rangefinder february 2014

The Magazine for Wedding and PorTraiT PhoTograPhers (WPPi) rangefinderonLine.CoM feBrUarY 2014

Photo © elizabeth messina

inside WPPI 2014

TheMoney Issue

SaleS Tax Primer

Pricing and Packaging How-ToS

ToP STudio managemenT SofTware

moving PicTureS: 8 filmmakerS' TiPS

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Discover more online at www.blackriverimaging.com • 1-888-321-4665

Mosaic Leather AlbumsAvailable in 8x8, 10x10, and 12x12, our Mosaic Albums are handmade with one and two-leather covers with cameos available in most designs. Images are flush to the edge of the album, and the lay-flat binding makes panoramas appear seamless.

Mosaicalbums

Photos courtesy of Elise Ellis, Melissa DeWitt, Gene Ho and Kelly Broyles.

BE SURE TO VISIT US AT BOOTH #1507 AT WPPI!

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Mosaic Leather AlbumsAvailable in 8x8, 10x10, and 12x12, our Mosaic Albums are handmade with one and two-leather covers with cameos available in most designs. Images are flush to the edge of the album, and the lay-flat binding makes panoramas appear seamless.

Mosaicalbums

Photos courtesy of Elise Ellis, Melissa DeWitt, Gene Ho and Kelly Broyles.

BE SURE TO VISIT US AT BOOTH #1507 AT WPPI!

To request more information see page 109

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RANGEFINDER • FEBRUARY 20142

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49 The Money Issue

50 Counting Your Beans NinetyNine Beans’ Jason Aten’s advice for tracking expenses. As told to Jessica Gordon

58 Setting The Price Three photographers share their pricing methods. By Jack Crager

66 The Sales Tax Primer A tutorial on what to charge and why. By Kristin Korpos

70 Taking Control of Your Business Twelve software programs to help manage your studio. By Theano Nikitas

75 Inside WPPI 2014

76 Observational Therapy Celebrity portraitist Mark Seliger’s musical keynote. By Jessica Gordon

80 Speaker Close-ups Spotlight on Elizabeth Messina, Rob Greer and Katelyn James. By Jacqueline Tobin

82 Filmmaking Track Stars Eight filmmakers’ advice on harnessing the moving picture. Compiled by Lindsay Comstock

90 What Would Jerry Do? The WPPI Grandmaster on getting the shot in-camera. By Jerry Ghionis

94 WPPI Honor Roll A listing of WPPI members, ranked by their Honors of Excellence title. By Jerry and Melissa Ghionis

contentsFEBRUARY 2014 / VOL. 63 / N°02

An outtake from Mark Seliger’s 2011 Lou Reed/Metallica shoot for GQ magazine. Seliger will speak about his work at WPPI’s keynote on March 4, 2014.

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www.pro.usa.canon.com/detail.com

PEMA0142_DSize.indd12-9-2013 12:28 PM Lauren Moise / Chris Martin

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JobClientMedia TypeLiveTrimBleedPubs

PEMA0142_DSizeCanon None7.75” x 10.25”8.375” x 10.875”8.5” x 11.125”Rangefinder

Job info

2014

Notes

Art DirectorCopywriterAccount MgrStudio ArtistProofreader

Alexis RoubilladNoneKaty WrightLauren MoiseNone

Approvals

FontsHelvetica Neue (Regular), Gotham Narrow (Black Italic, Medium Italic)

Images3836_01b_COS120630_0049_swop3v2.tif (CMYK; 375 ppi, 373 ppi; 63.85%, 64.25%), 3894_blackbar_Swop3v2.tif (CMYK; 254 ppi; 118%), 3836_02e_camera_lockup_swop3v2_SIMP.psd (CMYK; 265 ppi; 113.16%), 3894_X.ai (73.16%), 3894_1DX_logo.ai (28.49%, 26.63%), 3894_canon_logo_Swop3v2.psd (CMYK; 326 ppi; 45.95%), SPLASH_Proof-ing_Bar_Vert_2012.eps (100%)

Inks

Cyan, Magenta, Yellow, Black

Fonts & Images

Saved at 100%from nyc01lmoise by Printed At

© 2014 Canon U.S.A., Inc. All rights reserved. Canon and EOS are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries.

DETAILDETAIL

The new EOS-1D X o� ers the most advanced focusing, exposure and low-light performance of any Canon DSLR. With the newly designed 18.1 megapixel full-frame CMOS sensor and a wide ISO range, you can shoot confi dently in any light with the ability to capture low noise images even at a high ISO. And when used with its 100,000-pixel RGB metering system and the new radio-based wireless Speedlite 600EX-RT fl ash system, you will shoot with total control in the most challenging situations.

pro.usa.canon.com/detail

S:7.75”S:10.25”

T:8.375”T:10.875”

B:8.5”B:11.125”

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contentsFEBRUARY 2014 / VOL. 63 / N°02

Camera Lust: Our favorite new products from CES 2014, on pho-toforwardblog.com

ONLINE NOW:

COMING NEXT MONTH IN PRINT:The WPPI Show Issue: A special program guide with easy-to-navigate maps and speaker tracks. Plus: The industry mover and shakers you need to know now!

Columns24 Dear Sally Answering the question, ‘What should I charge?’ By Sally Sargood 26 Light Reading Eyemazing’s daring art photography. By Jim Cornfield

32 From the Cubicle Taking income tax by the horns. By Jason Groupp

98 First Exposure Reviewing DxO Optics Pro 9.1. By Stan Sholik

104 DSLR Video A look at the Simple Studio Photo Video 1344 LED light panel. By Ibarionex Perello

110 Photo Finish Don Hudson’s View of the World. By David J. Carol

Departments8 From the Editor By Jacqueline Tobin

10 From the WPPI Director By Jason Groupp

12 Focus By Lindsay Comstock 20 Editor’s Pick: Gideon Barnett By Lindsay Comstock 109 Ad Index

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www.expodisc.comTo request more information see page 109

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www.bayphoto.com/metalprints

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| FROM THE EDITOR |

Jacqueline TobinEditor-in-Chief

I hate to admit this but at 50 years old, I

still do my own taxes using the simplest

forms and taking zero deductions. I’m

sure accountants would shake their heads

in disgust, but over the years, I just got used

to cranking it out myself (thank goodness for

efile.com). Whatever your method, though, when it comes to

your finances, don’t do what I do! We’ve filled this issue with

plenty of expert advice: NinetyNine Beans’ Jason Aten helps you

track your expenses (page 50); Beth Forester, Andy Marcus and

Sarah Gormley explain how they set their portrait and wedding

package prices (page 58); and MBA/photographer Kristin

Korpos helps you figure out how much sales tax to charge and

why (page 66). We also present 12 studio software programs to

help you manage your studio (page 70). Had enough number-

crunching for one month? The other side of our double-themed

issue takes a sneak peek into everything related to WPPI, our

big Vegas conference and trade show that takes place at the

end of this month (February 27-March 6). WPPI has it all—

education, Print Comp, parties and a very-much anticipated

keynote by celebrity photographer Mark Seliger. Our special

20-page section, starting on page 75, breaks it all down for you.

And remember, we want to meet you so make sure to come and

say hello at the show. See you soon!

Photographer: Elizabeth MessinaCamera: Contax 645Lens: 80mm Carl ZeissFilm: Fuji NPH 400Exposure: F4 at 1/60th ISO: 400 Gown: Claire Pettibone Hair and makeup: Erin SkipleyFlorals: Peony & Plum Comments: “I adore shooting with [designer] Claire Pettibone. This image was created for

her 2014 ad campaign, the inspiration for which came to Claire from a Dutch masterpiece ‘Still Life of Flowers on a Marble Table,’ by Rachel Ruysch, 1716. Elements from a few of the artist’s paintings were composed for the custom-made floral canvas and provided a luxurious setting for Claire’s designs.”

ON THE COVER

Editor-in-Chief Jacqueline Tobin

Managing Editor Jessica Gordon

Senior Editor Lindsay Comstock

Senior Technology Editor Dan Havlik

Contributing Editor John Rettie

Designer Robert Vizzini

Group Production Director Daniel Ryan

Production Manager Gennie Kiuchi

Contributing Writers

David J. Carol, Jack Crager, Jim Cornfield, Jerry

and Melissa Ghionis, Jason Groupp, Kristin Korpos,

Theano Nikitas, Ibarionex Perello, Sally Sargood,

Stan Sholik

For list rental information contact:

Mike Gangel (646) 654-5318

Senior Vice-President, Emerald Expositions

Christopher McCabe (323) 817-2215

Vice President, Emerald Expositions Photo Group

Lauren Wendle (646) 654-5811

Managing Director

John McGeary (646) 754-5174

Associate Publisher

Mark Brown (646) 654-5795

Senior Account Executives

Mike Gangel (646) 654-5318

Lori Reale (858) 204-8956

Account Executives

Jon McLoughlin (646) 654-7255

Garet Moses (646) 654-5774

Alexis Daloni (646) 654-8571

Director of Sales

Melissa Kittson

[email protected]

For subscription information and customer

service, call:

(866) 249-6122 or locally, (847) 763-9546.

Advertising, Classified Garet Moses

Conference Coordinator Rigo Luis

Operations Manager: Neeta Lakhani

Marketing Director Michael Zorich

Marketing Manager Sheryl Navarro

Rangefinder Magazine

85 Broad Street, 11th Floor

New York, NY 10004

CEO, Emerald Expositions

David Loechner

Senior Vice President,

Business Development

Darrell Denny

Vice President, Finance

Denise Bashem

Vice President, Operations

Lori Jenks

Vice President, Digital

Teresa Reilly

Vice President, Manufacturing &

Marketing Services

Joanne Wheatley

®The Magazine for Wedding and Portrait Photographers (WPPI)

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| FROM THE WPPI DIRECTOR |PH

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Jason GrouppWPPI Director of Education and Membership

[email protected] (646) 654-5786

The countdown has begun—WPPI 2014 is almost here (Feb. 27-March 6). We have a great

show planned in Vegas this year, packed with special events, new filmmaking classes and

more, including our first keynote presentation with iconic celebrity photographer Mark Seli-

ger and a performance with his band, Rusty Truck. We’ve also got a can’t-miss party taking place

at the world-class Hakkasan nightclub in the MGM Grand; a new and improved Print Competition,

with a closing night awards ceremony that will be both inspiring and entertaining; and an educa-

tional track with the best teachers from around the world. Granted, we always put on the biggest

tradeshow dedicated to the wedding and portrait world, but this year there’s a buzz like none other!

We’re also very excited to be welcoming filmmakers to WPPI this year, and as expected, we have

the cream of the crop—Adam Forgione, David Robin, Ray Roman, Joseph Switzer and several

others—joining us in Vegas to share their vast knowledge. I’m especially excited to see what Swit-

zer’s class develops for our WPPI highlight film, which we will premiere at the awards ceremony on

Wednesday night, March 5. So buy some comfortable shoes (plus a pair to dance the night away

in), and come to Vegas fully engaged. It’s going be a great week…“The best week of your life!”


OPENING NIGHT PARTY MARCH 2, 8–10PM

Enjoy food, drink and amazing music at the hottest nightclub in Las Vegas, Hakkasan!

Register today! This event is exclusive to Full Conference Attendees.

Space is limited.

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www.profoto.com/us

www.profoto.com/us

Profoto US | 220 Park Avenue, Florham Park NJ 07932 | PHONE (973) 822-1300, profoto.com/us

THE PROFOTO B1 WITH TTLWITHOUT CORDS The new Profoto B1 makes it easier than ever to use your flash off camera.

TTL achieves your light in an instant. With battery-power/without cords, the 500w/s B1 goes wherever you go. Combining performance and the legendary Profoto light shaping system the B1 makes great light easy.

To learn more go to www.profoto.com/us

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News, products, exhibits and more.By Lindsay Comstock

Focus| FOCUS |

Right: “Black Ice #1 and #2(diptych), 2011.”

Above: “White Sands #4, 2009,” by Paula McCartney.

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RKSpotlight on Winter Photographer Paula McCartney has long been interested in subjects of the natural world—from her “Bird Watching” series to photographs of Bronx Zoo dioramas. Her latest exhibit, “Paula McCartney: A Field Guide to Snow and Ice,” at Klompching Gallery in Brooklyn, New York, focuses on another series of a similar sentiment: Winter, covered through the lens of a typical “field guide” approach used to identify wildlife. In this instance the observed natural element is water, and its cold phases are shown as landscapes or abstracted for graphic representation. Says McCartney in her project statement, “I see winter everywhere, in every environment, in every season and categorize it by pattern, shape and line rather than merely by substance.” The exhibit is on view through February 15.www.klompching.com

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www.rangefinderonline.com 13To request more information see page 109

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Dream Shoot Rentals Launched by Lindsay AdlerPhotographer and educator Lindsay Adler has been very busy lately. Aside from her new book, Creative 52: Weekly Projects to Invigo-rate Your Photography Portfolio (Peachpit Press, October 2013), the New York-based shooter has launched a Web-based cloth-ing rental company for photographers called dreamshootrentals.com.

A catalogue of clothing and accessories—including wedding dresses and children’s clothing—the website houses an inventory Adler has amassed from designers around the world, including one-of-a-kind commissioned pieces.

This new business comes after Adler was asked at her workshops where photographers could find beautiful clothing for their shoots. Adler says photographers needed a service like this. “It really started this December when I was commissioning some custom-made dresses from some designer friends of mine…to teach with in the upcoming years. I posted on Facebook to see if anyone would be inter-ested in renting these dresses from me when I wasn’t using them for a class. The response was overwhelming: hundreds of comments within hours.”

Adler hopes this company will fulfill a creative need within the photography com-munity. She posts sneak peeks of her design-ers’ creations to the Dream Shoot Rentals Facebook page, as well as a Facebook group where photographers can share photos they’ve taken with the clothing. Adler says so far she has seen a positive response to the service: “Several photographers have even re-ferred to my site as the ‘missing link’ for their photography. I couldn’t be happier to be this link in their creative chain!”www.dreamshootrentals.com

PROFOTO RFI SOFTBOXES. IT�S MORE THAN A SOFTBOX. IT�S A LIGHT SHAPING TOOL.Photography is all about light – about controlling and shaping light. Therefore, a photographer’s tools should be designed to do just that. This is where Profoto’s RFi softboxes enter the picture.

RFi softboxes come in all sizes and shapes, and are compatible with all major flash brands. To ensure full control for the photographer, they have a deeper shape, a recessed front, double-layered diffusers and a highly reflective silver interior. Optional accessories are available for even more precise light shaping.

In short, an RFi softbox is more than just a softbox…

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Profoto US220 Park Avenue, Florham Park NJ 07932PHONE (973) 822-1300, profoto.com/us



| FOCUS |

Jacques Henri Lartigue’s Snowscapes Though photographer Jacques Henri Lartigue may be best known for his diaristic photographs of life in his native France—capturing friends and family in his upper-class circle as well as national sporting events—Amsterdam-based Gallery Vassie is currently displaying a selection of the artist’s winter photographs in an exhibit aptly named “Let it Snow!” The black-and-white photographs are a time capsule

of early 20th century French life, in which Lartigue’s subjects are depicted traversing snowy landscapes as well as cozying up indoors during the cold months. The photographer was also a master at composition, having honed his practice from the tender age of six. The exhibition is on view through March 29.www.galleryvassie.com

Above: “Francis Pigueron, Chamonix, France, January 1918.”

Above: “Berg, Yvonne, Mme. Chavarel, Le Bossons, Chamonix, France, January 1920.”

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Above: “Renée, Paris, January 1931.”


15To request more information see page 109

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New Portable Photographic Lighting SolutionLooking for an alternative to a traditional speedlight? Interfit Photographic Ltd. recently released the Strobies Pro-Flash One Eighty—a high-powered 180 w/s bare-bulb portable flash unit that can be used on shoots in the studio or on location. The unit is designed for even exposure across the frame, and offers high-speed sync (up to 1/8000 second), stroboscopic functionality (99 flashes in 15 seconds) and available modifiers. The daylight-balanced light is a tool that can be used on- or off-camera and the battery pack boasts 700 full-power flashes. Price: $594.99 (with battery pack). A second flash head can be added for $405.99.www.interfitphotographic.com

PROFOTO UMBRELLAS 12 MODELS. 2 SHAPES. INFINITE POSSIBILITIES.Available in 12 unique models and made with highquality fabrics and surfacetreated metallic elements, Profoto Umbrellas will provide a superior light for years to come.

Available in a deeper shape for photographers who want a broader range of possibilities, and in shallower shape for those who value portability and easetouse.

For further information go to www.profoto.com/us/umbrellas

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| FOCUS |

A Striking Resemblance Striking Resemblance: The Changing Art of Portraiture (Prestel, January 2014), is a recently-released portrait book that includes more than 130 illustrations, and covers the life of portraiture from its beginnings in the 18th century up to contemporary issues such as gender identity and individuality in a changing world. The book also incorporates photographic portraits that include many variations on human relationships. Aside from being a book about photography, it also serves as an investigation of the role of the portrait within society and an art history manual to the genre. The hardcover book includes three essays discussing theories of portraiture. The book includes images from Rineke Dijkstra, Mary Ellen Mark and Loretta Lux, among other portrait artists. An exhibition of images from the book is concurrently on view at Rutgers’ Zimmerli Art Museum in New Jersey through July 13.Price: $49.95www.randomhouse.de/prestel_eng/

Top right: “Castricum aan Zee, The Netherlands, June 1992” by Rineke Dijkstra.Right: “Shane and Shawn Riggins, 29 years

old, Shane older by 3 minutes 2001,“ by Mary Ellen Mark.

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www.rangefinderonline.com 17To request more information see page 109

New iPad App to Assist in Photographic SalesFathomFocus, a new application made for the iPad, functions as a way for photographers to use their iPads for in-person sales of their photography, previewing galleries or projecting slideshows. The app can also either be connected to a computer or projector or directly to a client’s Apple TV. In addition to recording orders, the app has the ability to sort, crop and adjust images as well as create slideshows. FathomFocus also includes companion software (PC and Mac compatible) that allows clients to save images to their computers and to use the iPad as the controller.Price: $99.99 (for a limited time)www.fathomfocus.com

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SHAPE SUNLIGHT WITH PROFOTO�SCOLLAPSIBLE REFLECTORSThe latest addition to our assortment of Light Shaping Tools is a powerful and cordless continuous light source – the sun.

Shape its light with one of ten collapsible reflectors, each equipped with two ergonomically shaped handles, to make them easy to hold and fold. Available in two sizes and six surfaces for any lighting challenge.

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Profoto US220 Park Avenue, Florham Park NJ 07932PHONE (973) 822-1300, profoto.com/us



| FOCUS |

Mark Mann’s Single Setup Portrait ShootMark Mann, a photog-rapher known for his dynamic celebrity portrai-ture, recently turned his lens on Art Basel attend-ees in collaboration with Leica and Hahnemühle papers for a “living art exhibition” at the famous Miami Beach, Florida, art fair.

Mann shot nearly 100 different portraits in six hours with a single setup, using subjects (including children and two dogs) who had registered in advance to have their portrait shot by the accomplished photographer. Mann shot with the medium-format Leica S series digital camera and the portraits were then printed on-site on Hahnemühle FineArt photographic paper and displayed outside the Trendy Studios space for the duration of the art fair. The subjects each received digital copies of their portrait.

