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Take the digital out of digital photography.

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4/1324 www.ppmag.com

PROFESSIONAL

senior editor

JOAN SHERWOOD

[email protected]

features editor

LESLIE HUNT

[email protected]

editor-at-large

JEFF KENT

[email protected]

art director/production ma

DEBBIE TODD

[email protected]

creative services manag

publications & SSACHERYL PEARSON

[email protected]

creative services coordin

VALENCIA JACKSON

[email protected]

eastern region ad manager

TARA TRUITT

404-522-8600, X230, [email protected]

central region ad manag

MARINA ANDERSON

937-902-8217, manderson@p

western region ad managerAMY WALLS

404-522-8600, X279, [email protected]

publications sales staff

director of sales & strategic alliances

WAYNE JONES

404-522-8600, x248, [email protected]

EDITORIAL

director of publications

JANE GABOURY

[email protected] mysteries revealedWEVE GOT AN EAR TO THE GROUND

TheLoop is PPAs new online social network for professional photog-

raphers (theloop.ppa.com). Launched late last year, it has already

attracted more than 10,000 users. Because its a forum exclusively

for professional photographers, participants feel free to discuss all

manner of topics they might not otherwise share on a World Wide

Web full of clients, potential customers, and amateur photographers,

topics like business matters related to operations, pricing, and

selling; technical issues regarding lighting and other equipment;

industry insider insights; mentoring and image critiquing; and

words of encouragement and support for fellow professionals.

A recent thread that caught my eye was among some folks ponder-

ing the mysteries ofProfessional Photographermagazine, so I

thought Id share some insights into our processes here.

We receive dozens of story pitches, ideas, and unsolicited manu-

scripts every month. We read each one and respond to every sender.

Even though many are terrific, only a small percentage of them are

accepted due to the volume alone. It happens quite often that we

get similar (sometimes nearly identical) pitches from several people.

We declined some proposals because we have a similar story in the

pipeline or weve covered it in the recent past. Others are too far

afield in subject matter or came from photography enthusiasts

rather than professionals.

In addition to using TheLoop and email as customer listening

posts, we are responding to the suggestions you made in last summers

reader survey. (You did participate, didnt you?) Weve pored

through the data and found that although the majority of readers

are wedding and portrait photographers, there is also keen interestin hearing about other photographic specialtiessports, travel,

architecture, photojournalism, and more. So in the year ahead youll

find coverage of these and other topics.

There is no mystery in how this magazine is produced. We aim

to be transparent, receptive, and innovative. We welcome suggestions

and ideas. We attempt to deliver an exceptional experience that gives

you the information and inspiration you need to be the best you can

be. We look to you for feedback on what you want to see here, how

were doing, and what we can do to improve your magazine.

Now dont be a stranger.

Jane Gaboury

Director of [email protected]

facebook.com/ppmagazine

twitter.com/ppmagazine

pinterest.com/ppmag

theloop.ppa.com

editorial offices

Professional Photographer229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S

404-522-8600, fax: 404-614-6406Professional Photographer (ISSN 1528-5286) is published monthl

subscriptions

Professional PhotographerP.O. Box 3606, Northbrook, IL 60065-3606, 800-742-7468;

fax 847-291-4816; [email protected]; www.ppmag.com

member services

PPA - Professional Photographer800-786-6277, fax 404-641-6400, [email protected], www.ppa.com

Advertising materials contact: Debbie Todd at [email protected] rates/information: U.S. Print: $27, one year; $45, two yea

three years. U.S. Print and Digital Combo: $37, one year; $65, two years; $years. Canadian Print: $43, one year; $73, two years; $108, three years. C

Print and Digital Combo: $53, one year; $93, two years; $138, three yInternational: $19.95 one year digital subscription.

Back issue/Single copies: $10 U.S.; $15 Canada; $20 InternationaPPA membership includes: Domestic $17.50, Non-Domestic $42 annual sub

Subscription orders/changes: Send to Professional Photographer, Attn: CDept., P.O. Box 3606, Northbrook, IL 60065-3606; 800-742-746

FAX 847-291-4816; email: [email protected]; Web site: www.ppmagPeriodicals postage paid in Atlanta, Ga., and additional mailing offic

Postmaster: Send address changes to Professional Photographer magP.O. Box 3606, Northbrook, IL 60065-3606

Copyright 2013, PPA Publications & Events, Inc. Printed in U.S.A

Article reprints: Contact Professional Photographer reprint coordinatoWrights Reprints; 1-877-652-5295.

Microfilm copies: University Microfilms International,300 North Zeeb Road, Ann Arbor, MI 48106

Professional Photographer (ISSN 1528-5286) is published monthly for $27 per yePublications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tow

GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offic

Acceptance of advertising does not carry with it endorsement by the publisher. Opinions ex

Professional Photographeror any of its authors do not necessarily reflect positions of Profess

tographers of America, Inc. Professional Photographer, official journal of the Professional Pho

of America, Inc., is the oldest exclusively professional photographic publication in the Western H

(founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abels Photographic

Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, P

Photographer,and Professional Photographer Storytellers. Circulation audited

and verified by BPA Worldwide.

contributing editors

DON CHICK, ROBYN L. POLLMAN, ELLIS VENER


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PORTRAIT OF

A BUSINESSMichael Potthast builds ona family legacyby Will Pollock

GRIZZLY DETAILS

Charles Glatzer doesnt justhappen to be in the rightplace at the right timeby Eric Minton

DAY-AFTER MAGICTodd Surber is in the business ofcapturing happiness

by Jeff Kent

ENGAGEMENT:

THE ACCIDENTAL PHOTOGRAPHER

Tanja Lippert takes charge of the shoot

by Stephanie Boozer

ENGAGEMENT: COMMITTED

For Bre Thurston, engagementsessions are about simplicity

by Stephanie Boozer

COMMERCIAL: ANIMAL MAGNETISM

Sharon Montrose finds patienceand knowledge of breeds are crucialby Erin Quinn OBriant

IMAGE BY: TANJA LIPPERT

98

90

104

108

70

80

Features

FEB

CONTENT


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DepartmentsCONTACT SHEE T

24 The dire state of sharks

26 PPs giveaway of the month

26 PPasks: How do you organizeyour creative inspirations?

28 Puppy love: Melinda Secord

PROFIT CENTER

31 What I think: Todd Surber

32 Ask the experts

36 Starting over: Professional

confessionalby Kalen Henderson

38 Pricing wedding commissionsby Bridget Jackson

42 How to land more clientsby Angela Pointon

44 Tongue-tiedby Holly Howe

48 My studio: MacGregor Studioby Don MacGregor

THE GOODS

51 What I like: Tanja Lippert52 Roundup: Clothing and

accessory trendsby Robyn L. Pollman

54 Lighting tutorial: Light a garafor great portraitsby Fuzzy Duenkel

58 Lens roundup: Glass analysisby Stan Sholik

64 Pro review: Sigma 18-250mmF3.5-6.3 CD Macro OS HSMby Stan Sholik

68 Pro review: Samsung NX20

by Pete Wright

ON THE COVER: Michael Potthast, CPP, cathis PPA Loan Collection image, Her Majesafter six months of planning and with no seffects. Potthast used a Hasselblad H1 cambody with a Phase One Digital Back and an lens. He shot at f/4.8 for 1/30 second, ISOLighting was provided by a Photogenic Powwith a 9x24-inch Larson Soft Strip and a wreflector. He credits stylist Lynda Whitney costuming and Elvin Velez for makeup.

8 www.ppmag.com

14 FOLIO

117 PPA TODAY

125 AFFILIATE SCHOOL DA

130 GOOD WORKSPROFESSIONAL PHOTOGRAPHER | FEBRUARY 2013 | WWW.PPMAG.COM

Faced with a bride and groom who had no time for post-

ceremony photos, Todd Surber staged a second wedding shoot after their honeymoon.

