rangefinder february 2015

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9 inch trim,front cover

FEBRUARY 2015

The Official Magazine of

PHOTO © LARA JADE

FASHION, BEAUTY,

GLAMOUR

Tips from Lara Jade,

Matthew Jordan Smith and

Lou Freeman

Tax Write-Offs for Photographers

Rf_FEBRUARY_2015_COVER.indd 1 1/16/15 5:02 PM

Visit www.millerslab.com to learn more about Miller’s Signature Albums.

CAMEO

PRINTED WOOD

ETCHED LEATHER

Cameo, Etched Leather and Wood covers now available for Miller’s Signature Album.

IFC_001_RF_0215_Millers.indd 2 1/13/2015 10:43 AM

Visit www.millerslab.com to learn more about Miller’s Signature Albums.

CAMEO

PRINTED WOOD

ETCHED LEATHER

Cameo, Etched Leather and Wood covers now available for Miller’s Signature Album.

To request more information see page 111

IFC_001_RF_0215_Millers.indd 3 1/13/2015 10:43 AM

You wait for clients who are “just a little” late.

Watch the best light slip away.

Hope the boat you’ve found doesn’t do the same.

Wind your camera strap around your wrist.

Zoom, compose and try not to fall.

Just to get one shot.

– Exhibition-quality prints from 13” to 17” wide

– Epson UltraChrome K3® with Vivid Magenta, used by the world’s leading

photographers for stunning black-and-white and brilliant reds, blues and purples

– MicroPiezo® printhead technology for exceptionally precise ink droplet placement

– World-class service from a dedicated support team

epson.com/finishstrongEpson Stylus® Pro 3880 – $1,295.00* Epson Stylus Photo R3000 – $799.99*

Finish strong.

© Susan Stripling

*Prices are Manufacturer Suggested Retail Price.EPSON, Epson Stylus, Epson UItraChrome K3 and MicroPiezo are registered trademarks and EPSON Exceed Your Vision is a registered logomark of Seiko Epson Corporation. All other product and brand names are trademarks and/or registered trademarks of their respective companies. Epson disclaims any and all rights in these marks. Copyright 2014 Epson America, Inc.

002_003_RF_0215_Epson.indd 2 1/13/2015 10:46 AM

You wait for clients who are “just a little” late.

Watch the best light slip away.

Hope the boat you’ve found doesn’t do the same.

Wind your camera strap around your wrist.

Zoom, compose and try not to fall.

Just to get one shot.

– Exhibition-quality prints from 13” to 17” wide

– Epson UltraChrome K3® with Vivid Magenta, used by the world’s leading

photographers for stunning black-and-white and brilliant reds, blues and purples

– MicroPiezo® printhead technology for exceptionally precise ink droplet placement

– World-class service from a dedicated support team

epson.com/finishstrongEpson Stylus® Pro 3880 – $1,295.00* Epson Stylus Photo R3000 – $799.99*

Finish strong.

© Susan Stripling

*Prices are Manufacturer Suggested Retail Price.EPSON, Epson Stylus, Epson UItraChrome K3 and MicroPiezo are registered trademarks and EPSON Exceed Your Vision is a registered logomark of Seiko Epson Corporation. All other product and brand names are trademarks and/or registered trademarks of their respective companies. Epson disclaims any and all rights in these marks. Copyright 2014 Epson America, Inc.

002_003_RF_0215_Epson.indd 3 1/13/2015 10:46 AM

CONTENTSFebruary 2015 Vol. 64 No. 2

46

PHO

TO ©

GU

STA

VO

MA

RX

FA SHION, BE AU T Y, GL A MOUR

54Dog Days Journal

The process behind Lara Jade’s ELLE Singapore fashion shoot.

AS TOLD TO BLAIR DELAUBENFELS

60Skin Deep Beauty

Matthew Jordan Smith’s guide to lighting for different skin tones. AS TOLD TO JACQUELINE TOBIN

66How to Look Fabulous

Lou Freeman’s recipes for stunning beauty and glamour portraits.

AS TOLD TO JACQUELINE TOBIN

MONE Y & BUSINE SS

72The [Somewhat] Painless Tax Primer

Ten questions to ask yourself before calling your accountant.

BY JESSICA GORDON

MON T HLY FE AT UR E S

36Fully Lit

Master of light Joe McNally breaks down the setups behind three portraits.

BY JESSICA GORDON

42Marketing With Love

Tips for multiplying your client base, brought to you by ShootDotEdit/WPPI.

BY JUSTIN & MARY MARANTZ

46Photographer You Should Know

Gustavo Marx talks creativity, collaboration and cultivating connections in a cutthroat industry.

BY LIBBY PETERSON

90Product Roundup

Ten great options for portable storage, plus new additions featured at CES.

BY THEANO NIKITAS

4 RANGEFINDER FEBRUARY 2015

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ALWAYS BRING EXTRA BATTERIES!The Lithium-Ion batteries for the B1 last forever, but I always play it safe by charging one pair while I’m using the other.

TAKE ADVANTAGE OF LIGHT-

SHAPING TOOLS.One of my favorites is the Umbrella Deep White M for weddings and portraits—this umbrella allows you to maintain the crispness of a silver umbrella but adds the softness of a translucent umbrella.

KEEP YOUR LIGHTS EASY AND PORTABLE.Wires slow me down. My energy and passion for photography is a key part of why clients hire me, so I try my best to use simple, portable equipment that allows me to focus on interacting with my subjects.

UTILIzE THE B1’S FIRmWARE UPDATES.Both the B1 flash head and the Air Remote TTL are mini-USB-capable for firmware updates, such as High Speed Sync, from Profoto's website. In harsh sunlight, the ability to dial down the background by using a high shutter speed (up to 1/8000) is genius.

ADVERTISEmENT

I'VE BEEN LUCKY THAT photographing weddings has taken me all over the world, but I’ve never been anywhere quite like Necker Island. Owned by Sir Richard Branson, Necker Island only spans 74 acres, but

it is one of the most spectacular isles in the British Virgin Islands. From the second I stepped off of the boat for Luke and Stephanie’s wedding, I knew that I would make magic at this incredible location—galapagos turtles and flamingos roam free, infinity pools and lagoons are spread around the exclusive resort, and there are white sand beaches, epic sunsets and the most luscious trees I’ve ever seen.

But, despite the beauty of the island, working under the blazing sun in 90-degree weather with limited shade isn’t easy, and having patience is very important! This image was taken about 20 minutes after the ceremony ended and the guests had departed. The island is small but also difficult to navigate, so combining that with the setting

sun, I knew that this was the last moment I had to photograph Luke and Stephanie at this specific location. Every part of the island is beautiful, but to have a photograph as stunning as this one in the exact spot they were married was appealing to me—especially in this light.

In this very brief window, I told my assistant to turn on one Profoto B1 head (a bare bulb to give me the maximum amount of punch) and use it as a backlight to illuminate both the couple and the canopy that the couple was married under. After reviewing one image that wasn’t quite there, I moved back using the tree as my frame and everything fell into place.

This lighting trick has been a favorite of mine as of late. I like to think that there’s a timeless, natural feel to most of my images, and it’s only recently that I have started to experiment with off-camera flash in varying situations. I love evaluating a scene and finding a small place to put my subjects, lighting them from behind with a strobe, and allowing the viewer to find their silhouette in the scene.

tips & tricks

www.profoto.com

Brought to you by

ThaT ShoTBrian Marcus races the sun with the profoto B1 flash.

how I GoTP

hoto

© B

rian

Mar

cus

TurnInG challenGeS InTo an opporTunITy To make beauTIful ImaGeS.

1

SUBJECT

LIGHTING SETUP

PROFOTO B1 ,BARE BULB

(BELOW)

CAmERA

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3

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0215_Profoto_V2.indd 2 1/15/15 3:38 PM


CONTENTS

FOCUS

18News, Products and ExhibitsSisterly love, the Neighbors Project, editing-friendly keyboard skins and more.BY LIBBY PETERSON

24What’s in Your Bag? Keeping it light and simple.BY BROOKE SHADEN

26Light ReadingGowns, guitars and the gamut of flash. BY JIM CORNFIELD

28Rf Wedding of the MonthGather West’s bayside betrothal. BY JESSICA GORDON

COLUMNS

08From the EditorBY JACQUELINE TOBIN

10From the WPPI DirectorBY JASON GROUPP

12Rf ConversationsCOMPILED BY RF STAFF

14Editor’s Pick: Isabella BejaranoBY JESSICA GORDON

30From the Cubicle Recalibrating our resolutions.BY JASON GROUPP

344After the CaptureHow to create your own actions.BY DAMIAN BATTINELLI

98Digital Guru Two 4K cameras put to the test.BY JOHN RETTIE AND GREG

SCOBLETE

102First Exposure Reviewing Alien Skin Exposure 7.BY STAN SHOLIK

106DSLR Video How Maring Visuals uses 4K.BY IBARIONEX PERELLO

“The Brown Sisters” project [above] started in 1974 when Nixon photographed his wife Bebe with her

three sisters, and after he shot them again standing in the same order the following year, they agreed

to make it an annual tradition.

PHOTO © NICHOLAS NIXON

28

90

20

PHOTO © LAURIE WILSON | GATHER WEST

111Ad Index/Coming Next MonthA preview of March’s Movers & Shakers issue. 112This Just In All about the hair. BY LINDSAY ADLER

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PHOTOGRAPHER: Lara Jade CAMERA: Canon 5D Mark III LENS: Canon 5Omm f/1.4 FOCAL LENGTH: 50mm EXPOSURE: 1/100th of a second

at f/2.8 ISO: 640 LOCATION: House Next Door, London

®

ON T HE COV ER

“This editorial was originally shot for Observer Magazine for a feature to be released around Fashion Week in London,” Lara Jade explains. “The shots were to showcase different designers’ clothing of the season—colorful, bright and playful. A few of my favorite things to shoot!” To read about another favorite shoot of Lara’s—this one involving elegant models and regal dogs—turn to page 54.

It’s two months into winter here in New York but all we can think about, and yearn for, is WPPI at the end of this month—the classes, the parties, the networking. Shoveling snow, bundling up and risking frostbite

is the last thing on our minds—especially when we can curl up with this month’s Fashion, Beauty and Glamour issue, drink a hot beverage and drool over the beautiful couture and models in stunning fashion shots by (cover photographer) Lara Jade, Matthew Jordan Smith, Lou Freeman and Gustavo Marx. We’re also excited to have Joe McNally, the keynote speaker at this year’s show, share his incredible lighting knowledge and behind-the-scenes anecdotes in this month’s edition of Fully Lit. And if you’re dreading the approaching tax deadlines (like we are!), fear not—we’ve got a Tax Primer to answer all your questions and then some. Enjoy!

FROM THE EDITORPH

OTO

© S

UE

BRY

CE

PHO

TO ©

LA

RA

JA

DE

—jacqueline tobin, editor-in-chief [email protected] | rangefinderonline.com

A PUBLICATION OF

EDITOR-IN-CHIEF Jacqueline Tobin SENIOR EDITOR Jessica Gordon ASSOCIATE EDITOR Libby Peterson

SENIOR TECHNOLOGY EDITOR Greg Scoblete CONTRIBUTING EDITOR John Rettie

CREATIVE DIRECTOR Adana Jiménez CONSULTING CREATIVE DIRECTOR Darren Ching GROUP PRODUCTION DIRECTOR Daniel Ryan PRODUCTION MANAGER Gennie Kiuchi

CONTRIBUTING WRITERS Lindsay Adler, Damian Battinelli, Jim Cornfield, Blair deLaubenfels, Jason Groupp, Justin & Mary Marantz, Theano Nikitas, Ibarionex Perello, John Rettie, Brooke Shaden, Stan Sholik

EXECUTIVE VICE PRESIDENT, GIFT & HOME, PHOTO AND JEWELRY Christopher McCabe SENIOR VICE PRESIDENT, PHOTO AND JEWELRY GROUPS John McGeary (646) 668-3736 VICE PRESIDENT/PUBLISHER, PHOTO+ Lauren Wendle (646) 668-3762 ASSOCIATE PUBLISHER Mark Brown (646) 668-3702 SENIOR ACCOUNT EXECUTIVE Lori Reale (858) 204-8956 ACCOUNT EXECUTIVES Jon McLoughlin (646) 668-3746 Noah Christensen (646) 668-3708 DIRECTOR OF SALES, PHOTO+ SHOWS

Mike Gangel (646) 668-3717 [email protected]

For subscription information and customer service, call: (866) 249-6122 or locally, (847) 763-9546

Rangefinder, P.O. Box 2198, Skokie, IL 60076 [email protected]

For list rental information contact: Mike Gangel (646) 668-3717

OPERATIONS MANAGER Neeta Lakhani MARKETING DIRECTOR Michael Zorich

Rangefinder Magazine 85 Broad Street, 11th Floor, New York, NY 10004 (646) 668-3700

CHIEF EXECUTIVE OFFICER AND PRESIDENT David Loechner CHIEF FINANCIAL OFFICER AND TREASURER Phil Evans CHIEF INFORMATION OFFICER Bill Charles VICE PRESIDENT, GENERAL COUNSEL AND SECRETARY David Gosling EXECUTIVE VICE PRESIDENT, BUSINESS DEVELOPMENT Darrell Denny SENIOR VICE PRESIDENT, OPERATIONS Lori Jenks SENIOR VICE PRESIDENT, DIGITAL Teresa Reilly VICE PRESIDENT, MARKETING SERVICES Joanne Wheatley VICE PRESIDENT, HUMAN RESOURCES Eileen Deady VICE PRESIDENT, CORPORATE OPERATIONS Denise Basham

Rangefinder is a trademark owned exclusively by Emerald

Expositions, LLC Copyright © 2015 Emerald Expositions, LLC.

All rights reserved.

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aciTo request more information see page 111

009_RF_0315_AmerColor.indd 1 1/16/2015 5:47 AM

10 RANGEFINDER FEBRUARY 2015 RANGEFINDERONLINE.COM PB

With WPPI just a few weeks away, I am so excited for what we’ve prepared for you! There are a lot of fun events happening this year, including our opening night party at Hakkasan (it was such a hit

last year that, yes, we’re doing it again); our Pool party (make sure to bring your dancing shoes); and our first annual Photo Walk program where over 50 classes will hit the town—it promises to be an amazing and unique learning experience for all. Last month I traveled to Southern California to spend a few days connecting with you guys, and the response was overwhelming. I really enjoyed listening to everyone’s stories about WPPI, and hearing great feedback and ideas for future shows. You guys are the best, and I can’t wait to spend a week with all of you in Vegas! If for some silly reason you haven’t signed up yet, it’s not too late! Join us; I promise it’ll be one of the best weeks of your life. See you in Vegas for #wppi2015!

FROM THE WPPI DIRECTOR

JASON GROUPPWPPI Director of Education and Membership

[email protected] (646) 668-3722


Atop a rock outcropping with my tripod dangling off the edge, I felt the spray of thewaves as I calculated the exposure in my head. I knew I wanted a deep depth of field,and to slow the action for a pillowy, cotton candy, cascade effect. I always carry a 3,6 & 10-stop B+W ND. Between those values I can get the exposure I want. I added on theB+W Circular Polarizer, for a shot like this it makes the colors pop, and cuts throughthe waters surface glare.

B+W

EXPO

SUR

E

www.schneideroptics.com

“

”

MICHAEL SEMAAN ON SCHNEIDER B+W FILTERS

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MILLERSLAB.COM/SPORTSEVENTS

F R E E C O LO R C O R R E C T I O N • F R E E S O F T W A R E • 1 D AY T U R N A R O U N D • F R E E O V E R N I G H T S H I P P I N G

Millers Sports Jan15.indd 1 11/14/14 10:08 AM


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JAN. 2015 COVER “Beyond thrilled to have my photo grace the cover of Rangefinder Magazine—such a perfect way to head into the New Year—& love their new redesign—xoxo Jacqueline Tobin, Jason Groupp (image from a fashion shoot for Munaluchi Bridal Magazine with a twigs & honey headpiece).” —Elizabeth Messina

“Loving the new look from one of my favorite magazines!! #Rangefinder #weddingandportraitphotographers”

—Amber Renee Design

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ETH

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RF CONVERSATIONS SHARING THE ONLINE BUZZ...

IN RESPONSE TO OUR JAN. FOCUS BLURB, “SENIOR SHOOTS FOR ALL,” WHERE WE RAN A PORTRAIT OF A SUBJECT ON RAILROAD TRACKS.

“This kind of nonsense needs to stop. Here in Wisconsin there is up to a $6,500 fine for being caught taking photographs on a track. It doesn’t matter if they aren’t in use, and it just gives other (read amateurs) photographers the idea that it is cool and ok when it is actually dangerous and illegal. You of ALL people should know this and so should the WPPI staff.”

—Mike Steinbach, Bach Photography

EDITOR’S RESPONSE: “True, such a shoot is ill-advised and we certainly don’t endorse or advise it, but to be fair to the photographer, the article focused on a philanthropic effort on her part, not on shooting portraits on train tracks. We think the larger issue at hand is about photographers using a variety of locations for shots that have taken a tragic turn, i.e. a bridge that collapses under the weight of a 20-person bridal party, a bride dying during a trash-the-dress session, or a photographer placing a subject on a train track without taking into account the danger of the practice. It definitely merits a future piece on safety practices and things to avoid doing (I wrote a blog post on PhotoForward in the meantime, bit.ly/1sD8O0d). Thanks for your letter.”

—Jacqueline Tobin, Editor-in-chief

CORRECTIONIn our December 2014 issue, we improperly credit this image to another photographer. It is Kelly Brown who shot this stirring first-place winner in the Group Portrait category.Congratulations, Kelly! Please accept our apologies!