Because Mann says he approaches each subject with the same attitude—whether it be the U.S. President or a stranger on the street—his only real challenge for this particular shoot was to find a lighting scenario that could be flattering on all of his subjects. He opted for a single setup: the Leica S camera with 120mm lens, Profoto light kit, two strip banks (one as key light, one as fill) and he shot everyone at f/5.6 or f/8 on a black background. He restricted the shoot to six to eight frames per person.

Of the project, Mann says, “With a portrait you are always trying to get something from someone that they aren’t willing to part with. I think maybe 20 of the portraits are good. And maybe three of them are really good. Which is a really great average.”

He continues, “I couldn’t think of a better way to showcase the Leica S series camera (than by shooting friends and the public). It’s amazing, it’s easy to use and the lens is fantastic.” He added that a single battery lasted the entirety of the portrait shoot.

Mann says he plans to use the Leica S as his new “workhorse.” He’s looking forward to shooting his commercial work with “a tool that makes it easy and more efficient and is guaranteed to work and give consistent results without any surprises.”

In a related Leica event in December, Mann lectured about this project and his career at Highline Stages in New York City. RFwww.s.leica-camera.com/en

The faces of Mark Mann’s Leica shoot at Art Basel in Miami: Above: “Robert Karafel.” Right: “Chris Harris.” Below: “Stephanie Gomez.”

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Canvas Metallic is a bright white FineArt Inkjet canvas with an extravagant metallic gleam. The novel surface impresses with an elegant silver and pearlescent gloss. The metallic finish on a fine structured fabric ensures an extreme lively and appealing image effect. The Inkjet coating guarantees photographs and art reproductions with extremely high densities, large colour gamut and sharp resolution.

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Canvas Metallic

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During a time of low temperatures and equally cool light in much of the Northern Hemisphere, I found a series by Yale MFA graduate Gideon Barnett that beckoned me for its warmth. The images, composed of anonymous passersby along a stretch of stucco wall in South Beach in Miami, Florida, was borne of the artist’s ongoing

interest in Walker Evans’ “Labor Anonymous” series, Eadweard Muybridge’s motion studies and “in art history, spe-cifically the 15th- and 16th-century portraiture that often include colored backdrops nearly identical to the colors of

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This month we include two images by Gideon Barnett from his series “763 Collins Ave, Miami Beach.”

Editor’s Pick

By Lindsay Comstock

Above: “5:39:36 PM, 19 August 2012.”


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the wall,” he says. The sunlight’s intensity and the bright wall hues are juxtaposed against subjects and street shadows in dynamic compositions. “I made thousands of these over the course of about six months, standing in the gutter, sweating profusely in the Miami heat, photographing everyone that passed by,” says Barnett. “In the end, I edited the series down to seven images made on three different days.” He adds that seven images were all he needed to capture a satisfactory range of “gesture, motion and character.”

Above: “6:41:47 PM, 19 August 2012.”

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Photos courtesy of Ike & Tash Photography + Motion.

Cascadesoftware

The industry’s #1 software for designing, sharing and purchasing albums and books in one complete system. All absolutely FREE!

• Album covers and pages are visually constructed on screen.• Animated previews can be shared across multiple social media sites.• Create cards, stickers, double-sided wallets, magazines & more.• Free Greeting Cards with each album purchase.

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Photos courtesy of Ike & Tash Photography + Motion.

Cascadesoftware

The industry’s #1 software for designing, sharing and purchasing albums and books in one complete system. All absolutely FREE!

• Album covers and pages are visually constructed on screen.• Animated previews can be shared across multiple social media sites.• Create cards, stickers, double-sided wallets, magazines & more.• Free Greeting Cards with each album purchase.


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| DEAR SALLY |

Consultant Sally Sargood offers photogra-phers real-life solutions for running their businesses successfully. With 23 years expe-rience in the photography industry, her re-sume includes a 14-year stint at Pro Labs, studio manager in a prominent Australian photo studio and, most recently, as per-sonal assistant to wedding photographer and educator Jerry Ghionis. She says her business, I Need a Sally (ineedasally.com,) helps photographers “fast track their busi-ness to where it needs to be and generate more revenue in half the time.”

It’s probably the most common concern I hear from photographers who come to me for help: “I priced myself low because I was still learning, my work wasn’t good

enough and I needed to get the clients in. Now I’m shooting 150 portraits a year with $300 to $400 in sales and realizing I’m working my butt off, not spending time with my family, and at the end of the day have little or no money in my pocket. I want to raise my prices but what if my clients won’t pay it because they are used to me being cheap?”

As creatives, number-crunching is the least favorite thing in most of our world, and I know people who procrastinate on what to charge for so long that they end up putting it in the “too hard” basket and make it up as they go along. It is, however, imperative to ensure you are charging enough to make your business worthwhile and that you are earning good money for all the time, effort and investment you put in. If you are just covering costs, is it really worth it?

Pricing is PersonalThe first thing to do when you decide to make a business out of photography is to develop a pricing structure. This will en-able you to confidently ask for payment in return for your services as a photographer right from the beginning. [See page 58 for three real-life case studies on pricing structure.] If you’re not at that level yet and feel you are still “practicing,” create a 50 percent off gift card. Even give clients the option: a half price session fee or half price prints. By doing this, your clients will know that next time, there will be a session fee, and your prices will be clear. Take them through your entire process— the consultation to discuss the session, the shoot and the sales process.

Some experts will give you strategies whereby your Cost of Goods should be anywhere from 15 to 35 percent. Is it Cost of Goods though or Cost of Sales? Is it simply what it costs to buy the goods, or do you need to include time, electricity, education, equipment etc. I talk to many who think they simply need to triple the cost of a product. Wrong! You must fac-tor in editing, producing, selling, phone calls, emails, appointment making, rent, mortgage, car, maintenance, insurance, petrol, electricity, gas, memberships, sub-scriptions, website, hosting, equipment, lab bills, tax plus so much more...not to mention your time!

Most importantly, value what you do and educate your clients why hiring a professional—you—is so valuable. What is the blank piece of paper or a blank DVD worth? It’s the images that are on it that

give it value. You have to believe in your products and pricing; if you don’t, how do you expect your client to?

Educating Your ClientIn order to educate your client, explain to them the difference between you taking their photos and them doing it themselves. And why they are getting from you what they can’t get from a drugstore photo lab. Why have they sought out a professional photographer? Ensure they understand the sentimentality of these photographs: they are history; a precious time in their lives that will be looked back on for years to come with so much joy.

At the end of the day, we are creatives. You started a business because you want-ed to be a photographer, right? One could say that was your first mistake! A good businessperson runs a good business. A good photographer takes a good photo-graph. If you are not good with business, seek help and become good at it. Ensure you learn how to be a good businessper-son as well as a good photographer right from the beginning and you’ll be on your way to making a living doing something you love.

Do you have a business-related question or burning issue you want answered but don’t know where to turn? Ask Sally! Sally has the answer from everything on studio management, new technologies, workflow, productivity, pricing and more. Please send your inquiries to editor-in-chief Jacqueline. [email protected] and write “I Need A Sally” in the subject line. RF


What Should I Charge?

By Sally Sargood

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In the hothouse of fine-art photog-raphy, one of the perennial prize- winning orchids of the last ten years

has been the lavish, oversized quar-terly magazine, Eyemazing.

Published and printed in Holland but with editorial content in English, Eyemazing, if you’re not familiar with it, is a sort of moveable feast—an evolving print collection that wheels through the photography world every three months in the form of what its website touts as a “gallery-on-paper.” It’s an evolving collection of meticu-lously curated and reproduced imag-ery, photographed and coaxed into stunningly original works by a roster of daring photographic artists—some of them already anointed by multi-digit sales and fawning cognoscenti, and others from the cream of so-called “emerging talents,” collected perhaps, but not yet collectible. As to their work styles, to label them as “daring” is maybe a little too tame. Veteran art dealer Alex Novak wrote not long ago on iphotocentral.com that the startling, often dark, imagery on Eyemazing’s pages, is “not for the faint of heart.” That’s true enough, but what’s also true, to those of us whose photographic pursuits skew toward utilitarian commercial work: The power to shock is also the power to pique our imagi-nations, as portraitists and as documentar-ians. To our good fortune, the sensual and surreal themes that drive this bold, award-winning publication have recently been dis-tilled into a hefty large-format collection of 423 selected images: Eyemazing/The New collectible Art Photography.

Addicted to PhotographyThe book’s author is the magazine’s found-ing editor, “Eyemazing Susan,” the nom de plume of Susan Zadeh, a former pro-fessional ballerina who transformed her-self into a groundbreaking, internationally celebrated publisher. Without dwelling on this extraordinary woman’s multiple tal-ents, it’s enough to know that she’s cred-ited with the book’s concept, photo editing and layout, and that she attributes her impulse for creating both the book and her world-renowned magazine to the simple fact that she’s “addicted to photography.” Zadeh appears as the subject in a couple of

the stylized portraits within this col-lection, recognizable by what her co-authors—photography critic Steven Brown, photographic historian John Wood and writer Karl E. Johnson—call her “almond-shaped eyes and a sphinx-like smile.” The book’s struc-ture is, to some degree, in the hands of these co-authors, who, in separate essays—“Dreams and Memories of a Past Life,” by Brown, and “Our Body, Our Cage. Our Body, Our Home,” by Wood—divide the collection into two principal chapters. This text reaches into dark, esoteric corners of the human condition, embracing sexuality, politics, poetry, social and psychological realities, all in the con-

text of the collectible images that explore this weighty subject matter.

Another of Zadeh’s collaborators, writer Johnson, goes a little more directly to what might be Eyemazing/The New collectible Art Photography’s true intellectual core: the virtual reality embodied in a photograph. Johnson invokes an oft-quoted line by the late critic Susan Sontag: “To collect photog-raphy,” she wrote, “is to collect the world.” We, as photographers—critical thinkers or not—are free to immerse ourselves in the sometimes simple, sometimes hyper-imaginative techniques on display from the 130 contributors to these pages. Here are a few samples:

Eyemazing/The New Collectible Art Photography By Eyemazing Susan Thames & Hudson(thamesandhudsonusa.com)544 pp


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| LIGHT READING |

Above: William Ropp’s poignant study of an older woman clutching a snapshot of herself taken when she was a young girl (above). The bright hairlight in the tiny foreground picture resonates across the somber areas of this image, calling attention to the subject’s almost painfully weathered hands, and—with carefully applied highlights—to her aging, soft- focused figure in the background. Ropp has been nicknamed “the shadow sculp-tor,” for his technique of working in com-plete darkness with long exposures illu-minated by painting his subjects with the beam of a flashlight.

Right: Sebastiaan Bremer’s flamboyantly textured candid portrait of a distraught woman (right). Bremer’s technique is best described as completely hybrid. He draws patterns with pen and ink on the surface of C-print photographic enlargements. The originals are frequently modest snap-shots—sometimes found images—and the pattern is always, as in this example, an obsessively wrought filigree suggesting an elaborate veil that follows the contours of the subject. Bremer studied at Maine’s Skowhegan School of Painting and Sculp-ture, and his work is in the collections of New York’s MoMA and the Victoria and Albert Museum in London.

Top Right: Pablo Genovés’ surreal combination of a glowering storm cloud, afloat in midair within the formal interior of what appears to be an 18th century palace (above). Genovés frequently com-bines digital photographs with borrowed images to create these stylized juxta-positions. He reconfigures many of his architectural in-teriors, digitally cutting and pasting, to produce fictional structures. These combine the stock elements—bal-ustrades, sweeping stair-cases—that a viewer would expect to see in a palace interior, a church or a library. He then composites these as back-ground plates with images of menacing, usually violent natural phenomena (dark clouds, raging storm seas and tidal waves) to metaphorically represent the confrontation between civilization and nature. Genovés is a native of Madrid, Spain, where he cur-rently lives and works.

These three contributors are among a star-studded list of photographers repre-sented in the Eyemazing collection, a list that includes many notable names: Susan

Meiselas, Chris Earnshaw, Roger Ballen, Sally Mann, Wang Ningde and more, all alumni of the remarkable magazine that gives this book its title. To collectors and academics, the book is an obvious treasure. To the rest of us, especially shooters who may have never ventured into the enigmatic reaches of fine-art photography, there’s a seductive message: wildly experimental im-aging is within all of our capabilities, not just to attract imaginary gallery patrons, but to unlock the hidden dimension of creativity that might still be lurking within us.

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The New Art of Capturing Love/The Essential Guide to Lesbian and Gay Wedding PhotographyBy Kathryn Hamm and Thea DoddsThe special techniques and approaches that help wedding photographers document same-sex weddings are

the subjects of a newly repackaged title (based on Hamm and Dodd’s self-published photography guide, Capturing Love: The Art of Lesbian & Gay Wedding Photography). Due out this spring from Amphoto Books, the new book will offer twice as much content as its original while staying true to the authors’ warm and engaging written and visual style. RFhttp://crownpublishing.com/imprint/amphoto-books/

Animal Earth/ The Amazing Diversity of Living CreaturesBy Ross PiperThis is the ultimate flip side of conventional family portraiture, and nothing short of fabulous. The subjects are all non-human creatures, great and small, and for the most part, very small. Ross Piper is a zoologist with an amazing gift for photography. His main passion seems to be mostly macro and micro images of our invertebrate relatives, some in their almost unchanged iterations on the trunk of our evolutionary tree: flatworms,

rotifers, nudibranchs, cynipid wasps, the all-important (to us vertebrates anyway) sea squirts, whose larval forms are our direct ancestors. But take note: this is not your drab freshman biology book. Piper’s feel for design and color, and his obvious lighting and creature handling skills are nothing short of stunning. And, for your information, that garishly tricked-out little beast on the cover is an annelid worm. There are another 539 such portraits inside this amazing book. Come meet the family.www.thamesandhudsonusa.com

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W hen it comes to running my business, I’m an alumnus of the School of Hard Knocks. But

when it comes to getting my taxes together, I’d rather clean toilets at Yankee Stadium. Over the years I’ve used the excuse of “I’m an artist” or “I’m just so busy” to justify everything. When you start to fall behind, it’s easy to bury your head in the sand and say to yourself, “I’ll deal with it next week.” Problem is, it doesn’t get better, just worse, and if you find yourself in a situation where you don’t know what to do, it’s always best to ask for help. The IRS does not care that you are overworked or that you don’t have the money for that quarterly tax payment because your client turned into a deadbeat. So, when my editor asked me to write something money-related for this issue, I got a little queasy; I’m the last guy to offer business advice. I do, however, think I have some real-world knowledge to share.

Here are nine ways to save money in 2014:

1If you don’t like your accountant’s ad-vice, get another opinion! I don’t know

what it is, but I seem to need to fire my ac-countant every four to five years, or threaten to do so. Make him or her work for you, and if your gut says he or she isn’t doing a good job, it’s probably true. Don’t bury your head in the sand. The problems won’t go away.

2 Save! If you’re not putting money into your savings, you won’t be saving any-

thing. I don’t care if it’s $5 a week (there have been weeks when that’s all I put away), you’d be surprised how rewarding it is to save.

3Pay cash for everything. Don’t buy things you can’t afford with your credit

card. My good friend Zack Arias calls it G.A.S. (Gear Acquisition Syndrome) and I’ve had terrible bouts with it. There’s noth-ing worse than paying 12 percent interest and taking five years to pay it off. Trust me, if you add up those interest charges, it will make you sick to your stomach.

4Rent what you can’t afford to buy. Companies like LensProToGo are af-

fordable and stocked with everything you need. Rent what you need, however, and don’t go overboard. This was a big mistake of mine. Do you really need the latest ver-sion of that DSLR, or will the previous ver-sion work just fine for much less money?

5Pay your bills on time and stay on schedule! Late payments, interest

charges from the tax man, rush charges from labs and extra hours for employees all add up.

6Do the math. Seriously, when was the last time you sat down and figured out

how much it costs to run your business? Sure, you’ve heard this advice before, but do you know what it takes to keep your business going on a daily basis? Are there places you can cut costs (i.e., do you really need that cup of Starbucks?). I call this the “Out-the-door tax.”

7Buy in bulk! Costco and Sam’s Club memberships can be the small business

person’s best friend! But, be warned: Don’t arrive at these stores hungry, or rushed! I can’t tell you how many times I’ve walked out with that industrial-sized bin of Cheesy Poofs! You don’t need Cheesy poofs, so put

Taking Income Tax by the Horns

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‘em down! Discount clubs are great for things like batteries, coffee, water, bever-ages and snack items for your studio.

8Make a list, and stick to it. Make lots of lists! How about a list of areas within

your business where you can save money?

9 Reward yourself. I know this one is counter-intuitive, but if you don’t

reward yourself now and again, what fun is it? Go ahead, get the extra-large fries once a year!

For the rest of the column, I turn to an expert, Nathan Reynolds, who runs Rubix Accounting (http://rubix.info), specializing in accounting for photog-raphers (and, in full disclosure, is also my accountant). While his tips are more savings-based, Reynolds offers excellent advice for those of you just getting your business running. A great start is your best bet to a successful future!Factor In Retirement

If you’ve recently left a position as an em-ployee, this is one benefit you’ve most likely had to give up. But it can actually be quite simple to set one up and save money at tax time. Establishing a SEP-IRA could be the best option if you are self-employed. Bonus: The option to set up and make a retirement contribution could still be available for your 2013 taxes.

Consider Second-Shooters Knowing when to use them and how much to pay them can be enough of a challenge. But you also need to make sure you know if the IRS will consider them an employee (for which you must file a W-2) or independent contractor (for which you must file a 1099). Unfortunately there is not a quick answer for this one. Check out IRS Publication 1779 or ask a tax professional for help.

Structure Your BusinessStarting out, most photographers are con-sidered sole proprietors and file their taxes with their personal return using an extra

form, Schedule C. Once your business is growing, switching to an LLC can provide a wall of separation between your personal assets and an unfortunate business liabil-ity. When your business becomes highly profitable ($50,000+ in net income), opting to become a Sub-S Corporation can yield substantial tax savings.

Open A Bank Account Having a separate bank account for your business is a must. You will attract un-wanted attention from the IRS if you mix all your personal and business funds into one account, which they call commingling. Most banks require little more than a busi-ness name and a Tax ID number to get set up with a business bank account.

Take Out An Insurance PlanNothing will destroy your business quicker than being liable for an accident with no way to pay for it (think accidentally break-ing something while on a shoot). In the wedding and portrait world, having liabil-

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Accountant Nathan Reynolds says having a home office—versus paying rent for studio space—can save you a great deal of money.


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RANGEFINDER • FEBRUARY 201436 To request more information see page109

ity insurance along with coverage for your equipment is second in importance only to a strong data backup plan and backup equipment. Coverage can actually be quite cheap and readily available through pho-tography organizations.

Don’t Forget Sales Taxes This is one of the most commonly over-looked areas when transitioning from a hobbyist to pro. All but five states require you to collect sales tax on the products you sell (Kristin Korpos goes into more detail about this on page 66). An increas-ing number of states also require photog-raphers to collect on session fees as well. Between varying rates, multiple deadlines and over 11,000 local jurisdictions, sales taxes should be high on the list for the need to seek professional advice.

Home Office Write-Off Having your office at home can save you

a great deal of money versus paying rent for studio space. You can also take a tax deduction to save even more at tax time. But beware, abuse of this deduction by taxpayers has invited higher scrutiny by the IRS. The part of your home that you claim for your office must be used 100 percent for business.

Estimate Your Taxes Self-employed business owners are respon-sible for additional taxes and payments. Since you don’t have an employer making regular payments on your behalf, the IRS and most states require you to make quar-terly tax payments. A tax professional can help you keep track of when and how much to avoid interest and penalties.

