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4/1324 www.ppmag.com
PROFESSIONAL
senior editor
JOAN SHERWOOD
features editor
LESLIE HUNT
editor-at-large
JEFF KENT
art director/production ma
DEBBIE TODD
creative services manag
publications & SSACHERYL PEARSON
creative services coordin
VALENCIA JACKSON
eastern region ad manager
TARA TRUITT
404-522-8600, X230, [email protected]
central region ad manag
MARINA ANDERSON
937-902-8217, manderson@p
western region ad managerAMY WALLS
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] mysteries revealedWEVE GOT AN EAR TO THE GROUND
TheLoop is PPAs new online social network for professional photog-
raphers (theloop.ppa.com). Launched late last year, it has already
attracted more than 10,000 users. Because its a forum exclusively
for professional photographers, participants feel free to discuss all
manner of topics they might not otherwise share on a World Wide
Web full of clients, potential customers, and amateur photographers,
topics like business matters related to operations, pricing, and
selling; technical issues regarding lighting and other equipment;
industry insider insights; mentoring and image critiquing; and
words of encouragement and support for fellow professionals.
A recent thread that caught my eye was among some folks ponder-
ing the mysteries ofProfessional Photographermagazine, so I
thought Id share some insights into our processes here.
We receive dozens of story pitches, ideas, and unsolicited manu-
scripts every month. We read each one and respond to every sender.
Even though many are terrific, only a small percentage of them are
accepted due to the volume alone. It happens quite often that we
get similar (sometimes nearly identical) pitches from several people.
We declined some proposals because we have a similar story in the
pipeline or weve covered it in the recent past. Others are too far
afield in subject matter or came from photography enthusiasts
rather than professionals.
In addition to using TheLoop and email as customer listening
posts, we are responding to the suggestions you made in last summers
reader survey. (You did participate, didnt you?) Weve pored
through the data and found that although the majority of readers
are wedding and portrait photographers, there is also keen interestin hearing about other photographic specialtiessports, travel,
architecture, photojournalism, and more. So in the year ahead youll
find coverage of these and other topics.
There is no mystery in how this magazine is produced. We aim
to be transparent, receptive, and innovative. We welcome suggestions
and ideas. We attempt to deliver an exceptional experience that gives
you the information and inspiration you need to be the best you can
be. We look to you for feedback on what you want to see here, how
were doing, and what we can do to improve your magazine.
Now dont be a stranger.
Jane Gaboury
Director of [email protected]
facebook.com/ppmagazine
twitter.com/ppmagazine
pinterest.com/ppmag
theloop.ppa.com
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
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Advertising materials contact: Debbie Todd at [email protected] rates/information: U.S. Print: $27, one year; $45, two yea
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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
Article reprints: Contact Professional Photographer reprint coordinatoWrights Reprints; 1-877-652-5295.
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. Opinions ex
Professional Photographeror any of its authors do not necessarily reflect positions of Profess
tographers of America, Inc. Professional Photographer, official journal of the Professional Pho
of America, Inc., is the oldest exclusively professional photographic publication in the Western H
(founded 1907 by Charles Abel, Hon.M.Photog.), incorporating Abels Photographic
Louis & Canadian Photographer, The Commercial Photographer, The National Photographer, P
Photographer,and Professional Photographer Storytellers. Circulation audited
and verified by BPA Worldwide.
contributing editors
DON CHICK, ROBYN L. POLLMAN, ELLIS VENER
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PORTRAIT OF
A BUSINESSMichael Potthast builds ona family legacyby Will Pollock
GRIZZLY DETAILS
Charles Glatzer doesnt justhappen to be in the rightplace at the right timeby Eric Minton
DAY-AFTER MAGICTodd Surber is in the business ofcapturing happiness
by Jeff Kent
ENGAGEMENT:
THE ACCIDENTAL PHOTOGRAPHER
Tanja Lippert takes charge of the shoot
by Stephanie Boozer
ENGAGEMENT: COMMITTED
For Bre Thurston, engagementsessions are about simplicity
by Stephanie Boozer
COMMERCIAL: ANIMAL MAGNETISM
Sharon Montrose finds patienceand knowledge of breeds are crucialby Erin Quinn OBriant
IMAGE BY: TANJA LIPPERT
98
90
104
108
70
80
Features
FEB
CONTENT
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DepartmentsCONTACT SHEE T
24 The dire state of sharks
26 PPs giveaway of the month
26 PPasks: How do you organizeyour creative inspirations?
28 Puppy love: Melinda Secord
PROFIT CENTER
31 What I think: Todd Surber
32 Ask the experts
36 Starting over: Professional
confessionalby Kalen Henderson
38 Pricing wedding commissionsby Bridget Jackson
42 How to land more clientsby Angela Pointon
44 Tongue-tiedby Holly Howe
48 My studio: MacGregor Studioby Don MacGregor
THE GOODS
51 What I like: Tanja Lippert52 Roundup: Clothing and
accessory trendsby Robyn L. Pollman
54 Lighting tutorial: Light a garafor great portraitsby Fuzzy Duenkel
58 Lens roundup: Glass analysisby Stan Sholik
64 Pro review: Sigma 18-250mmF3.5-6.3 CD Macro OS HSMby Stan Sholik
68 Pro review: Samsung NX20
by Pete Wright
ON THE COVER: Michael Potthast, CPP, cathis PPA Loan Collection image, Her Majesafter six months of planning and with no seffects. Potthast used a Hasselblad H1 cambody with a Phase One Digital Back and an lens. He shot at f/4.8 for 1/30 second, ISOLighting was provided by a Photogenic Powwith a 9x24-inch Larson Soft Strip and a wreflector. He credits stylist Lynda Whitney costuming and Elvin Velez for makeup.
8 www.ppmag.com
14 FOLIO
117 PPA TODAY
125 AFFILIATE SCHOOL DA
130 GOOD WORKSPROFESSIONAL PHOTOGRAPHER | FEBRUARY 2013 | WWW.PPMAG.COM
Faced with a bride and groom who had no time for post-
ceremony photos, Todd Surber staged a second wedding shoot after their honeymoon.
And a new business niche was born.
IMAGE BY: TODD SURBER
CONTENTS
90
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3ULFHVDUH0DQXIDFWXUHU6XJJHVWHG5HWDLO3ULFH(3621(36216W\OXV(36218,WUD&KURPH.DQG0LFUR3LH]RDUHUHJLVWHUHGWUDGHPDUNVDQG(3621([FHHG
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This is why we're constantly developing new best-in-
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Professional Photographersof America229 Peachtree St., NE, Suite 2200
Atlanta, GA 30303-1608
404-522-8600, 800-786-6277
FAX: 404-614-6400,
www.ppa.com
2012-2013 PPA board
president
*TIMOTHY WALDEN
M.Photog.Cr., F-ASP
vice president
*RALPH ROMAGUERA SR.
M.Photog.Cr., CPP,
API, F-ASP
treasurer
*SUSAN MICHAL
M.Photog.Cr., CPP, ABI
chairman of the board
*DON DICKSON
M.Photog.Cr.,
Hon.M.Photog, CPP
directors
DON MACGREGOR
M.Photog.Cr., API
MICHAEL GANM.Photog.Cr., CPP
ROB BEHM, M.Photog., CPP
LORI CRAFT, Cr.Photog.