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IN RESPONSE TO “PHILANTHROPIC PHOTOGRAPHY: HOW A

HOBBY YIELDED HOPE,” DECEMBER 2014, PHOTOFORWARD BLOG ”It’s so incredible that blessings are falling out of nowhere. Somehow after the WSBT segment aired, a photography magazine out of New York City (my most favorite place in the world!) heard about HoH and contacted me for an interview! I was absolutely shocked they had heard and were interested. I just finished that phone interview and submitted requested images! I am incredibly humbled and appreciative of more people being interested in and knowing about House of Hopes and the gift of philanthropic photography in our community. I wish there was a House of Hopes in every state so even more people could be blessed and have their stories shared. Everything has to start somewhere, so maybe it’s a possibility in the future.

—Heathyr Harkless, House of Hopes founder

Rf_CONVERSATIONS_FINAL.indd 12 1/16/15 10:36 AM

THE PROFOTO B1.

NOW WITH TTL FOR NIKON.

“Trying to take a studio quality portrait on the busy streets of New York City would be impossible without the B1. Now I can set up, take great pictures, and fnish in a New York minute”. - Brian Marcus

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

© B

rian

Mar

cus

Watch “In a New York Minute with Brian Marcus” at www.profoto.com/us/b1


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Framed & Matted PrintsBooks & AlbumsPress Printed Cards MetalPrintsProofing & Presentation Canvas Prints

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*Get 25% of your frst order with Bay Photo Lab! For instructions

on how to redeem this special ofer, fll out the New Customer

Account Request form at bayphoto.com.

Bay Photo offers complete pro lab services to professional photographers throughout

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Maple Wood Prints are printed directly on to 1/2" thick

certified sustainable maple wood board, for a warm and

natural looking print that is also eco-friendly.

New! Maple Wood Prints

From 4x6 Prints on Photo Paper to MetalPrints, Bay Photo has

the products you need to make your business a success.

Quality. Service. Innovation.

We’re here for you!

25%OFFYour First Order!

*Get 25% of your frst order with Bay Photo Lab! For instructions

on how to redeem this special ofer, fll out the New Customer

Account Request form at bayphoto.com.

Bay Photo offers complete pro lab services to professional photographers throughout

the United States and around the world. Whether you specialize in wedding, portrait,

sport, school, landscape or other style of photography, our approach is to provide you

with a large variety of professional printing and photo finishing solutions to help you

maximize your efficiency and excel at your business.

The Largest Selectionof Premium Photo Products

Learn more at bayphoto.com/pro-products

Deserve an Exceptional PresentationExceptional Images

Ima

ge

s b

y: S

al C

inco

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, An

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016_017_RF_0215_BayPhoto_lr.indd 17 1/13/2015 10:55 AM

FOCUSBY L IBBY PE TERSON

E XHIBI T ION

A Showing of Visionaries Currently on view at the Museum of Modern Art, “Modern Photographs from the Thomas Walther

Collection, 1909-1949” presents almost 300 images by the pioneering shooters who were among the first to take figurative, abstract and imaginative approaches to (what was then) a relatively new medium. This 40-year period in the early 20th century saw some of the most important movements—from modernism

and New Vision to Surrealism and New Objectivity—and the photographic masters behind them, like André Kertész, El Lissitzky and Man Ray, weren’t afraid to make radical statements in their work.

The show runs through April 19.

+ www.moma.org

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ABOVE: Lotte (Eye), 1928.

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20 RANGEFINDER FEBRUARY 2015 RANGEFINDERONLINE.COM 21

BOOK OF T HE MON T H

Forty Years with the Brown SistersPH

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The Brown Sisters, the Nicholas Nixon book documenting a project that began by happenstance 40 years ago, is still going strong and only becoming more compelling each year. Arguably the portrait and documentary photographer’s most notable body of work, “The Brown Sisters” started in 1974 when Nixon photographed his wife Bebe with her three sisters, and after he shot them again standing in the same order the following year, they agreed to make it an annual tradition. Nixon recently released Nicholas Nixon: The Brown Sisters, Forty Years (The Museum of Modern Art, New York), following

a 33-year installment seven years ago, with un-posed and undirected portraits of Heather, Mimi, Bebe and Laurie (in that order, from left to right), each of which was agreed upon as their most representative photo of that year. Nixon’s presentation of the photos makes for thoughtful commentary on photographer-subject relationships as well as sisterly interaction, growth, love and endurance over time.

prices: $36 (moma members); $40 (moma non-members)+ www.momastore.org

ABOVE: Nixon’s first portrait of the Brown Sisters, shot in New Canaan, Connecticut.

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A PP Format’s Kredo Makes Portfolio Sharing Easier

A new networking app for creative professionals called Kredo has been unveiled by Format, a platform that allows users to share their portfolios and explore those of others. This app is geared especially to people who are looking to be inspired by other work, as well as those interested in getting noticed and collaborating on projects with designers, creative directors and other artists through Kredo’s Discover network. Portfolios are searchable by location, industry and more (and upload-able via

Dropbox, the iPad Photo Library, iTunes or Format). The app, touted especially for its high-resolution display that allows for a larger zoom range, is compatible only with the iPad.

price: free+ www.format.com



EDIT ING

Keyboard Shortcut Skins from PhotojojoPhotographers on the lookout for easy ways to speed up and simplify their editing processes may want to look into customized keyboard shortcut skins. Photojojo’s come out with a line of keyboard skins for Photoshop, Aperture, Final Cut Pro/Express and Lightroom users that are color-coded for functionality and have the software’s shortcuts printed on the key pads alongside the letters, numbers and figures. Made of washable rubber that’s molded to fit any MacBook keyboard, the skins double as a keyboard protector, (in case mid-editing one knocks over a much-needed cup of caffeine).

prices: $30 (wireless keyboards); $40 (keyboards with numeric pads)+ www.photojojo.com



A PP Format’s Kredo Makes Portfolio Sharing Easier

A new networking app for creative professionals called Kredo has been unveiled by Format, a platform that allows users to share their portfolios and explore those of others. This app is geared especially to people who are looking to be inspired by other work, as well as those interested in getting noticed and collaborating on projects with designers, creative directors and other artists through Kredo’s Discover network. Portfolios are searchable by location, industry and more (and upload-able via

Dropbox, the iPad Photo Library, iTunes or Format). The app, touted especially for its high-resolution display that allows for a larger zoom range, is compatible only with the iPad.

prices: free+ www.format.com



EDIT ING

Keyboard Shortcut Skins from PhotojojoPhotographers on the lookout for easy ways to speed up and simplify their editing processes may want to look into customized keyboard shortcut skins. Photojojo’s come out with a line of keyboard skins for Photoshop, Aperture, Final Cut Pro/Express and Lightroom users that are color-coded for functionality and have the software’s shortcuts printed on the key pads alongside the letters, numbers and figures. Made of washable rubber that’s molded to fit any MacBook keyboard, the skins double as a keyboard protector, (in case mid-editing one knocks over a much-needed cup of caffeine).

prices: $30 (wireless keyboards); $40 (keyboards with numeric pads)+ www.photojojo.com

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PHIL A N T HROPY

The Neighbours ProjectWedding photographer Dylan Burr—who’s an avid fan and practitioner of wet-plate collodion photographs—decided to take the re-emerging alternative process to a homeless shelter, Denver’s St. Francis Center, to “learn peoples’ stories in an effort to connect with them and show the reality of being homeless,” he says. The 30 people he photographed with his 19th-century setup (and interviewed) make up what he calls the Neighbours Project, which is now a photo book and documentary film.

“[Shooting] this project was great for building discipline and very different from the frantic pace of a wedding,” Burr says. “It has made me more methodical, resulting in more purposeful images. My plan wasn’t merely to take their photograph but to use a medium that demands the reality of who they are. No Photoshop or fancy Lightroom edits.”

Eighty percent of the proceeds from book and film sales go to the St. Francis Center. The film will be premiered during Burr’s Neighbours Gallery Art Auction on March 27 at The Studio gallery in Denver.

prices: $20 (hd film download) $30 (softcover book); $40 (e-book) $65 (hardcover)+ www.neighboursproject.com

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CLOCKWISE FROM TOP: Ilie, Jobie and April are among those who participated in Burr’s project.




BLCKCHRM’s Niko BagsChrome Industries has teamed up with street photographers Van Styles and trashhand to create three BLCKCHRM Niko camera bags: the Pack, Messenger and Sling. Worn like a backpack, the Niko Pack (at right) is built to carry a full kit of gear, fitting multiple camera bodies, lenses and flashes, with front Velcro straps to secure a tripod; the more compact, across-the-body Niko Messenger bag has quick swing-around access for the slightly more agile photographer; and the Niko Sling, designed to hold a camera and spare lens, can be worn across the body or around the waist. All three are made with a highly weatherproof, durable Hypalon rubber material, full-grain leather, padded foam and topped off with “soft touch” buckles.

prices: $80 (niko sling); $120 (niko messenger) $180 (niko pack)+ www.chromeindustries.com

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W H AT ’ S IN YOUR BAG?

Brooke Shaden

Ever since I started photography I’ve been asked this simple

question: “Why don’t you use lights?” To which I have this simple answer: “I don’t work well with equipment.” I take the minimalist approach to photography because, truth be told, I am not in love with the photography process. I don’t particularly enjoy setting up equipment and spending my time that way; instead, I love focusing on imagination and moving more quickly to the end product. That is not to say I don’t love the equipment I have, but rather that I have a real passion for simplicity in all forms. Focusing mostly on self-portraiture, a tripod and remote are essential for my kit, though I lose my remote more often than I have it packed, in which case, we should add “10-second timer” to the list. The last thing I take with me everywhere I go is my special inspiration notebook, which is decorated like the TARDIS from Doctor Who (below). I love writing down pieces of inspiration to use at a later time.

Brooke Shaden is a fi ne-art

photographer living and working

in Arizona. She began creating

self-portraits for ease and to have

full control over the images, and

has since grown into a self-portrait

artist. She enjoys placing herself

within worlds she wishes we could

live in, where secrets fl oat out in

the open and where the impossible

becomes possible. Catch up with her

at WPPI in Las Vegas during either

her Photo Walk on Monday, March 2,

at 8:30 a.m., or in her seminar, “Set

Design—From Blank Space to Beautiful

Images,” Tuesday, March 3, at 4 p.m.

PHOTO © BROOKE SHADEN

more isn’t always necessarily better. all brooke shaden needs for her shoots are:

• Canon 5D Mark II

• 50mm Zeiss lens (prime/manual focus)

• 3-legged Thing tripod (Brian model)

• Canon RC-6 remote

• 10-second timer

• Inspiration notebook

ABOVE AND BELOW: Brooke Shaden with the things she needs most on a shoot.



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Gowns, Guitars and the Gamut of Flash

BY J IM CORNFIELD

L IGH T R E A DING

Creative Flash Photographyby tilo gockelrocky nook | 304 pp.

In a nice twist on the idea of the workshop, flash specialist Tilo Gockel has packaged 40 of his own lighting lessons into an energetic and very readable book. It explores dozens of variations on using modest speedlights off-camera, often to perform the work of muscular studio strobes. Gockel

uses these little units singly and in multiples; he slaves and accessorizes them, shows you how to create serious portraits, food and product shots, special effects—the whole gamut. Creative Flash Photography: Great Lighting with Small Flashes: 40 Flash Workshops is a user-friendly take on an ingenious facet of imaging.

price: $44.95+ www.rockynook.com

The White Dress in Color: Wedding Inspirations for the Modern Bride by beth lindsay chapman, candice dowling coppola, carla ten eyckschiffer publishing ltd. | 160 pp.

This recent release is a beautifully illustrated, holistic salute to the entire process of wedding planning, crafted by a trio of wizards in the matrimonial arts. The lavish imagery on every spread is a potent reminder to you, the photographer, that among the stylists, foodies and fashionistas, you’re a crucial member of the wedding team —and ultimately it’s the photograph that best keeps the glow of the ritual alive.

“A wedding begins as a fantasy,” goes the book’s intro, “fluttering like a colorful butterfly in the imagination of a hopeful bride-to-be.” With that motif, The White Dress in Color

weaves you through a handful of distinctive wedding scenarios, including a Central American-themed beach wedding, another staged against the woodsy backdrop of a mountaintop horse ranch, and yet another beneath the filigreed balconies of New Orleans’ French Quarter. Among the countless how-to’s that try to steer you through the rites of being a successful wedding shooter, The White Dress in Color approaches the task on a lively and different bandwidth. price: $45+ www.schifferbooks.com

The Rolling Stonesby reuel golden taschen | 522 pp.

“Fifty years of memory lane…” is Keith Richards’ personal stamp on this staggering 500-page collection of Stones memorabilia, both visual and verbal. He could just as accurately have said “fifty pounds of memory lane,” referring to the

limited, “SUMO-sized” edition of this book—1,600 slip-cased copies printed 20 x 20 inches, each with a $5,000 price tag and autographed by all four members of the original group. For most of us, the 13 x 13-inch edition will probably suffice, sans Mick’s florid signature. It’s just as masterfully edited as its hefty Taschen cousins—Her Majesty and Harry Benson: The Beatles—and it features images by a squadron of photographic legends that includes Cecil Beaton, David Bailey, Norman Parkinson, Annie Leibovitz, Albert Watson and Helmut Newton. You don’t have to be a Stones fan to love these five extraordinary decades of cultural metamorphosis and simply great imagery all together in one volume.

price: $150+ www.taschen.com

PHOTO © SARA CODE-KROLL

BELOW: Romantic locations comprise one editorial theme of The White Dress in Color; here, newlyweds clown for the camera in New Orleans’ picturesque French Quarter.


SP 70-200/2.8 Di VC USD Focal length: 200mm Exposure: F/10 1/60 sec ISO1000

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Beauty is subjective. Sharpness is not. To create a photograph that can delight the eye forever you must start with the right lens, one that is technologically capable. For decades photographers everywhere have relied on Tamron lenses as the core tools they need in their pursuit of perfection. The Tamron Super Performance 24-70mm F/2.8, 70-200mm F/2.8 and 90mm F/2.8 Macro lenses deliver edge-to-edge sharpness reinforced by VC image stabilization and a fast, constant F/2.8 maximum aperture that doesn’t shrink as you zoom. Professionals know these tools are as important to the photograph as light and space. See beauty through Tamron lenses.

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PHOTOGRAPHER: Laurie Wilson of Gather West COUPLE: Lacey and Bryan LOCATION: San Francisco’s waterfront park, Crissy Field CAMERAS: Canon 5D Mark III, Canon 7D LENSES: Canon 24-70mm, 50mm and 70-200mm

COMMENTS: “Lacey is loving and Bryan makes her laugh, and you can tell he makes her feel special,” Wilson says. “It was sweet to see them interact and the way they take care of each other.”

Bayside BetrothalFrom our PhotoForward blog, Gather West Photography tackles

an intimate San Francisco ceremony.BY JESSIC A GORDON

R F W EDDING OF T HE MON T H


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RANGEFINDERONLINE.COM 29

What happens when a groom would rather visit with friends than sit for his wedding portrait?

A photographer must negotiate. “If I didn’t do the portrait session, I knew [Lacey and Bryan] would not have been happy with the photos; it’s not every day

you spend money on a photographer,” Wilson says. “I told the groom that it wouldn’t take very long (but I was going to try to get as many minutes as I could), and that it was important to Lacey. Good thing some family was nearby and also said, ‘Yes, you guys should definitely

go do photos!’ Bryan gave me the stink eye for a couple photos, then he was awesome to photograph and he

made it more fun for Lacey, too.”

+ View more at photoforwardblog.com Category: Wedding of the Week

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Sticking To A RoutineSometimes we set goals for ourselves that seem simple on the outside yet upon further inspection have many layers of complexity. “I’m going to lose weight,” “I’m going to quit smoking,” “I’m going to exercise more,” and so on. The acts of not doing or doing those things are simple; making them part of a routine is the hard part.

I’ve really been beating myself up lately about not shooting, so much so that it gnaws at me late into many evenings. Why has something that came so natural to me for 30 years such a daunting task now? Probably because now my routine has become

going to an office every day and tackling spreadsheets, joining conference calls and planning WPPI events.

Fellow wedding photographer Pat Furey is a guy who has really impressed me with his “routine” of posting new work (like the image above) to his blog every week (patfureyblog.com). Now that’s dedication.

It’s probably around the first week of February as you’re reading this—so how’s that New Year’s resolution

going? I set a goal to shoot more this year, and though I’m writing this two weeks into the new year, I can tell you I’m not exactly feeling motivated to get out and shoot, and more than likely, I will not have picked up a camera and done anything I can be proud of when this article hits the shelves. Why? Because hard work is hard. What scares me is that for the first time in my life, I can’t believe I look at being a photographer as work and not something that’s fun and creative anymore.

FROM THE CUBICLE BY JASON GROUPP

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continued on page 32

ABOVE: Photographer (and 2013 Rangefinder 30 honoree) Pat Furey posts new wedding work often. Here, an image shot in Mexico City with a Canon 5D Mark III with a 35L lens.

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Of course it’s easy for any of us to say, “I’m going to shoot more and post more,” but actually doing it is the part that counts the most.

Let’s all take a look at our New Year’s resolutions in a different way then—by redefining our goals and then mapping out your plans for reaching those goals. Also, write down what has been preventing you from achieving your goals previously, and then figure out how you’re going to build a routine into your life and stick to it. For example, below is an outline of two of my New Year’s resolutions and my new attempt to achieve them by building new routines:

Goals1. Shoot more.2. Revive the @rfwppi contest on Instagram.

Reasons for failure1. Shoot more: a simple goal got derailed by life. 2. @frwppi contest on Instagram: Because

I wasn’t shooting regularly, when I did take photos, I felt they were done too last minute and weren’t worth posting to a contest.