Save Receipts Having a simple and efficient process for saving receipts can make a small business owner’s life very happy, especially at tax

time. Since the IRS considers most digital versions as acceptable as the original, con-sider a digital workflow. We recommend a smart phone app such as JotNot or Doc-Scan to digitize your receipts. These apps can then upload your receipts to Dropbox, Evernote or Google Docs in order to cat-egorize and archive them.

Keeping RecordsMost creatives are dreamers who aren’t detail-oriented. But it’s still important to have a system in place to record and sum-marize your business transactions (which is the most basic definition of accounting). For DIYers, consider these: the rudimenta-ry (Excel), the robust (Quickbooks) or on-line (Freshbooks or LessAccounting). (For more suggestions turn to page 50.) If you are too intimidated by the details of ac-counting or are just tired of the headache, consider outsourcing your bookkeeping and taxes to a professional. RF

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JudgesJill Enfi eld, Photographer, Author & Teacher

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AwardsGRAND PRIZEAn interview and profi le in Rangefi nder’s feature Photo Finish, a Lomography Belair X 6-12 Jetsetter medium format camera ($299 value), $500 gift card from a major photo retailer, a full conference pass to PhotoPlus 2014 & WPPI 2015

1st Place$500 gift card from a major photo retailer,a full conference pass to PhotoPlus 2014 & WPPI 2015

2nd PlaceFull conference pass for WPPI 2015 and WPPI University in Las Vegas

3rd PlaceFull Conference Pass for WPPI 2015

All winners will be featured in an online galleryas well as the April 2014 issue of Rangefi nder, along with photographer bio and write-up.

Categories/ BLACK & WHITE

/ ALTERNATIVEPHOTOGRAPHIC PROCESSES Including, but not limited to: Blueprints, Bromoils, Carbro prints, Calotypes, Cyanotypes, Emulsion lifts, Gum ichromates, Photograms, Platinum and Palladiums, Polaroid lifts, Temperaprints, Wet plate collodions and other processes done conventionally.

JudgesJill Enfi eld, Photographer, Author & Teacher

Chuck Kelton, Master Printer, Artist, Educator

David J. Carol, Director of Photography CBS Outdoor, Photo Finish Column writer, Rangefi nder Magazine

Presented by:

DEadlineFebruary 5, 2014

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What Would Jerry Do? March 1Join Jerry Ghionis, one of the most awarded photographers at WPPI, for an interactive evening presentation with several live demonstrations for wedding and portrait scenarios. Audience members will be invited to the stage for live portrait sessions, and the program will conclude with a DJ and party. As with all of our events come dressed to party and ready to dance the night away!

Honors of Excellence 16x20 Print, Album and Filmmaking Live Judging March 1–2

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media and WPPI attendees. Refreshments will be served.

Honors of Excellence 16x20 Print Exhibition March 3-5

After each year’s 16x20 Print, Album and Filmmaking Competition, every print that scores an accolade (80 or above) is displayed in our Honors of

Excellence gallery. This always proves to be an inspiration for photographers, and is a great gathering place. Each year thousands of photographers come to compete, discuss and get inspired. We hope to see your work this year!

WPPI 2014 Honors of Excellence Awards Ceremony March 5

The WPPI 2014 Honors of Excellence Awards Ceremony is the most prestigious event celebrating excellence in wedding and portrait

photography. Join us in congratulating the competition winners and honoring photography greats!

© Vanessa Joy

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What’s New!

Opening Night Party at Hakkasan! March 2 The newly–opened and celebrity–favorite nightclub, Hakkasan, opens its doors exclusively for WPPI attendees. Enjoy food, drink and amazing music from one of their resident DJs, which includes superstars Calvin Harris, Tiesto, Hardwell and Steve Aoki. Dance the night away with your WPPI friends! This is sure to be the event of the week! Attendees are welcome to stay when Hakkasan opens to the public at 10 pm with no cover charge! Must be 21 or older to attend and show valid ID at doors. Open to Full Conference Passholders. Limited space.

WPPI EveningsAfter a full day of educational

seminars and seeing innovative products and services on the expo floor, join WPPI friends for a night

of great entertainment, food and refreshments. A WPPI Full

Conference Pass provides access to all evening events.

WPPI: Filmmaking Track Expand your video skills and

attend WPPI’s new filmmaking and Hybrid Photography sessions taught by

the industry’s leading wedding and event filmmakers.

For more information on WPPI events please visit: www.wppionline.com/show/events.shtml

© JASON WALKER

© HAKKASAN

Mark Seliger Live! Keynote and Concert by Rusty Truck March 4In this two-part presentation, Rolling Stone photographer Mark Seliger will discuss the evolution of his editorial assignments in portraiture and fashion, and how he extends these projects into self-assignment. The second part of the evening will illustrate his personal journey in songwriting and the intersection of music and image-making, with a live performance from his band, Rusty Truck.

New for 2014!


Conferences

PLUS Classes February 27–28

A PLUS class is a two-day intensive, hands-on workshop with one of the best instructors in the photography industry, you

will develop your skills, techniques and artistry. A WPPI Full Conference Pass is required (limited to 20 seats per class).

WPPI University February 28–March 1The U offers intensive instruction both in the classroom and shooting opportunities. You can customize your experience through a combination of seminars and small group, hands-on experiences under the guidance of the industry’s best educators.

• Enjoy exhibits and demos by the industry’s top vendors to help you master the latest products and services.

• Meet with the mentors-a rare opportunity to see world-class photographers in person during the U reception. Make personal and professional connections while networking with other photographers.

• Presentations by master photographers.

DAY 1 1:00 PM - 7:00 PM DAY 2 8:00 AM - 5:30 PM

WPPIONLINE.COM

CONFERENCEFEB

27 – 6MARCH

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© Bauman Photographers

Conferences

Master Classes March 2 – 5These two-hour, in-depth master classes cover everything from wedding, portrait, post-production and business marketing, to lighting and posing. If you’re looking for an intimate class setting, a master class will satisfy your learning needs. Don’t wait too long to sign up, as these classes fill up quickly! A WPPI Full Conference Pass is required (limited to 50 seats per class).

Filmmaking Class March 2-5Learn by doing in our very first hands-on filmmaking class. Be part of the crew that writes, shoots and edits the WPPI Highlight Film. Over the course of several days you’ll work with a team led by Joe Switzer to capture, direct and produce the essence of WPPI. Learn in a real working environment and finish the course by debuting your film at the WPPI awards ceremony! A full conference pass is required (limited to 10 students). Don’t wait to register; spots will fill up fast!

Platform Classes March 2–6Full Conference Passes give access to over 100 platform classes in 1.5-hour sessions that fall under 11 learning tracks: lighting, wedding, portrait, post-production, filmmaking, business, inspirational, hybrid, boudoir, posing and seniors. These premier classes are the most popular at WPPI and cover the essentials for elevating your work and running a more profitable business. You may pre-board in registration up to five platform classes allowing you priority access to those selected classes.

–

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EXPOMARCH

53MARCH


AlyciaAlvarez

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The Educators


The Educators

Matt Kloskowski

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Yervant



© Damon Tucci

Registration and Hotels

Regular: Dec. 13, 2013-Feb. 26, 2014 Onsite: Feb. 27-Mar. 6, 2014

WPPI Member$199 Early Bird$275 Regular$325 Onsite

$25 Early Bird$30 Regular$35 Onsite

Expo Only Pass Includes:• Entry to 3-day Expo• Entry to Launch Pad

Non-Member$379 Early Bird$399 Regular$450 Onsite

Student/Educator $20 Early Bird$25 Regular$30 Onsite

Conference Pass Prices: Expo Only Prices:

WPPI University

$110 Early Bird$129 Regular $159 Onsite May be purchased as an add-on or alone

PLUS Classes

$695 Early Bird$795 Regular $850 Onsite A WPPI Full Conference Pass is required

WPPI Filmmaking Class

$350 Early Bird$450 Regular $505 Onsite May be purchased alone

Master Classes

$55 Early Bird$60 Regular $65 Onsite A WPPI Full Conference Pass is required

Enjoy newly renovated MGM Grand rooms and tower suites. There is a large, citywide convention in town during WPPI, and hotels all over the city are expected to sell out.

800-929-1111 MGM RESERVATION DESK

PROMO CODES:WPP2014A at MGM GrandWPP970A at Signature at MGM Grand

Stay With Us

Conference Add Ons:

FULL CONFERENCE PASS INCLUDES:• 1 FREE guest

• 3 additional guests at $150 each

• Access to all platform classes

• Entry to 3-day Expo

• Access to all evening events including the keynote

• Entry to 2-day live judging at print, album and filmmaking competitions

• Entry to Launch Pad

Information subject to change without notice. Some restrictions may apply.




The MoneyIssueB

ritish Duchess of Windsor, Wallis Simpson, once said, “You

can never be too rich or too thin.” While this may have been

stated in an era before eating disorders became an epidemic,

we do agree with the money part of the sentiment. One of the best things

about being in business as a photographer is that you’re completely in

control of your financial destiny. There are no bosses to beg for raises;

instead you set your prices, monitor what you spend and control the

quality of your own work.

The downside to being your own boss, however, is that you are solely

responsible for the growth and success of your business. As tax season

approaches, we thought it practical to check in with some of the indus-

try’s financial experts to gather need-to-know basics on taxes, business

strategy, pricing secrets, software to manage your money and more.

We all like money. Read on to discover strategies to make more.

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Jason Aten is a Michigan-based photographer who has documented weddings since 2001. With a background in sales and marketing (he was previously in management at FedEx), Aten’s interests naturally veer toward the business side of photography. He has since become a pas-sionate educator and speaker about these topics (both for WPPI and CreativeLIVE)—helping other photographers understand what it takes to successfully master their books. Visit his blog, startingoutright.net, as well as the company website, ninetyninebeans.com, for tips on tax preparation, plans and pricing, white papers, free guides and more.

COUNTING YOUR BEANS

| THE MONEY ISSUE |

Where Do I Start? It may seem basic, but for photographers who are evolving their businesses from a part-time hobby to a full-time career, it can be an overwhelming idea. Aten’s advice? “Start by tracking your income and expenses by line of service.”

In practice, when shooting different genres—weddings, families, senior portraits, commercial—think of everything as a separate service and track your income to see how much you made from each track.

For expenses, break it down by cost of goods sold (expenses that you pay for—for instance lab printing, retouching, album design) and fixed expenses (insurance, gear, annual subscriptions and an accountant/attorney). “The bottom line is if you track everything, at least [an accountant or tax professional] can come along later and help you make sense of it,” Aten says.

Why Should I Bother to Bookkeep?This is a general question related to more detailed bookkeeping questions photographers often ask, but Aten advises organized bookkeeping as one of the most important factors in making money. “Most photographers enter accounting with the frame-of-mind ‘in April I have to do my taxes,’” Aten says. “We want to help photogra-phers see that creating an accounting system can help you grow your business and make money, not just avoid being audited.” You can

stick with the old faithful QuickBooks, but Aten recommends the cloud-based bookkeeping software, Kashoo (kashoo.com): “It helps you run reports, make decisions about where to cut expenses and focus on where your business is profitable.”

What About Taxes? Arguably the most complicated question because it all depends on your state’s interpretation of services, tax laws, and can be nuanced depending on how you deliver your product or service.

Bottom line? “Stop thinking about tax as something you ‘charge,’” Aten advises. “That implies you have control over it. Instead, recognize that your job is to collect sales tax on behalf of the state. Every state has different laws, but your obligation is to collect sales tax, and it’s illegal not to. If you’re ever in doubt of a particular situation, it’s better to be safe and collect the sales tax. If you don’t, it’s not the customer that will be penal-ized, it’s your business. If they didn’t owe sales tax, the client can always get a refund.” (Turn to p. 66 for more detailed sales tax information.)

Overall, Aten advises cultivating a relationship with an accoun-tant who is familiar with small business. On the following pages, we tap into NinetyNine Beans’ best pieces of advice, with specific tips on how to organize your “beans” for success this year.

as told to Jessica Gordon

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NinetyNine Beans is a full-service accounting and bookkeeping company for photographers. Below, NinetyNine Beans co-owner and consultant, Jason Aten, shares the three most-asked

questions he receives from photographers, and gives his most simple answers.

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Financial Pitfalls to Avoid in Your Photography Business Not actively monitoring your income and spending habits.Want to run a financially healthy business? You’ve got to know what’s coming in and what’s going out!

Spending money you don’t have.In some situations, having a little business debt is smart (ask your financial planner or business advisor), but in most cases, you can’t count on credit to give you extra spending money. Stick to a tight budget and build up your cash reserve instead.

Spending money that’s not yours.Don’t forget, you’ve got to set aside funds for taxes and products that you owe your clients. When money is rolling in, it’s smart to transfer money that isn’t yours to a separate bank account, so you’re not tempted to think you have more money to spend!

Assuming what works for others will work for you.Forget about asking other photographers what they’re charging, or how they manage their finances. You don’t know the whole story—like how much money they’re actually keeping after expenses or what variables come into play for their business.

Hiring too soon.NinetyNine Beans recommends a business needs about $100,000 in additional sales to support a new full-time employee. Sure, it’s tough running a business by yourself, but you need more than enough revenue (and savings) to support hiring someone.

Step 1: Identify Your Financial GoalsIt’s incredibly easy for your finances to veer off track when you don’t have specific fi-nancial goals holding you accountable. For example, setting a goal to simply “make more money” isn’t specific enough to keep you moving forward.

Your financial goals should be SMART (specific, measurable, attainable, rele-vant and time-specific). Instead of “make more money,” try “make 70,000 in take-home salary by 2015.”

Use these questions to identify SMART financial goals that make sense for your business and for you as an individual:

➔� How much money do you need to take home as a salary?Building a sustainable photography

business requires a lot of your time, effort and money. So it’s important to make sure that you’re getting the return you need out of your business. Identify a realistic salary based on your expenses, family obliga-tions, and be sure that this number satis-fies the SMART goal criteria.

➔� What are your savings goals?As a business owner, it’s up to you to

plan for your future as a company and as an individual. There are, unfortu-nately, no employer offers for matching 401Ks! Remember to factor your goals for savings into your salary and gross revenue calculations. Specifically, out-line your goals for:

� Business Savings� IRA Contributions� Personal Savings

➔� What does this mean gross revenue amount to?Now that we know how much money

you want to take home and how much money you want to save, you can work backward to figure out how much revenue the business needs to gross in order to meet these numbers.

Here’s a formula to determine your desired

gross revenue:

Step 2:Get a Grasp of the Big- PictureTake a realistic, HONEST look at your cur-rent situation and assess how healthy your finances are to begin with. Knowing where you currently stand will help you iden-tify the challenges standing between where you are and where you want to end up.

Use these questions to identify your cur-rent financial situation:

Target Revenue

Desired Income

Cost of Spending

(COS)

Fixed Expenses

6 Steps for Whipping Your Business into Financial Shape

Courtesy NinetyNine Beans

continued on page 54

| COUNTING YOUR BEANS |


www.collages.net/signup


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➔� What are the current figures for your income, debts, assets and expenses?Grab these numbers from your book-

keeper, bank account or financial records. They should be easy to find. (If they’re not, it’s time to take a further look into the way your finances are organized!)

Dig deeper by looking at the ways they relate to each other. For example, maybe you realize that a lot of your income goes toward paying off debt, and you should dedicate more to paying it off more quickly. Or maybe you are bringing in a high amount of revenue, but you’re also spending a lot of money every month on a studio space, employees and other miscel-laneous expenses. Perhaps you’re in the opposite position where you have a lower gross income, but don’t have a studio space or employees so you have minimal overhead expenses.

➔� Is there a big gap between your current income and your goal income?Now that you have SMART financial

goals and a clear understanding of your

current financial standing, you can start to connect the two. How long will the jour-ney be from where you are now to where you want to end up?

For example, are you almost to your goal and just need a push further in the right direction? Or after further analysis, have you realized that you have a long road ahead of you to reach your goals and are in need of a major financial makeover?

What’s currently keeping you from reaching your financial goals?

Now that you’ve run the numbers, you can start applying the following best practices in ways that make sense for your unique business.

Step 3:Cut the FatThe most immediate change you can make financially and start seeing results is to “cut the fat” that’s accumulated in your current spending habits.

Start by taking a look at your cost of sales and expenses. Is your COS percent-age at 30 percent or lower of your gross revenue? If it’s higher, your products and


Financial Pitfalls to Avoid continued from page 52

Ignoring taxes until the last possible moment.Don’t get blindsided when tax time hits and you have a whopping tax bill due! Each month (or quarter), make sure you’re paying appropriate estimated taxes. Only your CPA can tell you what these should be, but by paying the appropriate estimated tax throughout the year, you can adjust payments accordingly and minimize your chances of facing a huge bill in April.

Not charging sales tax.Sales tax law is tricky, depending on your state (see page 68 for more details), but it’s up to you to know the ins and outs of when and how much to charge. Penalties aren’t pretty for non-compliance, so do your homework.

Making decisions without facts.It’s tempting to make decisions about finances based on hunches or what your peers are doing, or to also easy to make fear-based financial decisions. Resist the urge—instead, use real numbers to make the best business decisions. Not consulting experts for personalized advice.One size doesn’t fit all when it comes to business finances. Whether it’s taxes, budgeting, retirement planning, or a debt strategy, consult an expert who knows you and your business and can give you fact-based, personalized advice.

Not saving a cash reserve.Unpredictable situations will come up in your business. When they do, you’ll need a cash reserve to keep your business afloat.

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services may not be priced high enough. Or, you may need to consider offering products that are less expensive in order to keep a healthy profit margin. Are all of your expenses contributing to your business success? If they’re not, then cut them out.

Step 4:Set a Budget and Track Your SpendingYour budget should be based on a realistic estimate of how much money you’ll be bringing in as well as how much money you want to take home and save.

These figures will change over time, es-pecially as you start bringing in more rev-enue and cutting expenses.

By keeping track of how these figures change, you can update your budget on a regular basis so that you stay on track to reach your goals.

The best way to keep track of your spending is by staying up-to-date with your bookkeeping.

Step 5:Set Aside Money from all Income You ReceiveUnfortunately when you run your own small business, not all of the money you bring in is yours to spend! And it’s easy to be fooled into thinking you have more to spend than you actually do.

The best method is to physically set the appropriate amount of money aside (and out of your reach) on a regular basis, wheth-er that’s monthly or with every deposit.

TIP: If you have a hard time keeping track of this, you might consider automating this process.

Here’s what you should be setting aside money for:

� Taxes� Products owed to clients� Business savings� IRA

Note: Only your CPA can help you deter-mine what you need to be setting aside for taxes and what’s an appropriate IRA strategy.

Step 6:Have a Team of People on Your SideIf you’re a photographer, you probably aren’t also a bookkeeper, CPA or financial planner. As a business owner, the burden falls on you to make sure to plan for your financial obligations and goals.

While you may not have the skill set to manage your finances yourself, you have the resources available to you to develop a team of experts that DO.

The basics of financial planning are fairly straightforward:

� Keep your debts low. � Don’t spend more money than

you have. � Set aside for savings. � Pay your taxes.

Look for a team of advisors to help you:� Determine the best way for your

business to be set up to take advantage of tax code.

� Decide what the best retirement savings plan is for you (and how much you should be contributing).

� Do bookkeeping! Having accurate books and reporting is critical in order to keep tabs on the financial health of your business.

� Calculate how much you need to be setting aside for taxes.