And a new business niche was born.

IMAGE BY: TODD SURBER

CONTENTS

90


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The Image is Everything

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This is why we're constantly developing new best-in-

class products and services. It's why every photo you

send us and every product you order is scrutinized tomake sure they come out perfect. We know that if

we make your images look as good as possible, you'll

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Professional Photographersof America229 Peachtree St., NE, Suite 2200

Atlanta, GA 30303-1608

404-522-8600, 800-786-6277

FAX: 404-614-6400,

www.ppa.com

2012-2013 PPA board

president

*TIMOTHY WALDEN

M.Photog.Cr., F-ASP

[email protected]

vice president

*RALPH ROMAGUERA SR.

M.Photog.Cr., CPP,

API, F-ASP

[email protected]

treasurer

*SUSAN MICHAL

M.Photog.Cr., CPP, ABI

[email protected]

chairman of the board

*DON DICKSON

M.Photog.Cr.,

Hon.M.Photog, CPP

[email protected]

directors

DON MACGREGOR

M.Photog.Cr., API

[email protected]

MICHAEL GANM.Photog.Cr., CPP

[email protected]

ROB BEHM, M.Photog., CPP

[email protected]

LORI CRAFT, Cr.Photog.

[email protected]

MICHAEL TIMMONS

M.Photog.Cr., F-ASP

[email protected]

RICHARD NEWELL

[email protected]

STEPHEN THETFORD

M.Photog.Cr., CPP

[email protected]

AUDREY L. WANCKET

M.Photog.Cr., CPP

[email protected]

industry advisor

KEVIN CASEY

[email protected]

PPA staff

DAVID TRUST, CAE

Chief Executive Officer

[email protected]

SCOTT KURKIAN, CPA, CAE

Chief Financial Officer

Chief Operating Officer

[email protected]

JANE GABOURY

Director of Publications

[email protected]

KRISTEN HARTMAN

Director of Member

Value and Experience

[email protected]

WAYNE JONES

Director of Sales &

Strategic Alliances

[email protected]

ANGELA KURKIAN,

M.Photog.Cr.

Director of Education

[email protected]

SCOTT MORGAN

Director of Information

Technology

[email protected]

WILDA OKEN

Director of [email protected]

CARLA PLOUIN

Director of Marketing

and Communications

[email protected]

LENORE TAFFEL

Director of Events

[email protected]

CLAIRE WHITE

Director of Allied Associa

[email protected]

SANDRA LANG

Executive Assistant

[email protected]

*Executive Committee

12 www.ppmag.com


13/132Discover more online at XXXCMBDLSJWFSJNBHJOHDPNt

Amanda ReedOwner of Amanda Reed Photogra

My seniors will come from hundreds of miles

away for these Custom Magazines. Their school

friends notice right away theyve been to Amanda

Reed Photography.

Ordering Prints on Standout

Mounts have been popular with my

clients. They can choose from

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Custom MagazineClients love high-quality wall pr

and I love the look on their faces

when they see their Gallery Wra

the first time.

Gallery Wraps

My business and my family mean the world to me. When it comes to my clients, delivering

the final product is the climax moment of their journey with me. I know that I can trust

Black River Imaging to nail that moment every time. My family and I have visited their

facility several times and everyone there is like family, wonderful and caring. From top to

bottom, they are doing everything possible to help professionals succeed.

To view more of Amanda's work visit www.amanda-reed.com



folio| Showcasing images selected from the files of the PPA Loan Collection, Folio is a monthly sample ofaward-winning photography selected from PPAs annual International Photographic Competition (IPC),which is open to non-PPA members. The current Loan Collection is a select group of more than 400photographs chosen for distinction by the IPC jurors. ppa.com/competitions/international.php

SPIRIT TEAM

Mark Bryant of Missoula, Mon., created the poster image Spirit Team for

the Spirit Squad at the University of Montana. His studio, Bryant

Photographics, specializes in group portraits and advertising and architectural

photography. bryantphotographics.com

CAMERA & LENS: Canon EOS-1Ds Mark III camera, Canon EF 24-70

f/2.8L lens

SETTINGS & EXPOSURE: f/11 for 1/125 second, ISO 100

LIGHTING: A Photogenic PowerLight 1250DR monolight was placed

overhead as the main source and modified by a 28-inch Mola beauty di

fill, a Norman LH-2000 lamp was modified by a 4x6-foot Larson soft

and bounced from the rear wall. Background light was provided by a

Photogenic PowerLight 1250DR moonlight modified by Chimera large st

lights with soft grids.

SOFTWARE: Adobe Photoshop CS5, Lightroom 4, and Photomatrix H

ark Bryant


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bowensusa.comBowens and the power behind the picture are registered

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IF YOU ONLY KNEW

Barbara Berry, M.Photog., CPP, of Legacy Studios in Keller, Texas, specializes in

child and family portraits. The girl in If You Only Knew is the daughter of a

sailor, and this portrait was made on the occasion of her birthday. I think her

expression says it all, says Berry. How does a little girl feel when shes

shuttled, frequently, into a new school, then separated from her deployed

father? This portrait captures the very real sentiments of many military families

facing similar challenges, yet she sparkles with promise. legacystudiostexas.com

CAMERA & LENS: Canon EOS 5D Mark II camera,

Canon EF 24-70mm f/2.8 USM lens


LIGHTING: For the main light, a White Lightning X2400 strobe was modified by

a 5-foot Photoflex OctoDome, positioned about 50 degrees to the subject to the right.

A White Lightning X2400 modified by a 24x36-inch Paul C. Buff soft box was

used for fill. Hair light is from a White Lightning X2400 modified by a strip soft box

SOFTWARE: Adobe Photoshop CS5, Corel Painter

TINY GEM

Adrian Henson, M.Photog.Cr., MEI., CPP, of New Bern, N.C., created the composite

Tiny Gem as a self assignment. The salamander is one of her sons many pets.

I was inspired by a conversation with Michael Barton, M.Photog.MEI.Cr., CPP, about

great subject matter being all around us, she says. I began looking around and dis-covered that he was absolutely right. Adrian Henson Photography specializes in high

school senior portraits and dance and commercial photography. adrianhenson.com

CAMERA & LENS: Canon EOS 5D Mark II camera, Canon 100mm Macro lens


LIGHTING: Split main lighting with two 160WS Alien Bees B400s; one strip

light with a grid on either side of the opaque white container holding the

salamander. The lights were modified by a 10x36-inch Paul C. Buff foldable strip

box with a Paul C. Buff strip box grid and used at full power for fast flash

duration so Henson could use a small aperture.

SOFTWARE: Adobe Photoshop, Adobe Pixel Bender Plugin, Nik Color Effects Pro

Adrian

Henson

Barbara Berry

16 www.ppmag.com


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Raising awareness about theplight of the oceans top predator

In March, the Convention on International

Trade in Endangered Species of Wild Fauna

and Flora (CITES) holds its 16th biannual

Conference of the Parties in Bangkok.

Among other business, members of the

Conference will discuss threatened speciesand officially cite those deemed endangered.

Two concerned photographers are mak-

ing a case for listing an oft-misunderstood

animal as a threatened species. Chris Huss

and David Strickland, both veteran scuba

divers, have witnessed worldwide shark pop-

ulations dramatically diminish. As apex pred-

ators, sharks are critical to healthy marine

ecosystems. However, the largely inaccurate

public perception of the shark as a blood-

thirsty killer makes protecting the species a

hard sell. Huss and Strickland set out to

alter that perception through photography.

