Rangefinder 2012/12

TAKE YOUR BEST SHOT CONTEST WINNER, PHOTO MATT ANDREWS
THE MAGAZINE FOR PROFESSIONAL PHOTOGRAPHERS RANGEFINDERONLINE.COM DECEMBER 2012

YEAR-END
REVIEW
Our FavOrite images OF the Year TAKE YOUR BEST SHOT CONTEST WINNERS
tOp 10 sOught-aFter Wedding phOtOgraphers OF 2012 HIP HOLIDAY CARDS
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www.dawnshields.com
Discover more online at www.blackriverimaging.com 1-888-321-4665
While doing my last personal project in Nicaragua, I fell in love with my son Liam while photographing at an orphanage. I have a huge
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IFC_003_RF_BlackRiver.indd 2 11/15/2012 11:07:11 AM
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To request more information see page 137
IFC_003_RF_BlackRiver.indd 3 11/15/2012 11:07:35 AM
RANGEFINDER DECEMBER 2012
4
FROM THE VICE PRESIDENT/PUBLISHER, THE NIELSEN PHOTO GROUP
A MONTHLY PUBLI CATI ON dedi cat ed t o t he
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Volume 61, Number 12
A
s the end of the year draws to a close and everyone
takes a quick breath before 2013 arrives, the folks
at Rangefinder and WPPI are going into overdrive
to ensure that we bring you an inspiring and informative
editorial lineup, a blockbuster WPPI Conference and Expo,
and even more exciting WPPI University and Road Show
offerings. We realize how important growth and change
is in our industry, and while WPPI and Rangefinder have
weathered many challenges in the past year, we remain
undaunted and stronger than ever, with new colleagues and a new direction. I
am pleased to welcome our new Director of WPPI, Jason Groupp, and Jacqueline
Tobin has now assumed the editor-in-chief position at Rangefinder. Together,
they plan to make WPPI and Rangefinder more cohesive than ever. Perfect timing,
as 2013 marks the 33rd anniversary of the WPPI Expo and this year promises to
be amazing. So far we have more than 150 speakers (4 Plus classes, 55 Master
classes and 109 Platform classes), and over 300 Expo exhibitors featuring the
latest technologies, products, services and show specials for wedding and portrait
photographers. Dont miss this premier event for photographers and image-
makers who learn, love and live the creative and business aspects of wedding and
portrait photography, March 7-14, 2013 (wppionline.com). I wish you all a happy
and healthy new year and as always feel free to write, e-mail or call.
NIELSEN PHOTO GROUP CALENDAR 2012 - 2013
Dates are subject to change, please visit pdnonline.com for the most up-to-date information!
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DEADLINE: Top Knots:
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Wedding Photography
Contest
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LVH, Las Vegas, NV
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DECEMBER MARCH
Lauren Wendle
Vice President, Publisher
The Nielsen Photo Group
lwendle@pdnonline.com 646-654-5811
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For list rental information contact:
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THE MAGAZINE FOR PROFESSIONAL PHOTOGRAPHERS

I
love this time of year, when every town
and city looks like they are lit from
within as holiday lights are strung up
and glowing. The buzz in the air is electric as
people rush around to finish shopping and
attend holiday parties. What better time for
a Year-End Review issue, something both fun and informative,
but not too time-consuming. We turned to you, our loyal reader-
ship, for input on various 2012 wrapups and were delighted that
so many of you were willing to help out! Responses include your
Top 10s in Wedding Details to Shoot, Top Photo Accessories and
Gifts, Top Wedding Photo Blogs, and much, much more (start-
ing on pg. 72)you all had really great answers! And for visual
inspiration, check out the photos from the Most-Sought-After
Wedding Photographers of 2012, as chosen by top magazine and
blog editors (pg. 75). Our own staff had great fun choosing the
best images from the pages of Rangefinder 2012 (pg. 88), while
Photo Finish columnist David Carol chimed in with his own
favorite photo things (pg. 92). To get you in the holiday spirit, we
present Hip Holiday Cards, a selection of mailers by some very
cool wedding and portrait photographers. And if youre looking
for that perfect photo gift, may we suggest you read our annual
Book Roundup by Andre K. Crump (pg. 56). Also check out
Ken Sklutes stunning personal project on the Amish (pg. 48),
Adam Jaheils gorgeous cowboy images (pg. 62) and our Take
Your Best Shot Gallery of Winners (pg. 102). Its a visual feast!
This issue is also bittersweet as we bid adieu to the amazing Bill
Hurter, who has retired his editorial reins and will most likely
spend time writing more photo books, relaxing at home and
catching up with old pals, many of whom graciously shared their
Bill stories with us (pg. 18). Its a must-read.
INSIGHT
Photographer: Matt Andrews
Camera: Nikon D200
Lens: 10.5mm
Exposure: 1/4000 sec at f/2.8
Subject: Doves
Location: A farm in Eastern
Ireland
Comments: This was
photographed on a farm
in Co. Meath, Ireland, near
the World Heritage Site Br
na Binne. The doves were
skittish but I got a dozen or so
versions of this shot. I loved the way they filled the frame
and the way the sun lit up their feathers.
TAKE YOUR BEST SHOT CONTEST WINNER, PHOTO MATT ANDREWS
THE MAGAZINE FOR PROFESSIONAL PHOTOGRAPHERS RANGEFINDERONLINE.COM DECEMBER 2012
YEAR-END
REVIEW
Our FavOrite images OF the Year TAKE YOUR BEST SHOT CONTEST WINNERS
tOp 10 sOught-aFter Wedding phOtOgraphers OF 2012 HIP HOLIDAY CARDS
R A N G E F I N D
E R
YEAR END
REVIEW

DECEM
BER 2012/VOLUM
E 61 NO. 12
ONTHECOVER
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d e c e mb e r 2 0 1 2 / v o l . 6 1 / n 1 2
CONTENTS
FEATURES
48 Ken Sklutes
Amish Experience ......................... Lou Jacobs Jr.
56 Book Roundup ................................Andre K. Crump
62 Photographers You Should Know:
Adam Jahiel,
The Last Cowboy ..................... Lorraine A. DarConte
102 Take Your Best Shot Contest Winners
The Year-End Review ...................... Rangefinder Staff
72 Readers Top 10 Lists
(Details, Photo Accessories, Gifts and more)
75 The Most-Sought-After
Wedding Photographers of 2012
86 Best Wedding Blogs
88 Rangefinder Staffs Image Picks of the Year
92 David Carols Favorite Photo Things
98 Hip Holiday Cards ................................ Sarah Kinbar
PAGE
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COLUMNS
30 Digital Guru
The Pentax K-30 DSLR .......................... John Rettie
38 Light Reading
The Sensual Storyteller ..................... Jim Cornfield
44 Legal Lens
Negotiating,
Cafeteria Style ......................... Victor S. Perlman, Esq.
118 RF Cookbook
A Floral Morning
in Southeast Asia ............................. Davina + Daniel
122 First Exposure
The Quantum
TriggerSmart MCT-1 ................................Stan Sholik
128 DSLR Video
Planning a Shoot
with Inspiration 9 ............................. Ibarionex Perello
138 Photo Finish
Sylvia de Swaan .................................. David J. Carol
DEPARTMENTS
4 From the Publisher ...................... Lauren Wendle
6 Insight .................................................Jacqueline Tobin
18 Focus ...........................Compiled by Wendell Benedetti
137 Ad Index
d e c e mb e r 2 0 1 2 / v o l . 6 1 / n 1 2
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and EPSON Exceed Your Vision is a registered logomark of Seiko Epson Corporation. All other product and brand names are trademarks and/
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Corinne Alavekios
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Just to get one shot.

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ADVERTISING
At 16 megapixels, the
Nikon D4 has a higher
resolution than the D3s
with its 12.1 megapixels,
but when it comes right
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question of choosing one
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and Susan Stripling is one such pro.
Stripling was a stay-at-home mom with a taste
for picture taking when she was asked to photo-
graph a friends wedding. After a six-month crash
course in photography, she shot her rst wedding
so beautifully that friends of the bride hired her to
shoot their weddings. She had the eye, a natural
love for the work, and once she picked up her
rst Nikon D3 in 2007, there was no going back.
I love my D4, Stripling says. It's got all of the
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there isn't much you can do to control the tide.
The challenge of never knowing what to expect
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major in college, she says, so I truly love the
theatrical aspect of the wedding day itself.
THE RIGHT STUFF FOR SHOOTING WEDDINGS
I think that above and beyond personal qualities,
Stripling says, One must rst be a very, very accom-
plished technical photographer. You have to know
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After that, a good photographer must be calm, able to
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The ability to think fast and respond instantly over
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WHY NIKON
The Nikon bodies are built to last, theyre sturdy
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The ISO performance is gorgeous throughout the
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are gloriously sharp and quick. Stripling sites the
Nikon AF-S Nikkor 70-200mm f/2.8G VR II as her
favorite lens, because of the beautiful compression at
200mm. I also love the 85mm f/1.4G IF AS-S Nik-
kor lens during dim lighting situations because it's so
sharp and quick, she adds. It's impossible to avoid
noise at high ISOs, but with every new camera body
that Nikon produces, the ability to handle higher
ISO's with clarity just keeps improving.
What the Nikon camera system did for Susan Strip-
ling is change her entire career. I can do things with
these cameras that I never could when I shot another
camera system because I don't have to worry about
my gear being able to perform, she says. As long
as I know my cameras inside and out, I can trust that
they will perform precisely how I need them to.

