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NOVEMBER 2014 Vol. 12 No. 6 digitalphotopro.com

Contents
Features
PORTFOLIOS
54 PROS OF THE FUTURE
Featured Contenders in the 2014
Emerging Pro Contest

60 THE ART OF EMOTION


Samm Blake takes an artists approach
to making romantic, nostalgic wedding
photos for clients worldwide
By William Sawalich
Photography By Samm Blake

68 THE VAGABOND
Ami Vitale roams the globe connecting
with people on every continent to create
images that bring cultures together
By Mark Edward Harris
Photography By Ami Vitale
Ami Vitale

Editors Note The high season for


wedding photography
is in the spring and summer, but its the fall
a website is your primary tool for showing
what you can do, the task is more com-
plex and challenging than ever. Amid the
for their input on promotion, working with
clients, navigating social media and more.
The days of the standard wedding photog-
and winter where you can build your busi- chaos, theres opportunitymaybe more raphy script have changed. Everyone wants
ness and book gigs for the coming year. This opportunity than ever beforefor a photog- their photos to be differentmore hip
is the key time when next years brides and rapher who can juggle shooting skills and coolerunique. For many young couples,
grooms are setting their dates, reserving the business acumen and an ability to build they want a photographer who is, in a way,
halls and generally getting things organized a relationship. a celebrity. Theyre going to post photos
for their once-in-a-lifetime event. Marketing In this issue of DPP, weve pulled together on social media and on their own wedding
yourself has never been an easy thing to several articles around helping you pre- website, and they want to be able to herald
do, but in todays fractured, fragmented, pare for a successful wedding season. their photographer as more than a hired gun
splintered world, where Facebook sub- We reached out to a group of particularly running around with a camera. They want
stitutes for real personal interaction and savvy, talented and successful professionals to be able to talk about how they hit it off
6 | Digital Photo Pro digitalphotopro.com
with the photographer and how that made gracefully decline a job. As a pro, you need whose work Ive always found to be visually
the images so much more special because to know yourself and your style and your and emotionally gripping. Ami Vitale is an
everything was so collaborative. I dont mean ability to adapt to someones request. When extraordinary photojournalist who has the
for this to sound at all cynical. Thats how you meet with a prospective client and they special ability to see photographically and
it should be. Great wedding shooters will want something that you know you wont who can connect with the people shes
tell you that the most important thing they be able to provide to their satisfaction, photographing. Shes a global photographer
do is to try to get to know their clients as dont be afraid to say no. In the word- with an innate talent for translating cultures
much as possible and to listen to what they of-mouth-driven advertising model that you so they can be universally understood. Con-
have to say. rely on, a polite and reasoned no will do ict photography of devastation is important,
In talking with a lot of up-and-coming much more to help your bottom line than and thats what makes the front page, but
wedding photographers, as well as estab- an unsatised client. Vitales work represents the highest calling
lished longtime pros, one thing we heard In addition to the articles on wedding of a photojournalist.
a lot was the importance of being able to work in this issue, we feature a photographer Christopher Robinson, Publisher/Editor
 digitalphotopro.com November 2014 | 7
EDITORIAL
CHRISTOPHER ROBINSON
Publisher/Editor
WESLEY G. PITTS
Managing Editor
MAGGIE DEVCICH
Senior Articles Editor
NOVEMBER 2014 Vol. 12 No. 6 digitalphotopro.com
DAVID WILLIS
Associate Editor
ASHLEY MYERS-TURNER
Associate Editor

Contents MIKE STENSVOLD


Senior Editor
J. ANA FLORES, KRISTAN ASHWORTH
Copy Editors
Equipment DAVID SCHLOSS
Contributing Technical Editor
76 LENSES DECONSTRUCTED
JOHN PAUL CAPONIGRO, ROBERT HAWK,
We demystify the key specications and how each one plays MICHAEL GUNCHEON, WILLIAM SAWALICH
its role in making the perfect image Contributing Editors

JEFF SCHEWE, DOUG SPERLING


Professional Advisors
82 WEDDING ESSENTIALS ART
From cameras to lenses to lights and accessories, KURT R. SMITH
heres a breakdown of the critical equipment for the Art Director
ERIC BECKETT
modern wedding pro Assistant Art Director
CANDICE OTA
Graphic Designer
TECH WWW.DIGITALPHOTOPRO.COM
90 THE DIGITAL DELIVERY CONUNDRUM WESLEY G. PITTS
Online Director
Large le sizes and multimedia projects are changing the
MIKE DECKER
way photographers deliver the goods Web Art Director
DAMIAN GREENE
Web Developer
PHOTO BUSINESS LISETTE ROSE
Web Production Associate
44 SAVE THE DATE IMAGING GROUP
In a eld thats crowded with talented competitors, we get
CHRISTOPHER ROBINSON
some insight from a group of innovative and successful Publisher/Editorial Director
wedding pros about what works KURT R. SMITH
Executive Art Director
MAGGIE DEVCICH
Copy Chief
EDITORIAL OFFICES
Werner Publishing Corporation
12121 Wilshire Blvd., Suite 1200
Los Angeles, CA 90025-1176
(310) 820-1500

22 Printed in the U.S.A.


Digital Photo Pro is published by Werner Publishing Corp. Executive, editorial and
advertising ofces: 12121 Wilshire Blvd., Ste. 1200, Los Angeles, CA 90025-
1176, (310) 820-1500. Email us (editorial matters only) at editors@digitalpho-
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24

Member, Alliance for Member


8 | Digital Photo Pro
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ADVERTISING/SALES
Los Angeles
(310) 820-1500, Fax (310) 826-5008
SCOTT LUKSH
Eastern Advertising Sales Manager
MARK HARRIS
NOVEMBER 2014 Vol. 12 No. 6 digitalphotopro.com Senior Advertising Sales Manager
MICHAEL E. MCMANN
Senior Advertising Sales Manager
CLAUDIA WARREN
Assistant Advertising Sales Manager

Contents SIOBHAN VALENTINE


Advertising Coordinator

MARKETING
DPP SOLUTIONS BASAK PRINCE
Marketing Manager
92 ESTABLISH YOUR VALUE KENT LAM
Marketing Coordinator
How youll be valued is at least as important as how you
structure your pricing for a wedding job PRODUCTION/MANUFACTURING
JESSE GARCIA
Production Director
COLUMNS MAGGIE DEVCICH
Editorial Production Manager
30 VISIONEERS GALLERY
TAMMY REYES
Realities In Collision Production Manager
By Baldev Duggal
CONSUMER MARKETING
LIZ ENGEL
Consumer Marketing Manager
38 (R)EVOLUTION
SUE C. WILBUR
Path Blur Data & Analytics Manager
By John Paul Caponigro TOM FERRUGGIA
Newsstand Sales Manager

BUSINESS/OPERATIONS
Departments LORIE SHUMAN
6 EDITORS NOTE 12 FIRST TAKES: HOWARD Controller

SCHATZ 20 DPP IN FOCUS 34 HI-TECH STUDIO: DENISE PORTER


Accounting Assistant
INSIDE BALLHEADS 94 DPP MARKETPLACE J. ANA FLORES
98 MISINFORMATION: BUSINESS TECH Trademark & Copyright Manager
JASON ROSENWALD
Systems Manager
AIDA MANICOM
Administrative Assistant

WERNER PUBLISHING CORPORATION


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(310) 820-1500
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22

ON THE COVER: By Howard Schatz

Digital Photo Pro (ISSN: 1545-8520)Vol. 12 No. 6is published bimonthly except monthly in November and December by Werner Publishing Corp. Executive, editorial and advertising ofces: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Periodicals Postage Paid at
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10 | Digital Photo Pro digitalphotopro.com


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FirstTakes

Moving Forward, Looking Back


With his new two-volume retrospective, Howard Schatz reects on 25 years of passionate photography
By William Sawalich Photography By Howard Schatz

To commemorate his 25th year in photography, Howard November 2014 issue. Weve always been particu-
Schatz is publishing a new book. A massive two- larly struck with his ability to come up with a proj-
volume retrospective, Schatz Images: 25 Years ect and then create a body of work that has its own
includes work from 32 personal projects, as well as unique visual style. As a photographer, he lets the
never-before-seen images from throughout his subject dictate his interpretation. Schatz spoke to
career. On these pages, were hosting our own us from Slovenia, where he was on press to moni-
mini-retrospective. Schatz had the very rst cover tor the printing of his lifes work.
of Digital Photo Pro in 2003, and since that issue, DPP: There are a lot of images in this book, but
his work has been featured in the magazine and on even more had to be left out. How did you decide
the cover several more times, including this what made the cut?

12 | Digital Photo Pro digitalphotopro.com



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FirstTakes

Schatz: Im very project-oriented, and Ive done Schatz: Lots of them. Even if youve seen all my
over 40 separate personal projects. We edited all my books, you havent seen well more than half of
work, four million images, and I selected about a these images. I asked the photo editor to nd gems
thousand. There were so many images and so many that we missed, and there were many. We change.
pages, we designed a two-book boxed set. A photog- Were on a constant waveform. Im a different per-
rapher really cant see his work as clearly as an unbi- son today than I was 25 years ago. In fact, what
ased stranger can. So we hired a world-renowned was wonderful about this project was, I was able to
photo editor to look at everything. My wife, Beverly, sort of see who I am and how Ive grown and how
looked at everything, I looked at everything, and the Ive changed and what Ive learned. It was a really
photo editor looked at everything, and the only pic- wonderful, rich endeavor.
tures in the book are those pictures that got no vetoes DPP: What are the biggest differences between
from any of us. We agreed what belonged. I feel like your early work and what youre doing now?
we made a really strong edit. Im very proud of it. Schatz: The question really can be answered by
DPP: I understand there are some previously the difference between being a physician and being
unpublished images included. an artist. When youre a doctor, its about getting it

14 | Digital Photo Pro digitalphotopro.com



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FirstTakes

right, getting exactly the right diagnosis and doing the bed giggling every night over the fun, the adventure.
exact right treatment. Whereas in photography, there I kept re-upping the sabbatical, and I never looked
are no mistakes. In fact, its mistakes that make miracles. back. It has been 19 years.
In photography, its often about getting it wrong. So, in a DPP: From the beginning, was it always about
way, Im much freer. Im more open to all kinds of ideas personal projects?
and all kinds of things, Im willing to try anything. Ive Schatz: When you do a commercial project, youre
become much more imaginative and creatively open. really photographing somebody elses dreams, their fan-
DPP: Some of our readers may not know that pho- tasy, their desires. So, in a way, when I do an advertising
tography is your second career. shoot, Im a contractor; just like a contractor in a house
Schatz: Yes, I was a retinal surgeon. And, then, in has to follow the architectural plans, I, as the photogra-
1995, having been working in photography just on pher, have to skillfully, technically follow the art direc-
the weekends for ve or six years and having a lot tors plans. So theyre not my pictures. Occasionally, an
of attention, Beverly suggested we take a sabbatical art director will let go and Ill make something that
for a year, go to New York and just do photography comes from me, but what I do is, I shoot for myself. The
full time. And it was so much fun. We would go to advertising work is so that I can pay to shoot for myself.

16 | Digital Photo Pro digitalphotopro.com



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FirstTakes

DPP: Finding the time and energy to pursue per- With my early stuff, I went Oh, why did I do that?
sonal projects is a challenge for many photographers. I cant believe I was doing that. Ive learned a lot in
Schatz: My main goal is to do that. I shoot ve days 25 years! You can see in the book theres lots of stuff
a week, and commercial and editorial work sort of just that nobody has ever seen. Theres stuff like the
get in the way. I dont need to do commercial work Growing Up project and Folsom Street Fair. Ive
all the time. I just need one good job every week or never shown it, but Ive been shooting it for 20 years.
two weeks or month, depending on how well it pays. There are so many images from the Folsom Street
And I still have plenty of time to do my own work. I Fair that are fantastic, thats my next book. There are a
shoot all the time and I dont feel like Im prolic. I lot of parts to me. As long as Im working all the time,
know Ive produced a lot of work, but I feel like its I feel like Im reasonably productive and I can make
just natural. Im shooting all the time; it seems only some good stuff. DPP
natural that some good images would come from that.
DPP: I know theres no chance youre slowing down, You can see more of Howard Schatzs work and order his
but was there any hesitation to look back? latest book at www.howardschatz.com. Read an extended
Schatz: Well, it was fun, and it was sickening. version of this interview at digitalphotopro.com.

18 | Digital Photo Pro digitalphotopro.com



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rst- or second-curtain sync. Strobo Mode enables
you to capture a stroboscopic effect within a
single frame. List Price: $1,166 (500Ws); $1,611
(1000Ws). Contact: Elinchrom, www.elinchrom.us.

Loxia Lenses
Zeiss has designed a new series of E-mount lenses that mix traditional
manual settings with the precision of modern tools compatible with
full-frame digital sensors and electronic viewnders found in systems
like the Sony Alpha 7, 7R and 7S. The rst two lenses to be released
are the Loxia 2/35 and Loxia 2/50. Housed in a metal barrel with full
weather sealing, the Loxia 2/35 has nine glass elements in six groups
and a minimum objective distance of 0.3 meters, while the Loxia 2/50
consists of six elements in four groups with a minimum objective
distance of 0.37 meters. Both lenses provide manual de-clicked
aperture control for noiseless video work. List Price: $949 (Loxia 2/50);
$1,299 (Loxia 2/35). Contact: Zeiss, lenses.zeiss.com.

20 | Digital Photo Pro digitalphotopro.com >> check out www.digitalphotopro.com/gear/in-focus for more info
RAW POWER

7R, f/10, 1/160, ISO 100, Lens used: 85mm F1.4 ZA

7 7R 7S

The future of digital imaging.


And the next generation of DSLR.
Meet the Sony 7 Seriesthe worlds smallest, full-frame mirrorless interchangeable- MEET OUR EVER-EXPANDING LINEUP
lens cameras. Its breakthrough Exmor sensor/BIONZ X-processor design means OF FULL-FRAME, E-MOUNT LENSES.
stunning resolution, remarkable low-light sensitivity and clearer HD/4K video than
traditional DSLR. The future of digital imaging is here.

sony.com/sonyalpha #sonyalpha

2014 Sony Electronics Inc. The Sony logo is a trademark of Sony Corporation. All rights reserved.
Reproduction in whole or in part without written permission is prohibited. All other trademarks
are trademarks of their respective owners.
DPP In Focus

DPPInFocus New Tools Of The Trade

Hasselblad V System Digital Back 


Hasselblad has reinvested in their classic V System cameras, dating back to 1957, by
designing the cordless CFV-50c digital back with a 50-megapixel CMOS medium-format
sensor. With a 100-6400 ISO, it shoots 1.5 images/second and long exposures up to 12
minutes to a CF card or tethered computer. The three-inch, high-resolution LCD screen
offers a new menu and button layout. The digital back supports a classic Hasselblad
square crop setting. Compatible with 90 viewnders 500EL-type or 503CW with winder
remote options. List Price: $15,500. Contact: Hasselblad, www.hasselbladusa.com.

 Fujilm X30
With the black or silver die-cast magnesium-alloy body emblematic of Fujilm, the new X30
compact xed-lens camera incorporates updated features with a nod to the classics. For
high-speed, low-noise performance, the X30 uses a 12-megapixel, 2/3-inch X-Trans CMOS II
sensor and EXR processor II. The 2.36M-dot organic EL Real-Time Viewnder has a display lag of
only 0.005 seconds. Consisting of 11 glass elements in nine groups, the 4x manual zoom
(28-112mm) lens has an /2 max aperture at its wide angle and /2.8 max aperture at its
telephoto zoom. Image stabilization compensates for camera shake up to four stops. An additional
control ring behind the zoom ring can be set and toggled between various functions such as ISO,
white balance and continuous shooting. The X30 also offers a tilting, 3.0-inch, 920K-dot premium
LCD monitor. Additionally, the X30 provides Classic Chrome lm simulation with 11 different
modes of traditional Fujilm lms, including color-reversal lm effects, professional color-negative
lm, monochrome lters and sepia. List Price: $599. Contact: Fujilm, www.fujilmusa.com.

Tamron All-In-One Zoom Ocean Traveler Tripod


Photographers eager for adventure need gear
Tamron has upgraded the
28-300mm F/3.5-6.3 full-frame that can match their fortitude. Designed

lens, creating a smaller, quicker, specically for use in harsh environments, the

all-in-one zoom. The new PZD (Piezo Ocean Traveler Series 1 tripod kit GK1582OT

Drive) AF system is both quick and by Gitzo utilizes aluminum parts with a

quiet while also more compact than corrosion-resistant nish. With a specialized

the previous system. Combined with Ocean G-Lock system, leg collars provide an

the specialized glass elements, air cushion to expel water trapped inside

this has allowed for space savings, the legs while preventing sand, dust

making the lens smaller than its and mud from getting trapped inside.

predecessor. VC (Vibration The center column can be removed

Compensation) has also been or inverted, allowing you to set your

added for sharp handheld images. camera at a 9.06-inch minimum

A BBAR (Broad-Band height regardless of the terrain.

Anti-Reection) coating reduces The legs ip 180 for a compact

are and ghosting. Moisture-resistant construction has been added, and the upgraded 17.13-inch travel size. List

lens body has a linear rubber grip pattern and tungsten silver brand ring to match the Price: $1,956. Contact:

look of your DSLR. Estimated Street Price: $849. Contact: Tamron, www.tamron-usa.com. Gitzo, www.gitzo.us.

22 | Digital Photo Pro digitalphotopro.com



>> check out www.digitalphotopro.com/gear/in-focus for more info
6TCPUHGTNGUCV
6JWPFGTDQNV 2 speeds.
TM

All products sold separately

1HQCF[QWTYQTMHCUVGT
A comprehensive line of hubs, card readers, and storage drives, Lexar Professional Workflow products allow you to quickly
transfer and back up files from multiple cards at once. The latest offerings include the Professional Workflow HR2 hub and
CR2 CFast 2.0 readerboth leveraging next-generation, high-speed Thunderbolt 2 performance, so you can quickly
transfer RAW image, high-res photos, and HD, 3D, and 4K video.

Pick and choose the right Professional Workflow products for your needs, add a selection of high-capacity Lexar Professional
line memory cards, and take control of your workflow.

