Professional Photographer 2013 08

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ie Ericson


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Tell Your Story in New WaysExposure 5 brings you the rich set o creative tools o the flm world. Our careul research lets

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4/1324 www.ppmag.com

PROFESSIONAL

Senior Editor

JOAN SHERWOOD

[email protected]

Features Editor

LESLIE HUNT

[email protected]

Editor-at-Large

JEFF KENT

[email protected]

Art Director/Production M

DEBBIE TODD

[email protected]

Creative Services Mana

Publications & SSA

CHERYL PEARSON

[email protected]

Creative Services Coordi

VALENCIA JACKSON

[email protected]

Eastern Region Ad Manager

TARA TRUITT

404-522-8600, X230, [email protected]

Central Region Ad Mana

MARINA ANDERSON

937-902-8217, manderson@p

Western Region Ad Manager

MELISSA RYBAK

404-522-8600, X279, [email protected]

Publications Sales Staff

Director of Sales & Strategic Alliances

WAYNE JONES

404-522-8600, x248, [email protected]

EDITORIAL

Director of Publications

JANE GABOURY

[email protected] fun with the Hot OnesTOP GEAR OF THE YEAR

August in Atlanta is a sticky slice of Okefenokee with a steaming

schmear of magma on top. On a recent walk with my elderly terrierin our sidewalk-deficient neighborhood, he stopped to sniff some

fascinating bit of historical curbside

information. Suddenly he was marching in

place, giving me a worried look. The

midday sun had made the asphalt so hot

that it scorched his paws soon after hed

stopped to smell the roses, lets say.

With chart-topping temps, August seems

like the perfect month to announce the

winners of our much-anticipated Hot One

Awards. These go to the most important

new products and services designed for

professional photographers. It may not be

the Oscars, but this awards program is a

major undertaking, requiring countless

hours of research, extensive polling of

industry insiders, and careful analysis of feedback from our judges,

some of the most well regarded camera-wielding professionals in the

industry. These judges donate a generous amount of their time to

the project out of their devotion to the profession. They scrutinize

each entry and weigh in thoughtfully with their ballots, voting in

only those categories in which they have firsthand expertise.

Editor-at-Large Jeff Kent has been a driver of the Hot Ones since

their inception 14 years ago. He says theres never a lack of novelty

among the contenders. The 2013 Hot One Awards show the growing

and inspiring spirit of innovation within the professional photography

industry, he says. We continue to see exciting new items that

challenge many of the preconceived categories of photography

equipment. The result is more options for photographers to

customize their workflow and the tools of their trade thanks to

companies that are deeply invested in helping them succeed.

This year, in addition to the Hot One product information on

these pages, were delivering some more cool treats onlinemore

categories, more winning products. Get them at ppmag.com. I

Jane Gaboury

Editorial Offices

Professional Photographer229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S

404-522-8600, fax: 404-614-6406Professional Photographer (ISSN 1528-5286) is published monthl

Subscriptions

Professional PhotographerP.O. Box 3606, Northbrook, IL 60065-3606, 800-742-7468;

fax 847-291-4816; [email protected]; www.ppmag.com

Member Services

PPA - Professional Photographer800-786-6277, fax 404-641-6400, [email protected], www.ppa.com

Advertising materials contact: Debbie Todd, [email protected] rates/information: U.S. Print: $27, one year; $45, two yea

three years. U.S. Print and Digital Combo: $37, one year; $65, two years; $years. Canadian Print: $43, one year; $73, two years; $108, three years. C

Print and Digital Combo: $53, one year; $93, two years; $138, three yInternational: $19.95 one year digital subscription.

Back issue/Single copies: $10 U.S.; $15 Canada; $20 InternationaPPA membership includes: Domestic $17.50, Non-Domestic $42 annual sub

Subscription orders/changes: Send to Professional Photographer, Attn: CDept., P.O. Box 3606, Northbrook, IL 60065-3606; 800-742-746

FAX 847-291-4816; email: [email protected]; Web site: www.ppmagPeriodicals postage paid in Atlanta, Ga., and additional mailing offic

Postmaster: Send address changes to Professional Photographer magP.O. Box 3606, Northbrook, IL 60065-3606

Copyright 2013, PPA Publications & Events, Inc. Printed in U.S.A

Microfilm copies: University Microfilms International,300 North Zeeb Road, Ann Arbor, MI 48106

Professional Photographer (ISSN 1528-5286) is published monthly for $27 per yePublications and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tow

GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offic

Acceptance of advertising does not carry with it endorsement by the publisher.

expressed by Professional Photographer or any of its authors do not necessar

positions of Professional Photographers of America, Inc. Professional Photograph

journal of the Professional Photographers of America, Inc., is the oldest exclusively p

photographic publication in the Western Hemisphere (founded 1907 by Cha

Hon.M.Photog.), incorporatingAbels Photographic Weekly, St. Louis &

Canadian Photographer, The Commercial Photographer, The National

Photographer, Professional Photographer, and Professional Photographer

Storytellers. Circulation audited and verified by BPA Worldwide.

Contributing Editors

DON CHICK & ELLIS VENER

LIKE us on Facebookto continue the discussion

and share your experiences.

facebook.com/ppmagazine

FOLLOWus onTwitter to share inside

scoops and photo news.

twitter.com/ppmagazine

JANE GABOURY, DIRECTOR OF PUBLICATIONS


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BRINGIN THE Hot One Awards showcasechoice for top photography

by Jeff Kent

CREATURE COMJamie Pflughoeft leverages a animal behavior to put pets

by Eric Minton

FACING HISTORReviving an archaic photogprocess, Quinn Jacobson tel

tales by turning back the cl

by Will Pollock

FINE ART: MERITS OF SERVI

Chris Koguts passion becamlife-changing opportunity foherself and others

by Stephanie Boozer

SENIORS: WORKING THE N

Gina Mazzaferro knows theway to seniors hearts

by Eric Minton

PETS: MOVING FORWARD

Norah Levine discovers newafter relocating to another

by Jeff Kent

IMAGE BY: JAMIE PFLUGHO

98

90

104

110

70

82

Features

AU

CONTENTS


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DepartmentsCONTACT SHEE T

22 Bert Stern: Marilyn & the mad

24 PPs giveaway of the month

26 PP asks: Whats the mostunexpectedly useful item in

your gear bag?

28 On the cover: Ellie Ericson

30 Google v. the arts

32 Lewis Hine: U.S. postage stam

PROFIT CENTER

37 What I think: Chris Kogut

39 Ask the experts

42 Service callsby Kalen Henderson

44 My studio: Ervin Photographyby Steve Ervin

46 Chief of staffby Bridget Jackson

48 Face it!by Angela Pointon

50 Workflow wondersby Elisa Bricker

THE GOODS

55 What I like: Jamie Pflughoeft

56 Pro review: Nikon D7100 andAF-S Nikkor 18-35mm f/3.5-4by Stan Sholik

62 Storage: WD Sentinel DX400by Ellis Vener

64 Pro review: CamRanger

by Ellis Vener

ON THE COVER: Ellie Ericson of Ellie EricPhotography in Vancouver created this GeCollection image, Loyally Waiting. She tthe photo in natural light with a Canon 5DII camera and Canon EF 24-70mm f/2.8Lshooting at f/2.8 for 1/200 second, ISO 2a focal length of 59mm. Read more aboutimage and about Ericsons work on page 2An Artists Way.

