Documenti di Didattica
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After 75 years of passion, dedication and innovation, Canon is proud to celebrate the
creation of the 100 millionth EF lens*. From our humble beginnings many decades ago,
it has always been our goal to provide you with the tools you need to capture still and
moving images worthy of your creativity and imagination. And even after all these years,
we are still honored and inspired every time we see what you capture and create with our lenses.
Thank you, and heres to another 75 years of your incredible images.
* Refers to EF Lenses, EF-S Lenses and Cinema Lenses produced worldwide from 1987 to First Half of 2014.
2014 Canon U.S.A., Inc. All rights reserved. Canon, EOS and EF Lens are registered trademarks of Canon Inc. in the United States.
glassrst.usa.canon.com
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Contents
Features
PORTFOLIOS
54 PROS OF THE FUTURE
Featured Contenders in the 2014
Emerging Pro Contest
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
24
Up to 400MB/s Up to 220MB/s
USB 3.0 Hard Drive USB 3.0 Hard Drive
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
22
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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FirstTakes
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?
ith the brand-new D810 DSLR,
Visit nikonusa.com/cinema to see Dream Park and learn more about the Nikon D810
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
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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.
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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.
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DPP In Focus
monitor with CaptureOne software. The ISO ranges from 100-6400, and
the camera shoots images from 1.2 frames per second up to hour-long
exposures for full creative freedom. It also provides a 14-stop dynamic
range with 14-bit RAW les. List Price: $26,995 (back only); $30,995
(full system). Contact: Mamiya Leaf, www.mamiyaleaf.com.
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
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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
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.
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.
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.
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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.
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DPP In Focus
DPPInFocus
Olympus PEN E-PL7
New Tools Of The Trade
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
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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
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The new agship of the Metz ash series, the Mecablitz 64 AF-1
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with a secondary reector with two output settings. The touch
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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,
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also provides two expandable zippered side pockets, two expandable front pockets
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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.
DPP In Focus
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New Tools Of The Trade
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
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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.
28 | Digital Photo Pro digitalphotopro.com >> check out www.digitalphotopro.com/gear/in-focus for more info
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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
(R)evolution
Create sophisticated motion effects with this powerful Photoshop CC tool
Path Blur
1)
1) Original image
2) Simple linear
blur path
3) Linear blur
path with ends
2) adjusted to create
perspectival
convergence
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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
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.
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)
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
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.
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
Equipment: Nikon D90, AF Nikkor 85mm /1.8D, LumoPro LP160 ash, Adorama 21 beauty dish,
Wacom Intuos 3 9x12 tablet
PROS
OF THE
FUTURE
Equipment: Canon EOS 5D Mark II, Canon EF 24-70mm /2.8L, tripod, one large softbox, one ash
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
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.
Emotion
of
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
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
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
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!
2013 Second Prize Winner Nicholai Go 2013 Third Prize Winner Dennis Ramos
JOKERS
1600 800 400 200
is attached. Canons EF-S APS-C lenses
cant be mounted on full-frame (or APS-
H) EOS cameras, and all Pentax DSLRs
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
See the full listing at K5600.com/crossover Where to Rent or call (800) 662-5756 can still focus out to innity. If you add
an adapters thickness to the DSLRs
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.
[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.
42 W 18TH ST NYC
800.223.2500
adorama.com
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-
In other words, you really cant. What you can do is make sure you dont
miss what promises to be our most innovative and rewarding show ever.
That and maybe take some pictures for the unfortunate cats left behind.
Register at CESweb.org.
[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
[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
is behind you.
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 |
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on Select Bodies, Lenses and Flashes! on Select Bodies, Lenses and Flashes!
EOS Flash System (USA) TS-E MF Lenses (USA) AF Flashes D-Type AF Lenses
270EX II .....169.99 430EX II .....299.99 17/4.0 L...2249.00 24/3.5 L II ..1999.00 SB-300 ...... 146.95 SB-700 ...... 326.95 50/1.8 D (52)....... 50/1.4 D (52).......