2014 Micron Consumer Products Group, Inc. All rights reserved. Information is subject to change without notice. Lexar, the Lexar logo, and When Memory Matters are trademarks of Micron Consumer Products Group, Inc.
Micron Consumer Products Group is an authorized licensee of the CompactFlash trademark. The Micron logo is a registered trademark of Micron Technology, Inc. CFast is a trademark of the CompactFlash Association.
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. All other trademarks or registered trademarks are property of their respective owners. Micron Consumer Products
Group, Inc. is a subsidiary of Micron Technology, Inc.
333-464 DPP Rev A
DPP In Focus

DPPInFocus
Olympus PEN E-PL7
New Tools Of The Trade

Olympus recently announced the compact interchangeable-lens PEN E-PL7.


With the same 16.05-megapixel Live MOS sensor and TruePic VII image
processor used in the OM-D line, the E-PL7 delivers superior color at high
sensitivities. A three-axis VCM image stabilization compensates for any
camera shake caused by one-handed shooting. FAST AF uses 81 points for
full image coverage. Small AF Target and Super Spot AF mode zoom in for
accurate selective focus. The E-PL7 offers 8 fps high-speed shooting for up
to 20 RAW frames and unlimited JPEGs. The 3.0-inch, 1.04 million-dot
high-denition touch-screen LCD rotates a full 180 for Sele Mode.
Built-in WiFi pairs easily with the Olympus Image Sharing app on your
smartphone with a onetime QR code for remote Live View, full camera
control and image sync. List Price: $599 (body only); $699 (with M.ZUIKO
DIGITAL 14-42mm /3.5-5.6 II R). Contact: Olympus, www.getolympus.com.

LaCie Upgradable d2
The LaCie d2 Thunderbolt 2 is the newest
addition to the LaCie desktop storage line. With
up to 6 TB of space, the 7200 rpm drive offers
speeds of up to 220 MB/s. The drive is housed
in a one-piece aluminum body with a cushioned
base to absorb disk vibration and a cable lock
to prevent accidental disconnection. With a
USB 3.0 port and dual Thunderbolt 2 ports,
the d2 Thunderbolt 2 can be daisy-chained to
connect up to six devices. The drive also has
the capability to be upgraded with an SSD to
boost speed to 1150 MB/s and add 128 GB
of SSD storage. List Price: $299 (3 TB); $399
(4 TB); $499 (6 TB); $299 (128 GB d2 SSD
upgrade). Contact: LaCie, www.lacie.com.

Really Right Stuff Slider


The VS-288 Video Slider by Really Right Stuff is durable, compact and lightweight, making high-quality camera
movement easy for location shoots. The 1.5-inch dovetail on the top and bottom of the rail can be used for foot and
mount positioning. At 34.6 inches long, the slider incorporates sled bumpers for safe, quiet stops at each end of the
slider. With adjustment nuts, the wheel tension may be tted for quicker or slower movement. The removable 38-16
threaded mounting stud can be used with industry-standard tripods. Feet can be mounted directly to the Slider for
transport. Auxiliary mounting sockets
are available for attachment of additional
accessories. List Price: $690. Contact:
Really Right Stuff, www.reallyrightstuff.com.

24 | Digital Photo Pro digitalphotopro.com



>> check out www.digitalphotopro.com/gear/in-focus for more info
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DPPInFocus
Mecablitz 64 AF-1
New Tools Of The Trade

The new agship of the Metz ash series, the Mecablitz 64 AF-1
provides a high-power 64 guide number with a sleek, modern
design. The strobe has an Auto mode with 12 -stops and Manual
mode with 25 partial light levels. The motorized automatic zoom
covers 24-200mm. The ash has a -9/+90 tilt and 300 swivel,
with a secondary reector with two output settings. The touch
display features large color
graphics and auto-rotates for easy
use. The Mecablitz 64 AF-1 also
provides remote TTL mode, sync
for studio ash and a USB input
for rmware updates. Available for
Canon, Nikon, Olympus/Panasonic,
Pentax and Sony. List Price: $499.
Contact: Metz, www.metz.us.

The Chronicle
With the Next Generation line, Domke has developed The Chronicle bag (grandchild
of the classic F-2), designed using feedback from professional photographers. The
sturdy and protective main body uses the GearProtex customizable insert system,
allowing you to shape and bend the self-adhering dividers to secure your DSLR,
lenses and ash. The PocketFlex system allows the addition of self-adhesive pockets,
patches and pouches for personalized accessory storage. The 15.75x7x10-inch bag
also provides two expandable zippered side pockets, two expandable front pockets
and a padded, zippered tablet sleeve. Side rain hoods, a quiet system Velcro
silencer, grab strap and Gripper shoulder strap add to its versatility. Available in
waxed Canvas and Cordura. List Price: $459. Contact: Tiffen, www.tiffen.com.

Heavy Leather NYC


With guitar straps on the shoulders of hard-playing musicians
like Prince, Slash, and the Eagles of Death Metal, Heavy Leather
NYC has now branched out to create high-quality leather
camera straps for hard-rocking photographers. The 100%
genuine cowhide leather Slingshot camera strap is worn
cross-body and backed with webbing for durability and exible
camera movement. A 2.5-inch-wide padded shoulder piece
features a business card holder, while a silver buckle adjusts for
length. Available in black, camouage and vintage brown, each
strap is handmade in Brooklyn, N.Y. List Price: $155. Contact:
Heavy Leather NYC, www.heavyleathernyc.com.

26 | Digital Photo Pro digitalphotopro.com



>> check out www.digitalphotopro.com/gear/in-focus for more info

DPP In Focus

DPPInFocus
RoveLight
New Tools Of The Trade

A new portable wireless location light from Flashpoint, the


RoveLight Monolight provides a 600Ws strobe with a 22-stop
range from full to 1/128th power that can be controlled from
the rear console or from a wireless controller. Flash duration is
controlled down to 1/15,000s. The built-in LED modeling lamp
has an auto-shutoff timer to save power. Interchangeable
6600 mAh lithium batteries give 500+ full-power ash bursts
on a single charge. The Monolight is available by itself or with
a Bowens mount for full modier versatility. List Price: $589
(RoveLight Monolight); $600 (RoveLight Monolight w/Bowens
mount). Contact: Flashpoint (Adorama), www.adorama.com.

Tools For Your Smartphone


The RDE i-XY microphone for iPhone and iPad makes high-quality audio
recording simple and lightweight. Using the RDE Rec app, the i-XY can
record in 24-bit/96k with onboard high-delity A/D conversion. The pair
of half-inch cardioid condenser capsules align at 90 for detailed stereo
recording. When paired with the RDEGrip and SC2 cable, your phone and
i-XY mic can be mounted to your DSLR and directly connected for interview
or music recording. The mic comes with a foam windshield and protective
case. Available in a 30-pin model for use with the iPhone 4, 4s, 4c and iPad,
and the Lightning model for use with the iPhone 5, 5s and 5c. Estimated
Street Price: $149. Contact: RDE Microphones, www.ixymic.com.

For the occasional macro shooter, the Olloclip Macro 3-in-1 Photo Lens provides
multiple macro magnications for your iPhone 5/5s in a travel-friendly size. The soft
plastic lens attachment clips snugly to the iPhone with aircraft-grade aluminum
barrels housing coated-glass multi-element optics. Easily remove the medium
magnication 14x macro lens to reveal the 7x macro magnication lens. Reverse the
attachment to use the highest-level 21x macro magnication lens. The 14x and 21x
lenses come with plastic hoods to ensure youre at the optimal distance from the
subject for focus. The included microber carrying case keeps your lenses clean and
safe. List Price: $69. Contact: Olloclip, www.olloclip.com.

Make smooth time-lapse smartphone videos easily shared


with your social networks with the Hyperlapse app from
Instagram. When video is recorded through the app, you
can choose a playback speed between 1x and 12x. The
video then can be saved to your camera roll. Using built-in
image-stabilization technology, camera shake is minimized
for high-quality movement despite handholding. Free.
Contact: Instagram, blog.instagram.com.

28 | Digital Photo Pro digitalphotopro.com >> check out www.digitalphotopro.com/gear/in-focus for more info
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The revolutionary, light and portable Olympus OM-D series does more than just capture amazing photos, it lets you tell powerful
stories from anywhere. Thats because the OM-D series has some of the smallest, lightest bodies in its class with the power to capture
the color and detail you expect. Every OM-D has a blazing fast image sensor and powerful processor designed to unleash the magic of
M.Zuiko lenses. As a result, its never been easier to capture the subtlest of details and create stunning images.

With the purchase of an OM-D, you can build an amazing system with our stackable savings program for lenses. Or if you want to
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Move into a New World


Visioneers Gallery
Vis Gallery
Realities
In Collision
Naomi Campbells Press Play
exhibition explores the nexus where
the virtual and the real world meet
By Baldev Duggal

Is the cyber world a more enjoyable place for


you to spend your time than the real one? asks

Photos Courtesy Of Naomi Campbell


songwriter Paul Williams in a recent
Vanity Fair article. Escaping real con-
nection to ourselves and others through
the world in our iPads, phones, and
computers is a huge problem. After
food it may be one of the biggest addic-
tions we have today, he continues.
Decades ago, articial intelligence
transformed into entertainment through Campbell works at the intersection ing a three-dimensional illusion that
video games, and we witnessed the earli- of art, science and social consciousness questions the real versus the imagined.
est signs of cyber-addiction. The gaming to create multisensory installations that The images in this exhibit refer to the
industry exerts enormous inuence on merge her drawing, sculptural, photog- series on the altered states of the vir-
todays culture, giving birth to its own raphy, painting and technology skills. tual and real worlds of cyberspace. The
characters, mythologies, online fora and Duggal worked closely with Campbell backgrounds are composed of recon-
even currencies, creating a cyber-world for her recent show at the Yellow Peril structed layered X-ray composites of
parallel to the one run by individual Gallery in New York to help produce the body. These are then woven into
authors of photographs, videos and her series Press Play. The exhibition the studio traditions of the painted/
other shared media. In the other uni- is comprised of a series of layered draw- drawn environment of the gure and
verse of gaming, individuals adopt vir- ings, paintings and computer-generated printed on a transparent substrate by
tual identities, behave anonymously and inkjets on wood, paper, canvas and Duggal. The result is a very powerful
inhabit virtual communities in which Mylar. The show features her pieces cre- surreal effect, remarks Campbell.
they choose to become mere representa- ated as vignettes, each featuring gures Each piece that Campbell creates with
tions of themselves. in action against a starved palette that her playful video game-inspired char-
The advancements in imaging tech- creates a feeling of displacement. The acters engages the audience through an
nology, from early bitmapped video enigmatic gures seem to have jumped interplay of light and shadow, creating
graphics to hyperreal 3D images, have out from early video game consoles onto a 3D experience on a 2D surface. Noted
blurred the lines between the virtual Campbells pieces. Her use of traditional art critic Jonathan Goodman poignantly
and the real, between art and science, watercolors and pencil sketches against remarks on her work: Campbell is
in our cyber-interactions. Our multi- the backdrop of digital imagery creates more committed than seems at rst to
sensory immersion with newly formed a strange tension. the future of technology. Indeed, her
virtual social networks is creating Suddenly, we are nding these reali- representations seem to predict what is
massive ripples of sociological shifts ties assimilating onto one platform coming next. In the work
whose impact on society only time can that is both real and imagined >> More On The Web on paper titled A Tree
tell. This vulnerability of social iden- through the auspices of the com- You can see more of Fell, a baby is seen close-
tities created through the worlds of puter, Campbell observes. The Baldev Duggals Visioneers
Gallery columns on the up, in front of a track-
gaming and communication, and the ne line that delineates the two DPP website at less wasteland, with hills
www.digitalphotopro.com.
formation of new realities that trans- disappears, and we live in sus- in the background, one
pose real-world experiences into new pended animations of time with its own of which spews smoke like a volcano.
truths, are portentous aspects of con- hierarchy of rules of the game. It is by implication, an apocalyptic pan-
temporary culture that artist Naomi Campbell builds her narratives atop orama, although pixels in the left of
Campbell explores in her works. transparencies of X-ray imagery, creat- the work suggest that this is something

30 | Digital Photo Pro digitalphotopro.com



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VISIONEERS GALLERY
fabricated rather than true. At the same
time, the baby looks back at us, as if to
question her future, which is indeed our
own. Campbell indicated that the title of
the work came from a poem by Carter
Ratcliffe, a prominent critic in New York
for some time. The point is that the kind
Ballheads of failed ecology described in this piece
Panheads may well be our inheritance, which, to
Quick Releases speak mildly, is less than sanguine.
5-Year Warranty Although Campbells pieces bring out
MH 1300-657
the unsettling nature of progress and an
intriguing sense of uncertainty, she bril-
liantly uses multiple digital platforms:
from scanning, to printing, to projecting
and mounting, to create a dialogue about
the very medium in which she creates.
Some of the pieces Campbell creates are
even dynamically controlled by a remote
or cell phone app. But at the same time,
they possess a degree of control over the
viewer in their ability to affect the bodys
inner rhythms. Campbell says thats
where the takeaway liesin experienc-
800/735-4373 ing and realizing our symbiotic relation-
hpmarketingcorp.com giottosusa.com MH 3300-550C ship with technology and its unnatural
power to mechanize the human body.
Its a thrill for us to work with avant-
garde artists like Campbell, whose solid
draftsmanship and training in histori-
cal artistic traditions coupled with her
background in medicine and science
make her a pioneer in an art form that
begs refrain from any single genre.
In a video game you can be any-
thing you want. There are no limits,
theres total freedom. You never die.
These are interesting dynamics at a
sociological level. We are moving away
from a certain type of reality. My pieces
are a reection of whoever the audi-
ence wants to be, remarks Campbell.
Her canvas spans 100 years: From
cubist and futurist paintings to iPhone
gaming apps, Campbell brings them all
together to make us aware of the ubiq-
uity of an increasingly pixilated world,
and most importantly, leaves us with a
warning of the possible dangers inher-
ent when virtual space encroaches onto
everyday reality. DPP

Visit Duggal at www.duggal.com or check


out the blog at www.duggal.com/connect
and see their newest articles.
32 | Digital Photo Pro digitalphotopro.com

Hi-Tech Studio
Inside Ballheads

For stability, ease of use and


exibility when youre locking
off the camera, its hard to
beat a ballhead

The many benets of a ballhead are well known.


Theyre solid and stable, and theyre
easy to adjust in an almost unlimited
way. On most models, a single lock-
ing knob is the only control you need
to manipulate. Youll see a couple of
distinct ballhead designs, one where
the ball moves within a cylindrical
housing, and the other where the ball
locks to the tripod and the camera plat-
form rotates around it (the Novoex
MagicBall is an example of this latter
type). Each type has some advantages,
but as far as your workow is con-
cerned, its mostly a matter of getting
used to the ballhead that you buy.
The most important consideration
when choosing your ballhead is match-
ing the heads capacity to the weight of
your rig. It might look silly to have a pod socket, then just slip the plate into
small mirrorless camera attached to a and out of the heads quick-release slot
ballhead with a 20-pound capacity, but to lock and release the camera quickly
its much better to err on the side of too and simply.
much capacity. Larger-diameter ball Heres a sampling of ballheads that
systems support heavier gear than a can handle pro gear.
smaller-diameter ball. A rule of thumb The Acratech Ultimate Ballhead QR
is to choose a ballhead that can accom- ($299.95, www.acratech.net) weighs
modate two times the weight of your less than one pound, yet can support
heaviest setup. more than 25 pounds at any angle. It
In use, any heavy setup should be features an open structure so dirt cant
handled carefully. Large, heavy super- get trapped inside, and is available with
telephotos and telephoto zooms usually right-side or left-side controls. The 45
come with a tripod mount that saves angle clamps make it easy to point the
stress on the mount and also keeps camera downward.
the rig balanced better on the tripod.
There are also some aftermarket col- If you frequently switch from tripod-
lars for lenses that dont come with one. mounted to handheld shooting, youll >> More On The Web
Learn more about the latest
And you can also get a lower-prole want a ballhead that has a head with equipment and read reviews
collar-tripod head attachment to help a quick-release feature. You attach the in the DPP Gear section at
www.digitalphotopro.com to
give your rig an overall lower prole. quick-release plate to the cameras tri- make your best images.
TOP TO BOTTOM: Really Right Stuff BH-40; Novoex MagicBall; Acratech Ultimate
34 | Digital Photo Pro digitalphotopro.com
HI-TECH STUDIO port 66 pounds. It features two bubble 2.1 pounds and can hold 28 pounds. It
Weighing just 9.9 ounces, the Arca- levels, a quick-release system and sepa- features calibrated base and tension con-
Swiss Monoball P0 ($309, rodklukas. rate pan lock. Construction is of rug- trols, and comes with a quick release.
com/arca-swiss/) can support 44.1 ged aluminum. Gitzos off-center ballheads provide
pounds. It features a unique knob- The Feisol Ball Head CB-50DC a range of movement not possible
less geared locking system, panning ($169, www.feisol.net) features an with conventional heads. The Series 5
capability and a Slidex QS quick- outer layer of carbon ber, which is Magnesium Quick Release Off Centre
release mount. strong, light and feels pleasant, even in Ball Head ($399, www.gitzo.us) weighs
Benbos BEN306 Professional Ball cold weather. It features separate ball- 2.2 pounds and can support 26.46
& Socket Head ($125, www.paterson locking and pan knobs, plus a quick- pounds. It features magnesium con-
photographic.com/benbo-ball-and- release system. The unit weighs 20.1 struction, separate tilt and pan locking
socket-heads.html) weighs 11.6 ounces ounces and can support 41 pounds. knobs, and a quick-release system.
and can support up to 27 pounds. It has The Flashpoint F-9 Compact Induros BHD3 Ballhead ($215, www.
three control knobs, a large lock knob, Tripod Ball Head ($69.95, www. indurogear.com) weighs 2.2 pounds and
a smaller knob to adjust tension and a adorama.com) is economically priced, can support 55 pounds. It features a
third to lock the revolving base. yet the 14-ounce magnesium-alloy separate pan lock, an Arca-style quick-
The Benro B3 Double Action Ball unit can support up to 40 pounds. It release with safety lock, and machined
Head ($217, www.benrousa.com) features a quick-release plate and a magnesium-alloy construction.
weighs about 1.5 pounds and can sup- quick-lock knob. Kirks BH-1 Ball Head ($385, www.
port 66 pounds. It provides separate The modular Foba Mini-Superball kirkphoto.com) weighs 30 ounces, can
knobs for locking, drag and panning Plus ($580, www.foba.ch) weighs 28.8 support 50 pounds, and comes with an
(with a 360 panning scale for easy ounces and can support 26.5 pounds. It Arca-style quick-release plate. Theres
panoramas). The unit uses an Arca- features an Arca-type quick-release unit a separate lock for the 360 pan-
type quick-release plate. (plate not included) and has a long-han- ning base. External parts are made of
The heavy-duty Cullmann MB8.3 dled locking knob for easy operation. 6061-T aircraft aluminum, and inter-
Ball Head ($219.95, www.rtsphoto. The Giottos MH3300-658 ($199.95, nal parts, from brass and stainless steel
com) weighs 28.5 ounces and can sup- www.hpmarketingcorp.com) weighs to avoid corrosion.
The heavy-duty Linhof Pro Ball- com) weighs 11.9 ounces and can support ($189.95, www.kenkotokinausa.com)
head III Q ($1,149, www.hpmarketing 18 pounds. The low-prole unit features weighs 20.8 ounces and can support up
corp.com) weighs 2.9 pounds and can a compact release-lever clamp (requires to 22 pounds. It features a panning base
support 22 pounds. It features separate a Really Right Stuff quick-release plate) with degree markings, and is available
ball and pan locks, and a 360 panning and separate knobs for locking/unlock- in black or gun metallic.
scale. Included is a Quickx II quick- ing the ball, tension adjustment and pan- Smith-Victors economy-priced BH2
release plate. ning. Theres a degree scale for precise ballhead ($44.95, www.smithvictor.
Manfrottos 057 Magnesium Ball pan control. com) weighs 14.4 ounces and can sup-
Head with Q5 Quick Release ($259, The Redged RT-3 ($110.70, www. port 18 pounds. It features separate
www.manfrotto.us) weighs three redged.com) is the companys strongest knobs for ball lock, pan lock and tension
pounds and can support 33 pounds. RT-series head, weighing 15.2 ounces adjustment, and a quick-release system.
It features lever locks, a 90 to 105 and able to support 22 pounds. It The Evolution 2 AirHed 1
Portrait Angle Selector, a QS quick- features smooth operation, a 360 (AH1) from 3 Legged Thing ($80,
release system and three bubble levels. ruler for panning and a lever-action www.3leggedthing.com) weighs just
The Novoex MagicBall ($539, quick release. 11.8 ounces, yet can support up to 77
www.hpmarketingcorp.com) features The 10.7-ounce Sirui G-10X ball- pounds. The magnesium unit is avail-
a unique design in which it can be posi- head ($94.95, www.siruicanada.com) able in sharp blue with copper-colored
tioned up to 120 in virtually any plane, can support up to 40 pounds. It fea- quick-release plate (also magnesium),
then locked there with the same large tures aluminum-alloy construction, an as well as basic black. It features a dual
grip-and-x handle. The MagicBall Arca-type quick-release, and separate control knob, separate pan lock and
has a distinctive shape because the knobs for main lock, pan lock and fric- triple bubble levels.
ball is locked down and the camera tion control. A safety button prevents Vanguards BBH-300 ($169.95,
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Really Right Stuffs recently improved construction and single-knob opera- two bubble levels, and comes with a
BH-40 LR ($375, www.reallyrightstuff. tion, the Slik SBH-550 Pro Ball Head quick-release plate. DPP
(R) evolution