8 www.ppmag.com

16 FOLIO

51 IMAGING USA

119 PPA TODAY

126 AFFILIATE SCHOOL DA

130 GOOD WORKS

PROFESSIONAL PHOTOGRAPHER | AUGUST 2013 | WWW.PPMAG.COM

In 2000, at a time when many photographers were

looking forward to the wonders of digital technology,

Quinn Jacobson turned his attention to a process from the past.

CONTENTS

90

QuinnJacobson

Nordic Man, whole-plate ambrotype,

Gothenburg, Sweden, 2009


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Professional Photographersof America229 Peachtree St., NE, Suite 2200

Atlanta, GA 30303-1608

404-522-8600, 800-786-6277FAX: 404-614-6400,

www.ppa.com

2013-2014 PPA board

president

*RALPH ROMAGUERA SR.

M.Photog.Cr., CPP,

API, F-ASP

[email protected]

vice president

*SUSAN MICHAL

M.Photog.Cr., CPP, ABI

[email protected]

treasurer

*MICHAEL GAN

M.Photog.Cr., CPP

[email protected]

chairman of the board

*TIMOTHY WALDEN

M.Photog.Cr.,

Hon.M.Photog, F-ASP

[email protected]

directors

DON MACGREGOR

M.Photog.Cr., API

[email protected]

ROB BEHM, M.Photog., [email protected]

LORI CRAFT, Cr.Photog.

[email protected]

MICHAEL TIMMONS

M.Photog.Cr., F-ASP

[email protected]

STEPHEN THETFORD

M.Photog.Cr., CPP

[email protected]

AUDREY L. WANCKET

M.Photog.Cr., CPP

[email protected]

MIKE FULTON

Cr.Photog.

[email protected]

GREG DANIEL

M.Photog.Cr., F-ASP

[email protected]

industry advisor

LOU GEORGE

[email protected]

PPA staff

DAVID TRUST, CAE

Chief Executive [email protected]

SCOTT KURKIAN, CAE

Chief Financial Officer

Chief Operating Officer

[email protected]

JULIA BOYD

Senior Manager of

Certification

[email protected]

JANE GABOURY

Director of [email protected]

KRISTEN HARTMAN

Director of Membership

[email protected]

FIONA HENDRICKS

Director of Events

[email protected]

WAYNE JONES

Director of Sales &

Strategic Alliances

[email protected]

ANGELA KURKIAN,

M.Photog.Cr.

Director of [email protected]

SCOTT MORGAN

Director of Information

Technology

[email protected]

WILDA OKEN

Director of Administratio

[email protected]

CARLA PLOUIN

Director of Marketing

and Communications

[email protected]

SANDRA LANG

Executive Assistant

[email protected]

*Executive Committee of the B

Photoby:R.Placek

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LOFT Products are true luxurious cards printed on a 51 point paper creating a substantial thick

card that is sure to impress. We currently offer LOFT Cards, Shaped Cards, Ornaments and

Business Cards that come in two unique sizes. LOFT paper has a hint of warmth in the white

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folio| Showcasing images selected from the files of the PPA Loan Collection, Folio is a monthly sample ofaward-winning photography from the most recent International Photographic Competition (IPC),which is open to non-PPA members. The current Loan Collection is a select group of more than 400photographs chosen for distinction by the IPC jurors. ppa.com/IPC

LAST BUT NOT LEAST

Melissa Balthaser of Mohnton, Pa., captured Last But Not Least while vacationing in the Outer

of North Carolina. Id taken my four boys out for beach portraits, she says of this image. Tholder three were cooperating nicely, while the youngest, age 2, was running circles around them

decided to just go with the moment and kept shooting. This will be an image that I will treasure for

Melissa Balthaser Photography specializes in child and family portraits. melissabalthaser.com

CAMERA & LENS: Nikon D700 camera, Nikkor AF-S 24-70mm f/2.8G lens at 58mm

EXPOSURE: 1/1,000 second at f/4.5, ISO 400

LIGHTING: Natural

POST-CAPTURE: Adobe Lightroom 2 for color correction, Adobe Photoshop CS5 to remove

from the beach and sand from the boys clothes.

Melissa Balthaser


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Karen Smith

FUBAR TWO

Scott Slattery captured Fubar Two

vacationing in Winter Harbor, Mai

We were searching out opportuto shoot when we came across th

charming harbor with a group of din

all tied together by the dock for t

night, says Slattery. Sunset wa

awhile away so we sat and waite

the light was perfect. Scott Slat

Photography in Arkport, N.Y.,

specializes in landscape and HDR

photography as well as portraits

weddings. scottslattery.com

CAMERA & LENS: Nikon D3 cam

AF-S Nikkor 70-200mm

f/2.8G ED VR lens at 128mm

EXPOSURE: f/6.3 for 1/160 sec

ISO 200

LIGHTING: Natural

POST-CAPTURE:In Adobe Lightr

Slattery created two copies, one

single stop under the original, th

other one stop over. He merged t

copies with the original in Photo

Pro 4.0.2 to achieve the final ima

Scott Slattery

18 www.ppmag.com

LAUGHTER IS THE BEST MEDICINE

Karen Smith, M.Photog., of Orrville, Ohio, created this portrait in her home studio as part of her Baby Stage Collection for the client. Knowing how busy1-year-olds can be, she says, she brought out the antique chair to keep him in one spot. She entertained him and elicited a series of reactions by talking t

the boy. Images by Karen specializes in portraits of newborns, babies, children, high school seniors, and families. imagesbyks.com

CAMERA & LENS: Canon EOS 5D Mark II camera, Canon 70-200mm f/2.8L IS II USM lens

EXPOSURE: f/5.6 for 1/125 second, ISO 100

LIGHTING: All Photogenic brand: main light was a 600WS PowerLight 1500; fill was a 300WS 750 bounced off the white ceiling; hair light was a 1

StudioMax II modified by a 9x24-inch Larson Soft Strip

POST-CAPTURE: Converted from raw to JPEG format in Adobe Lightroom; minor retouching in Photoshop


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CONTACT SHEETWhats New, Cool Events, Interesting People, Great Ideas, Etc.

The DVD of a new documentary about

York photographer Bert Stern, who died

26 at the age of 83, was released in July f

ing a limited run in movie theaters natio

Directed by Shannah Laumeister, Bert

Original Madman traces Sterns career

the heady days of advertising in the late

and 60s to photographing celebrities f

advertisers, magazines, and movie stud

Stern was perhaps best known for th

Sitting photographs of Marilyn Monroe,

he took in 1962 for Vogue magazine, six

before the actresss death at age 36. Ea

this year the Staley-Wise Gallery in New

held a retrospective exhibition of Stern

work, and in 2012 Taschen published

Monroe images in the book Marilyn Mo

Reviews of the Stern film have been m

but critics agree it is a remarkably candi

at a complex man. Bert is very open abo

life, Laumeister said in an interview a

before he died, and the film is an hones

trait of him. Laumeister first met Sternwhen she was 13; she posed for him off

on for 20 years beginning at age 17.