MICHAEL TIMMONS
M.Photog.Cr., F-ASP
RICHARD NEWELL
STEPHEN THETFORD
M.Photog.Cr., CPP
AUDREY L. WANCKET
M.Photog.Cr., CPP
industry advisor
KEVIN CASEY
PPA staff
DAVID TRUST, CAE
Chief Executive Officer
SCOTT KURKIAN, CPA, CAE
Chief Financial Officer
Chief Operating Officer
JANE GABOURY
Director of Publications
KRISTEN HARTMAN
Director of Member
Value and Experience
WAYNE JONES
Director of Sales &
Strategic Alliances
ANGELA KURKIAN,
M.Photog.Cr.
Director of Education
SCOTT MORGAN
Director of Information
Technology
WILDA OKEN
Director of [email protected]
CARLA PLOUIN
Director of Marketing
and Communications
LENORE TAFFEL
Director of Events
CLAIRE WHITE
Director of Allied Associa
SANDRA LANG
Executive Assistant
*Executive Committee
12 www.ppmag.com
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folio| Showcasing images selected from the files of the PPA Loan Collection, Folio is a monthly sample ofaward-winning photography selected from PPAs annual 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/competitions/international.php
SPIRIT TEAM
Mark Bryant of Missoula, Mon., created the poster image Spirit Team for
the Spirit Squad at the University of Montana. His studio, Bryant
Photographics, specializes in group portraits and advertising and architectural
photography. bryantphotographics.com
CAMERA & LENS: Canon EOS-1Ds Mark III camera, Canon EF 24-70
f/2.8L lens
SETTINGS & EXPOSURE: f/11 for 1/125 second, ISO 100
LIGHTING: A Photogenic PowerLight 1250DR monolight was placed
overhead as the main source and modified by a 28-inch Mola beauty di
fill, a Norman LH-2000 lamp was modified by a 4x6-foot Larson soft
and bounced from the rear wall. Background light was provided by a
Photogenic PowerLight 1250DR moonlight modified by Chimera large st
lights with soft grids.
SOFTWARE: Adobe Photoshop CS5, Lightroom 4, and Photomatrix H
ark Bryant
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bowensusa.comBowens and the power behind the picture are registered
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IF YOU ONLY KNEW
Barbara Berry, M.Photog., CPP, of Legacy Studios in Keller, Texas, specializes in
child and family portraits. The girl in If You Only Knew is the daughter of a
sailor, and this portrait was made on the occasion of her birthday. I think her
expression says it all, says Berry. How does a little girl feel when shes
shuttled, frequently, into a new school, then separated from her deployed
father? This portrait captures the very real sentiments of many military families
facing similar challenges, yet she sparkles with promise. legacystudiostexas.com
CAMERA & LENS: Canon EOS 5D Mark II camera,
Canon EF 24-70mm f/2.8 USM lens
SETTINGS & EXPOSURE: f/8 for 1/125 second, ISO 100
LIGHTING: For the main light, a White Lightning X2400 strobe was modified by
a 5-foot Photoflex OctoDome, positioned about 50 degrees to the subject to the right.
A White Lightning X2400 modified by a 24x36-inch Paul C. Buff soft box was
used for fill. Hair light is from a White Lightning X2400 modified by a strip soft box
SOFTWARE: Adobe Photoshop CS5, Corel Painter
TINY GEM
Adrian Henson, M.Photog.Cr., MEI., CPP, of New Bern, N.C., created the composite
Tiny Gem as a self assignment. The salamander is one of her sons many pets.
I was inspired by a conversation with Michael Barton, M.Photog.MEI.Cr., CPP, about
great subject matter being all around us, she says. I began looking around and dis-covered that he was absolutely right. Adrian Henson Photography specializes in high
school senior portraits and dance and commercial photography. adrianhenson.com
CAMERA & LENS: Canon EOS 5D Mark II camera, Canon 100mm Macro lens
SETTINGS & EXPOSURE: f/20 for 1/80 second, ISO 200
LIGHTING: Split main lighting with two 160WS Alien Bees B400s; one strip
light with a grid on either side of the opaque white container holding the
salamander. The lights were modified by a 10x36-inch Paul C. Buff foldable strip
box with a Paul C. Buff strip box grid and used at full power for fast flash
duration so Henson could use a small aperture.
SOFTWARE: Adobe Photoshop, Adobe Pixel Bender Plugin, Nik Color Effects Pro
Adrian
Henson
Barbara Berry
16 www.ppmag.com
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Raising awareness about theplight of the oceans top predator
In March, the Convention on International
Trade in Endangered Species of Wild Fauna
and Flora (CITES) holds its 16th biannual
Conference of the Parties in Bangkok.
Among other business, members of the
Conference will discuss threatened speciesand officially cite those deemed endangered.
Two concerned photographers are mak-
ing a case for listing an oft-misunderstood
animal as a threatened species. Chris Huss
and David Strickland, both veteran scuba
divers, have witnessed worldwide shark pop-
ulations dramatically diminish. As apex pred-
ators, sharks are critical to healthy marine
ecosystems. However, the largely inaccurate
public perception of the shark as a blood-
thirsty killer makes protecting the species a
hard sell. Huss and Strickland set out to
alter that perception through photography.
Ive always been fascinated by sharks
and struck by their beauty and grace, says
Strickland. Sadly, in recent years, shark popu-
lations have declined drastically due to severe
overfishing, driven in part by demand for
shark fins for use in shark fin soup.
The oceanic whitetip shark, thought to
be one of the most populous large animals
on earth in 1970, is now reduced by about
97 percent in the Atlantic Ocean. In the Gulf
of Mexico and Indian Ocean, the whitetip
population is down by 99 percent.
Chris and I want to do our part to raise
awareness, says Strickland. We want to
put the spotlight on sharks and ultimately
to have six particularly vulnerable species
of shark declared endangered.
Huss and Strickland currently have
exhibition of their work, titled State of
Sharks, at The G2 Gallery in Venice, C
on display through March 3, the openi
day of CITES. The exhibition will then
internationally.
Photographing sharks is a truly rew
ing and awe-inspiring experience, says
Strickland. I hope that the privilege w
there for other photographers and anim
lovers for many, many years.
CONTACT SHEETWhats New, Cool Events, Interesting People, Great Ideas, Etc.
SHARKS
THE DIRE STATE OF
24 www.ppmag.com
All images Chris Huss & David S
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CONTACT SHEET
PPAsks You inspire us! We arecontinually delighted by thecomments, observations,photos, and messages youpost on our Facebook page
(facebook.com/facebook). You boost oget us chuckling, and rap our knuckles we deserve it. Every so often, we post query and ask for your feedback.
HOW DO YOU ORGANIZE YOUR
CREATIVE INSPIRATIONS
AND IDEAS?
My overflowing inspiration file folder heverythingfantastical fashion spreadadvertisements clipped from Vogue another magazines, and from catalogues Free People and Mini Boden for stylingposing inspiration, and images printed the Internet for newborn posing inspira
Susann
I create a mood board for whatever Im lto do, usually pinned on a wall somewh
Jen B
Im a sucker for Pinterest. I have boardevery shoot Im working on plus a big bof ideas Id like to try. I send that one tclients when theyre trying to come uptheme for their session. That helps thevisualize what I see in my head.
Brittany
I use a binder with page protectors in iwhen I need inspiration, its right there
Shannon Lee DiGi
Good old-fashioned paper and pencil.Technology cant be trusted!
Mandy
Youre supposed to organize them? I jadmire what I see and move on. I will nagain look at it even if I store or organisomehow.