(R)evolution
Create sophisticated motion effects with this powerful Photoshop CC tool
Path Blur

By John Paul Caponigro

1)

1) Original image
2) Simple linear
blur path
3) Linear blur
path with ends
2) adjusted to create
perspectival
convergence

Photoshop CCs recent addition to its Blur Gallery,


Path Blur offers a creative and exible
way to add directional motion to your
images in postproduction. Its astonish-
ing! Youve got to try it to believe it
and to truly understand it.
The Blur Gallery now has ve
effects (Field Blur, Iris Blur, Tilt-Shift,
Path Blur and Spin Blur) that can be
controlled from a single panel. Once
youve accessed one, you can quickly
access the others at the same time,
enabling you to create complex blur
effects in a single stop. Path Blur alone
is capable of delivering lots of complex
motion effects with one simple path.
Before applying Path Blur, consider
using a Smart Object to make the
lter nondestructive, re-editable and
mask-able. I recommend you acquire
RAW les as Smart Objects, but in
3)
cases where you cant, such as those
38 | Digital Photo Pro digitalphotopro.com
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(R)EVOLUTION

that involve merges or stacks or major


retouching, convert your Background
layer to a Smart Object: Layer > Smart
Objects > Convert To Smart Object.
To apply the lter, follow this path:
Filter > Blur Gallery > Path Blur. The
Blur Gallery panel will appear, offer-
ing you ve extraordinary sliders and
multiple points of control.
Path Blur has two presets, Basic Blur
(without strobe effects) and Rear Sync
Flash (with strobe effects), which are
just suggested starting points. Path
Blur defaults to Basic Blur, but if you
change Taper, Centered Blur or either
of the two sliders Strobe Strength and
Strobe Flashes under Motion Blur
Effects, youll quickly see the preset
change to Custom.
Click and drag to create a path (cyan
4)
arrow) with a direction. While the
direction is of the utmost signicance,
the length of the path has no effect
on the intensity of the effect. Use the
Speed slider in the panel to increase the
speed of the blur. This sets the global
intensity of the lter for this and all
other additional paths for this ltration
pass; you can use different End Point
Speed (magenta arrow) settings to cus-
tomize the effects of the individual end
points of each path.
Use the Taper slider to control the
way the effect falls off. Like Speed,
Taper has a global effect. Centered Blur
blurs pixels on either side of the path,
giving the blur a more uniform appear-
ance; uncheck it to create a more uid
appearance. To simulate rear-ash syn-
chronization, the Motion Blur Effects
tab offers two sliders, Strobe Strength
(lower setting, more blur) and Strobe
Flashes (higher setting, more blur).
Once youve dened a simple linear
path with a direction, you can modify it 5)
in many signicant ways. Click to start
a path and click to end a path. Click on
a point to activate it (a dark spot will 4) Curvilinear blur path
5) Second blur path added >> More On The Web
appear inside it when its active) and John Paul Caponigros
to reduce effect locally in-depth instructionals
drag it to move it. Press the Command
on image-processing and
key to move the entire path. The mid- printing techniques are
dle point can be dragged to change the available as an extensive
archive online at
course of the path; press the Option key digitalphotopro.com/
technique/revolution.
to toggle between curved and angular.
40 | Digital Photo Pro digitalphotopro.com
Brian Marcus
THE PROFOTO B1.
NOW WITH TTL FOR NIKON.

Trying to take a studio quality portrait on the busy streets of


New York City would be impossible without the B1. Now I can
set up, take great pictures, and nish in a New York minute.
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Profoto US | 220 Park Avenue, Florham Park NJ 07932 | PHONE (973) 822-1300, profoto.com/us
(R)EVOLUTION
Click on the path to add additional
points. Once activated, a point can be
removed by pressing the Delete key. Once youve dened a simple linear path with a direction, you
Each path has two Blur Shapes, one
on each end. The Motion Path con-
can modify it in many signicant ways. Click to start a path
trols how they blend together. Check and click to end a path. Click on a point to activate it
Edit Blur Shapes to see all of the con-
trol points. Without Edit Blur Shapes (a dark spot will appear inside it when its active) and drag it
checked, you can still modify the
length of the End Point Speed, either
to move it. Press the Command key to move the entire path.
with the slider or with the circular dial

that appears when you move off of an


active point, but you cant modify its
midpoint or shape.

How would You can use one Blur Path to modify


the effects of another Blur Path, to make
you light it more complex or to limit it. Like the
other lters in the Blur Gallery, Path
this? Blur does a lot of heavy lifting, so dont
expect results to be instantaneous. You
may have to wait a few moments for
the nal results to be executed. In addi-
tion to modifying exposures without
motion blur, you can rene exposures
with in-camera motion blur. For even
more sophisticated effects, try blending
blurred layers with unblurred layers,
selectively and at varying opacities.
Image areas that are blurred often
appear overly smooth. Consider add-
ing noise to blurred areas to make
them appear similar to image areas
that havent been blurred. Try using
the Camera Raw lter; its Grain sliders
produce surprisingly convincing results,
which can be masked, as desired.
Path Blur gives you even more ways
to create sophisticated motion blur
effects in postproduction. It can take
these effects to a whole new level.
Kevin Ames Its likely it will change the way you
shares expose, encouraging you to be more
how he got experimental. It even may open a win-
the lighting dow into a whole new way of seeing
results he for you. DPP
wanted, at
d lit John Paul Caponigro, author of Adobe
Photoshop Master Class and the DVD
series R/Evolution, is an internationally
renowned fine artist, an authority on
digital printing, and a respected lecturer
and workshop leader. Get PDFs and
his enews Insights free on his website
at www.johnpaulcaponigro.com.
Your creativity, our lighting.
dynalite.com 908.687-8800
The

In a eld thats crowded with talented competitors, we get some insight


from a group of innovative and successful wedding pros about what works
Wedding photography is a erce sport. Ferocious technical skill and a jam-packed
mental playbook are the fundamentals youll need just to step foot on the eld. And, of
course, a well-dened, signature style keeps any star in the mind of the public. But what
truly wins games, separating the pros from the fauxs, is a sharp business mind. With
an eye on the long game, top wedding photographers are continually balancing shifting
priorities to meetand surpassclient expectations while maintaining a successful
personal branding strategy and ever-changing advertising models.
We caught up with ve powerhouse professionals who have found success with an
international client base to let us in on some of their most successful methods for
advertising, booking and maintaining their businesses. (And we scored their gear list, too!)
So read onthis is stuff for the highlight reel.

Next Exit Photography | CAT AND ADI BENNER | www.nextexitphotography.com

S
ometimes quirky, sometimes winner of the Best of The Knot Award. website or blog or Facebook, and sees
romantic, the wedding imag- Whats the single most important the consistency and professionalism
ery created by husband-and- business advice youve learned through that lls them up as much as the emo-
wife duo Cat and Adi Benner your wedding photography experience? tive images that you chose to share.
of Next Exit Photography always has Whats most important to your cli- What has been the most vital piece
a sense of authenticity that lets you into ents is the real you. Thats what they of promotion youve invested in?
the quirks, sparks and personalities of need to fall in love with in order to sign Frankly, weve never invested much in
each individual couple. Documentary- your contract. From Google to national paid advertising. Weve found that invest-
style photographer Adi met Cat through blogs, WeddingWire, Yelp and The ing our time and commitment, rather
Cats Los Angeles wedding planning Knot, brides are hitting almost every than our dollars, has had a higher return.
rm. The combination of the twos abil- resource they can during their research What method has led to your
ity to put couples at ease while catch- phase, so by the time they email you, greatest success in booking clients?
ing intimate editorial moments has led they should already want you. Selling Fantastic relationships and proven
Next Exit Photography to be recognized pretty pictures isnt enough. Trust is results with past clients, along with part-
worldwide and become a ve-time when your client looks through your ner wedding planners and local venues,
44 | Digital Photo Pro digitalphotopro.com
have always been and continue to be our Whats your must-capture What has been your most effective
best source of referrals and bookings. wedding moment? use of social media to support
What are your top-three tips We aim to capture the most sponta- your business?
for creating a positive working neous and genuine interactions of the Posting teaser Facebook galleries
relationship with your clients? wedding day. True emotion, captured, has created real-time referrals. After
1) Underpromise and overdeliver. is what its all about. our edit, but before we send the whole
2) Make your clients feel like theyre Do you shoot wedding video along gallery to our clientand assuming we
part of your family. with still photography? have permissionwe post a selection of
3) Try not to say No. Focus on No, we prefer to focus on what were our favorites to Facebook, tag our clients
Lets try. best attaking pictures. and watch the images circle the globe.

>> Cat And Adi Benners Gear


Nikon D4S s Nikon D3S s Nikon D3 s Nikon D700 s AF-S NIKKOR 35mm /1.4G s AF-S NIKKOR 50mm /1.4G s AF-S NIKKOR 85mm
/1.4G s AF DC-NIKKOR 105mm /2 D s AF-S DX Zoom-NIKKOR 12-24mm /4G IF-ED s AF-S Zoom-NIKKOR 17-35mm /2.8D IF-ED
AF-S NIKKOR 24-70mm /2.8G ED s AF-S NIKKOR 70-200mm /2.8G ED VR II s 10.5mm /2.8G ED DX Fisheye NIKKOR
Nikon Speedlights and accessories s Profoto ComPact-R 600 kit s Transmitters and receivers, various brands s Softboxes and umbrellas
digitalphotopro.com November 2014 | 45
Brian Dorsey Studios | BRIAN DORSEY | www.briandorseystudios.com

B
rian Dorsey is based out of What has been the most vital piece when everything is working against you.
New York City, but travels of promotion youve invested in? If the wedding planner tells you at the
throughout Europe, South We handmake our portfolios and last second that your half-hour sched-
America and the Caribbean marketing materials in-house. Its a uled portrait time has been reduced to
for weddings and events. While always huge expense, in terms of time and three minutes and has to be done in a
striving to make the wedding couple money, but once someone is interested cardboard box, it just means weve been
and family more comfortable, hes enough to meet with you, you need to challenged to quickly create an amazing
excited to tackle new challenges, too. really wow them in person. cardboard box picture. Thats fun.
Dorsey is also a regular contributor to What method has led to your 2) Make sure youre working to meet
New York Magazine, Town & Country greatest success in booking clients? your clients needs on the wedding day,
and The Knot. His big-hit back-pocket Were open and honest, and come at not yours. Keep in mind that this is their
wedding skill: He can tie a bow tie! things from the perspective of consul- wedding day. Our clients experience of
Whats the single most important tants rather than salespeople. We try to their day should be far more important
business advice youve learned through understand what a clients needs are and than requiring their involvement in cre-
your wedding photography experience? help them achieve them, even when it ating great photographs.
If you treat your clients exactly means we do less business. 3) The answer is always Yes.
as you would want them to treat you What are your top-three tips for Whats your must-capture
if you were hiring them, you can creating a positive working wedding moment?
never go wrong. We dont sell anything relationship with your clients? The most important shot of the day
we wouldnt want ourselves. 1) Never, ever lose your cool, even for me is the one that timelessly pre-
serves a moment of connection between
>> Brian Dorseys Gear the couple. Those moments can come
at anytime in the day and theyre eet-
My own shooting style focuses on grabbing real-life moments, which means a lot of subject
ing, so you always have to be on the
movement and split-second timing. I always nd myself going with the pieces that are
simplest and allow me to work the fastest. Give me a couple of Canon EOS-1D Xs, a
lookout, ready to grab it. Thats the
24-70mm and a 70-200mm /2.8 IS, and Im happy. The new Canon 600EX ashes are shot that will be the most important to
a godsend when you need to quickly set up lighting for those family formals. them as a couple in the years ahead.
46 | Digital Photo Pro digitalphotopro.com
Morgan Lynn Photography | MORGAN LYNN | www.morganlynnphotography.com

H
ouston-based Morgan Lynn people view your brand and talk about Hands down, our focus on exceed-
started photographing weddings you in the community. ing client expectations during their
when she was 18 years old. After What has been the most vital piece experience working with us has been
receiving her BA in Fine Arts/ of promotion youve invested in? the most successful method of book-
Photography from the University of Weve been fortunate to not have ing clients and expanding our business.
Colorado at Boulder, Morgan continued had to make any signicant advertising When we deliver great work and great
to shoot as Morgan Lynn Photography. investments because our word-of-mouth service, the booking takes care of itself.
In 2010, Morgan Lynn Photography business is so strong. Therefore, taking But no matter how great, the work
became a husband-and-wife team, with the time to deliver quality work and needs to be seen. Ensuring that were
Morgans husband Amir joining the excellent customer service have been our taking the time to put our best photos
business. The couple shoots worldwide. most vital business investment. From a forward through social media, the blog
Whats the single most important branding perspective, the most signi- and website, we set ourselves up for
business advice youve learned through cant investment weve made was updat- positive word-of-mouth referrals.
your wedding photography experience? ing our presentation materials, including What are your top-three tips
Creating amazing photos for your stationery and packaging, to be consistent for creating a positive working
clients should be your rst priority as with the sophisticated, high-end look relationship with your clients?
a wedding photographer! Astonishing and feel we aspire to have in our studio. Aside from delivering great work:
your clients goes a long way in building What method has led to your 1) Client attentiveness, such as
a business for the long term in the way greatest success in booking clients? (Contd on page 93)

>> Morgan Lynns Gear


Nikon professional system, including the D4, D3S and D800 s AF-S NIKKOR 24-70mm /2.8G ED s AF-S NIKKOR 70-200mm /2.8G
ED VR II s AF-S NIKKOR 85mm /1.4G s AF-S VR Micro-NIKKOR 105mm /2.8G IF-ED s AF-S NIKKOR 14-24mm /2.8G ED
Nikon SB-910 Speedlights s Elinchrom Quadra Ranger set with modiers s Roscolux gels
The 24-70mm is my primary lens of choice, and I almost always have it on one of my cameras throughout a wedding day. The focal
range is incredibly versatile and allows me to react to nearly any situation, especially useful in tighter corners when I need to capture a wider
scene. The zoom allows me to remain mostly inconspicuous, which is important for us at weddings.
 digitalphotopro.com November 2014 | 47
Eleven Weddings | CHIP LITHERLAND | www.elevenweddings.com