Solutions1. Shoot more: First, I’m going to buy a camera. Nothing motivates us better than a shiny new toy, right? I’m on the go so much, I need a good camera to have along with me at all times. That said, I’ve learned my lesson spending thousands on a “solution,” so instead I’m going to give myself a budget of $250 for a new “snappy Q” and if I use it, I’ll reward myself with a mirrorless solution later.

Next, I plan to take an earlier train into work at least once a week. On the way, I will take some time for some fun street pics. I’ll get a little exercise, and hopefully it’ll light a little fire under me to do more. 2. @rfwppi contest: You guys are tagging some amazing images each month, so unless I have something I’m super duper proud of, we’re going to run one of yours AND I’m going to leave it up to the Rf crew to decide

if my image is worthy of being next to yours. That’ll give me some incentive! It’ll also help to make sure we have a deserving photo to run in the pages of Rf.

In addition, instead of picking winners at a selected time each month, we’re going to do it randomly. This will make it easier for you guys to just tag your images when you feel like it’s warranted, and we can choose when we have the time without creating a burden of time constraint.

Finally, for those of you who have participated in the contest in the past, I’ll be going back into our feeds and making winners soon!

So let’s hit that reset button, build a better routine, and this time next month we can high-five each other for our successes instead of consoling each other for our failures at WPPI in Las Vegas! Of course, coming to WPPI is the biggest win of the year—hoping to see you all there! High fives, up high!

continued from page 30

FROM THE CUBICLE

ABOVE: Another image by Pat Furey, this time of a wedding he shot in Yosemite.

PHOTO © PAT FUREY

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

“I use lighting as a tool to enhance. In my opinion, once the lighting starts to feel tricky, then that becomes the photograph, and you’re taking away from what I consider to be great portraiture.” – Mark Seliger

Learn from one of the masters of portrait photography at www.profoto.com/us/markseliger

LIGHT SHAPING BY MARK SELIGER


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Tired of spending money on Photoshop Actions? Is there a certain color tone that you created once that

you just love and want to be able to add to other images quickly? What if you knew how to create actions yourself? Here are some easy steps to do that and make the process seamless to boot.

Taking ActionAs most of us know, an action is a series of pre-recorded events or tasks that can be applied to any image by pressing the Play button. You can locate the Actions panel by going to Window >

Actions. This will open the Actions panel, which will already consist of a few default actions that come from Adobe. There are control buttons at the bottom of the panel. Once you click record, everything you do is being recorded. You can stop the recording at any time, delete mistakes and even begin recording again to continue the action tasks. It’s very easy to use, but there is some planning required on your part to make them work consistently.

TIMESAVER TIP 1: Before you begin recording, open the Adjustment panel by going to Window > Adjustments. Drag the

panel to your vertical dock on the right and drop it in next to your Layers. This allows you to easily switch back and forth from the Layers and Actions panels. Within your Actions panel, create a new set and name it. To create a new set, click on the folder icon at the bottom of the panel. I’ve named mine COLOR since this will contain my colorizing actions. While the new folder is selected, you’ll start the recording by selecting the New Action icon located to the

AF TER THE CAPTURE

Creating Your Own ActionsBring a signature tone to an image in a few simple steps.

By Damian Battinelli

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ABOVE: Battinelli’s original image (left) and the one created with his “Golden Haze” action (right).

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right of the folder icon. Name the new action with some descriptive words like I did with “Golden Haze” and click Record (Fig. 1). Now everything you do while it’s recording is doing as the command suggests.

TIMESAVER TIP 2: Actions need to be created using nonspecific layers or names. If you create an action using specific names such as “Background copy” or “Layer 1 copy,” for example, the action will look for these specific names or layers. In other words, you want Photoshop to find the layer below or above, not “Layer 1 copy.” This will cause an error message if those specific names aren’t found and you’ll be pulling your hair out! The way around this is to use keyboard shortcuts that prompt Photoshop to use the nonspecific layers you actually want. ALT/OPT + [ selects layers below, and ALT/OPT + ] selects above. Holding down SHIFT along with the keyboard shortcuts will select multiple layers.

Adjusting The ColorThere are a couple of ways to adjust color, such as adding a Curves adjustment layer, but for our purposes, I’m going to adjust my colors using a Color Balance adjustment layer (Fig. 2). I’ve added the adjustment layer by clicking on the icon that looks like a scale. I made my adjustments with the red and yellow sliders until I was happy, double clicked on the layer and named it GOLD. I then added a Curves adjustment layer by clicking on the icon that looks like a grid with a curved S-type line. I created the “haze” by dragging the lower left point of the line straight up until it created the look I wanted and named it HAZE (Fig. 3).

Grouping LayersFor the sole purpose of staying organized, I’ll group the layers. After selecting my top layer HAZE, I pressed SHIFT + ALT/OPT + selecting the layer GOLD below. While the two layers are selected, I used the keyboard shortcut COMM + G to group them. I recommend calling it the same name you gave the action, so double click on the new group within your

layers panel and name it (Fig. 4).Now’s the time to stop the recording by

pressing the stop button at the bottom of the Actions panel. You can press the stop button at any time; to start recording again, just select the last action in your actions dialog panel and hit record to continue. If you make a mistake, press stop, select the mistake and press the trash icon to delete it. Begin the recording again where you left off.

TIMESAVER TIP 3: If you want Photoshop to prompt you to make the adjustments while the action is performing, you can. This is done after you’ve stopped the creation of your action. By clicking on the toggle dialog on/off box to the left of the task, Photoshop will prompt you to make adjustments to the task (Fig. 5). If you want to add a note for instruction, you’ll need to insert stops above the task, enter the descriptive instructions and turn on the dialog box to the left of the stop. To do this, go to the actions menu and click on Insert Stop. Enter the instructions and click on the Allow Continue box at the bottom left. Make sure the dialog boxes are turned on for both the stop and the task.

Saving Your ActionsIn order to save your actions, you need to select the set or folder, not the actual action. Click on the Actions menu icon and select Save Actions—this will allow you to save it anywhere you’d like. I recommend creating a folder that contains your custom actions. In order to load any action, you simply select Load Actions in the same menu and select the actions from where you saved them when it prompts you to.

Another handy way to use actions is to create resizing actions for social media. Find out the best dimensions for that specific social media site and create the action to resize your image and name it something like “Resize for Facebook.” A simple Google search will help you find the current required dimensions for these sites. Once you play around with these and get a grasp on how actions work and using keyboard shortcuts, you’ll be able to create just about anything.

fig. 1

fig. 2

fig. 3

fig. 4

fig. 5

Another handy way to use actions is to create resizing actions for social media. A simple Google

search will help you find the current required dimensions for these sites.

Rf_AFTER THE CAPTURE.indd 35 1/14/15 1:10 PM


BY JESSICA GORDONFULLY LIT

McNally Master ClassThere are few better lighting teachers in the world than Joe McNally who—in his 30-year career—has shot covers for TIME, Newsweek, Entertainment Weekly and

Men’s Journal, and is an ongoing contributor to National Geographic. Here, McNally (who is, by the way, WPPI 2015’s keynote speaker) tells us his lighting

processes behind three environmental portraits.

Window Light on the Hudson

A dirty window should never get in a photographer’s way, and a lighting demonstration in a dilapidated, Hudson River building provided the perfect opportunity for McNally to

prove that. “I often try to mimic and augment the natural feel of light as it presents itself on location,” McNally says. “The available light was nice, but wasn’t strong or crisp enough to light the model.”

So McNally followed the natural light path, which took him outside the building, to a railing above the window. To it, he clamped three Nikon SB-900 speedlights to be triggered by his camera fl ash. “I was able to take my commander fl ash off my camera and position it with a cord up into the window where it would see the other fl ashes,” he explains. “You have to achieve line of sight, and the original camera angle wasn’t conducive to that.” McNally says the window then became the light shaper and in turn, a diffusion element. “You could also do this with a big fl ash like a Profoto B1, controlling with a radio,” he says. “You could hot-shoe it to the camera and transmit a radio signal to the outside fl ash. When I teach, I try to show what you can do with both styles and different styles. People sometimes get a little afraid to experiment, but a slight shift of the light can cause a major difference in the photograph.”

LOCATION: A relic building on the Hudson River, NY CAMERA: Nikon D3 LENS: 48 mm EXPOSURE: f/5.6 at 1/250th of a second ISO: 200

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Butterfly in Manila

It’s not every day that a ballerina and Cirque du Soleil dancer has a break in her busy performance schedule to pose for a portrait. But while in the Philippines teaching, McNally had the good fortune that Kris Mamangun—the

wife of McNally’s friend and fellow shooter Jojo Mamangun—had time between shows. Having always been fascinated by Filipino jeepneys, McNally had the thought to put dancer and vehicle together. “I found a local street where people were amenable to having a big-ass jeepney blocking everything, and we just went for it,” he says.

McNally says the main light source is a big, indirect Octabank, placed high up and camera left, lighting the subject. “The overall driver for the exposure of a picture like this is the sky,” he says. “You have to wait for it to burn down a bit toward the later afternoon, but then the street becomes dark and needs to be lit.“ That translates to 12 to 15 flashes, each, McNally says, with its own “mission.” First, a number of small flashes with warm gels in the passenger section of the jeepney, which, when triggered, bounced into the interior but also spilled onto the street. The reddish glow behind the jeepney is from two flashes, gelled red. Kris’s gossamer wings are backlit with a strobe flash that’s on the roof firing into the back of her. There are lights in and under the awning of the stores, plus a couple in the driver’s compartment of the jeepney. And if all that wasn’t enough, McNally lit down the block, firing into the background. The finishing touch? “I convinced a guy running a portable barbecue to bring it down the street because its smoke gave my light a little shimmer and character,” McNally says.

“I found a local street where people were amenable to having a big-ass jeepney

blocking everything, and we just went for it.“

LOCATION: A populated street in Manila, Philippines CAMERA: Nikon D800E LENS: 32mm

EXPOSURE: f/5 at 1/25th of a second ISO: 200



FULLY LIT

Take Me to Church

While in Augusta, Georgia, shooting the Masters Tournament for Golf Digest, McNally drove by a small, community church. “The physical city is not opulent, it’s just a town off the Georgia turnpike with a lot of very modest

neighborhoods,” McNally says. “I walked into this church because I was intrigued, and I was so impressed with Reverend Greer. I asked if I could do a portrait and he said ‘okay,’ very kindly.”

McNally asked the reverend to stand in the middle of the photograph, because, “as churches tend to be, it’s all about symmetry,” the photographer says. “He’s obviously a blocky, big man as you can see from his hands.” A softbox overhead is the main portrait light defining the subject, with the rest of the church lit by available light.

But McNally didn’t stop there; he describes this as a two-light figure. “The luxury item is that I took a small flash with yellow warming gel and fired that at his hands that are holding the cross, so that light is triggering, along with the overhead light,” he says. “I’m accent-lighting the cross because that’s obviously a statement of who this man is.”

The circular lighting figure overhead in the background was no accident, either, he says: “I chuckled to myself as I placed him there that I had a built-in halo.”

LOCATION: A community church in Augusta, GA CAMERA: Nikon D2x LENS: 12 mm EXPOSURE: f/8 at 1/8th of a second ISO: 100

DON’T MISS: Joe McNally’s keynote at WPPI 2015 on Tuesday, March 3, from 8-10 p.m. at the MGM Grand in Las Vegas.



One of the most valuable topics that ShootDotEdit and WPPI recently chose to tackle in their monthly

webinar series is Marketing. Webinar host Jared Bauman, President of ShootDotEdit, says, “It is overwhelming to know where to start when it

comes to marketing your photography business. Justin and Mary are experts at breaking that down.” Justin and Mary Marantz—the wedding photography duo who travel the globe shooting weddings, teaching workshops, and inspiring business owners to succeed—outline some

simple marketing strategies here that you can implement immediately to increase your bookings. (For access to the full presentation, go to bit.ly/1lGOywk. The duo will also present “10 Ways to Make Your Work Worth More” at WPPI on March 2 at 4 p.m. in Las Vegas.)

Marketing With Love Nine road-tested marketing tactics to help you book more weddings now.

BY JUSTIN AND MARY MARANTZ

TIPS AND TRICKS

SHOOT DOT EDI T W EBIN A R E XCER P T

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1. TAKE CARE OF YOUR CLIENTS If you want people talking about you, give them something good to say. To cultivate that, we send out a series of gifts, including the Williams-Sonoma Bride & Groom Cookbook; a fluffy, cozy blanket in our favorite color (silver sage) from Restoration Hardware; or a holiday frame ornament with the couple’s wedding picture in it. We’re looking for things that we love ourselves to keep it personal, things that they will keep for a long time so it continues to remind them of us, and things that they’ll want to put on Facebook and Instagram (like “hanging our first married ornament from the

#bestphotographersever”). And sending them out at the holidays, when a lot of our clients’ friends are getting engaged, is an extra added bonus!

2. TAKE CARE OF VENDORSDo something for other vendors without expecting anything in return. We take a photo that shows off their work—such as a floral arrangement from the last wedding we shot—and create a card for them with their contact info, colors and logo. We print it on pearl card stock from WHCC and present it to them as a gift. (We also make sure our contact info isn’t anywhere on it, just our photo credit. This makes it a gift with no strings attached and gives vendors a great reason to talk about us.)

3. LEAVE A SAMPLE ALBUM AT A LOCATIONBy leaving just one book at one of our favorite locations a few years ago, we have been able to track back over $50,000 worth of new bookings from that $500 investment. It’s been a real game-changer. The key is to make sure your book looks different and stands out, and to feature parts of the venue that the coordinator can talk about, like “rain plan” ceremony setups or distinctive table layouts.

4. BECOME ALLIES WITH PHOTOGRAPHERSIt’s good to have friends you can reach out to whose work you trust and whose business approach you believe in. We’re big believers that “all of us are stronger than one of us,” so find three to four fellow photographers you connect with and start a private Facebook page with a shared Google calendar. Make a plan to refer each other when you’re booked, and I guarantee you that all four of you will be able to get each other booked faster than any one of you going it alone. 5. RUN A BLOG COMMENT CONTESTFor every engagement and wedding we post, we send an email to our brides telling them they are being featured on our site and then we send a link for them to forward to friends and family. We also ask them to have those friends leave comments on our site. For 50 comments, the couple gets a free 8 x 10 print; for 75 comments, a free 11 x 14; and for 100 comments or more, a gallery wrap. 6. PRESENT YOUR BEST PORTFOLIOIf you would be embarrassed for us to look through your website right now because all of the work is “old stuff,” then just remember

that’s what brides are looking at, too. One of the fastest ways to up your inquiries is to just make sure you aren’t losing them at the website stage. Go through your website with a machete and cut everything that doesn’t fit with your best work and the style you’re going for. Don’t show anything you wouldn’t want to shoot again and again. And cut the number of images way down, too. If several pictures look too similar, only show the best one. The rest will just water down the impact.

7. CONNECTION, TRUST, SCARCITY Our website strategy is two fold: 1) Establish connection and trust; 2) Cultivate scarcity. The first wave of our approach is to give a potential bride every reason in the world to know exactly who we are and exactly what our work stands for to see if she connects with that. The second wave is to make sure she knows that we don’t actually take every wedding that comes to us. We put this right on our inquiry page. This creates a feeling of “I love it and I might not be able to have it” and that usually equals “Now I REALLY have to have it!”

8. MEET ON YOUR OWN TURF We started out in a two-bedroom apartment living room and now we have a really nice, dedicated meeting space in our new house. The key is that when we’re in our own space, we come across as more confident, we can control the variables (unlike in a loud, crowded coffee shop), and we can create an experience right out of the gate by serving our clients Champagne, chocolate and fresh berries. Meeting in our own space gives that couple one more chance to connect with us.

9. TRY À LA CARTE PRICING In 2006, we had set packages that started at $6,000 and went up to $10,000. But at that time in our market in Connecticut, people couldn’t wrap their heads around starting at $6,000, so we were never getting them in the door. Then we switched to À La Carte pricing (basically just taking the products out of our $6,000 package), which brought us down to a number ($4,500) that was a stretch for people, but something they could see making happen. Once we got them in the door and gave them that chance to connect with us on our own turf, not only did our number of bookings go up by 400 percent, but clients also started adding things on after they had booked us to end up back at our original prices. It was just a matter of getting them in the door first!

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FIRST 1/2MeMbers Only Online cOMpetitiOn

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get ready!

Contest LaunChes early March

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PYSK: GUSTAVO MAR X


Brazilian fashion photographer Gustavo Marx talks creativity, collaboration and cultivating connections in a cutthroat industry. BY LIBBY PETERSON

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THIS SPREAD: Gustavo Marx went for a cinematic approach for Apartamento 03’s Fall/Winter 2014 collection, shooting with continuous HMI lights.

WHY YOU SHOULD KNOW HIM! With a shoot nearly every week, Gustavo Marx is one of the most in-demand fashion photographers right now, and having won a slew of IPA, Prix De La Photographie Paris and other awards, his work and approach serve as great inspiration for shooters across all genres. + www.gusmarx.com

@gustavomarxny

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PYSK: GUSTAVO MAR X


“I love my work and I believe in my work, but thinking that I’m some sort of genius—in this moment in history, I don’t think there’s space for more of those types of people. I think we have to collaborate in every

sense, and I truly believe my best work is when I work with amazing people who have amazing ideas.”

Bold colors, dramatic lighting, high contrast, and an overall crisp look.

When you see a Gustavo Marx photo for the first time, you never forget his signature esthetic. The process behind the fashion photographer’s composed photos, however, might come as a surprise.

Brazilian-born Marx is an of-the-moment type. Taking projects for New York and Brazilian fashion houses and magazines, he often chooses his plan for a shoot after getting inspired by a model’s look just a day or two prior. When it comes to lighting, Marx does research in advance, but otherwise bases his approach on the shoot’s atmosphere, sometimes modifying lighting after outfit swaps to evoke different moods.

