each photographed elementary school- 
 child was $4 — but serves as an excellent device for introducing the 
 studio product to a large number of homes in the area. Follow-on 
 contracts for school yearbooks are often quite lucrative. 
 
 The volume of business available and the relative ease with which 
 a photographer can acquire the necessary equipment and developing 
 facilities combine to keep the competition among studios high. 
 Customer needs for photography are usually continuing ones, how- 
 ever, and a photographer who breaks into a market with price 
 discounts or artistic flair can often hold his customers with attentive 
 service and timely reminders. Industry sources indicate that cus- 
 tomers place the greatest volume of repeat business with studios in 
 which they feel comfortable. This characteristic of the photography 
 business undoubtedly accounts for the considerable number of 
 minority-operated studios operating in larger cities and suggests that 
 these studios have a natural advantage in serving customers from 
 their communities. While minority portrait studios are expected to 
 capture at least some of the extra business from increasingly pros- 
 perous minority households, there are fewer minority commercial 
 studios that have been able to compete successfully within the com- 
 mercial market. Minorities moving towards the commercial market 
 have usually done so after establishing themselves as portrait special- 
 ists, often using "affinity group" photography (church, social, recrea- 
 tional, civic) to obtain work in the wider business community. 
 
 The market orientation of the industry encourages the location of 
 the studio in an area that is easily accessible to its customers. Studios 
 have usually been located either on the fringes of commercial areas 
 serving the target community (portrait studios) or in downtown busi- 
 ness districts (commercial studios). Photography is not usually pur- 
 chased on impulse, so space in an office building or a walkup in the 
 chosen commercial district is usually satisfactory, and a store front 
 is not a requirement. Some studios find it more profitable to send out 
 
their undeveloped work for processing, reducing their space needs 
 and rental expense at the studio. For those studios that do their 
 own development and processing work, however, the darkroom and 
 other necessary facilities are invariably on the premises. The com- 
 mercial specialist does much of his work on location and often 
 satisfies his minimal office needs in a location close to his clients. 
 Both types of studio are heavily dependent on a personal vehicle 
 for transportation to worksites. 
 
 The photographic studio is seldom a lucrative venture for a new 
 entrepreneur. Profits for the new studio photographer are usually 
 heavily dependent on the extent to which he includes the value of 
 his own contribution of time and talent to the business. The small 
 proprietorship, which typifies the industry, can usually begin opera- 
 tions with a minimum of investment and at a low overhead rate, 
 and a photographer who does his own portrait and development 
 work, marketing, and accounting and clerical work can draw over 
 20 percent (from which his own draw or salary will be provided) of 
 his total sales volume. Many individual proprietors hire part-time 
 office staff for clerical and administrative functions as their time 
 becomes more valuable and the increased volume of work justifies 
 such a step. A survey taken in 1967 by the Professional Photographers 
 of America indicated an average net profit before taxes (and owner's 
 salary) of 15 percent of gross receipts. The survey can be expected 
 to be biased towards the more successful studios and is based on 
 only a small portion of the industry. Of greater significance, however, 
 is the fact that surveyed studios were not asked to estimate, and 
 include in their profit computations, the value of services rendered 
 by the proprietor himself. The net profit projections of 21 percent 
 to 25 V2 percent of studios grossing less than $100,000 annually are, 
 therefore, overstated by the amount of the owner's (usually the 
 photographer's) draw. Studios grossing over $100,000 annually in- 
 clude most corporations in the industry; they indicate salary costs 
 of about 25 percent and a net profit before tax of about 9 percent. 
 
 D. Requirements for Entering the Industry 
 
 The photographic studio business is easily entered by the ambitious 
 photographer. The studio owner must, of course, be more heavily 
 capitalized than the freelance photographer, but industry sources 
 indicate that a one-man studio can be started for about $6,500. For 
 a sales volume of up to $50,000, minimal space requirements call 
 for an office or reception area, a shooting room of at least 15 by 
 20 feet, a work and storage area, a small dressing room for clients, 
 and darkroom space if the studio does its own processing. 
 