C
hip Litherland met his wife yourself, shoot how you shoot, and terrible iPhone photos and make sure
Elaine while in Las Vegas bet- just be authentic. Brides and grooms they have good pictures to share on
ting 11 on roulette. When he are paying a ton of money to have you social media the next day. It buys me
hit big, he spent the money there, so you owe it to them to deliver a few weeks for the rest of the images
wooing Elaine, leading to their own an amazing experience for them by and creates instant gratication and a
Vegas wedding and two daughters. making it easy and fun while at the ton of viral marketing right away. Most
Litherland brings this full spirit to same time remaining professional. Its people are really surprised to get them
Sarasota, Fla.-based Eleven Weddings a delicate balance, but I always try to be the next day, and their friends and fam-
Photography, named after his winning up front with my style and how I work ily on Facebook see that, too. That lays
bet on 11. With a photojournalistic and remain true to that. the groundwork for future gigs.
style, hes always keeping his eyes open What has been the most vital piece What method has led to your
and camera ready. of promotion youve invested in? greatest success in booking clients?
Whats the single most important One thing I always do on the back I like to deliver a really unique blend
business advice youve learned through end is deliver a good edit of 25 to 50 of vibrant imagery that sticks to my
your wedding photography experience? images within 24 hours, no matter style and has fundamental roots in
The best advice I can give is to be what. Im trying to beat their friends photojournalism. I had no idea that
photojournalism was a style in wed-
>> Chip Litherlands Gear ding photography; its just what I do.
Im addicted to pictures that just ooze
2 Canon EOS-1D X bodies s Canon EOS 5D Mark III for remotes and backup
Canon EF 24-70mm /2.8L II s Canon EF 70-200mm /2.8L s Canon EF 16-35mm /2.8L II color. Ive really stopped looking at
Sigma 50mm /1.4 Art s Sigma 35mm /1.4 Art other wedding photography and bridal
Canon 600EX Speedlites s PocketWizard transmitters s Canon transmitter s Bolt battery packs blogs, and just continue to try to better
I carry a Think Tank Retrospective 5 bag alongside my Think Tank roller with a bunch of myself visually.
toys in it, like a small toy prism, broken stained glass, Justin clamp and a handful of video
What are your top-three tips for
LED lights Ill handhold and use for portraits and playing around with light. I always carry
mints and gumless for me and more for sharing with bridesmaidsand leave room to carry creating a positive working
stuff for the bride like her makeup and tissues, if she needs it. Trust me, that last part is a relationship with your clients?
great trick to keeping the customer service experience awesome. (Contd on page 93)
48 | Digital Photo Pro digitalphotopro.com
The PENTAX 645Z is a unique combination of medium format innovations that lets nothing escape.
So I can capture exactly what I envision. Nothing less. And usually more. Today, I can dream big
and catch every raindrop my soul desires. No artistic differences here.
To see, touch and experience this amazing camera for yourself, visit your local camera retailer and/or
go online at us.ricoh-imaging.com & ricoh-imaging.ca

the power to wonder what if is always with me

Ricoh Imaging Americas Corporation 2014 | us.ricoh-imaging.com | ricoh-imaging.ca | photography: Kate Turning
Tremaine Photography | ALEXANDRA TREMAINE | www.tremainephotography.com

R
egardless of her subject matter,
San Miguel de Allende, Mexico-
based photographer Alexandra
Tremaine follows the credo
Capture the world in a simple, yet
beautiful way. With a Professional
Photography degree from Brooks
Institute of Photography, Tremaine is
technical and precise, yet her ability to
be playful, connected and to embrace
the unexpected is what gives her
images their unique tone. In addi-
tion to her wedding photography,
Tremaine contributes editorial and
lifestyle images to clients like Yahoo!,
Golf Digest and Jupiter Images.
Whats the single most important
business advice youve learned through
your wedding photography experience?
If I had to narrow it down, it would
be to be friends with your competition.
You can help each other out in so many
different ways, from pep talks to tech
talks, from assisting to editing, from
inspiration to collaborations, and the
list goes on. Ive recently moved to San
Miguel de Allende in Mexico, and the
rst thing I did, months in advance, was
to get in touch with the local wedding
photographers. You never know when
youll get a referral or might need an
assistant. The industry is large enough
for everyone; no one person can photo-
graph more than one wedding a day.
What has been the most vital piece
of promotion youve invested in?
Word of mouth is, by far, the best
promotional advice. Ive received
more clients through word of mouth
than any other way. Facebook is won-
derful, as well. The life of a single recently doubled my Facebook likes. ing weddings. While the pressure and
photo on Facebook can be seen and What method has led to your responsibility are still there, now all I
shared and discovered by thousands greatest success in booking clients? get is excitement for their day. I talk
of people. Ive run Facebook ads, I show my true personality and speak about the energy of the wedding day
which have been helpful, but the new honestly about my career as a photog- and how dealing with pre-ceremony
promote my page tool on Facebook rapher. Usually, I tell them about the nerves and anticipation is a big part of
rst wedding I ever photographed, what I do.
where I had a full-out panic attack What are your top-three tips
>> Alexandra Tremaines Gear in between the ceremony and recep- for creating a positive working
2 Canon EOS 5D Mark IIs tion. I had to lie down on the oor and relationship with your clients?
Canon EF 24-70mm /2.8L II
take deep breathsdont worry I had 1) Be interested in getting to know
Canon EF 50mm /1.2L
Canon EF 70-200mm /2.8L
privacy! I believe that clients like this your couple, both as individuals and
Canon EF 100mm /2.8L Macro candor, especially when I describe how together as a unit. How did they
2 Canon 580EX II Speedlites Ive become so condent photograph- (Contd on page 93)
50 | Digital Photo Pro digitalphotopro.com
PROS
OF THE
Featured Contenders In The
2014 Emerging Pro Contest

T
he entry period for the 2014 Emerging Pro Contest has just ended and
nalists selection is underway. Finalists from each of the three contest
categoriesPhotojournalism & Sports, Fashion & Beauty and Fine
Artwill receive a RED SCARLET-X on loan for one month to shoot a nal
project. These nal projects will determine a Grand Prize winner who will win a
SCARLET-X RED DRAGON camera and Epson Stylus Pro 4900 printer. While
nalists are being chosen, head to www.digitalphotopro.com and help determine
the Peoples Choice winner by voting for your favorite entry.
Throughout the contest, weve been selecting Featured Contenders to spotlight
both in print and online. In this issue, we showcase entries from Emily Perez, Kaz
Canning, Laura Bello and Todd McVey. Visit www.digitalphotopro.com to explore
more highlighted photographers.

55 Emily Perez merges fashion


and landscape photography
57 Laura Bellos Plum grew
from her love of vibrant colors
in Mission To Mars. and a clean beauty aesthetic.

56 Kaz Cannings search for


unique architectural scenes
58 Todd McVey created Kid
Fencer 4 as part of a series
brought him to a Shadowed exploring his photographic
Passage in Central Park. style through the sport.

54 | Digital Photo Pro digitalphotopro.com



Photographer: Emily Perez
Title: Mission To Mars
A California native, Emily Perez is a self-taught photographer with an extensive lm
background. She has been shooting for eight years and naturally applies her cinematic
background to anything she photographs.
Of infusing her love of fashion into her landscape photography for her entry Mission
To Mars, Perez says, I attended a fashion show in 2010 that inspired a planet-based
personal project that Im still shooting currently. I sought out the couture designers
featured that night. The designer Merlin Castell had an amazing collection that I felt would
best represent the planet Mars. After carefully planning the right location and the right
team, I was extremely happy with the results! Since then, Ive shot two other planets.

Equipment: Canon EOS 5D Mark II, Canon EF 16-35mm /2.8L II USM,


handheld reector

 digitalphotopro.com November 2014 | 55


PROS

OF THE
FUTURE
Photographer: Kaz Canning
Title: Shadowed Passage
Kaz Canning is a 22-year-old self-taught photographer from San Antonio, Texas. He travels tens of
thousands of miles each year, across all of North America, searching for stunning landscapes and
one-of-a-kind architectural scenes. In May 2014, Canning visited New York City with the goal of
exploring Central Park.
As scattered drizzle was showering Manhattan, I made my way uptown, says Canning. With
mild weather that weekend, the park was buzzing with activity. There were more people than I
could have imagined wandering around the winding streets. The spot I was looking for was a tunnel
hidden from plain sight beneath one of the streets nearby. As I kept searching down the streets, I
could hear the muted sound of a choir so I decided to take a quick break and check out what was
going on. As I got closer to the music, I had to make my way through a crowd that had gathered
around the musicians. But when I got closer, I saw exactly what I had set out to nd, this small
passage below Central Park. With the music creating a calm, ambient vibe in the air, I set up my
camera for this shot. Because of the huge crowd behind me, the people walking through the
narrow corridor made it difcult to avoid getting people in the photo. I was lucky enough to get
a few photos without the crowd. A single person managed to make their way into my shot, but it
turned out better than I could have ever imagined. The long shutter speed and their quick
movements gave the human a ghostlike effect that I couldnt have planned out better myself.

Equipment: Canon EOS 600D, Sigma 50mm /1.4 DG, Vanguard tripod

56 | Digital Photo Pro digitalphotopro.com



Photographer: Laura Bello
Title: Plum
Originally pursuing painting and digital art, Laura Bello switched to photography while working to hold
onto her creative roots. Bello loves vibrant colors, vintage styles and alternative looks, focusing her
photographic pursuits on fashion and beauty.
Describing the process of shooting her entry Plum, Bello says, Model Julia Icone, makeup artist
Amanda Marsala and I have worked together on numerous occasions in the past. In April 2014, we
wanted to stretch our creative muscles and do some close-up beauty work for our portfolios. We
decided to focus on warm-toned couture makeup and keep the rest of the image very clean without any
other distracting elements. I chose to work with very dramatic lighting to complement the makeup and
model. I also worked to retouch the image in a nearly pristine fashion, which is a look I love. I feel, in the
end, everything tied together to create that look of perfection thats associated with beauty photography.

Equipment: Nikon D90, AF Nikkor 85mm /1.8D, LumoPro LP160 ash, Adorama 21 beauty dish,
Wacom Intuos 3 9x12 tablet
PROS

OF THE
FUTURE

Photographer: Todd McVey


Title: Kid Fencer 4
Todd McVey has been an advertising art director. After working with some really great shooters, he
got the photography bug and decided to pursue a photography career three-and-a-half years ago. In
this time, McVey has been working on developing a direction and look for his work. In Kid Fencer 4,
part of a larger series, McVey explores the art of fencing with the kids at his daughters fencing school.
The sport isnt all that big in the U.S., and it has something of an elitist air about it, describes
McVey. Very stiff, only the more well-off are allowed to partake. I just wanted to poke some fun
at itno pun intendedeach kid standing tall and heroic, but instead of holding their swords all
mighty and victorious, they were thrust through them, causing a visual juxtaposition. No kids were
hurt in the making of this photo.

Equipment: Canon EOS 5D Mark II, Canon EF 24-70mm /2.8L, tripod, one large softbox, one ash

58 | Digital Photo Pro digitalphotopro.com



I have used and continue to use Museo media because, quite simply,
without high quality media there is no project. I love the luscious, artful
look of Museo Silver Rag and Max. They have terrific D-Max and tonal
range so my work looks its absolute best...

Lester Picker, Les Picker Fine Art Photography


www.lesterpickerphoto.com
60 | Digital Photo Pro digitalphotopro.com

Art
the

Portfolio
Emotion
of

Samm Blake takes an artists approach to making romantic, nostalgic wedding photos for clients worldwide

T)
By William Sawalich Photography By Samm Blake
he most important thing to
understand when discussing
the photography of Samm
Blake is that shes not par-
ticularly interested in how would take a photograph. In some
photographs are made. Instead, shes schools, people come out very techni-
concerned fundamentally with why cally procient, but they take the most
photographs are made. This philosophy, boring photos because theyre discon-
one that keeps technique utterly subser- nected from the art side of creating the
vient to content, was instilled in her at work. To have emotive content rather
Edith Cowan University in Western than a technically perfect exposure
Australia. Born and raised in Australia, thats a huge way I shoot. Its a very
as a photojournalism student with an emotional response to how Im feeling
interest in ne art, she says she wasnt at a wedding. I go into it completely
taught technique. Or, at least, if it was with no expectations, no idea of what
taught, she didnt pay it much attention. the wedding is going to be. I dont like
I nd a lot of photography schools to previsualize anything, and thats why
teach the how to take photographs, its a completely emotive reaction to
says Blake, but not actually why you whatever is happening in front of me.
Its not that Blake is technically
agnostic. In fact, the photographer,
now based in New York, is very delib-
erate with both her in-camera choices
and her postprocessing editing. She
selects tools and techniques based on
the look she wants to achievea look

 digitalphotopro.com November 2014 | 61


Art
the

Emotion
of
Samm Blakes style comes from her emotional connection to the subject
matter and a philosophy of no expectations. Keeping a spirit of spontaneity,
which is crucial to navigating any wedding day, Blake prefers to work quickly
and embrace slight imperfections when the image captures personality and
authenticity. With a love for the look of traditional analog lm, shes willing
to risk underexposure or slight grain in order to preserve natural lighting, and
often nds that these quirks add the romantic look that signies her brand.

thats dictated by the content rather than a desire to show off


her technical prociency.
I nd what makes an image awesome is when there are things
imperfect about it at the same time, she says. I feel like spend-
ing too much time creating the technically perfect image, emotion
isnt shown on the brides face because shes bored and fed up. I
work very quickly to get shots and then I get the shot and move
on. If I was using anything other than the two cameras I have, it
would produce a completely different result that I wouldnt want.
I basically shoot a whole day on 55mm and 35mm lenses.
Blake carries two camera bodies, and says those normal and
wide-angle lenses stay on 80% of the time. Shell switch to a 24mm
or 85mm lens on occasion, too.
The 24mm I use more for reception or getting ready, she says,
dancing shots, or if Im in a tight room. And the 85mm is pretty
much only for ceremony and a bit of reception. Im getting wider
and wider as I shoot over the years. Three years ago, I would have
said 85 and 50 were my main lenses, but now I just love images
that have lots of space in them. I think photographers just try to
ll the frame too much when theyre starting out. I always love
images that have room to breathe.
In post, Blake employs a light touch, although her editing is
fairly involved, with images getting color-corrected in Lightroom
before each is rened in Photoshop. She uses postprocessing to
create images that feel natural, even traditional, in the sense that
they harken back to a bygone era. Her best advice to photogra-
phers trying to rene their visual style in a world where anything
is possible is to keep it simple and consistent.
Have one color look, Blake says, and have one black-and-
white look. Earlier this year, I taught a photography class and I
did portfolio reviews. I reviewed 85 people one day, and my big-
gest critique was inconsistent editing. If I was a client hiring a
photographer, I want a pretty clear idea of how the images are
going to look. I dont want to hire a photographer and then in
editing that week theyre in a yellow phase, so everything is look-
ing yellow. I think this is also because I shot my rst ve years as
a wedding photographer on lm. Im always in my head trying to
create a very clean color image, just very classic, something thats
not going to date. I just try to make my images look like lm. I
want the feeling a photograph gives to be the most obvious thing
and then the post production to be secondary.
digitalphotopro.com November 2014 | 63
Blakes portfolio intermingles color images vision and responds to what makes each cer-
with beautiful black-and-white. She says black- emony unique. This doesnt mean, however,
and-white has become her signature look, that shes free to forget that shes also, in fact, a
something for which shes specically hired. wedding photographer.
The biggest thing my clients tell me is I always shoot a wedding as if it was my
that they love my black-and-white images, own, she says, like what I would want at my
she says. Maybe because the ones I choose to wedding. And, of course, I would want family
put in black-and-white are very nostalgic sort photos and group shots. So I understand that
of images that kind of feel like theyre out of theyre important because I would want them
someone elses photo album from a long time taken at my wedding, as well. Ive always been
ago. Also, my all-time favorite images are happy to do the boring shots and such because
always underexposed, for some reason. Thats theyre important to the bride. And its not that
my favorite way to photograph. I think thats painful to do, at the end of the day. Of course,
always playing in my head, to try and shoot this day isnt about photographythe photog-
like that. And thats what I like a lot about my raphy is a cool aspect of it, but the best aspect
black-and-white images, that I can get away is all your friends and family who love you the
with doing a bit of that underexposed thing most in the world are here to celebrate you.
more. Im not afraid to make really dark, When it comes to posed portraits, Blake
grainy black-and-white portraits. says she gets the best results when she
Blake isnt afraid to break many >> More On The Web boils that part of the day down to an
For more cutting-edge
of the rules of wedding photography imagery from ne-art and impromptu 10- or 15-minute session,
because she doesnt exactly consider commercial photographers, rather than the traditional hour or 90
see the Proles section of
herself a wedding photographer. DPP on the web at minutes of planned family portraits. It
Shes not in denial, its just that she www.digitalphotopro.com. originated from her clients who didnt
avoids the classication because the label can want to be absent for much of the festivities.
beoften unfairlystigmatized. People hear I happily accepted the challenge of alright,
wedding photographer and they think they youve got 10 minutes, Blake says, just
know what she does. She would argue they because I actually resonated with it. It made
most certainly do not. so much sense to me. But I could only do that
Hiring Blake is akin to inviting an artist to after so many days of having that long train-
the event and asking her to interpret it in her ing. I know how to make an introverted guy
own free-form way. Her images are beauti- come out of his shell and, like, I know how to
ful and romantic, engaging and emotive, even deal with all the different personalities because
when the viewer has no connection to the bride Ive done so many weddings. Now, to go from
and groom. Where many wedding photogra- an hour and a half down to 15 minutes, I can
phers may follow a formula, Blake trusts her just do it.