Ive always been fascinated by sharks

and struck by their beauty and grace, says

Strickland. Sadly, in recent years, shark popu-

lations have declined drastically due to severe

overfishing, driven in part by demand for

shark fins for use in shark fin soup.

The oceanic whitetip shark, thought to

be one of the most populous large animals

on earth in 1970, is now reduced by about

97 percent in the Atlantic Ocean. In the Gulf

of Mexico and Indian Ocean, the whitetip

population is down by 99 percent.

Chris and I want to do our part to raise

awareness, says Strickland. We want to

put the spotlight on sharks and ultimately

to have six particularly vulnerable species

of shark declared endangered.

Huss and Strickland currently have

exhibition of their work, titled State of

Sharks, at The G2 Gallery in Venice, C

on display through March 3, the openi

day of CITES. The exhibition will then

internationally.

Photographing sharks is a truly rew

ing and awe-inspiring experience, says

Strickland. I hope that the privilege w

there for other photographers and anim

lovers for many, many years.

CONTACT SHEETWhats New, Cool Events, Interesting People, Great Ideas, Etc.

SHARKS

THE DIRE STATE OF

24 www.ppmag.com

All images Chris Huss & David S


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CONTACT SHEET

PPAsks You inspire us! We arecontinually delighted by thecomments, observations,photos, and messages youpost on our Facebook page

(facebook.com/facebook). You boost oget us chuckling, and rap our knuckles we deserve it. Every so often, we post query and ask for your feedback.

HOW DO YOU ORGANIZE YOUR

CREATIVE INSPIRATIONS

AND IDEAS?

My overflowing inspiration file folder heverythingfantastical fashion spreadadvertisements clipped from Vogue another magazines, and from catalogues Free People and Mini Boden for stylingposing inspiration, and images printed the Internet for newborn posing inspira

Susann

I create a mood board for whatever Im lto do, usually pinned on a wall somewh

Jen B

Im a sucker for Pinterest. I have boardevery shoot Im working on plus a big bof ideas Id like to try. I send that one tclients when theyre trying to come uptheme for their session. That helps thevisualize what I see in my head.

Brittany

I use a binder with page protectors in iwhen I need inspiration, its right there

Shannon Lee DiGi

Good old-fashioned paper and pencil.Technology cant be trusted!

Mandy

Youre supposed to organize them? I jadmire what I see and move on. I will nagain look at it even if I store or organisomehow.

Kristine

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A new approach to maternityand newborn portraits

Melinda Secord, owner of Photography by

Melinda in Indianapolis, recently thought

up a fur-lined twist on maternity and new-

born portraits. More accurately, the subjects

are the twisttheyre canine. Secord had

done a shoot with a dog family, a white

Maltese named Romeo, his teacup Yorkie

mate, Juliet, and their five puppies. When I

heard Juliet was pregnant again, I asked if I

could make some pregnancy portraits. Id

never seen it done, she says.

Secord posed Juliet to showcase her

bulging belly, as she would a pregnant woman.

The dogs owner suggested a subsequent

session with the newborn puppies, again mim-

icking the look of a human portrait. Secord

photographed the pups days after their birth

and again at 6 weeks. It was fun to do the

progression as the puppies changed like

I do in my baby program, says Secord.

Secord shot in two settings, one in natu-

ral light and one in studio lighting. She did

the natural light shots by a window and

bounced in fill light with a reflector. In-stu-

dio she used White Lightning strobes m

fied by a 5-foot Larson soft box. She pl

large reflector opposite her subjects to

vide fill. Another light in a strip soft bo

above the pups provided hair light. She

with a Canon EOS 5D Mark II camera

a 70-200mm lens and switched to a 24

70mm lens for the final session to get c

to the tiny subjects. She had mere seco

capture their faces before they snuggle

back into their mother.

Secord planned the sessions ahead o

time, warming the room and having th

props (and paper towels for the inevita

at the ready. To get the newborn portr

look, she used a variety of soft fabrics a

netting, plus baskets, bowls, and shoes

also brought in helper-spotters to corra

puppies if need be.

Secord hopes to launch a line of petmaternity and newborn portraits. Peo

love their pets, she says. For many, th

their children. When youre willing to b

flexible and go the extra mile to work w

them, they love you all the more.

See more from Melinda Secordphotographybymelinda.com.

CONTACT SHEET

28 www.ppmag.com

Puppy loveAll images


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31/132February 2013 Professional Photograph

Professional Photographer P R E S E N T S Business, Marketing, and Sales Strategie

What I thinkTodd Surber emphasizes hardwork, dedication, and goals

What advice would you give to someone just start-

ing out in the business? Foremost, realize that its a

business and youll spend about 80 percent of your

time managing it. Second, lose your ego. No matter

how talented you are, the only way to survive is to

be flexible. Third, get ready to work harder than you

ever have. To succeed you need to have goals, stay

on a budget, and maintain passionate determination.

How do you expect the business of professional

photography to evolve in the coming years? Tech-

nology is definitely going to lead the way. Stills and

video are going to merge, and were going to use

more moving pictures along with stills. However, I

believe that stills will always, always have a place.

Also, consumers can be very smart, budget

minded, and many of them love to take

pictures. So professional photogra-

phers need to work very hard to

create a level of quality that most

people cant accomplish.

Whats the secret to running a suc-

cessful photography business?Work

hard, never take a client for granted, and

keep creating work youre proud of. The busi-

ness side can bog you down, so go into each

shoot with the goal of creating something great,

and youll stay energized.

IMAGE BY TODD SURBER

KINGSTREETSTUDIOS.COM


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Q. What in your opinion works best to attract

new clientsFacebook, direct marketing,

mailers, email blasts, word of mouth?

A. Thats a very general question but a great

one. As you note, there are many ways to

attract new customers, some that cost a for-

tune and some that cost mainly time. The

first consideration is the sort of client youre

trying to reach. If you run a value-based

special, youll get clients who base their

decisions on price. If your goal is volume,

that could be the perfect way to cultivate

new clients. In this case, low-cost marketing

such as Facebook and email blasts could be

effective because the cost per client is low.

If youre trying to attract clients who are

looking for a relationship and high-end expe-

riences, youll have to work a bit harder and

invest a little more. This clientele typically

makes decisions based more on quality than

price. Theyll take the time and effort to ask

for referrals from friends and colleagues

whose opinions they value and will doresearch online.

There isnt one single way to get this kind of

new customer, so youll need to take a layered

approach. Our best customers are the ones

who heard of us through multiple places (such

as magazine ads, direct mailings, etc.), along

with online research and word of mouth.

Layered marketing can take time to build,

but even for new photographers, there are

many ways to do it. Start a referral program

for every client, put out flyers in stores and

coffee shops in your community, volunteer

to speak about taking better picturesone

benefit, theyll realize its harder than they

thought and might call you to do itand

start building a Facebook fan base. Over

time, all these efforts will grow, and people

will start to feel like you are everywhere.

Thats when the phone starts ringing.

Kimberly Wylie, M.Photog.Cr.

Q. I opened a studio in a retail space last

spring after having a home studio for over

two years. My business has increased a

ton, but I am so disorganized. Im wonder-

ing how to handle orders and pickups. Ive

been losing orders and forgetting what has

been ordered and what hasnt, so I need

some kind of system. It would be nice to

be able to import orders to studio man-

agement software and then check off

whats been ordered. And pickups are a

problem. I do everything by appointment

because I have three children, and onerequires frequent medical appointments.

Ill go to the studio when a customer

wants to pick up an order, and then Ill

sometimes wait two or three hours for

that person to show up. I honestly dont

have that time to spare. What can I do?

A. Ive been there. When my husband and I

adopted our daughter in 2009, I had to set

up a workflow that met the needs of my

business as well as my family.