Kristine
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A new approach to maternityand newborn portraits
Melinda Secord, owner of Photography by
Melinda in Indianapolis, recently thought
up a fur-lined twist on maternity and new-
born portraits. More accurately, the subjects
are the twisttheyre canine. Secord had
done a shoot with a dog family, a white
Maltese named Romeo, his teacup Yorkie
mate, Juliet, and their five puppies. When I
heard Juliet was pregnant again, I asked if I
could make some pregnancy portraits. Id
never seen it done, she says.
Secord posed Juliet to showcase her
bulging belly, as she would a pregnant woman.
The dogs owner suggested a subsequent
session with the newborn puppies, again mim-
icking the look of a human portrait. Secord
photographed the pups days after their birth
and again at 6 weeks. It was fun to do the
progression as the puppies changed like
I do in my baby program, says Secord.
Secord shot in two settings, one in natu-
ral light and one in studio lighting. She did
the natural light shots by a window and
bounced in fill light with a reflector. In-stu-
dio she used White Lightning strobes m
fied by a 5-foot Larson soft box. She pl
large reflector opposite her subjects to
vide fill. Another light in a strip soft bo
above the pups provided hair light. She
with a Canon EOS 5D Mark II camera
a 70-200mm lens and switched to a 24
70mm lens for the final session to get c
to the tiny subjects. She had mere seco
capture their faces before they snuggle
back into their mother.
Secord planned the sessions ahead o
time, warming the room and having th
props (and paper towels for the inevita
at the ready. To get the newborn portr
look, she used a variety of soft fabrics a
netting, plus baskets, bowls, and shoes
also brought in helper-spotters to corra
puppies if need be.
Secord hopes to launch a line of petmaternity and newborn portraits. Peo
love their pets, she says. For many, th
their children. When youre willing to b
flexible and go the extra mile to work w
them, they love you all the more.
See more from Melinda Secordphotographybymelinda.com.
CONTACT SHEET
28 www.ppmag.com
Puppy loveAll images
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31/132February 2013 Professional Photograph
Professional Photographer P R E S E N T S Business, Marketing, and Sales Strategie
What I thinkTodd Surber emphasizes hardwork, dedication, and goals
What advice would you give to someone just start-
ing out in the business? Foremost, realize that its a
business and youll spend about 80 percent of your
time managing it. Second, lose your ego. No matter
how talented you are, the only way to survive is to
be flexible. Third, get ready to work harder than you
ever have. To succeed you need to have goals, stay
on a budget, and maintain passionate determination.
How do you expect the business of professional
photography to evolve in the coming years? Tech-
nology is definitely going to lead the way. Stills and
video are going to merge, and were going to use
more moving pictures along with stills. However, I
believe that stills will always, always have a place.
Also, consumers can be very smart, budget
minded, and many of them love to take
pictures. So professional photogra-
phers need to work very hard to
create a level of quality that most
people cant accomplish.
Whats the secret to running a suc-
cessful photography business?Work
hard, never take a client for granted, and
keep creating work youre proud of. The busi-
ness side can bog you down, so go into each
shoot with the goal of creating something great,
and youll stay energized.
IMAGE BY TODD SURBER
KINGSTREETSTUDIOS.COM
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Q. What in your opinion works best to attract
new clientsFacebook, direct marketing,
mailers, email blasts, word of mouth?
A. Thats a very general question but a great
one. As you note, there are many ways to
attract new customers, some that cost a for-
tune and some that cost mainly time. The
first consideration is the sort of client youre
trying to reach. If you run a value-based
special, youll get clients who base their
decisions on price. If your goal is volume,
that could be the perfect way to cultivate
new clients. In this case, low-cost marketing
such as Facebook and email blasts could be
effective because the cost per client is low.
If youre trying to attract clients who are
looking for a relationship and high-end expe-
riences, youll have to work a bit harder and
invest a little more. This clientele typically
makes decisions based more on quality than
price. Theyll take the time and effort to ask
for referrals from friends and colleagues
whose opinions they value and will doresearch online.
There isnt one single way to get this kind of
new customer, so youll need to take a layered
approach. Our best customers are the ones
who heard of us through multiple places (such
as magazine ads, direct mailings, etc.), along
with online research and word of mouth.
Layered marketing can take time to build,
but even for new photographers, there are
many ways to do it. Start a referral program
for every client, put out flyers in stores and
coffee shops in your community, volunteer
to speak about taking better picturesone
benefit, theyll realize its harder than they
thought and might call you to do itand
start building a Facebook fan base. Over
time, all these efforts will grow, and people
will start to feel like you are everywhere.
Thats when the phone starts ringing.
Kimberly Wylie, M.Photog.Cr.
Q. I opened a studio in a retail space last
spring after having a home studio for over
two years. My business has increased a
ton, but I am so disorganized. Im wonder-
ing how to handle orders and pickups. Ive
been losing orders and forgetting what has
been ordered and what hasnt, so I need
some kind of system. It would be nice to
be able to import orders to studio man-
agement software and then check off
whats been ordered. And pickups are a
problem. I do everything by appointment
because I have three children, and onerequires frequent medical appointments.
Ill go to the studio when a customer
wants to pick up an order, and then Ill
sometimes wait two or three hours for
that person to show up. I honestly dont
have that time to spare. What can I do?
A. Ive been there. When my husband and I
adopted our daughter in 2009, I had to set
up a workflow that met the needs of my
business as well as my family.
The first step in creating an effective w
flow is to write out each step you take
client. You cant set up a workflow with
knowing the steps. There are essentially
stages: pre-session, session, and post-
sion. Start the workflow with the clientto schedule the session and end with th
pickup (or delivery) of the merchandise.
time yourself at each step and jot down
result. Now you have the data you need
evaluate your workflow and pinpoint any
After the client books a session, the
step in my workflow is to create a folde
the person. I insert a checklist of every
in the workflow so I can see where we a
the process. A small thing that helped
lot was creating six bins to hold the fol
at certain stages in the workflow, phys
moving each folder as the work progres
Bin 1 is labeled Planning Sessions; the f
stays there until Ive met the client and
cussed the session. Then I move the fo
into Bin 2, Upcoming Sessions. After th
session, the folder goes into Bin 3, Ses
Edit, while I prepare the images for the or
appointment. Processing complete, I m
the folder to Bin 4, Portrait Preview, w
remains until the order is placed. Then
Bin 5, Retouching/Design, as I prepare
final images and assemble the merchan
That work completed, the folder goes i
Bin 6, Ready for Pickup. Because I have
employees and no mandatory studio hoconduct all face-to-face interaction by ap
ment. Instead of giving clients a time s
for pickup, give them a specific time. T
will help eliminate the unproductive wa
For ordering appointments, I use
ProSelect software. I can enter an orde
while the client is in the studio viewing
choosing images, then print out the ord
with thumbnails of the images, which i
easy reference for the client and for me
use SuccessWare for studio manageme
can import the orders from ProSelect in
SuccessWare, where I can change the stof the order as it moves through the wo
flow.
PPA members can view webinars on
workflow at ppa.com. I
Amber McAdo
Got a question? Email our experts c/o Peditor Jane Gaboury at [email protected]
32 www.ppmag.com
GURUS FROM PPA STUDIO MANAGEMENT SERVICES ANSWER YOUR BUSINESS,
MARKETING, AND SALES QUESTIONS. FOR INFO ON WORKSHOPS, GO TO PPA.COM.