An important decision for the new studio operator is whether or 
 not he will operate his own developing facilities; the inclusion of a 
 darkroom will about double space requirements and increase initial 
 capital requirements by an amount between $1,000 and $1,500. Most 
 one-man studios patronize commercial processing laboratories. 
 
 Trade sources indicate an allocation of initial investment for a 
 one-man shop as follows: 
 
 a. Photographic equipment and fixtures $4,200 
 
 b. Supplies 500 
 
 c. Rent deposit 200 
 
 d. Initial promotion 500 
 
 e. Working capital 100 
 
 $5,500 
 
 The photographic equipment investment can be further broken 
 down as follows: 
 
 a. Camera, including lenses and tripod (twin lens reflex or 
 
 2 1 A" by 2 1 A" single lens reflex) $1,000 to $1,500 
 
 b. Office equipment 600 to 700 
 
 c. Lights, meters, filters, etc 500 to 800 
 
 d. Inventory (frames, flashbulbs, etc.) 1,500 
 
 e. Miscellaneous 200 
 
 The actual outlays for equipment depend on local prices and on how 
 much equipment is already owned or easily secured secondhand by 
 the entrepreneur. The quality of the equipment chosen is not as 
 important to the new studio operator as the skill with which it is used. 
 
 The typical new entrepreneur finances a major portion of his 
 studio setup costs out of his own pocket. A limited amount of debt 
 financing may be available from commercial banks, especially if the 
 applicant has contracts in hand (commercial, school, civic portraits) 
 to support his sales projections. 
 
 Franchising has extended into the photographic studio business as 
 it has into many others in recent years. Though not a significant 
 force in the industry, the dozen or so franchisers provide assistance 
 to the franchisee not only in financing startup costs but in equipment 
 selection, advertising and promotion, and training. Several franchisers 
 also do all the developing work, supplying the franchisee with film in 
 the process. 
 
 III. FEASIBILITY ANALYSIS 
 
 A. Business Opportunities in the Industry 
 
 The photographic studios of both commercial and portrait types 
 are currently handling about $1 billion worth of business per year. 
 The average studio, however, has gross billings of only about $40,000 
 
per year, and many marginal studios are business ventures in name 
 only. Success for the new enterpreneur, no matter what his back- 
 ground, is difficult in this competitive industry and depends on two 
 critical factors. 
 
 The primary ingredient of a successful studio photographer is his 
 ability to combine technical proficiency and artistic ability with 
 his "reading" of the client so as to produce a picture that assists 
 the customer in expressing himself or his idea. Whether the subject 
 is an individual or an ad campaign, the cameraman who can capture 
 his insight into the customer with a perceptive portrait or picture is 
 likely to establish grounds for continued business. The ability to 
 empathize with the customer is demonstrated by many photog- 
 raphers and is generally considered to be an important factor in 
 their success. This skill is obviously useful in insuring the comfort 
 of the customer during what can be a trying experience. The ability 
 of a person with similar ethnic and cultural background to more 
 easily convey this empathic quality probably provides some advan- 
 tage to a new minority entrepreneur who intends to service his 
 community's photographic needs. Industry surveys tend to support 
 this segmentation of the market for photographic work. As the 
 studio develops, the work of the photographer — displayed at the 
 studio and distributed throughout his market — conveys his style and 
 image more effectively than most forms of advertising, permitting a 
 certain self-selection to take place among his new customers over 
 time. The new photographer, who correctly matches his personal 
 and professional style to his chosen customer group, has strong 
 possibility of success. 
 
 The second critical determinant of financial success in the studio 
 business is the extent of the entrepreneur's profit drive. The lack of 
 this business profit motivation is identified by industry sources as 
 the single most important cause of studio failure or "reversion to 
 amateur status." The photographer tends to be an artist, and the 
 temptations to sacrifice cost control to artistic excellence and to 
 sacrifice administrative and management performance to photo- 
 graphic enjoyment undoubtedly prove enticing to the new studio 
 photographer. The new studio photographer will seldom have 
 enough business and working capital to go first class at the beginning, 
 unless he leaves an established firm with a block of his own customers. 
 The new studio invariably requires the 40-plus-hour weeks required 
 of any new small business and the avoidance of costs that can be 
 achieved by a one-man organization. Every buying and hiring deci- 
 sion can be justified only if it leads to more than enough revenue to 
 cover the additional cost. Since the new studio owner will spend a 
 good part of his day marketing, the developing (if done in-house) 
 
and administrative work must often be done at night. Judicious use 
 of part-time help, sales commissions, and subcontracting can help 
 the busy photographer in his growth to a two- or three-employee 
 shop. 
 