64 | Digital Photo Pro digitalphotopro.com



Art
the

Emotion
of

Blakes best advice is to rene your own personal


style and keep it consistent throughout your
portfolio. Consistency fosters trust, allowing intimate
moments to be captured and the resulting photos to
exceed the expectations of the couple. While Blake
shoots color images, she has become known for her
black-and-white photography that adds a hint of
nostalgia. Her careful portfolio editing that focuses
on stylistic moments instead of traditional portraits
makes her work stand out and ensures shes hired by
couples who embrace her artistic vision.

 digitalphotopro.com November 2014 | 65


Art
the

Emotion
of

One of the ways Blake keeps her like that, I never use any.
family portrait sessions short and Technically, not never. Sometimes,
sweetand the images full of real rarely, when the ambient light is unap-
emotionis to forego the standard pealing, Blake will break out a strobe
wedding photographers playbook. She and use it to create more useful light,
avoids strobes and almost never uses but only when its absolutely necessary.
modiers to alter the ambient light. By only shooting 15 minutes worth
Last time I used a reector was of portraits, she says, I had to get bet-
in 2008, she says. Flashes and stuff ter at my receptions because I would be
66 | Digital Photo Pro digitalphotopro.com

Samm Blake my second shooters to read my obnox- the extremities of how far I could push
ious sign language from across the it. But I didnt want to use ash at this
On Branding roombecause they always hold the wedding, so I took a risk and shot it all
Samm Blake serves as a branding ashand we generally do a backlight- really high ISO and was really, really
example for professional assignment ing thing. But at one reception, which surprised with the outcome. So, now,
photographers across all niches. She
only had 18 or 20 people and it was in a in the evenings, I do a mix of ambient
shapes her portfolio and marketing
materials to cater to a specic type
really small room, I realized if I started light, just natural light, whatever Ive
of customerand she trims the using my ash, I was going to kill the got going on in the room, but where I
pedestrian shots to leave only those entire ambiance of what that was trying can and its suitable I create variety by
that reinforce her brand. She may to createhaving an intimate dinner. I using different at lighting sources.
shoot family photos, but she doesnt had just got my Canon EOS 5D Mark As a photographer whose clients
sell them. That wouldnt help to set III then, and I hadnt really tested out (Contd on page 91)
her work apart. Instead, she shows
the aspirational images that make a
select group of clients willing to pay
a premium for her artistic services.
Its a lesson all photographers
would do well to learn. ASK
Im carefully curating my ABOUT
portfolio to only attract particular REBATES
types of brides, Blake says. And
Im very open about the way I do
work. I only shoot 20 weddings
a year now, so I only need 20
couples to like me and pay for it.
By carefully curating my portfolio
to be a representation of the way I
want to see the world, I dont put
any typical shots that a mother
would want to see in a wedding
photographer. Im also very
conscious about the groom, as well.
Like my logo, for instanceI made
sure it was a very unisex type of
brand. I want the respect of the
guys because, ultimately, guys
dont want too much butteries or
cherries ying around. My ideal
client is like a graphic designer or Pose it, light it, love it
someone in production or the lm CLAY BLACKMORE

industry. Im trying to get that guys


respect, even if hes just looking at
my logo, to show that Im not into 10 years ago Clay Blackmore made the
the uffy side of it all, even though
my images are hugely romantic Quantum Leap and never looked back
and nostalgic.
Clay Blackmore is a master of lighting and classic portraiture and a big
fan of Quantum portable lighting equipment. Ive been using Quantum
at the receptions a lot longer; photog- lighting products for over ten years. Every time I go outdoors, the Qash
raphers always kind of skip over the goes with me because it produces the full spectrum of color and delicate
reception. With the father-daughter skin tones that are essential to my work. Together with the user-friendly
wireless TTL CoPilot and the compact Turbo SC I have all the power,
dance, I kind of made it a challenge,
control and versatility I need for capturing amazing shots.
a conscious decision when I was at a
wedding once, to get better at this. I felt
CoPilot
like I was a pretty good photographer
during the other parts of the day, but I Designed & Manufactured in the USA
Turbo SC
needed to get better at lighting. I cant A PromarkBRANDS Company
just say this room is ugly or has bad
www.qtm.com/qash
lighting; I have to make it better. So I
800-989-0505 Qflash TRIO
taught myself how to use a little cam-
era ash and radio triggers, and trained
digitalphotopro.com November 2014 | 67
The

M)
ontana-based photog-
rapher Ami Vitale can
see rays of light in even
the darkest of circum-
stances. Her human-
istic approach to photojournalism
and deep understanding of the
complex geopolitical world shine
through in her images that grace
the pages of magazines including
National Geographic, Newsweek,
GEO, TIME and Smithsonian.
DPP: Photojournalists tend to
ock en masse to conict zones
and emerge with powerful, yet
similar dark imagery. Your images
seem to buck the trend and give
the viewers a sense of hope from
even the deepest sea of madness.
Ami Vitale: Even in the worst
places Ive been to, the people are
just like you and me. Theyre not
on the extremes of society. They
want safety and security for their
children and for them to have a
good education. As journalists,
we tend to parachute in, and we
have to come back with a great
story. Im not denying that horri-
ble things are happening and that
they need coverage, Im just say-
ing we need a wider lens to help
us relate to people.
DPP: And youre saying this
from the perspective of having
traveled to more than 85 coun-
tries, many where the rule of the Ami Vitale roams the globe connecting with people on every continent to create images
gun supersedes the rule of law.
Vitale: We need to show the
68 | Digital Photo Pro digitalphotopro.com

Portfolio

that bring cultures together By Mark Edward Harris Photography By Ami Vitale

 digitalphotopro.com November 2014 | 69


everyday things that help people relate torically, the way we see the world has
to each other. When I turn on the TV been very colonial.
today, the world looks terrifying. The Establishing authenticity is one
truth is, its not as terrifying as it looks. of the things were going to have to
I know this sounds crazy given recent fork through. People use the media
news. Those very extreme elements are for their own propaganda. You see
there. But its getting worse because locals using images; for example, Ron
were not emphasizing the majority Haviv had an image that he shot in the
thats in the middle. We need stories Balkan conict, and its being reused to
that help us understand one another, illustrate the situation in the Ukraine.
help us share the commonality. I just For the fantastic campaign Bring Back
want equal coverage. In virtually every Our Girls, about the girls that were
conict zone Ive been in, I feel like kidnapped in Nigeria, it turns out they
were being hijacked by the extreme used two images of mine, from girls
elements. Thats the tragedy for me. 2,000 miles away in Guinea-Bissau.
Thats why I have as a mission to talk Its misrepresentative.
about these quieter stories. I know DPP: Can one be truly objective cov-
theyre not as dramatic. ering stories in harsh, dangerous places?
DPP: Many journalists, perhaps pro- Vitale: I dont think so. We all come
pelled by tight deadlines and extreme in with our own ideas and values.

competition, parachute, as you say, into


areas of conict and barely scratch the
surface of the reality of the place for
the average person. Has photojournal-
ism always had this approach, or have
things changed over the years?
Vitale: Strangely enough, with the
democratization of media and more
locals telling their own stories, things
could actually be getting better. The
problem is, it has to start in the news-
rooms of the Western media. But its
tricky. You have to make sure that the
news is coming from a credible source.
Look at the Arab Spring. Thats a per-
fect example of local voices telling their
own stories through social media. His-
70 | Digital Photo Pro digitalphotopro.com

The

Theres no one absolute truth. Thats why OPENING SPREAD: A shadowy environmental
theres conict. I think that the way we get portrait of Julius Lokinyi, a former poacher
who now works to protect elephants in Kenya.
to truth is through a variety of perspec-
ABOVE, LEFT: Muslim children play outside of
tives. It has got to be a mosaic to get to a
a school in a refugee camp that housed more
deeper understanding of a place. I keep than 120,000 people, set in the state of
saying a wider lens. We sometimes come in Gujarat in Ahmedabad, India. ABOVE: Alio
with narrow perspectives. It takes time and Balde scrubs himself next to a man-made
a deep curiosity to get beyond the surface. watering hole following the rainy season in
Whether its conscious or subconscious, the West African village of Dembel Jumpora in
we leave things out. When I rst started Guinea-Bissau. LEFT: Relatives mourn a
leading politician in the northern Kashmir
working for a newspaperI wont mention
town of Miriam after at least 11 people were
the nameI remember them asking me killed days before a second round of
to go into a classroom and to photograph a electioneering on September 21, 2002.
specic ethnicity of child. The truth was,
there were only three out of the whole room.
It was shaping reality for the story.
digitalphotopro.com November 2014 | 71
The

DPP: And, often, in crowd situations, Were we creating something? A few Within every story, no matter how
someone will be conscious of the cam- days later, I was asked to cover the most dark, there are actually all these incred-
era and will hold a sign up in a heroic violent moments. Thats what my edi- ible things happening. For example,
way, asking nonverbally tors said the audience wanted. I all we hear coming out of China is
to be photographed, bu >> More On The Web remember walking around the depressing environmental news. All of
See more interviews with
clearly media-savvy. leading photojournalists corner and nding this beau- thats real. A colleague of mine found
Vitale: My rst real expe and learn how they tell tiful Palestinian wedding. I this wonderful story that I covered;
the stories of history by
rience with that was when connecting with people at thought to myself that these are China is putting captive-born pandas
I went to cover the Second www.digitalphotopro.com. the actual images that help peo- back into the wild. If we want to create
Intifada. I was in Gaza, ple relate and help us feel that a better world, weve got to tell these
and kids were throwing rocks for all these people are just like you and me. stories. I want to nd the stories that
the camera people. I looked at my col- They werent the pictures of guys in encourage and inspire people.
leagues and said, You know theyre masks with guns. I had those images DPP: What initially attracted you to
throwing these rocks because were of scary-looking people and violence. photography, and who were some of
here. Things began escalating quickly. I just had to ask myself, Was I, at best, your early inspirations?
All of a sudden, the Israelis started just telling half the story and, at worst, Vitale: I started with the camera
shooting rubber bullets back and then just telling a lie dening people in just because it was a tool for me to get out
kids started getting sent to the hospi- one way? I was working for a number and interact with people because I was
tal. I had to ask myself the question, of news agencies back then. terribly shy. I found that once I had a
72 | Digital Photo Pro digitalphotopro.com
camera in my hands, all of a sudden In the Cool Shade of a Mud Hut. I
people were, like, Come on in. Then was inspired by not only her work, but
I started realizing that I was being her passion to give back. Same with
invited into all these extraordinary Larry. The rst person that I should
situations, and I could tell all these mention, though, is Rich Beckman,
beautiful stories. Then it became a my rst professor in photography at
responsibility to do justice to the things the University of North Carolina at
I was seeing. Chapel Hill. Thirty years later, hes
Susan Meiselas and Larry Towell still my greatest mentor, helping me
were very inspiring to me. Susan cu- with proposals, ideas; hes so com-
rated the Open Society Foundations mitted. He encourages his students to
Moving Walls 6 exhibition, which apply for grants, and to see the world
included my series Guinea-Bissau: as a bigger place and to tell bigger

ABOVE, LEFT: At least a dozen people were wounded


when police used batons to disperse hundreds of
protestors, says Vitale, of this image of a Kashmiri
man being arrested for protesting with the Association
of Parents of Disappeared Persons (APDP) in Srinagar,
the summer capital of Indian-held Jammu and Kashmir
state in India, on March 20, 2004. The organization
says that more than 6,000 people have disappeared
from Kashmir. ABOVE: Long renowned for health spas
and thermal springs, Budapest is home to the ruins of
ancient Aquincum, where the very rst hot mineral
water bath complex was built. LEFT: A woman looks
through a fence to see an unidentied victim of
violence outside of a graveyard in Srinagar, Kashmir.
FOLLOWING PAGE: Indian Border Security Force ofcers
patrol beautiful Dal Lake in Srinagar. Once a tourist
hot spot, explains Vitale, the only visitors to this
magnicent landscape these days are Indian soldiers.

 digitalphotopro.com November 2014 | 73


The

stories. Now the halls of magazines Conservancy to look at a place called is valuable to the Africans, then they
such as National Geographic, TIME and the Northern Rangelands Trust. Its become the protectors. It cant be solu-
The New York Times are lled with his basically indigenous communities get- tions coming from the outside. I did
former students. ting together. It sort of answered the a crowdsourcing campaign. Its one
DPP: Do you come up with your own question for me, How do the Africans of these lifelong stories Im going to
ideas for these types of magazines, or feel about this? How are their lives be working on. Not just dening the
are you assigned most projects? impacted? You only see the poach- problem, but talking about the solu-
Vitale: Its a mix of both. Often, some- ing problem portrayed in a very nar- tions. I dont hear enough of the posi-
one will send me on an assignment, row way by outsiders. The best hope tive stories, the way forward. There
which is never long enough, and Ill we have for the future is if the wildlife are solutions. If we give those stories
say to myself, Theres so much here, I the play that they need, it can become a
have to come back. Ami Vitales Gear model for other places and people.
For example, theres one story Im DPP: And some of those stories
Nikon D4S DSLR
working on right now. There are only youre telling with the moving image.
four northern rhinos that are able to AF-S NIKKOR 400mm How did that come about, and what
/2.8G ED VR
breed on the planet. Theyve been equipment are you working with?
AF-S NIKKOR 80-400mm
killed to extinction in the wild. The /4.5-5.6G ED VR Vitale: Video is such a power-
poaching in Africa is getting worse and AF-S NIKKOR 70-200mm ful medium. In 2009, I went back to
worse. The rhino horn is worth more /2.8G ED VR II school for a year and a half, with Rich
than gold. I found them in a zoo in the AF-S NIKKOR 24-70mm again, who had moved to Florida to
Czech Republic. I heard through con- /2.8G ED teach at the University of Miami at
dential sources that they were ying AF-S NIKKOR 24mm the Knight Center for International
/2.8D
them to Kenya on a DHL ight. There Media. I moved to Miami and got
are two different types of white rhinos, Nikon SB-910 Speedlights a masters focusing on journalism
the northern white and the southern Nikon tele-extenders and lmmaking.
white. They hope to crossbreed them Manfrotto tripod In terms of video equipment, in
so they can maintain some of the genet- Goal Zero solar panels addition to my Nikon D4S, the main
ics. I followed the four northern rhinos. F-stop photo backpack thing is a tripod, which I dont really
I was then sent last year by The Nature (Contd on page 91)
74 | Digital Photo Pro digitalphotopro.com
PHOTO CONTEST
ENTER NOW!
Show us your best shots for
your chance to win $1,000 in
prizes and publication of your
photo in an upcoming issue!

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Entry deadline is November 20, 2014
LENSES
D co s ructed e n t

We demystify the key


specications and how
each one plays its role in
making the perfect image

Everyone does it, even if they


dont admit it. From global
photojournalists to the image
makers cruising around Fashion
Week to ne artists working in
their hip lofts, everyone pores
over spec charts about their
photo gear. Another thing most
photographers have in common
is that they have only a passing
Stabilization
notion of what some of those If you shoot handheld, you want a lens with These systems really work, allowing you to
specs mean and how they can built-in image stabilization (unless you use get sharp handheld images at two to
a camera that has sensor-shift stabilization, four shutter speeds slower than would be
impact their images. In this brief
which works with all lenses; Pentax and possible otherwise.
article, we dissect the specs to Sony DSLRs offer sensor-shift stabilization). In Canons original IS system, a vibration
help you see how each aspect Canons IS, Nikons VR, Sigmas OS, gyro detects the angular velocity component
Tamrons VC and Tokinas VCM lenses have of lens motion caused by camera shake
of the lens works to bring you a
built-in optical image stabilizers, which move and transmits this data to a microcomputer,
clear, sharp image. a special group of lens elements to counter which converts it to a stabilizer optical
camera shake. In the mirrorless world, system drive signal, which is transmitted to
Pentax and Samsung OIS lenses provide the magnet-and-coil stabilizer optical system
optical stabilization (Olympus mirrorless drive circuit, and the compensation is applied
cameras have sensor-shift stabilization). by shifting the compensating element group
76 | Digital Photo Pro digitalphotopro.com

Maximum Aperture produces a more pleasant blur effect in evident in shorter focal lengths and at
The aperture is the opening in backgrounds (bokeh) and foregrounds wider apertures (especially with fast
the lens through which light gets to than the polygonal-shaped apertures lenses). Aspherical elements can mini-
the sensor (or lm). Adjusting its produced by fewer blades. Rounder mize spherical aberration, as well as
sizestopping down or opening apertures also produce rounder, more distortion, so are often found in wide-
upcontrols the amount of light pleasing specular highlights. angle and fast lenses, as well as zooms.
that reaches the sensor or lm. The
aperture is described by an -number, Low-Dispersion Elements Internal Focusing
which is the ratio between the diam- Simple lens elements focus different Internal focusing means that elements
eter of the aperture opening and the wavelengths at different distances move inside the lens barrel to focus, so
focal length of the lens; /4 means the behind the lens (longitudinal chromatic the physical length of the lens doesnt
diameter of the opening is one-quarter aberration) and light rays traveling at change during focusing, and the front
the focal length25mm on a 100mm an angle through the lens at different of the lens doesnt rotate (handy when
lens. From a practical standpoint, the positions, depending on their wave- using orientation-sensitive lters like
effective aperture is the ratio between lengths (lateral chromatic aberration). polarizers and graduated ND lters).
the size of the entrance pupil (the aper- These aberrations appear as colored Because only lighter internal elements
ture as viewed through the front of the artifacts in color images, but also reduce move during focusing, manual focus-
lens) and the focal length. Movie lenses the sharpness of monochrome images. ing has a lighter feel and autofocusing
are often calibrated in T (true) stops, Chromatic aberrations are most evident is faster. Internal focusing also produces
which are based on the measurement in supertele lenses, but can also occur in closer minimum focusing distances,
of light actually transmitted by that shorter designs. Low-dispersion and helps reduce vignetting and allows
individual lens rather than calculated. extra-low-dispersion glass elements can for more compact lens designs. The
Obviously, the larger the opening, minimize chromatic aberrations. These downside is that the focal length can
the more light transmitted. So fast elements have designations such as LD, be reduced at closer focusing distances,
lensesthose with large maximum ED, ELD, SD, SLD, HLD, FLD and especially with zooms. Its not uncom-
aperturesare desirable when shoot- UD. Fluorite elements are especially mon for a 70-200mm zooms maximum
ing in dim light: You can shoot at a good at reducing chromatic aberra- focal length to reduce to 150mm or less
faster shutter speed or use a lower ISO tions, but are very costly to produce, at minimum focusing distance.
setting in a given light level. Wider and thus found mostly in high-end pro
apertures also produce shallower depth lenses. Canons Diffractive Optics (DO) Focusing Motors
of eld, handy when you want to con- also effectively reduce chromatic aber- The rst AF SLRs had focusing
centrate the viewers attention on a spe- rations, while also permitting more motors in the camera body, which
cic subject (or portion of the subject). compact lens designs. physically turned a key in the lens to
On the downside, fast lenses are bulkier adjust focus. These were relatively
and more expensive than slower ones. Aspherical Elements noisy and inefcient, and you could
Conventional spherical lens elements damage the motor by rotating the lens
Number Of Aperture Blades focus light rays traveling through the focusing ring while in AF mode.
Lenses with a greater number of center farther behind the lens than rays Canon came out with the EOS sys-
aperture blades have rounder aper- traveling through the edges. This is tem, which featured a new all-electronic
tures, even when stopped down, which called spherical aberration, and its most lens mount and the focusing motor in