The first step in creating an effective w

flow is to write out each step you take

client. You cant set up a workflow with

knowing the steps. There are essentially

stages: pre-session, session, and post-

sion. Start the workflow with the clientto schedule the session and end with th

pickup (or delivery) of the merchandise.

time yourself at each step and jot down

result. Now you have the data you need

evaluate your workflow and pinpoint any

After the client books a session, the

step in my workflow is to create a folde

the person. I insert a checklist of every

in the workflow so I can see where we a

the process. A small thing that helped

lot was creating six bins to hold the fol

at certain stages in the workflow, phys

moving each folder as the work progres

Bin 1 is labeled Planning Sessions; the f

stays there until Ive met the client and

cussed the session. Then I move the fo

into Bin 2, Upcoming Sessions. After th

session, the folder goes into Bin 3, Ses

Edit, while I prepare the images for the or

appointment. Processing complete, I m

the folder to Bin 4, Portrait Preview, w

remains until the order is placed. Then

Bin 5, Retouching/Design, as I prepare

final images and assemble the merchan

That work completed, the folder goes i

Bin 6, Ready for Pickup. Because I have

employees and no mandatory studio hoconduct all face-to-face interaction by ap

ment. Instead of giving clients a time s

for pickup, give them a specific time. T

will help eliminate the unproductive wa

For ordering appointments, I use

ProSelect software. I can enter an orde

while the client is in the studio viewing

choosing images, then print out the ord

with thumbnails of the images, which i

easy reference for the client and for me

use SuccessWare for studio manageme

can import the orders from ProSelect in

SuccessWare, where I can change the stof the order as it moves through the wo

flow.

PPA members can view webinars on

workflow at ppa.com. I

Amber McAdo

Got a question? Email our experts c/o Peditor Jane Gaboury at [email protected]

32 www.ppmag.com

GURUS FROM PPA STUDIO MANAGEMENT SERVICES ANSWER YOUR BUSINESS,

MARKETING, AND SALES QUESTIONS. FOR INFO ON WORKSHOPS, GO TO PPA.COM.

Ask the expertsAttracting new clients; achieving a systematic workflow

STUDIO MANAGEMENT SERVICESPROFIT CENTER

Our best customers are the ones who heard

of us through multiple places (such as

magazine ads, direct mailings, etc.), along

with online research and word of mouth.


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PROFIT CENTER: STARTING OVER

BY KALEN HENDERSON,

M.PHOTOG.MEI.CR., CPP, API

After more than a year of writing this column,

its probably time I came clean with you.

First of all, I am a mom; second, I own a

camera. Now, before you go labeling me,

please hear me out.

I owned the camera long before I became

a mother, and if I had to choose between

motherhood and the camera, Id jettison the

camera, hands down. The camera came to

me at age 10, after a year of practicing with

an old GE light meter that my father bought

while serving overseas in the Army. My dad

loved photography as a hobby. I can remember

cold Sunday afternoons at our home viewing

tray after tray of slides as Dad told stories about

his family and the places hed seen while

serving our country. He projected them onto

the side of our avocado green refrigerator (a

cool color in the 60s) because he never

invested in a screen, and my mom refused totake down the framed pictures on the walls

to accommodate the viewing session.

I took that GE light meter everywhere.

Id hang it around my neck as I rode my bike

past barns and fields I knew Id one day

photograph. I obtained the camera only

after Id proved I had money to pay for my

own film and processing, which I earned by

babysitting and mowing lawns. I also had to

promise to shoot only slide film.

My fascination with photography grew

stronger through my time in the 4-H Club

and as the yearbook photographer at our

small high school. I was still in high school

when I got a job offer at the daily newspaper

in a large community about 12 miles from

home. There I learned to process and print

black-and-white film and gained an appreci-

ation for purchasing Tri-X film in bulk.

My story as a mother began in 1984, with

sequels in 1986 and 1988. The saga contin-

ues, woven through my career in profes-

sional photography.

So whats the big deal about moms with

camerasor any non-professional with a

camera at the ready? If youve read any of

my previous columns, you know my feel-

ings about people who try to pass them-

selves off to the public as professionals when

they arent at all qualified. But labeling

them Moms with cameras does nothing

to solve the dilemma. To do so, we must

first define the problem.

I prefer to think of them as hobbyists on

steroids. Youve probably heard about athletes

on steroids, how it can lead to obnoxious

behavior and exaggerated confidence intheir abilities, which leads to injuring them-

selves and others. Camera makers, software

developers, and many others in the industry

are doing such a good job of marketing their

products that it can make anyone believe

photography is easy. A little natural light,

autofocus, programmable camera, the swag-

ger of Ashton Kutcher, andvoil!youre

as good as a professional photographer.

That extremely effective marketing is the

steroid thats causing the frenzy and not

exclusively in the female gender.

There is no quick and easy solution, save

for professionals continuing to raise the

bar for themselves and the industry as a

whole. Photographic certification, print

competition experience, ongoing education,

advanced photographic degrees, show

clients how to see the difference, and t

active promotion of all of the above wi

expand the gap between true professio

and enthusiastic hobbyist. Those are t

healthy antidotes to a population over

fident on steroid marketing.

Short of Congress requiring a bloo

to verify our professional status, thats

we counter the onslaught. Stay the cou

As a true mom with a camera, Id like

load all of you in my minivan and take

out for coffee, except I sold my miniva

along with my Tri-X bulk film loader.

Kalen Hendersons Studio K/HendersoPhotography is located in Mt. Pleasant,

Professional confessionalMy name is Kalen, and Im a mom

36 www.ppmag.com

Veer


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There are three steps to wedding pricing.

Easy, right? Apparently not, judging by the

trend for photographers to add products or

production time to wedding packages with-

out increasing prices, thinking it will help

them compete for customers. In the shoot-

and-burn arena, photographers are lowering

the barrier to entry and competition is forc-

ing it even lower, as there will always be

someone doing it cheaper.

Its important to base prices on costs and

the amount of money you personally need to

make, keeping in mind your ideal clients

and market. Work through the following

steps to create pricing thats profitable.

1. CALCULATE THE VALUE OF

YOUR TIME

Coverage plus products.As estimated by the

mentors of PPAs Studio Management Serv-

ices, the time it takes to complete a wedding

commission from initial contact to delivery

of products is about 40 hours. Assuming an

hourly rate of $30, the time component should

be a minimum of $1,200. That should not

only compensate you for your time but also

cover the expense of any outsourcing of pro-

duction. SMS mentors suggest you spend no

more than $20 per hour for outsourced

tasks. If you spend more than 40 hours on a

wedding commission, you should consider

raising your time charge.

Shoot and burn. If you are a shoot-and-

burn photographer, you probably spend less

time per commission, so logically it would

seem your time component should be less.

But consider this: If it takes 30 hours to

shoot, process, and burn a wedding, at $30

per hour, your average wedding sale would

be only $900. You would have to do a lot

more weddings to reach your overall revenue

goal. Consider at least doubling the $900 to

make your average wedding sale $1,800.

2. CALCULATE A PRODUCT CREDIT

This calculation should be familiar. If a

product costs you $800, simply mark it up

(multiply your cost) four times to achieve a

25 percent cost of sales; the price you charge

the client would be $3,200. The PPA cost of

sales benchmark is 25 percent for both

home-based and retail location studios. You

should not need to include any charges for

production time except for album design, as

the 40 hours estimated to complete the

average wedding includes postproduction.

3. BUILD PACKAGES

Since most photographers offer packages

and most consumers expect to buy wedding

packages, SMS mentors suggest the good,

better, best pricing strategy and the you-get-

it-all package. Typically, the consumer will

gravitate toward the middle package. You-

get-it-all packages can attract those con-

sumers who always want the best. And bear

in mind that if its not on your price list, you

are guaranteed notto sell it.