 The studio photographer — especially if he is alone — must, of 
 course, possess a good knowledge of camera optics, film and paper 
 emulsions and speeds, darkroom and lighting techniques, photo- 
 graphic chemistry, and projection equipment. 
 
 B. Projections of Attainable Returns in the Industry 
 
 Two of the most likely scales of operation in the new photography 
 studio venture are the one-man portrait studio and the three-man 
 commercial and portrait studio operation. These levels of operation 
 are representative of the industry in general and are particularly 
 illustrative of the minority-operated studios in urban centers. The 
 projections are based on a 1967 industry survey. 
 
 One-Man Studio 
 
 The one-man portrait studio is assumed to be located in a shopping 
 center or commercial district patronized by the chosen customer 
 group. The developing and processing work is sent out daily to a 
 processing facility located downtown. The studio itself contains 750 
 square feet of work, supply, and reception space, with 20 feet of 
 sidewalk frontage. The owner works 6 days a week; a part-time book- 
 keeper types records and correspondence. The studio was financed 
 by $3,500 of owner's equity and a $3,000 loan from a local Minority 
 Enterprise Small Business Investment Company (MESBIC). 
 
 $25,000 100.0% 
 
 $10,000 40.0% 
 
 25.0 
 
 15.0 
 
 $9,250 37.0% 
 
 5.0 
 
 1.0 
 
 4.0 
 
 2.0 
 
 2.0 
 
 1.5 
 
 10.0 
 
 1.5 
 
 10.0 
 
 3.0 
 
 1.0 
 
 1.5 
 
 $5,750 23.0% 
 
 Gross receipts 
 
 
 Portrait work 
 
 $24,000 
 
 Film developing (commissions) 
 
 1,000 
 
 Direct expenses 
 
 
 Processing services 
 
 $ 6,250 
 
 Photographic supplies 
 
 3,750 
 
 Overhead expenses 
 
 
 Rent 
 
 $1,250 
 
 Repairs 
 
 250 
 
 Taxes, license, and insurance 
 
 1,000 
 
 Utilities 
 
 500 
 
 Office supplies and postage 
 
 500 
 
 Telephone 
 
 375 
 
 Advertising and promotion 
 
 1,125 
 
 Auto expense 
 
 375 
 
 Clerical salary 
 
 2,500 
 
 Depreciation 
 
 750 
 
 Interest on equipment debt 
 
 250 
 
 Other 
 
 375 
 
 Net profit/owner's draw 
 
 
Three-Employee Studio 
 
 The three-employee studio is the most common single size in the 
 industry. The owner of the proprietorship employs a darkroom man 
 and a portrait photographer in his downtown commercial center 
 location. The studio performs both portrait and commercial work, 
 with the owner servicing the local business market and schools 
 during the spring season. He also performs at numerous social events 
 and weddings in his community. The studio does its own developing, 
 processing, and mounting. The business was financed for the present 
 scale of operations at $12,000, with the owner putting up $6,000 
 and a local bank the remainder under the stimulus of a Small Business 
 Administration (SBA) guarantee. 
 
 $50,000 100.0% 
 
 $27,500 55.0% 
 
 35.0 
 20.0 
 
 $11,000 22.0% 
 
 3.0 
 1.0 
 4.0 
 1.5 
 1.5 
 1.0 
 3.5 
 1.0 
 2.0 
 1.0 
 2.5 
 
 $11,500 23.0% 
 
 The return on owner's investment in each case is negligible if he 
 takes the net proceeds out in the form of owner's draws, but retained 
 earnings can be built up in such a business by living modestly during 
 the startup phase. The reserves set aside to cover depreciating photo- 
 graphic equipment are tempting for a new business to "consume," 
 but if the studio is even to finance its own growth it must cover 
 future equipment needs out of operating proceeds. 
 