Gyro sensor Gyro sensor


for detecting Yawing for detecting Pitching

appropriately. Stabilization Mode 2 lets you pan the


camera to track action subjects while still having VC
VC actuator
microcomputer Control
compensation for vertical camera shake. Tamrons VC
circuit board
system uses a tri-axial conguration with three pairs of Steel balls
driving coils and low-friction ball bearings around the
Magnet and yoke
lens shake-compensating group to, in effect, provide a
free-oating shake compensation for diagonal as well as
up-down and side-to-side shake. Olympus higher-end
mirrorless cameras provide 5-axis image stabilizing,
compensating for horizontal shift, vertical shift, yawing, Driving coil The modern Tamron Vibration
pitching and rolling motions. Generally, new stabilization and Position Compensation system. Do your
detection sensor
systems are more effective than earlier ones, but even own testing to determine the
the early ones are much better than no stabilization. VC Lens minimum handholding shutter
(Compensation
Optical System) with your stabilized lenses.
at the focal plane is the same) and eld
Frame Size And Angle Of View of view (the smaller sensor crops out
>> Image circle produced by a lens
some of the image that a larger sensor
for a 35mm camera = 43.2mm >> Portion of the image
would include; see Figure A).
>> Portion of the image that a Four Thirds format
that a full 35mm lm sees = 36x24mm Lens Coatings
frame (or a full-frame Each glass-air interface in a lens can
DSLR image sensor)
sees = 36x24mm produce reections and are that reduce
contrast and sharpness, along with the
>> Portion of the image amount of light transmitted to the
that an APS-C image sensor (or lm). So most lenses
image sensor
sees = 23.5x15.7mm >> Portion of the have their elements coated with antire-
image that an ection coatings. Multilayer coatings are
APS-H image sensor
(Fig. A) sees = 28.1x18.7 even more effective, and today we even
have nano-coatings, whose thickness is
less than the wavelengths of visible light.
The magnication factor of APS-C and 4/3 systems is simply due to the different angle of view.
The optics of the lens dont change.
Number Of Elements And Groups
Its impossible to correct all the lens
the lens rather than in the camera body. USD and PZD lenses, for example). aberrations and distortions with a sin-
This had a drawback, where owners When video capability was added gle element, so lens designers use mul-
of previous Canon SLRs couldnt use to DSLRs, noise emitted
their lenses on the new EOS bodies, but by the AF motor took on
the advantage of quicker, smoother AF new importance. So new,
operation, with each lens containing an quieter AF motors have
AF motor optimized for it. been produced especially
Today, most new AF lenses have for video, such as Canons
focusing motors, even those from com- STM (Stepping Motor).
panies like Nikon, Pentax and Sony, But Canon USM, Nikon
whose DSLR bodies contain AF motors SWM, Pentax SDM,
so they can also use older motorless AF Sigma USM and Sony
Front Diaphragm
lenses (and manual-focus lenses). (If a SSM motors are very quiet.
element
lens with an AF motor is attached to a A tip: Pro video shooters
body with an AF motor, most systems generally record sound via In this focal-length lens diagram, you can see the elements
deactivate the in-body motor. And note an external microphone and groups, and where the iris sits in the system.
that entry-level Nikon DSLR bodies connected to an external
dont have AF motors; they must be recorder, not using the cameras built- tiple elements, singly and in groups, to
used with lenses that have AF motors in mic, which can pick up all the cam- more effectively deal with all the things
if AF is desired.) era noises. that can reduce lens performance.
Canon introduced the Ultrasonic A single-focal-length supertelephoto
Motor (USM), which makes for Focal Length lens can work with just a few ele-
quicker, quieter autofocusing, and in A lens focal length is the distance ments (Pentaxs DA 560mm /5.6 ED
higher-end versions (those with man- from the optical center of the lens AW supertele makes do with just six
ual focusing rings and focusing scales), (technically, the rear principal point) elements, including two ED ones, in
allowed you to ne-tune focus manu- to the image plane when the lens is ve groups), while a wide-range zoom
ally without leaving AF mode. While focused at innity. The focal length might require two dozen elements to
conventional motors convert electro- determines the magnication (longer deal with all the aberrations at a wide
magnetic force to rotational force, USM focal length = bigger image of the sub- range of focal lengths (Canons EF
generates force from ultrasonic vibra- ject at the focal plane) and the eld of 28-300mm /3.5-5.6L IS USM uses 23
tional energy. This provides high view (longer focal length = narrower elements, including three UD and two
torque at low speeds, quick starting angle of view). Note that sensor size aspherical ones, in 16 groups). More
and stopping, great precision and quiet affects apparent magnication (smaller elements and groups generally mean
operation. Today, most lens makers sensors crop in on the image formed better correction of aberrations and
offer lenses using similar AF motors by the lens, making the subject ll more other lens faults (and a heavier lens),
(Nikon AF-S, Pentax SDM, Sigma of the frame even though the size of the especially when those elements include
HSM, Sony SSM and Tamron image produced by a given focal length low-dispersion and aspherical ones.
78 | Digital Photo Pro digitalphotopro.com

LENSES DECONSTRUCTED lens designed for lm use. So manufac- sors cant be used on full-frame DSLRs
turers have been updating their lenses (or 35mm SLRs) because their images
Designed For Digital for digital, using designs and coatings would vignette. Note that if you attach
Early DSLRs were adapted from that reduce these problems. a DX (APS-C) lens to a full-frame
their manufacturers 35mm lm SLRs Designed for digital sometimes Nikon DSLR, the camera automatically
and used the same lenses. But digital means designed specically for smaller will crop the image to APS-C format.
sensors arent lm. Digital sensors are (than full-frame) digital sensors: APS-C The same is true for Sony full-frame
atter, and each pixel is a little light and Micro Four Thirds. This allows
well that has depth, so the light has to the manufacturer to optimize perfor-
strike its surface more directly. Addi- mance for the smaller sensor and pro-
tionally, image sensors are highly reec- duce smaller lenses. But keep in mind
tive, and can cause reections inside a that lenses designed for smaller sen-

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have been APS-C. You can use full-
frame lenses on smaller-format DSLRs.

Flange-Back Distance
Flange-back distance is the distance
between the cameras lens mount and
the image plane (the image sensor, in a
digital camera). A DSLR must provide
room for the SLR mirror assembly, so
it has a fairly long ange-back distance.
Mirrorless interchangeable-lens cameras
dont have SLR mirrors, so they dont
have to be as thick; mirrorless cameras
can have shorter ange-back distances.
The mirrorless cameras short
ange-back distances provide a couple
of benets, besides smaller cameras.
First, you can use just about any lens for
which an adapter is available on a mir-
rorless camera because, even including
the thickness of the adapter, the lens
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80 | Digital Photo Pro digitalphotopro.com
already longer ange-back distance, and try another image until the result Bafing
the lens might not be able to focus out to becomes less sharp, then go back to the Lens designers also counter inter-
innity. Second, lenses can be smaller. previous correction setting. Conversely, nal are and reections via bafing,
A wide-angle lens for a DSLR must if the second image looks less sharp than a process that mechanically reduces
employ a retro-focus (inverted tele- the original image, apply adjustment internal reections. This is particularly
photo) design because the typical com- in the other direction. Its a bit tedious, important with digital, as reections
pact symmetrical wide-angle design but not all that difcult. Products like from the shiny sensor surface to the
would require the lens to protrude Zig-Align make it easier and more lens rear element can greatly reduce
into the camera body, interfering with accurate. Most cameras allow you to image quality. Some photographers
the mirror. Mirrorless cameras can use store corrections for a number of lenses, create their own bafing for legacy
more compact wide-angles of the sym- and will apply the correction whenever full-frame lenses when adapting them
metrical type since theres no mirror. a tested lens is mounted. to smaller-sensor cameras. DPP
The ange-back distance for Sony
E-mount mirrorless is 18mm, for
Micro Four Thirds, 20mm, for Leica
M, 27.85mm, for Canon EOS, 44mm,
for Sony A mount, 44.6mm, for Pentax
K mount, 45.46mm, and for Nikon F
mount, 46.5mm. Lenses designed for
longer ange-back distances (e.g.,
Nikon F) can easily be adapted to cam-
eras with shorter ones (e.g., mirrorless),
but lenses designed for shorter ange- 3 -13096slr1
back distances (Leica M, for example)
cant be used on bodies with longer
ones (Nikon DSLRs, for example).

AF Microadjustment
With modern mass-production
capabilities, quality is very high, but
sometimes a given lens and a given
camera body may not work perfectly
together, even if both meet production
tolerance criteria. If the acceptable tol-
erances are +/-5, and the body is +5 and
the lens is +5, the combined +10 offset
will result in a noticeable loss in image
quality. Back in the lm era, when we
didnt pixel-peep at 100% or more,
we didnt notice such problems. With
36-megapixel digital cameras and big
LCD monitors, we do.
So, most DSLRs today come with
a feature that lets you test and adjust
your specic camera/lens combo(s) to
correct for individual lens/body quirks.
Canon and Sony call this AF Microad-
justment, Nikon, AF Fine Tune, and
Pentax, AF Fine Adjustment. If your
autofocused images dont seem quite
sharp, shoot an image of a test sub-
ject, then apply some microadjustment
(generally, +/-20 are provided, in tiny
steps), and shoot another image. If the
second image looks sharper, apply some
more adjustment in the same direction
Wedding
From cameras to lenses to lights and
accessories, heres a breakdown of the critical
equipment for the modern wedding pro Essentials
Wedding photography is an interesting business. The competition is erce, and the number of wedding
photographers is large and growing fast. Its a tough business with lots of pressure to get it
right the rst time. For most shots, you cant reshoot, and your work must please many
clientsbride, groom, brides parents, grooms parents, family and friendsand the occa-
sional bridezilla boosts those challenges by an order of magnitude.
But this challenging genre can be very satisfying if you have the temperament and talent for
it. If you have the eye, all you need is the right gear to pull off all the shots in your mind, and the
special shots that will distinguish your work. Weddings can be photographed with just about any
gear, but choosing the right gear can make all the difference for the pro wedding photographer.

82 | Digital Photo Pro digitalphotopro.com



Back in the lm era, a lot of professional lenses: their 24-70mm and 70-200mm Covering a wedding generally
wedding photography was done with zooms are /4s, the 35mm prime is an involves both available-light shooting
medium-format cameras because the /2.8, the 50mm is an /1.8, and theres and ash photography, so a camera with
larger lm size produced ner-grained no 85mm yet. Of course, you can use a good TTL (through-the-lens) ash
images than 35mm since it didnt have other fast prime lenses via an adapter, system is essential. Fortunately, Canon,
to be blown up as much to make a given but youll frequently be conned to Nikon and Sony provide such systems.
size printalthough some was done manual focus if you do. Frame rate is less important for ash
with 35mm SLRs and even rangender The most important wedding cam- photos, since it takes the ash unit
cameras, too. In the digital era, a lot of era considerations include image qual- time to recycle after each shot. But for

[Cameras]
pro wedding photography is done with available-light candids, shooting short
full-frame DSLRsthe Canon EOS sequences can help you get group shots
5D (currently, the Mark III) and EOS with no one blinking or just that right
6D, Nikon D800 series (currently, the expression in candid portraits. All of
D810) and D610, and Sony SLT-A99 todays full-frame DSLRs can shoot at
although a lot is done with medium- least 4 fps, which should be sufcient
format digital cameras, too (see sidebar). ity, especially in dim light (high ISO), for any wedding needs.
Today, some wedding pros are AF performance in dim light and the Todays DSLRs also have very good
even starting to use mirrorless inter- ash system. battery life, but most offer accessory
changeable-lens cameras, at least as Todays full-frame sensors offer battery grips that make for more com-
second cameras, due to their small size excellent image quality, even in dim fortable vertical-format shooting and
and light weight. Mirrorless cameras light. In the Low-Light/High ISO sec- provide extra battery life. You should
also offer near-silent operation, and tion of DxOMark.coms sensor ratings, always carry spare batteries!
newer ones, good AF performance. full-frame sensors hold positions 1-27, Cameras with two memory card slots
Touch-screen AF, which is offered on the rst APS-C sensor ranking 28th and can help save you from losing images to
a number of mirrorless models but the highest-ranking CCD medium- a defective memory cardset the cam-
few DSLRs, can make for quicker format camera, 34th (in fairness, DxO era to save images to both cards, and
and more accurate focusing during the hasnt yet tested the medium-format youll have automatic backups. Take
wedding show, and Sonys full-frame cameras with the new 50-megapixel extra memory cards and swap when
mirrorless a7S has the best high-ISO Sony CMOS sensor, which should score the one in the camera gets near full to
performance of any camera today. One much better than the CCD sensors avoid missing important shots.
big drawback to mirrorless as primary in high-ISO performance). As noted Be sure to have a backup camera in
wedding cameras is that the only full- above, the highest low-light score was case the primary one fails. Many top
frame mirrorless cameras (Sonys a7 by the full-frame mirrorless Sony a7S, wedding pros carry two cameras, each
series) dont yet have dedicated fast followed by 10 full-frame DSLRs. with a different focal-length lens.

Medium-Format Digital
Medium-format digital cameras can deliver the best low-ISO and now their 645Zstill under $10,000, but now with a
image quality because their big sensors can collect more 50-megapixel Sony CMOS sensor that delivers good images
light than smaller sensors, and they provide more resolution at higher ISO settings and quick (by medium-format
(higher pixel counts) than full-frame DSLRs (the most standards) 3 fps shooting. Its also the only medium-format
megapixels available in a full-frame DSLR currently is 36.3, camera that can shoot video clips, as of this writing.
while medium-format cameras start at 37.3 megapixels and Hasselblad (H5D-50c DSLR and CFV-50c back) and
go up to 80 megapixels). Phase One (IQ250) also offer the same basic 50-megapixel
The big drawbacks to medium-format, besides cost, Sony CMOS sensor, along with some advantages.
have been their limited ISO performance These backs can be used on a number of cameraswhile
compared to most DSLRs and slow speed of the Pentax 645Z camera and back
operation. Pentax has done a lot about are a single unitand, of course,
these concerns with their 645D (the rst offer their own distinct looks in the
sub-$10,000 medium-format DSLR), image les.
To cover a wedding, focal-length factor, the equivalent zooms
youll need lenses from would be approximately 12-35mm and
wide-angle through short 35-100mm, and the primes, 17mm,
telephoto. Wide-angles 25mm and 43mm (or thereabouts).
are good for group shots, Because so much of the action at a
overall shots to show the wedding takes place in fairly dim light,
environs and when you and because you want to be able to Note that some lenses are designed
cant move back far enough handhold to compose and shoot fast, for full-frame cameras (35mm lm
in tight quarters. Short tele- image stabilization can be very useful. and full-frame DSLRs), while others
photos are ideal for portraits Canons stabilized lenses have IS are designed to cover only the smaller
of individuals and couples. (Image Stabilizer) in the name, Nikon APS-C format. You can use a full-
Because available-light shots are pop- has VR (Vibration Reduction), frame lens on an APS-C camera, but
ular with wedding clients, fast lenses Sigma has OS (Optical Stabilization) not the other way around. If you put
are an advantage. With many pro and and Tamron has VC (Vibration an APS-C lens on a full-frame camera,
mid-level DSLRs, lenses of /2.8 and Compensation). All of these help mini- vignetting will occur (and, in the case of
faster also provide better AF pe f i h ff f h k C n DSLRs, you cant even mount
mance. A popular lens set for S-C lens on a full-frame camera).
frame DSLRs is a 24-70mm /2.8 C lenses include Canons EF-S,

[Lenses]
a 70-200mm /2.8 zoomthis c s DX, Sonys DT, Sigmas DC
all the needed focal lengths and m amrons Di II models. The main
mizes the number of lenses you way here is that if you currently
carry. Some wedding pros incl APS-C DSLR, but expect some-
really wide zoom (16-35mm) or move up to a full-frame model,
in their kit because it suits their v ses that can cover full-frame.
Many consumer-oriented 28-20 her-end lenses have better AF
superzooms are too slow and s that not only are quicker than
not be up to the task of profes but quieter, which can be
wedding photography, so youll b tant at certain points in a wed-
ter off with the two fast zooms. Mirrorless cameras tend to be
Some photographers su r than DSLRs, in general. The
ment their zooms with a few key AF motors are designated USM
primes35mm /1.4, 50mm /1.4 non, AF-S by Nikon, SDM by
85mm /1.4, for example. These , HSM by Sigma, SSM by Sony
primes give you an extra couple of SD by Tamron.
compared to the zooms, making
particularly useful in the low-light
ations that arise in almost every
ding. Also, a very fast prime can
limit depth of eld for selective-
shots, which are so popular with cl
The drawback to working with prime prevent blurring moving subjects,
lenses exclusively is that you run the risk unless youre deliberately going for a
of not having the right lens on the cam- blur effect.
era when a decisive moment occurs. Most pro-level lenses have special ele-
Most pro wedding photographers use ments to counter aberrations and dis-
full-frame DSLRs. If youre inclined to tortion. Low-dispersion elements (LD,
shoot with an APS-C camera (with its ED, UD, etc.) minimize chromatic
1.5x focal-length factor), the two key aberrations, while aspheric elements
/2.8 zooms would be a 16-50mm and minimize spherical aberrations and dis-
a 50-135mm, and the three fast primes tortion. Some do this better than others
would be 24mm, 35mm and 60mm to (one reason why pro lenses cost
provide the same angles of view as the more than consumer lenses), but
lenses mentioned above. For Micro Four their benets are important in
Thirds mirrorless cameras with their 2x pro wedding photography.

