rangefinder may 2014

THE MAGAZINE FOR WEDDING AND PORTRAIT PHOTOGRAPHERS RANGEFINDERONLINE.COM MAY 2014

The Official Magazine of

PHOTO © MALIA JOHNSON

Still to Motion Transition8 Wedding

Video Upsells

PLUSWPPI 2014

Show Highlights

The 16x20 Print, Album & Filmmaking

Winners’ Gallery

the filmmaking

issue

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MAKING EVERYPHOTOGRAPHER’SDREAM A REALITY

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[82]contents

MAY 2014 / VOL. 63 / N°05

2 RANGEFINDER MAY 2014

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Features36 Photographer You Should Know

Fashion filmmaking innovator Bon Duke. By Libby Peterson

98 Product Roundup: Flight Style Airplane-ready camera bags. By Peter Kotsinadelis

43 The Filmmaking Issue 44 So You Want To Be A Filmmaker?

Applying the tenets of photography to the moving image. By Lindsay Comstock

52 Go-To Gear for the Immersive Videographer The Vice Media film crew talks equipment. By Libby Peterson

54 7 Essential Tools The video gear you need to start shooting now. By Ibarionex Perello

56 Trade Secrets Filmmaker Vincent Laforet’s favorite tools. By Jack Crager

58 Filmmaking Add-ons Eight video upsells for your photo business. By Jessica Gordon and Libby Peterson

64 The WPPI 2014 Wrap-up 66 The ABCs of a Trade Show

Albums, bags, cameras and more! By John Rettie

68 Products Worth Noting More standout gear

from the show floor. By John Rettie

72 Graphistudio Presents: A Day in the Life Four photographers captured Las Vegas in their own distinct styles.

80 Film School Joe Switzer guided 10 students on a 48-hour filmmaking adventure. By Jacqueline Tobin

82 The 16 x 20 Print, Album and Filmmaking Competition Winners’ Gallery

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Approvals

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

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contentsMAY 2014 / VOL. 63 / N°05

Columns26 Light Reading

Learning from filmmaking legends. By Jim Cornfield

32 From the Cubicle A creative challenge for photographers. By Jason Groupp

102 Digital Guru The fuss behind flying drones.

By John Rettie

108 First Exposure A review of Elements XXL 2. By Stan Sholik

112 DSLR Video The right headphones for quality audio. By Ibarionex Perello

120 Photo Finish Finding John Maloof. By David J. Carol

Departments8 From the Editor

By Jacqueline Tobin

12 From the WPPI Director By Jason Groupp

14 Editor’s Pick Felix Kunze By Jacqueline Tobin

16 Focus By Libby Peterson

119 Ad Index

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ONLINE NOW:

COMING IN JUNE IN PRINT:

Video of the Week,plus all the films featured in this issue!

The Marketing Issue Tools and tips for standing out in a sea of talented shooters (and upping your income).

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from the editor

JACQUELINE TOBINEditor-in-Chief

It was Benjamin Franklin who said, “An investment in knowledge pays the best interest.” I’m reminded

of this wise saying every year as WPPI director Jason Groupp works tirelessly with his team to put on

the best week-long educational photo show on the planet. You definitely get your money’s worth and then some at WPPI. This year, Jason and his team added a Filmmaking Track, which inspired us to do an issue on the still to motion transition permeating the industry. We’re not saying you need to switch gears entirely, but rather broaden your base and skill set. Hop on board as the innovators in the industry—Vincent Laforet, Joseph Switzer, Rob Adams, Sarah Pendergraft and more—offer sage advice and technical tips to help get your feet wet. And in case you missed this year’s WPPI show, or just want to relive every pulse-pounding moment, we’ve also included a gallery of images from the show floor, the parties and special events, and the winners of WPPI’s 16x20 Print, Album and Filmmaking Competition. Enjoy!

Photographer: Malia JohnsonCamera: Canon 5D Mark IILens: Tokina 10-17mmHousing: Del Mar Housing Projects by Erik HjermstadFocal Length: 15mmExposure: 1/400 at f/4.5ISO: 200Location: Wilkes Pass, Mamanuca Islands, Fiji

Comments: “Shot in the late afternoon, we took a boat ride out to this surf spot that has some of the clearest water I’ve ever seen. Kahi and Louise (the bride and groom) are very experienced surfers and swimmers; safety always comes first.” (Johnson won first place in the Creative Division’s “Bride and Groom Together: Non-Wedding Day” category of the 16x20 Print, Album and Filmmaking Competition. See the gallery of all the winners, starting on page 82.)

On theCOVER

Editor-in-Chief Jacqueline TobinSenior Editor Jessica GordonAssociate Editor Libby Peterson

Senior Technology Editor Dan HavlikContributing Editor John Rettie

Creative Director Adana Jiménez Group Production Director Daniel Ryan Production Manager Gennie Kiuchi

Contributing WritersDavid J. Carol, Lindsay Comstock, Jim Cornfield, Jack Crager, Jason Groupp, Peter Kotsinadelis, Theano Nikitas, Ibarionex Perello, John Rettie, Stan Sholik

For list rental information contact:Mike Gangel (646) 654-5318

Senior Vice President, Photo and Jewelry Groups John McGeary (646) 754-5174

Vice President, Emerald Expositions Photo GroupLauren Wendle (646) 654-5811Associate Publisher Mark Brown (646) 654-5795Senior Account Executives Mike Gangel (646) 654-5318Lori Reale (858) 204-8956 Account ExecutivesJon McLoughlin (646) 654-7255Garet Moses (646) 654-5774Alexis Daloni (646) 654-8571Director of Sales Melissa Kittson [email protected]

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

Operations Manager: Neeta Lakhani Marketing Director Michael Zorich

Rangefinder Magazine 85 Broad Street, 11th Floor

New York, NY 10004

CEO, Emerald ExpositionsDavid Loechner

CFO, Emerald Expositions

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Executive Vice President, Gift & Home,

Photo and Jewelry Christopher McCabe

Senior Vice President, OperationsLori Jenks

Vice President, Finance

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Vice President, DigitalTeresa Reilly

Vice President, Manufacturing & Marketing Services

Joanne Wheatley

®The Magazine for Wedding and Portrait Photographers

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CLIENT: Panasonic TRIM: 8.375" x 10.875"

AD: Lumix G4 BLEED: 8.625” x 11.125”

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JASON GROUPPWPPI Director of Education and Membership

[email protected] (646) 654-5786

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How many people have you run into over the years that have said to you, “It must be so cool taking pictures for a living”? You humbly shrug your shoulders and say, “Yeah it’s fun, it’s a living.” In “From

the Cubicle” (page 32), I reflect back on my many years as a photographer and how I’m suddenly floored by the fact that I have taken my profession for granted for so long. We all need a dose of reality now and again, which is why—as I look back on WPPI this past March while gearing up for Photo-Plus Expo in New York City later this year (October 29-November 1)—I’m asking all of you to take some time to remember just how lucky we all are as photographers and as people who give back. Taking pictures and doing some-thing you love is a gift! As we move into our First Half Online Competition (open now at wppiawards.com), pull your images together and think about how much you’ve grown as an artist. Then take my challenge as outlined in my column this month. It will get the creative juices flowing!

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editor’s pick

I first heard the name Felix Kunze from fellow photographers Sue Bryce and Kristie Lee early last year. “You have to check out Felix’s work; you have to meet Felix; Felix is a lighting master,” they would

tell me repeatedly. Then, by chance, I opened up an email and saw these striking images for a lookbook shot by Kunze himself. The photographs were for little gloriana, a company that makes matching dresses for girls and their beloved American Girl Dolls. In this case, Kunze showcased the personalities of the young girls and their complementing dolls for the company, with the resulting images now appearing front and center on its website (www.littlegloriana.com).

As the East Berlin-born, Sussex, England-raised editorial/commer-cial portrait photographer—who has worked with the likes of Annie Leibovitz and Mario Testino—tells it, “My goal with every image I take is to show the beauty, grace, strength and enthusiasm of people.

I focus on non-models and place regular people in exaggerated situations that highlight an aspect of who they are.”

Kunze—who shot the images using a range of backdrops from Oliphant Studio (www.oliphantstudio.com) in Manhattan, where he is currently based—says the little gloriana brand cast the girls from a wide pool of applicants and “hit the nail on the head with each of them, choosing girls that would bring their personalities to bear.”

What draws me to Kunze and his work is that whether he is shooting a lookbook for little gloriana, documenting the work of a nonprofit in Haiti to help orphans there (vimeo.com/10871067) or working with people who inspire him, his focus remains steadfast. You can see this throughout his commercial, editorial and documentary work (felixkunze.com).

Look for Kunze and Bryce later this month on CreativeLive in their course “The Lighting Challenge: Natural vs. Studio.”

Felix KunzeBY JACQUELINE TOBIN

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News, Products, Exhibits and More BY LIBBY PETERSON

PHOTOGRAPHERS WITHOUT BORDERS: ENCOURAGING SHOOTERS TO “SEE THROUGH A NEW LENS”Toronto-based non-profit organization Photographers Without Borders (PWB) sends shooters all over the world to document and share the stories of other charitable organiza-tions. Photographers Tracey Buyce and Kristi Odom returned from PWB’s most recent trip to Bolivia about a month ago where they had a two-week stay at La Senda Verde, a wildlife refuge for animals rescued from the black market, trafficking and abusive owners.

The statistics behind La Senda’s efforts are staggering: ten mothers are killed for every monkey stolen from the wild to be trafficked, some of which are sold for as little as $10, and less than one percent of the animals at La Senda would survive in the wild. PWB can give organizations like La Senda invaluable help, says Buyce. “Photography is a luxury that not-for-profits simply cannot afford. Photos are uniquely impactful, as they move people in ways words cannot.”

Buyce was moved by the monkeys’ friendly and curious personalities, despite the cruelty they endured. On her second day, she remembers a spider monkey that gave her a big hug, took her by the hand and invited her to sit down. Having seen the

photographers clean their lenses, another monkey wiped a watermelon on Buyce’s fil-ter in the attempt to help her out.

Both shooters were floored by the stories they heard at La Senda and left with a reju-venated purpose. “[Photography] can tell an animal’s story when they can’t speak them-selves and it can show you what is happen-ing in the most remote areas of the world,” says Odom. “The ability to cause a visual impact is huge, and we have that tool right in our hand.”

In an industry chock full of competition, it can be easy to forget the tremendous amount of good that photos can do for others. “Many of us get caught up in mak-ing enough money to live that we forget about why we got into the trade in the first place,” says PWB executive director Danielle Da Silva. “I feel as though our photogra-phers are left inspired, and so they are able to evoke inspiration in the viewer as well.”

All trips are self-funded, and fundraising opportunities are available through PWB. The next trips this year will be going to Gua-temala in June, the Peruvian Amazon in Au-gust and to the Central Himalayas in the Fall.

Clockwise from top left: Blonde howler monkey Mya, 1, watches red howler Canelo, 4, take a rest; Maruka, a 19-year-old spider monkey, was the first monkey to be taken in at La Senda Verde; Kristi Odom lets two capuchin monkeys explore her gear; Tracey Buyce remembers several “monkey photobombs,” including this one from Leo.WWW.PHOTOGRAPHERSWITHOUTBORDERS.ORG

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FASHION PHOTOGRAPHER ALEXI LUBOMIRSKI’S DECADE OF WORKOver the past ten years shooting for such publications as Harper’s Bazaar, Vogue and GQ, Alexi Lubomirksi has become a household name in fashion photography. His approach to his portraits leans toward the narrative genre, almost emulating film stills, and he is notably interested in transitioning moments that hint at a world outside the frame. Having sifted through his work shot from 2003 to 2013, Lubomirski has chosen the cream of the crop to entertain the pages of a book called Decade (Dami-ani Editore). From studio shots to on-location narrative fashion spreads, this recently released book features the likes of Cate Blanchett, Heidi Klum, Charlize Theron, Victoria Beckham and more. Lubomirski, who received his first camera when he was 11 years old, worked as famed lensman Mario Testino’s assistant before he ventured out on his own. This is the New York-based photographer’s first book.

PRICE: $50 WWW.DAMIANIEDITORE.COM; WWW.ARTBOOK.COM

“PAPARAZZO EXTRAORDINAIRE” RON GALELLA RELEASES NEW BOOKDubbed as the “godfather of U.S. paparazzi culture,” Ron Galella is one of the few paparazzi photographers to receive prominent exposure—he’s been published in countless major newspapers and magazines, released over a dozen photography books and has been exhibited in the art world’s top venues around the globe—yet he still remains one of the most controversial photographers of the late 20th century. Known for his undying perseverance, Galella had an ongoing obsession with Jackie Onassis, who was granted re-straining orders against the shooter in a Supreme Court decision, and he was very famously punched in the face by Marlon Brando. Having sustained a broken jaw and lost five teeth from that inci-dent, Galella audaciously wore a football helmet when he returned to photograph Brando. A new book published by Damiani Editore called Ron Galella: New York will be the first to focus on Galella’s celebrity photography in New York. The book will showcase some unpublished photos of stars such as Madonna, Al Pacino and Bianca Jagger in and around nightclubs, theaters and the gritty cityscapes of the 1970s and ‘80s. Ron Galella: New York is sched-uled for release at the end of this month.

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SIMPLY DECORABLE: PHOTO-INSPIRED HOME DECORAlbums and canvases aren’t the only ways to display photos anymore; unveiled at this year’s WPPI is Simply Decorable, a line of customizable home décor items from the online printing company Simply Color Lab. Whether given as a wedding gift, used to display portfolio images in a photographer’s studio or baby and family photos in a nursery, the Simply Decorable line offers a variety of ways to print and present work. The Wood Design Cubes offer five sides (the bottom is open for

storage) for printing, while the Wood Coffee and Side Tables give the photo or collage of images printed on top a warm, textured look and feel. Photos can also be printed onto Simply Decorable’s Canvas Benches, with the fabric wrapped over the top of the bench, and the legs come in either black or white.

PRICES: Wood Design Cube, $125 (14 inches), $155 (16 inches) and $185 (20 inches); Wood Side Table, $150 with 16-inch legs, $175 with 24-inch legs; Wood Coffee Table, $215; Canvas Bench, $229 with tapered legs, $239 with traditional legs

WWW.SIMPLYDECORABLE.COM

A NEW NEUTRAL GRAYWhite balance filters company ClearWhite has updated its neutral gray card, making it more durable and upgrading the size to 4 x 6 inches. Most ideally used for difficult light-ing situations on the scene and in the studio, ClearWhite promises the neutral gray card and its other white balance filters will render the most consistently clean, color-correct images, regardless of the time of day or file format. In addition to the 4 x 6 gray card, the company offers a 4 x 4 white balance filter for all lenses measuring up to 95mm as well as a 5 x 5 filter for any lenses larger than 95mm. The gray card and white balance filters also come with a soft fabric bag for storage that comes with a neck strap, a Velcro enclosure and a comprehensive manual for filter usage. All filters are texture-free, allow-ing for film and digital camera users to accurately calibrate their Zone Systems.

PRICE: $59.95 (4 x 4 filter and 4 x 6 gray card); $89.95 (5 x 5 filter and 4 x 6 gray card)

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

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

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A HOT TOTTY BELT Totty Belt, the design company that makes practical tool belts for any design professional—from florists and tailors to event producers and interior designers—has expanded its repertoire with the latest DIGI belt, a product made especially for photographers and videographers. This heavy-duty black canvas belt, which debuted at WPPI this year, can hold up to 60 pounds. An envelope flap can hold 12 SD and CF cards as well as battery packs, a cell phone and any other valuables. The belt straps snugly holster lenses, allowing photographers to venture out on as-signments with multiple lenses on hand. A sleek 6-inch back pocket can house smaller essentials such as keys, cash and credit cards. Totty claims the black color will never fade, even after it’s washed, and additional sizing information can be found on the company’s website.