A Brooklyn native, Stern started in

mailroom at Look magazine and event

became assistant art director. He taug

himself photography while working as

All images Bert Stern

Marilynthe madman

A new film reveals the man behiniconic celebrity portraits and the photographs taken of Marilyn Mo

BY LORNA GENTRY


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director of Mayfair magazine. After serving

in the Army, he went to work for an ad

agency where he created award-winning

images. By age 30 he was among an elite

cadre of photographers, including Irving

Penn and Richard Avedon, who practically

invented advertising photography.

In the film Stern recalls two sessions he

had with Monroe. In a Bel-Air Hotel suite

he turned into a studio, Monroe sipped

champagne for hours while playfully posing

nude with scarves, jewelry, and bed sheets.

Vogue loved the pictures but wanted fash-

ion photos too, so Stern photographed her

again, this time with a fashion editor.

Before long, she shed her clothes. I would

never have taken any nudes of Marilyn if

she didnt want to do it, Stern says. I wasnt

out to do nudes. I was out to do pictur

How did Stern make Monroe comfo

enough to disrobe? Having posed nude

Stern herself, Laumeister offers, Bert i

malleable in a seductive way. He doesn

dominate or force you to do anything.

has a lot of feminine energy. He suppo

you being you, so he can capture your

authentic self.


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PPs Giveaway of the Month

Certifcation Preparation Class

Topics include:

The inverse square law, filter factors, bellows factor

Lenses & filters

Color theory & H&D curves

Lighting ratios, corrective lighting & posing,depth of field, angle of view

The Zone System (and how it helps you understandthe digital histogram)

Differences between bit, byte and bit depth

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PP Asks

Were having hot fun thissummer on Facebook (face-book.com/ppmagazine).

Stop by to enjoy professional camaraderieand learn some great new tips.

Whats the most unexpectedly useful item

in your gear bag?

Laser measuring device. Very useful whendetermining my distance to the subject,which helps me determine the aperture toget the depth of field Im looking for.

Brad Bradley

Small embroidery or sewing scissors. I trimthreads I see from any suit or dress. Im soused to retouching my clients before I take

a photo, its difficult not to do it when I seeit on a stranger.

Catherine Ottarson

Gaffer tape fixes everything!Anne Brandt

A shower cap. I put it over my camera when Ihave to shoot in the rain or at the beach.

Kelly Shull Haven

I shoot concerts mostly, so earplugs andaspirin are always in my bag. But the mostnecessary thing is wintergreen Life Savers.

David Polston Freelance

A rubber band meant for my hair has come inhandy more than once to attach PocketWizardsor flashes in areas that we just happen uponduring location shooting.

Heather Haven Morris

A roll of clear giftwrap tape. You can use iton anything without it showing up in pictures,and youd be amazed how useful it can be ona windy day.

Jennifer Williams Schaibly

Hairspray in the summer. I am very allergicto poison ivy, so I spray it on my legs beforeheading into a bush. If I do come in contactwith poison ivy, it washes off with the spray.

Renee McGahey

Sounds weird, but a makeup brush is auseful item for cleaning almost everythmy camera bag.

Hesham Ahmed El-

Facial blotters for a bride or groom witshiny face.

Christophe

A small beanbag teddy bear to rest my70-200mm lens on when I need to be steady.

Debbie

A squeaky thing from a dog toy gets pekids, and sometimes grownups to look camera.

MaryAnn Engle-Jo

Green trash bags cut into 12-inch squa

for sitting on damp grass, etc.Kathleen Jo

A rubber band and a business card makawesome bounce card.

Carlos

CONTACT SHEET

26 www.ppmag.com


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Drawing on the beauty of light

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CONTACT SHEET

28 www.ppmag.com

Ellie Ericson comes from a long line of creative

folk. Painting, pottery, sewing, and photog-

raphy weave their way through her family tree.

It was as a child in her grandfathers dark-

room in Sweden that she first experiencedthe allure of photography. She didnt pick up

her camera with systematic intent until

2005, at the age of 35.

Thats when I went back to my creative

roots, says Ericson. Thatswhen I got serious

and put my job aside and went back to school.

After completing the Professional Photo-

Imaging Program at Vancouvers Langara

College, Ericson joined PPA and began

working toward her master of photography

degree. Her vision is to pursue storytelling

through fine-art photography.

We talked with Ericson to find out more

about her take on pursuing photography as

a fine artist and how her image competition

experience has fostered her growth.

PP:Coming at photography from the view-

point of a fine artist rather than, say, a por-

trait or wedding photographer, what drew

you to PPA?Ericson: I got to know Don MacGregor

[M.Photog.Cr., API] here in Vancouver, as

he was closely tied into Langara College, and

he became my practicum mentor during my

last semester. I worked with him and ended up

going to Imaging USA in Nashville, where

he gave me a first-class introduction to the

PPA Board of Directors. I was so impressed

that I ended up becoming a full member

right after graduation.

How has your style evolved?

When I graduated, I had a good foundation

in technical aspects and worked a little with

Don on corporate and wedding assign-ments. I met my current mentor, Raymond

Ketcham [founder and editor-in-chief of

Rear Curtain, an online gallery and

resource for emerging visual storytellers],

and participated in Rays workshop, Artist

Round Table (ART) in June 2011, and

embarked on a new journey. ART taught

me the meaning of personal voice and

vision. It was a huge revelation. There

lot more to creating a meaningful, art

image than just composition, craft, an

light. I had to say something in my wo

be aware of the reasons why I was tak

this image.

I discovered that my journey was mabout being an artist doing fine-art w

doesnt mean I wont do portrait sessi

the odd commercial job, just that the m

ity of my work will be fine-art imaging

What are you looking for through the

For me, its fundamentally about light

EllieEricson

Its important to have a serious case of curiositabout life, really an incurable case of curiosity.

ON THE COVER

An artists wayWorking toward a masterof photography degree,Ellie Ericson focuses on fine art


29/132

how I photograph and capture the light

is part of my voice. But theres more to

it than that. The feeling or emotion I

endeavor to capture or convey is something

I strive for as well. My approach is about

storytelling, using photography to make

sense of the world.

How has competition changed your

perspective?

I find it both challenging and rewarding,

and at some points, completely surprising.

My first time submitting images to the

Western District Competition in 2011, I

wasnt daunted so much as I wasnt surewhat to expect. I chose four images and

ended up scoring three seals out of four.

The next year I scored two out of three.

This year, I didnt make any seals at

District, but I feel strongly about asking for

feedback. This part of the process is very

valuable for me. Its when I have not

been successful that I learn the most. And

this year was an eye opener. It makes me

think even more about the art I want to

make and encourages me to explore differ-

ent genres as well. Its important to have a

serious case of curiosity about life, really an

incurable case of curiosity.

Tell us about the dog in the truck.