This rather organic approach that might leave room for error sits right with Marx, who embraces flaws. “I like when mistakes bring good things to the shoot,” he says. “Those mistakes are not ‘mistakes’ to me, but what I call ‘special defects.’”

Take, for instance, a recent shoot for Brazilian company Apartamento 03’s Fall/Winter 2014 collection (opening spread), which was inspired by Lillian Bassman’s work and the designer’s memories of his great-aunt. “I didn’t want to overthink every single step of the shoot,” he says. “[I wanted] a simple approach with a model, and a simple light and atmosphere.” Using a vintage camera and lens,

he went for a “not so clear effect,” a nod to Bassman’s esthetic, and chose continuous HMI lights to achieve a more cinematic look (plus he “didn’t want to worry about the recycling time of strobes,” he says).

“I started walking around the set taking pictures, and in some of them you see the stylists and other people behind the scenes,” he says. What some would consider an outtake with potentially difficult Photoshop finessing became a welcome visual element for Marx—and the designer, who told him, “You know what? I love it.”

BRED FROM A BOUTIQUEMarx’s mother had a small boutique in their hometown of Belo Horizonte (Portugese for “beautiful horizons”) in Brazil. “I was like the mascot of the boutique,” Marx says. “Everyone would say, ‘Oh, let me see if Gustavo likes this outfit.’”

His father, who Marx refers to as a “serious amateur” photographer, let him play around with his cameras and sparked a curiosity for the medium. He went on to study photography at the School of Visual Arts in his early 20s and, after a brief stint photographing cars, shot portraits of friends.

THIS SPREAD: A shoot for L’Officiel Brasil a few months back showcases Marx’s graphic style, fearlessness of color and experimentation with lights and shadows.

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PYSK: GUSTAVO MAR X

In Gustavo Marx’s Bag CAMERAS: Nikon D810, Contax 645 LENSES: Nikon 35mm, 58mm, 85mm, 110mm and 24-70mm f/2.8

zoom; Contax 55mm, 80mm, 140mm LIGHTING: Profoto B1 strobes, HMIs

Discovering an instinct to style his subjects, he realized he could combine his interest in fashion with his career as a photographer.

THE AVEDON EXERCISEMost emerging fashion photographers ask models to do test shoots with them, a win-win for both parties who get to add new images to their portfolios. This is not the way it went for Marx; as an assistant for fashion photographer Weber Pádua in his mid 20s, he was asked by model Adriana Picinin to test with her. Marx didn’t quite have the know-how to direct a model—at the time, he was just getting a grip on the technical side of things—but Marx guesses that because Picinin picked up on the passion he had for assisting, she was curious to see how he’d do behind the camera.

When they met up to test, she brought a few Versace books by Richard Avedon and told him, “I want you to do this.” Marx laughed, saying, “‘You don’t understand, I just started assisting. Richard Avedon is a god, and this is impossible,’” he recalls. “And Adriana said, ‘I don’t care. Let’s try.’” With Picinin selecting photos to emulate that she could style herself, Marx set up a white backdrop in a studio and shot her with his Hasselblad 503CW and 150mm lens. He loved the results of the shoot, and Picinin spread the word to other models. Pádua wound up being the only photographer Marx would assist before going solo.

EMBODYING BRUNAHis international breakout point came later, when Marx did a free test for Bruna Velho, a 13-year-old aspiring model. “She was a tough girl and had a hard past, having lost her father,” he says. “When I saw the photos that I took while talking to her, I couldn’t believe it.” Marx submitted a photo of Velho and won IPA’s first prize in beauty/fashion and the Prix de la Photographie Paris.

“Talking to the people and understanding their world in the few moments we have together changed my work and the way I shoot,” he says. It also gained him two reps: ABA in Brazil and MergeLeft Artists in New York, where he now splits his time.

TEAMING UPFor Marx, it’s a no-brainer that shooting fashion is all about collaborating with others. “I love to talk to the clients and stylists, and build and create ideas,” he says. Marx has his go-to people, and makes it a point to work with those who are as eager to collaborate as he is,

keeping things low-stress. “You need to bring people that you trust to a shoot,” Marx says. “I need to be friends with the people I work with.”

THE QUIRKS OF CONNECTIONS It hasn’t all been smooth sailing for Marx; he remembers once going to magazine

“Talking to the people and understanding their world in the few moments we have together

changed my work and the way I shoot.”

THIS PAGE: Shot in a softer style, Marx’s award-winning portrait of Bruna Velho taught him to truly connect with his subjects.

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THIS PAGE: Marx makes a point of maintaining solid relationships with his clients—including with the clothing brand Coven, for whom he shot this Fall/Winter 2014 look book.

PYSK: GUSTAVO MAR X

publisher Hearst with 18 x 22-inch promos he printed with handwritten notes for specific editors and art directors, and then being lead to a room full of employees receiving packages just like his. One of them told him, “‘I think you’re photographer number 100 who’s hand-delivering a package.’ You think you’re doing a personal thing, but you’re not really sure the final person will see it,” Marx says. “So I knew I have to find little connections.”

That meant tapping into his professional

and personal networks. A stylist saw his work once and recommended him to one of his first jobs; from there, he shot look books regularly for Brazilian fashion companies such as Vide Bula, Drosophila and Alphorria. Another time, one of the editors of Dossier was dating a friend of a friend of Marx’s, which he found out after expressing interest in the magazine; soon after, he met with the editor and was booked for multiple gigs.

Beginning to shoot for high-profile fashion

magazines like Vogue and Marie Claire also has more to do with connections than Marx would sometimes prefer. His “in” with Marie Claire, for example, was through ABA, who introduced him to a stylist who recommended him for a Fabio Ishimoto project in 2013. Later that year, he did two small shoots for Vogue Brasil. “It’s a bit sad that connections are the most important thing in this industry, but they are,” he says. “Getting to know the right people, going to meetings, dinners—these can make you.”

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The crucial elements of a shoot for ELLE Singapore. AS TOLD TO BLAIR DELAUBENFELS

Fashion photographer and New York City resident Lara Jade is an expert at turning

great ideas into gorgeous images. Here, she breaks down one of her latest assignments,

“Dog Days,” from concepts and budgets, to building a team, to the big shoot day,

to when the real work begins.

Dog Days Journal

FASHION, BEAUTY,

GLAMOUR

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THIS SPREAD: For Lara Jade’s ELLE Singapore shoot,

fashionable models, canines and a New York City backdrop made for

successful editorial.



“As an animal lover, I’ve always been drawn to photographs where animals are featured with people (whether in fashion shoots or portraits),” Lara explains. “For the last couple of years, I’ve wanted to do a fashion editorial based around dog-walking with different breeds of dogs. I’m thinking chic and modern, visualizing rich ladies living on the Upper East Side walking their fancy dogs on the streets of Madison Avenue and in Central Park. “

It’s a Go! Getting the Pull Letter A pull letter (also known as the stylist’s letter or LOR, “letter of recommendation”) from the magazine gives the stylist the opportunity to pull known clothing brands from showrooms and request specific clothing from PR companies. It also assigns a wardrobe stylist to the project. Often pull letters will also address who the photographer is and what date the shoot will be published so the clothing brands know who is responsible for the shoot.

At this point, the editor also gives Lara the assigned budget for the shoot. “Editorial work is known for not having huge budgets—even for covers! It’s to be expected,” Lara explains. “When I do get a larger budget, I make sure everyone on the team has a small fee or at least their expenses covered and I save some for the assistants, as they are the only ones who don’t get a huge benefit or credit. Models, hair, makeup, wardrobe stylists and photo retouchers often work for tear-sheet only if the shoot is for a larger magazine.”

The PitchAfter doing research and making sure her idea hasn’t already been done somewhere else, Lara decided to pitch to the editors at ELLE Singapore because “they like feminine and playful editorials, a good fit for my photographic style,” she says. “I prepared a mood board with inspirational shots, and I’ve had my wardrobe stylist, Anna Katsanis, prepare another one that features the fashion brands and trends that ELLE prefers (designers like Fendi, Eugenia Kim, Dior, Armani, Prada and Saint Laurent).”

“I wanted to mix younger designs with

more classic ones, but still remain

contemporary and modern. The beautiful

dogs with luxurious manes and upscale

breeds are so inspiring that the clothes have to live up to the lifestyle.”

—Anna Katsanis, wardrobe stylist

TheConcept

DOG DAYS JOURNAL



“Fashion shoots are all about collaborative effort,” Lara says, “and so I like to work with people I am familiar with. A larger mag-azine like ELLE is putting a lot of trust in me that the team I pitch to them will deliver, so experi-ence is a key factor when decid-ing on who to book. Most of the creatives I work with are found through recommendation or my reaching out to them.”

FOR THIS SHOOT, LARA GATHERED: Stylist: Anna Katsanis, The Wall Group. “I knew Anna would be perfect for the role; she has a lot of experience and is well connect-ed with the brands ELLE wanted.”Makeup: Misha Shahzada, Artist & Agency Hair: Stefano Greco, Bryan Bantry Agency. “Stefano uses wigs to make the models look similar and part of a story, which in this case he prepares the day before to save time.”Photo Assistants: Tak and Natalie Walsh Production: Rachel McLaughlin Retouching: Ashlee Gray

The Team

LARA’S GEARCAMERA: Canon 5D Mark III LENSES: Canon 24-70mm f/2.8, 50mm f/1.2

OTHER: One circular gold/silver Lastolite reflector



“Because I am working with more than one model, I want them to look quite similar in height and face shape, almost like sisters, in order to create a cohesive look,” Lara says. “For this story I’ve chosen models Alexandra Tikerpuu and Helene Desmettre (both of IMG) and one of my favorite faces of the season, Ste� Soede (shown at right), of New York Models). When casting for larger editorials, it’s important to search for models who are ‘in’ as ‘it girls,’ fi t the brief and whom you can meet with in person if possible. I did the casting with Ste� at her agency, which helped me understand her personality and make the decision on booking her. If you don’t have the opportunity to meet models in person ahead of your shoot, ask for a recent snap with no hair/makeup. I’ve had models turn up with completely di� erent hair, with a dark tan and very bad skin!”

Scouting the Location“A few days before the shoot, Rachel and I did a location scout around the Upper East Side,” Lara says. “Because the areas we liked were all quite far apart, and with no set place to prep the models and team, we decided it would be best to rent an RV. This was a signifi cant part of the editorial budget, but it was vital for the shoot since we only had one day and the timing had to be perfect. The RV also gave us a base to work from, so after each shot we could walk back and prep the models for the next look.

The PupsWhen all other systems are in place, where does one get trained dogs? “My producer, Rachel, got in touch with an animal agency she had previously worked with that immediately sent me a few options available on the shoot day and within budget,” Lara says. “I saw the poodles and thought they would look perfect with the clothing choice. Only

one thing—I couldn’t seem to fi nd a Great Dane, which I had in mind since the inception of this shoot. I put out a tweet and within a day, I had a lead—the owner of a Great Dane who lives in Brooklyn! The producer reached out and we organized the logistics of when the dogs would arrive on set (we were only using each dog for a few hours because it was warm outside and we were shooting in a busy part of Manhattan).”

Casting the Models

DOG DAYS JOURNAL


The Shot ListAfter the location scout, I created a shot list, which helps organize time and ensure nothing important is missed. The shot list featured quick snaps I took on my phone of the locations in mind combined with an inspirational image of what I was looking for in that area, whether it was an expression, pose or general idea. Adding inspiring elements helps to trigger new ideas on the day and to change the story up.

The producer and photo assistants will be in control of the shot list on the day of the shoot and they will remind us how long we have to complete each shot in each location.

The Big Day “As usual I couldn’t sleep the night before (a mix of tiredness and nervousness), but my nervousness turned to excitement the moment I saw the models on set in their wigs and clothing. The weeks of planning paid o� and helped us structure the timing. Models were booked to

a certain time and the RV was only booked until 5 p.m. At the end of the day, we were rushing to fi nd areas for the last looks so I gave myself several options—shooting in di� erent locations in angles. This helped when doing the fi nal edit as editors like to see options when they plan the layout on the magazine pages.

“For an editorial, I usually send a selection of 40 to 60 images to a magazine out of around 1,000 to 1,500, and then 8 to 10 are chosen for the editorial spread,” Lara says. “The selects are then passed to my professional retoucher, Ashlee Gray (www.ashleegrayretouch.com); she has a similar eye to mine and a very natural touch with post processing.” (The fi nal edit appeared in the August 2014 issue of ELLE Singapore.)

“Most of the workload came down to cleaning up the backgrounds.

With a busy street, there were things that couldn’t be avoided, like people walking down the street, construction

on the sidewalk, etc. In one of the images, the dog was scared and his tail was between his leg, so I

had to fi nd another ‘happy tail’ and replace his original tail.”

—Ashlee Gray, retoucher


LARA JADEGrowing up in West Midlands, England, outside the city of Birmingham, Lara Jade was inspired to express herself artistically by her supportive and talented parents. When she found herself the target of bullies during her middle school years, she responded creatively and began shooting self-portraits with masks and costumes, exploring emotional concepts through her work. During that time, she found a community on the website DeviantART where she showed her photos and got constructive criticism.

Encouraged by the positive feedback, she launched her own photography business a few years later at the young age of 17. Her work is now featured in Harrods, Littlewoods, Nanette Lepore and Observer campaigns, and Lara is often seen online and on stage sharing her tips with other photographers. “To hone your art,” she explains, “you grow with people that are encouraging and nurturing of your talent, but you also grow from people who aren’t afraid to tell you that you need to think outside the box.”

Final Edit



SKIN BEAUTY SKIN SKIN SKIN SKIN DEEPDEEPDEEP SKIN DEEP SKIN DEEP SKIN DEEP SKIN SKIN SKIN SKIN DEEP SKIN SKIN SKIN SKIN DEEP SKIN SKIN SKIN DEEP SKIN DEEP SKIN DEEP SKIN SKIN SKIN DEEP SKIN BEAUTY BEAUTY BEAUTY BEAUTY BEAUTY BEAUTY BEAUTYDEEP BEAUTYDEEP BEAUTYDEEP BEAUTYDEEPDEEPDEEPDEEP BEAUTYDEEPDEEPDEEPDEEP BEAUTYDEEPDEEPDEEP BEAUTYDEEP BEAUTYDEEP BEAUTYDEEPDEEPDEEP BEAUTYDEEP When it comes to beauty portraits, famed lensman

Matthew Jordan Smith has perfected the art of lighting a subject to enhance and fl atter any skin tone. AS TOLD TO JACQUELINE TOBIN

FASHION, BEAUTY,

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Google the name “Matthew Jordan Smith” and a list of impressive credits pop up for the iconic

beauty and portrait photographer, including shooting a celebrity clientele (Oprah Winfrey, Vanessa Williams, Jennifer Connelly, Halle Berry, Britney Spears, Jamie Foxx and many more); campaigns showcasing the latest products (and models) for Pantene, L’Oréal, Revlon and Olay; and gigs on America’s Next Top Model, The Tyra Banks Show and E! Entertainment Television. And this is just a sliver of his long, remarkable resume.

Known as a lighting master in his genre, Smith says over the years he has learned to “master the light for each situation, and it is never the same.” When he takes meter readings, for instance, he’s always thinking about the skin tone of his subject. “I interpret the metering based on my subject; I rarely shoot more than one subject in the same way.” Factored into that is also the background. “The secret to making a white background, for example, is by having the perfect amount of light,” he explains. “It’s not about blasting out the background. If my front reading is 11, my background is going to be 3/4 to a stop over, no more than that. So if I’m getting f/11 on my model, in the background I’m going to get 11/7, 11/8, 11/9—somewhere in that family. That’s all I need to get a crisp, great background, which in turn showcases the skin the way I want.” When shot the wrong way, he adds (for instance, by using a stop and a half or two stops over), then you get a blown out, milky background. Not good.

For the image at left, where three women of different skin tones were photographed individually during three separate days, the key was keeping the light consistent; the fi nal composite was put together in post. “This was a very simple shot using one of my favorite lighting tools: the Profoto Beauty Dish,” Smith explains. “My beauty dish was right above me on a boom, the distance and height was carefully measured, there was a fi ll card underneath a round refl ector to add just a little sparkle in the eyes, a fi ll card off to the camera’s right side, and then my background, not lit at all, just fell off from my beauty dish. It’s a very simple and very beautiful shot where each girl feels like she is next to the other in the same room at the same time.”


SKIN DEEP BEAUTY


While many of Smith’s fl awless shots may seem complicated with lots of lights and tricks, more

often than not he relies on three standard lighting setups, as was the case when he shot a recent TYRA Beauty campaign where he came up with 18 different looks of the supermodel in one day (two of the looks shown here) . “I always go back to my standard beauty light, the Profoto Beauty Dish, for a crisp, punchy feel that’s still somewhat soft; the Broncolor Para 220 umbrella; and the Magnum refl ector light, which is great for an Old Hollywood glamour type of lighting,” he explains. Of course, these three are his standard lights, meaning he also uses all sorts of modifi ers, diffusers and refl ectors on set as well (as he did for the TYRA Beauty shoot). “I use every type of light modifi er out there,” he says, adding, “I just don’t use softboxes; the light from a softbox is too fl at and not distinctive enough for me. But that’s just my personal preference.”


“Multiple meter readings (done at top, bottom, left, right and

center) allow me to know exactly where the light is falling, which is what’s most important in my shoots for maximum results—

knowing the position and direction of the light.”



“Meters don’t think, they only react. It’s up to you to choose how you want your images to look. For dark skin, I won’t shoot the way the meter is reading—I’ll open my stop up by a third or a half. For a model who is fairer, an exposure closer to the actual

reading is more appropriate in certain instances.”