� Review your goal. RF


Ask For HelpA few other resources for tax and financial advice:

PhotographySpark Business education for photographers, founded by photography SEO expert Zach Prez. photographyspark.com

NiftyKnowledgeRocks Business sense for photographers, founded by photographer and MBA Kristin Korpos. niftyknowledgerocks.com

FStoppers Business Section Articles on multiple topics, including one by tax specialist Zach Sutton, taking you through the maze of complicated tax forms. fstoppers.com/tax-guide-for-photographers

Profit First Photography Founded by photographer Alicia Caine, offering pricing bootcamps and business basics. profitfirstphotography.com

Freelancers Union Benefits, advocacy, financial advice and planning for freelancers. freelancersunion.org


www.zookbinders.com


057_RF_0214_Zookbinders.indd 57 1/14/2014 9:08 AM


Beth Forester’s Successful Photo-Business ModelLast summer, photographer Beth Forester was coming off the road and needed an influx of cash. “I’d been in Europe for two weeks, and then I came back and went to Vegas to speak, and that was three weeks where I wasn’t shooting,” she recalls. “And I thought, I have got to really get some money coming through my door! So I decided we would do a summer special on my farm.”

In her regular practice—specializing in high-school portraits in Madison, West Virginia—Forester offers three-hour photo sessions and customized, high-end ser-vice with a price structure to match. But for this special, she slashed her rates and cut the frills. “You play by my rules: You show up at the farm, the pictures are not going to be retouched or cropped, and it’s 40 percent off our regular prices,” says Forester.

“And you only have this four-day window to get the deal. I’m trying to push a certain amount of money into my studio in a short amount of time. Orders have to be placed by this date, and all this has to happen in basically a week’s time. And it worked! I filled up all the appoint-ments—12 of them—and I was able to put $15,000 right through my door in a week.”

She calls this targeted marketing. “You have to have a goal,” she says. “And your price list is a tool for you to achieve that goal.”

Building a Price StructureGoal-setting is an objective Forester stresses to students in her seminars on setting up business models. In her talk at WPPI this year—“Pricing 101: Successful Sales Tactics for Any Market,” on Sunday, March 2nd from 9:00-10:30 a..m—she will be talking about how important setting goals is and understanding where you are in that market. “Do you want to be high-volume, or low-volume,

Setting the Price

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What’s the best method for pricing and packaging your photography products and services? Three photographers share strategies that bring the cash.

| THE MONEY ISSUE |

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or that mid-line in between? That’s what I try to explain,” she says. “I have some packages that are low-volume and some that are high-volume, and they’re priced accordingly.”

Forester describes her philosophy as a sliding scale of time versus money. “If I spend three hours with a high-school se-nior, [or] a baby comes in and I spend 45 minutes, I’ve basically got different goals for my pricing structure,” she says. “For my senior, I want my average to be $2,000, but for a 45-minute appointment, I want my average to be $300. I’m looking at how much am I going to make every hour. That’s for my time—and people forget about their time.”

Indeed, Forester adds, she’ll be invest-ing more time on the back end. “I may spend three hours for the shoot, and then I’ve got the computer work and fulfillment, which is maybe ten hours by the time it’s all done—all the post-processing and taking care of the order and everything.”

From the Ground UpIn her own practice, Forester built a clien-tele gradually. “[The process] doesn’t hap-pen overnight,” she says. “In the begin-ning, I way underpriced myself—but I real-ized after a few years that I wasn’t making enough, and so I said, ‘This is all going to change.’ I got a divorce, I had to make a liv-ing and I changed my model to be based on my goal and my time and how much what I basically wanted each person to spend.

“I have about four pricing menus,” she continues. “Senior, Portrait (includes ba-bies, children and families), Weddings and Volume Events (like our annual Christmas Special where I do over $20,000 in sales in three days).”

Her varying menus, she says, are reflec-tive of her clients’ desires and the time she intends to spend on each session.

Before Forester made a deliberate switch to portraiture a few years ago, she was a successful wedding photographer. But in-stead of giving it up entirely (“they’re a lot of work,” she says), “I said I’ll create this lu-

dicrous price list. So I made up this $8,000 starting price point, and I basically still sell it. I shoot a few weddings each year. Again, I had a goal: I wanted lower volume on that part of my business.”

She emphasizes the need for a sound business strategy. “I’ve seen plenty of people who make a lot of money, and I don’t think their photography is all that great—but they are really business savvy. And that’s the key,” she notes. “I’ve seen really good photogra-phers fail, because they have poor pricing structures and poor business practices.”

It’s important, she stresses, to do things right. “Word-of-mouth is your best mar-keting,” Forester says. “How you treat your clients, how your finished product looks. Marketing and sales go hand-in-hand. Al-most every client I get has a friend, or their mom’s friend or somebody, and they saw their senior portrait and recognized the quality. And as a marketing tool, I might create a small accordion album and give it to a client so they can go around and share it with people.”

Opposite page: One of Beth Forester’s senior portraits, shot during a 40-percent-off special. Above and next page: “We do not sell full-res digital files, says Forester. “I cater to a higher-end clientele who wants my expertise in designing, print finishing, mounting, framing, etc. They are not interested in cutting cor-ners and saving money and doing it themselves.”



Above: Graphics from Beth Forester’s senior price list she made as an eight-page booklet.

Don’t Sell Yourself ShortForester believes many photographers make the mistake of setting their base prices too low. “If you constantly come in low-balling—you’re the economy pho-tographer, the cheap person—then first of all, people are skeptical, because why are you cheap? It lowers your validity. And also, there’s no wiggle room,” she says. “But if you have your high-end price structure set up to establish the price point, you can go up or down—basically down—from there.”

What about creative types who are bad with numbers? “I think with a lot of photographers, that’s not something in-nate—the numbers part—so they don’t even want to think about it,” she says. “But here’s what I tell people: we all like to count money. You are a numbers per-son—you just don’t know it—if you like to count money.”

| SETTING THE PRICE |



CASE STUDY #1BETH FORESTER PHOTOGRAPHY: The Senior Print Packagewww.foresterphoto.com

Beth Forester’s portrait studio is located in Madison, West Virginia, where median incomes are well below the national average. “West Virginia has been in a reces-sion since, like, the 1940s or ‘50s,” Forester says half-jokingly. “So I’ve always had to work within that. But I’ve also found certain markets where people were willing to pay higher prices.”

For her high-school senior portraits, Forester regularly offers a series of six different packages that vary accord-ing to the number of poses and prints in different sizes.

“The Level One package costs $615. It includes two poses, two 8x10 prints, four 5x7s, 48 personalized wal-let prints and 15 originals,” she says. “On the other end is the ‘I Want It All Package,’ for $2,995. This includes 30 poses, a 24x30 wall portrait, a 24x24 composite, a 5x20 senior slim-line, three mini-accordion albums, ten 8x10 prints, 14 5x7s, 168 double-sized wallet prints, 100 411 cards, a 20-page senior storybook, all the originals with album, and a DVD slideshow, an iTunes podcast and a webPix collection of the entire session.”

Her most popular option is a happy medium: her “Level Four” Package for $1,895. “This includes 15 poses, a 16x20 wall portrait, a 20x24 composite, five 8x10 prints, 10 5x7s, 112 double-sided wallet prints, all originals with album, and the DVD slideshow, iTunes podcast and webPix collection of the session.”

The entire package system, Forester explains, is based on marketing principles. “Know your profit margin for each package,” she says. “Packages offer ways to make an easier workflow, to direct your clients, to set a standard and to offer incremental incentives to purchase more. Also, if you specify your packages, people as-sume that other customers must be buying it.”

Forester adds that a la carte services have their place: “They lay the foundation, and they offer a way for people to add on to their package.” Her typical a la carte prices for 8x10 prints, for instance, range from $95 for an 8x10 (without package) to $45 (with package). She sells batches of 48 wallet prints for $110 (with package) to $55 (without package). And she offers Storybook Albums for $695 (15 images, ten pages) or $945 (20 to 25 images, 20 pages).

“The idea is to set up a system that directs your customers,” she says. “To do this you have to clarify your own place: Are you going to be high-volume, low-volume, or in between? This choice will determine your pricing structure.”



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Above and opposite page: Images from weddings shot by Sarah Gormley. She models her price structure after the clientele she hopes to attract—mostly artistic and creative types.

CASE STUDY #2SARAH GORMLEY PHOTOGRAPHY: Simple and Transparent Wedding Packageswww.sarahgormleyphotography.com

Call Sarah Gormley a romantic: she says her wedding photography practice is based on the ways of true love.

“When I started my business, I thought about the people I wanted to work with and the most effective way of reach-ing them,” says Gormley, who incorporated her Washing-ton, D.C.–based operation in early 2013. “I wanted my niche to be people who prioritized love above anything else on their wedding day—love of their fiancé, love of

their family, love of their closest friends. Then I started to make some deliberate choices in order to try to attract those kinds of people.”

Gormley set up a simple, transparent pricing structure. “When I’m spending time with a couple before their wed-ding day, I want the logistics conversation to be as quick and easy as possible so that we can move on to actually getting to know each other,” she says. “It’s critical to in-vest time in that relationship in order to help couples let their guard down and reveal themselves to the camera in honest, candid moments.”

Her rates are based on two packages: Home and Des-tination. “Home is up to ten hours of coverage for $3,000




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anywhere within a three-hour drive of where I’m based,” Gormley says. “Destination is full-day coverage anywhere in the world and includes travel and one night’s accommo-dation. Additional hours can be added for $300 per hour (my portrait rate) and an associate photographer is $400 for up to ten hours.”

Editing and post-production work are included in Gorm-ley’s flat rates. “All of my photos are toned with my custom film filters and retouched,” she says. “I outsource all of my printing to a proofing site, Digiproofs.com. The only add-ons that I offer are albums which are designed by me and printed by Renaissancealbums.com.”

Gormley set on her price structure after targeting her market. “The most difficult part is striking a balance be-tween a rate that is affordable for my niche while also sus-tainable for me as a business owner,” she notes. “Setting a price too high runs the risk of alienating the more artistic, creative clientele that I’m looking for. Setting a price too low not only makes it difficult to sustain a business, but also attracts couples who don’t recognize the true value of professional photography.”

She adds that her flat rate “also means that the photos have to be worthy of the price I charge. That’s a chal-lenge—and it’s inspiring.”



CASE STUDY #3FRED MARCUS PHOTOGRAPHY: High-End Market Pricing www.fredmarcus.com

Andy Marcus is president of Fred Marcus Photography, one of New York City’s premier wedding photography studios. Founded in 1941 by Andy’s father, the studio has become a favorite service provider to the city’s elite.

“Our clientele has evolved to the top tier of New York society,” says Marcus, who has been shooting wed-dings for over 40 years. “We have, at last count, more than 28 of the Forbes 400 richest people in the world as clients.” Over the years the studio has photographed the weddings of Eddie Murphy, Donald Trump, Kelsey Grammer, Princess Yasmin Aga Khan and many more. Son Brian shoots more than 50 weddings a year under the stu-

dio name, and wedding album packages start at $7,500 but go to twice that amount if Andy or Brian are the main photographers. “Brian and I charge a premium because we are the most requested and have no problem getting more for our services. We charge less for my senior pho-tographers.”

But Marcus does spell out fees in advance to clients. “I explain that if they like what they see, they will be spend-ing a lot of money with us.”

On site, the fees are based on manpower. “Depending on the size of a wedding, we add on additional photogra-phers,” Marcus explains. “As a rule, for up to 225 guests we need one crew (a photographer and assistant); for 225 to 400 guests, two crews; for 400 to 800 guests, three crews; etc.” The studio charges extra for travel time and expenses. “All we as photographers have to sell is our talent and our time. The hours of editing, enhancing, color

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Above and opposite page: Andy Marcus of Fred Marcus Photography in New York City works with wealthy and celebrity clientele and therefore pay a premium for high-end photographic services.




correction, retouching and album design are what cost the most.”Typically, the end result is a high-end wedding album. “All our

arrangements include leather-bound albums for the bride and groom and a set of printed proofs for clients to make selections from,” says Marcus. “We use Leather Craftsmen as our binder of choice but have a couple of less expensive alternatives that parents or grandparents can choose from. We charge one fee for a set number of prints in an album and then a per-print price for what they order after that.”

Digital files are not included. “We do not give away disks of im-ages,” he says. “We remain in full control of the image’s look as far as cropping, color correction and enhancement are concerned.”

During consultation, clients are made aware of the bottom line. “There are many studios that charge for everything separately: labor, proofs, prints, binding, and—‘oh, you want retouching?’—another charge. That would annoy me and I know it would annoy my customers. Our prices are all-inclusive,” says Marcus. “And truth be told, consistent quality and great customer service are the reasons people keep coming back to us year after year.” RF



What’s Taxable?It’s the million-dollar question on every photography business owner’s mind: What’s taxable and what isn’t?

This is a more straightforward answer if you’re a toy salesman, for instance. Toys are taxable, assuming there isn’t a special sales tax holiday or exemption. But the answer is more complicated for photographers, who provide both services and tangible products. Is only the tangible item—such as gallery wrap—taxable? Or are the ser-vices—such as the sitting fees—taxable as well? What about digital images?

In some states, the taxability of portrait photography is different than the taxability of event photography [discover the intri-cacies of state tax laws in State Specifics on page 102]. And get this—the laws can change!

If a business owner fails to collect sales tax from his or her customers, state agen-cies won’t be forgiving; the result can be ugly. So do absolutely everything in your power as a photography business owner to make sure you are collecting the proper sales tax from your clients (as well as sub-mitting any use tax you may owe).

Sales Tax on ServicesMany photographers mistakenly believe services aren’t subject to sales tax. Actu-ally, not only are specific services taxable in many states, but services may also be tax-able when they are very closely connected to the production of a tangible item.

Let’s discuss the following scenarios:

SCENARIO 1:A photographer charges a client $2,500 for wedding photography services, which includes a flash drive of images provided to the client. Photographer does not charge sales tax.

The photographer might believe that photography is a service and that the flash drive of images is an inconsequential ele-ment of those services. Unfortunately, this is incorrect according to most states’ tax requirements.

SCENARIO 2:A photographer charges a client $2,000 for wedding photography services, but no sales tax. Said photographer also provides a flash drive of images to the client for an additional $500 fee to which sales tax is applied.

The photographer might believe that the flash drive is subject to sales tax because it’s a tangible item, but the services provided aren’t. Unfortunately, this also is incorrect in most states.

You are probably thinking, “Why is that?” Let me explain:

Many states consider photography ser-vices a part of the “fabrication process.” In other words, the labor (photography service) is so closely connected to the final product—the flash drive of images — that the labor necessary to make those im-ages also is taxable. Why do people hire photographers in the first place? They are paying for the service of photography in order to get the final product—the images.

By Kristin Korpos

The Sales Tax PrimerWhat to Charge,

How to Charge and Why

Kristin Korpos is an attorney and MBA, specializing in the business side of photography on her website, Nifty Knowledge Rocks. In addition to being a photography business educator, as well as Senior Writer for Sal Cincotta’s Shutter Magazine, Korpos is a wedding and portrait photographer located in the Boston area. The following is an excerpt originally appearing on Photography Spark (photographyspark.com, a business education website for photographers), and covering the basics of taxing for photography sales and services. Read more of Korpos’ original articles at niftyknowledgerocks.com.

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Simply put, your clients want photos. They want an album, a gallery wrap or a drive of images. Without the photography service, these items wouldn’t exist because there would be no photos.

Without diving into any one state’s laws, this brief explanation gives you the gist of why photography services and tangi-ble products may be subject to sales tax. Armed with this information, you can con-tact your state and local tax agencies to get the information you need to ensure you are collecting sales tax properly. Also, re-member that the treatment of sales tax for portrait sessions may be different than for event photography.

Sales Tax on Digital ProductsIn the old days, clients would expect to get something tangible from their photogra-pher. Technology, however, has changed the landscape. In the past year alone, digital storage services like PASS and Dropbox be-came more widely used by photographers to deliver images to clients. Another huge misconception is that digital images are not subject to sales tax. This is not true.

Depending on state law, digital imag-es that are electronically delivered to and downloaded by your client from the Inter-net may be subject to sales tax.

Alabama, Maine, South Dakota, Texas, Utah, Washington and a few other states require that sales tax be charged for digi-tal images. Additionally, if you find your state does not apply sales tax to digital im-ages today, be aware that increasingly more states are passing legislation to tax these types of digital products. This means that your state law may change in the future. Sales tax laws can and do change.

Use TaxA use tax applies to taxable goods and services for use in your state, where you haven’t been charged a sales tax. Use tax is reported and paid to your tax agency along with your sales tax, via your tax return.

The simplest example of use tax is when a photographer located outside of New York—let’s say in Massachusetts—pur-chases a camera strap from Adorama,

which is located in New York City. The camera strap is shipped to the Massachu-setts photographer and Adorama collects no sales tax. This is because Adorama isn’t obligated to collect sales tax from Massachusetts’ residents. Because the photographer hasn’t paid sales tax on this purchase, he must now self-assess the sales tax due, because he’s planning to use this item in Massachusetts, and remit the amount of sales tax due to the Massa-chusetts Department of Revenue on their sales and use tax return.

Calculating RatesConsider yourself very lucky if you are a photographer who does business in a state that only has one tax rate. With only one rate, calculating the rate of sales tax applied to a transaction becomes much easier. For example, the sales tax rate in Massachusetts is 6.25 percent statewide. That means that at any location, the tax rate is 6.25 percent. In some states, however, the tax rate varies from one location to the next. This is be-cause some states have cities and counties with rates that differ.

To make things even more difficult, in some states sales tax is calculated at the “ship-to,” while in other states it is calculat-ed at the “ship-from.” Say what? This means

that when shipping items to clients, if you are located in a state that calculates sales tax at the ship-to location—your client’s address—you will have to know the sales tax rate that is applicable for that address.

Many state tax websites have tax rate locators or charts, and they are the most reliable sources for tax rates. There are also other websites such as TaxRates.com and GeoTAX.com that provide location-based sales and use tax rates.

Tax ExemptionsThere are several types of tax exemptions. One is a goods or service-based exemp-tion, such as an exemption in some states for the purchase of prescription medicine. This exemption exists due to the nature of the product. Another type of exemption is entity-based, which may be an entity like a church. And the third type is an exemption for resale.

Entity-based exemptions are the most common type for photographers. Some entities, due to their status, are excused from paying sales tax on certain qualifying transactions. A church or a nonprofit or-ganization that expects to be exempt from sales tax may hire you. Subsequently they should let you know that they are exempt from sales tax.

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Be sure to research your state law. Some states require that the exempt entity be a certified §501(c) organization, and that the organization must have filled out an application with the state tax agency. Additionally, not all transactions will qualify for the exemption. Just because someone tells you they don’t have to pay sales tax doesn’t mean they are correct.

Doing Business in Other StatesIf you are traveling to other states to photograph clients, you may actually be doing business in more than one state for sales tax purposes. This is a common occurrence where states are located in close proximity to one another, particularly in the Northeast. Photographers in these areas often must collect and remit sales tax to more than one state—the state in which their business is physically located as well as other states.

This is a more complex area of sales tax, but know that if you are traveling to other states to photograph for clients, you may be obligated to collect sales tax in those states. The individual state law, along with the specifics of your transactions, location of your clients and how you deliver products to your clients, should all be reviewed in order to determine these tax obligations.

Hiring a ProfessionalAs noted previously, sales tax can be complex and confusing to navigate through. If you already have contacted your state and local tax agencies but have found them unhelpful, you might want to consider hiring a tax professional. But first make sure he or she has a broad understanding of sales tax laws, as well as the issues specific to a photography business. Not all accountants or attorneys are sales tax experts, nor do all of them understand the transactions that are unique to photographers. RF

STATE SPECIFICS

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| THE SALES TAX PRIMER |

Making tax laws even more confusing is that they dif-fer depending on where you live. Here are ten State Tax Specifics to keep in mind.