I was attending ART in Port Townsend,

Wash. We had a morning free to shoot in

town and I ended up walking along with acouple of the guys from the group at this

antique car show. I realized the show

wasnt my deal. As I said goodbye to my

friends and turned to head out, I passed

this truck with a beautiful dog in it. I

immediately that this was a golden op

tunity to make a fantastic image. You

those moments that come along and w

per quietly to you? Its a good gut feel

that happens when I know I am in th

place at the right time.

The dog never took his eyes off me,

never moved. I think it was the last fra

of the series. The angle, the reflection

window, the way the dogs gaze seems

penetrate you, that sense of loyalty yo

from a dog, all those feelings come thr

for me in this image.

Stephanie B

See more of Ellie Ericsons work atellieericson.com.

August 2013 Professional Photograph


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In May Professional Photographers of America

CEO David Trust was the final plaintiff to be

deposed in Washington, D.C., in the visual

artists federal class action suit of Google for

grievous copyright infringement.

PPA, which has long been active in advo-

cating for copyright protection for photogra-

phers, joined 14 other groups and individual

artists in the suit in April 2010.

The issue is vital for PPAs 26,000 members,

says Trust. This Google case could be a peek

into the future of photographers rights. In this

digital age, the copyright landscape seems to

shift like desert sands. As that landscape shifts

in coming years, the importance of PPAs efforts

on Capitol Hill will only increase. I believe that

working more closely with our friends in otherphotographic associations will become a must

if we are going to stand up to the constant

assault on copyright.

The issue started in the early 2000s when

Google began scanning books in various univer-

sity library collections with the permission of

the librarians. Under U.S. copyright law,

duplicating copyrighted works for the purpose

of education is generally deemed fair use. For

the librarians, it was a coup to get their collec-

tions archived, digitized, and therefore easily

searchable in the interest of scholarship and

at no cost. However, with the exception of old

works in the public domain, permission to scan

the material wasnt the librarians to give.

When the Authors Guild and some individ-

ual writers filed a federal lawsuit against

Google in September 2005 for mass copyright

infringement, Google cried fair use. Visual

artists, photographers, and their professional

associations became equally concerned for

their copyrights and joined the suit. Today,the writers suit remains in settlement mode.

Maria Matthews, manager of the PPA

Copyright and Government Affairs Department,

says despite the seemingly glacial pace,

important work is being done on the issue in

Washington. The

Copyright Office is

currently studying

the ramifications of

mass digitization.

The courts decision

in the Google suit

could help clarify how

mass scanning fits into the current co

the law, says Matthews. Further, C

has begun reviewing the law as the wh

the intent to update the code, and any

in our case could be taken into consid

during the review/revision process, s

PPA representatives continue to pa

visits to members of the Judiciary Co

in the House and Senate, as well as m

of key caucuses to explain why strong

right laws are critical to photographer

It is unfortunate that an entity as

powerful as Google is so willing to hu

and-pop creators just to add to its alenormous bottom line, says Trust.

ing else, we hope that this lawsuit wi

their executives remember that even

has to play within the law.

Le

v. THE ARTSPPA testifies on behalf of professional photographers

CONTACT SHEET

PPA CEO David

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This month the United States Postal Service

celebrates American workers with a new

stamp series, Made in America: Building a

Nation, featuring steel, coal, and machine

workers. The majority of the images are the

photographic work of Lewis W. Hine (1874-

1940), a pioneering documentarian who

took portraits of workers, child laborers,

and immigrants during the first three

decades of the 20th century. The striking

black-and-white images show men and

women performing various jobs, from

building skyscrapers at nosebleed heights to

mining coal miles underground.

A sociologist, Hine began photogra

immigrants arriving at Ellis Island in 1

He later used his photography for soci

reform by documenting child labor. In

he photographed steelmaking in Pittsb

and in the 1920s and 30s created a po

series of workers.

Hines images are powerful, says

Derry Noyes, the Washington, D.C.-ba

art director who designed the series. T

original concept for the stamps, which

was suggested by the American public

was to highlight coalmine workers, sh

but the idea morphed into this look a

American workers in the Industrial Ag

She considered using an illustrator to

the artwork in color, but to my mind

would have glamorized it.

Noyes, who has designed stamps fo

USPS for more than 20 years, also con

ered using work by Margaret Bourke-W

and Berenice Abbott; however, Hines

on people in relation to machinery and

made his work uniquely suited to the c

cept, she says. To find images that wou

maintain their integrity when reduced

stamp size, Noyes pored over numeroubooks of Hines work. Some photos, sh

allows, especially those of coal miners,

too depressing to use. Theres a fine li

between showing hard workers and br

people. But there is dignity and streng

Hines photos. Theres something com

pelling about people going to work eve

day in menial jobs that add up to som

bigger. Its an American story.

At a time when email has nearly ec

posted mail and manufacturing has la

moved offshore, is the timing right for

a retro stamp? Noyes thinks so: We a

the era of technology, yet it also seems

a new era of embracing American wor

so this series may ring a chord.

Lorna G

32 www.ppmag.com

CONTACT SHEET

History stamped in timeLewis Hine photographs featured in U.S. postagestamps commemorating American workers

All images Lewis W. Hine


33/132

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goals through PPAs Studio Management Services (SMS). From personalized nanc

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Professional Photographer P R E S E N T S Business, Marketing, and Sales Strategie

What I thinkChris Kogut is in it

for the love of art

What has been your most successful market-

ing strategy? Entering and winning local con-

tests and exhibiting and giving the proceeds to

charity. When moneys tight people are less

apt to spend money for unique photography

for their home, but they do when they know

the proceeds go to charityback to the people.

Whats the most valuable business advice you

ever got? Buy the best equipment you can

from the get-go.

Whats the biggest business risk youve ever

taken? Spending $8,000 on my first exhibit

and all the retouching, printing, framing, and

hosting the event. But it generated $20,000

for the charity and put me on the map.

What about you now would surprise people

who knew you way back when? I was quiet

and shy then, but the world of photography

has made me an extrovert.

What eats the lions share of your budget?

Custom framing for exhibition only, but it

greatly helps sales.

Whats your deal breaker?When people try to

bargain down my price. I am not for everyone.

What do you wish youd known when you were

starting out? I wish Id believed in myself more.

IMAGE BY CHRIS KOGUT

CHRISKOGUT.COM


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I

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Q. Once my child portraiture website is

live, I want to offer First 48 sessions: I

photograph parents, the newborn baby,

and other relatives in the hospital the day

after the birth. Ive already done such a

session with great results. I photographed

at the hospital for about an hour and did a

final edit of 32 black-and-white images

that I made into an online slideshow for

the couple to share with friends and fam-

ily. In marketing this product, Ill set a

minimum order that could include a book

or prints. If I include the slideshow as part

of the base price (sitting fee), should this

session cost more than, say, a child por-

traiture session where I do not create an

online slideshow? Should I make the

slideshow an option and charge extra to

post it online? I figure that posting the

photographs online is a good way to get

the word out about this service.

A. Sessions like your First 48 are a highly

niched and specialized opportunity and

should be priced accordingly. Youll be on

call for the parents youve contracted with.

Building relationships and trust will be evenmore important than usual.