Ask the expertsAttracting new clients; achieving a systematic workflow
STUDIO MANAGEMENT SERVICESPROFIT CENTER
Our best customers are the ones who heard
of us through multiple places (such as
magazine ads, direct mailings, etc.), along
with online research and word of mouth.
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PROFIT CENTER: STARTING OVER
BY KALEN HENDERSON,
M.PHOTOG.MEI.CR., CPP, API
After more than a year of writing this column,
its probably time I came clean with you.
First of all, I am a mom; second, I own a
camera. Now, before you go labeling me,
please hear me out.
I owned the camera long before I became
a mother, and if I had to choose between
motherhood and the camera, Id jettison the
camera, hands down. The camera came to
me at age 10, after a year of practicing with
an old GE light meter that my father bought
while serving overseas in the Army. My dad
loved photography as a hobby. I can remember
cold Sunday afternoons at our home viewing
tray after tray of slides as Dad told stories about
his family and the places hed seen while
serving our country. He projected them onto
the side of our avocado green refrigerator (a
cool color in the 60s) because he never
invested in a screen, and my mom refused totake down the framed pictures on the walls
to accommodate the viewing session.
I took that GE light meter everywhere.
Id hang it around my neck as I rode my bike
past barns and fields I knew Id one day
photograph. I obtained the camera only
after Id proved I had money to pay for my
own film and processing, which I earned by
babysitting and mowing lawns. I also had to
promise to shoot only slide film.
My fascination with photography grew
stronger through my time in the 4-H Club
and as the yearbook photographer at our
small high school. I was still in high school
when I got a job offer at the daily newspaper
in a large community about 12 miles from
home. There I learned to process and print
black-and-white film and gained an appreci-
ation for purchasing Tri-X film in bulk.
My story as a mother began in 1984, with
sequels in 1986 and 1988. The saga contin-
ues, woven through my career in profes-
sional photography.
So whats the big deal about moms with
camerasor any non-professional with a
camera at the ready? If youve read any of
my previous columns, you know my feel-
ings about people who try to pass them-
selves off to the public as professionals when
they arent at all qualified. But labeling
them Moms with cameras does nothing
to solve the dilemma. To do so, we must
first define the problem.
I prefer to think of them as hobbyists on
steroids. Youve probably heard about athletes
on steroids, how it can lead to obnoxious
behavior and exaggerated confidence intheir abilities, which leads to injuring them-
selves and others. Camera makers, software
developers, and many others in the industry
are doing such a good job of marketing their
products that it can make anyone believe
photography is easy. A little natural light,
autofocus, programmable camera, the swag-
ger of Ashton Kutcher, andvoil!youre
as good as a professional photographer.
That extremely effective marketing is the
steroid thats causing the frenzy and not
exclusively in the female gender.
There is no quick and easy solution, save
for professionals continuing to raise the
bar for themselves and the industry as a
whole. Photographic certification, print
competition experience, ongoing education,
advanced photographic degrees, show
clients how to see the difference, and t
active promotion of all of the above wi
expand the gap between true professio
and enthusiastic hobbyist. Those are t
healthy antidotes to a population over
fident on steroid marketing.
Short of Congress requiring a bloo
to verify our professional status, thats
we counter the onslaught. Stay the cou
As a true mom with a camera, Id like
load all of you in my minivan and take
out for coffee, except I sold my miniva
along with my Tri-X bulk film loader.
Kalen Hendersons Studio K/HendersoPhotography is located in Mt. Pleasant,
Professional confessionalMy name is Kalen, and Im a mom
36 www.ppmag.com
Veer
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There are three steps to wedding pricing.
Easy, right? Apparently not, judging by the
trend for photographers to add products or
production time to wedding packages with-
out increasing prices, thinking it will help
them compete for customers. In the shoot-
and-burn arena, photographers are lowering
the barrier to entry and competition is forc-
ing it even lower, as there will always be
someone doing it cheaper.
Its important to base prices on costs and
the amount of money you personally need to
make, keeping in mind your ideal clients
and market. Work through the following
steps to create pricing thats profitable.
1. CALCULATE THE VALUE OF
YOUR TIME
Coverage plus products.As estimated by the
mentors of PPAs Studio Management Serv-
ices, the time it takes to complete a wedding
commission from initial contact to delivery
of products is about 40 hours. Assuming an
hourly rate of $30, the time component should
be a minimum of $1,200. That should not
only compensate you for your time but also
cover the expense of any outsourcing of pro-
duction. SMS mentors suggest you spend no
more than $20 per hour for outsourced
tasks. If you spend more than 40 hours on a
wedding commission, you should consider
raising your time charge.
Shoot and burn. If you are a shoot-and-
burn photographer, you probably spend less
time per commission, so logically it would
seem your time component should be less.
But consider this: If it takes 30 hours to
shoot, process, and burn a wedding, at $30
per hour, your average wedding sale would
be only $900. You would have to do a lot
more weddings to reach your overall revenue
goal. Consider at least doubling the $900 to
make your average wedding sale $1,800.
2. CALCULATE A PRODUCT CREDIT
This calculation should be familiar. If a
product costs you $800, simply mark it up
(multiply your cost) four times to achieve a
25 percent cost of sales; the price you charge
the client would be $3,200. The PPA cost of
sales benchmark is 25 percent for both
home-based and retail location studios. You
should not need to include any charges for
production time except for album design, as
the 40 hours estimated to complete the
average wedding includes postproduction.
3. BUILD PACKAGES
Since most photographers offer packages
and most consumers expect to buy wedding
packages, SMS mentors suggest the good,
better, best pricing strategy and the you-get-
it-all package. Typically, the consumer will
gravitate toward the middle package. You-
get-it-all packages can attract those con-
sumers who always want the best. And bear
in mind that if its not on your price list, you
are guaranteed notto sell it.
It is important that all packages are priced
profitably by using the principles above. If
its a challenge for you to achieve a 25 c
sales on a package, consider adding or
stituting products with a lower cost or
ucts that require less production time.
OTHER CONSIDERATIONS
Custom quoting packages can simplify
pricing process and give clients exactly
they want. Consider basing coverage p
on the kind and location of wedding re
tion or charging an hourly rate with a m
mum. For example, a $1,500 fee for cov
a reception at the church or an hourly r
$225 with a minimum of three to four
on a Friday or Sunday, eight hours on
Saturday. Along with the coverage fee,
could offer a credit toward products. P
your product prices la carte to allow c
to purchase exactly what they want and
to allow for up-selling if the product cr
doesnt cover everything the client wish
to buy.
Pricing loose prints is based on hardmultiplied by the markup factor of fou
achieve a 25 percent cost of sales. In ou
example of pricing an 8x10, the hard cost
to $6. Therefore, your price for an 8x10
be $24. Because all of the time associa
with producing the prints is incurred in
postproduction of the wedding and is inc
in the amount you charge for the actua
erage, you dont need to include additio
production time costs in calculating the
for loose prints. Typically, 8x10s and sm
prints are priced lower for weddings th
for portraits. I
Bridget Jackson, CPA, is Studio ManageServices manager at Professional Photophers of America. Email bjackson@ppa
Pricing wedding commissionsThree easy steps to getting it right
PROFIT CENTER: MAKING MONEY
BY BRIDGET JACKSON
38 www.ppmag.com
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PROFIT CENTER: MASTERING MARKETING
BY ANGELA POINTON
This months article provides more than mere
instructions on landing more clients. It tells you
how to land more of the rightclients. I covered
the first steps in last months column: finding
your ideal clients. Once you understand who
your ideal client is, you can find more of them.