 IV. GUIDANCE IN ESTABLISHING A STUDIO 
 
 The first step in establishing a photo studio is to ask what unfilled 
 or inadequately served photographic need exists in an area. If there 
 is no such need and plenty of local competition, it is probably best 
 to remain employed and/or an amateur photographer. It is estimated 
 that 5,000 to 10,000 persons are required to support a photographic 
 studio. A quick check of the volume and profitability of potential 
 competitors may also be useful in defining opportunities. 
 
 Gross receipts 
 
 
 Portrait work 
 
 $20,000 
 
 Commercial work 
 
 26,000 
 
 Film developing 
 
 4,000 
 
 Direct expenses 
 
 
 Salaries 
 
 $17,500 
 
 Photographic supplies 
 
 10,000 
 
 Overhead expenses 
 
 
 Rent 
 
 $1,500 
 
 Repairs 
 
 500 
 
 Taxes, license, and insurance 
 
 2,000 
 
 Utilities 
 
 750 
 
 Office supplies and postage 
 
 750 
 
 Telephone 
 
 500 
 
 Advertising and promotion 
 
 1,750 
 
 Auto expense 
 
 500 
 
 Depreciation 
 
 1,000 
 
 Interest on equipment debt 
 
 500 
 
 Other 
 
 1,250 
 
 Net profit/owner's draw 
 
 
Location of a new studio must be accessible to the chosen cus- 
 tomer group. Of perhaps greater importance than the general area 
 of the store is the type of neighbors surrounding the studio. The new 
 photographer may find that a particular setting does much to enhance 
 or detract from his chosen image. Other locational determinants are 
 relatively unimportant. 
 
 The new photographic studio should give great care to the plan- 
 ning of its marketing effort. Emphasis should be on showing work 
 samples and demonstrating technical competence. Several sugges- 
 tions from trade sources may be helpful. 
 
 1. Commercial Studios 
 
 a. Portfolios of varied commercial and industrial photographs 
 that convey strong messages can be a useful device to obtain 
 business for the new commercial studio. 
 
 b. Advertisements in business magazines and trade journals are 
 useful for introducing the firm's name and special talents. 
 The Yellow Pages are also good. 
 
 c. A cheaply printed flyer announcing the new firm's talents 
 and hand-carried to potential clients by the photographer 
 along with quality work samples may be another way of 
 introducing the new firm. 
 
 2. Portrait Studios 
 
 a. Portrait studios must rely more on representing their par- 
 ticular style of work on studio display windows and using 
 the better pieces of early work in sample portfolios for view- 
 ing by "affinity groups" and chosen customer organizations. 
 Contacts made in the studio, if pleasant, can lead to a large 
 volume of outside work. 
 
 b. Schools and other large groups are often susceptible to price 
 discounts in their purchases of photography, and a new 
 photographer may be able to break into a large new market 
 with low-margin pricing on several key jobs. School contracts 
 in particular are worth a great deal in community advertising. 
 The contract to provide high school senior photographic 
 work can lead to work for yearbooks, university applications, 
 job applications, and graduation announcements; these 
 young people may return for business the rest of their lives. 
 
 c. Careful use of newspaper announcement sections may alert 
 the studio to opportunities for work — solicited with con- 
 gratulatory cards — in weddings, births, and graduations. Mass 
 mailings to past customers before large family holidays is 
 also helpful. 
 
 10 
 
The new studio owner need not start out with new equipment; a 
 more important requirement is that his equipment be well known 
 by the operators. For those new entrepreneurs who might require 
 new equipment, suppliers and distributors of photographic equip- 
 ment in a particular local area can perhaps best be located through 
 the telephone directory. Other sources of information are journals 
 such as The Professional Photographer; Photographic Trade News: 
 Master Buying Guide and Directory Annual; or the Popular Photog- 
 raphy Directory and Buying Guide. Also of interest in determining 
 specific equipment needs is the Printing, Graphic Arts, Photography 
 category of publications prepared by the U.S. Government. Publica- 
 tions describing photographic techniques and equipment, cameras, 
 lenses, shutters, projectors, etc., are for sale at the National Technical 
 Information Service, 5285 Port Royal Road, Springfield, Virginia 
 22151. 
 