In pricing for this line, factor in your

expertise in this area, the level of service

youre offering, the investment of time for

each client, and your costs for the products.

Instead of requiring a minimum order, which

is sometimes perceived as a negative, con-

sider offering packages that include not only

a slideshow but a high-end product such as

an album, image box, or framed grouping as

well. Including your session fee in packages

will ensure that clients choose a product

from the beginning and that youll be com-pensated well for your time.

Like a high-end wedding package, your

lineup should include a whopper that few if

any clients will buy. This will make your

mid-line packages look more comfortable.

Create an entry-level package that allows

the conversation to start: We have First 48

packages beginning at $X. This package

wont seem desirable when clients see

everything you offer, but its an entryw

for getting to know each other and disc

all the options.

Yes, your clients will love the slides

to share with friends and family and its

great marketing for you. Be sure the sh

are branded with your studio logo and w

site. As you set your pricing, remembe

this niche is a true specialty. Network w

midwives and doulas as well as businesse

specialize in maternity products and se

ices. Consider creating a baby shower p

age that friends and family could chip i

Lori Nordstrom, M.Photog.Cr

Q. My books are a mess. My QuickBoo

balance is not the same as my bank ba

Is there anyone who can help me clean th

A. If youre reconciling your accounts mo

which PPA encourages, and the reconc

balance doesnt equal the balance as re

by your bank, more than likely its due

items outstanding from previous mont

These could be deposits or checks and

card transactions or items in transit. Tothe culprit, review the prior months re

ciliations to pinpoint any uncleared item

its likely that the item will clear in the

future, your books will be out of balanc

until that time. If its unlikely that the i

will clear and it relates to the current ye

simply delete it. If the item needs to be

deleted and relates to a previous year,

your tax preparer to discuss how to han

deleting it, as it will have an impact on

current years taxes. Items in transit re

items that are recorded on your books

have not cleared your bank account. Thitems continue to be uncleared until th

reflected in your bank account.

Bridget Ja

PPA Studio Management Services ma

Have a question for our experts? Email i

Jane Gaboury, [email protected].

Ask the expertsPackage pricing and book balancing

PROFIT CENTER

GURUS FROM PPA STUDIO MANAGEMENT SERVICES ANSWER YOUR BUSINESS

MARKETING, AND SALES QUESTIONS. FOR INFO ON WORKSHOPS, GO TO PPA.


STUDIO MANAGEMENT SERVICES

Spectacular images.

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PROFIT CENTER: STARTING OVER

BY KALEN HENDERSON,

M.PHOTOG.MEI.CR., CPP, API

No doubt about it, todays professional pho-

tographer is addicted to technology, and I

am as guilty as anyone. Where would we be

without our computers, network printers,

cell phones, clouds, back-up drives, and all

the other gadgets we deem indispensable?

Let me tell you where: the Technology

Twilight Zone.

I know this because thats where I was

last month. Its a place where cell phones

dont work, printers wont talk to computers,

the Internet is nonexistent, and the digital

bathroom scale is off by 10 pounds. (Maybe

that last one was somewhat my fault.)

With every challenge, however, comes

the opportunity to learn a valuable lesson.

One challenge I encountered last month

was our business cell phone service. The

phones worked perfectly when we stood

outside facing east, there was no wind, and

the median temp was 75 degrees. But if we

wanted to sit in the office and answer callsfrom paying

customers, no dice. We started down the

treacherous path of 21st-century corporate

customer service. You know: Press 1 for

English, press 2 to talk to another recording,

press 3 to go into the infinite void, and if you

hang up you will lose your place in the queue.

My first encounter with a human was a

one-sided conversation in which I learned

that my phone worked fine and the service

signal was extremely strong in my area. If

Id simply turn off my phone and turn it on

again, it would work. Huh. I spent four

years in college, why didnt I think of that?

In the second encounter with a human, I

was assigned a case number. Progress! Or so

I thought. I was then told that someone

would review my case and an agent would

get back to me in 10 to 14 days.

This experience taught me some invalu-

able lessons in customer service:

Answer your phone.Yeah, sometimes we

dont feel like talking to customers, and withcaller ID its easy to let it roll into voice

mail. But in avoiding a call, you

might be throwing fuel on a

smoldering fire. Pick up

the phone and ...

Take responsibility.

Nobody likes wast-

ing time with

someone whos

only going to

pass the buck.

Announcethat you are

in charge and

will take care

of the situation.

Doesnt matter if it

wasnt your fault; its

your problem now. So just

own up and fix it.

Do what you said youd do. If its

reprinting the photographs or redoing

session, just do it. Dont put it off.

Exceed expectations. If you said the

order would be ready in two weeks and

completed in a week, deliver it. Dont b

and let it sit on your desk for seven day

you said youd mail the order and you j

happen to be driving near the clients h

deliver it. Make that customer feel like

only customer, or one day you may hav

one customer.

Treat your customers like you want

treated.We all know what its like to ex

ence bad customer service. Define wha

good customer service means to you an

then give that to your customers. With

the competition, great customer servic

the tipping point between retaining cu

tomers and losing them to someone els

HELP ME WITH A DILEMMA

Im in the process of opening a vineyar

winery on the same property as my stu

and have made a sizable investment in

building an event center that will seat 3

The building is situated in the fields ofbeautiful vineyard, and the center, too,

be a joy to photograph in.

We give a large discount on weddin

packages if the event is held on our pro

But how do I handle requests to use my

property from brides who are another

tographers clients? Do we turn away b

ness from the venue simply because th

couple wishes to have a different photo

pher? Do I allow my competitors to ha

opportunity to use the space that I desi

and paid for?I welcome your suggestions and ex

ence via email to [email protected]

and will share reader input in a future

column. I

Kalen Hendersons Studio K/HendersonPhotography is located in Mt. Pleasant,

Service callsLiving up to great expectations

42 www.ppmag.com

Veer


43/132

See in a new way

photo by b



Ervin Photography

Tulsa, Oklahoma

PROFIT CENTER: MY STUDIO

BY STEVE ERVIN, M.PHOTOG.MEI.CR.

My wife, Lana, and I started a photography busi-

ness in 1976 while we were dating and attend-

ing Oklahoma State University. We specialized

primarily in photography for OSU parties and

events. We didnt have a clue as to what we

were doing, but the business took off and we

were making money. When we graduated, we

sold the campus business and moved to Tulsa.

We took courses through Professional Photog-

raphers of Oklahoma and PPA and slowly grew

a thriving portrait studio. As the studio evolved,

Lana took over the business side, and I devel-

oped the artistic aspects. Now we photograph

some 1,200 seniors annually as well as familyand childrens portraits. Our event division

concentrates on high school events, wed-

dings, corporate, and society events. Life at

the studio can be really fast paced so weve

surrounded ourselves with an amazing group

of caring, artistic, detail-oriented people.

Oscar is our official greater. His furry,

sweet presence in our entryway sets the tone

for our studio, a warm family atmosphere.

In the gallery and throughout, the dcor

has bright colors and an eclectic style to create

a comfortable, casual environment. We want

people to relax and enjoy their time with us.