LOCATE HANGOUTS
People like to hang out in different places
with various groups. Some are obvious, such
as engaged couples frequenting wedding
blogs. If we open our minds, we can increase
the opportunity to connect with more
potential clients in various market segments.
Lets use a wedding photographer in this
example. Ill assume that this photographer
has determined he wants to cover high-end,
outdoor wedding ceremonies within 90
miles of his studio. Those specifications limit
the number of caterers, florists, event coor-dinators, and wedding venues covering his
ideal market. This photographer should
build a list of the potential partners who are
interacting with his ideal couples and start
connecting with them. Find out what events
they are attending with the intention of net-
working with them there, or pick up the
phone and work his way down the list.
A commercial or fashion photographer
can perform the same exercise. Who is whis-
pering in the ear of her potential customers?
Are they the art buyers at national advertis-
ing agencies, brand managers at the top 50
fashion companies? Once that photographer
determines who is within her targets sphere
of trusted influencers, she can begin connect-
ing with them and building relationships.
DONT PAY FOR ADS
OK, smarty pants, if I dont want to pay to
advertise my business, then how do you sug-
gest I get in front of potential buyers? The
answer is twofold: Running a business gets
a whole lot more profitable if we can find
buyers without investing money in advertis-
ing, and its a lot easier to do repetitive mar-
keting if we dont have to shell out money
every time we do it.
Aside from seasonal bursts of work you
experience consistently year after year, you
cant predict when potential customers are
going to buy from you. Therefore, staying
in front of them on an ongoing basis is the
best way of ensuring its you they go to
when the need arises.
MARKET FOR FREE
It would be awesome if you could do all of
the following things, but accomplishing a
select few is a good start.
1. Monthly phone calls. Call a few tar-
geted potential buyers and influencers
monthly. Make sure you have something
interesting to talk about (Do you need a pho-
tographer for any upcoming shoots? is not
interesting). You might tell them about a
recent shoot or a new service youre offering.
2. Social media. Make an effort to connect
and engage with potential buyers and influ-
encers. Dont just follow or blast out content
or links. Engage with followers and fans by
commenting on posts theyre making.
3. Email. The best way to build an email
list of potential buyers is to provide content on
your website that they want. For our high-
end wedding photographer, perhaps it
downloadable list of must-have shots at
wedding. For our fashion and commer
photographer, perhaps its a tip sheet o
capturing clients vision. In both cases,
it a requirement that users leave an em
address before being able to download
content. Send content to those buyers o
reliable schedule, whether weekly (on t
same day of the week) or monthly.
4. Blogging. I assume you have a w
site. If youre able to talk about your w
in a way that helps potential buyers m
better decisions, consider blogging ab
Blogging is a method of search engine
mization that helps your business get
by those seeking talent. Remember wh
your audience is. Unless your potentia
buyer is other photographers, leave ou
techno-speak. Update your blog at lea
once a week and more frequently if yo
have content to share.
5. Shows, conferences, networking
events. Some events help you connect w
potential influencers, some with poten
buyers. Build a strategy for each group a
have a schedule of what you plan to do
who you have to meet with while there
possible, email those people in advance
they know youd like to speak with them
Exposing your business to more pot
buyers can bring only positive things to
business. Once connected, you might g
case of stage fright over what to say, so
month well talk about what makes you
photo business different from the rest a
how to roll that message into the most
tiful elevator pitch in the world. I
Angela Pointon is the founder of Steel TImages, which offers advice to photograpShe recently published her first book, Tof a Photo Business.
How to land more clients
Its not necessarily about advertising
42 www.ppmag.com
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Photoshop and Lightroom are registered trademarks of Adobe Systems Incorporated.
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Does the thought of standing up in front of
an audience start your knees knocking?
You can tackle that problem, and you
should. The ability to engage an audience
can land you clients, establish you as an
expert in your field, and get you invited
to important events so you can network.
In fact, if you aspire to earn a PPA photo-
graphic craftsman degree, presenting pro-
grams is a requirement.
You can send your worst fears packing if
you make a plan for coping. With enough
practice, you may even find that public
speaking becomes one of your favorite
things to do. Lets look at some common
concerns about public speaking and tactics
for dealing with them.
WHY SHOULD I CARE ABOUT
SPEAKING? There is an unexpected
benefit in getting comfortable with an
audience: Your confidence in speaking toclients will blossom. Going through that
analytical process makes you better at
actually doing it. As you prepare your
program, youll organize and clarify your
thoughts. This will give you a clearer
understanding of your topic. Bear in
mind that every client interaction is a
public speaking event. If you can enthrall
an audience of 100 unruly photographers,
you can certainly talk to a bridezilla or a
stressed-out mom of twin 2-year-olds.
And there are huge potential marketing
benefits for your business. Every time I
have a speaking engagement, I send a
press release to the local newspaper. The
public perception is that we must be very
good if people want to learn from us.
ILL RUN OUT OF THINGS TO SAY.
Plan your program to fill more time than
allotted. Organize sections so you can easily
delete or add topics as the program pro-
gresses. I always prepare a just-in-case sec-
tion in my notes for when nobody asks
questions. Youll probably never use it, but
knowing that extra info is there is a wel-
come security blanket.
I COULD NEVER FILL UP A
WHOLE DAY. Day-long programs are
actually easier to do than half-days. In
short programs, theres only enough time to
hit the highlights. A full day affords the
luxury of sharing your love for what you do
and explaining why you do things in a cer-
tain way. And you have time to talk about
the methods that werent as successful as
well as the major mistakes you learned les-
sons fromand what an opportunity for
humor. Having done this for some time, Inow find it more difficult to decide what to
leave out than what to include.
WHAT IF NOBODY ASKS ANY
QUESTIONS?Audience involvement
always makes for a better program. Ques-
tions take up the time, if thats a concern. I
encourage participation by tossing candy to
anyone who asks a question. It helps create
a fun atmosphere as people reach to make a
difficult catch or miss what should have
been an easy grab. Either way, everyone
laughs and gets into the spirit.
WHAT IF SOMEBODY ASKS A
QUESTION I CANT ANSWER?
Always repeat the question. The audience
might not have heard it and it gives you a
few seconds to think about your response.
As you are preparing for a presentatio
make a list of every possible question t
audience might ask, and think about y
responses. There will always be a ques
you didnt anticipate and cant answer
the spot. After repeating the question
yourself another few seconds to think
saying, Thats a really good question, b
Ive never encountered it before. If tha
pened, I would probably .... Finish th
tence with what you think youd do. B
truthful. The audience will respect an
admission of ignorance but will be dis
chanted by a fabrication.
I DONT HAVE YEARS OF
EXPERIENCE. WHAT COULD I
POSSIBLY TALK ABOUT? Most
have a tendency to underestimate our
ties. You probably have lots of valuabl
information to share. Think about the
questions your photographer friends h
for you. What have you done enough t
that you have real experience to talk a
What skills did you bring from other j
or experiences that youve adapted to t
profession? Volunteering for a PPA SuMonday program is a great way to get
started and give yourself some experie
in the comfortable environment of you
own studio addressing a small group.