PRICE: $119WWW.TOTTYBELT.COM

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THE STEREOTYPES OF MOTHERHOOD“Home Truths: Photography and Motherhood,” which is currently on view at the Mu-seum of Contemporary Photography (MoCP) in Chicago, explores the issues behind gender roles, composition of a family, the body and domesticity in nine photogra-phers’ documentary-style, semi-autobiographical images. This exhibit aims to spark discussion of the representation of the maternal figure with “at times subtle, at times bold” work, says the exhibition’s curator, Susan Bright. “It displays a sense of serious-ness and intense reflection, often with a haunting quality. It has the ability to move, but also to question and disrupt assumptions without being judgmental. Like photog-raphy itself, the expectations and demands of motherhood are in flux; both subject and medium grapple for new meaning in a changing world.” “Home Truths” runs at the MoCP now through July 13, 2014.

WWW.MOCP.ORG

Above: “Untitled (Lake), 2011.”

Above: “Untitled (2 photographers), 2008.”

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

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INTERFIT’S NEW EX200TI FLASH KITPhotography lighting and accessories company Interfit Photographic Ltd. expanded its group of EXTi flash kits with the release of the EX200Ti, a 200 w/s version that joins the EX400Ti. Perfect for pho-tographers working in small studios (and with small budgets), this flash kit is available both as a two-head kit and as a single head that is com-parable with the EX400Ti. In addition to the two EX200Ti heads, the two-head kit comes with two air-cushioned light stands, two 24-inch

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With an impressive oeuvre shot from the 1950s to the early 1980s, Garry Wino-grand is often touted as the greatest American street photographer of the 20th century. Though he shot more than a whopping 25,000 rolls of film in his lifetime, he often delayed in develop-ing and proofing them. At the time of his death, approximately 2,500 rolls of undeveloped film were found, as well as 6,500 rolls of developed but un-proofed exposures and stacks of unseen contact sheets made from an estimated 3,000 rolls of film. Last year, the San Francisco Museum of Modern Art put on the first retrospective of the street photogra-pher’s work in over 25 years. The exhi-bition, which includes much of Wino-grand’s unseen work, has relocated to the National Gallery of Art where it will

remain through June 8 before moving on to The Metropolitan Museum of Art and then to galleries around Europe.

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I f you’re among the burgeoning group of photographers—wedding, event specialists and photojournalists

in particular—who now include video capture in their professional repertoire, you’ve already encountered what I call the Big Paradox: that a !lm is made up of still photographs and a photograph can become a movie.

Yes, on the surface a movie is, even in the world of digital video, a series of still photographs strung together to create the illusion of movement in real time (just as Eadweard Muybridge !rst managed over 130 years ago). And despite the multi-plicity of other crafts usually required to create a movie—the script, theater, sound recording and editing—there’s no escaping the reality that every motion picture is, !rst

and foremost, photography. Few writers understand that notion

better than New Republic !lm critic David Thomson. In his remarkable, newly released cinematic anthology, Moments That Made the Movies, Thomson looks at 70 combinations of !lmmaking tools as they’re used in a selection of feature !lms made over the last century.

BEYOND THE CONTENTWhile an individual photograph can be examined by a viewer at his or her own pace, !lms are different. Our impressions are governed from beyond the content of a shot: by the length of time we’re allowed to view it, by the content of the frames that preceded it—establishing shots, dolly shots, pans or tilts—and the frames to follow, such as reaction shots, zooms and closeups. There’s also the nature of the editorial tran-sitions between these images—hard cuts, soft cuts, fades, long and short dissolves—and the dialogue, sound effects and music (maybe the audio fades up or down; maybe it overlaps a cut to “tease” the next shot in sequence).

Some of these tools are icons of movie history: a wide establishing shot of brooding Humphrey Bogart and piano-playing Dooley Wilson, center stage at Rick’s Café Américain (left) in Casablan-ca (1942); the ever-dapper Cary Grant in North by Northwest (1959) as he outruns

Learning from the Legends of FilmmakingBY JIM CORNFIELD

Above: From the movie Casablanca. Practi-cally all of the plot’s tension is revealed in one perfectly crafted shot of Rick’s Café in strife-ridden WWII-era Casablanca. The filigree shadows on the wall suggest the Moroccan locale; every woman in sight ogles the glam-orous Rick (played by Humphrey Bogart); every man stares with admiration. Rick’s dour expression reflects the important plot element built around one of movie history’s most cel-ebrated music tracks, “As Time Goes By.”

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Top: In North by Northwest, a terse bit of dialogue sets up this terrifying moment a few cuts before. On a deserted stretch of rural farm road, a local resident waiting for a bus spots a tiny biplane in the distance and omi-nously informs Cary Grant’s bewildered city-slicker character that someone’s out there “dustin’ crops where there ain’t no crops.”

Left: Bonnie and Clyde reveals the power of the close-up: Faye Dunaway’s character re-acts a little bitterly as smooth-talking strang-er Clyde Barrow (Warren Beatty) claims he’ll end the dreariness of her life as a small-town waitress in Depression-era Texas.

a crop-dusting biplane in Alfred Hitch-cock’s (or maybe in history’s) most famous movie chase (left), a sequence composited from a location shoot and close-ups !lmed on a sound stage; a tight close-up reveal-ing the breakout role of Faye Dunaway as down-and-out waitress-turned-bank rob-ber Bonnie Parker in Arthur Penn’s Bonnie and Clyde (1967, below).

In the book’s introduction, Thomson explains his selection of scenes as purely personal, but adds that all are what he considers “very ‘movie’ moments, doing something that could be managed in no other medium—the look, the pace, the movement, the texture, the context, all these things are vital [to !lmmakers].”

FILM’S STILL ORIGINSBut Thomson remains acutely sensitive to the motion picture’s birthplace in the world of still imagery. The !rst selection of his Moments That Made the Movies isn’t a movie at all; it’s one of Muybridge’s still sequences—a familiar frame-by-frame human locomotion study, shot from three separate angles, of two naked young women interacting in real time with a wooden chair. And he ends the book’s selection of legendary !lm clips with the work of another still shooter, sports photographer Richard Lam. This !nal image shows a young couple lying together in a totally inappropriate embrace on the pavement outside a hockey arena. They’re passionately kissing, oblivious to the rioting crowd in the background and the silhouette of a helmeted policeman in the foreground. Lam caught this tableau during a fracas

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during the 2011 Stanley Cup tournament in Vancouver. The shot was scandalous enough to get worldwide media exposure for a few days. The raucous fans and the truncheon-wielding cop are out of focus, so the lovers take center stage. And therein lies the shot’s cinematic credentials: The dramatically selective planes of focus and

the racy sight of the kiss and the girl’s bare thighs convey, he writes, a “wealth of meaning,” ostensibly as much as a !lm sequence of the same scene might suggest. Clearly, Thomson “gets” the resonance between stills and live action.

All !lmmakers—from newbies to the selected few among the Red Carpet

crowd—owe a collective debt to our shared cinematic past. Whatever manuals you’re devouring to make your transition into !lm or digital videography, and no matter where you’ll ultimately head with the knowledge, Moments That Made the Movies is a valuable collection of “teach-able” moments for you and your career.

Also On Our RadarIn keeping with the filmmaking theme of this month’s issue, here is a pair

of titles that celebrate still shooters who made their way, quite successfully, into the ranks of important motion picture directors.

Gordon ParksIntroduction by Paul Roth

“Gordon Parks’ engagement with the medium of photography began as an exercise in personal salvation,” begins the introductory tribute in this visually rich collection of work by one of history’s most eloquent and successful African American artists. A recent addition to Thames & Hudson’s award- winning Photofile series of compact, affordable, but lavishly reproduced monographs, this newly introduced

collection is an astonishing achievement. Parks was raised in poverty during a terrible period of

repression for African Americans, yet he succeeded in attaining the zenith of success in his chosen profession, beginning with poignant images that exposed the power of segregation and bigotry in this country. He went on to a Depression-era stint with the celebrated FSA, and then to freelance fashion photography and celebrity portraiture for Vogue, followed by 20 years as both a writer and photographer for LIFE. Hollywood contacts led Parks to his second career as a film director, his first effort being a movie adaptation of an autobiography, The Learning Tree. His signature movie achievement was the 1971 detective film Shaft.

Some of the most potent samples in this powerful collection are images of African Americans who helped change the course of history, among them Martin Luther King, Muhammad Ali, Stokely Carmichael and Malcolm X. “I needed a weapon against evil,” Parks once said. “You have chosen a gun. I have chosen a camera. I think my weapon is stronger.”

The Stanley Kubrick ArchivesEdited by Alison Castle

It could be called criminal in any discussion of photographers who graduated to movie careers to omit the name Stanley Kubrick. He’s regarded by many as one of the greatest filmmakers of all time—Paths

of Glory, Spartacus, Lolita, Dr. Strangelove, A Clockwork Orange and 2001: A Space Odyssey. Kubrick’s oeuvre was honored recently in this lavish addition to the large-format Taschen Archives Series featuring great motion picture directors. The phenomenon that was Stanley Kubrick (he passed away in 1999) may well have begun when his father gave him a Graflex camera at the age of 13. He took on freelance photography jobs after high school, eventually selling some images to LOOK magazine, where he ultimately landed a staff job. Kubrick’s early photos (1945-1950) were published in the book Drama and Shadows in 2005, and also appear as a special feature on the 2007 Special Edition DVD of 2001: A Space Odyssey. In 2011, many of his LOOK pictures were selected by curators at the Museum of the City of New York and made available as limited-edition prints. Kubrick’s well-known passion for precision in visual detail and historical accuracy in his films are doubtlessly the direct result of his photographic interest. The breadth of his visual sensibilities is the dominant motif in the stunning collection of production stills and behind-the-scenes images that make up The Stanley Kubrick Archives.

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Oh, the glamorous life I’ve signed up for—it’s a Sunday night and I’ve just had a raucous evening with a

bunch of middle-aged men in the United Club at Newark Airport in New Jersey. After a two-hour delay and several beers, I’m hop-ing my bladder makes it to 20,000 feet so I can go to the bathroom. As I watch the tired masses of people get off the flight I’m about to board, I remember back to the days of dropping my pops off at JFK when he was a sound engineer and traveled frequently. My pops dressed like a Hells Angel biker while everyone around him wore a suit and was eyeing him up and down. I remember asking him, “Daddy, why do you look so different?” He responded, “Those people don’t know any better.” How ironic that now I sit in an airport wearing a bowtie and jacket; it’s my little protest to a bygone era.

So what am I writing about? I’m not sure— I’ve had seven beers and I’m feeling a little rebellious… Jacqueline Tobin, the editor-in-chief of Rangefinder, has the awesome task of editing my column every month. I can hon-estly say that one of the perks of my WPPI gig has been getting to know Jacquie. She is my oasis when I need a laugh in the office, and

I know I can count on her when my ADD kicks in, walk into her office, close the door and just laugh for no reason. Thank you, Jacquie!

Her best piece of advice to me when it comes to this column is: “Don’t write for yourself, write for the reader.”

Well…this article is supposed to be a wrap-up of WPPI, but since I’m feeling nostalgic, I’m going to take a different ap-proach. I mean, if you’d like for me to go on about how WPPI was a monumentally epic success I can, but instead I plan to con-tinue waxing nostalgic.

When I took this job, I thought it would be easy for me to come from the world of photography into the world of conferences and conventions. After all, I’ve been a speaker for many years, have traveled the world and have absolutely adored meeting all of you. I do really cherish every friend-ship I’ve made with you guys. It’s no secret that I’m a bit of a social butterfly, so this job fits me well. That said, I’m going to share something that I have only shared with a few

very close friends: After this year’s WPPI, there was a part of me that felt like I failed as a photographer. The feeling came over me as I walked from room to room during the conference and spent short bursts of time listening and watching images come up on the screen. I sat in envy looking at recent weddings many of my fellow photographers have shot and hearing them discuss rel-evant topics and how to navigate a wedding day. As I watched Ben and Erin Chrisman, Davina and Daniel, and many others show amazing images to their classes, I felt a bit of jealousy wash over me. Then it hit me—I haven’t picked up a camera since October. That’s almost four months! In my 25 years as a photographer, that has never happened. My good friend Colin Michael told me when I took this job that I needed to have a creative outlet, which I quickly dismissed and said, “Well I’m still shooting, I’m sure I won’t miss it that much.” Boy, I could not be more wrong! As the week continued I realized how much I missed being a photographer. During the trade show, I walked around and looked

Reflection & RejuvenationBY JASON GROUPP

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from the cubicle

at all the new toys thinking to myself, “Wow, if I were shooting more, I would totally need this,” and that made me a bit sad. In the past, I was always able to justify a purchase.

Toward the end of WPPI, I went from a feeling of resentment to admiration. I en-joyed seeing people’s eyes light up when they touched a piece of gear or listened to a favorite speaker. I’ve taken so much for granted over the years, but being a creative person is a gift and I wanted to take today to remind all of you of that! For those of you who are just getting started, and struggling to the top, you get it. However, those of you who have been doing it for a while can’t for-get the blessing of what we do every day! Too

often we get bogged down with the logistics of running a business and forget just how lucky we are to have people let us into their lives and open up for us. Remember that!

All of this reflection has led to me asking, what can I do to keep my creative juices going? Being the social person that I am who loves a good challenge, I’m going to combine the two, task myself and have a little fun with you.

Here’s my idea: Let’s work together and share one shot a month with each other. This will get me out of my slump, and I’d love to see what you guys are up to creatively! Think of it as a monthly unveiling of your best work that you share with the world. I’m going to ask some of our industry clan to join

in, post their photos, and offer advice and insight via our social media channels.

Here’s how to play: On the 15th of each month, I’d like you to post your image on Instagram, tag @rfwppi and use the hashtag #mypicrfwppi. The only rules are that it must have been shot in the last month (honor system please)! It doesn’t matter what the subject is, what it was shot with or how you made it.

To make this even more fun, I’m going to give away three free conference passes to WPPI 2015 each month!

I hope you will join me, and I’m looking forward to growing alongside you guys this year. Good luck!

Let’s work together and share one shot a month with each other. I’d love to see what you guys are up to creatively.


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photographer you should know

T he fashion industry has long been reputed to be a world of cutthroat competition, and for many of its photographers, this could not ring truer. In the words of 26-year-old

fashion photographer and !lmmaker Bon Duke: “The top dogs stay on top.” But while the fashion photography greats continue to thrive in traditional still imagery, this New York-based artist has muscled his way in and found his own raison d’être: fashion !lms.

Video is a “fourth dimension,” Duke says—an entirely new way of storytell-ing that is on the one hand !xed and stringent, and on the other, pliable and versatile. “There are no rules, especially in fashion !lms,” he says, “because no one knew what they were. It was an open playing !eld.” It’s only been four years since Duke began exploring the potentials of a largely untapped, static !lm genre, yet he’s already positioned himself as a highly sought innovator—and he’s just getting started.

GO, GO, GOBorn and raised in Brooklyn, Duke humbly calls himself fortunate for having parents who chose to move from Vietnam in the 1970s to one of the pinnacle cities of the fashion world. But these days, living and working as a young creative can be trying, he says.

“New York is always go, go, go,” Duke says as he snaps his !ngers on each pronounced word. “It’s a lot of hustle. But when I try to slow down, I kind of freak out, like, ‘What am I doing? I need to work!’”

As a co-founder of the New York Fashion Film Festival (NYFFF) who juggles a number of commissioned and personal projects at once, Duke has certainly not been without his share of work. His ambitions have even given him the opportunity to help other promising young fashion !lmmakers and photographers

earn full scholarships through the NYFFF to the one-year inten-sive MPS Fashion Photography program at New York’s School of Visual Arts (from which Duke graduated in 2012).

He explored nearly every medium of artistic expression during his studies, each of which has contributed to his philosophy of vision today. First learning color study and texture with painting, Duke became most attracted to the instantaneous satisfaction of working

with his Canon 5D Mark II (though he now uses a Nikon D800 for stills), at !rst gravitat-ing toward portrait and music photography. He then dabbled in graphic design, gaining an insider’s view of what a magazine’s art depart-ment looks for when laying out photos.