84 | Digital Photo Pro digitalphotopro.com



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Metz, Nissin,
ments, Sigma
While as mera-mount ing Dynalite, Elinchrom, Flashpoint,
should be p LRs. Hensel, Intert, Paul C. Buff,
light, supp ul ash units Photogenic, Priolite and Profoto. All
in your ki o. Some can offer units that operate off AC current;
the most p hot-shoe or many also offer units that can be oper-
phy light battery unit ated from separate battery packs.
easily port such as the Often, the wedding environment wont
and has a nd Interts allow for light stands and cords, so on-

[Lights]
minimize camera (with bracket) ash will have
subjects as to do. The Flashpoint 180, Priolite
bulbs. All MBX500 and MBX1000, and Profoto
offer ash B1 500 AirTTL are monolights that
with a var operate from their own built-in battery
ash expos and dont require a cord to attach to
ances ash AC power or a separate battery pack.
can adjust ghty. Mono- Continuous LED sources that
sure comp ortable stu- mount on-camera have the advantage
ash unit. Many systems will also con- dio ash units that offer more power of letting you see the lighting, and
trol off-camera ash units for multiple- (which lets you use them at greater dis- theyre cool, so they dont overheat
light setups, although on-camera ash tances, or use smaller apertures at a your subjects like tungsten lights. But
using a ash bracket to move the ash given distance, or use a light modier LED lights arent as powerful as elec-
head away from the lens, thus avoiding like an umbrella or a softbox). If the tronic ash, so you have to shoot at
red-eye, is the most popular wedding wedding situation allows you to set up wider apertures, unsuitably slow shut-
a monolight or two, these can produce ter speeds or higher ISO settings. LED
more attractive lighting than direct lights work well for video where ash
on-camera ash. Quite a few manufac- cant be used.
turers offer good monolights, includ-

86 | Digital Photo Pro digitalphotopro.com



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with both. You should have a second
shooter with you to do the videos.
But this is a great way to pick up this
business, rather than letting it go to a
The Canon wedding videographer.
EOS 5D Mark II Handheld wedding videos are
(which is still a popu- shaky and, thus, unsatisfactory,
lar camera with wedding so an important accessory is
pros, in its own right) is cred- a camera support (tripod
ited with starting the DSLR video or monopod). If you have a
trend in 2008. (Actually, Nikons D90 sturdy tripod or monopod for still pho-
was the rst DSLR capable of shoot- tography, it should work for video. But

[Motion
ing video, but the full-frame EOS 5D II youll need a uid head, which allows
captured the hearts of the pros.) T d f ooth panning; regular still pho-
almost all DSLRs can shoot v hy ballheads generally make for
and all mirrorless interchangeable amera moves. A camera slider lets

Essentials]
models do it. So many wedding moothly move the tripod-mounted
tographers are taking on the m a over the ground or oor. If you
aspect of the wedding, as well as o include shots in your wedding
shots, whenever possible. where the camera follows one or
Very important: A single phot participants, you might consider a
pher cant do stills and videos a am-style camera stabilizer.
get optimal coverage of a weddin video, you often want to shoot

It can be difcult f-camera units in sync with the


to see the image on a -mounted one (or in sync with
cameras LCD moni- mera shutter if you arent using a
tor outdoors or even in -mounted ash unit). Phottix,
bright indoor light. An Wizard, Profoto, Quantum and
LCD hood/magnier, Popper make possible options.
such as HoodLoupes ash bracket moves the ash unit
from Hoodman and from the lens axis while keeping
Z-Finders from Zacuto, and reecting surface, but it s easy it attached to the camera, producing a
makes it easy to see the image to use: Just rotate the polarizer more attractive lighting angle and mini-
on a DSLRs LCD monitor in Live until you see the effect you want. mizing red-eye. Theres quite a variety

[Accessories]
View and Video mode, regardless of of brackets, including Custom Brackets,
the ambient light level. These devices Kirk, Newton, Novoex, Really Right
also provide easy eye-level viewing Stuff, Stroboframe and Vello, and con-
with DSLRs in Live View and Video sider ash positioning and
modemore convenient than holding balance, as well as strength.
the camera at arms length to view the If your camera system doesnt offer Youll need a camera
monitor image. Some are devices you wireless off-camera TTL ash (or youre strap for each camera.
wear on a strap around your neck and using powerful third-party units that There are many
hold against the monitor for use; others dont), there are many radio and infra- to choose from
attach to the camera. red remote triggers available, which will some stylish, some func-
A polarizing lter can eliminate tional, some both. The BlackRapid
unwanted glare and reections from RS DR-1 Double Strap is made of
nonmetallic surfaces, and add pop to ballistic nylon and holds two cameras,
images. Many companies offer polar- ideal for the wedding shooter. The
izers in a variety of sizes to t popu- Cotton Carrier Vest with Side Holster
lar wedding lenses; Heliopan, Hoya, is made of 1680-Denier Polypropylene
Kenko, Pro-Optic and Tiffen are good and also can handle two cameras. The

88 | Digital Photo Pro digitalphotopro.com



wide open to minimize depth of eld
for a cinematic look, and you cant use
a really short shutter speed as you can in
still photography. So youll need neutral-
density lterseither two or three of
different strengths, or a variable one. ND
lters reduce the amount of light enter-
ing the lens without otherwise altering
it, preventing overexposure in bright
video situations. B+W, Heliopan, Hoya,
Kenko, LEE, Pro-Optic, Singh-Ray and
Tiffen are good sources for
ND lters.
You also need a con-
tinuous light source.
LED light panels that
mount on-camera pro-
vide the same freedom of
movement as ash does for
still work, but are continu-
ous, making them suitable for
video. Flashpoint, Litepanels,
Manfrotto and others offer such units. when youre
behind the camera,

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Last, but by no means least, always
carry spare batteries for your cameras
and ash units, and spare memory
cardsand dont wait too long to
change them. You can always put a
partially depleted battery or partly full
memory card back in the camera if you SAME DAY SHIPPING
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later need it, but you could miss key
moments if the battery dies or the card
lls just as the moment occurs. DPP
 digitalphotopro.com November 2014 | 89
The Digital Delivery
CONU
Large le sizes and multimedia projects are
changing the way photographers deliver the goods
By The Editors

main challenge had always been select-


ing the appropriate drive to send.
Advances in ruggedized, compact
drives make the process of delivering
jobs this way a relatively painless affair.
Solid-state drives are even better, but
they can be considerably more expensive.
Our colleagues at HDVideoPro mag-
azine interviewed Alex Buono of the
one could reasonably upload a job to Saturday Night Live lmmaking crew
With lm, it was simple. You shoot the job, an FTP site where the client could about how they move video les around
process the lm, then place the trans- have the images within minutes. Ser- New York on an incredibly compressed
parencies in a FedEx box or hand them vices like WeTransfer and Dropbox shooting and editing schedule. Buono
to a messenger for delivery to your cli- have made this model available to those uses G-Technology drives to send to
ent. They open the box and send you without dedicated FTPs such that there his editor. The high-capacity drives are
a check for the unpaid balance on the was a period of relative calm, where robust, fast enough for video and avail-
invoice. Life was simple, even if it image transfer was almost as simple as able with Thunderbolt connections.
didnt always seem like it at the time. it was when the lm era reigned. G-Technologys G-DRIVE mobile and
Starting with the ability to scan trans- Two key factors can upset this calm. G-DRIVE ev lines are well suited to
parencies and process the images in your Ever-increasing les sizes from higher- location work and shipping to clients.
studio prior to delivery, things began to resolution cameras combined with a SSD and spinning models are available.
change. Questions about sending the clients desire to see all of the outtakes Sony has a line of ruggedized com-
original transparencies or just the scans can put a strain on cloud-based trans- pact drives that are also gaining trac-
and in what format should they be sent fers. The other factor is video and, par- tion in the marketplace. The Sony PSZ
muddied the traditional business model. ticularly, 4K video. When youre called drives have USB 3.0 and FireWire 800
Photo CDs emerged, and issues of digi- upon to deliver projects that consist of connectivity, and theyre available as
tal formats added to confusion on both a lot of very large uncompressed les as SSD and HDD in capacities up to 1 TB.
sides of the job. SyQuest drives lled well as video, youre going to be think- Western Digital, LaCie and others
FedEx trucks, as photographers and ing back to the future and shipping also make various compact drives that
clients frantically phoned one another physical hard drives. can be safely shipped or messengered
about what computer peripherals the This isnt really new. Pro video across town or around the world. Until
other had for making the digital copies. shooters have been relying on sending the cloud and Internet connectivity
Things didnt really settle down their drives for years. Also, photogra- leapfrog cameras once again, send-
until high-speed Internet connections phers who are fortunate to live in areas ing your les to clients on a dedicated
became ubiquitous. There was a period where high-speed Internet isnt readily delivery drive is going to be a standard
when digital les werent so huge and available have done this, as well. The option for all of us. DPP
ABOVE: The G-Technology ev drives can be used on their own or, for maximum performance, in the G-DOCK enclosure. The Sony PSZ-HA1T
1 TB hard drive is ruggedized and comes with a dust-resistant silicone jacket.
90 | Digital Photo Pro digitalphotopro.com
THE ART OF EMOTION THE VAGABOND
(Contd from page 67) (Contd from page 74)

Samm Blakes Gear


Two Canon EOS 5D Mark III bodies
enjoy carrying around as a still photog-
rapher. I use the Redrock Micro and a
viewnder when Im not on the tripod
DEVELOP
YOUR
Canon EF 24mm /1.4L II USM to avoid too much shakiness when I
Canon EF 35mm /1.4L USM
Canon EF 50mm /1.2L USM move around. I use a Zoom recorder
Canon EF 85mm /1.8 USM with mics or lavaliers and a RDE mic
Three Canon 600EX-RT Speedlites on-camera.
and transmitters
Ona Messenger Bag
Crumpler Backpack
DPP: What are the biggest adjust-
ments you have to make when transi- CREATIVE
tioning to a video shoot?

SKILLS AT
Thats all I basically shoot weddings
Vitale: In the beginning, the main
with, says Blake. I try to keep it
as light as possible, as Im always thing for me was sense of timing. Id
lugging it around Manhattan on my cut takes too quickly. Since I was used
back or trying to t it all on as to working in fractions of a second, a
carry-on for ights. I make sure my 10-second take seemed like an eternity.
camera bags dont look like camera Also, when youre jumping from place
bags. It helps not stand out how to place, you have to greet the viewer
much gear I have when coming home
there. You also have to think in terms
on the subway at night.
of storytelling and continuity. Another
afford her the opportunity to travel aspect is that you have to collaborate
the world, Blake is able to work in with others to have a successful lm.
the most beautiful locations in a way That has been great for me because
that she nds creatively fullling. Best Im used to being this lone wolf.
of all, she says, theres never a subject Working with other people opens you
shes uninterested in, and never an up to all these other ideas and makes
overbearing art director suggesting everything richer.
she do it differently. DPP: What equipment do you work Your Headquarters
I think what I enjoyed from the with for your still photography?
beginning, she says, was having cre- Vitale: I carry a Nikon D4S and usu- For Free Creative
ative freedom. After graduating, I was ally just one lens, a 24-70mm or a xed
starting to do lots of little commercial
jobs, and I was shooting a whole range
24mm. If Im shooting protests or some-
thing like that, Ill carry a second body
Education.
of different things. Basically, anyone with a 70-200mm /2.8. If Im shoot-
who would give me money, I would ing wildlife, Ill bring the 80-400mm. Daily original videos
happily accept. With the weddings, I have that huge 400mm lens and an
I felt the most creatively free. No one extender, but I nd that unless Im just Workshops
told me how to shoot or what to shoot. in a safari situation driving around, its
People would just trust me to docu- very hard to move freely. Online tutorials
ment the day for them. And I guess Ive DPP: One doesnt think of you as a
always been a pretty stubborn personal- wildlife photographer. Product reviews
ity type in terms of, I only want to shoot Vitale: But everything is connected.
Gear guides
what I want to shoot. I dont really want In the beginning of my career, I covered
to shoot other things. Thats why com- conict after conict. I started realiz-
mercial photography and me would ing they were connected to the natural
never really go well together. Im shoot- world and resources. There are so many
ing for me, those things that Im really signs before conicts get bloody. We, as
turned on by, photographic-wise. What journalists, have to do a better job talk-
people hire me for is the artistic side. ing about the root causes. We have the 42 W 18TH ST NYC
800.223.2500
adorama.com
People just let me loose and trust me, chance to do so much. There are solu-
and thats awesome. DPP tions to our most pressing problems. DPP

You can see more of Samm Blakes pho- See more of Ami Vitales photography at
tography at www.sammblake.com and at www.amivitale.com, and follow her on
sammblakeweddings.com. Twitter @AmiVee.
 digitalphotopro.com November 2014 | 91
DPP Solutions

DPPSolutions
How youll be
Establish Your Value

valued is at least
as important as
how you structure
your pricing for
a wedding job

In The Three Musketeers by Alexandre Dumas, of your brand. The way you answer plete to the clients satisfaction.
a young dArtagnan asks the brooding yet wise the phone should make the caller think Take the time to listen to your pro-
Athos for advice in a matter of the heart. Athos you went to elocution school, and in spective client. Talk to them about what
pointedly refuses even to hear the ques- person, present yourself as personable, they liked when they saw your website.
tion, saying that people ask for advice condent and genuinely eager to help Be prepared to get contradictory infor-
for one of two reasons: So they can make the clients wedding memorable. mation between what they say they
blame someone afterward or so they You dont land the job with these rst want and what they say they like. Its
can go ahead and ignore it anyway. impressions, but you can easily lose it. like when someone says they love Ansel
For wedding photography, theres no Once youre past the initial meet and Adams photography, but they just wish
shortage of advice and guides about greet, youll be in competition with a there wasnt so much black-and-white.
pricing your work these days. We relatively short list of other photog- In a world with Facebook, Instagram
believe that Athos, while certainly raphers. Your would-be client will and Twitter, the nal impression is
brooding, dour and cynical, was also be judging you based on your photo- almost as important as the rst impres-
largely correct, so in this brief article, graphic style, the professionalism of the sion. Ask any successful wedding pho-
we want to turn the question around nished packages you can provide and tographer, and they will tell you that
somewhat. Instead of giving advice on your personality. Its important to know word of mouth is some of, if not their
how to price your work, we want to yourself because trying to be someone most important, advertising. The time-
look at it another way: How will your youre not will result in a poor experi- liness and manner in which you deliver
clients value your services? ence for the client, and that will come the job to your client is going to deter-
First and foremost, remember that back to haunt your business. If youre mine a lot of how the whole job is per-
rst impressions matter greatly. Every- headstrong with a carefully crafted way ceived. A beautifully executed, perfectly
thing about your rst interactions of shooting that clients can either take presented album, along with image
should be professional, and there are or leave, dont pretend that youre an les that are appropriately named with
actually several distinct rst impres- easy-going shooter who gets along with proper metadata attached, will go miles
sionsonline, on the phone and in per- everyone and you can take direction to getting you good word-of-mouth
son. Your website and social media are from a client whether or not they know referrals. And always follow up. The
incredibly important. A would-be cli- the difference between an -stop and a last impression you leave on yesterdays
ent will scour both to get a feel for you bus stop. Its no good to land a job that client will be the rst online impression
and your skills. Think of both as part you have no hope of being able to com- on tomorrows client. DPP
92 | Digital Photo Pro digitalphotopro.com
SAVE THE DATE: MORGAN LYNN SAVE THE DATE: CHIP LITHERLAND SAVE THE DATE: ALEXANDRA TREMAINE
(Contd from page 47) (Contd from page 48) (Contd from page 50)

responding to emails, questions etc., in 1) Solve problems before they meet, what was the engagement like?
a timely manner. Were a small bou- become one. I always plan ahead, scout 2) Work with them on their needs
tique studio, so being available and locations, gure out what I want to do and create a wedding-day package thats
responsive is even more important for and when, and make sure it ts into perfect for them. I tell my clients to use
us in order to connect with our clients their schedule. Simplify everything my packages as a template, but to tell me
on a personal level and earn their trust. and stay organized, but be able to roll exactly what they want in a package.
2) Friendliness. Sounds simple, but with the punches if things change. 3) Be prompt with responding to
its often overlooked. Genuine likabil- 2) Stick to the vision that got you emails and phone calls, even if its
ity goes a long way to support a positive booked in the rst place and push it at to tell them that youll email them a
working relationship. every wedding. Nothing can be worse more lengthy email later because at the
3) Professionalism. Give thorough than forcing a style into your portfolio, moment youre swamped.
information about services, check then not being able to produce it when Whats your must-capture
grammar/spelling with all written cor- the wedding comes. Know your vision wedding moment?
respondence, dress appropriately at and stay true to it. If your bride wants The romantics are, by far, my favorite
portrait sessions and wedding events, traditional and youre not that, then part of my day, as I get full creative con-
be respectful and polite, etc. Nothing send her on to someone who does that. trol to capture stunning photos of this
hurts your business reputation more 3) Have fun. You spend more time couple that will last a lifetime. I usually
than unprofessional behavior. Think with the bride and groom on the big- tell them that this is their private time
before you speak and act. Youre con- gest day of their lives, and being able together and walk away for a few min-
stantly representing your brand. to have fun while remaining profes- utes and let them do their thing. From
Whats your must-capture sional is key. Dont make the day afar, Ill take a wide photograph of the
wedding moment? about you. Being able to get a hug couple in their setting, then go back in
I try not to build up a single moment from the bride at the end of the night for different and more personal photos.
as a must-capture moment because and a family bragging how great you Sometimes I only have 10 minutes for
it affects the way I shoot at weddings. were to work with is the best thing in this, but I shoot fast and move fast, and
We never miss the traditional wedding the world. its important for me that the couple
moments, but these arent necessar- Whats your must-capture gets back to their party.
ily what make a wedding day special. wedding moment? Do you shoot wedding video along
Treating the entire day as though any Every wedding is different. I dont with still photography?
moment could be a potential must have a must-capture moment or a I only offer still photography. I
capture keeps us on our toes and leads signature picture. I generally let the already photograph so many different
to genuinely unique photos. day unfold as it does and try to make genres that adding video would prove
Do you shoot wedding video my pictures as unique as each couple all my professors right: Dont be a
along with still photography? I photograph. jack of all and a master of none. I love
We only shoot still photography. Do you shoot wedding video along weddings and portraits because I can
Weve considered shooting video and with still photography? make a difference in peoples lives, and
appreciate its value to our clients, but I dont shoot video right now, as I it feeds my soul.
we prefer to focus on what were most want to focus all my energy into mak- What has been your most
passionate about. Its a challenge to tell ing the best-quality photos. effective use of social media to
a story in one single photograph and we What has been your most support your business?
thrive on that during the wedding day. effective use of social media to To be honest, social media and I have
What has been your most support your business? been on a downward cycle recently, as
effective use of social media to My 24-hour turnaround on a gal- Ive been after a more meaningful and
support your business? lery the next morning is, by far, the present existence. However, I know its
We honestly dont utilize social most effective means of social media. vitality to my business and the track
media as effectively as we could. We I always put up a blog post the next record Ive had shows that Facebook is
do, however, make a point to share day on my blog and supplement that the most effective social-media tool. If
our work and professional accom- with a Facebook gallery I post on its not an ad or a page post, its friends
plishments as much as possible. In their walls. It generates a ton of traf- recommending me on another friends
many ways, simply sharing our travel c to my site and also surprises family posts looking for a photographer. They
adventures and personal milestones on members when they get the photos that plug in my website and it comes up with
Facebook and Instagram gives our cli- quick. Obviously, using their wedding a nice thumbnail, people click and some
ents a chance to connect with us on a hashtagthey always have one now email me, while others might save my
more personal level. DPP and tagging them helps. DPP name for later. You never know. DPP
digitalphotopro.com November 2014 | 93
MarketPlace Your source for products and services |