THERE IS A REALLY
ACCOMPLISHED PHOTOGRAPH
IN THE AUDIENCE AND IM
INTIMIDATED! That photographer
there to hear what you have to say. No
other person knows everythingyou do
you can teach that person one new thi
then the time spent in your program w
have been worthwhile. I
Holly Howe owns Photographic Imagewith her husband, Keith. The studio islocated in North Platte, Neb.
Tongue-tied
BY HOLLY HOWE, M.PHOTOG.CR.PROFIT CENTER
Overcome the fear of public speaking
44 www.ppmag.com
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MacGregor StudiosVancouver, British Columbia, Canada
PROFIT CENTER: MY STUDIO
BY DON MACGREGOR, M.PHOTOG.CR., API
I started MacGregor Studios in 1972 in my
mothers apartment. Because I lacked a drivers
license at that time, my grandmother drove me
to my wedding shoots. Through the years, the
studio grew into a high-volume operation and
included several employees. I realized that family
portraits were the most rewarding to me not only
in a business sense but also in terms of the
fulfillment I get by documenting a family legacy.
Ive come full circle and am back to a one-man
show doing a low volume of work I love thatleaves me time to enjoy teaching and travel.
You wouldnt know from the entrance that
my studio is a 4,000-square-foot warehouse.
Its fronted by a garage door that I regularly
use for window light photography. On our
walls hang dcor pieces of 40 inches or larger.
Because I like to work simply, the 20x40-
foot camera room includes one large softbox and
a couple of accessory lightsplus tons of chairs,
props, and the rest of the toys we all enjoy.
Clients never see the production room
upstairs. It houses a large printer, work-
benches, mat cutter, tools, and a spray booth.File boxes allow me to pull negatives from
sessions as far back as the early 1970s, which
has proven well worth the effort.
A portrait business can realize serious
profit by building its own frames. Virtually
every image that leaves my studio is framed.
We also do our own canvassing, both inkjet on
canvas and the traditional method of stripping
emulsion from photographic paper and embed-
ding it into canvas with a large Drytac press.
This hallway is normally a gallery area
hung with dcor images. At our busiest time
of year, I have no choice but to use the space
to store images in progress. We ensure that
clients dont see the gallery in this condition.
The projection room is without question
the most important part of my studio. I do not
take orders online. For clients to appreciate
what we do, we must educate them, and that
requires advising them about their investment
every step of the way. I showcase master
images that are the very best I can do.
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Professional Photographer P R E S E N T S Products, Technology, and Services
What I likeFor Tanja Lippert, filmis still the gold standard
Whats the best equipment investment
youve ever made? My film cameras. I sho
100 percent film and feel that the look o
my images comes from the film. Film
cameras are affordable, and I am thank
ful Ive stuck with them all these years.
When you need to move fast at a job,
whats your most valuable piece of gear
I love my HoldFast Money Maker cam-
era strap. It allows me to have three cam
era bodies on me at all times and has
saved my neck!
What hot new product are you going out
your way to use? I love the new Blog
Stomp program. Its a quick and easy
way to create blog and website images.
Im addicted to making three-ups.
If money were no object, what equipme
would you run out and buy?A new [film
Leica camera would be at the top of my lis
The one piece of gear you simply couldn
live without I love my Contax 645
medium-format camera.
IMAGE BY TANJA LIPPERT
TANJALIPPERTPHOTOGRAPHY.COM
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THE GOODS
TOTALLY TUTUFrill er Up Couture tutus swirl with yards and yards of super-
soft tulle. The four layers of skirt are trimmed with Swiss
satin ribbon and topped off with a graceful bow. These
custom-made confections are constructed in the United States.
Frill er Up Couture; from $29.99; frillerupcouture.com
52 www.ppmag.com
FLIGHTS OF FAIRYThis Peacock Fairyware dress and headband mark the entry to a
magical fairy setting. The handmade dress has ties in back to custom-fit
multiple sizes. The companys array of fantastical clothing and acces-
sories includes little princess and mermaid costumes. Enchanted
Fairyware; dress and headband $100; enchantedfairyware.com
SWEET CONFECTIONGirls love the trendy design and flower accents on the Pink
and Leopard Ruffle Top and Pants. For the top, row up
row of satin ruffles are sprinkled with pink glitter and satin
rosettes. With its elastic waist, the pants fit many sizes.
Moxie Couture; $51; moxiecouture.com
Buttons and Bows PhotographyFairyographyFairytalePhotography
Julie Wagner, Baby Joy Photography
ROUNDUP BY ROBYN L. POLLMAN
Dainty or dramaticWhats trending in clothing and accessories
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WRAP OF LUXURYLuxurious Maternity Flowy Fabric is a lavish wrap for expecting sub-
jects. Drape it as modesty dictates, let it cascade dramatically or billow
in fan-blown wind. Each piece will wrap most clients neck to ankle withplenty left to spare. Maternity and Newborn Photography Prop
Shop; $95; maternityandnewbornphotographypropshop.bigcartel.com
THE PLEASURE OF YOUR FANTASYWomen of all ages find fantasy appeal in these one-of-a-kind v
inspired gowns. They are custom made in any size and color to
romance of whatever era your client fancies, be it Renaissance, 18th-century Versailles, Rococo, or a fantasy land of never-was. R
Threads Fashion and Accessories; from $150; romanticthre
DAINTY TOPPERThis Newborn Crocheted Headband
from EcoStreet is one of a variety of he
bands, hats, wraps, blankets, and diape
covers for newborns and children. There
something for every clients taste, from
simple and classic to colorful and trend
EcoStreet; $15; ecostreet.etsy.com
LaurieL Photography Alicia C. Pho
Melissa Stottmann,Melissa Stottmann Photography
February 2013 Professional Photograph
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In the 1990s, I transitioned from photographing seniors in my
studio to doing shoots at scouted locations and eventually at
clients homes. But I still needed a place to create images that
looked like they were made in a studio.
In the area where I live, just about every residence has a
garage, and that has turned out to be just what I need to create
both simple, traditional images and powerful, dramatic ones.
The easiest technique is to place the subject a few feet into
the garage and stand outside to shoot. The overhang of the roof
blocks most of the top light while light from the open doorcomes in at about a 30-degree angle. The light is soft and flat.
Of course, if sunlight is bouncing off white concrete, youll get
a different effect. In Figure 1, I used the unpainted back side
of a canvas backdrop.
If that light is too flat for your tastes, keep the background in
the same place but angle it 30 to 45 degrees from outside. Move
so you are shooting from an angle perpendicular to the
background. This adds direction to the light. Theres no need for
fill lighting as long as the angle isnt too steep (Figure 2).
Turning the background to a 90-degree angle gives you split
light with high contrast. You can use fill light or leave it dark for
drama (Figure 3).
Figure 4 shows how you can work without a reflector on the
subjects face if youre going for a profile light. Figure 5 shows the
result of placing the background at a 90-degree angle to the open
garage door and using a reflector for fill.
That works great, but lets go even further. Continue turning
THE GOODS: LIGHTING TUTORIAL
Park itright here
LIGHT A GARAGE FOR GREAT PORTRAITS
54 www.ppmag.com
Youll find lighting solutions from soft todramatic right in your clients garage.
BY FUZZY DUENKEL, M.PHOTOG.CR.