THIS PAGE: Another look from the TYRA

Beauty campaign.

SKIN DEEP BEAUTY


1. When it comes to skin tone, decide early on how you want the skin to look, then achieve that through multiple readings and different exposures. No two people take the same light.

2. Interview makeup artists the same way you would interview models. I don’t want someone who ‘cakes’ it on; I want someone who can give me ’second skin’ makeup.

3. Sometimes when you’re shooting an Asian model versus a Caucasian model, it all comes down to the makeup. With an Asian face, get a makeup artist with the ability to draw out details and do the eyeliner correctly is key.

4. Take the time to connect with every subject, make her feel brilliant and beautiful, and your images will sparkle every time.

“Having a model with great skin is

key to a great shot, as is having a great makeup artist to work with. The

better the skin, the better the look right out of

camera. The right makeup artist will see nuances in the tone and texture of

skin that the rest of us might miss.”


THIS PAGE: Shot with the Sony Alpha a99, this was a personal image for Smith’s portfolio. “This is what I consider a classic beauty shot,” he says, “pretty straightforward, without too many other elements, and shot with one of my favorite lenses, the 100mm f/2.8 macro lens.”

Smith’s Quick Tips



FASHION, BEAUTY,

GLAMOUR

ATLANTA-BASED FASHION PHOTOGRAPHER, DIRECTOR AND EDUCATOR

LOU FREEMAN SEAMLESSY COMBINES LIGHTING, HAIR, MAKEUP, JEWELRY AND

BEAUTIFUL MODELS IN FOUR FLAWLESS LOOKS.

AS TOLD TO JACQUELINE TOBIN

HOW

FABULOUSLOOKFABULOUSLOOKFABULOUSTOHOWTOHOW

LOOKTO

LOOK

T he best way to describe a Lou Freeman image is by using words like “magic” and “wow factor.” One of the fi rst female photographers at Playboy (where she delivered nearly 600 spreads in her 12 years there), Freeman sees her time there as signifi cant because of the lighting techniques

she developed, which she says “shaped my life as a photographer.” The shot at right, she says, is all about using psychedelic color impact paired with hard beauty light in full sun. “I put a strobe on a

long pole for a strong, hard light effect to help fi ll out any shadows on her face, and another light for the background was used to fi ll in the water more evenly—the color enhanced with turquoise gel. The strobe was amended and redirected with barn doors.” The colors of the waterproof makeup,

Freeman adds, were chosen to offset the vibrant colors of the jewelry, blouse and water.

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CAMERA: Canon 1DX LENS: Canon 24-105mm LIGHTING: Bowens lighting and Lumiair modifiers MODEL: Jessica Miller HAIR & MAKEUP: Erica Bogart

STYLING: Lou Freeman and Lori Duncan BLOUSE: Avnah Couture NECKLACE: Masha

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For “Bohemian Vibe” (left), Freeman chose the lush location

because of all the “amazing garden jungle” foliage in a sidewalk pathway behind the house where she was staying in Boca Grande, Florida. “We waited until the light was glaring into the background, kind of blowing in, to capitalize on that surreal quality seen in the fi nal image. We then balanced out the exposure in the end by using a 5-foot octabox and one strobe to illuminate the model.“

HOW TO LOOK FABULOUS

LOU FREEMAN has been working as a photographer for 31 years. Creative from an early age, her fi rst photos were published at the age of 13. Since then, she has worked as a fashion and advertising photographer for many publications and brands, including Playboy, Italian Harper’s Bazaar, Sara Lee/Hanes Brand and many others. Renowned as an expert at stylization of light, Freeman is always willing to share her techniques, as she has done countless times for CreativeLive, KelbyOne,

PPA, Canon and many others. In 2013 she released “Lou Freeman’s

Look Fabulous” DVD series on glamour, fashion and beauty, following the Look Fabulous 36-city tour with Lindsay Adler. The DVD out-lines her many techniques for framing, studio and outdoor lighting, posing, shape shifting, problem solving and more. The Fash-ion & Glamor Posing by LOU Freeman apps (Reclining, Sitting and Standing) are now available on iTunes.

+ www.loufreeman.com

CAMERA: Canon 1DX LENS: Canon 50mm f/1.4 LIGHTING: Bowens lighting and Lumiair modifiers MODEL: Christina Garrison HAIR & MAKEUP: Erica Bogart STYLING: Lou Freeman and Lori Duncan CLOTHING: Avnah Couture JEWELRY: Masha

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“I’m known as a multiple-

light user, but in many of my shots— while there might be a complexity to how they are done behind the scenes—there’s a really beautiful simplicity to the

final images.”

For this creative shot, done in-studio for Modern Lite (a series of

videos where Freeman shows how she utilized five Canon speedlites and modifiers), the photographer created a fantastical story about an ice princess. “Everything in this shoot was made from scratch,” Freeman explains, “so the hair and makeup artists made the wig out of real cotton; the necklace was made from candy and cake icing; and all the colors and tones were based on the colors in the crystals of the model’s dress. It was really fun watching it all come to life.” Freeman says she finished off the shot with edges she created herself from other photos (and the background is from Denny Manufacturing).

CAMERA: Canon 5D Mark III LENS: Canon 50mm f/1.4 LIGHTING: Canon 600EX-RT speedlites with ST-E3-RT transmitter, FJ Westcott strip boxes and orb MODEL: Ceara

MAKEUP: Jamie Kimbrough HAIR: Samantha Gunn STYLING: Joe Stuckey



HOW TO LOOK FABULOUS

”I love to shoot people in full sun and then also light them with a full sun-style modifier (or a hard light)," says Freeman of this shot. ”Basically I think people are scared of hard light, afraid

it will make the image harsh or stiff or edgy, but for me, it’s all about pairing the right kind of makeup and the right kind of attitude with the hard light. I love the magic effects of hard light when you place it on a model’s face (as done here), or used in contrast to ambient light, like the sun—then I can start to have impact on the face and do away with a lot of the texture on the skin (which ultimately makes my retouching

a lot easier in post). I also work really closely with people on makeup and hair for this reason. Creatives on my team know how far they can go with hard or soft light on one of my shots. For me, soft light equals softer makeup [like in the image on page 68], and harder light equals shadows and obvious contours and shaping from the light [as shown on page 69 and in the image above]. I like to focus on hard light when I want impact or an edge or graphic quality in a shot.” Also, she adds, the use of strobe or speedlite as fill light is much easier to control when shooting by yourself, sans assistant, to get amazing results.

CAMERA: Canon 5D Mark III LENS: Canon 50mm LIGHTING: Canon 600EX-RT speedlites MODEL: Brittany Day HAIR & MAKEUP: Paulina Halskova STYLING: Lou Freeman



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72 RANGEFINDER FEBRUARY 2015 31

OUR EXPERT ANSWERS YOUR TEN MOST PRESSING TAX QUESTIONS.

BY JESSICA GORDON

THE [SOMEWHAT]

PAINLESS TAX

PRIMER Accountants simply love it when you come to their offices with a box

of receipts and give them a clueless shoulder shrug when asked all-important business questions. Take it from Nate Reynolds, a CPA and owner of RUBIX accounting (www.rubix.info), who’s been helping photographers with bookkeeping, tax returns and

cash flow management since 2010 (along with being co-owner with his wife of Turtle Pond Photography). “Taxes can be a scary topic,” he says. “But sometimes you have to take

the information down with a little sugar.” Here are ten sweet things to think about before you step into your accountant’s office or sit down to TurboTax this year.

MONEY &

BUSINESS

Rf_PAINLESS TAX.indd 72 1/16/15 12:28 PM

2WHAT’S THIS LLC SITUATION?Photographers most often have three options: sole proprietorship, partnership or S-corp. “Some people get confused—there’s no LLC tax return, but there are tax returns for the three categories,” Reynolds explains. While most independent photographers will be under the sole proprietor category, Reynolds says obtaining an LLC is relatively inexpensive and protects you as an individual. “If you knock over a vase at a wedding, it won’t be you that’s liable, it will be your LLC that has its own insurance, bank account, etc.” Reynolds says. “The idea is it creates a wall between your personal assets and your business operations.”

look at: nolo.com for LLC basics.

3DO I NEED LIABILITY INSURANCE? Yes. Speaking of knocking over a vase, once your LLC is established, liability insurance is a necessity—not for the IRS, but to protect you against damages that occur on your company time. Not only can the lack of liability insurance be a deal-breaker with a client or venue, but, says Reynolds, “it’s definitely a deductible item come tax time.”

check out: PPA’s liability insurance resource page— ppa.locktonaffinity.com/businessliability.htm.

1DO I NEED A SEPARATE BANK ACCOUNT FOR MY PHOTOGRAPHY?Um, yeah! Get one now. Reynolds likens doing taxes without a separate business account to walking through the mud versus walking on a paved road. “I won’t work with anyone who doesn’t have a separate bank account for business, because it’s a bad business practice,” he says. “Plus, the IRS frowns on the commingling of funds.”

resource: The reallifeaccounting.com article“Commingling Items,” bit.ly/1BWs1tA.

NEW RULES: TAX CHANGES IN 2014-2015 HEALTH INSURANCE PENALTYThe Affordable Care act has made health insurance accessible for freelancers, but if you’ve failed to sign up in 2014, the tax hit is 1 percent of your household income or $95 per person—whichever is greater. In 2015, it goes up to 2 percent of total household income, or $325 per person, so enroll! healthcare.gov

PERSONAL EXEMPTIONS You’re in the money, $50 more this year as the personal

exemption rate (which reduces your taxable income) has increased from $3,900 in 2013 to $3,950 in 2014 and will be $4,000 in 2015. (Don’t spend it all in one place.)

STANDARD DEDUCTION This amount has also increased in 2014 to $6,200 if you’re single, or $12,400 if you’re married and filing jointly. Heads of households get $9,100 standard—cha-ching! irs.gov/Credits-&-Deductions



46HOW DO I MAKE SURE I’M NOT STIFFING MY EMPLOYEES (OR GETTING STIFFED IF I AM ONE)?“When you have second shooters, assistants or peo-ple who do post-processing, you probably list them as independent contractors,” Reynolds says. But, depending on the relationship between you and the worker, “you may be risking a huge tax bill.” If those independent contractors are actually more like em-ployees, “you need to pay taxes on all those wages,” says Reynolds, who admits the difference between an IC and an employee is nuanced—it depends on “behavior, financial control and the relationship between the two of you.” If you are a second shooter or assistant and you’re working for a set amount of hours per week, your employer may need to list you as an employee and therefore pay half of your FICA tax, among other taxes.

resource: The irs.gov pdf “Independent Contractor or Employee?” at 1.usa.gov/1BWtkJg.

I NEVER GET SICK! CAN I AVOID HEALTH INSURANCE?Not this year! While we all know young photographers who’ve gone without health insurance for far too long, the Affordable Care Act says that health coverage is a must unless you want to pay a fee (see how much in “New Rules,” p. 73).

read up on: healthcare.gov/taxes to see how health insurance or lack thereof will affect you.

THE [SOMEWHAT] PAINLESS TAX PRIMER

CAN I GIVE MY CLIENTS A DEAL ON SALES TAX?Nope. Often innocently overlooked, charging tax on photography services is the law. The percentage and how

it’s collected depends, however, on where you live. For instance, “in California, there’s no way to get around paying sales tax for every aspect of your photography business, from digital files to services,” says Reynolds. “Whereas in Indiana [where he lives], I can structure my invoice to show a service and an album separately, and in that case, part of it’s taxable, part of it’s not. I can also deliver images digitally and not collect sales tax.” Check your state’s website to see if tax is collected monthly, quarterly or yearly depending on how much you take in. Reynolds says sales tax doesn’t affect your tax return, but you will be fined if you’re not paying the state.

check out: salestax.avalara.com for a fun tax calculator based on your location.

WHAT’S THE BEST WAY TO ORGANIZE SPENDING?

Here’s where the fun comes in. Pour yourself a cup of coffee, open up your Quickbooks,

ShootQ or Excel spreadsheet (we gave you ten software options last year, bit.ly/1lnx7tR)

and summarize your buying and spending. Most likely, you’ve had a minimum system of recordkeeping, but your spreadsheet should have a column for spending by categories. Reynolds recommends separating things like advertising, office supplies, bank fees, prints and albums, communications (cellphone/Internet) and equipment purchases (two sections—miscellaneous camera accessories in one, and large purchases like computers, bodies and lenses in the other). “They’re treated differently when it comes to tax time,” Reynolds says.

try: onereceipt.com to organize your receipts.

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WHAT SHOULD I EXPECT TO PAY?When you’re employed full time at a company, your Federal, social security and Medicare tax is taken out in each paycheck. But when you’re a freelance photographer—even part time—no employer is accounting for those taxes. Depending on your state, you’ll want to assume 25 to 30 percent of your income will be owed back to the state; you’ll need to either put it aside in a separate account, or pay it periodically throughout the year.

resource: thebillfold.com has a great article about what to put away with an estimation table based on what you make at bit.ly/1w3AGpp.also: www.freelancetaxation.com/estimated-taxes-for-freelancers

WHAT ABOUT MY DEPENDENTS?“If you’ve had a child (and you’re the one who’s supposed to claim them), you just file them on your tax returns, and it’s definitely beneficial,” Reynolds says. “There’s no tax strategy involved.” The Child Tax Credit can be worth as much as $1,000 per child.consider: Marvin Gaye’s “Let’s Get It On” and thebump.com.

WHAT ARE SOME WRITE-OFFS I CAN TAKE?This is where that lens cap, strap and printer you bought this year can pay

you back. (Also, see common photographer write-offs below.) In addition to the traditional ones, Reynolds says 2013 changes in home office deduction

rules now allow you to take a standard deduction rather than itemizing things like utilities, mortgage, housekeeper, etc. “Your vehicle is the same idea—you can keep

track of all the aspects of gas, maintenance, etc., or you can do the standard mileage rate deduction,” says Reynolds.

WHAT CAN I DEDUCT? FUNNY YOU SHOULD ASK. HERE’S A LIST OF COMMON TAX DEDUCTIBLE EXPENSES INCURRED

BY PHOTOGRAPHERS TO TICK OFF. BY SUSAN LEE, EA, CFP OF FREELANCETAXATION.COM

• Books, magazines, reference material

• Business insurance

• Business meals and entertainment

• Cabs, subways, buses

• Equipment

• Film developing/processing

• Film supplies

• Gas and electric

• Internet/website

• Legal and professional fees

• Memberships (professional organizations)

• Messengers, private mail carriers, postage

• Mortgage interest/taxes

• Office supplies

• Promotion

• Props

• Software

• Staff fees

• Studio rent

• Studio supplies

• Stylists/makeup

• Tax preparation

• Telephone

• Travel


THE [SOMEWHAT] PAINLESS TAX PRIMER


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REGISTRATION IS OPEN for WPPI Conference + Expo, the premier industry event for photographers and filmmakers specializing in wedding and portrait photography. With over 200 educational seminars taught by the world’s leading photographers and educators, a major trade show and the best parties of the year, WPPI is designed to help you learn the latest techniques and business practices while building new relationships and reconnecting with old friends.

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THURSDAY, FEBRUARY 26PLUS Classes ......................................................................... 10:00 AM–4:00 PM

FRIDAY, FEBRUARY 27PLUS Classes ......................................................................... 10:00 AM–4:00 PM

SATURDAY, FEBRUARY 28The Annual: 16x20 Print, Album & FilmmakingCompetition Judging............................................................... 9:00 AM–5:00 PMThe University .......................................................................... 9:30 AM–5:30 PMAlmost Famous.........................................................................8:30 PM–11:30 PM

SUNDAY, MARCH 1Platform Classes ..................................................................... 9:00 AM–4:30 PMThe Annual: 16x20 Print, Album & Filmmaking Competition Judging............................................................... 9:00 AM–5:00 PMIntensive Filmmaking Class .................................................. 9:00 AM–5:00 PMMaster Classes ....................................................................... 11:00 AM–5:00 PMLaunch Pad ...............................................................................4:00 PM–6:00 PMOpening Night Party at Hakkasan .........................................7:00 PM–9:00 PM

MONDAY, MARCH 2Photo Walks ........................................................................... 8:30 AM–10:00 AMMaster Classes .........................................................................8:00 AM–5:30 PMPlatform Classes ..................................................................... 8:30 AM–8:00 PMIntensive Filmmaking Class .................................................. 9:00 AM–5:00 PMExpo Open ............................................................................. 10:00 AM–4:00 PMPhoto Walks .............................................................................. 6:30 PM–8:00 PMWPPI Pool Party .................................................................... 8:00 PM–10:00 PM

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THURSDAY, MARCH 5Platform Classes .................................................................. 10:30 AM–12:00 PM

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æ MASTER CLASS A focused two-hour, hands-on session limited to 50 participants that provides a detailed learning experience.

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THE 2015 EDUCATORS!

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STORAGE TO GOWhile mobile storage capacities haven’t quite caught up with the massive external hard drives you may have set up in your studio, new, portable solid state drives (SSD) fulfi ll the need for speed. Plus, higher capacity hard disc drive (HDD) options are available for your enormous video fi les. With CES having kicked off when this went to press in January, we also managed to get a peek at a few up-and-coming products that broke there (see CES Spotlight, page 93). Meanwhile, check out these ten portable hard drives to see which best fi ts your needs.