Wedding
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Nikon D3s Nikon D4
SUSAN STRIPLING
Susan StriplingRF.indd 50 11/16/12 12:57 PM
Why Susan Stripling
Gives her Nikon D3s
and D4 a Standing
Ovation
The Theater
of the Wedding
014_015_RF_Nikon.indd 14 11/16/2012 11:22:11 AM
ADVERTISING
At 16 megapixels, the
Nikon D4 has a higher
resolution than the D3s
with its 12.1 megapixels,
but when it comes right
down to it, this is not a
question of choosing one
camera over the other. If
they have them, the real
pros will show up to nuptials with both cameras,
and Susan Stripling is one such pro.
Stripling was a stay-at-home mom with a taste
for picture taking when she was asked to photo-
graph a friends wedding. After a six-month crash
course in photography, she shot her rst wedding
so beautifully that friends of the bride hired her to
shoot their weddings. She had the eye, a natural
love for the work, and once she picked up her
rst Nikon D3 in 2007, there was no going back.
I love my D4, Stripling says. It's got all of the
qualities that I love about my D3s and improves
on them. With the ability to capture high quality
images in low light, full sized image sensors and
weather-resistant bodies, the Nikon D3s and D4
are the cameras wedding photographers will call
indispensable. Weddings are very unpredictable
events, Stripling points out. You cannot art direct
them. They happen in real time, very quickly, and
there isn't much you can do to control the tide.
The challenge of never knowing what to expect
is part of the fun for Stripling. I was a theatre
major in college, she says, so I truly love the
theatrical aspect of the wedding day itself.
THE RIGHT STUFF FOR SHOOTING WEDDINGS
I think that above and beyond personal qualities,
Stripling says, One must rst be a very, very accom-
plished technical photographer. You have to know
your camera inside and out and more than that, you
need to know your ash, your light modiers, your
video lights, your wireless radios, your everything.
After that, a good photographer must be calm, able to
handle stress and perform beautifully under pressure.
The ability to think fast and respond instantly over
and over throughout the day is essential. The Nikon
in hand is the wedding photographers best friend.
WHY NIKON
The Nikon bodies are built to last, theyre sturdy
and reliable and capable of keeping up with the long
hours and fast pace of a wedding day, Stripling says.
The ISO performance is gorgeous throughout the
typical dim lighting of a reception room or a bride's
getting-ready room, she says, and the lenses
are gloriously sharp and quick. Stripling sites the
Nikon AF-S Nikkor 70-200mm f/2.8G VR II as her
favorite lens, because of the beautiful compression at
200mm. I also love the 85mm f/1.4G IF AS-S Nik-
kor lens during dim lighting situations because it's so
sharp and quick, she adds. It's impossible to avoid
noise at high ISOs, but with every new camera body
that Nikon produces, the ability to handle higher
ISO's with clarity just keeps improving.
What the Nikon camera system did for Susan Strip-
ling is change her entire career. I can do things with
these cameras that I never could when I shot another
camera system because I don't have to worry about
my gear being able to perform, she says. As long
as I know my cameras inside and out, I can trust that
they will perform precisely how I need them to.

Wedding
The Nikon
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www.nikonusa.com
Nikon D3s Nikon D4
SUSAN STRIPLING
Why Susan Stripling
Gives her Nikon D3s
and D4 a Standing
Ovation
The Theater
of the Wedding
014_015_RF_Nikon.indd 15 11/16/2012 11:22:12 AM
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18
WE SALUTE YOU, BILL
As Bill Hurter moves on from Rangefinder and WPPI, we asked some of his closest industry pals to share their anec-
dotes and sentiments on working with him over the years. As for us, everyone here on staff will greatly miss Billhis
presence, influence and incredible industry insight tops all. We wish him all the best. The RF and WPPI Staff
PHOTO JACQUELINE BRUNO CARDEN
So what do you say in just one paragraph
about a man of such talent and vision, a
supporter, leader, educator, author, client
and friend? Bills talent and ability to know
photography and its techniques, lighting
and composition is a true gift that he read-
ily shares. A man of vision, Bill has sup-
ported and led hundreds of photographers
and volunteers to grow WPPI, one of the
largest organizations in the craft and trade
of photography today. The principles he
teaches in his books propel the creative
element in all of us. I was honored when
he asked me last year to photograph his
son and daughter-in-laws wedding. I will
carry that experience with me the rest of
my career. The definition of a friend is,
One attached to another by affection or
esteem. To call Bill my frienda friend
with such abilities, a man I respect and a
man who believes in meis a blessing I
cant describe. Blessings to you Bill! You
deserve them, my friend.
Paul Ernest
When I was the publisher of Rangefinder, Bill and I would fight every month about what to put on the cover. Its no secret that Bill was a huge animal lover,
and he would have put an animal on the cover every month if he could. I used to joke that his dream job was editor of Cat Fancy. In all seriousness, though,
he is one of the smartest people I ever had the pleasure of working with. Hes been a great mentor, a good friend, and someone who I had a lot of fun working
with. Plus, I think we made one of the best teams around. We won a lot of awards, launched a magazine, grew a show to four times what it originally was,
and had a blast along the way. I really miss working with you, Bill! George Varanakis
Bill was one of the first friendly faces I met at WPPI when I started actively
speaking there about 10 years ago. I remember he always had a smile on
his face and would greet you like an old friend, even when he may have just
met you. As I got to know him a bit better, and all the things he was involved
in, I became even more impressed with what he had accomplished. That he
managed to write so many educational photography books and corral the
myriad speakers and contributors to WPPI events, and still maintain his calm,
friendly composure, is amazing. I love his sense of humor and genuine care
for the people in this industry. He is all about helping us succeed and making
our industry an even better place to call home. Well miss seeing Bill speeding
through the halls at WPPI, but will certainly never stop thinking about him and
the friendship he shared with so many. Kevin Kubota
FOCUS
When I started at Rangefinder/WPPI in
2001, Id already known Bill for many years
from his other endeavors in the photo com-
munity. Like any new relationship, we had
a few disagreements over those first few
months, but our friendship and respect for
each other grew with each new issue. At
the time, Rangefinder was at best 70 to
80 pages, WPPI only had a couple hundred
exhibitors and 3,500 attendees, and there
was no AfterCapture magazine. Over the
next seven years, Bill would become one of
my very best friends. Hes one of the finest
editors in the industry, though I lost count
of how many books hes personally au-
thored. All I know is that my daughter still
moves his books to the back and mine to
the front when shes in a bookstore! Bills
influence through the magazine, his books
and personal contact have helped build the
careers of thousands of professional pho-
tographers. In short, a guiding light by any
other name would be Bill Hurter.
Skip Cohen
In 1986, I went to work with noted photographer Dean Collins in San Diego.
The goal was to develop an educational team and go into print, video and more.
I started writing the monthly column Collins on Basics for Petersens PHOTO-
graphic magazine, and Bill Hurter was the editor. For me, it was like I had hit the
big time. I had a well-respected editor talking to me monthlyokay, okay, yelling
at me monthlybecause I was always late with my column. I next went to teach
at Brooks Institute in Santa Barbara and since Bill was an esteemed alumnus,
we would often speak about that time in his life. From then on, Bill and I have
been strong colleagues and great friends. I worked closely with him on WPPI Print
Competition for the past 15 or so years, and love his great sense of humor, espe-
cially at times of stress and tension. I miss my friend Bill and if you are reading
this, you know we all love ya. Tony L. Corbell
Compiled by Wendell Benedetti
Rangefinder presents a variety of exhibits, book releases, new products and
software, special projects by photographers, and more.
RF_18_25Focus3.indd 18 11/16/12 4:40:00 PM
www.rangefinderonline.com
19
Mister BillI say that with the utmost respect. Bill Hurter has been my friend for over 17 years, as
he was an integral part of running WPPI. Bill has been a wonderful friend and Id like to tell you why.
Bill made sure to get others to be visible within the photographic community. Bill would often introduce
new talent and provide exposure to many of the current headliners by including many of us in his books,
publishing us in Rangefinder and promoting us at WPPI. He has always remained nearly invisible while
overseeing both Print Competition and the well-directed Awards Ceremony, amongst other responsibili-
ties at WPPI. Bill has gone beyond the convention as the editor of Rangefinder magazine, helping turn
it into one of the leading magazines in photography. Bill thrives on helping people succeed selflessly.
His vision for the WPPI Print Comp has always been to blend the traditional photographers with new,
emerging talent. I remember my first personal encounter with Bill at a print judging in the mid-1990s:
I was upset about how a jury chairman was behaving and I found Bill to share my unhappiness. He of-
fered, Do you think that you could do a better job? I thought for a moment and said YES! The next
year, I was invited do be a judge and soon Jury Chairman. I have now grown to be Director of WPPI
Print Competition. With Bills passion for motorcycles, I am hoping to rent a motorcycle with a side car
and have Bill join me on my annual WPPI motorcycle ride on Thursday, March 14.
Ken Sklute
Ive had the honor of knowing Bill (Uncle Bill to me and others) for almost
20 years. Zealous by nature, kind in heart, a forward-thinker in a time when
many followed the traditional route, Bill always had an eye for finding new,
trend-setting styles of photography, and photographers. He also always had
an open door for those of us lucky enough to take advantage of his wisdom.
If WPPI is a family, then Bill Hurter is and always will be my favorite uncle.
Bambi Cantrell
I have so many fond memories of Bill during
our years together at Rangefinder and WPPI: He
and George [Varanakis] fighting over what cover
to choose (George always wanted the more
cutting-edge one, Bill the more traditional); Bill
on his scooter at WPPI, running into the back
of the elevators and actually making a dent in a
wall at Ballys; Bills great relationship with his
younger editors (he was like a dad to them); Bills
expression when we surprised him with the Life-
time Achievement Award at the WPPI Awards
Ceremony three years ago...I could go on and
on. Hes such a knowledgeable person, not only
about photography, but so many other things. We
all learned so much from him and will really miss
working with him. Arlene Evans
www.schneideroptics.com
B W
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There is no question that Bill Hurter has made his mark as a friend, col-
league and industry giant to me and countless photographers all over the
world. There is no hype with Bill. As the backbone of Rangefinder, many
people who dont know him will never know just how much this humble
man with an incredible acumen and a dry sense of humor has affected the
industry as we know it today. I will miss dodging his speedy turns on that
scooter at WPPI. Jerry Ghionis
RF_18_25Focus3.indd 19 11/16/12 4:40:01 PM
www.hhcolorlab.com
020_RF_HH.indd 20 11/16/2012 9:01:00 AM
21
FOCUS
In 2004, I attended WPPI in Las Vegas for the very first time. I wasnt one for conventions, especially for wedding
photographers. Photographic education was something I learned on assignment during my 6,000 assignments as a
photojournalist with the Philadelphia Inquirer. However, a dear friend convinced me to go with him, and we hopped
on a plane to Vegas.
Jump ahead to the Jubilee Theatre where I tiptoed toward a portly man sitting by himself high above the crowd
observing one of a zillion seminars that week. When I asked if he was Bill Hurter, he looked at me as if I had three
heads. I kneeled down beside him and asked, in a soft whisper, if he might he have a few minutes to chat. It was
obvious he wasnt in the mood, but he reluctantly agreed. I waited 90 minutes at the show office for him. Finally,
when he arrived, he looked at my work for 90 seconds and then asked in a dry tone, Where have you been? In
2005 I gave a seminar called Editorial Vision in Wedding Photography and Ive been back there every year since.
Thats Bill Hurter in the proverbial nutshell. Hes a man who gave an opportunity to a nobody photographer
from Philly because he took a moment to humor me. Bill never subscribes to the good ol boy networks that
make up so much of our industry. He always put photography first. It was as if he was one of the guardian an-
gels of the craft. Im sure its a story that many others can tell because hes touched so many of us. His vision,
and his voice have allowed creativity to become the driving force behind WPPI, Rangefinder and anything else
Bill has signed his name to.
On a personal note, Bill has made more impact on my career than anyone. Hes allowed me to find my pas-
sion, and my voice in an industry chock full of talented photographers and educators. His influence with WPPI,
Rangefinder and the slew of books hes written will still be a driving force within the world of photography regard-
less of whether hes editing for Rangefinder, writing books, or speeding around the halls of WPPI in Vegas. Thank
you, Bill Hurter, for all youve done for so many photographers, who youve touched and influenced so deeply.
Cliff Mautner
Bill has always been the heart
and soul of Rangefinder. During the
nine years we worked together, I
watched as he turned Rangefinder
from a small publication to a thriv-
ing enterprise. Rangefinder itself
quickly became a Whats Next
publication. You knew you were
in for a surprise when you saw
the exciting covers from month
to month. All I can say about the
articles that Bill managed over the
years is Wow. Creatively, he made
you see things in a whole new
light. We all worked well together,
and we are all still close. As far as
I am concerned, Bill is a genius, an
innovator and a mentor of mine,
and I will never forget what he has
meant to me over the years and
continues to today.
Carl Lozada
www.datacolor.com
2012 Datacolor. Datacolor
and Spyder
are registered trademarks of Datacolor. All rights reserved.