ROLL THE CAMERAThen came his introduction to !lmmaking,

one that he calls ongoing. “People think it’s an easy transition,” Duke says. “I don’t think it is. For a photographer, you take an image and it’s there; it’s all in that one frame. With !lm, you have to think of so many other layers, it’s not as fast and you have to be patient.”

Duke estimates that his knowledge level of what’s possible in !lm-making lands somewhere in the 60 percent range, and he makes sure not to forget the mistakes he’s made that have led him to this point. Today, he understands the importance of always writing down his ideas, of the pre-conceptual stage, of storyboarding narrative and of working closely with an editor and cinematographer to understand what’s logistically possible, all to better achieve his vision for a !lm.

With a photography background, he knew the visual elements necessary to create something beautiful, but Duke attests that some of the mistakes he made in the very beginning are laughable now.

motion à la mode

BY LIBBY PETERSON

Fashion photographer Bon Duke embraces filmmaking in a niche genre without bounds.

“There are no rules, especially in fashion !lms, because no one knew what they were. It was an open playing !eld.” —Bon Duke

Opposite page: Despite the vibrant color in some of Duke’s images, he always adds a darker, cooler tone to them, a look he attributes to growing up watching music videos and Guy Ritchie films.

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Bon Duke’s Filmmaking Lessons LearnedMake your mistakes early. “The only way to learn was shooting with people who wanted to help me out and be a part of the process, and making all my mistakes early.”

Understand what’s possible. “People see things done in movies and say, ‘Oh, I want to do that,’ but they don’t realize that’s actually a six-figure budget—though that shouldn’t stop you from trying to figure out how to do it anyway. When you want something framed or done in a shot, make sure it’s realistic, make sure you and your cinematographer can do it. And always talk to your editor about your story to understand the editing. It makes it so much easier to explain your story.”

Write out your ideas. “No matter what the project is, start writing it out into a storyboard. Write whatever—it doesn’t have to be dialogue—but the physical act of writing and putting your thoughts out helps you high-light all these things that you want to portray. From the storyboard you lay out this imagery and you can think of how to film it. It’s this layering process, but it starts to branch out. It really helps you solidify your film.”

Keep at it. “Constantly making new work is one of the biggest les-sons I’ve learned. If you don’t make any work, you don’t take any steps or face new challenges.”

Be humble. “You meet people who are just awful in this industry, but the greatest legends who you respect the most are actually the nicest, most humble people.”

“Instead of just saying ‘action,’ I would just say, ‘OK, let’s roll the camera,’” he recounts, “and the others on set would say, ‘What do you mean roll the camera?’ because that means something totally different.”

Though he needed to be corrected on directorial commands, Duke otherwise !gured out his own errors, especially tech-nically. Using an Arri Alexa camera, he shot !lms with his friends and other will-ing participants, and he clicked around in Final Cut Pro and Adobe Premiere.

FACING FASHIONDuke caught his big break when he was cho-sen by the Council of Fashion Designers of America (CFDA) in 2009 to shoot a cam-paign for the designer Proenza Schouler. Though he wasn’t necessarily intrigued by fashion at the time, getting in the director’s seat allowed him to be more of an artist than he expected, he says, likening the ex-perience of shooting clothes and accessories to sculpting.

The CFDA may have chosen Duke for his individual talent and artistic perspective, but

Above: Dutch model Anniek Kortleve poses for Duke in this Yves Saint Laurent shoot for The Block Magazine. Right: Duke has an im-pressive array of clients, including Saks Fifth Avenue for whom he shot this photo of Canadian model Meghan Collison.


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he walked away from that shoot blown away by the collaboration on set. “All these intrica-cies and details that hair and makeup and the stylists were paying attention to made a whole image, and it was up to me to translate everything that we worked together to cre-ate,” he says. “I’d never felt that teamwork.”

For him, a “truly great” project is collab-orative, where creative minds from different disciplines meld together to make one strong, multifaceted end result. This, Duke feels, is a discipline that is unfortunately lost on many contemporary creators.

“The legends, like Diane Vreeland and Alexey Brodovitch, made their magazines iconic because they knew great photogra-phers and models,” he says. “Avedon would

not be Avedon without those two. And I think that’s one thing that people take for granted.”

BEING BON DUKEOnly time will tell whether Duke’s fashion !lms become as iconic as Avedon’s studio portraits, but they already have a distinct look and feel unique to the name Bon Duke. “There’s a darker tone to it some-times…well, the majority of the time actu-ally,” he says, smiling. “I don’t retouch a lot, but I always end up adding this cooler layer.”

Duke also carries narrative throughout his !lms, an element he !nds absent in most fashion videos. “That’s the problem with a lot of fashion !lms, they’re just

visual eye candy, but is there anything else? The majority of the time, no,” he says. “But I think that’s changing. People are realizing that we need to show something conceptu-ally compelling besides just a beautiful model and clothes.” Without a real under-lying story in his !lms, Duke thinks his work “would just fall dead. Then I’m just another machine making something that I don’t really care about.”

Last year, Duke’s projects were overwhelm-ingly video-based with about 70 percent of them going to clients. This year, he’s scaling his hired work back to 40 percent, devoting the remaining 60 percent to personal projects, !lms and exploring more with sculpture.

Still, Duke says his dream project would likely be commercial, maybe an ad for “Skittles or Starburst or something,” he says. “I used to always watch the Super Bowl com-mercials and thought they were so great, so why not try to go for that?”

But the big screen is another story. “I don’t think I’m ready for that anytime soon,” he says. “I write a lot, but my heart’s not there yet.” And that’s just !ne with him. Duke already uses the traditional principles of !lmmaking in what he’s doing right now to revamp a genre that even many of the “top dogs” haven’t yet tapped into.

Clockwise from top left: Behind the scenes on the set of Jive!Jive!Jive!, one of Duke’s earlier films inspired by the Teddy Boy Cul-ture; from Duke’s series “Floral”; a still of New York City Ballet dancers Janie Taylor and Justin Peck from a film Duke made for Nowness.com.

photographer you should know

“That’s the problem with a lot of fashion !lms, they’re just visual eye candy, but is there anything

else? The majority of the time, no,” says Duke.

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Choosing the right drives is an obsession for Vincent Laforet. That’s why he says, “My workfl ow always involves backing everything up to a G-RAID and having a second RAID solution on-set.”

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BY LINDSAY COMSTOCK

the !lmmaking issue

So You Want to Be a Filmmaker?Three filmmakers speak on the essential tenets of filmmaking and how

to add these eight attributes to your movie-making repertoire.

Sure, most photographers today are equipped with the !lmmak-ing technology in their DSLR

cameras, but there is much more to thinking like a !lmmaker than meets the eye. Where does a still-image pho-tographer begin? “The most important thing to remember about !lmmaking is that it’s still photography,” says New Jersey-based wedding !lmmaker Rob Adams. “A lot of the same principles still apply.” Here, we look at eight principles of image making and how they can be applied to motion.

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COMPOSITIONIn photography, composition is a key element. The eye cannot be drawn in and around a frame without paying attention to the Rule of Thirds or understanding how depth of !eld changes one’s perspec-tive on a scene.

While these same concepts apply in the moving image, Adams reminds that you have to stop thinking of scenes in terms of a single frame, but instead over time. For the beginner, he cautions, “Don’t try to get too complex too fast—don’t start moving the camera, don’t start thinking of motion in terms of point A to point B; start thinking in terms of motion in one

place.” He explains that it’s easier to start with a subject that’s stationary. From this perspective, he explains, it’s easy to think of lighting, composition and the Rule of Thirds in the same way one would think about framing a photographic image.

Sarah Pendergraft of PenWeddings reminds would-be movie-making auteurs that you can no longer shoot verti-cally. “And you can’t arbitrarily crop an image to suit the surroundings (like a tall archway or panoramic view),” she says. “Keep in mind the aspect ratio you plan to deliver in, and shoot accord-ingly. Just like in photography, the eye will be pulled to the brightest part of

an image (or the spot with the strongest contrast).“Practice your moving shots, but don’t discount the power of a well-framed static shot,” she says. “Not every clip has to move.”

180-DEGREE RULEA new rule photographers need to consider in !lmmaking is the 180-de-gree rule, a concept where characters or

Opening page: Filmmaker Sarah Pendergraft getting a key shot during a reception. Above: A still from Pendergraft’s wedding video of James and Laura. Opposite page: Pendergraft films a quiet moment in Je! and Julia’s wedding story.

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objects in a scene are connected along an imaginary axis; the camera remains on one side of the axis in order to help the viewer understand spacial relation-ships between the subjects within a scene. “Learn the 180-degree rule and learn it well,” Pendergraft says. “Where you place your cameras during moments like the ceremony, toast and garter and bouquet toss need to follow the 180-de-gree rule. It’s the reason football games are always shot from one side of the !eld (in addition to the end zones). If team A is running to the left on your TV screen, and suddenly we cut to a shot where team A is now running to the right, it’s confusing.”

But in most art, rules can be broken if they are !rst understood. “We do some-times break this rule during ceremonies, but that’s because we know how to shoot on certain lines, and edit in such a way as to get from one shot to the next without it feeling jarring,” Pendergraft says.

Adams says that composition changes when the scene is moving. Then you have to think about different kinds of shots “to move the viewer’s eye around the screen and tell the story;” in other words, the close-up (details about the subject), the medium shot (action of the moment), the wide shot (to take the viewer out of the scene and show an overall perspective of what’s happening). “Composition, when thought of that way, is how you tell sto-ries over time in the fourth dimension,” he says.

RULE OF THIRDSWhen it comes to the Rule of Thirds, Pendergraft says, it’s similar in both mediums. “We will occasionally break the rule intentionally if we’re being artistic or trying to evoke a certain emotion in the viewer, but not during what I call the ‘meat and potato’ moments like the vows and toasts.”

Adams echoes her sentiment. “Film is one of those things where sometimes you can forget about the Rule of Thirds and it works.” Because it’s about compos-ing within a moving scene, not for each frame, he explains that it doesn’t matter

if each frame is perfectly composed ac-cording to this rule.

“I like to use what I call ‘Extreme Thirds,’” Adams says. “Put the viewer’s

eye on the left of the screen as far as it can go, and then cut to an object on the right side of the screen. That’s what keeps things visually interesting.”

“We will occasionally break the rule [of thirds] intentionally if we’re being artistic or trying to evoke a certain emotion in the viewer, but not during what I call the ‘meat and potato’ moments like the vows and toasts.” —Sarah Pendergraft

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FOCUSSwitzer!lm founder Joseph Switzer says one of the major problems photographers have when !rst trying their hand at !lm-making is focusing the shot. “They aren’t used to manually focusing, and they’re used to carrying a camera,” he says. He suggests not hand-holding a camera when capturing motion, but rather using one of three tools to get that crisp shot: a monopod, sliders and a glide cam (a stabilizing device that allows the videog-rapher to run without camera shake).

Pendergraft agrees that while it’s easier to achieve a shallow depth of !eld with DSLRs, actually learning how to focus between scenes is something new.

“Coming from a world of auto-focus, you now have to learn how to manually pull focus,” she explains. “There are a handful of DSLRs out there with auto-focus in video mode, but I’m still not sure I would trust it in crucial moments like the bride walking down the aisle.”

Adams cautions against relying on shallow DOF for narrative. “A lot of times photographers like to shoot in shallow focus because it looks good. But they’re ignoring the basic fundamentals of !lm-making—which is storytelling.”

[Switzer] suggests not hand-holding a camera when capturing motion, but rather using a monopod, sliders and a glide cam...

Left: Joseph Switzer uses a stabilizing device to achieve a crisp shot. Below: A still from one of Switzerfilm’s wedding videos, “Justin and Julia AZ Wedding.”


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Photographed by Sue BryceTamaTamaT ra Lackey as Veronica Lakewww.animoto.com/photography

Tell a story

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STORYTELLINGHow do you begin to tell a story cohe-sively over time, throughout scenes? Adams explains that for short or feature !lms with a narrative, “storyboarding will give you a blueprint,” but for weddings he uses shot lists.

Pendergraft says while she doesn’t necessarily use shot lists for !lming a wedding, she does have a good idea of the types of shots she needs going into the day. “The biggest thing for a photographer to remember is that you have to learn to look at continuity in a whole new light. A photo that may not feel random at all in the middle of a blog post or album, may—as a video clip—feel totally out of place in the same location in a !lm because of the "ow of the video and the song you’re using.”

Because shooting video requires the artist to show more within a given scene, Switzer says that variety is essential. “You don’t want to take your clients to the same locations,” he says. “You want to go to different locations that are more grand and beautiful.”

LIGHTING“There are lots of ways to light people when it comes to photography, but for video you have less choices. You have to think faster,” Switzer says. This, Adams explains, is because you have to think in terms “of lighting over an entire scene; you have to think about lighting a room and how the subject will move in that space,” primarily because continuity is so essential. The technology is different, too, because lighting must be continuous.

As in still photography, however, natu-ral light can be best. “We always try to use natural light as much as we can,” says Switzer. “If we’re at a [dark] reception, we

Right: Movie posters from various Rob Adams feature weddings films.

“Don’t ever put your light on top of a camera. It’s the worst thing you can do for your image.” —Rob Adams

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set up one or two battery-powered LED lights. [But often] we’re dragging brides to windows and grooms to hotel lobbies, !ghting to get them to good natural light.”

If natural light is not an option, Swit-zer recommends taking full advantage of re"ected !ll light from still photographers while they’re doing shots like close-up portraits of the bride.

“The same rules apply evenly to both [still and video], you just have to learn how to achieve the look you want without "ash, and without the ease of a quick burn here or dodge there in post,” Pen-dergraft says. Like Switzer and Adams, she only recommends setting up lights at receptions. “In those moments where the lighting may not be totally ideal, remem-ber, there is no !ll "ash. Also keep in mind that if you’re in a space where you don’t like the color temperature, you can’t say, ‘I’ll just make it black and white.’ Black-and-white has a whole different feeling in video, as if it’s a ‘"ashback’ or a memory of a time gone by. If there is suddenly a black-and-white clip in the middle of a color !lm, it can be jarring.”

Adams’ other words of wisdom? “Don’t ever put your light on top of a camera. It’s the worst thing you can do for your image.”

AUDIOWhile audio is thankfully not an issue in still photography, it belies a skill all its own in !lmmaking. Adams puts it best when he says, “The acquisition of audio is a sepa-

rate art from the !lm itself; putting the two together is the art of !lmmaking.” But he warns, “Do not go cheap on audio.”

Bad audio “can kill a beautiful !lm,” Pendergraft says. “Solid, clean audio mat-ters more than the most epic of shots.” And this is because audio ties in the narrative. “It’s not enough just to get the shot, you need the story behind it,” she says. “This could come from the vows, the minister, toasts, interviews or special moments like the !rst look. Your !lms will be so much more compelling if you have strong audio to pull people in.”

Switzer has a different philosophy altogether: “I have 99 problems and audio ain’t one,” he jokes. “Don’t do it.” Why? “It’s a different era,” he says, and most of his current clients are asking for music videos (see page 59) instead of traditional wedding videos. However, in the simplest terms: “If you do want to interview a sub-ject in your video, you have to use wireless mics rigged to the camera, have head-phones on to make sure it’s perfect, light the subject and do it in a quiet room.”

EDITINGPhotographers are used to editing their work, but the work"ow is different when editing !lm. Pendergraft warns, “Be pre-pared for it to take twice as long as your photo editing did—if not longer.”

But Switzer, who successfully shot and edited a video in 90 minutes during a class at this year’s WPPI, says that it shouldn’t

be daunting with software like the newest version of Final Cut Pro. He recommends watching video-editing tutorials online to understand the process.

Adams agrees: “If you’re going to be doing your own editing, invest time learning the tools and software.” But, he says, the video editing learning curve is “very steep.” This, however, shouldn’t be a deterrent to new shooters. “Some of the best !lms I’ve seen only involve straight cuts from shot to shot,” Adams says. He explains that in the beginning, all a !lmmaker needs to understand are the basic features of an editing program, relying on visuals captured in-camera and audio to tell the story. He cautions against over-shooting video and taking on dif!cult projects too quickly. “If you want to learn, shoot in short clips,” he says. “Don’t go out and try to shoot a wedding if you’ve never shot video.”