G-Tech

Take your pick of HDD or SSD with these Evolution Series G-Drives. If you’re willing to trade capacity for speed, the 512GB ev SSD, with up to 400MB/s transfer rates, may be the best solution. When capacity and budget are priorities, the ev 220 is available in 500GB, 1TB and 2TB HDD models. While the ev SSD is slightly thinner than its hard drive counterpart (0.64 inches vs. 0.87 inches), both measure 5.14 x 3.29 inches—compact enough to slide into any camera bag—and offer USB 3.0 connectivity.

prices: ev 220, $100 (500gb); $150 (1tb); $350 (2tb); ev ssd, $500 (512gb)+ www.g-technology.com

PRODUCT ROUNDUP

1


BY THEANO NIKITAS

Rf_PRODUCT ROUNDUP.indd 90 1/15/15 12:07 PM


PRODUCT ROUNDUP

OWC (Other World Computing)

Small enough to slide into a pocket, the OWC Envoy Pro EX SSD drives measure 2.13 x 4.5 x 0.44 inches and are extremely lightweight at 3.4 ounces. Available in 240GB, 480GB and 1TB capacities, all versions feature a Bus-powered USB 3.0 port with transfer rates of up to 500MB/s (USB 2.0 use is not supported or recommended, however). The 480GB and 1TB drives come with utility and backup software, but you’ll fi nd a USB 3.0 cable and carry case bundled with all models. And, as an extra bonus, the Envoy Pro EX comes with a three-year limited warranty and 48-hour turnaround service just in case Murphy’s Law strikes.

prices: $249 (240gb); $399 (480gb); $599 (1tb) + www.eshop.macsales.com

5


Buffalo

With more than 12 hours of battery life, the wireless MiniStation Air is compatible with iOS and Android devices, as well as TVs, gaming consoles and more. Connect up to eight individual devices wirelessly or transfer images from the Air to a computer. And, if your smart device is running low on power, just plug it into the MiniStation Air to recharge. The drive offers transfer rates up to 5Gbps via USB 3.0 (480Mbps for USB 2.0).

price: $200 (1tb)+ www.buffalotech.com

LaCie

The Little Big Disk Thunderbolt 2 may look like a desktop external drive, but this 1TB drive is smaller than you think, measuring 1.6 x 5.5 x 3.3 inches and weighing only 1.4 pounds (without the drive stand). With dual Thunderbolt 2.0 ports and average transfer rates of up to 1,375MB/s (read) and 1,180MB/s (write), you’ll be daisy-chaining and transferring whether you’re in studio or on location. Plus, the dual cooling system maintains a whisper quiet environment.

price: $1,299+ www.lacie.com

Elgato

Elgato may not be the fi rst brand that comes to mind when you’re looking at portable hard drives, but the certifi ed dust- and moisture- resistant 512GB SSD Thunderbolt Drive+ should be on your watch list, especially if you regularly work outdoors. Equipped with a protective port cover, Thunderbolt and USB 3.0 ports (one of each), this slender drive measures 3.3 x 5.2 inches and is 0.8 inches thin. The drive comes with Thunderbolt and USB 3.0 cables, so it’s ready to use right out of the box (Windows users will have to reformat, though, because it’s pre-formatted for Mac).

price: $649+ www.elgato.com

2 3 4


WD (Western Digital)

Add a little fashion to your kit with Western Digital’s My Passport Ultra line of hard disk drives. Available in charcoal, metallic red, metallic blue and cool silver, WD also has a limited line of specially designed metal drives, too. But the Ultras are not just about good looks. Capacities range from 500GB to 2TB for this slim drive, which measures 4.34 x 3.21 inches (depth varies by capacity). They’re equipped with both USB 3.0 and 2.0 ports. And although Mac users will have to reformat the drive, the included WD SmartWare software makes backup a breeze—even to the cloud via Dropbox.

prices: $60 (500gb); $80 (1tb)$130 (2tb); $90 (1tb special metal edition)$140 (2tb special metal edition)+ www.wdc.com

PRODUCT ROUNDUP

9


Drobo

We awarded the Drobo Mini SSD drive an Editor’s Choice seal in October’s Hot Products Buyer’s Guide, so we thought it was worth repeating here. This four-bay enclosure is available with or without SSD or hard disks and sports one USB 3.0 and dual Thunderbolt ports for daisy-chaining. The Mini’s data protection features—including battery backup—provide confi dence that your 4K video footage and still images are safe and secure.

prices: $449; $999 (8tb hdd)$1,199 (1tb ssd); $1,899 (2tb ssd)$3,199 (4tb ssd)+ www.drobo.com

Toshiba

The new 1TB Canvio AeroCast Wireless HDD from Toshiba is perfect for storing and sharing with wireless connectivity for up to six devices at the same time. Notable features include its Internet pass-through mode, Chromecast compatibility and a convenient built-in SD card slot. Wireless transfer rates max out at 150MB/s, but when you’re in a hurry, switch over to USB 3.0 for speeds up to 5Gbps. Battery life averages about fi ve hours on a single charge and this 9.88-ounce hard drive fi ts nicely into any camera bag with its 4.78 x 3.39 x 0.96-inch profi le. An AC adapter and USB 3.0 cable are included.

price: $220+ www.toshiba.com

Seagate

If you’re looking for a high-capacity and affordable portable hard disk drive, check out Seagate’s 4TB Backup Plus Fast Portable Drive. Seagate’s Dashboard auto backup software is preinstalled, as is an NTFS driver—just install the latter on a Mac for cross- platform compatibility without reformatting. The metal drive weighs 10.8 ounces and measures a portable 4.6 x 3.25 x 0.88 inches. An 18-inch USB 3.0 cable is included for transfer rates up to 220MB/s. Also check out the free iOS and Android apps for smart device transfers.

price: $220 + www.seagate.com

6 7 8


LaCie’s 4TB Rugged RaidLaCie’s Rugged hard drives, with their bright orange rubber enclo-sures, have been around for more than a decade providing protection from dust, moisture and “oops-I-dropped-it” shock proofi ng. With the new 4TB Rugged Raid, LaCie doubles the capacity of its previous Rugged models with dual internal drives. The fact that these dual drives can be set up in Raid mode sweetens the deal even more. The Bus-powered Rugged Raid comes with a built-in Thunderbolt cord ensuring an always-there (and never-lost) cable. This also cuts down on the number of accessories you have to carry. Transfer speeds of up to 240MB/s are possible and the drive also features a USB 3.0 port. The Rugged Raid is slated to ship during the fi rst quarter of this year.

price: $450+ www.lacie.com

CES SPOTLIGHTHere’s a quick look at a few mobile storage

solutions we saw at CES last month.

PRODUCT ROUNDUP

Seagate SevenThe Seagate Seven is lovely to look at—trust us—with its brushed metal fi nish, but it’s the Seven’s 7mm thin profi le that’s super impressive. Seagate’s billing this 500GB portable hard drive as the world’s thin-nest, and we believe them.

price: $100+ www.seagate.com

Envoy Pro Mini from OWC Mini is an understatement for OWC’s (Other World Computing) Envoy Pro Mini. Just look at the product shot! All we know is that the Mini will be USB 3.0 and come in 240GB and 480GB capacities. Sweet! Love the lanyard, too.

price: tba+ www.eshop.macsales.com

Samsung SSD T1Samsung takes the power of SSD out of the computer and puts it into your pocket with its new portable SSD T1. This tiny SSD drive measures 2.79 x 0.36 x 2.29 inches and weighs about an ounce. It’s USB 3.0- and 2.0- compatible, with transfer speeds up to 450 MB/s, and this stylish device is available in 250GB, 500GB and 1TB capacities.

prices: from $180 + www.samsung.com

G-Drive ev RaW and ev ATCG-Technology also took aim at the outdoorsy types at CES with a new line of rugged drives. The G-Drive ev RaW’s rugged bumper protects this portable HDD from falls of up to 1.5 meters. It draws power from its USB 3.0 port and can be used as a standalone drive or fi tted into the new G-Drive ev ATC (for “all-terrain case”). The G-Drive ev ATC is even more durable than the ev RaW—if you toss it into the water, it fl oats and can withstand falls from up to 2 meters in height. It’s also dust, pressure and shock proof. The ev ATC is available in Thunderbolt and USB 3.0 versions. All the drives are formatted for Mac out of the box, but can be reformatted for Windows use.

prices: ev raw, $100 (500gb); $130 (1tb); g-drive ev atc, $180 (1tb, usb 3.0); $230 (1tb, thunderbolt) + www.g-technology.com



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PRODUCT ROUNDUP


PRODUCT ROUNDUP

Transcend

Transcend offers both HDD and SSD options in its sleek StoreJet line. The 2TB SJM300 features a hard disk and utilizes a suspension system for extra protection. The SJM500 is built around an SSD drive and is available in capacities from 256GB to a whopping 1TB. Both drives are equipped with single Thunderbolt and USB 3.0 ports and weigh 8.7 ounces and 4.8 ounces, respectively. Windows users need to reformat the Mac-ready drive, but Thunderbolt and USB 3.0 cables are included for out of the box convenience.

prices: sjm 300, $229; sjm 500, from $289+ www.transcend-info.com

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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.

27-300mm• VR II Vibration Reduction• SWM (Silent

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

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

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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 HDTVBody Only #CAE60D ......................................899.99

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EOS-70D DSLR• Dual Pixel CMOS AF with Live View• DIGIC 5+ Image Processor• SD/SDHC/SDXC Card Slot• Uses Canon EF & EF-S Lenses• 3.0" Vari-Angle Touchscreen• 7 fps Continuous Shooting• Full HD 1080p Video

Body Only #CAE70D ....................................... 1,199.00Kit with 18-55mm STM #CAE70D1855 ..........1,349.00

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AF FlashesSB-300 ...........146.95SB-500 ...........246.95

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) ........... 596.9518-300/3.5-5.6 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 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 ...................................549.99MT-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) .......................599.9918-135/3.5-5.6 IS (67ø) ..........................499.9918-200/3.5-5.6 IS (72ø) ..........................699.9955-250/4.0-5.6 IS USM (58ø) ..................249.99

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 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) .................1399.0075-300/4.0-5.6 III (58ø) ...........................199.9975-300/4.0-5.6 III USM (58ø) ...................234.99

TS-E MF Lenses (USA)17/4.0 L ........2249.0045/2.8 ..........1399.00

24/3.5 L II .......1999.0090/2.8 ..........1399.00

EF “L” Lenses (USA)14/2.8 USM II ........................................2249.0024/1.4 II (77ø) .......................................1649.0035/1.4 USM (72ø) ..................................1479.0050/1.2 USM (72ø) ..................................1549.0085/1.2 USM II (72ø) ...............................2099.00100/2.8 IS USM Macro (67ø) ....................949.99135/2.0 USM (72ø) ................................1049.00180/3.5 USM Macro (72ø) ......................1499.00200/2.0 IS USM (52ø) ............................5999.00300/4.0 IS USM (77ø) ............................1449.00300/2.8 IS USM II (52ø rear) ...................6599.00400/5.6 USM (77ø) ................................1339.008-15/4.0 Fish-eye USM ..........................1349.0016-35/2.8 USM II (82ø) ..........................1699.0017-40/4.0 USM (77ø) ..............................839.9924-70/4.0 IS USM (77ø) ...........................999.9924-70/2.8 USM II (82ø) ..........................2099.0024-105/4 IS USM (77ø) ..........................1149.0028-300/3.5-5.6 IS USM (77ø) ................2549.0070-200/4.0 IS USM (77ø) .......................1299.0070-200/2.8 USM (77ø) ..........................1449.0070-200/2.8 IS II USM (77ø) ....................2299.0070-300/4.0-5.6 IS USM (67ø) ................1449.00100-400/4.5-5.6 IS USM (77ø) ..............1699.001.4x III Tele .......449.99 2x III Tele .........449.99

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Body Only #CAE5D3* ...................................3,399.00Kit with 24-105mm L IS #CAE5D324105 ......3,999.00

22MegaPixels

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*.................................... 6,799.00

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 ........................................1,899.00Kit with 24-105mm f/4 L #CAE6D24105 ........2,499.00

20MegaPixels

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* 16MegaPixels

Lumix DMC-GH4 4K Mirrorless System Camera

• DCI 4K 4096x2160 at 24p• UHD 4K 3840x2160 at 30p/24p• 3.0" LCD • Live View Finder • Full HD

up to 60p • High-Speed 49-Point AF• Support for 59.94p, 23.98p, 50p, & 24p• 4:2:2 8-Bit or 10-Bit HDMI Output• Magnesium Alloy, Weather-Sealed Body

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EOS-7D Mark II DSLR• 3" Clear View II LCD • Native ISO 16000• Dual Pixel CMOS AF with Live View• Dual CF and SDHC/XC Card Slots • Built-In GPS Receiver & Digital Compass• Full HD 1080p/60 Video

Body Only #CAE7D2 .........................................1,799.00EOS 7D Body Only #CAE7D ............................. 1,499.00EOS 7D Kit with 18-135mm IS #CAE7D18135 .1,799.00EOS 7D Kit with 28-135mm IS #CAE7D28135 1,699.00

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212-239-7770

Store & Mail Order Hours:

Sunday 10-5 • Mon.-Thurs. 9-7Friday 9-1 EST/9-2 DST

Saturday Closed

Over 300,000 products,at your leisure

www.BandH.com

We Buy, Sell, and TradeUsed Equipment

NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906




Q� ash TRIO Parabolic Re� ector Flash

• Guide No. 110'• Bounce and

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

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

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 ...........................................84.95

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

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* ........................................ 179.95

Flash SystemFL-300R Flash .............136.00FL-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) .........................................................1,799.9511-22/2.8-3.5 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 II ..............................

DA Digital AF Lenses21/3.2 AL Limited “Pancake” (49ø) ...............................................40/2.8 Limited “Pancake” (49ø) ....................................................70/2.4 Limited HD (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) ......................................................1399.9950/2.8 Macro (55ø).. 599.99 50/1.4 (55ø) .....................449.99100/2.8 Macro (55ø).........................................................799.9911-18/4.5-5.6 DT (77ø) ....................................................799.9916-80/3.5-4.5 DT Carl Zeiss (62ø) ....................................999.9916-105/3.5-5.6 DT (62ø) ..................................................699.9918-250/3.5-6.3 DT (62ø) ..................................................649.9970-200/2.8 G APO (77ø) .................................................1999.99

Octacool Light Kitwith 29.5" Octobox

• Octacool 6 or 9 Lamp Fixture

• Removable Aluminum Re� ector

• 28w Lamps• Internal Diffusion Baf� e

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 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

White Paper w/ Purchase

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

Body Only #NID7100 .................................................... 1,199.95Kit with 18-105mm VR #NID710018105 .......................1,599.95

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

24MegaPixels

D3300 DSLR• EXPEED 4 Image Processor • Full HD 1080p

Video Recording • 3.0" LCD • 5 fps Shooting• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Available in Black, Grey or Red• Nikon Inc. limited warranty included

Kit with 18-55mm VR II #NID33001855* .........................646.95D3200 Kit Black w/18-55mm VR #NID32001855* .......529.95

24MegaPixels

Panel Frame Re� ector KitsZebra Gold / Zebra Silver

• Reversible Two Sided Fabric• Collapsible

Aluminum Alloy Frame

• Tool-Free Assembly• Padded Shoulder

Bag Included

43 x 67" #IMFPK436ZGZS ............................................299.9559 x 82" #IMFPK598ZGZS ............................................464.95

#IMFPK436ZGZS

59x82" Silver

43x67" Gold

D4s DSLR• FX-format (full-frame) CMOS Sensor• 14-Bit RAW Files & 12-Bit RAW S Format• EXPEED 4 Image Processor • ISO 50-409600• Full HD 1080p Video at 60 fps • 3.2" LCD• Compatible with Most Nikkor Optics• 11 fps Shooting for 200 Shots with AE/AF • CF Type 1 & XQD Compatible• Nikon Inc. limited warranty included

Body Only #NID4S ........................................................6,496.95 16MegaPixels

D5300 DSLR• EXPEED 4 Image Processor• Full HD 1080p Video at 60 fps• 3.2" Vari-Angle LCD • ISO 100-25600• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Nikon Inc. limited warranty included

Kit with 18-55mm VR II (B, G, R) #NID53001855* ...........896.95Kit with 18-140mm VR (Black) #NID530018140 ...........1,299.95D5200 Kit with 18-55mm VR (B) #NID52001855* ........796.95

24MegaPixels

Alpha A6000 Mirrorless System Camera

• Uses Sony E-mount Lenses• 3.0" Tilting LCD• SD, SDHC, SDXC,

MS Pro Duo, MS PRO HG Duo Card Slot• Full HD 1080i/p AVCHD Video at 24/60 fps• Up to 11 fps Shooting and ISO 25600• Built-In Wi-Fi Connectivity with NFC• Available in Black or Silver

Kit with 16-50mm OSS Lens #SOA6000*

24MegaPixels

D810 D-SLR• FX-Format CMOS Sensor • Optical Low-Pass Filter• EXPEED 4 Image Processor • CF & SD Dual Card

Slots • Nikon F Mount Lens Mount • 3.2" LCD • Multi-CAM 3500FX AF Sensor w/51 Points• Continuous Shooting to 5 fps in FX Mode• Full HD 1080p Video at 60/30/24 fps• External Mic and Headphone Inputs• Nikon Inc. limited warranty included

Body Only #NID810 ......................................................3,296.95

NEW

D750 DSLR• FX-Format (Full-Frame) CMOS Sensor• Uses Nikon AF Lenses • 3.2" Tilting LCD• SD/SDHC/SDXC Card Slot • Built-In Wi-Fi • Full HD 1080p Video Recording at 60 fps• Nikon Inc. limited warranty included

Body Only #NID750 ......................................................2,296.95Kit with 24-120mm VR #NID75024120 .........................3,596.95D610 Body Only #NID610 ..........................................1,996.95D610 Kit with 24-85mm VRt #NID6102485 ...............2,596.95

24MegaPixels

NEW

Handle Mount Flash

• TTL with appropriate module

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

179.95

• USB Port • TTL compatible

36MegaPixels

24MegaPixels

Rangefinder 02-15 JN141120.indd 2 12/1/14 6:04 PM096_097_RF_0215_BH.indd 96 1/13/2015 11:19 AM

022015

Page 2


800-947-9963212-444-6663

Fax:

212-239-7770

Store & Mail Order Hours:

Sunday 10-5 • Mon.-Thurs. 9-7Friday 9-1 EST/9-2 DST

Saturday Closed

Over 300,000 products,at your leisure

www.BandH.com

We Buy, Sell, and TradeUsed Equipment

NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906




Q� ash TRIO Parabolic Re� ector Flash

• Guide No. 110'• Bounce and

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

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

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 ...........................................84.95

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

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* ........................................ 179.95

Flash SystemFL-300R Flash .............136.00FL-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) .........................................................1,799.9511-22/2.8-3.5 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 II ..............................