www.datacolor.com
Whatever your style,
Spyder shows your true colors.
Your display is the window to your digital world. An un-calibrated
display produces unexpected results. Spyder4 simplies color
calibration and enables true-to-life reproduction of images.
For more information visit: www.datacolor.com/rf
Calibrate Your World.
To read more tributes to Bill (we unfortunately had no extra room in print for them),
please go to Rangefinderonline.com. You can also post tributes on our Rangefinder Magazine Facebook page.
RF_18_25Focus3.indd 21 11/16/12 4:40:02 PM
Hurricane Sandy Decimates Staten Island
After Hurricane Sandy tore through Natalie Licinis hometown of Staten Island, the
photographer felt compelled to blog, in words and pictures, about the utter devasta-
tion left behind.
The hurricane that hit my hometown on October 29th shut down Staten Island,
Licini, one part of the creative duo Je Revele (with Cate Scaglione), wrote on her blog.
Half of our community of 400,000 people lost power. Schools were closed for the
entire week. The stock exchange was closed for two days, which was the first time
since 1888.
She continued: I was born and raised on Staten Island. I live in Westerleigh with
my husband and two daughters, closer to the North shore of the island. I happened
to live in an area that is a few hundred feet above sea level. We were okay. My fam-
ily lost power, but a mere three miles away in the Midland Beach area, the loss our
South shore suffered was absolutely heart wrenching. So far the death toll in NYC is
41, with 19 deaths from Staten Island. HALF!
Licini, along with family and friends, spent the ensuing week doing whatever they
could to help, along with the support and generous donations from friends around
the world who rallied around them to aid in the recovery of Staten Island, one of the
hardest hit regions of New York. Read more at:
http://blog.jerevele.com/2012/11/07/hurricane-sandy-staten-island.
PHOTOS NATALIE LICINI/JE REVELE
A Victory for Canadian Photographers
Canadian photographers now officially own the copyright to all of their work, whether
the photograph is commissioned or not, thanks to the countrys new copyright law.
According to a press release issued by Melissa Welsh Photography, president of the
Professional Photographers of Canada-British Columbia: In Canada, all other artists
have already owned the copyrights to their work and thanks to this new law, Canadian
photographers, albeit the last in the industrialized world, now have all legal rights to
their images.
Welsh writes that, The principle of protecting photographers ownership rights
started 65 years ago by Henri Cartier-Bresson, who founded Magnum with Robert
Capa and David Seymour. Magnum assured that a photographers image belonged to
herself or himself and not to the person or firm who commissioned the work.
According to her, PPOC and CAPIC have been working towards this monumental
achievement in Canada for more than 25 years through lobbying efforts and could not
have achieved this truly important mission without the support of its members, who have
contributed financially, morally and offered countless volunteer hours towards this effort.
www.ppoc.ca
FOCUS
panasonic.com/LUMIX
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PUB: Rangefinder, Nov. 2012 issue
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RF_18_25Focus3.indd 22 11/16/12 4:40:04 PM
www.panasonic.com/Lumix
CLIENT: Panasonic TRIM: 8.375" x 10.875"
AD: Lumix GH3 Ad BLEED: 8.625" x 11.125"
PUB: Rangefinder, Nov. 2012 issue LIVE: 7.625" x 10.125"
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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 condence. Just another
way were engineering a better world for you. Learn more at panasonic.com/LUMIX
screen sim
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023_RF_Panasonic.indd 23 11/15/2012 11:41:22 AM
RANGEFINDER APRIL 2011
24
1
&
B
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+
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ALTERNATIVE
PHOTOGRAPHIC
PROCESSES
PRIZES
1st place: ($1000 value)
$500 gift card from a major photo retailer
Full registration to PhotoPlus 2013
Full Conference Pass to WPPI 2013
2nd place: ($504 value)
Full Conference Pass for WPPI 2013 and WPPI University
(Las Vegas)
3rd place: ($379 value)
Full Conference Pass for WPPI 2013
All winners will be featured in an online gallery as well as the
April 2013 issue of Rangender, along with photographer bio
and write-up. More prizes to be featured online.
OVER 60,000 READERS WILL SEE THE
WINNERS GALLERIES IN PRINT!
P
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CATEGORIES:
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ALTERNATIVE PHOTOGRAPHIC PROCESSES: including, but not
limited to, Blueprints, Bromoils, Carbro prints, Calotypes, Cyano-
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other processes done conventionally.
DEADLINE: February 1, 2013
ENTRY FEES:
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HOW TO ENTER
Please visit www.rangenderalternative.com for more information.
PHOTO WILLIAM AVNON
VISIT WWW.RANGEFINDERALTERNATIVE.COM
CHRIS KOVACS
Award Winning Photographer
Editor/Publisher Adore Noir Magazine
DAVID CAROL
Director of Photography
CBS Outdoor
JONI STERNBACH
Award Winning
Photographer
JUDGES:
All info subject to change without notice.
RF_24B_WContest.indd 24 11/16/12 3:11:06 PM
25
Anthropics Introduces
Portrait Professional 11
Anthropics Technology out of London is marketing the latest
version of its retouching software, Portrait Professional 11. The
improved application not only removes blemishes and reduces
lines and wrinkles, it also gives photo retouchers the ability to
re-contour the face and slim the appearance. It includes tools that
reduce under-eye bags and crows feet, while adding blusher and
moistening the lips. It supports
RAW files as well as 64-bit
computers. Portrait Professional
11 is available as a stand-alone
version for $29.95 or Photo-
shop compatible plug-in for
$43.95. A free demo version
can be downloaded from the
companys website.
www.portraitprofessional.com