Joel Sartore, www.joelsartore.com


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94 | Digital Photo Pro digitalphotopro.com



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15-85/3.5-5.6 IS USM (72) .......... 799.99 85/1.2 USM II (72) ..................... 2099.00 40/2.8 G AF-S Micro (52) .............. 276.95 105/2.8 G AF-S ED-IF VR Micro (62) .........
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17-85/4-5.6 IS USM (67) ............. 599.99 135/2.0 USM (72) ...................... 1049.00 10-24/3.5-4.5 G AF-S (77)....................... 180/2.8 D ED-IF (72)................................
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7-14/4.0 Asph. ...... 968.00 12-35/2.8 X Asph. . 997.99
12-32/3.5-5.6 Asph. . 347.99 35-100/2.8 ........ 1,497.99 40/2.8 HD Limited (49).... 560/5.6 ED AW (112) ......
M.Zuiko Micro 4/3 Mirrorless Lenses
14-42/3.5-5.6 Aspherical Mega OIS ...................... 167.00 50/1.8 (52) ..................... 10-17/3.5-4.5 ED IF (77) .....
9mm f/8.0 Fisheye Body Cap Lens........................... 99.00 55/1.4 SDM (58) ............. 12-24/4 ED AL IF (77) .....
14-42/3.5-5.6 X PZ Power OIS Silver..................... 309.00 15mm f/8.0 Fisheye Body Cap Lens......................... 49.00
14-45/3.5-5.6 Aspherical Mega OIS ...................... 299.00 70/2.4 HD Limited (49).... 16-50/2.8 ED AL SDM (77) ...
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o our 14-140/4.0-5.8 HD Aspherical Mega OIS ............... 449.00
12/2.0 (46) .......... 799.00 17/2.8 (37) .......... 299.00 200/2.8 ED IF SDM........... 17-70/4.0 AL IF SDM (67) ....
e Catalog
free 14-140/3.5-5.6 Aspherical Power OIS .................... 629.99 17/1.8 (46) ......................................................... 499.00 300/4.0 ED IF SDM (77) .... 18-55/3.5-5.6 AL WR (52)....
BandH.com/catalog 45-150/4-5.6 Asph... 279.00 45-200/4-5.6 OIS...... 296.00 25/1.8 (46) ......................................................... 399.00 18-135/3.5-5.6 ED AL (IF) DC WR (62) ...........................
212-444-6633 45-175/4-5.6 X OIS .. 382.95 100-300/4.0-5.6 OIS . 597.99 45/1.8 (37) ......................................................... 399.00 18-270/3.5-6.3 ED SDM (62) .........................................
60/2.8 Mac ED (46) ................................................... 499.00 20-40/2.8-4 HD Limited ED DC WR (55) .........................
75/1.8 ED (58) .................................................... 899.00 50-135/2.8 ED SDM (67) ...............................................
9-18/4.0-5.6 (52) .................................................... 699.00 50-200/4-5.6 ED WR (52) ..............................................
Mirrorless System Lenses 55-300/4-5.8 HD ED WR (58).........................................
12-40/2.8 Pro ED (62) ........................................ 999.00
14/2.8 XF R........... 899.00 56/1.2 XF R........... 999.00 60-250/4.0 ED IF SDM (67)............................................
18/2.0 XF R........... 599.00 60/2.4 XF Macro ... 649.00 12-50/3.5-6.3 ED EZ (52) ................................... 499.00
23/1.4 XF R........... 899.00 10-24/4 XF R OIS .. 999.00 14-42/3.5-5.6 EZ ED (37) ................................... 349.00 "FA" AF Lenses for 35mm & Digital SLRs
27/2.8 XF .............. 449.00 16-50/3.5-5.6 XC OIS . 399.00 14-42/3.5-5.6 II R (37) ....................................... 299.00 31/1.8 Limited.................. 50/1.4 (49) .....................
Page 1 35/1.4 XF R........... 599.00 18-55/2.8-4 XF R OIS.. 699.00 14-150/4-5.6 (58) .............................................. 599.00 35/2.4 AL (49) ................ 50/2.8 Macro (52)...........
55-200/3.5-4.8 XF R LM OIS ................................ 699.00 40-150/4-5.6 ED R (58) ...................................... 199.00 43/1.9 Limited (49) ......... 77/1.8 Limited (49) .........
50-230/4.5-6.7 XC OIS ........................................ 399.00 75-300/4.8-6.7 II ED (58) ................................... 549.00 100/2.8 D FA WR Macro (49)..........................................
Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2014 B & H Foto & Electronics Corp.
Alpha A7 Mirrorless System Camera OM-D E-M1 Mirrorless System Camera
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Pixels Body Only #NID810.............................3,296.95 36 Mega
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Body Only #NID610 ........................................... 1,996.95
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DCoGPS%JHJUBM4-3T0OMZtDG Optimized for Digital SLRs DX for Digital SLRs Only FX Designed for full frame DSLRs
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FX 100/2.8 Pro D Macro (52) #TO10028PCAF #TO10028PNAF 399.00
Ro3FBS4MJQJO(FMBUJO'JMUFS4MPU SKU # Available for Price DX 10-17/3.5-4.5 ATX Fisheye #TO101735CAF #TO101735NAF 599.00
DG 15/2.8 EX Diagonal Fish-Eye R #SI1528DG* C, N, P, SA 609.00 DX 11-16mm f/2.8 Pro (77) #TO111628PDXC #TO111628PDXN 449.00
DG 20/1.8 EX DF RF Aspherical (82) #SI2018* C, N, SA 629.00 DX 11-16/2.8 Pro II (77) #TO111628PCII #TO111628PNII 525.00
DG 28/1.8 EX DF Asph. Macro (77) #SI2818M* C, P, S, SA 449.00 FX 16-28/2.8 Pro (77) #TO1628FXC #TO1628FXN 639.00
DC 30/1.4 HSM (62) #SI3014DCHSM* C, N, S 499.00 FX 17-35/4 Pro (82) #TO1735F4FXC #TO1735F4FXN 499.00
DG
DG
35/1.4 HSM (67)
50/1.4 EX (77)
#SI3514*
#SI5014*
C, N, P, S, SA
C, N, P, S, SA
899.00
499.00
800-336-7520
DG
DG
50/2.8 EX Macro (55)
70/2.8 EX Macro (62)
#SI5028MDG*
#SI7028MDG*
C, N, S, SA
C, N, P, S, SA
369.00
499.00
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Warranty In Stock Call for Prices
DiGPSEJHJUBMMN4-3DBNFSBT t Di-IIGPS%JHJUBM4-3T 0OMZ t Di III for mirror-less cameras Only
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DG 85/1.4 EX HSM (77) #SI8514* C, N, P, S, SA 969.00
DG 105/2.8 EX OS Macro (62) #SI10528MDG* C, N, S, SA 969.00
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DG 150/2.8 EX APO Macro OS HSM (72) #SI15028AMO* C, N, P, S, SA 1,099.00 ** Price After Rebate (Exp. 10-31-14) SKU # Available for Rebate Price 212-239-7770
DG 300/2.8 APO EX HSM #SI30028DG* C, N, P, S, SA 3,399.00 Di-II 60/2.0 LD IF Macro (55) #TA602DI* C, N, SA 524.00
DC 8-16/4.5-5.6 HSM #SI8164556* C, N, P, S, SA 699.00 Di 90/2.8 Macro (55) #TA9028M* C, N, P, SA 499.00
DC 10-20/4-5.6 EX HSM (77) #SI102045D* C, N, P, S, SA 479.00 Di-II 10-24/3.5-4.5 (77) #TA102435* C, N, P, SA 499.00
DG 12-24/4.5-5.6 EX Asph. HSM R #SI122445* C, N, S, SA 949.00 Di-II 17-50/2.8 XR LD IF Asph. (67) #TA175028* C, N, P, SA 499.00
DC 17-50/2.8 EX OS HSM (77) #SI175028* C, N, P, S 669.00 Di-II 17-50/2.8 XR VC LD IF Asph. (67) #TA175028*Q C, N 649.00
DC 17-70/2.8-4.0 OS Macro HSM (72) #SI1770284DC* C, N, P, S, SA 499.00 Di-II 18-200/3.5-6.3 (62) #TA1820035* C, N, P, SA 199.00
Di-III 18-200/3.5-6.3 VC (62) Black or Silver #TA1820035S* SE 739.00 Store & Mail Order Hours:
DC 18-200/3.5-6.3 OS Macro HSM (62) #SI1820035D* C, N, P, S, SA 399.00
Di-II 18-270/3.5-6.3 VC PZD (62) #TA18270* C, N, SA $50 399.00** 4VOEBZ  t .PO5IVST 
DC 18-200/3.5-6.3 OS II HSM (72) #SI1820035* C, N, P, S, SA 499.00
Di 24-70/2.8 VC USD (82) #TA247028* C, N, SA $100 1,199.00**
DC 18-250/3.5-6.3 OS Macro HSM (62) #SI1825035M* C, N, P, S, SA 549.00 Di 28-75/2.8 XR (67) #TA287528* C, N, P, SA 499.00 'SJEBZ  &45 %45
DG 24-70/2.8 EX IF HSM (82) #SI247028* C, N, P, S, SA 899.00 Di 28-300/3.5-6.3 XR LD (62) #TA2830035XD* C, P, SA 419.00 4BUVSEBZ $MPTFE
DC 50-150/2.8 EX APO OS HSM (77) #SI5015028* N 1,099.00 Di 28-300/3.5-6.3 VC PZD (67) #TA2830035DI* C, N, SA 849.00
DG 50-500/4.5-6.3 APO OS HSM (95) #SI50500* C, N, P, S, SA 1,659.00 Di 70-300/4.0-5.6 VC USD (62) #TA70300* C, N, SA 449.00
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Flash System 35/1.8 DT (55) .....................................................218.00 Fujifilm X Sony NEX Price Visit our SuperStore
HVL-F20M..............149.99 HVL-F43M..............398.00 50/1.8 DT (49) ......168.00 50/1.4 (55) ...........448.00
12mm f/2.8 (67) #ZET2812X #ZET2812E 999.00
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HVL-F20S...............149.99 HVL-F60M..............548.00 50/1.4 Carl Zeiss ZA (72) ..................................1,498.00
32mm f/1.8 (52) #ZET1832X #ZET1832E 720.00
50/2.8 Mac (55) ...598.00 85/2.8 (55) ...........298.00
E-Mount Mirrorless Lenses 85/1.4 Carl Zeiss (72) .......................................1,698.00
50mm f/2.8M (52) #ZET5028MX #ZET5028ME 999.00
16/2.8 (49) ...........248.00 35/1.8 OSS (49) ...448.00 Corner of 34th Street
100/2.8 Macro (55)..............................................798.00
20/2.8 (49) ...........348.00 35/2.8 ZA (49) ......798.00 New York, N.Y. 10001
135/1.8 Carl Zeiss (77) .....................................1,798.00
24/1.8 (49) ........1,098.00 50/1.8 OSS (49) ...298.00
135/2.8 STF (72) ..............................................1,398.00 Nikon 1 Mirrorless Lenses
30/3.5 Macro (49) 278.00 55/1.8 ZA FE (49) .998.00
300/2.8 G APO II (42R)......................................7,498.99  "8............. 196.95 10-30/3.5-5.6 VR PD .. 296.95
10-18/4 OSS (62) ................................................848.00
500/4 G (42R) ................................................12,998.00 10/2.8 .................. 246.95 10-100/4.0-5.6 VR .... 546.95
16-50/3.5-5.6 OSS (40.5) ....................................348.00
11-18/4.5-5.6 DT (77) .........................................798.00 18.5/1.8 ............... 186.95 11-27.5"8 .. 146.95
16-70/4 ZA OSS (55) ...........................................998.00
16-35/2.8 ZA SSM (77).....................................1,998.00
18-55/3.5-5.6 (49) ..............................................298.00 32/1.2 .................. 896.95 11-27.5/3.5-5.6.... 186.95
16-50/2.8 DT (40.5) ............................................798.00
18-105/4 G OSS (72) ...........................................598.00 6.7-13/3.5-5.6 VR ..... 496.95 30-110/3.8-5.6 VR .... 246.95
16-80/3.5-4.5 DT (62) .........................................998.00 We Buy, Sell, and Trade
18-200/3.5-6.3 (67) ............................................898.00 10-30/3.5-5.6 VR..... 186.95 70-300/4.5-5.6 VR .... 996.95
18-200/3.5-6.3 OSS (62) .....................................848.00
16-105/3.5-5.6 DT (62) .......................................698.00 Used
Used Equ
q ippme
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18-55/3.5-5.6 DT SAM II (55) ..............................218.00
18-200/3.5-6.3 PZ OSS (67) .............................1,198.00
18-135/3.5-5.6 (62) ............................................498.00
24-70/4 ZA OSS (67) ........................................1,198.00
18-250/3.5-6.3 DT (62) .......................................648.00 Mirrorless System Lenses
28-70/3.5-5.6 OSS (55) .......................................498.00
24-70/2.8 Carl Zeiss (77) ..................................1,998.00 10/3.5 Fisheye .........CALL 30/2.0 NX Pancake .......CALL
55-210/4.5-6.3 OSS (49) .....................................348.00
28-75/2.8 (67) ....................................................898.00 16/2.4 Pancake ........CALL 45/1.8 .....................CALL
70-200/4.0 G OSS (72) .....................................1,498.00
55-200/4.0-5.6 DT (55) .......................................198.00 20/2.8 Pancake ........CALL 45/1.8 [T6] 2D/3D.......CALL
Digital Lenses 55-300/4.5-5.6 DT (62) .......................................298.00 60/2.8 Macro ED OIS SSA ........................................CALL
16/2.8 Fish-eye ......998.00 20/2.8 (72) ...........748.00 70-200/2.8 G SSM II (77) ..................................2,998.00 85/1.4 ED SSA .........CALL 18-55/3.5-5.6 OIS.......CALL
24/2 Carl Zeiss (72) .........................................1,398.00 70-300/4.5-5.6 G (62) .........................................998.00 12-24/4-5.6 E ..........CALL 18-200/3.5-6.3 ED OIS....CALL
Page 2
30/2.8 DT Macro (49) ...........................................198.00 70-400/4-5.6 G2 ...............................................2,198.00 16-50/3.5-5.6 ED OIS .....CALL 20-50/3.5-5.6 ED II .......CALL
35/1.4 G (55)....................................................1,498.00 1.4x Teleconverter...548.00 2x Teleconverter......548.00 16-50/2-2.8 S ED OIS ......CALL 50-200/4-5.6 ED OIS II ....CALL
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Mis information

Misinformation Business Tech

The new name of the game is social media and self-promotion


By David Willis

Recently, clothing giant Nordstrom handpicked

Mytnhly: One
12 popular shooters to showcase the upcoming
fall line of accessories. The photographers

Theres O s Plan
were selected not for their portfo-
lios, but instead for their rather large
Instagram followings. Titled as social Busines ess
inuencers by Nordstrom, the group For Succ
of bloggers, marketers and editors
certainly were capable of turning out
eye-catching imagery but, uniquely
for a commercial campaign, not a for search engine optimization queries from having a built-in audience, like
single one of them was an actual pro- to nd you. Not only are these websites crowdsourcing of funds for new proj-
fessional photographer. The group trusted implicitly by search engines like ects where fans can provide assistance,
was given total creative freedom and Google, but they also help you to build location scouting and even help with
a dedicated web portal showcasing trusted web trafc and links between travel accommodations.
the Instalog photography of goods, social media and your own website so it Terms of use are obviously a concern,
which then were shared with multiple will show up in searches far more often especially as it should be readily appar-
audiences through other outlets like and with a better search ranking that ent that these services are relying on the
the Instagrammers own accounts. can be based both on your physical loca- content of their own users to survive.
Many imaging experts might bemoan tion and the type of work you do. As media professionals, be aware of the
this as another case study in the demise Thanks to social media, there has variety of ways in which each site elects
of photography as a way to make a reli- also been a correlative paradigm shift to use that content and act accord-
able living, but instead what they should in the way in which we do business, as ingly by ensuring that watermarks,
be looking at are the myriad opportuni- well. These services have given pho- metadata and copyright information
ties that have arisen from an industry tographers and lmmakers total cre- make you easy to nd and difcult to
experiencing growing pains. Social ative control, and with that comes a steal from. This also includes properly
media is largely responsible for an age lot of the tasks and responsibilities that annotating the same imagery in other
of constant distraction and intense com- were once afforded to publishers and venues like your own website so peo-
petition, but thats because these sites editors. Historically, income was gen- ple can easily nd you through search
offer simple (and free) ways to keep erated from front-end sales through terms if a particular image has struck
audiences updated on your work while publication and editorial bookings them. Learning website analytics will
teasing new work or ongoing projects, while secondhand prots were then give you direct numbers for deciding
as well as providing a venue for gaining culled through prints or which sites are bringing in the
new fans. The importance of engaging stock and publication sales. >> More On The Web most trafc and, hopefully,
Go to the DPP website at
with social media is more than just the Now social media is a direct www.digitalphotopro.com the most prot. While its
notion of selling celebrity, however. way to unlock print sales to learn more about unfortunate for professional
cutting-edge technology
Clients are now looking for talent on with your audience while and how its changing photographers that our bread-
both the local and the national levels. also drumming up fur- photography. and-butter sources of income
Properly tagging your work and your- ther sales and commissions from edi- have largely been undercut by social
self as a representative of a locale or a tors and clients seeing the new work. media and smartphones, the truth of
specic area can bring in not only nearby While youll denitely have to put in the matter is that we have access to
clients, but also worldwide business the work to engage your audience and the same tools and services, and many
from companies or editors looking to to track sales, analytics and promo- are proting from them. As imaging
work in an area without having to incur tions, social media is even better than professionals, this simply means that
the costs of shipping in a photographer traditional publication because there we have to be better at the game than
and crew. Social media makes it simple are also secondhand benets that come everyone else. DPP
98 | Digital Photo Pro digitalphotopro.com
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