DA Digital AF Lenses21/3.2 AL Limited “Pancake” (49ø) ...............................................40/2.8 Limited “Pancake” (49ø) ....................................................70/2.4 Limited HD (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) ......................................................1399.9950/2.8 Macro (55ø)..599.99 50/1.4 (55ø) .....................449.99100/2.8 Macro (55ø).........................................................799.9911-18/4.5-5.6 DT (77ø) ....................................................799.9916-80/3.5-4.5 DT Carl Zeiss (62ø) ....................................999.9916-105/3.5-5.6 DT (62ø) ..................................................699.9918-250/3.5-6.3 DT (62ø) ..................................................649.9970-200/2.8 G APO (77ø) .................................................1999.99

Octacool Light Kitwith 29.5" Octobox

• Octacool 6 or 9 Lamp Fixture

• Removable Aluminum Re� ector

• 28w Lamps• Internal Diffusion Baf� e

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 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

White Paper w/ Purchase

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

Body Only #NID7100 .................................................... 1,199.95Kit with 18-105mm VR #NID710018105 .......................1,599.95

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

24MegaPixels

D3300 DSLR• EXPEED 4 Image Processor • Full HD 1080p

Video Recording • 3.0" LCD • 5 fps Shooting• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Available in Black, Grey or Red• Nikon Inc. limited warranty included

Kit with 18-55mm VR II #NID33001855* .........................646.95D3200 Kit Black w/18-55mm VR #NID32001855* .......529.95

24MegaPixels

Panel Frame Re� ector KitsZebra Gold / Zebra Silver

• Reversible Two Sided Fabric• Collapsible

Aluminum Alloy Frame

• Tool-Free Assembly• Padded Shoulder

Bag Included

43 x 67" #IMFPK436ZGZS ............................................299.9559 x 82" #IMFPK598ZGZS ............................................464.95

#IMFPK436ZGZS

59x82" Silver

43x67" Gold

D4s DSLR• FX-format (full-frame) CMOS Sensor• 14-Bit RAW Files & 12-Bit RAW S Format• EXPEED 4 Image Processor • ISO 50-409600• Full HD 1080p Video at 60 fps • 3.2" LCD• Compatible with Most Nikkor Optics• 11 fps Shooting for 200 Shots with AE/AF • CF Type 1 & XQD Compatible• Nikon Inc. limited warranty included

Body Only #NID4S ........................................................6,496.95 16MegaPixels

D5300 DSLR• EXPEED 4 Image Processor• Full HD 1080p Video at 60 fps• 3.2" Vari-Angle LCD • ISO 100-25600• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Nikon Inc. limited warranty included

Kit with 18-55mm VR II (B, G, R) #NID53001855* ...........896.95Kit with 18-140mm VR (Black) #NID530018140 ...........1,299.95D5200 Kit with 18-55mm VR (B) #NID52001855* ........796.95

24MegaPixels

Alpha A6000 Mirrorless System Camera

• Uses Sony E-mount Lenses• 3.0" Tilting LCD• SD, SDHC, SDXC,

MS Pro Duo, MS PRO HG Duo Card Slot• Full HD 1080i/p AVCHD Video at 24/60 fps• Up to 11 fps Shooting and ISO 25600• Built-In Wi-Fi Connectivity with NFC• Available in Black or Silver

Kit with 16-50mm OSS Lens #SOA6000*

24MegaPixels

D810 D-SLR• FX-Format CMOS Sensor • Optical Low-Pass Filter• EXPEED 4 Image Processor • CF & SD Dual Card

Slots • Nikon F Mount Lens Mount • 3.2" LCD • Multi-CAM 3500FX AF Sensor w/51 Points• Continuous Shooting to 5 fps in FX Mode• Full HD 1080p Video at 60/30/24 fps• External Mic and Headphone Inputs• Nikon Inc. limited warranty included

Body Only #NID810 ......................................................3,296.95

NEW

D750 DSLR• FX-Format (Full-Frame) CMOS Sensor• Uses Nikon AF Lenses • 3.2" Tilting LCD• SD/SDHC/SDXC Card Slot • Built-In Wi-Fi • Full HD 1080p Video Recording at 60 fps• Nikon Inc. limited warranty included

Body Only #NID750 ......................................................2,296.95Kit with 24-120mm VR #NID75024120 .........................3,596.95D610 Body Only #NID610 ..........................................1,996.95D610 Kit with 24-85mm VRt #NID6102485 ...............2,596.95

24MegaPixels

NEW

Handle Mount Flash

• TTL with appropriate module

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

179.95

• USB Port • TTL compatible

36MegaPixels

24MegaPixels

Rangefinder 02-15 JN141120.indd 2 12/1/14 6:04 PM


096_097_RF_0215_BH.indd 97 1/13/2015 11:19 AM


DIGITAL GURU BY JOHN RETTIE AND GREG SCOBLETE


DIGITAL GURU BY JOHN RETTIE AND GREG SCOBLETE

TWO AFFORDABLE WAYS TO CAPTURE 4K

Step into the 4K video era without breaking the bank—or your back.

H A R DWA R E R E V IE W

Hollywood has been fi lming movies in 4K resolution for several years now, anticipating the day when we

all dutifully trudge to Best Buy and update our TVs and computer monitors. Event videographers don’t always have the luxury of such expensive future proofi ng, though, with 4K TVs and monitors still in only a small fraction of U.S. homes. So it’s still an open question just how fast you need to adopt 4K technology.

Panasonic is looking to make the decision vastly easier by lowering the price barrier to 4K recording. Here, we take a look at two of the company’s latest entries into the market—the GH4 and the HC-X1000.

UP CLOSE WITH THE GH4What struck me fi rst when I took the camera out of its box was how large it was. For the

past year I’ve been using an Olympus OM-D E-M5 as my “in between” camera. It’s the one I take with me when I need something more than an iPhone but don’t need the heft and performance of a pro-level DSLR. To me, that’s the benefi t of a mirrorless camera—it can be made smaller as there is no need for the box to hold the mirror and its mechanical components.

However, the GH4 is quite a bit bigger than the Olympus. In fact, it’s about the same size as the newest Nikon DSLR, the D5500.

Having said that, I actually preferred the larger size of the GH4 to the Olympus, primarily because the GH4 has a larger handgrip. I’m sure I am not the only one who likes to hold a camera by the grip when walking rather than leaving it dangling in the “wind,” takes no time to bring the camera up to your eyes ready to shoot immediately. The Olympus’s grip barely stands proud of the

camera body while the GH4’s grip extends out by almost an inch, which is about the same as on a full-frame DSLR. Hence the irony—I enjoyed using the GH4 much more than the E-M5 even though it’s bigger.

Because both the GH4 and E-M5 use the Micro Four-Thirds lens mount standard, their lenses are interchangeable, although their functions might not be fully compatible. For example, only Panasonic lenses utilize the Power O.I.S. stabilization system. However, I tried an Olympus M.Zuiko 14-42mm zoom lens, which is nearly half the size of the Lumix G 12-35mm lens, and had no problems with its operation.

SHOOTING EXPERIENCEAt fi rst when I tried the GH4, it was just another camera. But once I delved into the numerous ways it can be customized, I began to like it more and more. There are no less than fi ve function buttons that can be used to set up customized parameters. There are two “regular” dials on top and there are two dials for changing parameters. This is no different from a regular DSLR, but nonetheless it’s nice to see all these options available on a mirrorless camera. An added bonus: most commands are also available on the touchscreen monitor, including changing the focus point.

All of this means that anyone who is happy with a “regular” DSLR will quickly become familiar with the operation of the GH4.

For those who are willing to venture beyond the basics, the GH4 offers lots of additional ways of using it, including a built-in intervalometer, which can be set to capture time-lapse and stop-motion videos. The GH4 has built-in Wi-Fi and it proved to be the easiest system to pair with an iPhone I have yet encountered. Once you’ve downloaded the free app to your smartphone, all you have to do is turn on the Wi-Fi on the camera.

DIGITAL GURU.indd 98 1/14/15 1:12 PM


As soon as the phone is connected, a QR code is displayed on the camera’s LCD. The app automatically captures this code when you point your phone at the camera display and immediately the camera and phone are paired—no entering a code or password. I had no trouble controlling the camera from 30 feet away through three walls in my house.

IMAGE QUALITYThere’s no getting away from the fact that the GH4’s sensor is only about one quarter the area of a full-frame DSLR. Despite this, 16 megapixels is more than enough for producing good quality prints—and the GH4 more than holds its own against DSLRs with APS-C-sized sensors. Overall, I was impressed with the quality of the still images it captures. In a side-by-side comparison with my Nikon D600, it produced comparable quality images.

If there’s one area where the camera’s quality is lacking, it’s at high ISOs. The camera can only shoot up to ISO 25,600 but noise becomes visible at ISO 1600. This is obviously not a problem shooting in well-lit scenes, but would be a disadvantage if you’re in a dark venue and cannot use fl ash.

The 4K video side of the camera proved to

be excellent and I was able to extract several perfectly acceptable still images. To do that, all I had to do was play back the video one frame at a time on the GH4 and press a save button on the monitor, which then created an 8.3-megapixel (3840 x 2160) JPEG image.

I’m not ready to suggest that anyone abandon their still camera and switch to 4K video to deliver still images. However, the GH4 certainly paves the way for a future where your video fi les provide a rich new source of usable stills as well.

IS THE GH4 FOR YOU?If you’re already invested in Panasonic Micro Four-Thirds cameras and lenses, odds are the GH4 is already on your shopping list. If you own an Olympus Micro Four-Thirds system, the GH4 could also be a prudent purchase

as you can use the Zuiko lenses. If you answered “none of the above,” the GH4 may still make sense if you want to start shooting 4K video now. It would make an excellent “B-Roll” camera to go along with your main kit. Because it has a completely silent shutter and a reliable Wi-Fi, it could be used to shoot the wedding vows unobtrusively. And since the still images that can be grabbed from 4K video footage are good quality, it could double up as a video and stills camera for that part of a wedding.

Compared to other alternatives for 4K video capture, the $1,700 price tag for the GH4 body is a bargain, though keep in mind the price will increase when you add necessities like lenses and external devices for audio and other high-end video needs.

—John Rettie

THE HC-X1000 At $3,500, the HC-X1000 delivers 4K resolution alongside a wide range of features in a traditional camcorder design. In tandem with our frequent co-tester, photographer and director David Patiño, we put the X1000 through its paces.

SOLID FEATURE SETThe X1000 uses a 1/2.3-inch MOS image sensor with a total pixel count of 18.5 megapixels, though only 8 megapixels are effective during fi lming (or 8.9 megapixels if you’re fi lming in the 17:9 aspect ratio). This is a conventional sensor size by video camera standards, but it’s small by the standards of DSLRs and cinema cameras. The smaller image sensor means it’s easier to focus the X1000 than either a digital SLR or cinema-style camera. On the fl ip side, it’s also harder to achieve a shallow depth-of-fi eld or coax the same amount of dynamic range from your footage as you could on a larger sensor camera, though you’ll have plenty of fl exibility when choosing your resolution. The X1000 records “cinema” 4K—that’s 4096 x 2160—at 24 frames per second (fps). If you want a speedier frame rate to tackle

faster moving subjects, you can drop down to 3840 x 2160 and enjoy frame rates up to 60 fps. Both 4K resolutions are recorded in the MP4 format.

You’ll also have plenty of HD options. You can record 1920 x 1080p and 1280 x 720p video in MP4, AVCHD or MOV formats with bitrates varying between 200Mbps down to 5Mbps.

On the optics front, you’ll fi nd a built-in 20x optical zoom Leica Dicomar lens with a 35mm equivalent focal length of 30.8mm to 626mm. The lens has an aperture range of f/1.6 to 3.6, so it’s very bright and fast. There’s a four-stop manual ND fi lter on hand as well as a manual lens cover that’s integrated into the lens hood, which is itself fi xed to the camera.

If the X1000 can’t bring the shallow depth-of-fi eld like a DSLR, it blows those cameras away in the audio department. The X1000 sports a stereo microphone plus a pair of XLR audio inputs with phantom power and independent controls for each input. There’s a mic input for audio monitoring plus A/V and HDMI outputs. There is no HD-SDI output, however, so you’ll only be able to output uncompressed footage to HDMI-based external recorders and monitors. Footage is stored internally to a pair of SD cards, and Wi-Fi and NFC are also on hand for wirelessly pairing with mobile devices.

DIALED-IN DESIGNAlmost every critical camera function you’ll need to access is available as a button, dial or knob on the exterior of the X1000. A few, like audio controls, are behind plastic doors, but there’s relatively little need to

I’m not ready to suggest that anyone abandon their still camera and switch to 4K video to deliver stills, but the GH4 paves the way for a future where

your video fi les provide a rich new source of usable stills as well.

DIGITAL GURU


LIGHTING PHOTOGRAPHY CONTEST

PRIZESONE GRAND-PRIZE

WINNER WILL RECEIVE:

$1,500 CASH$500 gift card from Adorama

A WPPI Conference & Expo 2016 Full Platform Pass, access to WPPI University

and three Master ClassesA one-year PHOTO+ Basic Membership

ONE FIRST-PLACE WINNER IN EACH CATEGORY WILL RECEIVE:$100 gift card from Adorama

A WPPI Conference & Expo 2016 Full Platform Pass and access to WPPI

University A one-year PHOTO+ Basic Membership

All winners will receive the offi cial winners' seal and will be featured in the

June 2015 issue of Rangefi nder and in an online gallery.

ENTRY FEE$35/entry

PHOTO+ MEMBERS RECEIVE A 30% DISCOUNT OFF ENTRY FEES!

Deadline: 03/05/2015

C AT E G O R I E S N AT U R A L L I G H T • O N E L I G H T • T W O L I G H T S • T H R E E + L I G H T S

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Seeing_the_Light15.indd 2 12/15/14 3:37 PM

DIGITAL GURU

go digging through on-screen menus. The record button and zoom toggle are

duplicated in two locations on the camera body to accommodate hand-held and tripod recording. We found zooming to be very smooth, sensitive and responsive to gentle pressure. There are three rings around the lens for manually pulling focus, zoom and iris control with just the right amount of tension for smooth operation.

At 3.4 pounds (without battery or SD card), the X1000 is quite light for cameras in this category, often by a full pound. If you’re frequently without a tripod or monopod, the X1000 will certainly shave your chiropractor bill. That said, the light weight of the X1000 comes with a trade off—a mostly plastic body with a few components, like the pull-out LCD, that feel worryingly fl imsy.

IMAGE QUALITYFor Patiño, who owns a RED Scarlet, a Blackmagic Cinema camera and a Canon 5D Mark II, the small chip “look” produced by the X1000 wasn’t his cup of tea, though he

was quick to point out that it was more of an esthetic choice than a liability in the X1000’s quality. Simply set to iAuto, the X1000 kept some darkened portions of the frame out of reach, even in post processing. However, the camcorder does offer a fl atter color setting (Cine-D), which will let you color grade footage and gives you a bit more dynamic range to play with.

Color reproduction was consistently accurate. The built-in lens and 5-axis image stabilization—which kicks on when shooting at HD resolutions but not 4K—also impressed Patiño. Even hand-held at full telephoto, we were able to keep the scene mostly steady. At shorter focal lengths, you should feel confi dent hand-holding the X1000 while on the move.

Esthetics aside, Patiño was happy with the 1080p clips and our review of 4K footage showed the expected incredible abundance of detail, however there was some highlight clipping in both HD and 4K.

PERFORMANCEThe X1000 starts relatively quickly, zooms

smoothly and has a pretty strong battery life of about six hours-worth of HD footage. A button on the back of the battery (which is exposed) lets you conveniently monitor remaining life if you don’t want to peek at the menu or turn on the camera.

The touchscreen menu is easy to read in bright sunlight and responsive when navigating through menu options. You also have the option of navigating through menu functions using buttons and a scroll wheel on the bottom of the camera, though we found this less effi cient. Patiño, however, liked that the menu was viewable/adjustable through the .45-inch, high-resolution electronic viewfi nder.

BOTTOM LINEThe X1000 is a great value, bundling an awful lot of functionality beyond 4K video recording at a very attractive $3,500 price. You’ll have to live with the constraints and esthetics of a smaller image sensor and a fi xed lens, but for those who are willing to do so, the X1000 won’t disappoint. —Greg Scoblete


DIGITAL GURU

go digging through on-screen menus. The record button and zoom toggle are

duplicated in two locations on the camera body to accommodate hand-held and tripod recording. We found zooming to be very smooth, sensitive and responsive to gentle pressure. There are three rings around the lens for manually pulling focus, zoom and iris control with just the right amount of tension for smooth operation.

At 3.4 pounds (without battery or SD card), the X1000 is quite light for cameras in this category, often by a full pound. If you’re frequently without a tripod or monopod, the X1000 will certainly shave your chiropractor bill. That said, the light weight of the X1000 comes with a trade off—a mostly plastic body with a few components, like the pull-out LCD, that feel worryingly fl imsy.