FOCUS
Pentti Sammallahti
at photo-eye Gallery
The photo-eye Gallery in Santa Fe, New Mexico, kicks off winter with the
photography of well-known Finnish photographer Pentti Sammallahti,
whose work captures moments in time as he finds beauty in the ordinary.
Each of Sammallahtis compositions illustrates a moment, allowing the
viewer to pause and reflect on mans relationship with nature and his
surroundings. The extensive exhibit also celebrates the release of his long-
awaited new monograph, Here Far Away, a 40-year retrospective contain-
ing 239 plates of snow-covered landscapes, humorous animal portraits
and fairytale-like scenes. The show runs through January 26, 2013.
www.photoeye.com
PHOTO PENTTI SAMMALLAHTI
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RF_18_25Focus3.indd 25 11/16/12 4:40:06 PM
See us at whcc.com
whcc
Its all here.
Your clients are excited to send out their new family portrait with their
Holiday greetings, but why stop there? Show them how one of our popular wall
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everyones tastes. And dont forget about our beautiful new Boutique Frames.
No matter what they choose, theyll be happy they gave themselves a gift that
hangs around all year long.
026_027_RF_x.indd 26 11/15/2012 11:46:31 AM
www.whcc.com
See us at whcc.com
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Its all here.
Your clients are excited to send out their new family portrait with their
Holiday greetings, but why stop there? Show them how one of our popular wall
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traditional Framed Prints to Metal Prints and Standouts, weve got something for
everyones tastes. And dont forget about our beautiful new Boutique Frames.
No matter what they choose, theyll be happy they gave themselves a gift that
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026_027_RF_x.indd 27 11/15/2012 11:46:32 AM
www.fujiflm-xpro1.com
The legacy continues. The FUJIFILM X-Pro1 camera incorporates the
revolutionary X-Trans 16.3 MP APS-C CMOS sensor. Increased sensor resolution
was achieved by randomizing the pixel arrangement, thus removing the
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The way it handles highlights and
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At the end of the shoot I was hooked!
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Inspiration. Innovation. Perfection.
Photos 2012 Helena Palazzi
36685_FF_Xpro-Spread_RANGE.indd 1 8/29/12 11:05 AM
028_029_RF_Fuji.indd 28 11/15/2012 11:52:18 AM
The legacy continues. The FUJIFILM X-Pro1 camera incorporates the
revolutionary X-Trans 16.3 MP APS-C CMOS sensor. Increased sensor resolution
was achieved by randomizing the pixel arrangement, thus removing the
need for the optical low-pass lter. The new X-Pro1 camera captures images
that rival full-frame sensors and continues to build on the Fujilm legacy of
unsurpassed photographic quality.
With revolutionary features such as the FUJINON XF Prime Lenses, advanced
X-Mount design, new EXR Processor Pro with integrated co-processor, and
2nd Generation Hybrid Multi Viewnder, Fujilms technological innovation
and design expertise deliver a new standard in premium interchangeable
lens cameras.
FUJINON 18MM (F2)
FUJINON 35MM (F1.4)
FUJINON 60MM (F2.4)
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Multiple Lenses.
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THE NEW FUJIFILM X-PRO1 WAS CREATED WITH THE UNCOMPROMISING
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Photos 2012 Helena Palazzi
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S
ince Canon and Nikon con-
tinue to be the big players in
the DSLR market, its easy to
forget about their main com-
petitors. In many ways its a
shame that these companiesOlympus,
Pentax and Sonydo not sell more cam-
eras, as they could break up the duopoly,
which I firmly believe would lead to more
competition and lower prices.
In many ways, Olympus and Sony, in
particular, are leading the way in trying
new things, ahead of Canon and Nikon:
Sony with its mirrorless electronic
viewfinders on DSLRs and Olympus
with its small, lightweight mirrorless
bodies and lenses.
Pentax, on the other hand, has con-
centrated on more traditional DSLR
models with features that are often
only available on expensive top-of-the-
line models from Canon and Nikon.
Take, for example, the recently in-
troduced Pentax K-30. Its a DSLR with
a 16-3-megapixel APS-C sensor. So
what? you say. Thats not much dif-
ferent from the Canon EOS Rebel T4i
or the Nikon D5100. True, but the
K-30 is weather resistant, offers a
100 percent viewfinder and a top
shutter speed of 1/6000th second.
Canon and Nikon keep true
weatherproofing exclusively
to their high-end cameras
that start at $6,000. If Pentax
can do it, why cant Canon
and Nikon include this use-
ful feature in their cameras
that cost under $6,000? Ac-
cording to Pentax, the K-30
has 81 seals in its polycar-
bonate body, which also has a
stainless steel frame.
Previously, Ive tried the older
14.6-megapixel Pentax K-20 camera
and found it was not quite as good
as comparable cameras, particularly in
regard to speed of autofocus. Despite
this downfall, I used it to shoot sev-
eral off-road races and appreciated its
weather-proofing capabilities, as I did
not have to worry about the camera
getting covered in dust.
The Pentax K-30 has an all-new au-
tofocus system called SAFOX IXi+ that
proved to be far better than the K-20.
However I was still disappointed at
times with the speed of autofocus with
the fixed-length 300mm telephoto lens.
The optics are excellent and I could
not fault the images I captured with it.
However, because it does not have a
focus motor in the lens (as found on the
majority of modern lenses), it relies on a
screw drive with a motor in the camera
body, just as youll find on all but a few
low-end Nikon DSLRs. Its not neces-
sarily a problem for non-action pho-
tography, but is definitely a drawback at
times in fast-action sports and wildlife
photography.
The K-30 is available as a body only for
$850 or with choice of kit lenses; an 18-
55mm for $900 or with an 18-135mm
lens for $1,100. The 18-135mm zoom
lens that I tested is weatherproof, and
proved to be good and fast, largely
because the focus motor is built
into it. I did not dare drown the
lens in water, but if you believe the
official photos from Pentax, you
can throw water on the body and
lens with impunity. Of course the
camera is not sufficiently sealed for im-
mersion under water, but it should be
fine when shooting in the rain.
While the official ISO range is 100 to
12800, everything is pretty good up to
ISO 800. There is an increase in noise
30
DIGITAL GURU
The Pentax K-30 DSLR
By John Rettie
The Pentax K-30 has two command dials
and a decent-sized handgrip.
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32
and a softening of JPEG images as you go
above that figure (RAW delivers better
images at higher ISO settings).
The camera can fire at 6 fps, and I had no
trouble shooting surfers with the 300mm
lens. The K-30 can capture 1080p video, al-
though there is no dedicated movie shutter
button, as weve come to expect. The K-30
has a built-in Shake Reduction mechanism
that Pentax says is good for approximately
four stops. Whats best is that it works with
any Pentax K-mount lens and even old
screw mount lenses with an adaptor.
Compared to some of its closest ri-
vals, the K-30 offers plenty of controls.
For example, it has two command dials
for adjusting shutter speed and aper-
ture. Generally, low-end DSLRs only
have one dial, making it more dif-
ficult to adjust their settings. I found
the menu very easy to comprehend,
especially compared to the one on the
Olympus OM-D E-M5 Ive been trying
recently (trying, to say the least). I liked
the K-30s large handgrip and found
the layout of controls to be convenient.
Generally I do not shoot RAW, so I ap-
preciate the unique Pentax featurea
button that can be pushed to shoot
RAW (or JPEG) for a single shot as
needed. This button can now be reas-
signed for another function so that it is
not redundant if you always shoot RAW
and never need to switch on the fly.
As an entry-level DSLR, the K-30 offers
20 scene modes to cover a wide variety
of different shooting conditions such as
sports, pets, snow, etc. It also offers sev-
eral built-in filters for processing an image
after capture.
DIGITAL GURU
Left: The Pentax K-30 is available in a choice of
three colors.
Below: Despite its low price of only $850 the
Pentax K-30 is weatherproof.,
I WAS QUITE
ENAMORED WITH
THE PENTAX K-30.
IT OFFERS BETTER
VALUE FOR THE
MONEY THAN
SIMILAR MODELS
FROM OTHER
MANUFACTURERS,
AND IF YOU NEED
TO USE A CAMERA
IN ADVERSE
CONDITIONS,
THERES NOTHING
QUITE LIKE IT FOR
THE PRICE.
RF_30_34DigitalGuru_Rettie.indd 32 11/15/2012 1:47:13 PM
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seminar schedules and industry news, it will introduce you to an innovative look into the world of
professional photography. www.rangenderonline.com
PHOTO PACO AND BETTY (MARCELLOS +WHITNEY PARKER)
Our Picks of the Years

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$5.00/NOVEMBER 2012 THE MAGAZINE FOR PROFESSIONAL PHOTOGRAPHERS
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YOUR
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CHANGE
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34
Another unique feature of Pentax
cameras, including the K-30, is the
ability to use AA batteries in an op-
tional holder. This could be critical
if youre miles away from the ability
to recharge the cameras lithium ion
battery. Carrying extra AA batter-
ies is something many of us do as a
routine backup.
All in all, as you have probably
gathered, I was quite enamored with
the Pentax K-30. It offers better
value for the money than similar
models from other manufacturers,
and if you need to use a camera in
adverse conditions, theres nothing
quite like it for the price.
John Rettie is a photojournalist who has been
covering digital photography since its earliest
days. He resides in Santa Barbara, CA, and
readers are welcome to contact him directly by
e-mail at john@johnrettie.com.
DIGITAL GURU
The Pentax K-30 delivers a good, solid
image. (Photo by John Rettie, ISO 400,
1/250th sec, f/4, 300mm lens, handheld.)
PHOTO JOHN RETTIE
RF_30_34DigitalGuru_Rettie.indd 34 11/16/2012 9:59:21 AM
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LIGHT READING
Y
ou can almost pinpoint the mo-
ment in history when photography
entered the realm of extremely hip
things to do for a living. The year
was 1966, and amid an already
raucous era of cultural innovation and upheaval,
Michelangelo Antonionis film Blow Up hit the
theater screens. It was a murder mystery, starring
David Hemmings as a trendy, raffish photographer
obviously modeled after Britains eccentric David
Bailey. Until Blow Up, most moviegoers had never
imagined that an improbably glamorous character
like this even existedboyish, handsome, cocky,
breezing down the Strand in his drop-top Bentley,
stalking the world through his viewfinder. Then,
hed be back in his enviably luxurious studio, bark-
ing directions to hollow-cheeked supermodels,
with strobes flashing and fashionistas cooing over
his brilliance. In its aftermath, Blow Up rocketed a
gaggle of talented shooters in London and midtown
Manhattan into orbit as what New York magazine
called, the new hot somebodies. Photography
schools such as RIT saw their enrollments shoot
dramatically upward, studios were besieged by
waves of aspiring photo assistants, and working
photographers instantly became a new breed of
celebrity (with just as instantly soaring day rates).
Along with Bailey, names like Richard Avedon,
Irving Penn, Bert Stern and scores of others joined
the ranks of media royalty.
As everyone knows, the phenomenon of
photographer as minor league rock star con-
tinues today, and one of its more provocative
players has published a sumptuous, large-
format monograph worthy of every photogra-
phers library: Denis Piel: MOMENTS.
Cinematic Wonder Boy
The son of WWII French resistance fighters,
Denis Piels career arc has taken him from the
printing business through several incarnations of
commercial photography and into motion pic-
38
LIGHT READING
The Sensual Storyteller
By Jim Cornfeld
Denis Piel: MOMENTS
By Denis Piel
Contributions by Polly Allen Mellen
and Donna Karan
Rizzoli New York
www.rizzoliusa.com
272 pp.
A
L
L