All images Fuzzy Duenkel
Figure 1
Figure 2
Figure 2
Figure 1
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Figure 3 Figure 5
Figure 6
Figure 4
February 2013 Professional Photograph
Figure 6
Figure 5
Figure 3
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the background so it s angled more than 90 degrees to the open
door. Face the subject toward the camera, and use a reflector to
get a powerful effect. Figure 6 is an example of this technique
done with the aid of a Fuzzyflectora highly efficient reflector I
made by covering a foam insulation panel with foil. It sits on the
floor as a stand-alone unit and reflects light upward from a low
angle. I get a strong accent light along one side of the subject, and
I usually place my main light opposite. (More below.)
My final technique is turning the background away from the
light so its facing the inside of the garage. With none of the light
from the open door reaching the subjects face, you absolutely
need to kick back some light onto the subject. Thats what I did in
Figure 7with my Fuzzyflector.
Be sure to leave a gap of at least 1 foot around the top and
sides of the background to allow the light to illuminate the
perimeter of the subject. Then its a simple matter of providing
some main light on the subject. I like a low light for impact.
Now lets look at techniques with the main light. For years, I
used only a reflector as the main light source. It works well but
limits the options. For higher light placement, I need a different
method. I could use a twist-open silver reflector on a light stand,
but its not efficient enough for this look. I use a TTL Canon
Speedlite 600EX RT flash and a 22-inch Larson soft box. With
56 www.ppmag.com
THE GOODS: LIGHTING TUTORIAL
Figure 7
Figure 8
Figure 8
Figure 7
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Figure 9
F
Figure 10
the small soft box on a light stand, I can direct the light from any
height. I can place it low as I did before (Figure 8) or higher to
reduce the drama and get a less ghoulish effect (Figure 9). Using
flash allows me to control the ambient accent lighting by simply
varying the flash intensity or the shutter speed.Ive begun to use 12x12-inch FloLight LED lights, which are
very useful for garage portraits. Theyre as maneuverable as the
Canon/Larson setup, and because they output continuous light,
what you see is what you get in the final results. I can make
minute adjustments to the height, angle, and feathering of the
light before I make the first shot because I can see what the result
will be. Figure 10 is an image that needed the light to be placed
higher because the ball would have blocked light coming in from a
low angle.
So there you have ita way to produce powerful images in the
simplest of surroundings. I
Fuzzy and Shirley Duenkel have operated Fuzzy Duenkel PortraitArt in West Bend, Wis., since 1975 (duenkel.com).
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THE GOODS: LENS ROUNDUP
If youre ready to upgrade your lens lineup, consider these new models.
BY STAN SHOLIK
Glass analysis
58 www.ppmag.com
Selecting a new lens for your full-frame or
APS-C sensor digital SLR requires many of
the same criteria youd use in choosing any
other camera gear. Whats lacking in your
present equipment? Will the gear pay for
itself by opening new revenue sources? How
soon will it be obsolete? Will it wear out
before then? What is your budget?
With lenses, there are additional factors:
Do you want the convenience of a zoom or
the quality of a single focal length prime lens?
Do you need a fast lens for low light or can
you save money with a slower lens of the same
focal length? Should you look at models
made by independent lens manufacturers?
For every photographer, the answers are dif-
ferent and will change over time. Thats why
manufacturers continue to introduce new
products. Heres an overview of some of the
DSLR lenses released in the past year.
NIKON
Nikon lists 76 lenses in its lineup. Six of them
are newly available or were announced in 2012.
All-in-one lenses are gaining popularity as
all-purpose models to leave on an APS-C
camera, as theyre useful in the widest variety
of situations. TheAF-S DX Nikkor 18-300mm
f/3.5-5.6G ED VRlens affords one of the
widest zoom ratios available, 16.7X. That
makes it ideal for recording high-definition
videowith one lens you can establish wide
shots, medium close-ups, and extreme tele-
photo. The street price is about $1,000.
TheAF-S Nikkor 24-85mm f/3.5-4.5G
ED VRis an affordable full-frame (FX) stan-
dard zoom incorporating Nikons lates
II image stabilization. This lens senses
its mounted on a tripod and automatic
delivers specialized image stabilization
mized for HD video capture. Although
variable-aperture lens, it incorporates
latest optical design with an extra-low
persion glass element (ED) and three as
lens elements. The silent-wave motor a
the lens to be used on all Nikon digital
bodies. The street price is about $600.
Prime lenses may lack the versatility
zooms, but they appeal to professional
their high resolution and usefulness in
light and in isolating the subject from
background. Nikon added two lenses t
FX-format f/1.8 prime lens lineup: the
Nikkor 28mm f/1.8Gand theAF-S Nik
AF-S Nikkor 70-200mm F4G ED VR
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REDEFINING
VIDEO AUTO
FOCUS FOR
PROFESSIONALS
The new Lumix GH3 is at the leading edge of a new breed of mirrorless interchangeable lens cameras
thats changing photography for multi-media professionals. Just touch any part of the image on the
articulating OLED screen and it automatically becomes the focal point. You also get advanced AF
tracking and pro-level rack focusing, so you can follow the action with confidence. Just another
way were engineering a better world for you. Learn more at panasonic.com/LUMIX
screensimula
ted
tREC
[AF]
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85mm f/1.8G. With the outstanding resolu-
tion and sharpness afforded by having 11
optical elements in nine groups, including
two aspherical elements, Nikon declares the
28mm ideal for Nikon D800 and D800E
cameras. The 85mm is ideal for portraiture
on both FX and DX sensor cameras. The
seven-blade diaphragm produces nearly cir-
cular out-of-focus background highlights.
The street price for the 28mm is about $700,
for the 80mm about $500.
One lens that every professional photog-
rapher seems to carry is a 70-200mm f/2.8
zoom. Nikons latest f/2.8 is legendary, but
for those who desire a smaller, lighter lens
with enhanced features, Nikon introduced
theAF-S Nikkor 70-200mm F4G ED VR.
The vibration reduction system is upgraded
again to provide an additional stop of stabi-
lization. The big news is that now photogra-
phers using Nikon D4, D800 series, and D600
bodies can use the cameras teleconverters
without sacrificing autofocus or vibration
reduction. When the lens becomes available,
the street price should be about $1,400.
Professional sports and wildlife photog-
raphers can never have a lens with a too-long
focal length or too-fast an aperture. For them,
Nikon announced its longest focal length
autofocus lens, theAF-S Nikkor 800mm
f/5.6G. A sample of the lens was shown at last
falls Photokina, but few details have been
made available to date, including the release
date and MSRP.
CANON
In August, Canon announced the delivery of
its 80 millionth EF lens. The 76 lenses in the
EF line include those for EOS DSLRs as
well as EF Cinema lenses and EF-M lenses
for ES-M cameras. Last year Canon intro-
duced five new lenses, six if you were cover-
ing the Olympics.
There are two new 24-70mm standard
zoom lenses. The latest upgrade of Canons
professional 24-70mm f/2.8 lens is the EF
24-70mm f/2.8L II USM. This version fea-
tures a rear focusing system, high-speed
CPU, nine-blade diaphragm, and powerful
ring-type ultrasonic motor (USM). Two
low-dispersion lens elements and one super-
low dispersion element reduce chromatic
aberration; two types of aspherical lens
reduce spherical aberration. For greate
tection, the lens has a zoom lock lever a
fluorine coating on the front and rear g
surfaces to fight smears and fingerprin
The street price is about $2,300.