It is important that all packages are priced

profitably by using the principles above. If

its a challenge for you to achieve a 25 c

sales on a package, consider adding or

stituting products with a lower cost or

ucts that require less production time.

OTHER CONSIDERATIONS

Custom quoting packages can simplify

pricing process and give clients exactly

they want. Consider basing coverage p

on the kind and location of wedding re

tion or charging an hourly rate with a m

mum. For example, a $1,500 fee for cov

a reception at the church or an hourly r

$225 with a minimum of three to four

on a Friday or Sunday, eight hours on

Saturday. Along with the coverage fee,

could offer a credit toward products. P

your product prices la carte to allow c

to purchase exactly what they want and

to allow for up-selling if the product cr

doesnt cover everything the client wish

to buy.

Pricing loose prints is based on hardmultiplied by the markup factor of fou

achieve a 25 percent cost of sales. In ou

example of pricing an 8x10, the hard cost

to $6. Therefore, your price for an 8x10

be $24. Because all of the time associa

with producing the prints is incurred in

postproduction of the wedding and is inc

in the amount you charge for the actua

erage, you dont need to include additio

production time costs in calculating the

for loose prints. Typically, 8x10s and sm

prints are priced lower for weddings th

for portraits. I

Bridget Jackson, CPA, is Studio ManageServices manager at Professional Photophers of America. Email bjackson@ppa

Pricing wedding commissionsThree easy steps to getting it right

PROFIT CENTER: MAKING MONEY

BY BRIDGET JACKSON

38 www.ppmag.com


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PROFIT CENTER: MASTERING MARKETING

BY ANGELA POINTON

This months article provides more than mere

instructions on landing more clients. It tells you

how to land more of the rightclients. I covered

the first steps in last months column: finding

your ideal clients. Once you understand who

your ideal client is, you can find more of them.

LOCATE HANGOUTS

People like to hang out in different places

with various groups. Some are obvious, such

as engaged couples frequenting wedding

blogs. If we open our minds, we can increase

the opportunity to connect with more

potential clients in various market segments.

Lets use a wedding photographer in this

example. Ill assume that this photographer

has determined he wants to cover high-end,

outdoor wedding ceremonies within 90

miles of his studio. Those specifications limit

the number of caterers, florists, event coor-dinators, and wedding venues covering his

ideal market. This photographer should

build a list of the potential partners who are

interacting with his ideal couples and start

connecting with them. Find out what events

they are attending with the intention of net-

working with them there, or pick up the

phone and work his way down the list.

A commercial or fashion photographer

can perform the same exercise. Who is whis-

pering in the ear of her potential customers?

Are they the art buyers at national advertis-

ing agencies, brand managers at the top 50

fashion companies? Once that photographer

determines who is within her targets sphere

of trusted influencers, she can begin connect-

ing with them and building relationships.

DONT PAY FOR ADS

OK, smarty pants, if I dont want to pay to

advertise my business, then how do you sug-

gest I get in front of potential buyers? The

answer is twofold: Running a business gets

a whole lot more profitable if we can find

buyers without investing money in advertis-

ing, and its a lot easier to do repetitive mar-

keting if we dont have to shell out money

every time we do it.

Aside from seasonal bursts of work you

experience consistently year after year, you

cant predict when potential customers are

going to buy from you. Therefore, staying

in front of them on an ongoing basis is the

best way of ensuring its you they go to

when the need arises.

MARKET FOR FREE

It would be awesome if you could do all of

the following things, but accomplishing a

select few is a good start.

1. Monthly phone calls. Call a few tar-

geted potential buyers and influencers

monthly. Make sure you have something

interesting to talk about (Do you need a pho-

tographer for any upcoming shoots? is not

interesting). You might tell them about a

recent shoot or a new service youre offering.

2. Social media. Make an effort to connect

and engage with potential buyers and influ-

encers. Dont just follow or blast out content

or links. Engage with followers and fans by

commenting on posts theyre making.

3. Email. The best way to build an email

list of potential buyers is to provide content on

your website that they want. For our high-

end wedding photographer, perhaps it

downloadable list of must-have shots at

wedding. For our fashion and commer

photographer, perhaps its a tip sheet o

capturing clients vision. In both cases,

it a requirement that users leave an em

address before being able to download

content. Send content to those buyers o

reliable schedule, whether weekly (on t

same day of the week) or monthly.

4. Blogging. I assume you have a w

site. If youre able to talk about your w

in a way that helps potential buyers m

better decisions, consider blogging ab

Blogging is a method of search engine

mization that helps your business get

by those seeking talent. Remember wh

your audience is. Unless your potentia

buyer is other photographers, leave ou

techno-speak. Update your blog at lea

once a week and more frequently if yo

have content to share.

5. Shows, conferences, networking

events. Some events help you connect w

potential influencers, some with poten

buyers. Build a strategy for each group a

have a schedule of what you plan to do

who you have to meet with while there

possible, email those people in advance

they know youd like to speak with them

Exposing your business to more pot

buyers can bring only positive things to

business. Once connected, you might g

case of stage fright over what to say, so

month well talk about what makes you

photo business different from the rest a

how to roll that message into the most

tiful elevator pitch in the world. I

Angela Pointon is the founder of Steel TImages, which offers advice to photograpShe recently published her first book, Tof a Photo Business.

How to land more clients

Its not necessarily about advertising

42 www.ppmag.com


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Photoshop and Lightroom are registered trademarks of Adobe Systems Incorporated.


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Does the thought of standing up in front of

an audience start your knees knocking?

You can tackle that problem, and you

should. The ability to engage an audience

can land you clients, establish you as an

expert in your field, and get you invited

to important events so you can network.

In fact, if you aspire to earn a PPA photo-

graphic craftsman degree, presenting pro-

grams is a requirement.

You can send your worst fears packing if

you make a plan for coping. With enough

practice, you may even find that public

speaking becomes one of your favorite

things to do. Lets look at some common

concerns about public speaking and tactics

for dealing with them.

WHY SHOULD I CARE ABOUT

SPEAKING? There is an unexpected

benefit in getting comfortable with an

audience: Your confidence in speaking toclients will blossom. Going through that

analytical process makes you better at

actually doing it. As you prepare your

program, youll organize and clarify your

thoughts. This will give you a clearer

understanding of your topic. Bear in

mind that every client interaction is a

public speaking event. If you can enthrall

an audience of 100 unruly photographers,

you can certainly talk to a bridezilla or a

stressed-out mom of twin 2-year-olds.

And there are huge potential marketing

benefits for your business. Every time I

have a speaking engagement, I send a

press release to the local newspaper. The

public perception is that we must be very

good if people want to learn from us.

ILL RUN OUT OF THINGS TO SAY.

Plan your program to fill more time than

allotted. Organize sections so you can easily

delete or add topics as the program pro-

gresses. I always prepare a just-in-case sec-

tion in my notes for when nobody asks

questions. Youll probably never use it, but

knowing that extra info is there is a wel-

come security blanket.

I COULD NEVER FILL UP A

WHOLE DAY. Day-long programs are

actually easier to do than half-days. In

short programs, theres only enough time to

hit the highlights. A full day affords the

luxury of sharing your love for what you do

and explaining why you do things in a cer-

tain way. And you have time to talk about

the methods that werent as successful as

well as the major mistakes you learned les-

sons fromand what an opportunity for

humor. Having done this for some time, Inow find it more difficult to decide what to

leave out than what to include.

WHAT IF NOBODY ASKS ANY

QUESTIONS?Audience involvement

always makes for a better program. Ques-

tions take up the time, if thats a concern. I

encourage participation by tossing candy to

anyone who asks a question. It helps create

a fun atmosphere as people reach to make a

difficult catch or miss what should have

been an easy grab. Either way, everyone

laughs and gets into the spirit.