P
H
O
T
O
S

D
E
N
I
S

P
I
E
L

F
R
O
M

D
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N
I
S

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40
LIGHT READING
tures. The 150 samples of his still work in
MOMENTSsome commercial images,
some editorial and some personalall
share Piels distinctive gloss of edgy, and
sometimes raw, sensuality. Hes an indis-
putable mastermind at cross-pollinating
between gritty, photo-real fashion imagery
and the stolen moment style of celebrity
portraiture. In the 1980s, under the stew-
ardship of veteran Cond Nast editor/art
director Alexander Liberman, Piel joined
the select group of wonder boy fashion
shooters. His specialty was creating a mood
or impression by teasing us with a sugges-
tive, unseen storyline. In his introduction
to MOMENTS, Piel writes: Sometimes
the most interesting image is the one you
dont see, what happened before and after
the frame.
One among many cases-in-point in the
book: an airy, horizontal interior featuring
Malaysian supermodel Ling Tan (previous
page). In the moment Piel has created for
her, shes seated alone in a restaurant, subtly
teasing her coat back from bare shoulders
and glancing off camera. Maybe shes look-
ing at the waiter reflected in an adjacent
mirror, maybe theres someone else outside
the frame. We never really know, but the
moment has an unquestionably seductive
sparkle. Clearly, the coat is the whole point
of this shot, and Piel emphasizes that by
making it a player in an enigmatic little
drama. Designer and entrepreneur Donna
Karan, like all of Piels clients, is completely
simpatico with this approach to fashion
photography. Denis, Karan writes in the
books introduction, really understood
and captured that clothes are just part of
a womans life, not her whole life. The
actual story, said Piel, comes from the
imagination of the viewer.
Piels implied narratives reveal his pen-
chant for a dreamy eroticism, and that
became the hallmark of his portraiture as
well. Another spread from the book de-
picts a closely cropped, wonderfully natu-
ral black-and-white portrait of British ac-
tress Amanda Pays (above), with a handful
of crumpled bedsheet, the naked arc of her
neck and collarbone, and a slightly drowsy,
inscrutable expressioneverything Piel
needs to narrate a moment in the life of a
provocatively beautiful woman.
Blow Up Redux
The spry way Piel (pronounced peel) has
of hopping between fashion work and edito-
rial portraits is owed in part to the influence
of his brethren up the totem pole of still
shooters. Penn and Avedon are obvious, and
his deft use of naked flesh and occasionally
hot, undiffused sunlight reflects an apprecia-
tion for the sometimes outrageous vision of
Helmut Newton. But Piel personally feels
even more influenced by some of the great
film directors, among them Kubrick, Ber-
tolucci, Bergman, Truffaut and Kurosawa.
Polly Mellen, a celebrated stylist and fash-
ion editor, tapped easily into Piels flipside
what she perceived as his natural cinematic
instincts. Mellen recalls being fascinated
with his direction when shooting an image.
He seemed to want to capture the off mo-
ment. Positioning the body in an awkward
waynot necessarily familiar, but also never
vulgar It was different, honest and a reality
particular to Denis.
In an interesting vamp on the Blow Up
phenomenon, director James Toback hired
Piel to serve as technical adviser on a 1983
film, Exposed, with actor Ian McShane in
the role of a fashion photographer specifi-
cally modeled on Piel himself. The experi-
ence drew him further into the film world,
producing live-action work including televi-
sion commercials for such clients as Revlon,
LOreal, Avon, Bergdorf Goodman, and his
longtime client Donna Karan, for whom
he also directed an award-winning fashion
video. Under the aegis of his own indepen-
dent production company, Piel produced a
feature-length documentary, Love is Blind
which a few commentators have credited
(some might say condemned) as the pre-
cursor to reality television. According to
newspaper columnist Phillip Adams, the
film was ground-breaking, even daring, on
another level. Its subject is a married couple,
both of them blind. Adams wrote that as a
fashion shooter, the practitioner of such an
intensely visual craft, Piel had learned with
amazing speed to tell a story in a way thats
antithetical to what he does for a living
Piel denies everything he has learnt, Adams
went on, everything that is instinctive to
this profession. Here, Adams misses the
mark. Its probable that Piel is a quick study,
but the enticing style of pictorial storytelling
youll discover in MOMENTS is anything
but antithetical to what Piel does for a liv-
ing. It is, in fact, the whole point.
Writer and veteran commercial photographer Jim
Cornfield (www.jimcornfield.net) is a regular con-
tributor and book reviewer for Rangefinder.
RF_38_40LightReading.indd 40 11/15/2012 1:49:00 PM
SAY IT WITH
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44
T
he following is a true storyonly
the names have been changed (well,
deleted, to be precise) to protect the
innocent. The parties involved in-
clude a professional photographer
and a major book publisher. The photographer
had a body of work with a stock agency (one that
later went out of business), and a couple of those
images were licensed for publication in a book.
As isor at least wastypical for that situation,
the license and fee were based on a specified print
run. Any additional printings would be unauthorized and
subject to an additional fee.
As you might have guessed, the publisher exceeded the
print run specified in the license and violated other speci-
fied terms and conditions. The photographer, aware of the
publishers misstep, started making inquiries as to the extent
and nature of the unlicensed uses in order to calculate an ap-
propriate fee for a retroactive license. Those inquiries started
a 14-month series of communications that the photographer
described as on-and-off, mostly off, in the sense that his
point of contact at the publishing house rarely responded.
As the photographer told me, had the publisher responded
promptly and fully at the beginning, the matter would have
been settled more quickly, with much less waste of worker
hours, and for significantly less money than the publisher
ended up paying.
After the first few inquiries by the photographer, the pub-
lisher sent a one-sided agreement to renew and extend the
license. The photographer promptly replied with a rejection
and his objections to the terms. As soon as that happened,
the photographers usual contact at the publishing house
stopped replying to his e-mails. The photographer told me
that the agreement was poorly-drafted and had obviously
been cut-and-pasted without much thought. (For example, it
included provisions that were totally irrelevant.) He took this
as an indication of vulnerability on the part of the publisher,
and he interpreted it as a sign that the matter was being
handled without the participation of the publishers lawyers.
In the meantime, the photographer was able to obtain some
advice from a pro bono lawyer, who remained invisible as
far as the publisher knew. Keeping the lawyers name off the
e-mail routing lists was a good move by the photographer
because the publisher would have brought in its lawyers the
instant it knew that the photographer had legal counsel.
Three-to-four months after initially contacting the pub-
lisher, the photographer receivedout of the bluea check
for the use of two of his photographs, along with an accord
and satisfaction (basically, a receipt and release, acknowledg-
ing the payment and releasing the publisher from any and all
claims). The photographer rejected the offer and sent back
both the agreement and the checks. At the same
time, he asked for more information about the
extent and nature of the use of his images. The
publisher never replied.
About three months after that, the photographer
received a 1099 from the publisher, which puzzled
him, because he had never received any payments
directly from the publisher, and had returned the
checks that had been offered in the settlement
that he rejected. A telephone call to the publishers
accounting department quickly revealed that the
1099 was based on those returned checks, which were lo-
cated on the desk of the contact person at the publisher who
had stopped replying to the photographers phone calls and
e-mails. The tax reporting got corrected promptly.
Throughout the process, there were sporadic negotiations
between the photographer and a VP at the publishing house.
In the end, the publisher wanted to bundle all of the pho-
tographers images that had been licensed to the publisher
from the now-defunct stock house so that they would not
have to go through the same process an unknown number
of times. The negotiations went back and forth, and heres
where the cafeteria approach came in: whenever there was
an offer from the publisher, the photographer would pres-
ent a counter-offer with multiple variations on each of the
terms and conditions, each of which was linked to a different
dollar amount. For example, if the publisher insisted that
the venue for any disputes would be where it was headquar-
tered, that provision would cost X dollars more. Conversely,
if the publisher was willing to allow disputes handled in the
photographers city, that would reduce the settlement price
by X dollars. If the publisher wanted the settlement to be
confidential, that would increase the settlement price by X
dollars. And so on...
The photographer compares the process to buying a new
carwith him as the salesman and the publisher being the
customer. You want a sun roof? High performance tires?
A navigation system? Sure, we can do that. The sun roof
is X dollars, the tires are Y, the navigation system is Z...
This approach, he says, ultimately put the ball back in the
publishers court at every turn, allowing the publisher to
choose its own financial punishment. It worked well for
the photographer too, and he plans to use it again, should
he have to.
I thought his approach was innovative, useful and effective.
As the old commercial used to say, Try it. Youll like it. In
fact, I can guarantee that I will be trying it out.
Victor Perlman is general counsel to the American Society of Media Pho-
tographers, Inc. (ASMP). He is co-author (with Richard Weisgrau) of the
book Licensing Photography, published by Allworth Press.
Victor S. Perlman, Esq.
Negotiating, Cafeteria Style
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48
By Lou Jacobs Jr.
KEN SKLUTES
AMISH EXPERIENCE
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49
D
uring his illustrious 37-year photographic ca-
reer, Ken Sklutewho began shooting when he
was just 14 at the New York National Speed-
way on Long Island using his mothers 126 Instamatic
has received many awards and achievements, including
being named one of Canons Explorers of Light, win-
ning 14 Kodak Gallery awards and 15 Fuji Masterpiece
Awards, and collecting 32 Photographer of the Year
awards along the way between New York, Arizona and
California. These days, he spends most of his time not
only photographing but also teaching and lecturing, both
nationally and internationally.
While still in his teens, Sklute assisted a wedding
photographer for three months before photograph-
ing his first wedding on his own. He eventually took a
job with another studioa large wedding factory that
handled upwards of 1,500 weddings a yearwhere he
was guaranteed 100 weddings a year. Much to Sklutes
dismay, the career move meant he had to give up his
first passion, drag racing, because those events, like
weddings, took place mostly on weekends.
As a result of a bad motorcycle accident in 2000, Sk-
lute decided to scale back on weddings and return to his
roots of photographing 300-mph racecars. He landed a
job with the National Hot Rod Association (NHRA), the
sanctioning body of drag racing, providing daily race im-
ages for the sports premiere website, NHRA.com, while
simultaneously focusing his attention on teaching work-
shops and lecturing. Each September, he would return
to a racetrack in Reading, Pennsylvania, where he also
visited the nearby Amish villages in Lancaster, a culture
and community for which hes held a lifelong curiosity
and admiration. After that, Sklute began visiting the
Amish every year to capture imagery that he could use
in print competitions.
Because personal projects are a vital part of what
helps keep photographers creative passions alive, we
sat down recently with Sklute to talk more in depth
about his photographic history with the Amish.
Rangefinder: What was the catalyst to photo-
graphing this community and culture of people?
Ken Sklute: It offered me the opportunity to photo-
graph unique subjects and lifestyles. Its like going back
100-plus years in time. My pictures help explain the
Amish culture and their involvement with the land. I
began visiting the Amish in Lancaster a couple of times
a year at first. It was only a three-hour drive from my
home on Long Island, and those visits helped me build
a large body of work. Each visit also pushed me further,
photographically. After relocating to Arizona, I looked
into exploring other Amish communities around the
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country. A few years ago, after
speaking in Detroit, I chose to
head to a nearby Amish com-
munity in Northern Indiana
where I came to meet a young
Amish man who was passing
by on his bicycle. He invited
me to stop by his home to
meet his dad. I enjoyed a four-
hour visit with them, each of
us curious about the others
culture. We have since be-
come close friends and I visit
them often.
RF: What kinds of daily
rituals did you encounter
during your visits?
KS: My friend invited me on
my next visit to join the family
for supper. When I did, I had
a warm reception and met
the other family members
that were away when I first
visited. Dad (Mark) hand-
churned fresh ice cream
for the occasion and Mom
(Mae) rolled soft pretzels
while I took pictures. Our
friendship grew and I was in-
vited to stay with the family
on my next visit.
Virtually all of my Amish
imagery until then was done
from a distance, from the
confines of my rental car, often
while I was driving. Now I
suddenly had the weekend to
photograph Mark and Maes
family and another family as
well. It meant I could docu-
ment Amish life more closely
and thoroughly. I came to
their breakfast table with my
camera every morning and
also helped bale hay. All they
asked was that I not send
pictures to their community
newspaper.
RF: Was it difficult to get
the community to let you
photograph them?
KS: The Amish are very
simple, private people. I have
gained the respect of the In-
diana Amish, as I now attend
community auctions, church
and even visited an Amish
school for a day. This allows
me to develop more relation-
ships and be let into more
homes. This community is a
bit more relaxed than the Lan-
caster Amish and they seem
open to allowing me to photo-
graph their daily chores.
RF: What other photo
opportunities did you have
there?
KS: On a recent visit, with
freedom to document what I
wished, I went with the fam-
ily to an Amish auction where
there were 500 members of the
community. I was interested in
finding out what their values
were about home furnishings
and other items. When a child
fell and cut his head deeply I
was asked to drive him and a
parent to the hospital. Amish
transportation is a horse and
buggy so my first-aid trip
opened relations, and new
doors, with access to more
Amish families to photograph.
RF: What photographic
limits did you face?
KS: At the Indiana Amish
community I dont ever try to
photograph the few elders or
certain families. I add to my
archive with families riding in
buggies, doing shopping and
chores, and socializing. One kid
calls me every Thursday eve-
ning to chat, which helps keep
my connections.
I feel that being able to cap-
ture and preserve their more
simple lives is a welcome chal-
lenge. I cannot move about
freely in some situations, but I
still capture fleeting moments
on streets from my car. Many
activities I shoot have spawned
numerous competition prints.
RF: Do you usually shoot
in available light?
KS: I have only used exist-
ing light. In some cases as we
bailed hay, it was direct sun-
light. I use available light in
the barn, and inside the home
I am working with either
window light or the gas lamps
once the sun goes down.
Most of my subjects never
had [their picture] taken be-
fore; they stand quietly and
watch me with thoughtful
expressions.
RF: What has been your
most challenging photo
situation during these
shoots?
KS: Its one where I had just
a few seconds to shoot, which
resulted in one of my favorite
KEN SKLUTE
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52
pictures. I was outside of the
car, shooting video. I had a
Zacuto Z-finder on my Canon
Mark IV while following a
horse-drawn buggy. Suddenly,
an elderly couple was cross-
ing the street, and I needed
to switch from video to still
mode, remove the Zacuto
finder and rotate the camera
from horizontal to vertical,
making the image just a split
second before the image dis-
appeared. The image was of
an Amish couple, framed by a
tree and a buggy in the back-
ground. It was serendipitous,
as the earth, moon and stars
aligned as I captured one of
my favorite images to date. I
would like to think that I got
the shot perhaps with my ex-
perience of grabbing fleeting
glances and moments from
my years of photographing
at weddings.
RF: What camera(s) do
you use while on these
shoots?
KS: I often keep three camer-
as ready in my Amish office
which is the front seat of my
rental car. One is an infrared
converted Canon 5D Mark II
fitted with a 24-105 lens. An-
other body is my workhorse
1D Mark IV. I also like the
remarkably versatile Canon
28-300 lens. The third body
is another Canon 5D Mark II,
and a Canon 16-35 mm 2.8 is
always available.