 The sources of capital most often used by the new studio are equity 
 (family, partners, personal) and bank debt. Minority photographers 
 may be able to take advantage of such sources of capital as MESBICs, 
 Community Development Corporations, banks using SBA guarantees, 
 and coalitions of business interests supporting minority entrepreneur- 
 ship. The relatively small amount of startup capital needed is perhaps 
 best obtained from equity sources which can then be used to obtain 
 additional funds from a bank. The SBA lease guarantee can be a use- 
 ful mechanism for "buying" into a favorable location. 
 
 11 
 
BIBLIOGRAPHY 
 
 Government Sources 
 
 Small Business Administration, Washington, D.C. 20416. Photographic 
 
 Dealers and Studios. Small Business Bibliography No. 64, 1968. 
 U.S. Department of Commerce, Bureau of the Census, Washington, 
 
 D.C. 20233. 7967 Census of Business, Selected Services; Series 
 
 BC67-SA1. 
 U.S. Department of Commerce, Business and Defense Services 
 
 Administration, Washington, D.C. 20230. U. S. Industrial Outlook, 
 
 1969 and 1970. 
 U.S. Department of Labor, Washington, D.C. 20210. Employment 
 
 Outlook for Photographers, 1969. 
 
 Nongovernment Sources 
 
 Apple, Ruth. "The Language of Selling Photography," The Profes- 
 sional Photographer, August 1970. 
 
 Chandler, Jean. "Don't Give Up Your Babies," The Professional Pho- 
 tographer, September 1970. 
 
 Coles, Flourney. An Analysis of Black Entrepreneurship in Seven 
 Urban Areas, Washington, D.C, 1969. 
 
 Narramare, G. L. "Something New," The Professional Photographer, 
 August 1970. 
 
 Professional Photographers of America, Inc., 1090 Executive Way, 
 DesPlaines, Illinois 60018. 
 
 Schabacker, Joseph C. "How to Sell Product, Service, and Self," The 
 Professional Photographer, October 1970. 
 
 Schwartz, Theodore. The Business Side of Photography, New York, 
 1969. 
 
 Wolfman, Augustus. "1970-71 Wolfman Report on the Photographic 
 Industry in the U. S.," Modern Photography Magazine, 1970. 
 
 12 
 
OFFICE OF MINORITY 
 
 BUSINESS ENTERPRISE 
 
 (OMBE) AFFILIATE ORGANIZATIONS 
 
 Albuquerque 
 
 National Economic Development 
 
 Association (NEDA) 
 1801 Lomas, N. W. 
 Albuquerque, N. M. 87104 
 508/843-2386 
 Victor M. Casaus, 
 
 Regional Vice President 
 
 Atlanta 
 
 Atlanta Business League (NBL) 
 
 329 Walker Street, S. W. 
 
 Atlanta, Georgia 30314 
 
 404/524-5449 
 
 Franklin F. O'Neal, Executive Director 
 
 Wendell White (OMBE Representative) 
 
 404/526-6304 
 
 Baltimore 
 
 Morgan State College Minority 
 
 Business Enterprise Project 
 2108 North Charles Street 
 Baltimore, Maryland 21218 
 301/685-0610 
 Ralph J. Ross, Executive Director 
 
 Boston 
 
 The Roxbury Small Business 
 
 Development Center 
 126 Warren Street 
 Roxbury, Massachusetts 02119 
 Bernard Wiley — Acting Executive 
 
 Director 
 617/427-6333 
 
 Frank Bispham (OMBE Representative) 
 617/223-2381 
 
 Chicago 
 
 Chicago Economic Development 
 
 Corporation (CEDC) 
 162 North State Street, Suite 600 
 Chicago, Illinois 60601 
 231/368-0011 
 Garland Guice, Executive Director 
 
 Bennett Johnson, Jr. (OMBE 
 Representative) 
 