Our 25-step workflow tracks each client

from initial contact to product delivery. The

retouching, editing, uploading, and packaging

all take place here in the design studio.

This birds-eye view of the gallery and

viewing rooms shows the studios open floor

plan. Our goal is to provide an inviting

atmosphere for clients to view their images

and make their choices. We want a pleasant

working environment for our staff as well.

We do so many of our sessions on loca-

tion that we gave up a little shooting space to

provide more sales area in the studio. Our

tireless model Antoinette basks in the north-ern light provided by a large window at the

end of the camera room.

The studio annex gives us space for prop

storage, framing, and photographer prep.

Each of the three viewing rooms is

equipped with a mounted Epson projector and

Spectra sales software. This enables us to

sell, scale, and crop photos all in one session.

1

1

3

4

2

5

2

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Lets say youve taken that big step o hiring

your irst employee. Now what? How do you

ensure youre getting your moneys worth,

or example? Consider goal-oriented meas-

urement o employee perormance. This

should be done ater the irst 30 days o

employment, then again at 90 days, six

months, and one year.

PERFORMANCE GOALS are the

basic expectations you have o employees.

They include the hours worked, attire, and

conduct. These things may seem elementary,

but they need to be clearly deined in each

new employees orientation and included in

subsequent perormance evaluations.

SPECIFIC JOB-RELATED GOALS

are the product o your worklow evalua-

tion. Ater you have identiied speciic tasks

or the employee, its imperative to assign

measurable goals. For instance, i the tasks

include answering initial inquiries, the

measurable goal might include the conver-

sion rate o inquiries to sessions.

SPECIAL PROJECT GOALS are or

tasks beyond the scope o the employees

typical job-related tasks. Such projects give

the employee an opportunity or achievement

and growth. Deine the goals o the project

to give the employee guidance on how the

project should proceed and to give yoursela way to measure perormance success.

PROFESSIONAL DEVELOPMENT

GOALS include job-speciic proessional

development goals as well as personal

development goals. These should give

the employee an opportunity to grow

within the ramework o his or her job as

a proessional and an individual. Discuss

and deine the training that will help

growth take place.

Evaluating an employees perormance

is not on the top o anyones to-do list. Take

some o the pain out o it by implementing

an upward and downward evaluation process.

Annually, have the employee evaluate his or

her own goals, perormance, and accom-

plishments. This helps the employee under-

stand the evaluation process as well as how

to earn rewards or a job well done.

Included in the annual job evaluation is

setting measureable expectations or the

upcoming year, which will be the basis or

that years evaluation.

I encourage studio owners to pay a lesser

hourly rate supplemented with rewards or

perormance. The annual evaluation is one

actor in determining the size o bonuses,

but beyond that, its important to create an

atmosphere o rewarding perormance based

on the employee meeting his or her individual

goals as well as the studio meeting its over-

all goals. This reinorces the idea that the

employee is working as part o a team to

achieve the larger goals o the organization.

Studio owners are always trying to igure

out how to make employees eel vested in the

business. Setting annual sales and sessiongoals by month and reporting achievement

help employees participate in the success o

the studio. Celebrate even small achievem

You may be aced at some time wit

under-perorming employee. Follow t

steps to take corrective action:

Review job responsibilities, expecta

and goals with the employee. All empl

must know what is expected o them.

Cite speciic examples o how the

employee has allen short o expectati

Set air goals with reasonable dea

lines or getting the employee to the le

perormance you need.

Make sure he or she knows how joormance will be measured in the utu

Have ollow-up meetingsdaily,

weekly, or monthly as appropriate to t

severity o the situationto review the

employees progress.

All perormance problems and war

should be documented in writing. You

want to consider a ormal perormanc

improvement plan, which would inclu

statement o the issues, an explanation

how the problems are aecting busine

and a deadline or improvement, whic

typically, 45, 60, or 90 days unless the

ormance problem is severe.

You cannot overlook state employe

laws, which vary. Contact your states

Department o Labor to understand th

requirements o severing an employee

employer relationship. I

Bridget Jackson is PPA StudioManagement Services manager. She isa certified public accountant. Reachher at [email protected].

Chie o stafDocumenting employee perormance

PROFIT CENTER: MAKING MONEY

BY BRIDGET JACKSON

46 www.ppmag.com

Evaluating an employees perormance is not on the top

o anyones to-do list. Take some o the pain out o it by

implementing an upward and downward evaluation proc


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PROFIT CENTER: MASTERING MARKETING

BY ANGELA POINTON

Facebooks changing platform is making it

increasingly difficult for businesses to use it

as a marketing venue. At one time, photog-

raphers could rely on Facebook to showcase

images, tag customers, and rapidly build a

community of fans. Every time that commu-

nity grew, posts, offers, news, and more

would auto-post to the feed of every fan of

the page. Facebook was a great way to

increase a photographers exposure and gen-

erate new inquiries.

If youve been monitoring your Facebook

page statistics, youve noticed that fewer fans

are seeing your posts. Ive spoken with mar-

keters who have audiences of 5,000 or more

Facebook fans, and they report that their

posts are reaching a mere 100 to 200 people.

The heart of the matter is that Facebook

is now a public company whose investors are

watching its financial performance daily,

even hourly. Facebook has to answer to

those investors and try to keep them happy.

For Facebook to increase its revenue, it

needs ever more advertisers, but if posts

were getting out to massive fan bases for

free, why would businesses pay to advertise?

Hypothetically, they wouldnt. Thats the

problem Facebook has on its hands.

WHAT TO DO

Facebook is still a relevant and useful social

media platform. It offers photographers a way

to market themselves and share images and

content with a fan base, albeit a smaller num-

ber of fans than previously. Continue to main-

tain your business Facebook page, or start one

if you havent yet. Then cultivate more fans.

To gain followers, keep two important

things in mind as you plan and deploy

your Facebook presence. First, advertise

with purpose.

I coach photographers to use all the free

marketing resources they can, but do look

into Facebooks advertising options. A pay-per-

click campaign can be launched on Facebook

for as little as $10 a day. Before committing,

have a clear strategy for each ad. Will the

intent of the ad be to cultivate likes? Pro-

mote an offer? Announce a contest?

Once your strategy is developed, you can

maximize Facebooks resources. For instance,

Facebook allows businesses to choose the

audience for your ad based on specific demo-

graphics. As with any advertising campaign,

identifying goals before its launch is critical.

So is regularly measuring and analyzing the

results against the goals.

Second, diversify. Facebook cannot be

the sole source of marketing for your business.

If a large percentage of your customers came

from Facebook in the past, supplement that

presence with additional marketing avenues.

Consider it part of protecting your reve

and the future health of your business.

if Facebook werent changing the rules

game, its never a good idea to put all o

marketing effort in one vehicle.

Consider Pinterest, Google+, or em

newsletters as additional media for rea

your audience. Try blogging once a we

about topics your ideal customers wou

interested in, and push that content to

tiple social media profiles in addition t

email newsletter audience.

By diversifying your reach across m

ple vehicles, you can measure and com

the performance of each. What if Pinte

becomes your No. 1 source of new cus-

tomers? What if an email newsletter ge

forwarded to 10 new subscribers a mon

Youll never know about the potential s

cesses of available resources unless you

them and analyze the results.