1. Electronically delivered images are subject to sales tax in Alabama, Maine, South Dakota, Texas, Utah, Wash-ington and a handful of other states.

2. The purchase or rental of cameras, lenses, filters, tripods, lighting equipment, etc., is exempt from New Jersey sales tax as equipment used directly in the pro-duction of tangible personal property. An exemption certificate must be presented upon purchase.

3. Shipping and handling charges may be subject to sales tax, depending on individual state law.

4. Sitting fees are not subject to sales tax in Massachu-setts if the customer is under no obligation to purchase any of the photos taken.

5. Travel expenses may be subject to sales tax depending on state law, when such travel is required to complete the sale, (i.e. you must travel in order to capture the im-ages you are selling to the client).

6. Some states have annual sales tax holidays, during which the purchase of photography services, photo-graphs, albums and other items may be exempt from sales tax.

7. In California, electronically delivered images and pho-tography services become taxable the instant any tan-gible items are also provided to the client. This is true in many other states as well.

8. Sales of gift certificates and gift cards are generally exempt from sales tax when sold. Sales tax is then calcu-lated on the purchase made at the time the gift certifi-cate is used.

9. Qualifying purchases made by certain entities (orga-nizations like churches and non-profits) may be exempt from sales tax. Laws vary by state.

10. In North Carolina, purchases by commercial or por-trait photographers of machinery or accessories used to manufacture photographs are exempt from sales and use tax and subject to only the 1 percent privilege tax with a maximum tax of $80 per item.

—Compiled by Kristin Korpos


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Photo: Ashley DuChene


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Take Controlof Your Business

In an ideal world, a professional photographer would probably spend all of his or her time shooting, but photography is a business after all. Keeping one’s studio organized and running efficiently takes

discipline, whether it’s for communicating with clients (ensuring that you don’t double-book or drop the ball on follow-up tasks) or keeping up with bookkeeping. Here, we present ten studio software applications that will help you spend less time managing and more time with a camera in hand.

By Theano Nikitas

These studio management software programs can help you run your business smoothly, efficiently and profitably.

Daylite 4A general business software tool designed for Mac, iPhone and iPad, Daylite gives you access to your data on location and when you’re travel-ing. With version 4, the interface has been redesigned, features added and performance enhanced. While Daylite is not photography-specific, its mail assistant, task-oriented calendars and other features can be tailored to your studio business.

What’s kind of cool is how the voice-based virtual assistant, Siri, is con-nected to Daylite, just as it is with iCal. Siri can pull contact information from your Daylite database if you want to make a call or get an address, add a task to your worklist, create and adjust appointments, and she will tell you what your schedule is for the day. A Daylite license includes Daylite for Mac, iPhone and iPad for one user ($280), Daylite Mail Assistant (DMA) and Daylite Server. And, Daylite plays well with a number of other applications including MailChimp.

Price: $280/user; $180 upgrade/user; volume pricing available www.marketcircle.com/daylite

Above: Daylite can be tailored to fit any business, with features like this multi-purpose calendar.

GenbookRather than being a general business management software solution, Genbook is designed as an online booking application. With Genbook, you can set up a complete system for booking appointments on your website that not only displays when you’re free but provides clients with instant confirmation. The appointments are synced with your calendar so you always know what your schedule is via computer, or iOS and Android mobile devices. Genbook also works well with social media, making it easy to market your business. New to the application is the ability to create and market special promotions. Members of your team can access their individual schedules with a separate login, but you have access to everyone’s data so you can more easily track your business visually or by using customer analytics. If you want to expand into online bookings, Genbook deserves consideration.

Price: From $20/month www.genbook.com

Above: Genbook provides convenient online booking for your clients, complete with confirmation, as well as verified customer reviews.

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PixifiThis Web-based studio management software was developed by a photographer and offers a wide range of features, from email tracking, to gathering data for year-end taxes and pretty much everything in between. Scheduling, questionnaires, online contracts that clients can sign digitally, invoicing and locations can all be tracked and organized with Pixifi. Payments can be made directly through the software via PayPal, Google Checkout and other third-party vendors.

There are no contracts, and you can cancel any of the three options at any time. The $24/month Essential version is basically for single users and is limited to a single pricing page, staff member and brand, while the $34 version offers more options in those three categories. Both versions pro-vide unlimited contracts, invoices and questionnaires, to name a few. The most sophisticated of the three, StudioPro, costs $49, has no restrictions on any of the features and also has a special option for organizing workshops. And, if our brief interaction with the company is any indication, customer service is excellent and the company has a very active (and helpful) Facebook group.

Price: From $24/month www.pixifi.com

Light Blue Software 4.3.2Light Blue Software made a major change last year when the software program was re-built from the ground up. Rather than being built around Filemaker, as the previous versions were, version 4.0 is now a native Mac and Windows application. The design is still very basic, so don’t expect any flashy icons or anything more than bits of colors to code certain entries. Despite its no-frills design, Light Blue is a highly functional ap-plication that can handle just about any task you need—from recording information about an inquiry or shoot to generating multiple reports including income and/or expenditures to creat-ing a Web gallery of images. Financial tasks are handled seam-lessly from start to finish, and you’ll never lose track of your schedule (you can integrate iCal, too, for example) or clients’ birthdays and anniversaries. You’ll have access to mail merge and the ability to export various data. While the program is computer-based, Light Blue also offers an iOS app for remote access by syncing between computers and mobile devices. This program is surprisingly easy to use given the amount of data it can handle.

Price: $470 (single computer license; additional licenses and iOS apps, from $12.50/monthly +$470)www.lightbluesoftware.com

Above: This highly functional software makes it easy to set up price lists for effortless invoicing or pulling together reports to analyze profits.

Left: Not all photographers want to post prices on their websites but if you do, Pixifi lets you set up details—and package add-ons—that your customers can browse and book online.

ShootQPerhaps one of the best-known studio management soft-ware applications for photographers, ShootQ was created by photographers and is now part of Pictage (an online proofing, marketing, e-commerce and print fulfillment pro-vider for professional photographers). Visually, ShootQ is one of the more attractive studio management software ap-plications we’ve seen and offers a range of useful features.

Some of these features include quick and easy follow up on leads and the ability to generate quotes, book and sign contracts online and create revenue charts that provide a clear view of your sales by segment. The software is well-integrated with any number of social media and other online

products/services including Facebook, Google Analytics, Google Checkout, Wordpress, iPhone and pretty much any calendar.ShootQ is pay-as-you-go with three monthly options, starting at $40 a month for three users, one brand, one pricing page and

250MB of file storage. Up that to $60 a month for more users, brands and pricing pages and 1GB of storage. For $80 a month, the aforementioned options—including storage—are unlimited. ShootQ is well-respected among photographers, and with good reason.

Price: From $40/month www.shootQ.com

Above: ShootQ, a well-respected photography studio management software, offers a number of different sales analytics such as this Sales by Revenue pie chart.



| TAKE CONTROL OF YOUR BUSINESS|

TAX SEASON TOOLSWhile almost all of the studio management software pro-grams we’ve listed offer tools to help you stay on top of accounts payable and receivable, making sure you file your taxes on time, and accurately, is always a challenge unless you have a good accountant. If you want to do it yourself, however, there are any number of tax programs on the mar-ket; we’ve listed two of them here. But, before you splurge on a tax program, check out www.irs.gov to figure out what forms you need to submit and make sure that they’re in-cluded in whatever software program you choose. Also visit www.sba.gov for advice on financial planning and taxes.

Intacct This cloud-based financial system provides financial management and accounting software solutions, including applications for accounting, contract management, revenue recognition, inventory, purchasing, vendor management, financial consolidation and financial reporting.Price: Pay as you go; Request custom pricingwww.intacct.com

TurboTax Business This business tax software provides guidance in reporting business income and expenses, including coverage for filing S Corp, partnership, C Corp or multi-member LLC forms.Price: $149 www.turbotax.com

Simply StudioThis modular, Web-based app is broken down into three parts. The first is a dashboard with a wealth of studio management tools (contracts, invoices, questionnaires, email tracking and more). The second is an accounting module for tracking your money and running reports. This can be tied to your bank ac-count, and recurring expenses will automatically be sorted after the first time you categorize it. And that’s just scratching the surface. To round out the app, the Online Proofing module puts a well-integrated selling tool right into your hands, with orders fulfilled by Simply Color Lab with no credit card fees and no commissions. Simply Studio also offers phone support and free training Webinars. Monthly, one-year and two-year payment options are available.

Price: From $23/month with a two-year contractwww.simplystudio.com

Above: Simply Studio’s dashboard displays a range of information including messages as well as the details of a specific job including to-do lists and completed tasks.

StudioCloudStudioCloud is a solid combination of desktop (Mac and Win-dows), mobile and cloud-based components. The single user software as well as iOS and Android apps are free and come with 1GB of cloud storage. What’s great about this modular system is that, for a monthly fee, other individual products and services can be added to the core program including CloudProofing, CloudBooking, CloudForms and CloudAlerts. This allows studios to customize the program—and poten-tially save money—by subscribing to only the products and services they need. For example, if you want or need your

clients to book sessions online, you can subscribe to CloudBooking—and even embed that option into your business website.For larger studios with multiple employees, StudioCloud offers Employee Boost, which helps incorporate the activities (including

billing and invoicing) of others so that records provide a total picture of the business.There are plenty of options within the basic software so you can easily work with the free version and still have access to

features such as project and client management, bookkeeping and much more. Sync it to the cloud and you have anywhere, anytime access to your records. In essence, StudioCloud gives you the best of both worlds.

Price: Free; optional features available from $10-60/month www.studiocloud.com

Above: Various financial reports are readily available within StudioCloud so you can quickly analyze your income, expenses and P&L.



Right: One of Táve’s many convenient features is the ability to create and send proposals from within the software.

Táve Studio ManagerA full-featured management tool, Táve offers pretty much all you need to run and track your studio business. In addition to creating detailed proposals and/or questionnaires for each client, Táve does the follow-up for you by tracking open jobs and important leads. The software also keeps you on track with your tasks and appointments, and the studio calendar can be shared online so team members also have access to studio schedules.

Many options are available, too. For example, you can set up to four signatures on a contract and you can also set custom payment sched-ules. Online support is available via messaging or you can join the Táve Facebook group. Either way, this software’s features provide a solid workflow for your studio business. RF

Price: $25-$32/month www.tave.com

SuccessWareThis cross-platform computer-based tool provides a wide range of studio management functions including scheduling, which takes into account availability of team members and/or assistants. You can also track appointments and leads, easily manage email, track orders, invoice clients and more. Perhaps what’s most interesting is that SuccessWare provides industry standard pricing and allows you to quickly analyze your bid and expenses against those prices to calculate profitability. This calculator will make it easy to adjust your bid and pricing as needed and, essentially, make sure you’re on the right track to achieving your financial goals.

Price: From $49/month www.successware.net

Left: In addition to scheduling and financial options, SuccessWare provides detailed records of clients and follow up reminders.

StudioPlus SoftwareStudioPlus offers three options for photographers including the new cloud-based myStratus 2013, as well as its Spectra desk-top version and InspiredByYou.com (an e-commerce site). With myStratus, users benefit from many of the same features as the desktop software including scheduling, client management, invoicing, emailing, texting and online image storage. Because the data is stored in the cloud, information is available via Web browser as well as an iOS app (iPad and iPhone). As of press time, Stratus was only available in the Express, single-user edi-tion; the Standard version was available as a Preview release and the Professional edition slated for 2014.

Spectra also has a free Express single-user edition (add more users for a fee), which is good for those who are just starting their studio business and/or on a tight budget. There are also Standard, Professional, Enterprise and OnLocation versions, each of which offers a broader feature set, along with a higher cost. Keep in mind, Spectra is Windows-based only, but the cloud-based Stratus offers more flexibility.

Price: Spectra, free with options starting at $67/month; MyStratus2013, from $30/monthwww.studioplussoftware.com

Above: StudioPlus Software offers a range of product options, including the new myStratus cloud-based software pictured here.


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PHOTO © ROB GREER

Inside 2014


Our sights are set on Vegas. The strip. The slots. Mark Seliger’s band. Jerry Ghionis’ Saturday night party. The cocktails at Hakkasan. Counting Jason Groupp’s bow ties. Winning Print Comp. Learning film-making. Getting—ahem—close to new friends. WPPI is being called “The Best Week of Your Life.” Read the following pages to see why...

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| INSIDE WPPI 2014 |

Observational Therapy

WPPI Keynote Speaker Mark Seliger on the intersection of visual and musical creativity.

By Jessica Gordon

Mark Seliger’s famed career is enviable no mat-ter your chosen genre of photography.

For the past 30 years, New York City-based Seliger has photographed—with no exaggeration—some of the most iconic portraits of our era. Whether it be Kurt Cobain’s haunting gaze in 1993 (right), John Malkovich’s lofty recline with pigeons in 2008 (pg. 78), or New York magazine’s whiplash-inducing cover of (nude and tattooed) actress Lake Bell just this year— the photographer’s work is timeless and consistently inventive.

As chief photographer for Rolling Stone from 1992 to 2002, Seliger shot more than 100 covers for the maga-zine, and now routinely works for Condé Nast publica-tions, including GQ, Details and Vanity Fair.

“I think the most important thing for a photographer to understand is observation,” Seliger said of his process in a May 2013 article on New York magazine’s fashion blog, The Cut. “You can read somebody pretty quickly if you spend a second and you walk slightly in front. Even if you’re engaged in a conversation, be aware of what’s going on with them. Sometimes someone will just gesticulate or cock their head a certain way, which is a great starting point of the way you want them to react in a photograph. Making a great portrait sometimes is about picking up on those idiosyncrasies and personal-ity traits that people have.”

In March, Seliger will be taking his perspective on creativity to the West Coast as the first-ever keynote speaker at WPPI. Seliger presented a similar multime-dia program at PDN’s PhotoPlus Expo in October 2013 to rave reviews.

This means Seliger will not only be sharing some of his favorite images—and the stories behind them—but also performing with his band, Rusty Truck.

“This came across very organically,” Seliger says of the

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Above: A 1993 portrait of Kurt Cobain, taken by Seliger two months before Cobain died.

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Above: Johnny Depp, photographed in France in 2003.



| OBSERVATIONAL THERAPY |

original idea for his presentation. “One of the great things about the seminar in New York is that we didn’t tell anyone anything to expect, and people were like, ‘What the hell is going on here?’ [We said] let’s do something different and think outside the box.”

Seliger continues: “It’s a multimedia experience, of words and music written with my band, and then I worked with other pho-tographers, editors and filmmakers on a visual companion that reflects a 21st century liner note for the album. It’s a visual jour-ney of music, with a combination of photography and film, music and lighting to create a theatrical experience for the viewer.”

The hope is that audience members will be inspired by Seliger’s images and process of creativity.

“For me it’s always great to share like that, especially when it has a different experience for people, it’s enjoyable for me,” Seliger says. “The band has fun with it too.” RF Above: Seliger performing with his alt-country band, Rusty Truck at PDN’s

PhotoPlus Expo in New York City, October 2013.

Above: Veteran actor John Malkovich posed with pigeons for Seliger in Los Angeles in 2008.

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Mark Seliger’s presentation “Mark Seliger Live: Keynote and Performance by Rusty Truck” will take place the evening of Tuesday, March 4, at WPPI in Las Vegas’ MGM Grand hotel. For more information, go to wppionline.com.


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Speaker CloseupsBy Jacqueline Tobin

Los Angeles photographer Rob Greer returns to WPPI year after year for dozens of reasons. “In no particular order, some of the most important are that I’m able to reconnect with old friends and make new ones; I’m able to observe the annual 16x20 Print, Album and

Filmmaking Competition firsthand; and I get to visit the trade show and network with established vendors, and meet new ones,” he explains. According to Greer, whether you’re a SEO beginner or expert online marketer, “expect to come away with dozens of innovative techniques to improve website and blog rankings.”Course: “SEO Success: 50 Tips to Improve Website Rankings.”

A destination wedding photographer based in Virginia, WPPI newcomer Katelyn James says the first thing you should know about her is that much of her success is owed to her husband (and business partner) Michael. “We are childhood sweethearts; we dated for

eight years and then we got married on 10/10/10,” she gushes. For James, starting her business as a shoot-and-share photographer and focusing on service and community has created freedom for her business to grow. RF

Course: “Create Community Instead of Customers.”

One great thing about WPPI is that the show always achieves a good balance between new speakers and tried-and-true favorites. Below, we highlight three exciting presentations taking place on Tuesday, March 4, and the photographers behind them! Visit wppionline.com for specific times and locations.

The first time Elizabeth Messina spoke at WPPI, it was standing room only and the fire marshals showed up because the room was over its capacity. The secret to her success? Her romantic, ethereal style keeps evolving (check out her stunning bridal fashion shoot on our cover this month), yet she still retains her signature style year after year. Says Messina: I have always been intrigued by fashion, and along the way

have naturally evolved into fashion photography. At first I did it for myself, with a bride or with a thrift store dress and a friend, but over time I’ve been able to get the attention of magazines and designers. I think photographers starting out should strive for consistency in their photographs— the more you cultivate your work and personal style, the more options you have in the world.”

Course: “Compelling Creativity.”

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ADAMFORGIONEwww.pennylaneprod.comOwner of wedding film studio, Penny-lane Productions, Adam Forgione was voted “one of the top event filmmakers in the world” by EventDV Magazine multiple years and is the recipient of more than 30 state and international filmmaking awards. In 2011, Canon hired him to direct a promotional film for CES in Las Vegas featuring DSLRs in weddings. He has spoken at numer-ous CES and NAB shows for Canon USA; WEVA (Wedding & Event Vid-eographers Association), Masters In Motion and InFocus events; and his Pennylane Workshops tours.

What are your tips for those trying to grow their filmmaking business or incorporate video into their repertoire? You need patience. You may have to do the first few [films] very cheaply (or sometimes free), but you need to look at this as an investment. Once you create something for your portfolio to show, start building with fair prices because you need to prove yourself even though you may feel you’re better than average. Once you see the demand, you can start to adjust your prices. Don’t be surprised if this takes years at minimum.

Learn the fundamentals: framing, focus, exposure, stabilization, length of shots, under-standing of sequences and understanding of storytelling.

What is one thing you’ve learned over the years in the filmmaking business that has stuck with you?Consistency will always keep you successful. Ray Kroc used this concept to create the big-gest burger franchise in the world, McDonald’s.

Course: “Mastering Audio for Wedding Films,” Tuesday, March 4, 8:30 a.m.-10:00 a.m. Overview: All aspects of capturing audio are covered in this class, including ceremony, reception, preps, EQ, compression, field recorders, mics and more.

FilmmakingTrack Stars

Compiled by Lindsay Comstock

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DAVIDROBINwww.davidrobinfilms.com

David Robin, who founded the Ameri-can Videographers Association in 1989, educates and trains filmmak-ers and videographers all over the United States. Robin started Boule-vard Video Productions in 1986 and David Robin Films in 2007, and has won 32 Creative Excellence awards from WEVA, including the Bob LeBar Vision Award and the Distinguished Service Award. In 2001 he was inducted into The WEVA Hall Of Fame. EventDV Magazine named Robin as one of the top 25 most influential and talented event filmmakers in the country for five consecutive years (2005-2009). A wedding day music video parody Robin created (“Dirty Bit”) went viral, and was featured on the Today Show. Enter-tainment Tonight proclaimed his wed-ding film of producer David Foster and model/interior designer Yolanda Hadid as “the new Gold Standard.” Recently, Robin has expanded into corporate video production, and just won a 2013 Telly Award for the promotional film “WPPI 2013: Change Your Life.”