 312/353-4460 
 
 NEDA 
 
 537 Dearborn South 
 
 Chicago, Illinois 60605 
 
 312/939-2607 
 
 Gilbert M. Vega, 
 
 Regional Vice President 
 
 Cincinnati 
 
 Determined Young Men 
 
 3880 Reading Road 
 
 Cincinnati, Ohio 45229 
 
 513/221-0180 
 
 Merven Stenson, Executive Director 
 
 Cleveland 
 
 Greater Cleveland Growth Corporation 
 
 690 Union Commerce Building 
 
 Cleveland, Ohio 44115 
 
 216/241-4313 
 
 Melvin Roebuck, Executive Director 
 
 Minority Economic Developers 
 
 Council (MEDCO) 
 10518 Superior Avenue 
 Cleveland, Ohio 44106 
 Armond L. Robinson, Administrator 
 
 Dallas 
 
 Dallas Alliance for Minority Enterprise 
 
 (DAME) 
 7200 North Stemmons Freeway 
 Suite 1006, UCC Tower 
 Dallas, Texas 75222 
 214/637-5170 
 Walter Durham, Executive Director 
 
 Denver 
 
 Colorado Economic Development 
 
 Association (CEDA) 
 1721 Lawrence Street 
 Denver, Colorado 80202 
 303/255-0421 
 Edward Lucero, Executive Director 
 
 13 
 
Detroit 
 
 Inner City Business Improvement 
 
 Forum (ICBIF) 
 6072 - 14th Street 
 Detroit, Michigan 48208 
 313/361-5150 
 Walter McMurtry, President 
 
 El Paso 
 
 NEDA 
 
 First National Building 
 Suite 10B 
 
 109 North Oregon Street 
 El Paso, Texas 79901 
 915/533-7423 
 Jose Manuel Villalobos, 
 Regional Vice President 
 
 Indianapolis 
 
 Indianapolis Urban League 
 445 North Pennsylvania Street 
 Indianapolis, Indiana 46204 
 317/639-5391 or 253-5418 
 Sam Jones, Executive Director 
 
 Kansas City 
 
 Black Economic Union (BEU) 
 
 2502 Prospect 
 
 Kansas City, Missouri 64127 
 
 816/924-6181 
 
 Curtis McClinton, President 
 
 NEDA 
 
 703 North 8th Street 
 
 Kansas City, Kansas 66100 
 
 913/342-6663 
 
 Richardo Villalobos, 
 
 Regional Vice President 
 
 Los Angeles 
 
 South Central Improvement Action 
 
 Committee (IMPAC) 
 8557 South Broadway 
 Los Angeles, California 90003 
 213/751-1155 
 Louis Wilson, Director 
 
 The East Los Angeles Community 
 
 Union (TELACU) 
 1330 South Atlantic Boulevard 
 Los Angeles, California 90022 
 213/268-6745 
 Claude Martinez, 
 
 Director of Development 
 
 NEDA 
 
 5218 East Beverly Boulevard 
 
 Los Angeles, California 90022 
 
 213/724-6484 
 
 Silvestre Gonzales, 
 
 Regional Vice President 
 Jack Wilburn, Coordinator 
 213/824-7691 
 Powell McDaniel (OMBE 
 
 Representative) 
 213/824-7715 
 
 Joseph Luna (OMBE Representative) 
 213/824-7715 
 
 Memphis 
 
 Memphis Business League (NBL) 
 
 384 E. H. Crump Boulevard 
 
 Memphis, Tennessee 39126 
 
 901/574-3213 
 
 Leonard J. Small, Sr., Project Director 
 
 Harold Jones (OMBE Representative) 
 
 901/534-3216 
 
 Miami 
 
 NEDA 
 
 8551 Coral Way 
 Suite 307 
 
 Miami, Florida 33155 
 305/221-5531 
 Dr. Antonio Machado, 
 Regional Vice President 
 
 Newark 
 
 MEDIC Enterprises, Inc. 
 287 Washington Street 
 Newark, New Jersey 07102 
 
 201/642-8054 
 
 New Haven 
 
 Greater New Haven Business and 
 Professional Men's Association 
 226 Dixwell Avenue 
 New Haven, Connecticut 06511 
 Gerald S. Clark, Executive Director 
 203/562-3819 
 
 New York 
 
 Puerto Rican Forum, Inc. 
 