IN THE BAGWhile photo and video equipment are similar, “that pretty much stops with the camera and lenses,” says Sarah Pendergraft. Below are Rob Adams’ best gear recommenda-tions. (See more gear recs on pages 52 and 54.)

• HD video-capable DSLR • Stabilizer: “You usually don’t

want to hand-hold unless it’s a specific look you’re going for.” Adams recommends the Manfrotto monopod.

• Tool for acquiring audio: A high-quality gun mic like the RØDE VideoMic Pro (mentioned on page 55).

• Tripod

• Sliders: “A portable dolly track provides instant production value of having a camera that looks controlled and gives cinematic value,” Adams says.

• Software: Final Cut Pro 10 or Adobe Premiere

• Lighting: Arri lights for lighting a pinpoint area at a reception; Dedolight by Ledzilla if you have to have a handheld light.

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Above: Switzer is less inclined to use mic’d audio; instead he favors wedding music videos.

^^ OOJVSVYSHIJVT


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Beginning as an underground “punk zine” called Voice of Montreal, Vice Media is one of the most

prominent, spirited investigative news sources, perhaps known most for their documentaries. Immersing themselves in worldwide con!icts and controversy, the videographers at VICE need to be on their toes, and that means they—like anyone navigating a fast-paced event (i.e. a wedding)—need gear that can work with them quickly and inconspicuously. In a video created by Canon Cinema EOS, Vice Media’s director of photography Jake Burghart and Jerry Ricciotti, the segment director of photography for the newly televised “VICE on HBO,” show us their best on-the-job gadgets.

The Canon XF105 is a “specialty camera” they use, while the Canon 5D is relied on for stills on vice.com, the print edition and for promotions—plus it’s a “great B-cam for interviews,” adds Burghart. Loved most for its incredible battery power, the Canon XF305 is a

favorite of Ricciotti who says, “You can leave it turned on in the car, and if an IED were literally going to blow up on the road, at least you’d be able to start recording.” That should be testimony enough for long-day shooters who might not be work-ing in such dangerous environs.

Burghart and Ricciotti both use rig cameras, each with fairly different setups. Burghart has a

quick-release setup that allows him to detach his camera from his rig if he needs to suddenly move into a more con"ned space, like a car, while Ricciotti relies on his Redrock micro cage to protect his camera should it “take a beating,” he says, which it has. Yet both Burghart and Ricciotti have what they consider to be the essentials for their rigs: a top handle, an adjustable LCD screen, a shotgun mic placed off to the side and the invaluable ability to record and stop record, adjust the iris and magnify the focus from the hand grip. This means that everything the videographers need is literally at their "ngertips, without them ever having to jostle the camera around to reach for different buttons.

BIT.LY/1KXJLFY

BY LIBBY PETERSON

Top: Vice Media directors of photography Jake Burghart (left) and Jerry Ricciotti (right) explain how they’ve customized their rig cam-eras and why they’re invaluable on location.

Straight from Video of the Week on RF’s PhotoForward blog, the crew of Vice Media describes how, with the right on-location gear, they are prepared for anything.

the !lmmaking issue

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OUR FAVORITE VIDEOS OF THE WEEK

Behind the Scenes with Mick Rock“The Man Who Shot the Seventies” used the Nikkormat back in the day, but today he likes the Nikon Df for its flexibility, focusing speed and its ability to keep up with him when he’s moving around a shoot.bit.ly/1oG7O5m

Dylan Coulter Poses OlympiansTo create his in-studio action portraits of Olympians, Dylan Coulter shot stills with a Hasselblad H5D and a Phase One IQ180 Digital, froze motion with his Nikon D800 and took the cine-grams with his Canon 5D, all with the help of his Kino Flo and Broncolor lighting equipment.bit.ly/1cfNsOC

Lindsay King’s Stop-Motion Proposal Lindsay King and her now-fiancé Greg Wlosinski took almost 2,000 photos to composite together into a stop-motion proposal video, using their Canon 5D Mark IIs and 16-35mm f/2.8, 40mm f/2.8, TS-E 24mm f/3.5 and 24-105mm f/4 lenses.bit.ly/MICYvf

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053_RF_0514_ChromaLuxe.indd 53 4/9/2014 8:39 AM

7 Recording video with an HD-DSLR can seem like nothing more than a novelty for a photographer who is more ac-

customed to capturing still images. However, once you see the quality of HD-DSLR video, it’s hard not to be inspired to take advantage of this asset in your camera.

One thing that becomes quickly obvious, though, is that shooting great video takes more than just pressing the camera’s record button.

Video makes different demands on a videogra-pher than it does on a still photographer. As a result, there are different skills and accessories that are needed.

With that in mind, we’ve put together a list of several categories of products that are essen-tial for anyone who wants to become an adept !lmmaker. And for each category, we’ve picked speci!c products we feel are good !lmmaking tools with which to get started.

BY IBARIONEX PERELLO

CAMERA Virtually every new camera on the market these days can also shoot video. Whether the camera is built around a full-frame, APS-C or Micro 4/3 sensor, these imaging chips are larger than the 3/4- or 1/2-inch sensor commonly found in a video camera. These larger sensors, particularly a full-frame sensor, provide a shallower depth of field that is more compa-rable to a motion picture camera than a handy cam. Though a full-frame DSLR such as the Canon 5D Mark III has become the benchmark to which other cameras are often compared, models with smaller sensors are being used to produce professional quality results as well. And now with the advent of 4K capture, you can expect to see more consumer-level cameras o!ering ultra-resolution regardless of sensor size. The Panasonic LUMIX DMC-GH4 (left, www.panasonic.com) is the first consumer-level camera to do so at a fraction of the cost of other high-end models, including the Red series. The successor to the GH3, the GH4 fol-lows the form factor of a traditional DSLR, but it now features a maximum video resolution of 5840 x 2160. This not only produces footage that will look great on new 4K television screens, but it also provides the ability to crop, while still maintaining high-resolution quality. Though the APS-C sensor used in this series may not deliver the shallow depth of field of a full-frame sensor, its color rendering combined with its user-friendly form factor has made the series popular among videographers.

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NEUTRAL DENSITY FILTERWhen capturing video, the optimal shut-ter speed will either be 1/50th or 1/60th of a second based on the frame rate at which you are recording, making your aperture and ISO the only means by which you can adjust exposure. This can be problematic when you’re shooting under bright conditions, so you’ll have to reduce the amount of light allowed to pass through the lens. This is where a neutral-density (ND) filter becomes a valuable asset.

The Lee 100mm Filter Holder system (above, www.leefilters.com) provides the abil-ity to use 100mm filter lenses with a variety of filter thread sizes. This makes it convenient to use neutral density filters, including the com-pany’s new Big Stopper and Light Stopper, which reduce the light passing through the lens by ten stops or six stops, respectively.

LED LIGHTINGHD-DSLRs are often touted for their ability to produce incredible results under extremely low-light conditions. Despite that, video always looks better when the scene and the subject are lit. It provides better color, contrast and detail when it’s illuminated, which is why lighting becomes an essential part of a photographer’s kit.

The Litepanels Luma Pro (www.litepanels.com) delivers an LED light source, which is both strong and incredibly portable. The unit above delivers daylight-balance illumination in a 50-inch spread, can be easily mounted on the camera’s hot shoe or onto a camera rig, and is powered by six AA batteries or a D-tap power cable. It provides flicker-free results at any frame rate, as well as a consistent color temperature whether used at 100 percent output or dimmed down.

FOCUSING RIGStability is an important consideration when using an HD-DSLR for video capture. A focus-ing rig provides a much-needed platform for improving stability when using a hand-held camera. A rig also o!ers a more precise mecha-nism for manually focusing the lens as well as attaching more accessories such as a light, digital audio recorder or external LCD monitor.

The IDC System Zero Kit (www.idcphoto video.com) provides an ultra-portable alter-native to shoulder rigs. National Geographic photographer Bruce Dorn designed the gearless follow-focus system shown above to provide for smooth follow-focus adjustment with virtually any DSLR lens. When combined with a magnified eyepiece, it provides three points of contact with the camera to deliver maximum stability.

EXTERNAL AUDIO RECORDERWhen audio is recorded using an external micro-phone, the sound captured by the camera can be acceptable, though not great. For optimal quality, an external audio recorder is essential, al-lowing the microphone attached to the recorder to be placed in closer proximity to the subject than the camera itself. This is especially im-portant if you are recording multiple subjects. The Zoom H6 (www.zoom.co.jp), successor to the popular Zoom H4n, features four inter-changeable input capsules, X/Y, MS, Shotgun and Dual XLR/TRS Combo to make it incred-ibly versatile. Its four XLR inputs provide sup-port for a separate mic, including a wireless lavalier. The sensitivity of the mics combined with an uncompressed, high bit-rate of recording delivers audio far superior than anything that could be achieved in-camera.

VIEWFINDER ADAPTERWhen having to use the LCD for composition rather than the viewfinder, bright light hitting the camera screen can make focusing a chal-lenge. This is why using a viewfinder adapter, which shields the LCD from stray light as well as slightly magnifying the screen, becomes indispensable.

The Hoodman Custom Finder Kit for DSLR Capture (www.hoodmanusa.com) allows the company’s HoodLoupe to be secure when positioned on virtually any camera. The large eyecup provides a clear view of the screen, whether you are using a full-sized HD-DSLR or a smaller mirrorless camera. Even without the use of a focusing rig, the use of this accessory provides great stability, as the eyepiece is resting on the face, providing an additional point of physical contact.

MICROPHONE SELECTIONAs previously mentioned, a shotgun microphone, attached to your camera via the hot shoe or to a camera rig, isolates the sound from the subject and minimizes the sound created by the camera or the operator. Due to its narrow pick-up area, it’s a far better solution than what is provided with an on-board microphone. The RØDE VideoMic Pro (www.rodemic.com) is a shotgun mic that is designed around a "-inch condenser capsule that delivers a 40 Hz-20kHz response. When seated on a camera’s hot shoe, the microphone connects to the camera’s audio input using a 3.5mm minijack connector, providing a mono signal to both left and right channels. It includes a +20dB level boost designed specifically for use with HD-DSLRs.


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I n the !eld, director and photog-rapher Vincent Laforet doesn’t just bring a certain tool to a given

job—he brings a toolbox. “I shoot with a lot of different cameras,” Laforet says, “and it’s just like with lenses: Every one has its sweet spot. A combination of size, dynamic range, frame rates and resolu-tion makes you pick one camera over the other. I’ll use whatever is the right tool for the job.”

Shooting commercial videos or short

!lms, Laforet’s go-to camera is often the RED Epic-X, which he’s used since it was introduced in late 2011. “The RED is a great tool because of its size and weight and resolution,” he says. “It has the portability and the great image quality as well. I consider it an interesting bridge between still photography and video.”

Bridging those two disciplines is a key to Laforet’s success. He started out shooting photojournalism, earning a 2002 Pulitzer Prize as part of the New

York Times team covering post-9/11 events in Afghanistan and Pakistan. After going freelance with Laforet Visuals in 2006 (laforetvisuals.com), he moved to Los Angeles and shifted to commercial and !ne-art photography, often shooting aerial stills with a cinematic quality.

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Above and opposite page: Behind-the-scenes images from the Canon film Mobius, directed by Laforet and shot in the Mojave desert using a prototype Canon C300 cam-era. View the film at vimeo.com/30215350.

Whether shooting video or stills, image-maker Vincent Laforet says there’s no substitute for being prepared.

the !lmmaking issue


Two years later, Laforet created the short !lm Reverie—a pioneering 1080p video shot on a Canon EOS 5D Mark II DSLR—which went viral on YouTube and was viewed by millions within weeks of its release. “Reverie kind of changed a lot of things for a lot of us,” recalls La-foret. “I went into directing and DP-ing commercials and shorts, and I haven’t stopped since.”

That led to the 2011 Canon short !lm Mobius, which Laforet shot for the com-pany on a prototype EOS C300 in the Mojave Desert (pictured in this spread).

Now, many of his projects combining motion and imagery—including a recent ad for Nike featuring star athletes Kobe Bryant and Richard Sherman—are shot on the RED Epic with time-lapse photog-raphy shot on a DSLR. “For time-lapse and stills, DSLRs give you the best bang for your buck,” he says. “They have a larger sensor, a greater dynamic range, better resolution. But for motion, I’ll want the RED, or a similar camera, for its smooth cinematic capabilities.”

Whenever clients ask Laforet to shoot both stills and video, he does them at dif-ferent times. “I’ve never been a believer in doing both at once,” he says. “You’re using different parts of your brain, you’re approaching a shoot differently, and ultimately, when a big moment hap-pens you have to make a choice of which medium is going to get it—not a decision you want to be making. They are two dif-ferent disciplines, and they each deserve their own respect and time.”

Whatever the means of capture, Laforet relies on G-Technology drives to transfer, review and store data. “We are shooting mass amounts of data every day, between half a terabyte to a terabyte on average,” he says. “With the RED, you use SSD cards and then you copy those over to a variety of G-Technology products—I

use a G-Dock with G-DRIVES, or a more portable G-DRIVE Slim, depending on the job and the amount of stuff we have.” This allows his digital-imaging techni-cians to view work on a MacBook Pro while Laforet continues shooting. “They are constantly off-loading data and checking the integrity and the technical quality. And the G-DRIVE is the !nal storage place, since we don’t have !lm. I never have just one copy—in case the worst happens. With a G-DOCK, I can make two fast copies and give a copy to a client at the end of the day.”

Laforet pointedly mentions another key on-the-job tool. “The one thing that’s essential, that people don’t talk about, is a good concept,” he says with a laugh. “Whatever you shoot with, ultimately, it’s always about having a good story to tell.”

“[Photo and video] are two different disciplines; they each deserve their own respect and time.”

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the !lmmaking issue

BY JESSICA GORDON AND LIBBY PETERSON

Want to add video o!erings to your already-established photography business, but not sure where to start? Here are eight great, salable filmmak-ing ideas to add movement to the mix and make some extra bucks in return.

FILMMAKING ADD-ONS

1. THE STOP-MOTION VIDEOSophie Bayly and Simon Moore began their photography business Bayly & Moore in 2009 and shot their first stop-motion video with Canon 5Ds at a friend’s wedding that year; the duo decided at the time that rather than upgrading their gear to make films, they would opt for photo-based stop-motion videos. These days, around 60 percent of Bayly & Moore’s clientele asks for stop-motion videos, which take around 40 hours to make (excluding finding the right soundtrack) and for which they charge about $2,000. Having shot around 130 stop-motion videos thus far, Bayly & Moore are now marketing them as engagement shoots-only, which could possibly be used for save-the-dates and wedding invitations. “We never wanted to just be ‘going through the motions’ of making a film, because it’s such an involved process,” Moore says, adding that the wedding day stop-motions are particularly demanding. “Having said that, we’re suckers for wonderful weddings, and we’re constantly being talked into making stop-motion films by couples who’ll tell us what they’re planning for their wedding day and then say, ‘Is there any chance we could convince you to possibly consider doing one more stop-mo—,’ and we’re always like, ‘Yes! Let’s do it!’ ”

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4. THE WEDDING MUSIC VIDEOForget the highlights reel of cliché toasts and hard-to-hear audio on a couple’s big day. Films like “Louis + Jeanna” (pictured) by Switzerfilm (the 2014 WPPI Grand Filmmaking Winner) is set to a fun, catchy song (“Count on Me” by Mat Kearney), and each poignant moment corresponds to a di!erent beat of the music. It’s much more e!ective and watchable than an hours-long, traditional wedding video, and as Switzerfilm’s Joe Switzer says, the song choice is paramount. “Use a song that fits the couple,” he says. “You have di!erent cultures, venues and events, so match it up. We use Song Freedom for all our music because you don’t want to be limited on just using indie music. Artists we like right now are Mat Kearney, OneRepublic, Zerbin and The Afters.” The other attractive qual-ity about music videos? They’re 4 minutes or less. “The average play on YouTube is about 3 minutes, 30 seconds,” Switzer says. “You can still film all the wedding events, but by keeping the video short and sweet, your clients will actually be likely to share it on social media and other people might even watch it. Don’t overthink it; keep it simple.”