Canons other new 24-70mm lens i
more compact EF 2470mm f/4L IS U
It features a macro setting that can be en
through a switch on the lens barrel, all
0.7X magnification at the 70mm focal le
Also available is full-time manual focu
thats enabled even during autofocus ope
The f/4 version shares many of the feat
of the f/2.8, including low-dispersion a
aspherical lens elements, USM motor, i
stabilization, and fluorine coating on th
front and rear glass. The street price is $
Three new Canon prime lenses fea
added image stabilization and the pow
USM focusing motor. There are new
aspherical lens elements in the EF 24m
f/2.8 IS USM and EF 28mm f/2.8 IS U
lenses to improve image quality at the
edges of the frame. The 24mm focuse
about 8 inches, which can allow you to
THE GOODS: LENS ROUNDUP
60 www.ppmag.com
Canon EF 35mm f/2 IS USM
Sony
18-135
f/3.5-5
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ate images with dramatic perspective. Both
lenses have a seven-blade diaphragm. The
street price for each is about $700.
The third new Canon prime lens is the
compact, lightweight EF 35mm f/2 IS USM.
Close focusing is decreased to 9.6 inches, and
an aspherical lens element improves image
quality throughout the focusing range. The
35mm incorporates improvements in the other
new prime lenses, including image stabilization,
a powerful USM focusing motor, and a circu-
lar diaphragm. The street price is about $850.
Canon hasnt officially released technical,
pricing, or availability info on the EF 200-
400 f/4L IS 1.4Xlens, but a photographer I
know who used it at the 2012 London
Olympics uses only superlatives to describe
it. Unique to this lens is a built-in 1.4X
telextender thats available with the flip of a
switch at the rear of the lens barrel. Specula-
tion on the street price: around $10,000.
SONY
Sony Alpha DSLR cameras are generating buzz
among professional photographers, espe-
cially those shooting HD video as well as
stills. Sony is making a variety of lenses avail-
able for its Alpha APS-C camera bodies.
Covering the most common focal range,
the Sony 18-135mm f/3.5-5.6 zoom allows
manual focusing during autofocus operation
without flipping a switch or damaging the lens.
More of an entry-level lens, it does include a
quiet autofocus motor, a low-dispersion
glass lens element, and two aspherical lens
elements. The street price is about $475.
The SonyDT 55-300mm f/4.5-5.6
medium telephoto zoom lens would cover
the equivalent focal lengths of 82.5mm to
450mm if mounted on a full-frame camera.
With a close focusing distance of 4.5 feet, its
inexpensive yet versatile lens. The street
price is just under $300.
Professional sports and wildlife photog-
raphers using Alpha cameras will be interested
in the two new lenses designed for them: the
300mm f/2.8 and the 500mm f/4. On Sony
Alpha bodies, these lenses are the equivalent
of 450mm and 750mm lenses, respectively,
on full-frame digitals. Both lenses have Sonys
Super Sonic Wave Motor, which delivers
high torque at low speeds and quick start/
stop operation. Both lenses incorporat
dispersion glass elements to compensa
the color aberrations common with lon
telephoto lenses. Direct manual focusi
possible with both lenses by simply tur
the manual focus ring on the magnesiu
lens barrels. The front, back, and the a
around the focusing ring of the 300mm
are constructed to be watertight. The s
price of the 300mm is about $7,500, a
the 500mm is about $13,000.
SIGMA
The first non-Nikon lens I purchased was
Sigma, and Ive used it for years without
regrets or client complaints. Sigma Pho
leader in all-in-one lenses, added four
models to its extensive lineup in 2012.
Sigma 18-250mm F3.5-6.3 DC Macro
HSM is an update of the previous 18-
250mm. Smaller and lighter, the new l
adds image stabilization and close-up c
bility of 1:2.9X. Having recently review
this lens, I can vouch for its very good p
formance and fantastic versatility. The
available for Canon, Nikon, Pentax, Sig
February 2013 Professional Photograph
Sigma APO Macro 180mm F2.8 EX DG OS HSM
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and Sony/Minolta APS-C sensor bodies. The
street price is about $550.
A fast 35mm focal length lens is standard
for many professional photographers, and
Sigmas new35mm F1.4 DG HSM fits the
bill. Optical performance is enhanced with
floating internal elements and two types of
low-dispersion lens elements. Sigmas
hypersonic focusing motor ensures fast
focusing even in low light. Available for
Canon, Nikon, Pentax, Sigma, and
Sony/Minolta full-frame and APS-C sensor
bodies, the street price is about $900.
TheAPO 50-150mm F2.8 EX DC OS
HSM is a relatively compact 3X zoom lens.
Designed for APS-C sensor bodies from Canon,
Nikon, and Sigma, it is approximately equiv-
alent to a 70-200mm f/2.8 lens on those
bodies. Internal zooming and focusing keep
the 8-inch length of the lens constant at all
times. Color aberrations are minimized,
earning the lens its apochromatic (APO) des-
ignation, and the superior build and optical
qualities put the lens in Sigmas highest EX
lens line. The street price is about $1,000.
SigmasAPO Macro 180mm F2.8 EX DG
OS HSM is the first f/2.8 lens of its focal
length capable of focusing to 1:1 magnifica-
tion. It weighs a little over 3.5 pounds and
comes with a tripod collar; optical stabi-
lization is also available for those willing to
attempt handholding the lens for macro
photos. At 1:1, the long focal length pro-
vides a working distance of 18.5 inches for
shooting sensitive subjects. The street price
is about $1,700.
TAMRON
Tamron is respected for its macro and zoom
lenses. The latest additions to the line are
likely to further enhance its reputation. All
three lenses are part of Tamrons Super Per-
formance (SP) series for full-frame and
APS-C bodies. For developing raw images
captured by these SP lenses, theres a free
download of Silkypix Developer Studio 4.0
on the Tamron website .
TheTamron SP 24-70mm f/2.8 Di VC
USD for Canon and Nikon cameras includes
Tamrons vibration compensation system
built in. The SP 24-70 f/2.8 Di USD for
Sony relies on the vibration compensation
system built into the Sony cameras. As
member of the SP series, the lens inclu
three low-dispersion elements and two e
refractive index elements. The street pri
about $1,300.
Tamrons latest version of its classi
90mm f/2.8 macro lens features an
updated optical design and ultrasonic
drive motor. It adds vibration compen
tion to the Canon and Nikon versions
not the Sony version. The SP 90mm f/
Di VC USD for Canon and Nikon and
SP 90mm f/2.8 Di USD for Sony featu
internal focusing as well as full-time m
ual focusing and moisture-resistant co
struction. All versions focus to 1:1. Th
street price is about $750.
The third new member of the SP li
the SP 70-200mm f/2.8 Di VC USD fo
Nikon and Canon and its sister lens w
out vibration compensation for Sony.
only 7.7 inches in length, it is the mos
compact lens in its class. Tamrons lat
70-200mm is also an upgrade from th
previous version but with a new optica
design featuring low-dispersion and
THE GOODS: LENS ROUNDUP
62 www.ppmag.com
Tamron SP
24-70mm
f/2.8 Di VC
Tokina
17-35
PRO F
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ultralow-dispersion lens elements and
Tamrons ultrasonic silent drive motor. The
street price is about $1,500.
TOKINA
Tokina is best known for its innovative ultra-
wide-angle and wide-angle zoom lenses. The
latest lenses from the company are along
these same lines.
TheAT-X 107 AF DX NH Fisheye is a
10-17mm f/3.5-4.5 fisheye lens for both full
frame and APS-C sensor Canon and Nikon
bodies. From 10mm to 14mm, the image is
semi-circular on full-frame sensors; from
approximat