 156 Fifth Avenue 
 
 New York, New York 10010 
 
 212/691-4150 
 
 Hector I. Vasquez, Executive Director 
 
 14 
 
New York (continued) 
 
 Richmond 
 
 Capital Formation, Inc. 
 215 W. 125th Street, Room 313 
 New York, New York 10027 
 Hirom C. Cintron, Director, Harlem 
 
 Office 
 212/222-9650 
 
 Brooklyn Local Economic Development 
 
 Corporation (BLEDCO) 
 1519 Fulton Street 
 Brooklyn, New York 11216 
 212/493-1663 
 Preston Lambert, Executive Director 
 
 NEDA 
 
 19 West 44th Street 
 
 Room 407 
 
 New York, New York 10036 
 
 212/687-1128 
 
 David J. Burgos, 
 
 Regional Vice President 
 
 Philadelphia 
 
 Entrepreneurial Development 
 
 Training Center 
 1501 North Broad Street 
 Philadelphia, Pennsylvania 
 215/763-3300 
 Alphonso Jackson, Director 
 
 Phoenix 
 
 NEDA 
 
 Amerco Towers 
 
 2721 North Central 
 
 Suite 727 South 
 
 Phoenix, Arizona 85004 
 
 602/263-8070 
 
 Joseph Sotelo, 
 
 Regional Vice President 
 
 Pittsburgh 
 
 Business & Job Development 
 
 Corporation (BJDC) 
 7800 Susquehanna Street 
 Pittsburgh, Pennsylvania 15208 
 412/243-5600 
 Forrest L. Parr, President 
 Marian Diggs (OMBE Representative) 
 412/644-5529 
 
 National Business League 
 
 700 North Second Street 
 
 Richmond, Virginia 23219 
 
 703/649-7473 
 
 Allen Roots, Acting Project Director 
 
 San Antonio 
 
 NEDA 
 
 1222 North Main Street 
 
 Kallison Tower, Room 422 
 
 San Antonio, Texas 78233 
 
 512/224-1618 
 
 Cipriano F. Cuerra, Jr. 
 
 Regional Vice President 
 Jesse Rios (OMBE Representative) 
 512/225-5511 
 
 San Francisco 
 
 Plan of Action for Challenging 
 
 Times (PACT) 
 635 Divisadero Street 
 San Francisco, California 94117 
 415/922-7150 
 Everett Brandon, President 
 
 Seattle 
 
 United Inner City Development 
 
 Foundation 
 1106 East Spring St. - Xavier Hall 
 Seattle, Washington 98122 
 206/626-5440 
 Wilson Gulley, Executive Director 
 
 Washington, D. C. 
 
 Mayor's Economic Development 
 
 Committee (MEDCO) 
 1717 Massachusetts Ave., N. W., 
 
 Room 704 
 Washington, D. C. 20036 
 202/667-6480 
 Michael D. Wallach, Director, 
 
 Business Assistance Center 
 Curley King (OMBE Representative) 
 202/967-5051 
 Howard University's Small Business 
 
 Guidance & Development Center 
 Post Office Box 553 
 Washington, D. C. 20001 
 202/636-7447 
 Dr. Wilford White, Director 
 
 15 
 
Profiles of urban businesses are for sale at listed prices by the 
 Superintendent of Documents, U.S. Government Printing Office, 
 Washington, D.C. 20402. 
 
 Beauty Shops (25 cents) 
 Bowling Alleys (30 cents) 
 Building Service Contracting 
 
 (30 cents) 
 Children's and Infants' Wear 
 
 (25 cents) 
 Contract Construction (30 cents) 
 Contract Dress Manufacturing 
 
 (25 cents) 
 Convenience Stores (25 cents) 
 Custom Plastics (30 cents) 
 Dry Cleaning (25 cents) 
 
 Furniture Stores (25 cents) 
 Industrial Launderers & Linen 
 
 Supply (30 cents) 
 Machine Shop Job Work (30 cents) 
 Mobile Catering (25 cents) 
 Pet Shops (30 cents) 
 Photographic Studios (25 cents) 
 Real Estate Brokerage (25 cents) 
 Savings & Loan Associations 
 
 (30 cents) 
 Supermarkets (30 cents) 
 Preparing a Business Profile (20 cents) 
 
 6U.S. GOVERNMENT PRINTING OFFICE: 1972-721-938/707