WHAT IF SOMEBODY ASKS A

QUESTION I CANT ANSWER?

Always repeat the question. The audience

might not have heard it and it gives you a

few seconds to think about your response.

As you are preparing for a presentatio

make a list of every possible question t

audience might ask, and think about y

responses. There will always be a ques

you didnt anticipate and cant answer

the spot. After repeating the question

yourself another few seconds to think

saying, Thats a really good question, b

Ive never encountered it before. If tha

pened, I would probably .... Finish th

tence with what you think youd do. B

truthful. The audience will respect an

admission of ignorance but will be dis

chanted by a fabrication.

I DONT HAVE YEARS OF

EXPERIENCE. WHAT COULD I

POSSIBLY TALK ABOUT? Most

have a tendency to underestimate our

ties. You probably have lots of valuabl

information to share. Think about the

questions your photographer friends h

for you. What have you done enough t

that you have real experience to talk a

What skills did you bring from other j

or experiences that youve adapted to t

profession? Volunteering for a PPA SuMonday program is a great way to get

started and give yourself some experie

in the comfortable environment of you

own studio addressing a small group.

THERE IS A REALLY

ACCOMPLISHED PHOTOGRAPH

IN THE AUDIENCE AND IM

INTIMIDATED! That photographer

there to hear what you have to say. No

other person knows everythingyou do

you can teach that person one new thi

then the time spent in your program w

have been worthwhile. I

Holly Howe owns Photographic Imagewith her husband, Keith. The studio islocated in North Platte, Neb.

Tongue-tied

BY HOLLY HOWE, M.PHOTOG.CR.PROFIT CENTER

Overcome the fear of public speaking

44 www.ppmag.com


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MacGregor StudiosVancouver, British Columbia, Canada

PROFIT CENTER: MY STUDIO

BY DON MACGREGOR, M.PHOTOG.CR., API

I started MacGregor Studios in 1972 in my

mothers apartment. Because I lacked a drivers

license at that time, my grandmother drove me

to my wedding shoots. Through the years, the

studio grew into a high-volume operation and

included several employees. I realized that family

portraits were the most rewarding to me not only

in a business sense but also in terms of the

fulfillment I get by documenting a family legacy.

Ive come full circle and am back to a one-man

show doing a low volume of work I love thatleaves me time to enjoy teaching and travel.

You wouldnt know from the entrance that

my studio is a 4,000-square-foot warehouse.

Its fronted by a garage door that I regularly

use for window light photography. On our

walls hang dcor pieces of 40 inches or larger.

Because I like to work simply, the 20x40-

foot camera room includes one large softbox and

a couple of accessory lightsplus tons of chairs,

props, and the rest of the toys we all enjoy.

Clients never see the production room

upstairs. It houses a large printer, work-

benches, mat cutter, tools, and a spray booth.File boxes allow me to pull negatives from

sessions as far back as the early 1970s, which

has proven well worth the effort.

A portrait business can realize serious

profit by building its own frames. Virtually

every image that leaves my studio is framed.

We also do our own canvassing, both inkjet on

canvas and the traditional method of stripping

emulsion from photographic paper and embed-

ding it into canvas with a large Drytac press.

This hallway is normally a gallery area

hung with dcor images. At our busiest time

of year, I have no choice but to use the space

to store images in progress. We ensure that

clients dont see the gallery in this condition.

The projection room is without question

the most important part of my studio. I do not

take orders online. For clients to appreciate

what we do, we must educate them, and that

requires advising them about their investment

every step of the way. I showcase master

images that are the very best I can do.

1

1

2

3

4

5

6

2



3

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Professional Photographer P R E S E N T S Products, Technology, and Services

What I likeFor Tanja Lippert, filmis still the gold standard

Whats the best equipment investment

youve ever made? My film cameras. I sho

100 percent film and feel that the look o

my images comes from the film. Film

cameras are affordable, and I am thank

ful Ive stuck with them all these years.

When you need to move fast at a job,

whats your most valuable piece of gear

I love my HoldFast Money Maker cam-

era strap. It allows me to have three cam

era bodies on me at all times and has

saved my neck!

What hot new product are you going out

your way to use? I love the new Blog

Stomp program. Its a quick and easy

way to create blog and website images.

Im addicted to making three-ups.

If money were no object, what equipme

would you run out and buy?A new [film

Leica camera would be at the top of my lis

The one piece of gear you simply couldn

live without I love my Contax 645

medium-format camera.

IMAGE BY TANJA LIPPERT

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52 www.ppmag.com

FLIGHTS OF FAIRYThis Peacock Fairyware dress and headband mark the entry to a

magical fairy setting. The handmade dress has ties in back to custom-fit

multiple sizes. The companys array of fantastical clothing and acces-

sories includes little princess and mermaid costumes. Enchanted

Fairyware; dress and headband $100; enchantedfairyware.com

SWEET CONFECTIONGirls love the trendy design and flower accents on the Pink

and Leopard Ruffle Top and Pants. For the top, row up

row of satin ruffles are sprinkled with pink glitter and satin

rosettes. With its elastic waist, the pants fit many sizes.

Moxie Couture; $51; moxiecouture.com

Buttons and Bows PhotographyFairyographyFairytalePhotography

Julie Wagner, Baby Joy Photography

ROUNDUP BY ROBYN L. POLLMAN

Dainty or dramaticWhats trending in clothing and accessories


53/132

WRAP OF LUXURYLuxurious Maternity Flowy Fabric is a lavish wrap for expecting sub-

jects. Drape it as modesty dictates, let it cascade dramatically or billow

in fan-blown wind. Each piece will wrap most clients neck to ankle withplenty left to spare. Maternity and Newborn Photography Prop

Shop; $95; maternityandnewbornphotographypropshop.bigcartel.com

THE PLEASURE OF YOUR FANTASYWomen of all ages find fantasy appeal in these one-of-a-kind v

inspired gowns. They are custom made in any size and color to

romance of whatever era your client fancies, be it Renaissance, 18th-century Versailles, Rococo, or a fantasy land of never-was. R

Threads Fashion and Accessories; from $150; romanticthre

DAINTY TOPPERThis Newborn Crocheted Headband

from EcoStreet is one of a variety of he

bands, hats, wraps, blankets, and diape

covers for newborns and children. There

something for every clients taste, from

simple and classic to colorful and trend

EcoStreet; $15; ecostreet.etsy.com

LaurieL Photography Alicia C. Pho

Melissa Stottmann,Melissa Stottmann Photography

February 2013 Professional Photograph


54/132

In the 1990s, I transitioned from photographing seniors in my

studio to doing shoots at scouted locations and eventually at

clients homes. But I still needed a place to create images that

looked like they were made in a studio.

In the area where I live, just about every residence has a

garage, and that has turned out to be just what I need to create

both simple, traditional images and powerful, dramatic ones.

The easiest technique is to place the subject a few feet into

the garage and stand outside to shoot. The overhang of the roof

blocks most of the top light while light from the open doorcomes in at about a 30-degree angle. The light is soft and flat.

Of course, if sunlight is bouncing off white concrete, youll get

a different effect. In Figure 1, I used the unpainted back side

of a canvas backdrop.

If that light is too flat for your tastes, keep the background in

the same place but angle it 30 to 45 degrees from outside. Move

so you are shooting from an angle perpendicular to the

background. This adds direction to the light. Theres no need for

fill lighting as long as the angle isnt too steep (Figure 2).

Turning the background to a 90-degree angle gives you split

light with high contrast. You can use fill light or leave it dark for

drama (Figure 3).

Figure 4 shows how you can work without a reflector on the

subjects face if youre going for a profile light. Figure 5 shows the

result of placing the background at a 90-degree angle to the open

garage door and using a reflector for fill.