While the traffic back to your own w

site might be low at first, once you begi

tivating a variety of fan bases across on

two more outlets, you can measure wh

performing best and determine why.

Angela Pointon advises photographers

through Steel Toe Images. Visit

steeltoeimages.com and click to addher on Google+, Facebook, and Pinteres

Face it!Changing times for social media

48 www.ppmag.com

The rules of the gamehave changed, but

Facebook remains a relevant

and useful marketing platform.


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I entered the photography business out of love.

At the time, business principles and streamlin-

ing workflow were hardly foremost in my mind.

Little did I know how many hours Id spend

at a desk editing all those images and how

many business tasks needed to be completed.

The studio my husband and I founded

flourished from the outset. As the business

grew, it was obvious that we needed to fix areas

of weakness in our workflow or sacrifice our

own family time. Now, several years later, our

thriving studio hums along like a well-oiled

machine, often without us even there. Hav-

ing work-life balance is crucial to our happi-

ness, and Ill bet its the same for you.

GETTING HELP

Using the benchmarks established by the

PPA Studio Management Services financial

survey, a home-based studio with an annual

sales volume of $100,000 can afford roughly

$2,500 in employee expenses. For a small or

start-up businesses, taking on even a part-

time employee can be daunting. Think of

the time it takes to train a person, and youre

paying a salary before the employee begins

contributing to the studios productivity.

Before you hire anyone, you could invest a

portion of that $2,500 in workflow software

or time-saving services. Put some time into

identifying areas of weakness in your workflow,

then look for applications that will strengthen

them. That might not eliminate your need

for an employee completely, but streamlin-

ing can help keep costs to a minimum.

SLIMMING DOWN

I listed all the repetitive manual tasks in our

workflow then looked for ways to automate

or eliminate them. I set up batch-processing

actions, created presets, and implemented

software that would speed workflow. One

program I love is ShootQ for client manage-

ment, workflow, tracking income, auto-

mating questionnaires, and creating email

templates. We use Photo Mechanic for several

processes because of its quick display options

for picking through images, and BlogStomp

for blogging, which saves us time editing,

optimizing, and sizing images.

Edward, my husband and business pa

addressed our file organization, implem

ing quick access to images, regular bac

for security, offsite access to all of our f

and screen sharing. Having remote acc

our images was a huge step because we

do our work and send images from anywh

A big time-saver is having a workflow

every client or job. Each of us can refer

the same list to see where the job is in t

queue and when the next task needs to b

complete. Deadlines arent missed, task

arent repeated, and we dont have to as

each other to know where a job stands

Creating a procedures manual for a

our routine tasks has been one of the sim

and most effective tools for streamlinin

business processes. The manual includ

steps in our workflow as well as additio

tasks such as creating and packaging a

and printing orders. Now multiple peo

working in the studio have the same kn

edge and resource in case they have que

Addressing our workflow has opene

new opportunities and created time for

enjoy our lives and pursue other passio

All of the time we have invested in orga

ing and restructuring our studio has pa

itself back over and over, and we contin

look at our processes and refine them.

Break it down. Ask yourself what yo

doing, what brought you to photograph

and what inspires you each day. Now a

yourself what is keeping you from doing

Those repetitive tasks need to go. Take

at what youre doing every day. Make n

on what youre doing well and what you

want to improve. Clear out the clutter i

office, on your computer screen, and in y

workflow, and start fresh. I

Elisa Bricker is a fine-art film photogrbased in Charlottesville, Va.(elisabphotography.com).

BY ELISA BRICKERPROFIT CENTER

50 www.ppmag.com

OUR WORKFLOW

1. Import photos to Adobe Bridge (apply metadata, convert to DNG), or

download film images then apply metadata.

2. Choose photos in Photo Mechanic and move them into a renamed sub-

folder, placing the rest in another folder. Rename selected images sequentially sothey correspond to the final filenames that will go to the client.

3. Import to Lightroom with desired presets, tag with keywords, and label with

color or stars for easy sorting.

4. Export from Lightroom to a new subfolder.

5. Review photos and make any last edits.

6. Finish images in Photoshop by running touchups or actions as needed.

Workflow wondersRepetitive tasks need to go


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Professional Photographer P R E S E N T S Products, Technology, and Services

What I likJamie Pflughoeftrediscovers light

Whats your all-time best equ

investment? My 2010 3.33G

Mac Pro with two 240GB SS

two 2TB WD Caviar hard drW3680 Westmere processor

30-inch Apple Cinema Disp

couldnt be more in love with

computer setup.

What piece of equipment cou

live without? I cant edit phot

a Wacom Intuos tablet. Whe

chewed through the cord of my

tablet back in 2005, I was so

locked myself in the bathroom

What hot new product are yo

out of your way to use? The X

ColorChecker Passport. Whe

graphing dogs on location in

changing light, its quicker an

use than custom white balan

Has a piece of equipment eve

your approach to photograph

Definitely! Pulling out my ra48-inch reflector recently hel

see light differentlywhere i

from, the tone and color, and w

to do to bend it. Ill be using it

IMAGE BY JAMIE PFLUG

COWBELLY.COM


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Paired with a high-quality lens,the D7100 blows past expectations

BY STAN SHOLIK

SurprisinglysuperbNIKON D7100 AND AF-S NIKKOR I8-35MM F/3.5-4.5G

The nearly 6X zoom range of the 18-105mm lens

makes it a good choice for travel photos and all-

around photography for advanced amateurs. On

the DX-sensor D7100 (right) the range is the

equivalent of 27mm to about 160mm (above).

56 www.ppmag.com

The options for enthusiasts and profession-

als looking for an advanced but lightweight

camera have never been greater, but the best

image quality is still produced by a digital

SLR. Thats why the introduction of the Nikon

D7100 is important. Its capable of impres-

sive image quality and has a rugged bodylighter than the less capable Nikon D7000.

That image quality is a result of eliminat-

ing the low-pass optical filter from the 24.1-

megapixel DX (APS-C) sensor. (With the

Nikon D800E, the low-pass filter is present

but optically disabled.) The increase in pixel

count and the dedicated sensor practically

eliminate the problem of moir patterns, and

if one should occur, Nikon Capture NX 2 and

other software can minimize or eliminate it.

I never experienced moir with the D7100

even when shooting with top-quality Nikon

lenses. Its unlikely that you will experience

moir with the AF-S Nikkor 18-105mm

f/3.5-5.6G ED kit lens supplied with the

camera because its simply not sharp enough.With this kit lens, I doubt if you would notice

a significant increase in image quality between

the D7000 and the D7100 other than that

resulting from 50 percent more pixels.

That said, Nikon sent its latest AF-S

Nikkor 18-35mm f/3.5-4.5G lens, and it

proved worthy of mounting on the D7100.

(More on that later.) With high-quality glass

such as my macro lenses and 70-200mm

f/2.8, I believe the D7100 image qualit

would rival that of my D800E if the D

had the additional pixels of the D800E

The D7100 is impressive in many w

addition to outstanding image quality.