What are your tips for those trying to grow their filmmaking business? The way to grow your video business is to have all your ducks in a row: Quality work, excellent service, sexy branding and most importantly building the right re-lationships with vendors that reflect your quality and/or the quality you aspire to. No easy path, just hard work, experience and diligence.

For photographers wanting to incorporate video—don’t try to do it all yourself. Find a qualified filmmaker to link up with. It’s a huge amount of work and requires a lot of skills.

What is one thing you’ve learned in the filmmaking business that has stuck with you?Never sit back and rest on your laurels or accomplishments. You constantly have to push forward and work to improve your skills as an artist and business owner.

Course: “How to Stand Out in the Crowd,” Tuesday, March 4, 4:00 p.m.-5:30 p.m.Overview: This class teaches how to distinguish oneself in such a competitive industry, through marketing technique, innovative thinking and creative approaches to filmmaking.

In response to the visual storytellers who are now incorporating video into

their businesses, WPPI 2014 includes a � lmmaking seminar track. Eight

industry savants will teach classes on � lmmaking fundamentals, designed

for novice to pro-shooters: From audio technique to conceptualizing a shoot

to ideas for standing out in this niche industry. Here, we share this stellar

group’s tips for getting a foothold in the craft, as well as information on their

not-to-be-missed presentations.PH

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| FILMMAKING TRACK STARS |

RAYROMANwww.rayromanfilms.com

Ray Roman, who specializes in high-profile weddings and special events, counts among his wedding clients Facebook founding president Sean Parker, NBA All-Stars Chris Bosh and RIP Hamilton, and NFL All-Pros Brian Dawkins, Devin Hester and Chris Hope. Roman’s work has been featured on Oprah, Good Morning America, ABC News 20/20, FOX Sports and the NFL Network. He began filming weddings in 2006 and quickly emerged as a highly regarded cinematographer. He has spoken at every major wedding videography conference around the world since 2009 and when he’s not sharing knowledge at a conference or seminar, he’s hosting his own private ‘hands-on’ workshops in various cities. Roman is passionate about his craft and believes in the “fundamentals first” approach. His goal is to not just help cinema-tographers take their work to the next level, but to also share tried and proven strategies that will help attendees make more money.

What are your tips for those trying to grow their filmmaking business or incorporate video into their repertoire? Have a plan to grow your business. Figure out who you are and what you want to be known for producing.

What is one thing you’ve learned over the years in this industry that has stuck with you?Learning the fundamentals is critical. Mastering the fundamentals is the key to setting yourself apart from the competition.

Course: “Wedding Cinema Crash Course,” Monday, March 3, 8:30 a.m.-10:00 a.m.Overview: This class aims to teach all of the basic fundamentals of wedding videography, from prepping the bride and groom to lighting and audio technique.

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SARAHPENDERGRAFTwww.penweddings.com

Sarah Pendergraft says she fell into wedding filmmaking after meeting her husband Rick while working in local TV news—she was a reporter and he a sportscaster. “When plan-ning our wedding, like many, we as-sumed wedding videos are all boring and crazy cheesy, but two co-work-ers of mine convinced us to hire a colleague who shot weddings on the side,” Pendergraft explains. “After see-ing our highlight, I turned to Rick and said, ‘We could do this, and we would LOVE doing this.’ A few months later, we shot our first wedding.” The pair launched PenWeddings in 2009, and since then have received awards for sound design, demo production, love story and bridal artistry.

What’s your advice for those trying to grow their filmmaking business? Stay true to your own personal style. Don’t try to be a hipster if that’s not genuinely who you are. If you want to build your business on intimate events, don’t strive to work “plati-num weddings” just because you think that’s what you’re supposed to do. Craft your work based on what speaks to you, and you will likely attract clients with similar personalities, and your business will be better because of it.

Don’t take on more than you can handle. As our business has grown, I’ve really had to learn how to say no to projects or events that we technically were “available” for, but we knew it would mean stretching ourselves too thin. It’s very hard in the moment, but look-ing back, I don’t regret any of those decisions...and I do regret some times that I said yes and shouldn’t have.

What is one thing you’ve learned over the years that has stuck with you?There is no “one right way” to make a wedding film. Early on, I thought all wedding videos were supposed to look a certain way and utilize cer-tain specific techniques. When I got involved in online event videography forums my eyes were opened to the fact that there are many differ-ent styles of wedding videos out there and you don’t have to do things one way and one way only. That’s when our business really started to take off.

Course: “More Than Moving Pictures,” Wednesday, March 5, 3:00 p.m.-4:30 p.m.Overview: This class is dedicated to “ear candy”—mastering audio for film.

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KEVINSHAHINIANwww.pacificpictures.net

Kevin Shahinian is an award-winning filmmaker, graduate of the USC School of Cinematic Arts and founder of Pa-cific Pictures, a boutique film produc-tion company based in Los Angeles that produces live event, corporate and original concept films for clients around the world. His groundbreak-ing work has been featured in print by EventDV, HD Video Pro, Videography and American Photo magazines among others, and has led to corporate part-nerships with companies like Canon, Adobe, Zacuto, Kessler and Cinevate. Shahinian was featured on Zacuto’s “Filmfellas” original web series and has been voted one of EventDV’s “Top 25” most influential event film-makers in the world numerous times. He has been a featured speaker at ed-ucational events around the country and continues to attract international attention for his work.

What are your tips for those trying to incorporate video into their repertoire? Start by keeping it simple. Before anything else, work to understand the language of film and use that understanding to master the building blocks of cinematic storytelling—the basic filmmaking conventions that have stood the test of time. Watch your favorite mov-ies with the sound turned off and experiment with storyboards to develop an eye for shot composition, “mise-en-scene” (visual themes) and sequencing. Once you’ve firmly grasped these essentials, slowly add progressive layers as you craft your own films; experiment with more complex shot compositions, lighting setups, camera movements and sound design, to understand how each layer works to convey information and add deeper meaning to your stories.

What’s one thing you’ve learned in the filmmaking business that has stuck with you?The surest way to separate yourself from your competition and build a powerful, long-last-ing niche is to honor every opportunity you’re given to share your point of view as an artist.

Find inspiration from within by channeling your expertise, life experience and aesthetic sensibilities to establish a voice and develop a signature filmmaking style.

Course: “Concept Filmmaking,” Monday, March 3, 4:00 p.m.-5:30 p.m.Overview: This class is designed to give stu-dents inspiration and exploration into the genre of conceptual wedding day storytelling.

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JOSEPHSWITZERwww.switzerfilm.com

Switzerfilm started with a $150 wed-ding video on a VHS tape and in just a few years transformed itself into a Wedding Photo + Video dream team that works with the wedding divi-sions of Martha Stewart and Disney. The Switzer team made the transition from just video and later added pho-tography. They believe the wedding world of photo + video is still in the first inning and anyone participating in this business can take part in this phenomenal growth story. Most of the company’s films are edited and pre-sented the very same day the wedding took place. Everyone on the Switzer team has the desire and passion to show customers something they’ve never seen before.

What are your tips for those who want to grow their filmmaking business? Just go out and do it. Taking action with that first step is the hardest. Start by making videos of things you are passionate about.

Offer both photo and cinema and produce “Same Day Edits.” This will give you immedi-ate explosive revenue growth.

What is one thing you’ve learned over the years in the filmmaking business that has stuck with you?Relationships trump everything.

Course: “WPPI Filmmaking,” Sunday, March 2, 9:00 a.m.-5:00 p.m.Overview: Students of this class will be part of the crew who writes, shoots and edits the official WPPI 2014 film.

Course: “The Same Day Edit,” Tuesday, March 4, 6:30 p.m.-8:00 p.m.Overview: Students will film, edit and present a video from a live wedding.

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JOSEORTIZwww.joseortizfilms.com

Jose Ortiz is an international wedding filmmaker who tells the stories of real people using his unique style. For the past six years, Ortiz has contributed to the wedding cinema industry en-deavoring to raise the standards for wedding videography. He is a winner of international video awards and is currently traveling the world filming weddings and educating other wed-ding filmmakers. Ortiz is full of pas-sion for what he does and he likes to transmit his passion and knowledge to others in the field.

What are your tips for those trying to grow their filmmaking business or incorporate video into their repertoire? Make your clients equally important, giving them full attention (even to those who you think wouldn’t even book you). Never underestimate any project you work on; small jobs could end up with big opportunities.

What is one thing you’ve learned over the years in the filmmaking business that has stuck with you?Nothing has been written in stone in this industry, so each of us is responsible to always be looking for the next “new idea” to keep feeding our passion for what we love to do.

Course: “New Alternatives to Wedding Filmmaking,” Thursday, March 6, 9:00 a.m.-10:30 a.m.Overview: This platform class introduces alternatives to traditional wedding film-making, covering tricks for managing workflow and solving unexpected problems dur-ing a wedding day shoot.

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DAVEWILLIAMSwww.cinemacake.com

Dave Williams’ love for filmmaking began with a Super8 camera as a teen in the 1970s, advancing to the role of “family documentarian” when video cameras became available in the early 1980s. Through his various careers—computer programmer, paintball field owner, copier salesman and pharma-ceutical salesman—Williams often incorporated video storytelling. His first professional wedding job was in 2001 when a pharmaceutical col-league asked him to shoot her wed-ding for $800. He spent the next two weeks and $7,500 getting everything he needed to shoot that first wedding. He was hooked. Thirteen years later, with the help of his wife and business partner, Sheryl, CinemaCake Film-makers now employs over a dozen creative people and turns out wed-ding films, Bar and Bat Mitzvah films, as well as commercial and corporate films. Williams has trained hundreds of filmmakers, covering topics includ-ing: Steadicam and Glidecam tech-niques, sales and marketing to the wedding industry and managing mul-tiple teams. CinemaCake’s awards in-clude the WEVA Hall of Fame, the Bob LeBar Vision Award, Three EventDV Magazine Top 25 Awards and sev-eral GPVA Film Festival and Creative Excellence Awards. Williams’ great-est impact to the industry has been through three unique editing contests that have helped many filmmakers gain employment with CinemaCake and start their own companies.

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What is one thing you’ve learned over the years in the filmmaking business?Above all, take care of your clients with great customer service. Do that and your clients will come back, they’ll tell others about their experience and they will become your best sales tool. RF

Course: “Filmmaker’s Finishing School,” Wednesday, March 5, 8:30 a.m.-10:00 a.m.Overview: This class covers the tenants of taking your filmmaking business to the next level: Professionalism, building client relationships and becoming a leader in your market.

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What Would Jerry Do?

A sneak peek into three before-and-after, real-life shooting scenarios by Grandmaster of WPPI and Nikon Ambassador Jerry Ghionis.

By Jerry Ghionis

Many photographers in today’s industry are guilty of overshooting and over zealously using Photoshop. How many times have you clicked the shutter on your camera and taken an image that you knew you were going to delete later?

How many times have you been lazy during a shoot and said to yourself, “I’ll fix it later in Photoshop?” I have no problem with the use of Photoshop or other postproduction software. After all, photographers rarely provide completely untouched proofs to their clients. But I do take exception when photographers try to use postproduction to create a beautiful image that could have been created in-camera.

Believe it or not, after 20 years, I still don’t know how to use Photoshop. I know the basics and what is possible, but I have never retouched a single image personally. It is my firm belief that a businessperson should work on his or her business more than in it. Some might say that you are saving money by not paying someone else to do your post-processing for you, but I’m not making money while I’m sitting behind my computer.

How about the 30 to 40 hours a week you would have free to market your business more effectively and be more profitable? Not being proficient in Photoshop has been a blessing for me. I try to create in-camera what other photographers produce with post-production. This mentality has undoubtedly made me a better photographer. Think of it as a singer who doesn’t rely on auto-tune; the way a singer uses his or her voice as an instrument, I want to use my camera to create my art and then use postproduction to enhance it.

Whether photographing a drop-dead gorgeous bride or a challenging subject or loca-tion, it is our job to bring out the best in any situation. On the following two pages are before and after examples of how to think like MacGyver (if he were a photographer).

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BeforeI positioned my model close to the window so the light is illuminating her face beautifully.

AfterI used the Nikon Macro

105mm f/2.8 lens to crop close to her face.

I focused on her eye, which was reflecting a strong catch light from the window. Her eyes

were on the same focus plane as her lips.

Camera: Nikon D3sLens: Nikon AF-S VR Micro-Nikkor 105mm f/2.8G IF-ED Shutter Speed: 1/100 secAperture: f/3.2ISO: 1000WB: Daylight

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BeforeSimply backlighting a subject doesn’t always mean the light on the subject’s face is flattering as well. As you can see in this image, the location is beautiful but the lighting on the bride’s face is very poor. It’s flat and completely lacks dimension and depth. This was taken without a reflector. You can see the drastic difference that is made by simply adding a reflector. The model kept blinking as she couldn’t open her eyes in the bright reflection.

AfterI asked her to open her eyes on the count of three and made her laugh just before the count. Notice how I turned her body

away from the light but turned her face back into the light. This makes her appear slimmer and brings out the texture

and dimension in her dress and chisels her face. RF

Jerry Ghionis’ WPPI presentation, “What Would Jerry Do,” takes place the evening of March 1 at the MGM Grand in Las Vegas. A live shoot with audience members will be followed by a party. Ghionis’ seminar, “Creativity, Composition and Cropping,” is on Tuesday, March 4, from 8:30 a.m. to 10:30 a.m. He will also be at booth #1225 during the tradeshow from March 3 to March 5. Visit www.theicelight.com for information on the Westcott Ice Light designed by Ghionis, and www.icesociety.com for information on the subscription-based photography training website created by Ghionis. Download the “go to” app for inspiration and education, “Picpockets: World’s Best Photographs” www.picpockets.com

Camera: Nikon D3sLens: Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II Lens Shutter Speed: 1/1600 secAperture: f/2.8ISO: 200WB: Daylight


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Honor RollWPPI members get ranked by their Honors of Excellence title.

By Jerry and Melissa Ghionis

Every year, a member’s four top-scoring entries from the First and Second Half online competition or the annual 16x20 Print, Album and Filmmaking

competition will contribute to his or her Honors of Excellence status. No points will be awarded for a score of 79 or lower. A score of 80-84 (Silver) will be

awarded 1 point, a score of 85-89 (Silver Distinction) will be awarded 1.5 points, a score of 90-94 (Gold) will be awarded 2 points, a score of 95-99

(Gold Distinction) will be awarded 2.5 points and a score of 100 (Platinum) will be awarded 3 points toward an entrant’s Honors of Excellence title.

A Grand Award recipient will receive 5 points toward his or her Honors of Excellence title. Members who have progressed to the next designation level and receive a new title as a result of their 2014 entries will be acknowledged publicly during the WPPI awards night celebration on March 5, 2014. They will also be

mentioned in the WPPI convention wrap-up issue of Rangefinder magazine in May. For more information about the Honors of Excellence program,

visit www.wppiawards.com. If you feel that your designation is not correct, please visit the competition website to appeal your missing points.

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Jerry GhionisJennifer Hudson

GRAND MASTERS OF WPPI (Requires 65 points, a minimum of 5 scores of 90+ and 1 Grand Award or 5 Grand Awards)

TRIPLE MASTER (Requires 50 Points)

There are currently no Triple Masters of WPPI

DeEtte Sallee Ryan Schembri

Kevin Jairaj Bambi Cantrell

David Edmonson

Dennis Orchard Anthony Cava Nick Adams

Rocco Ancora Nick Ghionis

DOUBLE MASTERS OF WPPI (Requires 35 points)

Susan Stripling Chris Lalonde Enrique Oliver Annika Metsla Peter Eastway

Michael Greenberg Joseph Cogliandro

Robert Falck Chris Nelson Louis Pang

Joe Buissink Cliff Mautner Joselito Sy Marcus Bell Frank Cava

Paul Ernest Andy Armstrong

Alex Albojer Winifred Whitfield

Jim Garner Maggie Habieda

Tony Hewitt Daniel Romero Patrick Grimes

CM Leung Mario Munoz Jr.

Frank Frost Richard Sturdevant

Luke Edmonson David Williams

Lito Genilo Jose Luis Guardia Vázquez

Fernando Basurto Juli Cialone Rick Ferro

Elaine Hughes Chris Knoblauch

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DxO Optics Pro 9.1Software Review

| FIRST EXPOSURE |

F or the most part, professional imaging software presents a set of editing tools, and then expects you to do the work to adjust your images. DxO

Optics Pro from DxO Labs takes a different approach. The software analyzes each image as you open it, ap-plies a set of automated corrections, and produces an adjusted image for you to fine-tune to your liking. While there are limitations to this process as you will see below, when it works, it is highly effective at streamlining workflow.

What’s NewOptics Pro 9.1, the latest version of the software at the time of this writing, enhances previous iterations of the program with a revised interface and the addition of a highly effective noise-reduction feature. The new noise reduction algorithm makes this version of particular in-terest to photographers shooting at high ISOs in low light situations—particularly wedding, concert and action sports photographers who shoot primarily in available light. It is available in two editions: Standard and Elite (professionals should go for the Elite edition.)

Pairs-based DxO Labs, a well-regarded imaging com-pany specializing in camera and lens testing and image-processing technologies. Optics Pro software combines these specialties so that the adjustment it applies to images

is based not only on the image information, but also on the specific camera/lens combination you use to create the image. When you open an image from a supported camera/lens combination, you are prompted to download the camera/lens correction from the DxO website if you haven’t previously. The download and installation take just a few seconds.

If you are using a camera that has not been analyzed by DxO Labs (such as a Fuji X-E1 or a Phase One back) you can open and process a TIFF or JPEG image, but without optical corrections; you can do nothing with a RAW file. If you are using a camera that has been analyzed, but with a lens that has not (such as my Nikon D3s and old 16mm Nikkor fisheye), you can process RAW, TIFF and JPEG images, but without optical corrections.

There are thousands of camera/lens combinations avail-able, and new ones are constantly being added, but check the DxO Labs website (www.dxolabs.com) to ensure that your camera/lens combination is available if you are shoot-ing in RAW format. The website also shows which edition of Optics Pro is appropriate for your camera.

Compatibility IssuesI found that I can only consistently open images in DxO Optics Pro 9.1 that are original captures. Once they have been processed by another imaging software program

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The latest version of DXO’s image editing software offers an impressive new tool for removing noise from your photos.

By Stan Sholik

Above: When you select an image to view in Optics Pro, the program prompts you to download a camera/lens optics module if it is not currently available on your computer. Optics modules automate optical corrections and allow for noise and other image corrections based on a tested camera/lens combination.

Above: New in this version are “visual” presets that you access from the Pre-sets button in the upper right of each workspace. The presets viewer shows your selected image with each preset applied.

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and saved as a JPEG, TIFF or RAW file, they may or may not open in Optics Pro. Even images exported in Optics Pro in the DNG format would not reopen. DNG files from cameras that save their RAW images natively in DNG, however, such as a Leica M9, open as expected.

As mentioned, along with the optical correction, Optics Pro adds an image cor-rection based on image information and one of the 29 built-in presets. These presets include eight Portrait and Landscape, eight Black & White, eight Atmospheres, four Single Shot HDR, and four General pre-sets: DxO Standard, Neutral colors, Black & White and No Correction. You can also create and save your own preset.