That works great, but lets go even further. Continue turning

THE GOODS: LIGHTING TUTORIAL

Park itright here

LIGHT A GARAGE FOR GREAT PORTRAITS

54 www.ppmag.com

Youll find lighting solutions from soft todramatic right in your clients garage.

BY FUZZY DUENKEL, M.PHOTOG.CR.

All images Fuzzy Duenkel

Figure 1

Figure 2

Figure 2

Figure 1


55/132

Figure 3 Figure 5

Figure 6

Figure 4


Figure 6

Figure 5

Figure 3


56/132

the background so it s angled more than 90 degrees to the open

door. Face the subject toward the camera, and use a reflector to

get a powerful effect. Figure 6 is an example of this technique

done with the aid of a Fuzzyflectora highly efficient reflector I

made by covering a foam insulation panel with foil. It sits on the

floor as a stand-alone unit and reflects light upward from a low

angle. I get a strong accent light along one side of the subject, and

I usually place my main light opposite. (More below.)

My final technique is turning the background away from the

light so its facing the inside of the garage. With none of the light

from the open door reaching the subjects face, you absolutely

need to kick back some light onto the subject. Thats what I did in

Figure 7with my Fuzzyflector.

Be sure to leave a gap of at least 1 foot around the top and

sides of the background to allow the light to illuminate the

perimeter of the subject. Then its a simple matter of providing

some main light on the subject. I like a low light for impact.

Now lets look at techniques with the main light. For years, I

used only a reflector as the main light source. It works well but

limits the options. For higher light placement, I need a different

method. I could use a twist-open silver reflector on a light stand,

but its not efficient enough for this look. I use a TTL Canon

Speedlite 600EX RT flash and a 22-inch Larson soft box. With

56 www.ppmag.com

THE GOODS: LIGHTING TUTORIAL

Figure 7

Figure 8

Figure 8

Figure 7



Figure 9

F

Figure 10

the small soft box on a light stand, I can direct the light from any

height. I can place it low as I did before (Figure 8) or higher to

reduce the drama and get a less ghoulish effect (Figure 9). Using

flash allows me to control the ambient accent lighting by simply

varying the flash intensity or the shutter speed.Ive begun to use 12x12-inch FloLight LED lights, which are

very useful for garage portraits. Theyre as maneuverable as the

Canon/Larson setup, and because they output continuous light,

what you see is what you get in the final results. I can make

minute adjustments to the height, angle, and feathering of the

light before I make the first shot because I can see what the result

will be. Figure 10 is an image that needed the light to be placed

higher because the ball would have blocked light coming in from a

low angle.

So there you have ita way to produce powerful images in the

simplest of surroundings. I

Fuzzy and Shirley Duenkel have operated Fuzzy Duenkel PortraitArt in West Bend, Wis., since 1975 (duenkel.com).


58/132

THE GOODS: LENS ROUNDUP

If youre ready to upgrade your lens lineup, consider these new models.

BY STAN SHOLIK

Glass analysis

58 www.ppmag.com

Selecting a new lens for your full-frame or

APS-C sensor digital SLR requires many of

the same criteria youd use in choosing any

other camera gear. Whats lacking in your

present equipment? Will the gear pay for

itself by opening new revenue sources? How

soon will it be obsolete? Will it wear out

before then? What is your budget?

With lenses, there are additional factors:

Do you want the convenience of a zoom or

the quality of a single focal length prime lens?

Do you need a fast lens for low light or can

you save money with a slower lens of the same

focal length? Should you look at models

made by independent lens manufacturers?

For every photographer, the answers are dif-

ferent and will change over time. Thats why

manufacturers continue to introduce new

products. Heres an overview of some of the

DSLR lenses released in the past year.

NIKON

Nikon lists 76 lenses in its lineup. Six of them

are newly available or were announced in 2012.

All-in-one lenses are gaining popularity as

all-purpose models to leave on an APS-C

camera, as theyre useful in the widest variety

of situations. TheAF-S DX Nikkor 18-300mm

f/3.5-5.6G ED VRlens affords one of the

widest zoom ratios available, 16.7X. That

makes it ideal for recording high-definition

videowith one lens you can establish wide

shots, medium close-ups, and extreme tele-

photo. The street price is about $1,000.

TheAF-S Nikkor 24-85mm f/3.5-4.5G

ED VRis an affordable full-frame (FX) stan-

dard zoom incorporating Nikons lates

II image stabilization. This lens senses

its mounted on a tripod and automatic

delivers specialized image stabilization

mized for HD video capture. Although

variable-aperture lens, it incorporates

latest optical design with an extra-low

persion glass element (ED) and three as

lens elements. The silent-wave motor a

the lens to be used on all Nikon digital

bodies. The street price is about $600.

Prime lenses may lack the versatility

zooms, but they appeal to professional

their high resolution and usefulness in

light and in isolating the subject from

background. Nikon added two lenses t

FX-format f/1.8 prime lens lineup: the

Nikkor 28mm f/1.8Gand theAF-S Nik

AF-S Nikkor 70-200mm F4G ED VR


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REDEFINING

VIDEO AUTO

FOCUS FOR

PROFESSIONALS

The new Lumix GH3 is at the leading edge of a new breed of mirrorless interchangeable lens cameras

thats changing photography for multi-media professionals. Just touch any part of the image on the

articulating OLED screen and it automatically becomes the focal point. You also get advanced AF

tracking and pro-level rack focusing, so you can follow the action with confidence. Just another

way were engineering a better world for you. Learn more at panasonic.com/LUMIX

screensimula

ted

tREC

[AF]


60/132

85mm f/1.8G. With the outstanding resolu-

tion and sharpness afforded by having 11

optical elements in nine groups, including

two aspherical elements, Nikon declares the

28mm ideal for Nikon D800 and D800E

cameras. The 85mm is ideal for portraiture

on both FX and DX sensor cameras. The

seven-blade diaphragm produces nearly cir-

cular out-of-focus background highlights.

The street price for the 28mm is about $700,

for the 80mm about $500.

One lens that every professional photog-

rapher seems to carry is a 70-200mm f/2.8

zoom. Nikons latest f/2.8 is legendary, but

for those who desire a smaller, lighter lens

with enhanced features, Nikon introduced

theAF-S Nikkor 70-200mm F4G ED VR.

The vibration reduction system is upgraded

again to provide an additional stop of stabi-

lization. The big news is that now photogra-

phers using Nikon D4, D800 series, and D600

bodies can use the cameras teleconverters

without sacrificing autofocus or vibration

reduction. When the lens becomes available,

the street price should be about $1,400.

Professional sports and wildlife photog-

raphers can never have a lens with a too-long

focal length or too-fast an aperture. For them,

Nikon announced its longest focal length

autofocus lens, theAF-S Nikkor 800mm

f/5.6G. A sample of the lens was shown at last

falls Photokina, but few details have been

made available to date, including the release

date and MSRP.

CANON

In August, Canon announced the delivery of

its 80 millionth EF lens. The 76 lenses in the

EF line include those for EOS DSLRs as

well as EF Cinema lenses and EF-M lenses

for ES-M cameras. Last year Canon intro-

duced five new lenses, six if you were cover-

ing the Olympics.

There are two new 24-70mm standard

zoom lenses. The latest upgrade of Canons

professional 24-70mm f/2.8 lens is the EF

24-70mm f/2.8L II USM. This version fea-

tures a rear focusing system, high-speed

CPU, nine-blade diaphragm, and powerful

ring-type ultrasonic motor (USM). Two

low-dispersion lens elements and one super-

low dispersion element reduce chromatic

aberration; two types of aspherical lens

reduce spherical aberration. For greate

tection, the lens has a zoom lock lever a

fluorine coating on the front and rear g

surfaces to fight smears and fingerprin

The street price is about $2,300.