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2. SURPRISE WEDDING PROPOSALS ON FILMLast month, we highlighted a still photographer documenting surprise marriage proposals, but the service is equally viable for film. James Ambler, creative director and owner of Paparazzi Proposals has been capturing down-on-one-knee surprises since 2012, and while his company’s bread and butter is in still photography, he does o!er video as an option. While still photography goes for $495-575 for a standard package, video packages start at $1,400 because of the extra manpower and time spent editing (Paparazzi Proposals has contracted photographers in every major city in the U.S.). But that’s not to say it can’t be done. “When I first started out, I’d stick a camera body on a tripod and just let it run while I was shooting stills,” Ambler says. “That’s a good and easy way to start incorporating video into [proposal photography], just putting some movement into it and dropping in some pictures [in the final edit]. It takes about half a day to put it together nicely.”

3. THE SAVE-THE-DATE VIDEOWhether filmed to announce an engagement to loved ones or serve as an eco-friendly alternative to wedding invitations, save-the-date videos are catching fire. NST Pictures began o!ering these films as soon as the wedding videography company expanded its business from Japan to the U.S. in 2011. Save-the-date films may be a package add-on, but they also act as unique time-capsules, says Lindsay Quinn of NST Pictures. “Save-the-dates end up being fun little keepsakes that preserve the excitement of young love and engagement,” she says. Aside from the innate purposes of save-the-date videos, Quinn says they’re a useful way to let the bride- and groom-to-be get comfortable in front of the camera before the big day. “It’s a great way to test out our service without a huge commitment,” she says. “A pre-wedding shoot cancels out any doubt they may have about our services or products. These little films are a cinch to share; Quinn says couples can easily upload their save-the-dates to their websites and social media channels—plus, she finds that it’s best to “advertise them heavily during engagement season and the few months after. The virality brings us new clients all the time.”


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6. THE SLOW-MOTION VIDEOWe covered Slow-Motion Photo Booths in our January 2014 issue (see “Slow-Motion Photo Booths,” page 66), and five months later, we’re happy to report the trend is still hot; delivering a danceable slow-motion video is the quickest way to a happy client. Minneapolis-based The Studio MPLS Photo Booth rents booths to about 450 events per year and began incorporating slow motion in September 2013. “In the past six months we have done over 30 [slow-motion] gigs in 18 di!erent cities,” says MPLS director of sales and marketing Chris Meyer. “We get requests daily for our services for weddings and corporate events all over the U.S.” With a team of editors that completes the studio’s videos within four to five business days after the event, its slow-motion packages range from $1,499 to $4,899. “We typically find our wedding clients to be in the $2,200-$2,800 range,” says Meyer. While an outside photo booth company like The Studio MPLS is cer-tainly a consideration, Meyer’s suggestion for photographers who want to DIY their slow-mo o!erings is to “partner with a videographer (someone who may have the equipment already and know the editing) and to work together to provide the service to brides.”

5. THE CINEMAGRAPHHybrid photography walks an intriguing tightrope between still photography and motion, and its proponents argue that incorporating this medium into a photo or video business is practically necessary to keep up with the times (see “Stay-ing Animated,” Rangefinder, April 2014). A “cinemagraph” can present motion in a constantly looping image or highlight a focal point of a photo by setting it in motion. Since its launch this year, the popularity of Flixel’s Cinemagraph Pro for Mac has skyrocketed, with photographers discovering how e"ciently hybrid images can be made. “Photographers can now create cinemagraph imagery in a simple, elegant fashion and in a short amount of time, providing a new product to o!er their clients with a low cost and a high margin profit,” says Flixel co-founder and CMO Mark Homza. Exploring this genre is Las Vegas-based photographer Tracy Lee, who finds cinemagraphs a little more eye-catching than still photos. “While on average, people may just glance over a photo and move on, when they see a cin-emagraph, they stop, look at the entire im-age and want to see more,” she says. Lee’s been showing her cinemagraphs to clients so they can see what’s possible in market-ing their businesses, “and the response is always positive,” she says. “It often causes them to think of reasons to try and use a cinemagraph in their marketing, especially when you can insert the cinemagraphs into your social media and websites so easily.”

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8. BEHIND-THE-SCENES FAMILY AND BABY SESSIONSAs long as couples keep procreating, children and baby photographers will always have business. But what about upping the portrait ante with great memo-ries of how kids move, yawn and even cry? Ana Brandt began o!ering behind-the-scenes films of her newborns portrait sessions as teaching tools for other photographers. But after posting them on her YouTube channel, clients began inquiring about how to add a session video to their portrait packages. “Right now, I’m marketing these videos to my high-end and celebrity clients as a complimentary add-on,” explains Brandt, who recently shot just such a family session with Real House-wives of Orange County’s Heather Dubrow. “If a client is requesting it, it’s about a $300 charge added to my portrait fee. Like any new product, right now it’s not a money-maker. It’s a break-even, complimentary o!er. The money comes in the advertising and promotion and drawing in new clients.” As for process, Brandt brings a videogra-

pher along, whom she pays by the hour; he does a rough cut of the video (typically two hours for every hour of footage), and sends it to Brandt for review. Videos are uploaded on social media unless privacy is requested, as well as delivered on a logo’d USB with photo cover (“We spend the $50 for a nice USB case”). In response to the unexpected demand, Brandt launched a new YouTube channel showing more tightly edited videos aimed specifically at her clients. “Some of my older clients are saying ‘Gosh, I wish you would have done this a couple years ago!’ ” she says. “So I’m building a new product catalogue now, and video add-ons will definitely be a part of it. Within six months, it should really make a positive impact on our revenue.” Brandt is passionate about photographers taking the risk and adding video to their o!erings. “You can’t say ‘I can’t a!ord a videographer,’ ” she says. “My first videographers were interns four years ago. Over the years, I was able to fine-tune [my video o!erings], and take a portion of my salary and pay my videographer. That money is going to come back tenfold.”

7. THE SAME-DAY EDIT VIDEOFor photographers and videographers look-ing to be kept on their toes, the challenge of a same-day edit video might be the answer. As the name suggests, this video is shot and edited the day of the wedding and then shown at the reception later that afternoon or evening. Kevin Shahinian’s videography company Pacific Pictures provides this option for clients, as well as the Philippines-based company redsheep Cinema, which has about 90 percent of its clients opting for a same-day edit. The key, says Shahinian, is bringing on an editor who can put the video together as footage is being shot; Shahinian hires someone who can post up near the wedding venue while he shoots footage and runs it over peri-odically. Redsheep’s founder and creative director, Guj Tungpalan, says same-day edit videos have a special wow factor that serves as a great marketing tool online as well as a way to bring everything together for the couple. “I mean, just imagine every-thing unfold again at the end of your wed-ding,” Tungpalan says, “all those moments, big and small, that made up the day.” Shahinian admits that same-day edits are “definitely a creative challenge, but there’s a demand for them. Plus, it’s a great way to wow the bride and groom immediately, instead of having to wait weeks or months to see their video.”

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the !lmmaking issue

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WPPI 2014 Wrap-Up

Our Best Show Yet!WPPI 2014 took place in March, but two months later we’re still reliving the fun. Check out the new gear (pgs. 66-70), images from the show (pgs. 72-78), stats, and feedback from attendees below.

STATS AT A GLANCE

Number of platform and master classes:

“After making a very last-minute decision to come to WPPI this year, I can safely say it was one of the best things I’ve done for myself in a very long time. As I sit here trying to get back into the swing of things and still recover-ing from the lack of sleep, I also am feeling incredibly inspired and a sense of pride for my industry that I haven’t felt in quite a while. I can’t wait to implement some of the new things I learned while in Vegas and strengthen the bonds with the people I met. I’m already looking forward to next year. Thank you so much for such an awesome opportunity!”

—Erin Watson erinwatsonphotography.com

“You rocked it, man. Awesome show. Hoping to keep all the positive vibes I accrued during this show with me throughout the year. Great reminder of what an awesome industry we work in!”

—Becky Brooks, Animoto animoto.com/photography

“Such a remarkably FANTASTIC WPPI this year! Every little change and tweaked detail from years past made a big, positive di!erence. I loved WPPI last year, too. But, Jason, your hard work and new direction for 2014 was clearly felt and appreciated. Love the new direction, man!”

—Phillip Blume blumephotography.com

160300companies showcased

products, hosted demos and interacted with

attendees on the show floor.

More than 12,000 attendees represented 64 countries.

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Our Best Show Yet!

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Judging by all the positive feedback from attendees, this year’s WPPI Conference & Expo—which welcomed

over 12,000 attendees from 64 countries— was a tremendous success. One key reason was the three-day trade show, where over 300 companies showcased their newest products, hosted demos and conducted interactive talks on the Expo show !oor. Of course, all the company promotions didn’t hurt either, which ranged from iPads to canvases, and one $10,000 trip to Iceland to capture the aurora borealis on "lm for one especially lucky attendee. Yes, it was an alphabet of resources across two ballrooms, with every company in the alphabet on hand, from ACME Camera Rentals to Zookbinders. And as one would expect, it was the ABCs that seemed to draw the big-gest crowds—Albums, Bags and Cameras.

Although there were no new cameras announced at WPPI 2014, it was the "rst time the Nikon D4s, Hasselblad H5D-50c and Panasonic Lumix DMC-GH4 were shown publicly in the U.S. Needless to say, these cameras, as well as other recently introduced models, attracted plenty of attention as visitors got to try them out.

Hot New ProductsIt took me three days to traverse all the booths and play with new photo gear in WPPI’s two halls. The buzz? Without a doubt, this was the year for photo booths.

I lost count of how many companies were displaying photo booths, which ranged from simple setups in a box, such as Photobooth Supply Co., to chic-looking ones, like Snap-den’s Fire!y, to extravagant ones, like Ugly Duck Photo Booths with a setup that would

be good enough to double as a stage for a puppet show at a carnival. Needless to say, the kids loved it.

It would seem there is a growing and pro"table market for those photographers who want to venture into the photo booth business. These are all portable—some more than others—and enable an en-terprising event photographer to make additional sales on the spot.

You may not have heard of DNP, a maker of dye-sub printers, but it seemed as if these printers were being used by most of the photo booth makers. DNP had its own booth where the company was encouraging photographers who want to print higher vol-

ume snapshots to check out its surprisingly affordable dye-sub printers.

If you’ve ever wanted to watch a camera technician at work, you had your chance at WPPI, a draw that began at CES back in January when Canon had a repair room behind glass where visitors could watch technicians "x cameras and lenses. Both Sony and Panasonic had re-pair technicians in their booths at WPPI, and Canon had several technicians of-fering service for members of CPS in an adjoining room. Nikon’s NPS members could also avail themselves of repairs, but showgoers were not able to watch Nikon’s technicians at work.

WPPI 2014 Wrap-Up

The ABCs of a Trade Show:

Albums, Bags, Cameras (and More!)BY JOHN RETTIE

Above: UNDFIND was just one of many companies showing a range of camera bags that, like others, are looking less and less like traditional camera bags.

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SolutionsSpeaking of repairs, usually when a hard drive goes bad, it gets tossed. If you have a backup, it shouldn’t be too inconvenient, but if you don’t, you could be in real trouble. Staff members of DriveSavers (the company that nobody ever wants to use), told me they had several photographers come by and tell them the company had “saved their lives” by retrieving photos that were stored on a dead hard drive or storage card. Naturally, DriveSavers tells everyone to backup their images, not once but two or three times. But if you do lose those valuable images, the company can still retrieve them for you.

Aside from the major camera manufac-turers, the biggest booths were occupied by album producers and photo labs. As always, it proved to be ideal for new wed-ding photographers, since it’s so much easier to compare the look and feel of albums in person instead of relying on images and descriptions on a website.

The same could be said for products from suppliers of !ash drives such as Neil Enter-prises and Photo!ashdrive.com. It was only "ve years ago that Photo!ashdrive "rst had a small booth at WPPI where it displayed !ash drives with customized printing. This year, the company had a booth "ve times larger and it was drawing large crowds displaying the latest in beautifully custom-ized wooden boxes for holding !ash drives, prints, keepsakes and even commemorative bottles of wine.

The newest item being shown was a small

video player in a cardboard folder that can hold a 20-minute video or slideshow that plays automatically. It has a rechargeable battery and costs just $50, yet another way of presenting a digital album, like the ones Animoto produce.

Speaking of Animoto, photographers who use the company’s Pro service also have more control over editing stills and video clips down to 1/10th of a second (compared to one second previously).

SoftwareThere were fewer companies displaying ed-iting software, though OnOne Software drew crowds at its booth’s demos. Not far away, newcomer Macphun, a California-based company producing some great editing tools for Mac users, was also attracting attention as many of its U.S.-based staffers are ex-Nik Software employees who have an apprecia-tion for what wedding photographers need.

ShootDotEdit now offers a service that allows photographers to get an unlim-ited number of photos edited for a !at monthly fee of $279. Is this a trend? We will have to wait and see.

There were plenty of companies at WPPI offering studio management software [see “Taking Control of Your Business” in Range!nder’s February 2014 issue] and online proo"ng services. One new company was fotoShout, which offers software that helps photographers “amplify” their social media presence.

Website-building companies continue to

offer an important service and among them, Mopro had one of the largest yet simplest booths, as it contained nothing much be-sides several rows of iMac computers where attendees could sit down, try out the service and sign up on the spot.

Video ProductsThere were a few people walking around with camera stabilizers demonstrating the ability to capture steady action shots without a tripod. One was the Comodo Orbit (shown on pg, 68) with what could be described as a mechanical gimbal, while Hot Rod Cameras demonstrated the even more sophisticated Defy G2 with a motorized gimbal on the Panasonic booth. Incidentally, there was even a studio on the Panasonic booth broadcast-ing live from the show using Lumix GH3 cameras. Although traditional videographers might disagree, modern still cameras with video capabilities are good enough for cap-turing high-quality video clips at events.

That’s A Wrap WPPI is a big show, attended by profes-sionals who have bigger budgets and are searching for new products and ideas. Best of all, this is a show where attendees can buy products right on the show !oor. We saw plenty of photographers leaving with big boxes of stuff they’d purchased; others had items shipped to their studios.

Bottom, left to right: Photoflashdrive.com displayed an enormous range of wooden storage “containers” for flash drives and other mementos; Canon technicians worked behind glass while servicing cameras and lenses; you could hardly call Ugly Duck’s photo booth portable.

It took me three days to traverse all the booths and play with new gear.



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More Show Floor Products Worth NotingNavigating the show floor often means finding new cameras, printers and lighting equipment, but you might have completely overlooked some interesting yet less visible products, including everything from a $1,499 camera stabilizer system to a $7.95 camera button upgrade. Here’s a small sampling of what you might have missed on your first show floor walk-through.

WPPI 2014 Wrap-Up

W If you want to shoot cinematic-style video, you really need an image stabilizer rig such as the Comodo Orbit ($1,499). www.comodorigs.com

S MagMod is a brand new product funded through Kickstarter. The flash modifier ($89) uses a silicone rubber adaptor with accessories held in place by magnets. magnetmod.com

continued on page 70


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W CamRanger introduced a new motorized tripod head ($229.99) to further enhance re-mote capture capabilities. www.cam-ranger.com

W Fotodiox Pro sells lighting equipment and numer-ous adaptors, including this GoTough case, tripod mount and Wonder-Pana adaptor for using larger filters on a GoPro camera (basic kit costs $34.95). www.foto dioxpro.com

W Third-party lenses are gaining popularity, but so are on-camera flashguns. Nissin Digital showed o! its newest model, the i40 ($250 approx.), which goes on sale in June. www.nissin-japan.com

T Lenz-A-Hand is a handy grip ($39.99) for holding a long lens more steadily. It is held on by Velcro and can also be used to adjust zoom or focus. www.lenzahand.com

T JOBY makes far more than small tripods. Two of its newest products are the UltraFit hand strap with a universal base plate for DSLRs ($49.95) and a minimal, auto- cinching wrist strap ($14.95). www.joby.com

S ProDot is a shutter button upgrade ($7.95 for two) that must be one of the smallest-ever accessories. Cus-tom SLR claims it reduces fatigue, improves grip and lessens vibrations. www.customslr.com/products/prodot

WPPI 2014 Wrap-Up

continued from page 68

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“A Day in the Life” is more than a Beatles song; it represents a project that started over nine

years ago by Graphistudio to help pre-serve the memories of a much-anticipated annual conference and trade show.