RF: How do you publi-
cize this work, other than
through the print competi-
tions you enter every year?
KS: I had my first gallery
exhibit in Lishui, China,
last November as part of
the exhibit, Family Life in
America. With my Amish
lifestyle imagery, I am hoping
for more exhibits, and even-
tually a book.
RF: Whats your advice
for professionals who
want to undertake
personal projects?
KS: Not everything that we
do should be for clients. We
need personal projects to
refresh our enthusiasm for
photography. It is satisfying
to create images inspired by
your own ideas, and grow-
ing photographically is of
prime importance to help
stay sharp. Find creative
themes that turn you on.
They may not be conve-
nient, but they can be chal-
lenging and satisfying.
This project has been in
progress for over 25 years. I
see no signs of it being com-
plete any time soon. It is one
that takes on a new shape
every year. I enjoy remarkable
experiences like this coming
into my life and enriching
it. These are simple, warm,
unique people that can only
remind me of the wonderful
sense of family and commu-
nity that we do not seem to
see in the big city!
Lou Jacobs Jr., is the author of 37
how-to photo books, including Off-
Camera Flash Photography (Am-
herst Media). He is an industrial de-
signer who became a photographer
who became a writer. The former
ASMP national president has taught
photography at UCLA and Brooks,
and is now writing a young adult
book, Teaching Mr. Lincoln to Drive.
KEN SKLUTE
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56
Welcome to our annual photography book roundup. As in the past, we have expanded the term photography
book to include an assortment of publications. Here, we explore the topic of influence, specifically,
photographic influences on history, career and lifestyle. The following collection of books has been curated with
this concept in mind.
By Andr e K. Cr ump
The Influence
of Imagery
ENTROPIC KINGDOM
By Tom Chambers
Modernbook Edition
Hardcover, 112 pages, $75
Boutique art gallery Modernbook has issued another beautiful and
ultimately collectible tome by the name of Entropic Kingdom by Tom
Chambers. The cover image tells the entire story, with an extremely
talented Chambers using saturated, fantastical imagery that border-
lines on possible realities of style, adventure and imagination. Also
designed by Chambers, the book features work from five of his photo-
graphic series and an essay from photographer and editor of the Lens-
cratch blogzine, Aline Smithson. In an interview with photo-eyes blog
earlier this year, Chambers said, I feel both a great sense of pride,
as well as relief, now that Entropic Kingdom has been published. The
book contains the best of my work from five series, which I have de-
veloped over 13 years. It is rewarding to see my work wrapped up and
preserved in a package. And, now I feel a fresh start and the freedom
to explore other photographic directions.
Book
Roundup
PHOTO TOM CHAMBERS
RF_56_59BookRoundup_Crump.indd 56 11/16/2012 7:58:05 AM
57
MARIO TESTINO: PRIVATE VIEW
By Mario Testino
Taschen
Hardcover, 256 pages, $69.99
With a tipped-in lenticular cover image of Lady Gaga, this new publication by photographer Mario Testino
screams, Put me on your coffee table! There is a good reasonin it, Testino shares a unique variety of celebrity
images that include actual photo shoots as well as behind-the-scenes frivolity. Testinos famous subjects range
from Elton John, Heidi Klum, Demi Moore (buff) and Julia Roberts (holding a squirrel), to Mick Jagger, Emma
Watson and even the British Royal Family (including Kate).
THE SARTORIALIST: CLOSER
By Scott Schuman
Penguin Books
Paperback, 512 pages, $30
Scott Schuman came to prevalence via his popular blog, The
Sartorialist, which documents in well-framed snapshots the
street style of people he encounters around the world. That pho-
tographic style is now not only well-respected, it has also been
incorporated into the design of many mainstream magazines, as
editors realize the impact that street style has on runway trends.
A sartorial star now himself, Schumans new book continues the
visionary work he pioneered, and offers the reader a plethora of
fashionable yet regular people from metropolitan areas across
the globe. [The book is available with two different covers: one
featuring a woman, the other a man, as shown here.]
CYCLE STYLE
By Horst A. Friedrichs
Prestel
Paperback, 196 pages, $24.95
Apparently, in London, one who bicycles can also look dapper. Reminiscent of the old etched images of gentlefolk
on high wheel bicycles, Cycle Style is a modern look at a historic city tradition. Shot in the actual streets and parks
of the capital, men and women throughout London not only wear the latest fashions while on their bikes, they
also incorporate the bikes into their wardrobes. If there was ever a proponent for increasing bicycle use versus
cars, this photographic collection is it. Nonetheless, so that readers arent carried away with the imagery, the
book strongly recommends that you always wear a helmet.
58
PHOTOGRAPHY: THE WHOLE STORY
By Juliet Hacking
Prestel
Hardcover, 576 pages, $34.95
It could be argued that a book called The History of the World would probably miss about 95 percent of
actual world history. However, Photography: The Whole Story is an impressive effort to give you exactly
what its title offers. Starting with the birth of photography, this publication follows each era of its evolution,
focusing not only on techniques, hardware and well-known photographers, but also on the social and politi-
cal contexts of photographys growth. Extensively researched and attractively designed, this guide is highly
recommended for those who want to be versed on what photography actually may be, and has been.
ARCHITECTURE NOW! EAT SHOP DRINK
By Philip Jodidio
Taschen
Paperback, 416 pages, $39.99
The places where we eat, shop and drink are not just formless caverns of happenstance. Many are
highly stylized and designed endroits that appeal to our senses of touch, hearing and most impor-
tantly, sight. Harvard-educated Philip Jodidio has compiled a stimulating photographic tour of these
public spaces, where many of us spend a significant portion of our waking lives.
COMING INTO FASHION:
A CENTURY OF PHOTOGRAPHY AT COND NAST
By Nathalie Herschdorfer
Prestel
There are those who know Cond Nast as the name of the company behind lifestyle magazines
such as Vogue, Vanity Fair, Bon Apptit and GQ. What they may not know is that Cond Montrose
Nast was an actual person. As the founder and publisher of his company, Nast personally led to the
discovery of a great many well-known photographers, as well as the creation of a media platform
that supported countless others. These includeto name a fewCecil Beaton, Irving Penn, Man
Ray, Bruce Weber, Albert Watson, Helmut Newton, Patrick Demarchelier, Ellen von Unwerth, Diane
Arbus and Herb Ritts. Thats worth at least a century of photography.
Book
Roundup
59
THE JAMES BOND ARCHIVES
By Paul Duncan
Taschen, Hardcover with film strip, 600 pages, $200
The James Bond franchise is now more than 50 years old, and with that
milestone comes a fantastic, and huge, 600-page compilation of Bond his-
tory and photographs in the form of The James Bond Archives.
Aside from the villains, gadgets, gimmicks and Bond Girls, one
of the most enduring aspects of the franchise has always been its
emphasis on camerawork and imagery. Even if the plots didnt always
make sense, the beauty of the scenery, the hotels and resorts, the
clothes, cars and the people was always captured and delivered to the audience in the Bond style. It could be argued that the image of James
Bond is truly that: the images of James Bond.
Proof of this lies within The James Bond Archives, containing more than 1,100 previously unpublished stills, on-set photos, memos, documents, storyboards
and posters. Two years in the making, the archive also includes oral histories from the actors, directors, special effects technicians and others across every Bond
film ever made, ranging from 1962s Dr. No to 2012s Skyfall. Not inexpensive, yet very collectible, the first printing of the book also contains an original strip of
film from Dr. No.