IMAGE QUALITYFor Patiño, who owns a RED Scarlet, a Blackmagic Cinema camera and a Canon 5D Mark II, the small chip “look” produced by the X1000 wasn’t his cup of tea, though he

was quick to point out that it was more of an esthetic choice than a liability in the X1000’s quality. Simply set to iAuto, the X1000 kept some darkened portions of the frame out of reach, even in post processing. However, the camcorder does offer a fl atter color setting (Cine-D), which will let you color grade footage and gives you a bit more dynamic range to play with.

Color reproduction was consistently accurate. The built-in lens and 5-axis image stabilization—which kicks on when shooting at HD resolutions but not 4K—also impressed Patiño. Even hand-held at full telephoto, we were able to keep the scene mostly steady. At shorter focal lengths, you should feel confi dent hand-holding the X1000 while on the move.

Esthetics aside, Patiño was happy with the 1080p clips and our review of 4K footage showed the expected incredible abundance of detail, however there was some highlight clipping in both HD and 4K.

PERFORMANCEThe X1000 starts relatively quickly, zooms

smoothly and has a pretty strong battery life of about six hours-worth of HD footage. A button on the back of the battery (which is exposed) lets you conveniently monitor remaining life if you don’t want to peek at the menu or turn on the camera.

The touchscreen menu is easy to read in bright sunlight and responsive when navigating through menu options. You also have the option of navigating through menu functions using buttons and a scroll wheel on the bottom of the camera, though we found this less effi cient. Patiño, however, liked that the menu was viewable/adjustable through the .45-inch, high-resolution electronic viewfi nder.

BOTTOM LINEThe X1000 is a great value, bundling an awful lot of functionality beyond 4K video recording at a very attractive $3,500 price. You’ll have to live with the constraints and esthetics of a smaller image sensor and a fi xed lens, but for those who are willing to do so, the X1000 won’t disappoint. —Greg Scoblete


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BY STAN SHOLIKFIRST EXPOSURE


It’s only been six months since the release of Exposure 6, but the folks at Alien Skin Software have already

given us Exposure 7. With the level of new functionality in version 7 it would appear that it has been a busy six months indeed.

From its inception, Alien Skin’s Exposure has excelled in its ability to let photographers create and save a custom look for their images from its ever-expanding presets of black-and-white, color, cross-processing and Lo-Fi fi lm emulations, as well as the ability to customize these presets with tonal adjustments, vignettes, texture overlays and control over fi lm grain.

WHAT’S NEWVersion 7 moves Exposure closer to becoming a complete image editor by adding non-destructive RAW fi le processing for the latest cameras along with fi le browsing and a crop and rotate panel to the standalone edition of Exposure. New fi lm stocks, texture overlays and a bokeh tool are included in both the standalone version and the Photoshop and Lightroom plug-ins. If you prefer to use those Adobe products for fi le browsing and RAW fi le processing, be warned: while Exposure 7 performs non-destructive processing by storing adjustments in sidecar xmp fi les, it does not read xmp changes created in Adobe software, nor can Adobe software read the xmp fi le changes made by Exposure 7. It’s enough to make one cry, “Why can’t we all just get along?”

HANDS-ON TESTI worked primarily with the standalone edition of version 7 to make the most of the new features. The interface of the standalone as well as the plug-in editions have the same attractive look and functionality that Alien Skin introduced in version 5. Sadly, you’re still not able to automatically close one tool panel when you open another to save mouse clicks on disclosure arrows or when dragging vertical edge sliders.

The new fi le browser panel is found in the left pane below the Presets panel in the standalone version. There is no need to import images into the program, and image

ALIEN SKIN EXPOSURE 7New functionality using fi lm emulsion fi lters and more.

SOF T WA R E R E V IE W

ALL PHOTOS © BY STAN SHOLIK

LEFT: Daguerreotype (used in this portrait) is one of many historical fi lm emulations found in the program, which also features the latest color fi lm emulsions.

FIRST EXPOVs1.indd 102 1/15/15 11:27 AM

FIRST EXPOSURE


thumbnails load very quickly. Version 6 marked a major speed increase in Exposure, and it carries over into all aspects of version 7.

RAW fi les as well as TIFFs and JPEGs are all visible in the browser. Since RAW support is new in version 7, the number of supported cameras is fairly limited at the moment, with an emphasis on newer models for both enthusiasts and professionals. A list of supported cameras is available on Alien Skin’s website. Support for older cameras is promised for the future.

MAKING CHANGESImage adjustments are made using panels on the right side of the interface. The Basic panel, which is included in both the standalone and plug-in editions, provides all of the

sliders needed to adjust image tonality for all fi le formats supported by Exposure. What’s missing is a histogram, or at the least some way to see if your adjustment is clipping the highlights or shadows of your image. The standalone version includes a rotate tool and crop options with common crop ratios as well as unconstrained crops. The other adjustment panels are unchanged, although new textures are included in the Overlays panel.

LEFT: Presets are previewed on your selected image. Adjustments are made using panels on the right. BELOW:

The Exposure 7 interface is updated with the addition of a fi le browser panel below the presets panel. Triangles with an exclamation mark indicate that the image is an unsupported RAW fi le.

PROCESS & PRESETSWorkfl ow in Exposure 7 remains the same as in previous versions. It is essential to choose a preset once you have opened your image fi le. If you make adjustments and then choose a preset, the adjustments you made are replaced by the adjustments contained in the preset. There are 15 categories of color presets from which to choose, and 12 categories of black-and-white presets.

Exposure excels in its ability to let photographers create and save a custom look for their images with

its ever-expanding presets, as well as the ability to

customize them.


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FIRST EXPOSURE

Thumbnails in the presets panel show your image with the preset applied. Rolling your mouse over a thumbnail displays the preset effect on the main image in the workspace.

With a preset chosen, you are ready to move on to the adjustments. In the standalone, the available adjustments are Basic, Crop and Rotate, Color, Tone Curve, Vignette, Overlays, Focus, Grain, IR and Bokeh. Sliders in each adjustment give you a wide range of possibilities.

Once you are satisfi ed with the look, you can save the result as a user preset, which then appears in the left Presets panel in the Users tab. You can also export the resulting image. If you export an adjusted RAW fi le using the Original fi le type option, the original fi le is saved nondestructively with the adjustments and a copy of the unadjusted fi le is saved as a TIFF—not what I would have expected. However, if you export the adjusted RAW fi le as a TIFF or JPEG, the result is just what you would expect—the RAW fi le is saved with the adjustments, and a new, fl attened fi le with the adjustments applied is saved as a TIFF or JPEG. As of yet, there is no ability to print the adjusted image, so another image program, along with the standalone version of Exposure 7, is still needed for that function.

GREAT LEAPSWith its newly incorporated ability to nondestructively process RAW fi les, and browse image folders, along with its ever-growing library of fi lm emulation presets and adjustments, the standalone version of Exposure 7 has taken a great leap forward to becoming a complete image editor. As a plug-in, the range of effects in Exposure 7 are unsurpassed for the price. Whether you use it as a standalone program or a plug-in, Exposure 7 allows you to express your individual style and vision.

Alien Skin Exposure 7 is available for $149 for new users. Owners of any version of Exposure may upgrade for $69 and Exposure 6 users can upgrade for free.

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BY IBARIONEX PERELLO


BY IBARIONEX PERELLO

IS IT TIME TO GO 4K?Weighing the pros and cons of an increasingly popular resolution.

While 4K video recording is being heavily promoted this year by several camera manufacturers—Canon, Sony,

Samsung and Panasonic to name a fe w (see page 98)—most of us lack computer monitors, televisions and other devices that take advantage of the higher resolution. It certainly hasn’t been a technology advancement that many working photographers/videographers have immediately embraced—though 2015 is likely the year that this changes.

A NEW RESOLUTION There was a big push for 4K and Ultra HD

televisions at the Consumer Electronic Show (CES) in January, marking a transition from 1080p displays to 4K/UHD. With estimated worldwide sales of UHD televisions expected to make up over 26 percent of television sales by 2015, there will be a growing demand for higher-resolution content. Between cheaper 4K TVs and the marketing blitz surrounding them, the average consumer will be exposed to 4K like never before—a fact that will inevitably fi nds its way into the discussions that photographers have with their clients.

But before you run out and buy a 4K camera and monitor, let’s walk through the

pros and cons of doing so, and how it might change what you offer your clients.

4K VERSUS UHD?4K and UHD are often used synonymously, but each deserves some clarifi cation. Ultra HD (UHD) refers to any display capable of a resolution of 8 million active pixels with a minimum resolution of 3840 x 2160 (many products marketed as 4K are actually UHD). UHD provides four times the resolution of “full HD” or 1920 x 1080 resolution. 4K falls under the defi nition of UHD but delivers a slightly higher resolution of 4096 x 2160.

DSLR VIDEO

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OTO

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Rf_DSLR_R.indd 106 1/14/15 5:29 PM


PRACTICAL APPLICATION“We don’t shoot 4K for the concept of delivering 4K, but rather because 4K makes for sharper 1080p video,” says Charles Maring, who along with his wife, Jennifer, runs Maring Visuals, a successful photography business offering both stills and video.

They began incorporating video in 2012, with the release of the Canon 5D Mark II. Since this past summer, the Marings have produced video using the Panasonic GH4, which offers 4K recording capability. Though most of their clients are not currently requesting fi nal products delivered at 4K resolution, Charles and Jennifer have nevertheless found ways to take advantage of the newer technology.

“With 4K, we can crop in a medium shot and get a close-up if we need to when we’re editing the footage,” Charles says. “Another nice feature is that we are able to go in to the video and pull a still from a favorite celebrative moment, and these captures are good enough to provide a proof print to the client.”

This is another important fact about 4K: With each frame of video equivalent to an 8-megapixel still photo, your video clips can be a viable source for usable stills. When fi lming in standard HD, a frame is just 2 megapixels. “There are times when we fi nd some very dynamic moments that are different from what the photographer has captured,” Charles says.

PRACTICAL REALITIESEven if you’re currently delivering video to clients at a resolution of 1080p, the higher resolution capture makes it possible to crop or even pan within the frame with virtually no loss of image quality. Pulling a tighter head and shoulder shot from a video that captured the subject from head to toe serves as both a time-saver as well as offers more versatility while editing a fi nal video.

This higher resolution also provides additional advantages including improved stabilization and noise reduction.

COMPATIBILITY The higher resolution of 4K means bigger fi les (which also means more demand on your computer, editing software and storage). But if your computer is relatively new and you are working with

DSLR VIDEO

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DSLR VIDEO

compressed UHD video, you shouldn’t have a problem. However, editing uncompressed 4K footage demands a computer with more processing power. Unless there’s a specifi c need, event photographers will fi nd that the compressed video fi les delivered by cameras like Samsung’s NX1, Panasonic’s GH4 and Sony’s A7 series are more than adequate to deliver high-quality content.

Applications such as Final Cut Pro and Adobe Premiere Pro are designed to leverage the power of a computer’s GPU (graphic processing unit) for processing, editing and applying effects. If you want to jump into 4K, you’ll want to read the system requirements on your software and check them against your computer’s specs to avoid a meltdown. For example, Adobe Premiere Pro recommends a compatible GPU with at least 1GB of VRAM for GPU-accelerated performance. Graphics cards such as the

NVIDIA GeForce GT 650M, NVIDIA Quadro (Windows) or AMD Radeon M290X (Mac) can provide ample power for video editing.

STORAGELikely, the biggest consideration: because of the demand that high-resolution video editing will place on your system, it’s best to work on these fi les using an external hard drive optimized for 4K editing.

Maring Visuals utilizes a Thunderbolt-compatible drive for working with video fi les

while editing. But once fi nished, they will archive the footage and the fi nal edit on a Drobo, a backup storage system that uses multiple hard drives to provide a secure data backup.

DELIVERABLES“There was a time when photography was appreciated more than video,” Charles says. “Now we are seeing an uptick where video is being valued as much as still photography. And with some clients, video is more important.”


There is another important fact about 4K: With each frame of video equivalent to an

8-megapixel still photo, your video clips can be a viable source for usable stills.

Rf_DSLR_R.indd 108 1/14/15 5:29 PM


DSLR VIDEO

But the Marings aren’t working on an old model where the deliverable is given to the client on a DVD. The ubiquity of smartphones and tablets has created an opportunity to provide a wider range of choices.

“There are a few clients that are still stuck on the DVD idea, but that really dumbs down the idea of what we are producing,” Charles says. “Instead, we are preparing our fi les for digital download from Vimeo or putting them on USB hard drives that we then deliver to clients. We optimize them to be viewed on phones or tablets or in whatever way our clients wish.”

So, as technology continues to improve, it’s likely clients will also expect their videos delivered in 4K. Whether you prefer to future-proof your content or merely to leverage the advantages that UHD resolution provides, there is little doubt that the 4K era is dawning.

OPPOSITE PAGE AND LEFT: Charles Maring (left) says video is now being valued as much as still photography, and for some clients, video is more important.

Rf_DSLR_R.indd 109 1/14/15 5:29 PM

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How can I share my photos?

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IS HERE. SPREAD THE WORDAnswers to the photography questions your friends and family ask most. Shutterlove is a new one-stop resource where photo enthusiasts of all levels can fi nd useful tips and gear reviews, share their photos and view great new photographs.

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What are some tips for great travel

photos?

Where can I learn about

photo editing?

Where can I buy photography for

my home?

Which printer is best for me?

What lens do I need?

Where can I see great

photography?

How can I make photo

books?

Which camera should I buy?

How do I avoid blurry images?

What is a histogram?

How should I display my photos

at home?

How can I share my photos?

What makes a good photograph?

How do I make great photos of

my kids?

How should I frame my

shot?

What is the best way to get a self

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What are some tips for shooting

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IS HERE. SPREAD THE WORDAnswers to the photography questions your friends and family ask most. Shutterlove is a new one-stop resource where photo enthusiasts of all levels can fi nd useful tips and gear reviews, share their photos and view great new photographs.

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ONLINE NOWRead our PhotoForward blog for Weddings of the Week, Tech Tuesdays, video tutorials, breaking news and events. photoforwardblog.com

COMING MARCH IN PRINT:A “Who’s Who” of the industry, including top wedding and portrait photographers, planners, photo editors, bloggers, tech experts and more. PLUS: A special 56-page WPPI SHOW-ONLY section of events.

AD INDEXThe Index to Advertisers is provided as a courtesy to Rangefinder advertisers. The publisher assumes no responsibility for errors or omissions.

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RF, RANGEFINDER IS A MONTHLY PUBLICATION dedicated to the ad vance ment of photographers. Features encompass all phases of professional photography, including: solutions to technical problems, business practices, handling assign ments, equipment test reports, processing techniques and future trends.Acceptance of advertising does not carry the endorse ment of the publishers.

SUBSCRIPTIONS: Free to qualified subscribers within the U.S. For nonqualified subscribers the cost is $20.00 for 1 year, $38.00 for 2 years and $55.00 for 3 years. For Canada the cost is $45.00 for 1 year, $85.00 for 2 years and $128.00 for 3 years. For all other countries the cost is $55.00 for 1 year, $105.00 for 2 years, or $155.00 for 3 years. All fees are payable in advance in U.S. dollars. Change of Address: Please allow four weeks for uninterrupted service. Tear off the address label of the magazine and send it with new address to Circulation Department, RF, RANGEFINDER, PO Box 2198, Skokie, IL 60076, or send e-mail to: [email protected] of the material appearing herein can be reprinted without the permission of RF, RANGEFINDER. Un so licited material will not be returned unless sufficient postage is provided. Material submitted for pay must carry “Submitted At Your Usual Rates.” The publishers and editors shall not be responsible for loss or injury of any submitted manuscripts and/or art. The ac ceptance of advertising in RF, RANGEFINDER does not imply endorsement of the publishers. Publishers re serve the right, without giving specific reason, to refuse advertising if copy does not conform with editorial policy.

RF, RANGEFINDER (USPS 768-880, ISSN 0033-9202) is published monthly except bi-monthly in July/August plus a special issue in September by Emerald Expositions, 85 Broad Street, New York, NY 10004. Periodicals Postage Paid at New York, NY and additional mailing offices.

POSTMASTER: Please send changes of address to RF, RANGEFINDER, PO Box 2198, Skokie, IL 60076.

Canada Post: Publications Mail Agreement #40798037. Return undeliverable Canadian addresses to: Emerald Expositions, c/o P.O. Box 2601, 915 Dixie Rd., Mississauga, ON L4TOA9.

© Copyright 2015 by Emerald Expositions. Volume 64, Number 2


Rf_AD_INDEX.indd 3 1/16/15 2:47 PM

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THIS JUST IN

All About The Hair

By Lindsay Adler

Photographing hair is all about precision—from the hairstylist, from the

lighting and from the retoucher. After coIlaborating on a personal project with longtime friend and hairstylist/

makeup artist Johnny Gonzalez, I set out to do my own portfolio of hair. I set

up three shoots over three days and cast for a variety of models—brunettes, blondes, redheads, girls with freckles,

girls with richly dyed hair and more. The shoot resulted in an entirely new

body of work that I am quite proud of (12 to 14 images, including the one shown here). I controlled each light

to carefully place a highlight or draw the attention of the eye. I worked

with a professional retoucher, Rafael Alexander, to take the shot to the

next level. Separate shots of the hair (usually extensions) were taken at

different angles and these would act as pieces that we could infuse into the final image in Photoshop to increase

volume and perfect the style.

Hear Lindsay Adler talk all about “Fashion and Beauty Photography

Essentials” at WPPI in Las Vegas on Friday, Feb. 27 at 10 a.m. and on

“Fashion Techniques to Wow Your Portrait and Wedding Clients” on Wednesday, March 4 at 8:30 a.m.

+ www.lindsayadlerphotography.com; www.wppionline.com

Rf_End Of Page2.indd 112 1/14/15 1:17 PM

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