Highlighted on the following six pages (in addition to an overview of some of Graphistudio’s books and albums shown at right) are the behind-the-scene looks at activities, master classes, platform pre-sentations, parties and special events, and the grand !nale (the awards ceremony) of WPPI, all captured by this year’s Day in the Life photographers: Danny Dong, Ella Gagiano, David Medina and Collin Pierson.

We’re hoping these images will not only help you relive some of the special moments from this year’s show but also make you wish next year’s show was al-ready here! Graphistudio will be publish-ing these images in their hand-crafted, Italian-made art books, which will be on display at future shows.

Graphistudio is a leading global supplier of commercial quality printed books that services photographers in over 128 countries. According to Mau-reen Neises, director for the U.S. and Canada operations, “Our vision is to help advance every photography studio we work with by providing innovative prod-ucts and solutions. We are working on a new wave of products that will change the way photographers do business.

For example, adds Neises, “Our trendy YOUNG BOOK appeals to new brides and is available in very modern materi-als. We are also working on new work"ow tools, which will be announced soon. Once we !nd success in one category, we keep moving—we are never satis!ed.”

To learn more, visit www.graphistudio.com.

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A Day In The Life of WPPIGraphistudio Presents

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G DANNY DONGdannydong.comDanny Dong started wedding photography in 2008 and was able to quickly grow his business from scratch to a high-end wedding studio in the San Francisco Bay Area within five years. In recent years, Danny has received awards from many international photographic competitions and his work has been well-recognized by the industry. This year, he served as a judge for the WPPI 16x20 Print Competition and also taught a master class at the conference. His current workshop is rated one of the most popular wedding photography workshops in Asia and he is very well-received by all his students.

ELLA GAGIANOellagagiano.com Ella Gagiano moved to Las Vegas from beautiful Cape Town, South Africa, where she got her degree in graphic design and fell in love with photography. Ella, along with her husband Jason, built the high-end brand Ella Gagiano Photography that provides photography and video to discerning couples from all over the world. In only three short years, they have also built another photography studio, High Class Studios, which provides complete wedding services such as photography, cinematography, photo booths, and DJ and lighting services.

DAVID MEDINAdavidmedinaphotography.comDavid Medina is an international wedding and lifestyle photographer based in Puerto Rico. After studying advertis-ing photography in 1990, he worked as a freelance editorial shooter and as a photojournalist. In 2005, as a natural next step in his photographic journey and passion for storytell-ing, he opened his own studio specializing in documentary wedding photography. As David’s work evolved throughout the years, his wife joined the studio as a photographer to better represent their passion, vision and mission for fine-art storytelling photography, marriage and family. In 2013, they rebranded and became Hidden Kiss Studio.

COLLIN PIERSONcollinpierson.comCollin Pierson is a lifestyle and destination wedding pho-tographer based in Chicago, Illinois. Combining his unique past in photojournalism, sports and fashion photography, he has created a style that is both candid and dramatic. Collin’s passionate and personalized approach toward his profession and clients is reflected in the images he cap-tures of their life-defining moments. When he isn’t traveling the world taking photos and finding new inspirations, he loves to cook and learn new languages.

The WPPI 2014 Day in the Life Photographers



WPPI 2014 Wrap-Up

Danny Dong

Clockwise from top left: Jerry Ghionis presents his “Creativ-ity, Composition and Cropping” Platform Class; the Print Competi-tion winners are revealed; WPPI director Jason Groupp high-fives Andrew “Fundy” Funderburg during the Members-Only Social; before Jerry was giving a class or running the Print Competition with wife Melissa, he was hosting the big Saturday night presenta-tion, “What Would Jerry Do?”; Roberto Valenzuela sits front and center during Jerry’s Platform.

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Ella Gagiano

Top: Jim Garner during his “Transform & Thrive!” Platform class. Middle (left and right): Hands-on workshop on the Vegas strip. Bottom, left: Desert shoot. Bottom, right: Triple Scoop team members.

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WPPI 2014 Wrap-Up

David MedinaClockwise from top right: Unique take on a show floor ex-hibitor space; Dixie Dixon presenting at the Nikon booth; Yervant speaking in the Graphistudio booth; riding the escalator to education; Melissa Ghionis during the awards ceremony; Melissa Ghionis applauds husband Jerry during the awards ceremony.

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WPPI 2014 Wrap-Up

Collin Pierson

Clockwise from above: The Marquee Ballroom; spotlight on Tamara Lackey; Cath-erine Hall and Luke Edmonson with fellow judges during the Print Competition; getting ready for the doors to open; attendees enjoying themselves; Kelly Brown accepting one of her numerous awards during the awards ceremony; Dennis Orchard judges a print; Michael Greenberg at his “Lighting on the Run!” Platform Class.

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PHOTO © JASON WALKER

As increasingly more still photog-raphers expand their business models to include multimedia

packages and video coverage for their clients, the need for acquiring a new skill set also increases. This year, WPPI intro-duced a Filmmaking Track offering an impressive roster of talent and courses, including “Directing Motion with Vin-cent Laforet,” “Wedding Cinema Crash Course” led by Ray Roman, “Concept Filmmaking” with Kevin Shahinian and, among several other presentations, “WPPI Filmmaking 4-Day Class” with Joe Switzer. As Switzer—who started Switzer!lm as a $150 wedding video on a VHS tape, and in just a few years transformed into a wedding photo and video dream team—puts it, “The best way to learn is by doing.”

Adds WPPI director Jason Groupp, “This year we added Filmmaking as part

of our educational tracks at WPPI be-cause, as with our photography programs, I wanted to have some hands-on classes that would lend to real world experience. And what better way to do that then by covering a live event, and turning the edit around in a short period of time?”

The four-day, deep-immersion class at WPPI had Switzer leading ten stu-dents through the A-to-Zs of the me-dium, which entailed writing, shooting and editing the of!cial WPPI 2014 !lm (vimeo.com/88924900). Switzer says that at the time he had no idea what to expect but knew it would be great regardless. “A few students had dabbled in video before, but 80 percent of them were like, ‘Where is the record button?’” Switzer says with a laugh. Everyone in the class, he adds, was curious, excited and interested in a fu-ture in video and !lmmaking. Students

learned how to use stabilization tools, glidecams, lenses and more.

The movie-making process went like this: Starting on a Sunday afternoon, Switzer and his ten students met Groupp to go over the script and begin produc-tion of the !lm. “I was fortunate to be at this !rst meeting with the crew, and I immediately felt a chemistry forming between these guys,” Groupp recalls.

During the next four days, this team worked constantly, shooting late into the night at WPPI events, in the hallways, on the trade show "oor and in a small con-ference room huddled around a laptop, each taking turns with editing.

On Wednesday evening, the night of the WPPI Awards Ceremony, the class de-buted the !nal “Hi-Five Highlight” Film. “On stage they put their arms around each other in nervous excitement as the !lm played, which ended in a standing ovation,” says Groupp.

Adds class attendee Beau Hobson, “I learned so much working with Joe and his crew! Just to be able to observe the little things they do made my work so much better as a videographer. It’s now a couple of months later and I still apply what I learned every single day.”

Switzer explains, “One of the key lessons the group came away with here is that once photographers want to do video, they think it has to be complex, but it doesn’t” (see pg. 43). “You just need to make an impactful two-to-three minute video.”

WPPI 2014 Wrap-Up

Movie-Making Crash CourseBY JACQUELINE TOBIN

Left: Joe Switzer (center) with his film class.

WPPI 2014 “Hi-Five Highlight” Film• 100 percent filmed by WPPI workshop students

• “Vegas “Baby” Music licensed by Song Freedom

•Artist: Blue Stahli• Video Gear provided by lensprotogo.com

Vimeo.com/88924900

Presented by:

VISIT WWW.BESTFRIENDSPHOTOCONTEST.COM

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ENTRY FEES • $25 • $15 FOR WPPI MEMBERS • NEW! $5 EACH FOR SOCIAL MEDIA ENTRIES $15 EACH FOR VIDEO ENTRIES

JUDGES: CLAUDIA KAWCZYNSKAEditor-in-ChiefThe Bark

KEN DRAKEPet PhotographerZoo Studio

JESSICA TRINHFounder & PhotographerProject Let it Rain Love SHERI WAKEPhoto ProducerDiscovery Communications

best friendsTHE ULTIMATE ANIMAL PHOTO CONTEST

CATEGORIESDOMESTIC ANIMALS • WILDLIFE ANIMALSMY PET & ME • ANIMAL HUMOR • SOCIAL MEDIA • VIDEO

PRIZESOne grand-prize winner will receive:• $1,000 cash• A Full Conference Pass and three Master Classes to WPPI 2015• A Rangefinder subscription

All first-place winners (excluding social media) will receive:

• A $100 Amazon gift certificate• A Rangefinder subscription• A Full Conference Pass to WPPI 2015

All winning images, including social media, will be featured in the July issue of Rangefinder as well as an online gallery.

DEADLINE : MAY 28, 2014

A Portion of the Proceeds with be donated to Project Let it Rain Love

2014 best friends cfe.indd 1 4/14/14 6:10 PM


16X20 PRINT, ALBUM AND FILMMAKING WINNERS' GALLERY

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SPONSORED BYwww.wppiawards.com

THIS YEAR’S WPPI 16X20 PRINT, ALBUM AND FILMMAKING COMPETITION HAD A COMPLETLY REVAMPED PROCESS AND JUDGING SYSTEM, AND WE COULD NOT BE MORE PLEASED WITH THE RESULT.Our judges and print handlers plowed through 2,544 entries this year, a 20 percent increase from last year. In this gallery, we honor our Grand Prize and First-place winners in eight divi-sions and 27 categories. We hope you are as inspired by the winners as we were. To view all First-, Second- and Third-place winners, visit the website below.

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Below: “Deanna and Dan,” from First-place album winner Alex Albojer. See more of Albojer’s winning work on page 94.



1ST PLACEPREMIEREJORGE CASTILLO “JOURNEY”

PREMIERE



PHOTOJOURNALISM

GRAND AWARDWEDDING PHOTOJOURNALISM FENG HE “UNTITLED”

1ST PLACENON-WEDDING PHOTOJOURNALISM

SAM SCIARRINO“UNTITLED”



GRAND AWARDBRIDE AND GROOM TOGETHER: WEDDING DAY DIDAR VIRDI “ASIAN PRINCESS”

WEDDING



1ST PLACEBRIDAL PARTY/FAMILY AND FRIENDS ROCCO ANCORA “THE BEST MAN”

1ST PLACEWEDDING DETAILS SUSAN STRIPLING “UNTITLED”

1ST PLACEENGAGEMENT JOHNSON WEE “UNTITLED”

1ST PLACEBRIDE OR GROOM ALONE: WEDDING DAYDEE GREEN “JAPANESE BRIDE”

WEDDING



1ST PLACEHIGH SCHOOL SENIOR CHERYL WALSH“THE RED SWAN”

1ST PLACECHILDREN

KELLY BROWN “GOOD THINGS COME IN”

PORTRAIT

GRAND AWARDANIMALS/PETS

KEN DRAKE “SONIC SHAKES OFF”



1ST PLACEBEAUTY/BOUDOIR JOSEPH COGLIANDRO “UNTITLED” 1ST PLACE

INDIVIDUAL KELLY BROWN “THE DIVINE”

1ST PLACEGROUP KELLY BROWN “DON’T WANT TO LOSE YOU”

PORTRAIT



1ST PLACECOMPOSITEKELLY BROWN “WHY ME?”

1ST PLACEFASHION CHRISTIAN LALONDE“METALLIC FLAIR”

GRAND AWARDILLUSTRATIVE PETER ROSSI “ENLISTED 1952”

CREATIVE

1ST PLACECOMMERCIALCHRISTIAN LALONDE“TRUMP GRAND STAIR”



CREATIVE

1ST PLACEFASHION CHRISTIAN LALONDE“METALLIC FLAIR”

1ST PLACEIN-CAMERA ARTISTRY RYAN SCHEMBRI “UNTITLED”

1ST PLACEBRIDE AND GROOM TOGETHER:

NON-WEDDING DAY MALIA JOHNSON

“BRAVING THE STORM”

1ST PLACEBRIDE OR GROOM ALONE: NON-WEDDING DAYJOHNSON WEE “UNTITLED”



FILMMAKING

GRAND AWARDWEDDING/ENGAGEMENT SHORT FILM MARK WIEMERS/SWITZERFILM“LOUIS + JEANNA”

1ST PLACEVIDEOGRAPHY COMMERCIAL/ILLUSTRATIVE SHORT FILM MARK WIEMERS/SWITZERFILM“MILWAUKEE BREWERS”


GRAND AWARDEVENT/INFORMALNADINE SAACKS “PERKAL BROS”

ALBUM

RF_16X20Gallery.indd 93 4/15/14 11:21 AM


1ST PLACEWEDDING (SINGLE PHOTOGRAPHER) ALEX ALBOJER “DEANNA AND DAN”

ALBUM



1ST PLACEENGAGEMENTROB GREER“VADER’S FIST 501ST LEGION”

1ST PLACEWEDDING (MULTIPLE PHOTOGRAPHERS OR STUDIO)

ALEXANDER NOZDRIN“AREKCEÚ U ANNÁ”

ALBUM

RF_16X20Gallery.indd 95 4/15/14 10:39 AM


JERRY GHIONIS CO-DIRECTOR

RYAN SCHEMBRIWEDDING

DAVID A. WILLIAMSPREMIERE

CHRISTIAN LALONDECREATIVE

BAMBI CANTRELLALBUM/

IN-CAMERA ARTISTRY

TONY CORBELLPORTRAIT

ROCCO ANCORAWEDDING

DENNIS ORCHARDFILMMAKING

MELISSA GHIONISCO-DIRECTOR

THANK YOU

THANK YOU TO ALL OF OUR WPPI 2014 16X20 PRINT, ALBUM AND FILMMAKING COMPETITION JUDGES, PRINT HANDLERS AND VOLUNTEERS for extending their time, talent and knowledge to the wedding and portrait community!

A special thank you to our competition directors and chairs! (listed below)

PHOTO © ROB GREER / WWW.ROBGREER.COM


^^ WVY[YHP[WYVMLZZPVUHSJVT

^^ WVY[YHP[WYVMLZZPVUHSJVT

Rangefinder May 2014.indd 1 14/04/2014 11:11:25


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product roundup

Flight StyleAirplane-Ready Camera BagsBY PETER KOTSINADELIS

P


Above: Hold Fast’s Roamographer Bag is where “vintage esthetics meet modern-day function,” according to the company’s website.

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product roundup

For your refer-ence, a carry-on bag cannot exceed 45 linear inches, nor have any one dimen-sion exceed 22 x 14 x 9 inches, in-cluding a handle and wheels.

Additionally, personal items are shoulder bags, purses, laptop bags, etc. that do not exceed 17 x 10 x 9 inches. Should a camera bag of this size be used, the photographer has the option of using a carry-on bag for other gear, clothing, etc.

22 in

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17 in

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14 inches 10 inches

9 inches9 inches

HOLD FAST’S ROAMOGRAPHER

The Roamographer is a luxury camera bag made from American Bison Leather that comes in either brown or black. This beautiful bag has a removable camera insert with adjustable divid-ers and a !ap with a zippered pocket underneath that can be folded back for quick access to its contents. There is an interior pocket for an iPad or up to a 15-inch laptop and six small pockets around the outside of the insert for small items.