Although it doesnt have the armored f

a Nikon professional digital SLR body,even a Nikon D300s, the D7100s mag

sium alloy top and back and good envir

mental protections should guarantee it

stand up to the beating most profession

would give it and certainly the enthusi

who are the target market. Despite its

weight, the D7100 is well balanced wit

70-200mm f/2.8 lens mounted and a

ure to carry for hours when shooting ev

THE GOODS: PRO REVIEW

All images S


57/132

with the Nikon SB-910 AF Speedlight and

kit lens or a 24-120mm f/4 attached.

Also impressive is the autofocus ability of

the D7100. The body incorporates the 51-point

autofocus system of the Nikon D4 and D800/

800E. While the autofocus speed doesnt quite

match that of more expensive cameras (or

my D3S), there are sufficient focus points to

handle most any situation, including photo-

graphing off-road racers in the desert.

With the ability to capture six frames per

second at full resolution, the D7100 is usable

as a sports camera. Unfortunately, if those

six frames are raw files, the buffer fills after

one second, and continuous shooting slows to

one frame per second (fps). You can increase

the number of captures by shooting in Fine

JPEG mode, which allows the capture of 14

full-resolution frames before the buffer fills

and the capture slows to about three fps. The D7100 shows the quality it can deliver when you attach a high-quality macro lens.


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For my race shooting, I incre

ther by using the 1.3X crop mod

from the Nikon professional full

cameras. This delivers a 15.4-meg

the D7100, virtually turns my 70

a 135-390mm f/2.8, and allows

24 frames before the buffer fills.

crop mode, the autofocus sensor

image area, and once I found the

bination of autofocus settings, th

able to consistently track focus a

toward me and moved across th

Metering accuracy and color r

impressive as the image quality a

Shooting petrographs on the Pro

inside a dark cave with light stream

ing resulted in a perfect exposure

Noise is never an issue from ISO 10

it increases and rises dramaticall

25,600. Considering the small s


Scene modes on the D7100 are well executed and useful when you dont want to think a lot about the

shot. When you are hungry, the Food mode makes it easy to snap a quick photo.

Hopeully its not your ault when they do, but either

way, youll always be better of i youre covered.

PPAs Indemnication Trust is there just or that. Its like

malpractice protection or photographers. Its notinsurance, but rather a one-o-a-kind trust und that

protects PPA members when accused o proessionalnegligence on a paid assignment. No other

photography groups ofer this benet. It even covers

situations such as data loss, equipmentmalunctions, or unhappy clients.

Best o all, should you run into an issue that

requires legal attention, PPA will appoint and

pay your attorneys ees. Thats right!No more legal ees or you. Dont you

deserve that peace o mind?

Check it all out at .com/indem

You know what?Sometimes things go wrong.


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this is impressive. I had no problem shooting

in available light inside a darkened church

and capturing a 6,000 x 4,000-pixel image.

There are enough scene modes and

effects to satisfy the needs of any enthusiast,

but I admit that I had fun with the Food, Pet,

and other modes when I just wanted a snap-

shot and didnt want to worry about settings.

Moving up from another Nikon enthusiast

camera should be fairly easy, but for a pro-

fessional who is used to the control placementof a professional Nikon, it is less so. Controls

I am used to operating with a button or switch

are buried in the menu structure of the D7100.

Other controls, such as autofocus area that

are changed with the flick of a switch with-

out looking on a D3S, require two hands on

the D7100. However, once you become

familiar with the location of everything on

the D7100, the ergonomics are satisfactory

and you can shoot quickly enough.

I do regret the change from the 10-pin

locking remote terminal on professional

cameras to the mini-USB connector on the

side of the D7100 that makes the accessories

I already own obsolete. I snapped off the Mini

USB connector of a third-party GPS the first

time I went from holding the D7100 hori-

zontally to vertically. Not a good change.Video capabilities have been expanded in

the D7100. Its capable of full HD 1080p

video at 50/60i and 24/25/30p. Stereo mics

are incorporated into the top of the body in

front of the hot shoe. There are mic and

headphone jacks built into the side.

With a street price of $1,200 for the body,

the D7100 is an excellent choice for en

asts moving up from a D80 or D90, or

fessionals looking for a higher resolution

camera or a backup DX-format camer

While the 18-105mm lens included

$1,500 street price kit would likely sati

needs of enthusiasts, you need better gl

take full advantage of the D7100. One

is the AF-S Nikkor 18-35mm f/3.5-4.5G

Tested against the 17-35mm f/2.8 lens o

D800E, the 18-35mm is visibly sharper monitor with less chromatic aberration

distortion. Profile Corrections in Lightr

5 Beta corrected the 17-35mm, but the

sponding corrections for the 18-35mm a

yet available. The 18-35mm is smaller a

lighter than the 17-35mm and is an ex

choice for large group shots, architectu

60 www.ppmag.com


In 1.3X crop mode with a 70-200mm

lens, the D7100 captures up to 24

15.4 megapixel JPEGs at 7 frames per

second before the buffer fills.


61/132

interiors and exteriors, and travel photos.

The quiet Nikon Silent Wave motor would

also make it an excellent choice for HD

video in tight quarters.

Comparing architectural images captured

at 24mm focal length on the D7100 between

the 18-105mm kit lens and the 18-35mm lens,

there is no contest. The 18-35mm is visibly

sharper on the monitor both in the center of

the image and at the corners. Backlit images

also exhibited better detail and less ghostingwith the 18-35mm. And with a minimum

focusing distance of 11 inches, you can create

some dramatic perspective on a full-frame

camera with the 18-35mm. Street price of the

AF-S Nikkor 18-35mm f/3.5-4.5G is $750. I

Stan Sholik is a commercial/advertisingphotographer in Sana Ana, Calif.

The image quality of the 18-35mm Nikkor is

excellent in all respects. The lens is particularly

useful for architectural exteriors and interiors as

well as group shots and travel photography.

PROS

Capable of

outstanding

image quality

Light weight

Full range of settings

for enthusiasts andprofessionals

Advanced video

capability

CONS

Kit lens doesnt

deliver quality the

camera is capable of

Mini USB remoteterminal connector


Even with sunlight streaming into the cave, the D7100 calculated the proper exposure for the rock art pain


62/132

With image files growing ever larger, photog-

raphers and videographers need lots of stor-

age, even more if you add movies and music.

If your studio or office has staff using multiple

computers, tablets, and smart phones, go with

a network attached storage (NAS) solution.

NAS servers are self-contained computersbut are designed for one purposestorage.

They are not workstations. Typically they

have multiple drives configured into a single

virtual device with some kind of built-in

redundancy, usually a variation of RAID,

that keeps your data intact if a single drive

fails.

Designed for robust enterprise use in a

small office such as a photography business,the WD Sentinel DX4000 is a perfect match.

As a working photographer, Ive never relished

having to play amateur IT guy, and I bet

true of most professional photographe

Easing the burden, WD Sentinel DX40

systems are simple to implement and

robust. Capacity ranges from 4- to 16T

For this review, WD supplied a 16TB v

with four fast 4TB

Professional Photographer 2013 08

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