320EX ................... 600 EX-RT..549.99 45/2.8 .....1399.00 90/2.8 .....1399.00 SB-910 .......................................... 546.95 50/1.8 G AF-S (58) ....................... 216.95
MR-14EX Ringlight......................... 549.99 R1 Wireless Twin Flash ............................... 50/1.4 G AF-S (58) ..................................
EF L Lenses (USA)
MT-24EX Twin Flash....................... 829.99 R1C1 Wireless Twin Flash System ............... 60/2.8 D Micro (62) (1:1) .........................
14/2.8 USM II .............................. 2249.00
EF-S Lenses for Digital Only (USA) 24/1.4 II (77) ............................. 1649.00 60/2.8 G AF-S ED Micro (62) ....................
(Not compatible with full frame cameras) DX ED-IF Lenses for Digital Only 85/1.8 G AF-S (67) ....................... 496.95
35/1.4 USM (72) ........................ 1479.00 10.5/2.8 Fish-Eye ......................................
60/2.8 USM Macro (52)................ 469.99 85/1.4 D IF (77) .......................................
50/1.2 USM (72) ........................ 1549.00 35/1.8 G AF-S (52) ....................... 196.95
10-22/3.5-4.5 USM (77) .............. 649.99 85/1.4 G AF-S (77) ..................................
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) .........
17-55/2.8 IS USM (67) ................. 879.99 100/2.8 IS USM Macro (67) .......... 949.99 85/3.5 G ED VR Micro (52) ............ 526.95 105/2.0 DC D with Hood (72) ...................
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)................................
18-135/3.5-5.6 IS (67) ................ 499.99 180/3.5 USM Macro (72)............ 1499.00 12-24/4 G AF-S (77) ................................ 200/4 D ED-IF Micro w/Case (62) .............
18-200/3.5-5.6 IS (72) ................ 699.99 200/2.0 IS USM (52) .................. 5999.00 16-85/3.5-5.6 G AF-S VR (67) .................. 200/2 G AF-S ED-IF VR II (52) ...................
55-250/4.0-5.6 IS USM (58) ........ 249.99 300/4.0 IS USM (77) .................. 1449.00 17-55/2.8 G AF-S (77) .............................
300/4.0 D AF-S ED-IF (77) .......................
EF Lenses (USA) 300/2.8 IS USM II (52 rear)......... 6599.00 18-55/3.5-5.6 G AF-S II (52) ....................
14-24/2.8 G AF-S ED-IF................ 1996.95
20/2.8 USM (72) .......................... 539.99 400/5.6 USM (77) ...................... 1339.00 18-55/3.5-5.6 G AF-S VR (52) ....... 196.95
16-35/4.0 G AF-S ED VR (77) ...... 1256.95
24/2.8 IS USM (58) ...................... 599.99 8-15/4.0 Fish-eye USM................ 1349.00 18-105/3.5-5.6 G AF-S VR (67) ..... 396.95
17-35/2.8 D AF-S ED-IF (77) ....................
28/2.8 IS USM (58) ...................... 549.99 16-35/2.8 USM II (82) ................ 1699.00 18-200/3.5-5.6 G AF-S VR II (72) .. 596.95
18-35/3.5-4.5 G ED (77) ............... 746.95
35/2 IS USM (67) ......................... 599.99 17-40/4.0 USM (77) .................... 839.99 18-300/3.5-5.6 G AF-S ED VR (77) ....... 996.95
24-70/2.8 G AF-S ED-IF (77) ....... 1886.95
50/1.8 II (52) ............................... 125.99 24-70/4.0 IS USM (77) ................. 999.99 55-200/4-5.6 G AF-S (52)........................
55-200/4-5.6 G AF-S VR (52) ........ 246.95 24-85/2.8-4.0 D IF (72) ...........................