A shearling-lined shoulder strap is used for carrying the bag, but it can also secure a small camera on the outside that can slide up the strap at a moment’s notice.

Bridle leather straps with buckles secure the bag closed, with a shorter leather strap in the center providing quick opening and closing when used while shooting. The Roamographer also includes carrier straps for a tripod and a matching luggage tag wallet.

PRICE: $495WWW.HOLD-FAST.MYSHOPIFY.COM

Smaller airplanes, limited storage space and the recent announcement that United Airlines (for one) will be more rigorous in enforcing size requirements for carry-on luggage all spell trouble for the photographer on the go.

Recognizing this trend, bag manufacturers developed new “airplane-ready” bags designed to meet size requirements for carry-ons. To help photographers decide which travel bag is best, here are some of our favorites to take with you on your flight (that look stylish to boot).

THE LONDON BACKPACK BY EPIPHANIE BAGS The versatile London Backpack from Epiph-anie can be worn as a backpack or used as a standard shoulder bag. With four touch-fas-tened adjustable dividers, it’s large enough to hold a camera with an attached lens, a long lens like a 70-200mm f/2.8, one or two extra lenses, a !ash and other accessories. A foam-paneled pocket inside the bag safely holds an iPad or laptop up to 15 inches.

Two front and side pockets, an inte-rior zippered pocket and a rear zippered pocket provide considerable storage for accessories and other items, while the rear zippered pocket can also be converted into a sleeve, allowing you to place the bag over a rolling luggage cart handle.

Made from water-resistant synthetic leather, the London comes in four colors.

PRICE: $224.99WWW.EPIPHANIEBAGS.COM

product roundup




THINK TANK AIRPORT SERIESThink Tank Photo has recently debuted three new airplane-ready rolling bags as part of its Airport Series line. These bags have greater security and added protection for photog-raphy gear with front and back cable locks, a TSA combination lock and Think Tank’s Security Plate “Lost and Found” service.

The Airport AirStream is the smallest bag in the lineup and meets most international carry-on requirements but will still hold a large 400mm lens, multiple DSLRs and lenses, and other items. Next in size is the Airport International V2.0, followed by the Airport Security V2.0. The latter not only holds a considerable amount of gear, but it also features removable emergency shoulder straps for carrying the bag when rolling is not possible.

All bags come with a monopod and tripod holder, a seam-sealed waterproof rain cover, an organizer inside a zippered front pocket for items such as pens, memory card wallets, notepads, etc. and a front pocket for carrying a laptop.

PRICES: AIRPORT AIRSTREAM, $339.75; AIRPORT INTERNATIONAL V2.0,

$389.75; AIRPORT SECURITY V2.0, $414.75WWW.THINKTANKPHOTO.COM

DOMKE NEXT GENERATION Announced earlier this year, the Domke Next Generation line com-prises all shoulder bags, making them ideal as carry-ons. Next Genera-tion builds on the idea of a working photographer bag, but it adds new features such as Domke’s patent-pending GearProtex insert and Pock-etFlex storage component system.

The GearProtex system is a unique way photographers can organize the inside of their bag into compart-

ments of varying size and shape using bendable, self-adhering separators. PocketFlex is an additional system of pockets, patches and pouches that adhere to the bag’s interior.

Two new bag designs are the Director and Image Maker. Both are more stylish, lighter and offer dimensions different from previous Domke bags.

PRICES: DIRECTOR, $249.95; IMAGE MAKER, $289.95

WWW.DOMKEPHOTO.COM

MANFROTTO ROLLER BAG 70The Manfrotto Roller Bag 70 is a profes-sional-grade bag designed to hold two pro-sized DSLRs, two long lenses such as a 70-200mm f/2.8, four to !ve additional lenses, two "ashes, a tablet, tripod and more. This airplane-ready roller features Manfrotto’s Camera Protection System speci!cally engineered to ensure a high-level of protection and shock resistance. The exterior has a water-repellent coating and an Exo-Tough Construction that buf-

fers sharp impacts. A laptop compartment holds up to a

17-inch laptop and a foldout weather protector for full protection from the ele-ments. Top, side and base grip handles, external tripod connections, a zippered pouch and pocket on the outside of the bag for document and other items are all designed to accommodate the traveler.

PRICE: $407WWW.MANFROTTO.US

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LOWEPRO PRO-ROLLER X-SERIES AW ROLLERSJust released this past March, the Lowepro x100 and x200 AW (All-weather) rolling bags are two new airplane-ready bags based on proven designs that incorporate a new patent-pending MaxFit System and the patented AW Cover. The MaxFit System uses micro-!tting adjustable, interior dividers to pack camera gear closer to improve existing interior space, while the built-in AW Cover offers pro-tection from heavy rains, snow, sand, dust and even hot sun. The exterior is made of high-impact ballistic nylon for greater protection when traveling.

The unique characteristic of these bags is Lowepro’s Reserve Pack. This feature allows you to unzip the interior, remove it from the roller case and carry it as a backpack. The x100 and x200 come with locking zippers and a TSA-approved lock.

PRICES: X100 AW, $369.99; X200 AW, $399.99 WWW.LOWEPRO.COM

KELLY MOORE’S LIBBY BAGKelly Moore creates fashionable bags designed to not only keep you organized and protect your gear, but they also look great. The Libby—named after Moore’s friend—is one of the com-pany’s most popular airplane-ready bags and is designed for

use as a carry-on. This bag will hold a camera with grip and lens attached, a 70-200mm f/2.8 lens or other lens up to 10 inches, "ash, laptop and other items. The Libby includes a removable interior basket, adjustable dividers and plenty of pockets to store whatever you like.

All Kelly Moore bags are made of lightweight, handmade, water-resistant materials in a variety of colors and come made with Antique Brass or Silver Hardware.

THE BERLIN BAG FROM ONAIn celebration of 100 years of Leica photography, ONA has announced its limited-edition Berlin bag designed for the Leica M-System. Handcrafted and made from full-grain leather which is promized to develop a rich patina over time, the Berlin has a signature Leica red interior that is fully pad-ded and customizable and capable of carrying one Leica M-System camera, two to three lenses, an iPad and other small personal items.

Other attributes? “A zipped organizer pocket, a convenient removable top-grab handle, antique brass buckles, red rivet accents and a streamlined back pocket,” according to the company website.

PRICE: $369 WWW.ONABAGS.COM

PRICE: $249 WWW.KELLYMOOREBAG.COM



During the two decades that I have been penning this column on new digital gear, I have never once come

across a technology that is so appealing to photographers (yet so divisive for most everyone else) as drones.

Radio controlled (RC) planes and helicop-ters !own by hobbyists have been around for many years and have never caused much of a problem. In fact, they are deemed so insigni"cant that the Federal Aviation Administration (FAA) all but ignores them as long as they are !own for fun, kept away from urban areas and airports, and do not !y higher than 400 feet.

But attach a camera to one and !y it as a professional photographer, and you’re breaking the law, according to the FAA.

In theory, the FAA says you can only !y a helicopter, manned or unmanned, for com-mercial use if you are a certi"ed helicopter pilot and carry millions of dollars in liability insurance. Yes, believe it or not, the same regulations apply to small three-pound toy helicopters as to a full-size helicopter.

A DRONE BY ANY OTHER NAMENaysayers who don’t like the idea of photog-raphers using RC helicopters for photogra-phy call them drones, as do many others, including me. Drones, though, have a nega-tive connotation—especially military ones— as they are !own remotely, far out of visual sight from the operator. RC quadcopters, or multi-rotor helicopters used by photog-raphers, are controlled by an operator who retains visual sight of the copter and should not, strictly speaking, be called drones.

Drones are such a hot topic (especially since Amazon announced it is planning to use them to deliver packages), that they continue to make news. Drones are discussed everywhere from tech blogs to NPR; even CBS’ 60 Minutes got in on the controversy with a segment in March. (The topic also made the front page of my local newspaper as I was writing this column).

Surprisingly, the news articles have been generally in favor of RC copters, touting their many positive aspects—not just for photography, but also for as-

sisting farmers in managing crops and livestock as well as aiding rescuers in disasters. After all, an RC helicopter can !y in places too dangerous for humans or too restricted for a full-size helicopter.

Recently, a photographer was "ned $10,000 by the FAA for using an RC plane for commercial use. He fought the "ne and, to many photographers’ delight, the judge in the case dismissed it and went as far as to say the FAA was way out of line in trying to con-trol small unmanned aerial vehicles (UAVs).

Does this mean it’s now safe to use an RC copter for photography? In theory, yes, but the FAA is appealing the case, so the whole situation is still in legal limbo.

HANDS-ON EXPERIENCE WITH A DJI PHANTOM 2 VISIONI’m sure many readers have seen RC heli-copters in !ight at trade shows and watched stunning aerial videos captured by them out

The Flying Camera Drone ControversyBY JOHN RETTIE

Above: This DJI Phantom enabled a pho-tographer in Baja to capture some close-up motorcycle action at night.

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in the open. In each case, they look relatively easy to !y. However, the only way to really "nd out is to try it yourself.

Without a doubt, the RC quadcopter that is garnering the most coverage at present is the DJI Phantom. It was a hit at the PMA Show at CES back in January (see my column in the March 2014 issue of Range!nder) and is being sold by many photo retailers, including B&H Photo.

DJI is based in Hong Kong and the com-pany has experience in the commercial "eld, making some large RC copters that cost sev-eral thousand dollars. Much of the technol-ogy has been adopted for the DJI Phantom 2, which costs just $679 without a camera, or $1,219 for the 2 Vision, which includes a built in 14-megapixel HD camera.

DJI recently lent me one for review. It arrived within 36 hours of leaving the factory in China and the customs label listed it as a “toy.”

EASY SETUP, DIFFICULT TO FLY Unlike expensive RC quadcopters that re-quire assembly, the Phantom is ready to !y once you have charged the battery, screwed on the four rotors, and attached a Wi-Fi booster and an arm on the controller for holding a smartphone.

It took a few minutes for the copter and my iPhone to "nd each other and connect. I also had to calibrate the built-in compass and make sure it was receiving GP signals.

Once all that was done, I turned on the copter and made sure I was clear of two friends spotting for me. Rather than test the bird at home, I went out into the des-ert where there were no humans or power lines to worry about.

The training manual takes you through several steps that get progressively more dif"cult. The "rst step was easy: the copter lifted straight up and then came down safely to land. After doing this a couple of times, I was con"dent that I could !y it away from me and get it back easily. Wrong; it’s very dif"cult orienting yourself as you try to turn the quadcopter around and head back, so I had to land it away from me, but managed to do so safely.

I tried again, and this time it landed on a slope, causing the rotor blades to hit the dirt and chip. This put the copter off balance, so

it would not take off in a straight line. Like so many of us, I had skipped part of the les-sons and had not taken each baby step. Nor had I set it up so it would return “home” automatically.

Earlier, when I asked two photographers who have ventured into the world of aerial photography, they both said, “You will crash.” They were right. It turns out, unsur-prisingly, that learning to operate a RC heli-copter is not so easy. I’ve checked numerous online forums, and aside from longtime RC enthusiasts who tend to be older hobbyists, most successful operators are teenagers or people in their 20s. Perhaps they become “naturally” skilled because they grew up with computer games?

Fortunately, DJI includes four spare rotors, so it was easy to repair the copter. Unfortunately, I’ve been unable to do any more practice !ights; it has been too windy where I live. (I plan to do a blog post on my hands-on experiences in upcoming months.)

READY OR NOT?If all of the above debates about the realities of owning and operating a RC helicopter camera are discouraging you from even contemplating using one in your business, I would not blame you. However, if you feel con"dent that you or one of your staff (prob-ably a youngster who will !y it for free) can learn to operate one safely, it’s potentially worth thinking about adding one to your arsenal of photographic equipment.

Even if you do nothing more than use one to go straight up and snap a few still shots overlooking a reception or wedding venue, you will be able to get shots that are likely to be impossible to get any other way. If you consider the copter to be a toy and you give away the photos, you will, strictly speaking, be within the FAA’s voluntary guidelines.

In an ideal world, the FAA will come up with some concrete rules and regulations, which will take away the silly ambigui-ties that exist right now. The FAA says it is working on regulations but is not due to have them ready until sometime next year. In the meantime, more photographers are using RC copters to take unique still photos and video, so there is increasing pressure on the bureau-crats to clear up the confusion.

We can hope that the regulations will be

determined by the size and weight of a quad-copter as much as anything, and that there will be few restrictions on a small, easily con-trolled quadcopter weighing a few pounds, with safety features such as automated return home. Surely these machines will be just about as safe as many tools we already use, like ladders and jib beams.

MORE CHANGES COMINGIf you’re not ready to jump into the world of RC copters now, the situation should improve radically in the next year or so, even without an FAA ruling. Just a couple of years ago, an RC copter capable of tak-ing pro level video or stills would have cost several thousand dollars. Now, thanks to mass marketing—mainly by Chinese com-panies—and the rapid deployment of more sophisticated electronic controllers, copters are getting smaller, cheaper and easier to operate.

There is even talk about developing tethered copters that, while restricting movement to a smaller area, will make it even easier and safer to operate. Better yet, having a wire (not unlike a long dog leash) connecting a copter to the operator will take it out of the jurisdiction of the FAA and free us up from being tethered to overzealous rules and regulations.

Top: This heavily modified RC helicopter shooting footage at the Mint 400 o!-road race required an operator for the copter, another controlling the RED camera and two assistants who acted as spotters and kept the extra batteries charged on a portable generator.

Above: Currently the DJI Phantom 2 Vision, with a 14-megapixel HD camera on board, is regarded by many as the most sophisticated, safest and a!ordable ($1,219) RC camera copter on the market.

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106_107_RF_0514_BH_lr.indd 107 4/8/2014 2:49 PM


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Adobe Photoshop Elements remains the most popular imaging pro-gram among enthusiast photog-

raphers and has a growing number of professional photographers checking it out as an alternative to Adobe Photoshop CC. However, for many professionals, without layer support for 16-bit images, smart objects, a pen tool and paths panel, the full complement of adjustment layers, smart !lter support and more, Photoshop Elements isn’t powerful enough to meet their needs.

With the release of Elements XXL 2, it may be time for pro photographers to look even more closely at Photoshop Elements. Elements XXL 2, from Harald Heim’s The Plugin Site, adds 230 fea-tures to Photoshop Elements, over 100 of which are new to this latest release of Elements XXL.

The available features are dependent

on the version of Photoshop Elements you have installed. For our purposes, I’ll assume you’re using the current version, Photoshop Elements 12, which makes available the full complement of Ele-ments XXL 2 features.

FULL INTEGRATIONUnlike many plug-ins that hide the

Elements XXL 2

BY STAN SHOLIK

Above: Using the 16-bit workaround in Elements XXL 2, I was able to apply adjust-ments to the original RAW file and output a flattened 16-bit image that retained all of the smooth gradations in the sky for an inkjet print. Below: You access the Elements XXL 2 16-bit workaround from the new Render menu (left). This converts the 16-bit file to and 8-bit file with embedded 16-bit data. When you are finished editing, you convert the image back to a flattened 16-bit file from the Render menu (right).

Powerful new plug-in expands Adobe Photoshop Elements to a pro-size level.

!rst exposure

SOFTWARE REVIEW

RF_FirstExposure.indd 108 4/14/14 11:33 AM


interface when active, Elements XXL 2 integrates completely into the Photoshop Elements user interface. For users unfamil-iar with Photoshop, this may not seem im-portant, but for Photoshop users it presents a workspace that looks very familiar.

Integration is so complete that if the additions were not highlighted in blue, you would have dif!culty knowing they are there. Once you become familiar with the additions, you can disable the highlighting.

Photographers who have tested Photo-shop Elements and decided to stick with Photoshop generally do so because it lacks one or more essential tools in their work"ow. For me, Photoshop Elements 12 lacks the full complement of adjustment layers, especially Curves, and it lacks support for 16-bit images. These needs are answered with the addition of Elements XXL 2 to Photoshop Elements 12.