A THIRD DECADE OF GUESS?
By Paul Marciano
Rizzoli
If you havent noticed it yet, the Guess brand has long-embraced fashion photography as a key strategy to
global expansion. It has been so successful that one could argue that there is a Guess-style for pictures:
often black and white, processed like high-speed and high-contrast film stock, sexually enticing, casual and
portrait-oriented. A Third Decade of Guess?, formatted at 15.5 x 12 inches in size and featuring model Clau-
dia Schiffer, is proof that embracing what one loves and what people love about you is often quite profitable.
Bonus: Several pages in the book are transparent, like film negatives or slidesa clever touch by author and
Guess mastermind, Paul Marciano.
JUSTIN BONELLO COOKS FOR FRIENDS
By Justin Bonello
Penguin Global
A photographic and culinary tour of South Africa by Justin Bonello. The topic is right in Bonellos area of
expertise, as he is well known regionally for his popular BBC travel and food television program, Cooked. In
this volume, he combines personal stories and discoveries with beautiful images of not only the food and
ingredients he is preparing, but also how he came to discover them. A pleasing exploration of modern South
Africa and its culture, in a well-designed book supported by fantastic photography.
Andre K. Crump has over 25 years of experience in photography and is founder and publisher of TCB-Cafe Publishing and TasteTV. His work has appeared on the front of
American Photo magazine, and has been featured in publications such as Petersens PHOTOgraphic and Rangefinder magazines. Previous photo-based books from
TCB-Cafe Publishing include The Cafs of San Francisco (3rd Edition), Chocolate French and Incredible Eyes.
TE
JAMESBOND
ARCHIVES
EDITED BY
PAUL DUNCN
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CHOOSING THE RIGHT PRO LAB CAN MAKE ALL THE DIFFERENCE.
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Kodak
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professional
paper. Kodak Premier Metallic paper
also available.
Accordion Mini Books are pocket or purse-size hard
cover books, available in either wallet size (2.5 x 3.5)
or square (33). We print the accordion on an
environmentally friendly 100# glossy cover stock.
Our standard cover options include
9 Linen color choices, 4 colors of
Leatherette, and blue suede.
For additional protection, custom
image covers include your choice of
glossy or velveteen matte laminate.
Accordion Minis have a concealed
magnet that holds the covers closed.
Shown above
with easel-back.
Wall hanging
options also
available.
LAB CORRECTED
8X10
ONLY
$
1.
49
This is only a small sample, Meridian
offers over 80 print sizes, with
panoramic sizes up to 120 inches.
Your choice of Lab Corrected or
No Correction at the same price.
8 wallets 1.75
4 x 6 .29
5 x 7 .99
8 x 10 1.49
10 x 10 2.49
11 x 14 3.99
16 x 20 13.50
20 x 24 19.99
20 x 30 24.99
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images take on a bright, vibrant,
luminescent quality when printed on
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Meridians Metal Prints have to be
seen to be appreciated, examples
shown in a magazine ad or on the
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New compositing
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panoramic images
increasingly popular. To help
showcase these images,
we now offer Panoramix
,
a new line of photographic
prints from 5x15 all the way
up to 30x120. Thats right,
lab corrected photographic
prints on Kodak Endura or
Metallic professional paper
up to 10 feet long.
Prints up to 48 inches are shipped at and have a variety
of mounting options available. Sizes longer than 48 inches
are shipped loosely rolled and include a protective laminate
backing provided at no additional charge. All sizes now
available in Kodak
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Kodak
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FOR AN 8x10
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Fish Creek
62
RF_62_68PYSK_Jahiel_Cowboy_DarConte.indd 62 11/16/2012 8:00:21 AM
The Great Basin, an inhospitable stretch of land that sits between Reno, Nevada,
on the west, and Utahs Salt Lake City on the east, is often described as dry, barren,
and woefully desolate. But for those whove spent any significant time in this rug-
ged region (and they are few and far between), the basin is alive and kicking, even
if it doesnt always appear to be. The basins wildlifepronghorns, jackrabbits and
coyotesshare this harsh environment with a handful of scrappy, hardworking
cowboys. Adam Jahiel has been photographing these mythical men for 22 years now,
and will continue to do so until hes photographed the proverbial last cowboy. Jahiel,
originally from California and now residing in Wyoming, has worked in the motion
picture industry on a variety of projects, from major films to HBO comedy specials.
In addition, he was the photographer for the ground-breaking French-American
1987 Titanic expedition. His images have appeared in numerous publications, in-
cluding Time, Newsweek, The New York Times, National Geographic and The Day in
a Life of book series.