50/1.4 USM (58) .......................... 399.99 24-70/2.8 USM II (82) ................ 2099.00
50/2.5 Macro (52)........................ 299.99 55-300/4.5-5.6 G AF-S VR (58) ..... 396.95 24-120/4.0 G AF-S ED VR (77) .......... 1296.95
24-105/4 IS USM (77) ................ 1149.00 28-300/3.5-5.6 G AF-S ED VR (77) ..... 1046.95
85/1.8 USM (58) ............................ 419.99
28-300/3.5-5.6 IS USM (77) ...... 2549.00 D-Type AF Lenses 70-200/2.8 G AF-S ED-IF VR II (77)....... 2396.95
100/2 USM (58) ........................... 499.99
100/2.8 USM Macro (58).............. 599.99 70-200/4.0 IS USM (77) ............. 1299.00 14/2.8 D ED .......... 24/2.8 D (52)....... 70-300/4.5-5.6 G-AFS VR (67)...... 586.95
28-135/3.5-5.6 IS USM (72) ........ 479.99 70-200/2.8 USM (77) ................ 1449.00 16/2.8 D (39) with Hood ........................... 80-200/2.8 D with Collar (77)...................
70-300/4-5.6 IS USM (58) ........... 649.99 70-200/2.8 IS II USM (77) .......... 2299.00 24/3.5 D ED PC-E (77) ............................. 80-400/4.5-5.6 D VR (77) ........................
70-300/4.5-5.6 DO IS USM (58) ....... 1399.00 70-300/4.0-5.6 IS USM (67) ...... 1449.00 28/1.8 G AF-S (67) ....................... 696.95 200-400/4 G AF-S ED VR II (52)................
Over 70,000 square feet 100-400/4.5-5.6 IS USM (77) .... 1699.00
75-300/4.0-5.6 III (58) ................. 199.99 28/2.8 D (52)....... 35/2.0 D (52)....... TC-14E II (1.4x) Teleconverter .....................
of the latest gear 75-300/4.0-5.6 III USM (58)......... 234.99 1.4x III Tele ..449.99 2x III Tele ....449.99 45/2.8 D ED PC-E Micro (77) .................... TC-17E II (1.7x) ..... TC-20E III (2x)........
The most knowledgeable
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Lumix G Vario Mirrorless System Lenses Flash System AF Flash System
Hands-on demos 8/3.5 Fisheye ........ 639.95 14/2.5 Aspherical .. 319.00 FL-300R Flash ....... 136.95 FL-600R Flash ....... 299.95 AF-360FGZ ...................... AF-540FGZ II ....................
15/1.7 Aspherical Leica DG Summilux ................... 597.99 FL-50R Flash ........................................................ 499.95
Convenient free parking 20/1.7 II Aspherical............................................... 427.99 DA Digital AF Lenses
RF-11 Ring Flash .................................................. 249.95
available 25/1.4 Aspherical Leica DG Summilux ................... 597.95 15/4.0 ED AL HD Limited (49) .........................................
SRF-11 Ring Set ................................................... 559.95 14/2.8 ED IF (77) ............ 35/2 AL (49) ...................
42.5/1.2 Asph. Power OIS Leica DG Nocticron ...... 1,597.99
TF-22 Twin Flash .................................................. 449.95 21/3.2 AL Limited (49) .... 40/2.8 Limited (49) .........
45/2.8 Asph. Mega OIS Leica DG Macro-Elmarit........ 897.95
STF-22 Twin Flash Set........................................... 739.95 35/2.8 Macro HD Limited (49) ........................................
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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Body Only #SOA7B
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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*
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C, N, P, S, SA
C, N, P, S, SA
899.00
499.00
800-336-7520
DG
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50/2.8 EX Macro (55)
70/2.8 EX Macro (62)
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C, N, S, SA
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369.00
499.00
AF LENSESL Six-Year Manual Focus Lenses
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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
DG 70-200/2.8 EX OS HSM (77) #SI7020028* C, N, S, SA 1,399.00 1.4x SP AF Pro Teleconverter #TA14XP* C, N 224.00
DG 70-300/4-5.6 Macro (58) #SI703004S* C, N, P, S, SA 179.00 2x SP AF Pro Teleconverter #TA2XP* C, N 254.00
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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