In this version, the presets are now visual: When accessed by the Presets button in the upper right of both workspaces, a window opens with a thumbnail of your selected image displayed with the preset applied. The default DxO Standard does a consis-tently good job, but I ended up setting No Correction in the Preferences as the default to be applied when I open an image, as the presets are available at any time while you are working on an image.

Along with the RAW file conversion and image-editing capabilities of the Optics Pro Customize workspace, the software also functions as an image browser in its Orga-nize workspace, but without the ability to

preview more than one image in the large preview window. The interface in Optics Pro 9 is revised again to a fairly recognizable “industry standard” look in comparison to the unique looks of previous versions.

I did find it strange that the EXIF palette is part of the Corrections workspace rather than the Organize workspace, and that you could not add IPTC information, only Author and Copyright information to the EXIF data.

The Corrections workspace is highly cus-tomizable with the ability to move palettes and the thumbnail browser to different positions in the workspace or to hide them altogether.

Impressive New Denoising EngineBut the big news in Optics Pro 9 is the new DxO PRIME (Probabilistic Raw IMage En-hancement) denoising engine. The denois-ing engine introduced in version 8 is still available. The version 8 denoising engine is optimized for the removal of low fre-quency noise, with some sacrifice of qual-ity in order to speed processing. The new PRIME engine is optimized for the greatest possible noise removal without sacrific-ing image quality, and with no regard for how much time the processing takes. DxO Labs claims a noise reduction equivalent to three stops—think shooting at ISO 6400 with noise equivalent to an image shot at ISO 800—with excellent rendition of hair, texture and fine detail.

For the technical-minded, DxO PRIME first runs a standard noise reduction, and then runs a more sophisticated set of algo-rithms that sample more pixels, searching for pixels with similar signal information but lower noise. While the non-PRIME noise reduction takes about 5 to 10 seconds when you export a Nikon D3s 12-megapix-el file, PRIME noise reduction takes one to two minutes on export with a fast Windows 7 computer. And, while you can preview the result of standard noise reduction at 1:1 on your full preview image, you can only preview PRIME noise reduction in a small 1:1 window in the noise reduction palette.

PRIME noise reduction is applied to the full image on export, and you can keep

Above: PRIME noise reduction is found in the Noise Reduction palette of the Customize workspace. The main preview window shows the effect of applying standard (High) noise reduction (see next page). You can only preview the effect of PRIME noise reduction in the small window of the Noise Reduction palette.

System RequirementsMicrosoft® Windows®

Microsoft® Windows® Vista (32- or 64-bit), Microsoft® Windows® 7 (32- or 64-bit), Microsoft® Windows® 8 (32- or 64-bit), Microsoft® Windows® 8.1 (32- or 64-bit)Processor: Minimum: Intel Core® 2 Duo, AMD Athlon™

64 X2 or higherRecommended: Intel Core® i5, AMD Phenom™ II X4 or higherDisk space: 2GB minimum (6GB recommended) RAM: 2GB minimum (8GB recommended) Graphics card: For GPU acceleration support: A memory card supporting DirectX 9.0c is required. 512MB of video memory (VRAM) is recommended. For OpenCL acceleration support: NVIDIA GeForce 460 or higher. ATI Radeon HD 58xx or higher.

To process RAW images larger than 20 megapixels, a 64-bit operating system with 8GB of RAM is strongly

recommended.To process Nikon D800/D800E RAW images, a 64-bit

machine is required. A machine equipped with a 4-core processor is strongly recommended.

Installation: If not already present, the .NET 4.0 Framework will be installed on the machine (this may take several minutes and a reboot is required).

Installing the latest Microsoft updates for Windows is recommended before installing the application.

Mac OS® XOperating system: Mac OS X 10.6 (Snow Leopard), 10.7 (Lion), 10.8 (Mountain Lion), Mac 10.9 (Mavericks). Processor: Mac Intel only, 64-bit compatible (recommended: Intel Core™ i5 or higher). Disk space: 2GB minimum (6GB recommended). RAM: 2GB minimum (8GB recommended). Graphics card: 512MB of video memory is recommended to support GPU acceleration.

To process RAW images larger than 20 megapixels, a 64-bit operating system with 4GB of RAM is strongly recommended.

To process Nikon D800/D800E RAW images, a 64-bit machine is required. A machine equipped with a 4-core processor is strongly recommended.

| FIRST EXPOSURE |



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working on other im-ages while you are ex-porting an image with PRIME noise reduction, so the time required be-comes less of an issue.

I found that PRIME does a far better job of reducing noise than the standard DxO noise re-duction, with little loss of fine detail or posteriza-tion. Compared to Pho-toshop CC Camera Raw noise reduction, PRIME produced a noticeably sharper image with finer detail, but more noise, which I didn’t find objectionable, as it looked more like film grain than digital noise

PRIME did a better job on some images than on others, but if you have a priceless image that is excessively noisy for any num-ber of reasons, it is likely that PRIME noise reduction will reduce the noise significantly

while retaining image detail. That said, I don’t see myself reprocessing all of my Nikon D70 and D2x high ISO images any time soon.

Other New FeaturesThere are other new features in Optics Pro 9, including improved highlight and shad-ow recovery, improved color rendering, a new export system, and, in version 9.1,

the ability to export directly to Facebook and Flickr. Previous Optics Pro users will also notice an increase in speed over their current version.

For new users, the MSRP of the DxO Optics Pro 9 Standard edition is $169; Elite edition, $299. The edition you require is based on the camera you own. A chart to determine the edition you need is available at www.dxo.com. RF

Above: Optics Pro 9 did an admirable job of processing the D3s RAW file (from previous page) that is underexposed by 2.5 stops at ISO 6400 with noise reduction turned off (left). Exporting the image with PRIME noise reduction results in a dramatic reduction of noise with little loss of detail (right).


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Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2014 B & H Foto & Electronics Corp.

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18-200/3.5-5.6 DX G AF-S ED-IF VR II Digital Lens• Exclusively designed for Digital SLRs• 35mm equiv.

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lens elements • 3.5-27 f/Stop Range • Minimum focus 9.5"• 77mm filter diameter• Weight 13.6 oz

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Swivel Head• Zoom Head (20-200mm)• 18 Custom Functions• Weight: 15 oz

EOS-60D DSLR• 1920 x 1080 HD Video Capture• DIGIC 4 Image Processor• SD/SDHC/SDXC Card Slot• Works with all Canon EF & EF-S Lenses• Vari-Angle Clear View 3.0" Flip-Out LCD• 5.3 fps Continuous Shooting• ISO 6400 - Expandable to 12800• HDMI Output to HDTV

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Body Only #CAE70D �� 1199.00Kit with 18-55mm STM #CAE70D1855 ��1349.00 20Mega

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AF FlashesSB-300 ...... 146.95SB-400 .................

SB-700 ...... 326.95SB-910 ...... 546.95

R1 Wireless Twin Flash ...............................R1C1 Wireless Twin Flash System ...............

DX ED-IF Lenses for Digital Only10.5/2.8 Fish-Eye ......................................35/1.8 G AF-S (52ø) .......................196.9540/2.8 G AF-S Micro (52ø) ..............276.9585/3.5 G ED VR Micro (52ø) ............526.9510-24/3.5-4.5 G AF-S (77ø) .......................12-24/4 G AF-S (77ø) ................................16-85/3.5-5.6 G AF-S VR (67ø) ..................17-55/2.8 G AF-S (77ø) .............................18-55/3.5-5.6 G AF-S II (52ø) ....................18-55/3.5-5.6 G AF-S VR (52ø) .......196.9518-105/3.5-5.6 G AF-S VR (67ø) .....396.9518-200/3.5-5.6 G AF-S VR II (72ø) .........846.9518-300/3.5-5.6 G AF-S ED VR (77ø) .......996.9555-200/4-5.6 G AF-S (52ø) ........................55-200/4-5.6 G AF-S VR (52ø) ........246.9555-300/4.5-5.6 G AF-S VR (58ø) .....396.95

D-Type AF Lenses14/2.8 D ED .......... 24/2.8 D (52ø).......16/2.8 D (39ø) with Hood ...........................24/3.5 D ED PC-E (77ø) .............................28/1.8 G AF-S (67ø) .......................696.9528/2.8 D (52ø)....... 35/2.0 D (52ø).......45/2.8 D ED PC-E Micro (77ø) ....................

D-Type AF Lenses50/1.8 D (52ø)....... 50/1.4 D (52ø).......50/1.8 G AF-S (58ø) .......................216.9550/1.4 G AF-S (58ø) ..................................60/2.8 D Micro (62ø) (1:1) .........................60/2.8 G AF-S ED Micro (62ø) ....................85/1.8 D (62ø) with Hood ...........................85/1.8 G AF-S (67ø) .......................496.9585/1.4 D IF (77ø) ........ 85/1.4 G AF-S (77ø) .....105/2.8 G AF-S ED-IF VR Micro (62ø) .........105/2.0 DC D with Hood (72ø) ...................180/2.8 D ED-IF (72ø)................................200/4 D ED-IF Micro w/Case (62ø) .............200/2 G AF-S ED-IF VR II (52ø) ...................300/4.0 D AF-S ED-IF (77ø) .......................14-24/2.8 G AF-S ED-IF ................1996.9516-35/4.0 G AF-S ED VR (77ø) ......1256.9517-35/2.8 D AF-S ED-IF (77ø) ....................18-35/3.5-4.5 G ED (77ø) ...............746.9524-70/2.8 G AF-S ED-IF (77ø) .......1886.9524-85/2.8-4.0 D IF (72ø) ...........................24-120/4.0 G AF-S ED VR (77ø) ..........1296.9528-300/3.5-5.6 G AF-S ED VR (77ø) .....1046.9570-200/2.8 G AF-S ED-IF VR II (77ø).......2396.9570-300/4.5-5.6 G-AFS VR (67ø) ......586.9580-200/2.8 D with Collar (77ø) ...................80-400/4.5-5.6 D VR (77ø) ........................200-400/4 G AF-S ED VR II (52ø) ................TC-14E II (1.4x) Teleconverter .....................TC-17E II (1.7x) ..... TC-20E III (2x) ........

EOS Flash System (USA)270EX II .....169.99320EX ...................

430EX II .....299.99600 EX-RT..549.99

MR-14EX Ringlight ....................................MT-24EX Twin Flash ....................... 829.99

EF-S Lenses for Digital Only (USA)(Not compatible with full frame cameras)

60/2.8 USM Macro (52ø) ................ 469.9910-22/3.5-4.5 USM (77ø) .............. 649.9915-85/3.5-5.6 IS USM (72ø) .......... 799.9917-55/2.8 IS USM (67ø) ................. 879.9917-85/4-5.6 IS USM (67ø) ........................18-135/3.5-5.6 IS (67ø) ................ 499.9918-200/3.5-5.6 IS (72ø) ................ 699.9955-250/4.0-5.6 IS USM (58ø) ........ 299.99

EF Lenses (USA)20/2.8 USM (72ø) .......................... 539.9924/2.8 IS USM (58ø) ...................... 599.9928/2.8 IS USM (58ø) ...................... 549.9935/2 (52ø) ................................................35/2 IS USM (67ø) ......................... 599.9950/1.8 II (52ø) ............................... 125.9950/1.4 USM (58ø) .......................... 399.9950/2.5 Macro (52ø)........................ 299.9985/1.8 USM (58ø) ............................ 419.99100/2 USM (58ø) ........................... 499.99100/2.8 USM Macro (58ø) .............. 599.9928-135/3.5-5.6 IS USM (72ø) ........ 479.9970-300/4-5.6 IS USM (58ø) ........... 649.9970-300/4.5-5.6 DO IS USM (58ø) ....................75-300/4.0-5.6 III (58ø) ................. 199.9975-300/4.0-5.6 III USM (58ø) ....................

TS-E MF Lenses (USA)17/4.0 L ...2499.0045/2.8 .....1399.00

24/3.5 L II ..2199.0090/2.8 .....1399.00

EF “L” Lenses (USA)14/2.8 USM II .............................. 2359.0024/1.4 II (77ø) ............................. 1749.0035/1.4 USM (72ø) ........................ 1479.0050/1.2 USM (72ø) ........................ 1619.0085/1.2 USM II (72ø) ..................... 2199.00100/2.8 IS USM Macro (67ø) ........ 1049.00135/2.0 USM (72ø) ...................... 1089.00180/3.5 USM Macro (72ø) ............ 1579.00200/2.0 IS USM (52ø) ...............................300/4.0 IS USM (77ø) .................. 1449.00300/2.8 IS USM II (52ø rear) ......................400/5.6 USM (77ø) ...................... 1339.008-15/4.0 Fish-eye USM ................ 1499.0016-35/2.8 USM II (82ø) ................ 1699.0017-40/4.0 USM (77ø) .................... 839.9924-70/4.0 IS USM (77ø) ............... 1499.0024-70/2.8 USM II (82ø) ................ 2299.0024-105/4 IS USM (77ø) ................ 1149.0028-300/3.5-5.6 IS USM (77ø) ...................70-200/4.0 IS USM (77ø) ............. 1349.0070-200/2.8 USM (77ø) ................ 1449.0070-200/2.8 IS II USM (77ø) .......... 2499.0070-300/4.0-5.6 IS USM (67ø) ...... 1599.00100-400/4.5-5.6 IS USM (77ø) .... 1699.001.4x III Tele ..499.99 2x III Tele ....499.99

Call for Available Rebates & Promotions on Select Bodies, Lenses and Flashes!


EOS-5D Mark III D-SLR• 3.2" Clear View High Resolution LCD• DIGIC 5+ Image Processor • 61-Point

High Density AF • Uses Canon EF Lenses• Dual CF, SD Card Slots • Up to 6.0 FPS• Durable Magnesium-Alloy Construction • Full HD 1080/30p and 720/60p Formats• Built-In HDR and Multiple Exposure Modes

Body Only #CAE5D3* ��3399.00Kit with 24-105mm L IS #CAE5D324105 ��3999.00 22Mega

Pixels

EOS-1Dx D-SLR• Dual DIGIC 5+ Image Processors • Magnesium Alloy Body • Eye-Level Pentaprism Viewfinder• 3.2" LCD Monitor • Uses Canon EF Lenses • Dual CF card slots• 1920 x 1080 HD Video Capture • Live View Still and Video Recording• 61-Point High Density Auto Focus

Body Only #CAE1DX*��6799.00 18MegaPixels

EOS-6D DSLR• Full-Frame CMOS Sensor • 3.0" LCD• DIGIC 5+ Image Processor• Uses Canon EF Lenses• SD/SDHC/SDXC Card Slot• Built-In Wi-Fi and GPS Connectivity• Full HD 1080p with Manual Controls• Built-In HDR and Multiple Exposure Modes

Body Only #CAE6D ��1899.00Kit with 24-105mm f/4 L #CAE6D24105 ��2499.00 20Mega

Pixels

Lumix DMC-GH3 Mirrorless System Camera• Magnesium Alloy, Weather-Sealed Body• Full HD 1080p Video at 60fps• 3.0" Free-Angle LCD• Micro Four Thirds System• SD/SDHC/SDXC Card Slot• 20fps Continuous Shooting• Built-In Wi-Fi to Link to Smart Devices

Body Only�� #PADMCGH3B#PADMCGH3B 16MegaPixels

OM-D E-M1 Mirrorless System Camera• 3.0" Tilting LCD Touchscreen• Micro Four Thirds System• SD/SDHC/SDXC Card Slot• Full HD 1080p Video• Built-In Wireless Connectivity• Dust/Splash/Freezeproof

Magnesium Alloy Body

#OLEM1* 16MegaPixels16Mega

Prices, speci� cations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2014 B & H Foto & Electronics Corp.

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Wave Motor)• 3.5-22 f/Stop Range• Focus 1.6' to Infi nity• Weight 19.8 oz

SB-910 Speedlight i-TTL Shoe Mount Flash• Tungsten & Fluorescent Filters Included• Guide No. 111.5'• Simplifi ed Graphic






lens elements • 3.5-27 f/Stop Range • Minimum focus 9.5"• 77mm fi lter diameter• Weight 13.6 oz





Body Only #CAE60D .........................................899.99 18MegaPixels


Body Only #CAE70D ........................................ 1199.00Kit with 18-55mm STM #CAE70D1855 ...........1349.00 20Mega

Pixels


Body Only #CAE7D ..........................................1499.00Kit with 28-135mm IS #CAE7D28135 ..............1699.00

1499.001699.00 18Mega

Pixels

AF FlashesSB-300 ...... 146.95SB-400 .................

SB-700 ...... 326.95SB-910 ...... 546.95






430EX II .....299.99600 EX-RT..549.99






24/3.5 L II ..2199.0090/2.8 .....1399.00






Body Only #CAE5D3* ......................................3399.00Kit with 24-105mm L IS #CAE5D324105 .........3999.00 22Mega

Pixels


Body Only #CAE1DX*.......................................6799.00 18MegaPixels


Body Only #CAE6D .........................................1899.00Kit with 24-105mm f/4 L #CAE6D24105 .........2499.00 20Mega

Pixels


Body Only........................................... #PADMCGH3B#PADMCGH3B 16MegaPixels

E-P5 PEN Mirrorless System Camera

• 3.0" Tilt Touchscreen LCD• TruePic VI Image Processor• Micro Four Thirds (2x Crop Factor)• SD/SDHC/SDXC Card Slot• Full HD 1080p Video in MOV & AVI• Built-In Wi-Fi Connectivity• Available in Black, Silver or White

#OLEP5* 16MegaPixels

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Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2014 B & H Foto & Electronics Corp.






Hands-on demos



Subscribe to our free CatalogBandH.com/catalog212-444-6633

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Wave Motor)• 3.5-22 f/Stop Range• Focus 1.6' to Infinity• Weight 19.8 oz

SB-910 Speedlight i-TTL Shoe Mount Flash• Tungsten & Fluorescent Filters Included• Guide No. 111.5'• Simplified Graphic






lens elements • 3.5-27 f/Stop Range • Minimum focus 9.5"• 77mm filter diameter• Weight 13.6 oz





Body Only #CAE60D ��899.99 18MegaPixels


Body Only #CAE70D �� 1199.00Kit with 18-55mm STM #CAE70D1855 ��1349.00 20Mega

Pixels


Body Only #CAE7D ��1499.00Kit with 28-135mm IS #CAE7D28135 ��1699.00

1499.001699.00 18Mega

Pixels

AF FlashesSB-300 ...... 146.95SB-400 .................