Elements XXL 2 not only adds the Curves adjustment, it also adds Exposure, Vibrance, Color Balance, Channel Mixer, Black & White and Selective Color. With the adjustment layers already in Photo-shop Elements, the only adjustment miss-ing is Color Lookup. Those few who have !gured out how to use it will need to stick with Photoshop.

16-BIT RAW POWERAlthough you can open a RAW !le as a 16-bit image in Photoshop Elements, sup-port for 16-bit images is lacking for many tools. Elements XXL 2 performs a work-around, making a wide range of tools and !lters available to adjust 16-bit images.

The plug-in does this by converting a 16-bit image to a special 8-bit document with embedded 16-bit data. You can then apply smart !lters and add layers, make adjustments and !nally render everything to a new "attened 16-bit image.

You can save the 8-bit workaround image and return to it at a later time, make further adjustments and render a new "attened 16-bit image. There are 29 tools available to use on 16-bit images in Elements XXL 2, as well as the ability to switch between 8-bit and 16-bit modes as needed. The workaround is a compromise, as the !nal rendered image may end up with an actual bit depth of less than 16

bits. The Render menu of Elements XXL 2 includes a Check Bit Depth command that you can use to see the actual bit depth of the image. Because of the lack of full 16-bit support in Photoshop Elements 12, you are forced into this compromise, but at least Elements XXL 2 offers greater freedom when processing 16-bit images.

By using the Elements XXL 2 Color Range feature to create a selection based on colors and tones, and the Quick Mask mode to create a mask from the selec-tion, it is possible to perform sophisticated masking on 16-bit images. The Curves, Channel Mixer, Fade and Apply !lters are also available for 16-bit images using the workaround.

SOME COMPROMISESElements XXL 2 also adds a Pen tool at the bottom of the Tools panel and a Paths panel

in the Window menu. As with 16-bit support, these, too, are compromises. The Pen tool ac-tually activates the Photoshop Elements Text on a Path tool. Elements XXL 2 has modi!ed its behavior so that the path is no longer deselected when you switch to another tool.

In the Tool Options bar for the Pen tool, you click the Modify button, and dots (an-chor points) appear along the path. Drag these dots individually to modify the path. To reposition the path, activate the Draw icon, hold down the Control key and drag the path to a new position.

A major compromise with the Elements XXL 2 Pen tool is the inability to draw curves. You cannot add an anchor point in

Below, left: Elements XXL 2 moves the Actions panel above the preview window. The 20 ac-tions from Photoshop Elements 12 are included, and you can load others that you create.

Middle, left: Additions to Photoshop Elements provided by Elements XXL 2 are highlighted in blue. They are present throughout the interface and add functionality deep into the menu structure.

Middle, right: With Elements XXL 2 installed, you have the ability to covert an image to a re-editable Smart Object from the Layers menu.

Bottom: After converting the image file to a Smart Object, I masked the boring sky, replaced it with a new one, and made adjustments and sharpened the image using Smart Filters.


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!rst exposure

the direction of the curve like in Photo-shop. You must draw segments and later drag the dots into precise position around curves. It is slower to do in Elements XXL than in Photoshop, but it works.

The Path panel in the Window menu works in conjunction with the Pen tool. A path you create is a temporary Work Path until you make it permanent by giving it a name. The Path panel provides options for saving, duplicating, deleting and renaming the path. You can also convert the path to a selection or a shape, !ll and stroke the path, and make it a clipping path from the Path panel. All of these options are unavailable in Photoshop Elements 12.

There are hundreds of other additions in Photoshop Elements introduced by Elements XXL 2. There is even a separate Elements XXL 2 preferences panel. From it you can decouple Elements XXL 2 from Photoshop Elements without uninstalling it, restoring Photoshop Elements to its original form. You can easily reactivate it from File>Automate.

FINAL THOUGHTSI found only a few downsides to Elements

XXL 2. For example, it is coded as an 8-bit program to make it compatible with versions of Photoshop Elements prior to 12, so it slows the opening of Photoshop Elements and exacts a slight performance penalty.

Unlike with most other plug-ins and pro-grams, each Elements XXL 2 license only allows installation on a single computer. But with a cost of $49.95 for a huge gain in functionality, I don’t see this as a big issue. With the street price of Photoshop Elements at $60 as I write this, you end up with a Photoshop competitor for $110. A bigger issue is the unavailability of Elements XXL 2 for Mac users not running Windows emu-lation software. A Mac version is promised soon, and I’m hoping there will be a 16-bit Windows version available soon.

Elements XXL 2 still lacks a few Photo-shop features such as CMYK, video and 3D, but if you never needed these in Photoshop, the Elements XXL 2 plug-in for Photoshop Elements may be an economical alternative to your current imaging software. Elements XXL 2 is available at thepluginsite.com.

Above: Elements XXL 2 adds a Pen tool to the bottom of the Tools panel (left). You access the Paths panel (right) and its options for naming and working with the path from the Window menu.



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When I’m working on a movie I shot with my DSLR, I want the !nished product to not just

look good, but to also have quality sound. Achieving the visuals are often the easy part with today’s cameras, which are ad-ept at delivering excellent sharpness, color !delity and that shallow depth of !eld that was once the sole domain of motion picture cinematographers.

To get my audio to a similar premium level, however, I incorporate several high-quality microphones, an external digital

recorder and lastly, but no less important, a good set of headphones.

Though headphones or ear buds are pretty ubiquitous in a world where we are constantly jacked into our smartphones, !lm work requires a higher grade of headgear to ensure that you are recording the best audio possible. And while it can be tempting to use the ear buds that came with our phones to monitor audio, they’re not the best choice. The bottom line: an investment in a good set of headphones is essential when producing quality video.

Multi-Purpose HeadphonesThe best choice in headphones is directly related to how you intend to use them. Under ideal circumstances, you would be using two different types for your mul-timedia productions. The !rst would be used for monitoring audio when it’s being recorded on location. The other would be used for monitoring the audio during editing and mixing. The former could be in an environment where there is a lot of ambient sound, while the editing space of the latter will likely be relatively quiet.

Closed- and Open-Back Headphones These typically !t over your ears so little to no sound escapes into the outside world and vice versa. They are favored for work in a studio because when a singer is recording his/her vocals, no sound is allowed to bleed out from the headphone to be picked up by the microphone. Such headphones have not always been known for providing the best audio experience, but they do provide the right degree of information to detect the !nal details that can weaken audio.

Open-back headphones are designed with an open back, which allows air and

Picking the Right Headphones for Quality Audio

AUDIO-TECHNICA ATH-M50X The collapsible design of the Audio-Technica provides for convenient por-tability, while not skimping on durability or comfort. Its 45mm Neodymium drivers deliver an extended frequency range for well-defined lows and highs. Its ear cups can be swiveled 90 degrees, allowing for single-ear use, which can be a big convenience when recording on location. It weighs 10 ounces.

Price: $169www.audio-technica.com

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Tips and recommendations on how to make your DSLR video sound as good as it looks.BY IBARIONEX PERELLO

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sound to pass through, providing a richer and more satisfying sound. They don’t isolate the sound in the same way that closed-back headphones do, which can be an issue when you are recording or editing in a noisy environment. Though ideal for editing in a quiet environment, they won’t be ideal for recording audio on location—such as at a wedding where there is a considerable amount of ambient sound.

Ideally, you would have two separate headphones for recording and mixing, but if your budget limits you to just one, a closed-back headphone may provide the best alternative.

Sweetened vs. Flat ResponseThere has been an explosion of branded headphones during the past several years, which are touted for their great bass response and their ability to deliver an amazing audio experience when listening to music. And while they may be great for listening to everything from Chopin to Eminem, they may not be ideal for monitoring audio.

Many of these branded headphones are optimized speci!cally to enjoy music. Their audio has been “sweetened” to de-liver a strong, well-de!ned bass and crisp, clean highs. They provide a full sound, which is pleasing to the ear and shows off the music at its best.

But what’s great for music is not neces-sarily best when you are monitoring audio while recording and/or editing and mixing the audio in post. For that, you want a headphone that delivers a "atter response. Though this may not provide as pleasing a sonic experience as a sweetened head-phone, it’s the better choice for discerning the subtle qualities of sound. This is es-pecially important when you are cleaning and mixing audio.

Seeking ComfortThough it’s tempting to judge the comfort of a headphone based on a few minutes of wear, it’s important to gauge how they will feel over an extended period of use, which can be anywhere between 20 minutes to several hours. Your choice is one you are going to have to live and work with for

AKG K271 MKII The AKG K271 MKII is an over-the-ear style headphone designed with 30mm XXL transducers for a full range of sound including solid bass response with well-defined highs. It provides a high degree of comfort with an easy-to-use self-adjusting headband. It also features replaceable ear pads and a mini XLR connector for replacement of the cable. It weighs 8.5 ounces.

Price: $199.99www.akg.com

SENNHEISER HD 380 The collapsible design of the Sennheiser HD 380 Pro headphone provides for easy portability without sacrificing audio quality. Its large driv-ers and patented diaphragms design deliver accurate sound with minimal distortion. Its single-sided, user-replaceable cable provides a variable degree of slack and is resistant to tangling. It weighs 7.7 ounces.

Price $135.99en-us.sennheiser.com

BEYERDYNAMIC DT 150 The stylishly designed Beyerdynamic DT 150 headphone delivers excep-tional sound quality along with its own unique look. It incorporates a neodym-ium magnet system to deliver well-balanced, accurate sound and ample noise isolation. It includes a single-sid-ed detachable cable and well-padded earpieces and headband for optimal comfort. It weighs 8.82 ounces.

Price: $269 north-america.beyerdynamic.com

SHURE SRH440 The lightweight Shure SRH440 headphone features a closed-back design that helps accentuate the strength of its large drivers, which deliver detailed audio with a full range of sound. The collapsible design includes swivel ear cups for convenient single-ear monitor-ing. The ear cups are well padded and are user-replaceable, as is the single-side cable.

Price: $99.99www.shure.com

SONY MDR-V6 The popular Sony MDR-V6 is an a!ordable monitor headphone that delivers excellent quality at an af-fordable price. Its closed-back design reduces exter-nal noise, while its ear pads provide a good level of comfort for long-term use. They are designed using 40mm drivers that deliver a strong sound with rich clarity. It weighs 8.1 ounces.

Price: $82.99www.sony.com

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many years. So, it’s a decision that should involve thoughtful consideration.

Circumaural headphones (or over-the-ear headphones), can have either a closed-back or open-back design. These models cre-ate a seal around your ears, which provide excellent sound isolation. With this type of headphone, it’s good to choose a model that is slightly larger than your ears so that they aren’t squeezed uncomfortably for long periods of time. Pay careful attention to the cushion around the earpiece and how it feels against your skin.

Supra-aural headphones rest on your ears rather than encompassing them but don’t isolate sound in the way that circumaural headphones do.

The earpieces are connected via a head-band, which can greatly in!uence your comfort level. Though they will offer some level of adjustment, the tension offered by some designs can be too tight to allow for

use over an extended period of time. You want to avoid looseness that will result in the headphones slipping off your head—"nd headphones that provide just enough hold to maintain their position.

AccessoriesA good set of headphones can last you for years, but you can extend the life of these units if they have the ability to have key components replaced.

When you invest in high-quality headphones, you should expect a well-shielded cable, which will reduce signal

noise. Avoid purchasing extra-long or inexpensive cables, as they can introduce signal noise, which can result in a less- than-accurate listening experience.

While choosing the right headphones can sometimes seem overwhelming, the suggestions on page 114 are meant to "t a variety of needs and budgets. And although some of these choices may involve a solid investment in money, it’s important to remember that it’s a piece of gear that you will likely continue using long after you have replaced your camera twice or even three times.

dslr video

Film work requires a higher grade of headgear than the ear buds that come with your phone. The bottom line: an investment in a good set of head-phones is essential when producing quality video.

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BY JACK CRAGERA GROWING PARTNERSHIP SHOWS HOW AS TIMES AND DUTIES EVOLVE, A BRAND LIVES ON.

76 RANGEFINDER APRIL 2014

PHOTO © TIM CO.

3/17/14 12:18 PM

Ever since graphic designer Milton Glaser cre-

ated the “I Heart New York” logo in 1977, it

has resonated with residents and visitors alike,

an eye-catching pledge of fondness for the nation’s big-

gest and most diverse city. Created as part of a tourism

campaign, the slogan took on a life of its own—and in

the hands of native New Yorker Jason Groupp, it be-

came a hot photographic brand.

With I Heart New York (www.i-am-nyc.com),

Groupp established a portrait practice around two ven-

erable forces: true love and the Big Apple (see “Jason

Groupp: I Love NY,” Rangefinder January 2012).

Catering to both tourists and natives, the studio spe-

cializes in portraits backdropped by iconic New York

City landmarks. Initially, Groupp’s emphasis was on

engagement and proposal photographs of couples, as

a corollary to his successful wedding photo business,

and it evolved to include lifestyle portraits of families.

“We love New York City and taking photographs

of the people that love it as well,” says Karen Seifert,

Groupp’s former studio manager and current partner

in the IHNY brand. After recruiting a third associate,

Opening Spread: Shot on the Brooklyn Bridge

overlooking Manhattan, IHNY’s appeal is taking

couples and families to different parts of the city and

giving them an experience, not just a photo shoot.


continues on page 78

3/17/14 12:18 PM

82 RANGEFINDER APRIL 2014

RF WEDDINGS

OF THE WEEKEvery week, we highlight one

notable series of wedding photos

on our blog, PhotoForward, and ask

the event’s photographers about the

experiences had, the gear used and

any challenges encountered along

the way. For the first time since the

feature’s inception last August, we

present three standout Weddings

of the Week in print.

For a fresh wedding each week,

visit www.photoforwardblog.com.

ALL

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OTO

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3/14/14 10:46 AM


Photographer: Shauna Heron || Bride and Groom: Melanie and

Robert || Location: Sudbury, Ontario, Canada || Cameras: Nikon

D700 and D3s || Lenses: 35mm f/1.4, 50mm f/1.4, 85mm f/1.4 and

28mm f/1.8 || Flashes: SB900 and an old SB600

“Melanie was very excited about my work and my documentary

approach and so had given me carte blanche to shoot the day as I

saw fit,” recounts Shauna Heron. “I absolutely love when a bride has

this kind of trust and confidence in me, it just makes the day such

a joy to shoot. These two are an absolutely gorgeous couple, inside

and out, with families as equally loving and gracious.”

SEE MORE IMAGES FROM THIS WEDDING AT: HTTP://BIT.LY/19T8UST

3/14/14 10:47 AM

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Take Your Best Shot Photography Competition

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Zeiss ............................................................................... 49The Index to Advertisers is provided as a courtesy to Rangefinder advertisers. The publisher assumes no responsibility for errors or omissions.

To request more information from our advertisers, and for links to the websites of the com-panies listed below, visit our free Resource Center at www.rangefinderonline.com.

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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, 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 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 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.

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© Copyright 2014 by Emerald Expositions.Volume 63, Number 5

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PHOTO © JOHN MALOOF 2014

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J ohn Maloof has gained a great deal of notoriety since discovering street photographer Vivian Maier’s nega-tives at an auction in 2007. He has produced two mono-

graphs of her work and made his directorial debut with a documentary titled Finding Vivian Maier (which opened in 75 theaters this past March). What people may not know about Maloof, however, is his personal love of street photography.

“I got into photography after being inspired by Vivian Maier’s negatives,” Maloof explains. “From there I became obsessed with the art form. Unlike painting, which I dabbled in prior to this, the idea that I can make an image with every shutter

click...something about that is so satisfying to me.” Maloof adds that while there is some overlap with photog-

raphy and cinematography— “in both you are composing, judging light, what to put in the frame, etc.”—the main differ-ence is that street photography is “more intuitive and reflex-ive than cinematography because the anticipation of a scene about to unfold and hitting the shutter at the right moment is a lot more difficult than just rolling tape on a scene.”

To see more of the photographer’s work, visit www.johnmaloof.com

BY DAVID J. CAROL

FINDING JOHN MALOOF

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