Canons other new 24-70mm lens i

more compact EF 2470mm f/4L IS U

It features a macro setting that can be en

through a switch on the lens barrel, all

0.7X magnification at the 70mm focal le

Also available is full-time manual focu

thats enabled even during autofocus ope

The f/4 version shares many of the feat

of the f/2.8, including low-dispersion a

aspherical lens elements, USM motor, i

stabilization, and fluorine coating on th

front and rear glass. The street price is $

Three new Canon prime lenses fea

added image stabilization and the pow

USM focusing motor. There are new

aspherical lens elements in the EF 24m

f/2.8 IS USM and EF 28mm f/2.8 IS U

lenses to improve image quality at the

edges of the frame. The 24mm focuse

about 8 inches, which can allow you to


60 www.ppmag.com

Canon EF 35mm f/2 IS USM

Sony

18-135

f/3.5-5


61/132

ate images with dramatic perspective. Both

lenses have a seven-blade diaphragm. The

street price for each is about $700.

The third new Canon prime lens is the

compact, lightweight EF 35mm f/2 IS USM.

Close focusing is decreased to 9.6 inches, and

an aspherical lens element improves image

quality throughout the focusing range. The

35mm incorporates improvements in the other

new prime lenses, including image stabilization,

a powerful USM focusing motor, and a circu-

lar diaphragm. The street price is about $850.

Canon hasnt officially released technical,

pricing, or availability info on the EF 200-

400 f/4L IS 1.4Xlens, but a photographer I

know who used it at the 2012 London

Olympics uses only superlatives to describe

it. Unique to this lens is a built-in 1.4X

telextender thats available with the flip of a

switch at the rear of the lens barrel. Specula-

tion on the street price: around $10,000.

SONY

Sony Alpha DSLR cameras are generating buzz

among professional photographers, espe-

cially those shooting HD video as well as

stills. Sony is making a variety of lenses avail-

able for its Alpha APS-C camera bodies.

Covering the most common focal range,

the Sony 18-135mm f/3.5-5.6 zoom allows

manual focusing during autofocus operation

without flipping a switch or damaging the lens.

More of an entry-level lens, it does include a

quiet autofocus motor, a low-dispersion

glass lens element, and two aspherical lens

elements. The street price is about $475.

The SonyDT 55-300mm f/4.5-5.6

medium telephoto zoom lens would cover

the equivalent focal lengths of 82.5mm to

450mm if mounted on a full-frame camera.

With a close focusing distance of 4.5 feet, its

inexpensive yet versatile lens. The street

price is just under $300.

Professional sports and wildlife photog-

raphers using Alpha cameras will be interested

in the two new lenses designed for them: the

300mm f/2.8 and the 500mm f/4. On Sony

Alpha bodies, these lenses are the equivalent

of 450mm and 750mm lenses, respectively,

on full-frame digitals. Both lenses have Sonys

Super Sonic Wave Motor, which delivers

high torque at low speeds and quick start/

stop operation. Both lenses incorporat

dispersion glass elements to compensa

the color aberrations common with lon

telephoto lenses. Direct manual focusi

possible with both lenses by simply tur

the manual focus ring on the magnesiu

lens barrels. The front, back, and the a

around the focusing ring of the 300mm

are constructed to be watertight. The s

price of the 300mm is about $7,500, a

the 500mm is about $13,000.

SIGMA

The first non-Nikon lens I purchased was

Sigma, and Ive used it for years without

regrets or client complaints. Sigma Pho

leader in all-in-one lenses, added four

models to its extensive lineup in 2012.

Sigma 18-250mm F3.5-6.3 DC Macro

HSM is an update of the previous 18-

250mm. Smaller and lighter, the new l

adds image stabilization and close-up c

bility of 1:2.9X. Having recently review

this lens, I can vouch for its very good p

formance and fantastic versatility. The

available for Canon, Nikon, Pentax, Sig


Sigma APO Macro 180mm F2.8 EX DG OS HSM


62/132

and Sony/Minolta APS-C sensor bodies. The

street price is about $550.

A fast 35mm focal length lens is standard

for many professional photographers, and

Sigmas new35mm F1.4 DG HSM fits the

bill. Optical performance is enhanced with

floating internal elements and two types of

low-dispersion lens elements. Sigmas

hypersonic focusing motor ensures fast

focusing even in low light. Available for

Canon, Nikon, Pentax, Sigma, and

Sony/Minolta full-frame and APS-C sensor

bodies, the street price is about $900.

TheAPO 50-150mm F2.8 EX DC OS

HSM is a relatively compact 3X zoom lens.

Designed for APS-C sensor bodies from Canon,

Nikon, and Sigma, it is approximately equiv-

alent to a 70-200mm f/2.8 lens on those

bodies. Internal zooming and focusing keep

the 8-inch length of the lens constant at all

times. Color aberrations are minimized,

earning the lens its apochromatic (APO) des-

ignation, and the superior build and optical

qualities put the lens in Sigmas highest EX

lens line. The street price is about $1,000.

SigmasAPO Macro 180mm F2.8 EX DG

OS HSM is the first f/2.8 lens of its focal

length capable of focusing to 1:1 magnifica-

tion. It weighs a little over 3.5 pounds and

comes with a tripod collar; optical stabi-

lization is also available for those willing to

attempt handholding the lens for macro

photos. At 1:1, the long focal length pro-

vides a working distance of 18.5 inches for

shooting sensitive subjects. The street price

is about $1,700.

TAMRON

Tamron is respected for its macro and zoom

lenses. The latest additions to the line are

likely to further enhance its reputation. All

three lenses are part of Tamrons Super Per-

formance (SP) series for full-frame and

APS-C bodies. For developing raw images

captured by these SP lenses, theres a free

download of Silkypix Developer Studio 4.0

on the Tamron website .

TheTamron SP 24-70mm f/2.8 Di VC

USD for Canon and Nikon cameras includes

Tamrons vibration compensation system

built in. The SP 24-70 f/2.8 Di USD for

Sony relies on the vibration compensation

system built into the Sony cameras. As

member of the SP series, the lens inclu

three low-dispersion elements and two e

refractive index elements. The street pri

about $1,300.

Tamrons latest version of its classi

90mm f/2.8 macro lens features an

updated optical design and ultrasonic

drive motor. It adds vibration compen

tion to the Canon and Nikon versions

not the Sony version. The SP 90mm f/

Di VC USD for Canon and Nikon and

SP 90mm f/2.8 Di USD for Sony featu

internal focusing as well as full-time m

ual focusing and moisture-resistant co

struction. All versions focus to 1:1. Th

street price is about $750.

The third new member of the SP li

the SP 70-200mm f/2.8 Di VC USD fo

Nikon and Canon and its sister lens w

out vibration compensation for Sony.

only 7.7 inches in length, it is the mos

compact lens in its class. Tamrons lat

70-200mm is also an upgrade from th

previous version but with a new optica

design featuring low-dispersion and


62 www.ppmag.com

Tamron SP

24-70mm

f/2.8 Di VC

Tokina

17-35

PRO F


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ultralow-dispersion lens elements and

Tamrons ultrasonic silent drive motor. The

street price is about $1,500.

TOKINA

Tokina is best known for its innovative ultra-

wide-angle and wide-angle zoom lenses. The

latest lenses from the company are along

these same lines.

TheAT-X 107 AF DX NH Fisheye is a

10-17mm f/3.5-4.5 fisheye lens for both full

frame and APS-C sensor Canon and Nikon

bodies. From 10mm to 14mm, the image is

semi-circular on full-frame sensors; from

approximat

professional photographer 2013 02

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