SB-700 ...... 326.95SB-910 ...... 546.95






430EX II .....299.99600 EX-RT..549.99






24/3.5 L II ..2199.0090/2.8 .....1399.00






Body Only #CAE5D3* ��3399.00Kit with 24-105mm L IS #CAE5D324105 ��3999.00 22Mega

Pixels


Body Only #CAE1DX*��6799.00 18MegaPixels


Body Only #CAE6D ��1899.00Kit with 24-105mm f/4 L #CAE6D24105 ��2499.00 20Mega

Pixels


Body Only�� #PADMCGH3B#PADMCGH3B 16MegaPixels

OM-D E-M1 Mirrorless System Camera• 3.0" Tilting LCD Touchscreen• Micro Four Thirds System• SD/SDHC/SDXC Card Slot• Full HD 1080p Video• Built-In Wireless Connectivity• Dust/Splash/Freezeproof

Magnesium Alloy Body

#OLEM1* 16MegaPixels16Mega

022014

Page 2


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58 AF-2 TTL Shoe Mount Flash• Guide No. 58'• Full TTL Mode • Zoom Head (24-105)• Bounce & Swivel Head• Update via USB Port• Weight: 12.8 oz

#ME58AF2* .............................. 399.99

285HV Professional Auto Shoe Mount Flash• Guide No. 120'• Automatic exposure

range to 70'• 4 auto f/stop settings • Removable sensor• Bounce Head • Zoom Head (28-105) • Weight 14.9 oz

#VI285HV .....................................85.00

• 4 auto f/stop settings

Qflash TRIO Parabolic Reflector Flash• Guide No. 110'• Bounce and

Swivel Head• Built-In FreeXwire• Radio Wireless TTL• High Speed Sync• USB Port • TTL compatible

#QUQF8* ....................................875.00

622 Super Pro TTL Handle Mount Flash• Requires Head• TTL with appropriate module• Guide No. 200• Bounce & swivel • Auto f/Stops f/2.0, 2.8,

4.0, 8.0, 5.6, 11 & 16• Vari-Power

#SU622S* ..................................196.95

Handle Mount Flash• Requires Head

TTL with appropriate module

• Bounce & swivel Auto f/Stops f/2.0, 2.8, 4.0, 8.0, 5.6, 11 & 16

Flash SystemFL-300R Flash .........169.95FL-600R Flash .........299.95

FL-50R Flash ...........499.95RF-11 Ring Flash .....249.95

Zuiko 4/3 System Digital Lenses35/3.5 Macro ED (52ø) ............................................ 229.9550/2.0 Macro ED (77ø) ............................................ 499.957-14/4.0 ED (72ø) ................................................. 1799.9511-22/2.8-3.5 ED (72ø) ........................................... 799.9512-60/2.8-4 ED SWD (72ø) ...................................... 999.9514-42/3.5-5.6 ED (58ø) ........................................... 249.9518-180/3.5-6.3 ED (62ø) ......................................... 499.95EC-14 1.4x Teleconverter ......................................... 439.95

AF Flash SystemAF-360FGZ ........................ AF-540FGZ ........................

SMCP-DA Digital AF Lenses21/3.2 AL Limited “Pancake” (49ø) ......................................40/2.8 Limited “Pancake” (49ø) ...........................................70/2.4 Limited “Pancake” (49ø) ...........................................10-17/3.5-4.5 ED IF (77ø) ..................................................16-50/2.8 ED AL IF SDM (77ø) ............................................50-135/2.8 ED IF SDM (67ø) ...............................................50-200/4-5.6 ED WR (52ø) .................................................55-300/4-5.8 ED (58º)........................................................

Flash SystemHVL-F20M ...............149.99 HVL-F20S ................ 149.99HVL-F43M ...............398.99 HVL-F60M ............... 548.00

Digital Lenses 24/2 Carl Zeiss (72ø) ............................................. 1399.9950/1.4 (55ø) ............................................................ 449.99100/2.8 Macro (55ø)................................................ 799.9916-80/3.5-4.5 DT Carl Zeiss (62ø) ........................... 999.9911-18/4.5-5.6 DT (77ø) ........................................... 799.9918-250/3.5-6.3 DT (62ø) ......................................... 649.9970-200/2.8 G APO (77ø) ........................................ 1999.9975-300/4.5-5.6 (55ø) .............................................. 249.99

Octacool Light Kitwith 29.5" Octobox

• Octacool 6 or 9 Lamp Fixture

• Removable Aluminum Reflector

• 28w Lamps• Internal Diffusion Baffle

Octacool-6 #IMOC6SB ........................................ 199.95Octacool-9 #IMOC9SB ........................................ 259.00

Background System

Background StandsEconomy ..............................74.95Port-A-Stand ....................114.95*Multi 3 Polevault ..............217.99

Paper Backgrounds Available in 48 Colors

53" x 12 yds.........................24.95107" x 12 yds w/Core ...........45.95

Octacool-6 Front

Octacool-9 Back

D4 DSLR• RAW, TIFF, JPEG, RAW+JPEG Files • 3.2" LCD

with Live View • FX-format (full-frame) CMOS Sensor • 1080p HD Broadcast Quality Video

• EXPEED3 Image Processor • 100-12800 ISO• Compatible with Most Nikkor Optics• Matrix, Center-Weighted, Spot Metering • CF Type 1 & XQD Compatible• Nikon Inc. limited warranty included

Body Only...................... #NID4 ...................5996.95 16MegaPixels

* FREE! Roll of

White Paper w/ Purchase

D800 D-SLR• 35.9x24mm CMOS FX Format Sensor • 3.2" LCD Monitor • Nikon F Mount Lens Mount • CF & SD Dual Card Slots • Optical Low-Pass Filter• Eye-Level Pentaprism Viewfinder• 1920 x 1080/30/25/24p HD Video Capture • Matrix/Center-Weighted/Spot Metering• Built-In Flash + i-TTL Flash Control• Nikon Inc. limited warranty included

Body Only............................ #NID800 ............................2996.95 36MegaPixels

Alpha NEX-6 Mirrorless System Camera

• Fast Hybrid AF with Phase-Detection AF• 3.0" LCD • Uses Sony E-mount Lenses• XGA OLED Tru-Finder EVF • SD/SDHC/SDXC & MS Pro Duo/Pro HG-Duo

Card Slot • Captures 1080 HD Video• Wi-Fi Capable • Fast 10fps Burst Shooting • PlayMemories Camera Apps

with 16-50mm Lens .............................#SONEX6L* 16MegaPixels

SpectroLED Light Kits

• Daylight Balanced 5,600K• Beam Pattern:

60° Flood• AC or DC Operation• 10 - 100%

Dimming Control• Includes 3/4 Stop

Diffusion Sock

SpectroLED 9 500 LEDs #GESPAD35 ............... 249.00SpectroLED 14 1144 LEDs #GESPAD75 ........... 499.00

LED 14

• Daylight Balanced 5,600K

LED 9

D5200 DSLR• Full HD Video with Full-Time Servo AF• 3.0" Vari-Angle LCD • Live View• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Available in Black, Bronze or Red• Nikon Inc. limited warranty included

D5200 Kit with 18-55mm VR #NID52001855* ............896.95D3200 Kit Black w/18-55mm VR #NID32001855* .......599.95D3100 Kit with 18-55mm VR #NID31001855 ..............499.95 24Mega

Pixels

D7100 DSLR• Magnesium Alloy Body • Moisture Resistant• EXPEED 3 Image Processor • 3.2" LCD• 1080p Full HD Video Capture• Accepts Nikon AF Lenses (1.5x factor)• Dual SD/SDHC/SDXC Card Slots• Built-In Flash with Commander Function• Nikon Inc. limited warranty included

Body Only #NID7100 .................................................. 1199.95Kit with 18-105mm VR #NID710018105 .....................1599.95 24Mega

Pixels

1 J3 Mirrorless Digital Camera• Interchangeable 1 NIKKOR Lens System• Motion Snapshot and Live Image Control• Full HD 1920 x 1080/60i Video • 3.0" LCD• SD/SDHC/SDXC Card Slot • Simultaneous HD

Movie and Still Capture • Available in Black, Beige, Red or White • Nikon Inc. limited warranty included

Kit with 10-30mm VR #NI1J31030* ................... 596.95Kit with 10-30 & 30-110mm VR #NI1J32LK* ...... 846.95Kit with 10-100mm VR #NI1J310100* ............. 1046.95 14Mega

Pixels

D610 DSLR• FX-Format (Full-Frame) CMOS Sensor • 3.2" LCD• Uses Nikon AF Lenses • SD/SDHC/SDXC Card Slot• EXPEED 3 Image Processor• Expandable Sensitivity to ISO 25600• Full HD 1080p Video Recording at 30 fps • Multi-CAM 4800 AF Sensor with 39 Points • Nikon Inc. limited warranty included

Body Only #NID610 ....................................................1996.95Kit with 24-85mm VR Lens #NID6102485 .................2596.95 24Mega

Pixels

Alpha A7 DSLR• Full Frame Exmor CMOS Sensor• Direct Compatibility with E-mount Lenses• 3.0" Tiltable TFT LCD • Multi-Interface Shoe• SD/SDHC/SDXC, MS Pro Duo/

Pro HG-DuoCard Slots• Full 1080/60p with Uncompressed Output• Built-In Wi-Fi and NFC • Direct Access Interface

Body Only #SOA7BKit with 28-70mm Lens #SOA7KB 24Mega

Pixels

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Page 2


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#ME58AF2* .............................. 399.99



#VI285HV .....................................85.00


Qflash TRIO Parabolic Reflector Flash• Guide No. 110'• Bounce and


#QUQF8* ....................................875.00

622 Super Pro TTL Handle Mount Flash• Requires Head• TTL with appropriate module• Guide No. 200• Bounce & swivel • Auto f/Stops f/2.0, 2.8,

4.0, 8.0, 5.6, 11 & 16• Vari-Power

#SU622S* ..................................196.95

Handle Mount Flash• Requires Head

TTL with appropriate module

• Bounce & swivel Auto f/Stops f/2.0, 2.8, 4.0, 8.0, 5.6, 11 & 16










• Removable Aluminum Reflector

• 28w Lamps• Internal Diffusion Baffle


Background System


Paper Backgrounds Available in 48 Colors

53" x 12 yds.........................24.95107" x 12 yds w/Core ...........45.95

Octacool-6 Front

Octacool-9 Back





* FREE! Roll of












Diffusion Sock


LED 14


LED 9



Pixels



Pixels




Pixels



Pixels

Alpha A7 DSLR• Full Frame Exmor CMOS Sensor• Direct Compatibility with E-mount Lenses• 3.0" Tiltable TFT LCD • Multi-Interface Shoe• SD/SDHC/SDXC, MS Pro Duo/

Pro HG-DuoCard Slots• Full 1080/60p with Uncompressed Output• Built-In Wi-Fi and NFC • Direct Access Interface

Body Only #SOA7BKit with 28-70mm Lens #SOA7KB 24Mega

Pixels

012014

Page 2


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#ME58AF2* .............................. 399.99



#VI285HV .....................................85.00


Q� ash TRIO Parabolic Refl ector Flash• Guide No. 110'• Bounce and


#QUQF8* ....................................875.00

622 Super Pro TTLHandle Mount Flash• Requires Head• TTL with appropriate module• Guide No. 200• Bounce & swivel • Auto f/Stops f/2.0, 2.8,

4.0, 8.0, 5.6, 11 & 16• Vari-Power

#SU622S* ..................................196.95

Handle Mount Flash• Requires Head• TTL with appropriate module

• Bounce & swivel • Auto f/Stops f/2.0, 2.8,

4.0, 8.0, 5.6, 11 & 16










• Removable Aluminum Refl ector

• 28w Lamps• Internal Diffusion Baffl e


Background System


Paper BackgroundsAvailable in 48 Colors

53" x 12 yds.........................24.95107" x 12 yds w/Core ...........45.95

Octacool-6 Front

Octacool-9 Back





* FREE! Roll of




Alpha SLT-A99 DSLR• Sony Dual AF System & Translucent Mirror• Full-Frame Exmor CMOS Sensor• XGA OLED Electronic VF• 3.0" TruBlack Tilting LCD• Uses Sony Alpha Lenses • MS Pro Duo/

HG-Duo & SD/SDHC/SDXC Card Slots• Internal SteadyShot Image Stabilization • Full HD 1920x1080 60p Video Recording

Body Only.........................................#SOSLTA99V* 24MegaPixels









Diffusion Sock


LED 14


LED 9



Pixels



Pixels




Pixels



Pixels

Rangefinder 01-14 JN131046.indd 2 11/27/13 6:07 PM102_103_RF_0214_BH.indd 103 1/15/2014 12:38 PM

Just as with stills, the quality of video revolves around the quality of the light. And though today’s HDSLRs

are promoted based on their ability to perform under extreme low-light condi-tions, the resulting video quality is more about being acceptable rather than being exceptional.

This is why I utilize various external light sources for our multimedia productions. Because I often work on smaller produc-tions, I always have an eye out for lighting that provides a lot of light in a relatively compact package.

The Simple Studio Photo Video 1344 LED Light Panel offers the promise of both. Though I favor Kino Flo lights for bigger productions, the Simple Studio 1344 LED is incredibly compact, mea-suring just 6.10 x 4.60 x 2.60 inches and weighing just 2.65 pounds.

Contained in a well-constructed metal housing, the small unit includes 1344 LED lights that deliver 30,000–35,000 LUX at a distance of 1 foot. When using my 5D Mark III set at ISO 200, the unit allowed me to shoot at an aperture of f/5.6 when the light was positioned about 3 feet from my subject. When diffused using a reflec-tive umbrella, I can shoot at an aperture of f/3.5. This provides ample light for sit-down interviews. When I desire greater depth of field, I simply boosted the ISO to 400 or 800, which delivers excellent quality video footage on the 5D Mark III.

The light output is easily adjusted using a large control knob on its rear panel. Though the unit lacks any percentage markings on the rear panel, the output can be adjusted from 0 to 100 percent. It man-ages to maintain a constant 5600K-color temperature even when power is reduced,

which is extremely important for consistent color accuracy.

The controls are simple and straight-forward with a red On/Off switch and a port for power, which is delivered via a 2.5mm/5.5mm 19V 4.74 AC power sup-ply. The power plug into the unit lacks a positive click stop to secure it into place. So, sometimes it would loosen when the unit was being handled a lot. Once the light was in position, however, I had no problems with the unit turning off.

The light includes built-in barn doors, which controls the spread of light. They also help to control light bleed when using an umbrella, which can result in stray light hitting a wall or ceiling.

The unit keeps itself cool using a pair of rear fans, which results in the housing being cool to the touch, providing for easy handling even during lengthy use. Vents are

Simple Studio Photo Video 1344 LED Light Panel

By Ibarionex Perello

| DSLR VIDEO |

Above: The Simple Studio Photo Video 1344 LED Light Panel provides a powerful but compact LED source for capturing quality video with an HDSLR.

Above: Controls on the unit are kept clean and simple with a red On/Off switch and a control dial for increasing or decreasing light output.

Above: Image 03: The unit includes built-in barn doors for controlling the spread of light.


RF_0214_DSLR Video_IPerello.indd 104 1/13/14 1:35 PM

ADO_Rangef_2014_1.indd 1 12/13/13 1:28 PM105_107_RF_0214_Ador.indd 105 1/15/2014 2:55 PM

| DSLR VIDEO |

found on all four sides as well as the rear panel to maximize air circulation. Despite the presence of two fans, they are relatively quiet producing a sound comparable to a desktop computer. Though I would prefer a noiseless light source, it’s one of the small compromises that need to be made in order to deliver a stronger light source. The sound didn’t produce any real problems with respect to sound recording, as we always capture room tone, which helped eliminate any noise picked up by the mi-crophones used to interview our subjects.

The simple design includes a fail-safe warning, which activates a built-in audio alarm should any of the fans or a key com-ponent malfunction or completely fail. This is a nice feature, which I thankfully didn’t experience during my use of the equipment.

My experience with LEDs has largely been with small battery-powered units that I mount on my camera’s hot shoe or cam-era rig. The advantages of a relatively cool, compact light source with a long life are one of the reasons why they have become so popular for portable use. So, I was eager to see how well it would perform under cir-cumstances in which I would have default-ed to larger, more powerful light sources.

During the past few months, I have found myself using this light as my default light source. I rarely found myself wishing that I had access to the Kino Flo. I actually found it to be a great advantage to minimize the amount and weight of the gear that I need-ed to tote to each location. I was relegated to just one unit and used a reflector to serve

as fill. Keeping the kit to such a bare minimum al-lowed me to easily pack the light and the power source in my photo backpack along with my other photographic gear. I quickly found this preferable to carrying the larger light sources.

Simple Studio offers a kit with a second light and carrying case, which provides greater flex-ibility, but does result in another item to carry to the locations. The com-plete kit is much smaller than a compa-rable setup with the Kino Flo.

At a price point of $529 for a single unit and $999.99 for the dual system with case, the light provides an affordable alternative to comparably powered units, which makes it an attractive choice. However, it’s an invest-ment that shouldn’t be made on price alone.

I found that the system worked very well for me because I’m frequently working with a simple two-person crew. So, the size and portability of the gear becomes an impor-tant consideration not only when it comes to transporting, but also setup and striking. This unit provided me an advantage on both counts, while still delivering ample power for lighting a subject and a location.

Straight-on lighting with the unit delivers a strong, hard light, which didn’t work for the purposes of our interviews. For this,

I recommend either a reflective or shoot- through umbrella, which results in a soft, flattering light for illuminating your subject. The umbrella is easily attachable using the included umbrella mount that is located on the base, which includes a fully articulating ballhead. I would love for there to be an easy way to use my preferred softbox, but even with just a simple umbrella system, I was able to achieve a nice quality of light for my interview subjects.

The light has held up well under our use for the last several months with no problems, and I believe it can and will de-livers years of use. It comes with a one-year manufacturer’s warranty.

The unit is available directly from the Simple Studio website, www.simple studiolighting.com, as well as through Amazon.com. RF

Above: Vents are located on the rear and four side panels to maximize airflow. The unit includes two fans to keep the unit cool during extended use.

Above: The light comes with an AC power source. Left: The mount is built around a fully articulating ballhead, which includes an umbrella mount. Below: A two-unit kit is also available, it includes a carrying case for the light and its accessories.


RF_0214_DSLR Video_IPerello.indd 106 1/13/14 1:35 PM

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42 W 18TH ST [email protected]

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Black River Imaging ..............................................IFC, 1,

22, 23, 108

Bowens USA ...............................................................BC

Canon ............................................................................. 3

Collages.net .................................................................53

Denny Manufacturing .................................................93

Drivesavers. ................................................................36

Expo Imaging ................................................................. 5

H&H Color Lab.............................................................35

Hahnemühle ................................................................19

Holdfast .......................................................................55

Interfit ..........................................................................37

KG Digital ....................................................................81

Miller’s Professional Imaging ...............25, 27, 112, IBC

New York Institute of Photography ............................33

Pacific Mount ............................................................108

Palm Springs Photo Festival .......................................40

Photoflex ......................................................................99

PictoBooks .................................................................108

Profoto ...................................................... 11, 13, 15, 17

Random House ............................................................30

Rangefinder ...............................................................101

ShootQ ........................................................................69

Shutterlove ................................................................111

Sigma ...........................................................................51

Tamron USA.................................................................31

Tenba............................................................................29

WPPI ................................................................... 74, 109

WPPI Conference & Expo 2014 .............. 10, 41, 42, 43,

44, 45, 46, 47, 48

Zenfolio ........................................................................79

Zookbinders .................................................................57


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D on Hudson, in my opinion, is a photographic purist with an honest and keen sense of humor that I find charming and refreshing. His take on photography is straightforward:

“From the very beginning of my coming-of-age photographically (about 1972), the core of my relationship with the camera has been one of respect for how it is able to transform the world I observe. This is fundamental to me, and I suppose others as well, and it im-poses rules that I have always followed—no manipulation and no cropping,” he explains.

I asked Hudson about his latest book, From the Archive, by Edi-tions FP&CF, which includes photos of Michigan taken between 1973 and 1987, images described on photography site American Suburb X (ASX) as capturing “the days of the drive-in movie and non-chain fast food, small town football and very frequent parades.”

The book, Hudson says, stands as “a humble testimony to the breakdown of time and space.”

Don Hudson is a member of the international photo collective Burn My Eye. See more of his work at www.burnmyeye.org/donhudson RF

| PHOTO FINISH |

Don Hudson’sView of the World

Above: “Malcolm X, Ann Arbor, Michigan 1974.”

By David J. Carol

PHOTO © DON HUDSON

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