Cowboy Code and Culture
The Last Cowboy project began as the result of a quirky editorial job that required
Jahiel to photograph a celebrated rodeo bull named Pacific Bell that resided on a
ranch on the California/Nevada border. The nickel dropped, says Jahiel, who took
one look around the ranch and realized hed met his calling. [The shoot] resonated
with me on a personal level. I didnt have any intentions of doing anything more with
it, I just wanted to capture that one assignment [of the bull] and have fun shooting
and printing it. But it became an addiction and little by little, he says, he spread his
wings and photographed at various ranches throughout the west. The whole cow-
boy culture varies greatly from Wyoming to Nevada to Texas, explains Jahiel, who
says he wears a very different hat when hes shooting in Nevada. Theres something
about the landscapethe sky, the empty miles of terrainthat really appeals to me.
Those same elements, he notes, dont seem to exist for him in Wyoming or other
states. I think its just the emptiness, he says. Without Las Vegas and Reno, I think
Nevada would be the least populated state in the country.
In the summers, the cowboys live nomadic lives, traveling from cow camp to cow
camp. In Wyoming, the proximity to homes and towns [from the ranches] is more
accessible. After work, it seems people can live more normal lives. But in Nevada,
the cowboys are cut off from all that, says Jahiel, who enjoys the solitude and consid-
ers it a huge luxury not to be plugged in all the time. He basically moves in and lives
By Lorraine A. DarConte
Adam Jahiel
The Last Cowboy
Photographers You Should Know
63
64
with the cowboys for short periods of time. I
become a part of the crew, part of the family.
We ride together, eat together, camp together,
and move together, he says. Much of the
time that I spend photographing is when the
cowboys are out on the wagon. This refers
to the old chuck-wagons, which have mostly
disappeared. During the spring and fall espe-
cially, the cowboys set up camps for days or
weeks at a time, round-up and brand calves,
then move on to a different spot. The biggest
challenge that faced Jahielwhether or not
hed be accepted by the cowboyscame early
in the project. Its a closed, private world
where outsiders are few and far between and
people are a little bit leery of photographers,
observers, and interlopers that want to move
in with them for short periods of time. Theres
some sort of code that exists, believes Jahiel.
I promised myself Id keep my eyes open, my
mouth shut, and mind my Ps and Qs. Thanks
to his relaxed attitude, the cowboys granted
him access. There were other challenges too.
Throughout the years, dust was one of Jahiels
main nemeses. For years I would carry a
little paint brush in my back pocket. As I was
taking pictures and getting covered with dust
and alkali, Id try to brush off whatever was
on the outside of my lens. Miraculously, my
equipment, a Mamiya 6 (the square format
suits me), faired incredibly well for years and
years. In fact, Im still using some of the same
cameras and lenses I started with.
The style in which Jahiel works hasnt
changed much over the years and hes still fas-
cinated by the same people and places. For
me, the subject often dictates the approach,
and so I let it take me where it will take me.
When I started out, I was shooting from the
gut, he describes, and Im still doing that.
Im as excited about the project now as I was
in 1989. The same things appeal to me
the space, the skies, the loneliness, and the
dust. But it isnt all about empty landscapes
and unforgiving weather. Throughout the
project, Jahiel has also captured numerous
revealing portraits. His secret to capturing
a natural portrait is his ability to blend in.
Im a member of the fly-on-the-wall/try-
your-best-to-be-invisible gang. If you watch
closely enough for long enough, he explains,
youll pick up on lifes patterns. Jahiel be-
comes familiar with the cowboys personali-
ties and habits and can anticipate situations
where theyll move or behave in a certain
way. He can then move in and get the shot.
Three Men and a Tub
Building a Loop
ADAM JAHIEL
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Heroes and Documentaries
The series is divided into two segments
hero and documentary. Its not that I divide
the pictures, explains Jahiel, but I notice
they are divided. When I started publish-
ing and selling the work through galleries,
I realized the kind of images people often
wanted to put on a wall were the iconic
imageswhat I call hero pictures. Theyre
kind of punchyrunning and bucking
horses, and iconic portraits. His more doc-
umentary-style shots, which have historical
importance, arent always as flashy. Instead,
they often tell subtle little stories that Jahiel
finds fascinating. I love the stories and the
images that have multiple stories happen-
ing at once, he says. Its fun to be able to
present this work in either a large show or
publication because I can then include im-
ages from each category.
When Jahiel first set his camera on cow-
boys over two decades ago, there was a
large number of big ranch outfits in opera-
tion. As time went by, the numbers dwin-
dled and the ranchesand cowboys
began to fade away too. For me, thats the
sad part, although the whole disappearing
cowboy scenario has been such a clich for
years. Jahiel says todays cowboys tend to
be young kids that either only work in the
summer or on family ranches as opposed
to career cowboys from days gone by. It
looks like cowboys are fewer and fewer
and younger and younger, he reiterates.
It really has changed a lot. Hence, Jahiels
images will someday soon depict a lifestyle
Remuda, Spanish Ranch
ADAM JAHIEL
www.bigblackbag.com
067_RF_BigBlackBag.indd 67 11/18/2012 10:56:44 AM
68
that no longer exists, and he feels pretty
good about that. As I said, my intention
wasnt to make great art or a documentary.
It was a completely personal venture that
after awhile, took on a life of its own. In
retrospectand I learn lots of things about
myself in retrospectit turns out I was
able to capture the end of an era.
Someday in the near future, Jahiel hopes
to publish a book of the work. I dont know
when, says Jahiel, who admits to having
an antiquated notion of what a book is (it
should be sold in a book store, published
by a nice publisher and feature beautiful
black-and-white reproductions). But, I
think it will happen someday when people
look at the work not as eye candy but as a
slice of life. In the meantime, hes turned
his camera toward other horse cultures.
A few years ago I got involved in a project
in Kyrgyzstan, which is amazingly similar
to Nevadas Great Basin. The geology and
light is so familiar; its really uncanny. And
of course, its a horse culture, which is the
real appeal. Its more Wild West than you
find in the U.S. these days as its basically
untouched. When Im there, I feel Im put-
ting on a similar hat to Nevada, concludes
Jahiel, and thats put the hook on me.
To view more of Adam Jahiels work,
visit www.adamjahiel.com.
Lorraine A. DarConte is a freelance writer/photogra-
pher living in Tucson, Arizona. Her work has appeared
in numerous publica tions including Rangefinder,
Studio Photography & Design, Newsday and
Tucson Visitors Guide.
Boot and Stirrup
ADAM JAHIEL
www.portraitprofessionalstudio.com
PortraitProRangefinder v11.indd 1 24/09/2012 16:13:39
069_RF_Anthropics.indd 69 11/18/2012 10:57:27 AM
www.bayphoto.com
www.bayphoto.com/metalprints
www.apertureacademy.com
www.bayphoto.com
T
he editors of Rangefinder
are thrilled to unveil the
answers from our Reader
Survey, where more than 700
of you weighed in on a range of
industry-related questions. Weve
tallied the results and compiled
the lists of some of your tried-and-
true favorites, including the Top
10 Must-Have Photo Accessories,
Photo Upsells, Favorite Wedding
Venues, Favorite Wedding Details,
and more (pp. 73, 74). We also
introduce the 10 Most-Sought-
After Wedding Photographers of
the Year, nominated by magazine
and blog editors throughout the
industry (p.75). And if youre
looking for new wedding blogs to
submit to, we combed the Internet
for the highest trafficked alternative
and regional sites (p. 86). Keep
in mind: These lists are not all-
inclusive: if you dont see your
favorite person or thing mentioned,
theres always next year! Thank
you to everyone who took our
survey, and we hope you find
something valuable in knowing the
preferences of your peers.
72
YEAR-END
REVIEW
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TO VIEW
SLIDE SHOW
RFM_8_375x10_875.indd 1 11/20/12 4:49 PM
73
Notable contenders: jewelry/accessories, the veil, pre-party
reception venues, the bride herself and makeup. More creative
details? Cookies, a huge tradition in our area, The grooms
stuffcuff links, ties, belts, shoes, Couples bare feet after
event and Family heirlooms.
1 Rangefnder
2 Professional Photographer
3 The Knot
4 Style Me Pretty
5 Grace Ormonde Weddings
6 PDN
7 Brides
8 Martha Stewart Weddings
9 National Geographic
10 Vogue
Publications
& Blogs
Where our readers most
want to be published.
Wedding Details
Whats most popular to shoot?
1 Rings
2 Dress (including lace and back of dress)
3 Shoes
4 Table set-up
5 Flowers/Bouquet
6 Cake
7 Hands
8 Bride and Groom intimate/kiss
9 Invitations/Place cards
10 Faces

Best and Brightest
30
Rising
Stars
Ne ws , t e c h n i q u e s a n d i n s p i r a t i o n f o r t h e p h o t o p r o f e s s i o n a l WWW. P DNONL I NE . COM
MAY 2012
P HOT O DI ST R I CT NE WS
The Wedding
andevenTsissue
Why
Brazils
adsare Cool
hoW TogeT
greaT
audio
for your
videos
Top Knots
Winners gallery
hoW
Wedding
PhoTogsgeT
adJoBs
5Wedding
Blogsthat love
PhotograPhy
gearUP for
hd video:
13essentials
THE TOP
THE TOP
Theres just something about a perfect photo of a wedding
cakeone that makes the cake look as delicious as it is
beautiful. Its such an iconic wedding image.
Christy Weber, Co-founder and Executive Editor,
JunebugWeddings.com
My favorite wedding details to publish are the
things that matter, not details that are created for
the sake of being pretty. A grandmothers Bible
used in the ceremony, a hand-written page of vows
or mamas Blue Ribbon peach pie for the recep-
tionthose are the most compelling details, as
they tell a story rich with family, culture and love.
Lara Casey, Editor-in-Chief,
Southern Weddings magazine
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RF_TopTen_72_86.indd 73 11/16/12 3:27:41 PM
1 Family Portraits
2 Wedding Albums
3 Canvas Wrap
4 Hardcover Coffee Table Photo Books
5 Boudoir Shoots
6 Maternity/Newborn Sessions
7 Portrait Sessions
8 Senior Portraits
9 Engagement Sessions
10 Large Framed Prints

Runner ups: Digital Files, Parent Albums, Pinup Shoots
74
Holiday Gifts
for Clients
THE TOP
THE TOP
1 70-200mm 2.8 Lens (Canon EF 70-200mm f/2.8L
USM Telephoto Zoom Lens or Nikon AF-S Nikkor
70-200mm f/2.8G ED VR II Lens)
2 50mm Wide Aperture Lens
(AF-S Nikkor 50mm f/1.4G Autofocus Lens or Canon
Normal EF 50mm f/1.2L USM Autofocus Lens)
3 Westcott 40.5 5-in-1 Refector Disc
4 24-70mm Zoom Lens (Sony 24-70mm f/2.8 Carl
Zeiss T* Alpha A-Mount Standard Zoom Lens or
Canon EF 24-70mm f/2.8L II USM Zoom Lens)
5 Canon EOS 5D Mark III
6 RadioPopper PX System
7 Gary Fong Lightsphere Kit
8 PocketWizard FlexTT5
9 Light Meter (Sekonic L-308S)
10 85mm Lens (Nikon Telephoto AF Nikkor 85mm
f/1.4D IF Autofocus Lens or Canon 85mm f/1.8
EF USM Autofocus Lens)
Must-Have
Photo Accessories
THE TOP
1 Holiday cards
2 High-quality prints
3 Gift Certifcates (for portrait session or prints)
4 Chocolates
5 Photo Calendars
6 Christmas Photo Ornaments
7 Mini Albums
8 Postcards
9 Bottles of Wine
10 Starbucks Gift Cards
Photo Upsells
More Creative Gift Ideas:
Custom chocolate-covered Oreo cookies
with my logo on them. Natalie Sinisgalli, Photographer
For vendors, I send them a book of their work
for all the weddings we have worked on together that year.
Britta Rivera, Photographer
RF_TopTen_72_86.indd 74 11/16/12 3:27:43 PM
75
Ryan Ray
Most-Sought-After
Ryan Ray has had a breakout year, and we are so delighted and grateful to have had his work gracing our
2012 cover! It couldnt have happened to a nicer, more talented guy.
Emily Tomas, Creative Director, Southern Weddings Magazine
THE TOP
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RF_TopTen_72_86.indd 75 11/16/12 3:27:47 PM
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A name mentioned repeatedly this year, not only because of her 2012 book, Te Luminous Portrait, but
also because of her dinstinctive style. We admire Elizabeth Messina, because she has pioneered a whole genre
of romantic, natural light portraits and details.
Christy Weber, Executive Editor, JunebugWeddings.com
Elizabeth Messina
Most-Sought-After
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Davina Palik and Daniel Kudish seem like theyre too fun to be seriously phenomenal photographers, and
too young to have the distinguished careers that they have, but they are and they do. Tis incredibly talented
award-winning team delights discerning couples from around the world and impresses editors and photo
curators everywhere. Just check out their portfolio and blog where youll fnd hundreds of gorgeous, hilarious,
tear-jerking images. Blair deLaubenfels, Co-founder, JuneBugWeddings.com
Davina + Daniel
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I love Heidis shots because they feel so candid, yet theyre brimming with detailsthis one (above, left)
showcases the brides dress beautifully as well as her bouquet and the grooms boutonniere. Plus, they both
look so happy. Its just a lovely image all around. I publish absolutely every submission she sends me, and
Im also usually begging her for more. Sarah Darcy, Editor of Classic Bride Blog
Heidi Murphy
White Loft Studio
Most-Sought-After
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RF_TopTen_72_86.indd 78 11/16/12 3:27:57 PM
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I love the details Christian captures. Its all the little things, those stolen moments that often go unnoticed,
that make his work so wonderful.
Lauren DeCarlo, Editor, New York Weddings
Christian Oth
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RF_TopTen_72_86.indd 79 11/16/12 3:28:00 PM
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Brian is really great at getting those shots that are so perfect, yet unstaged and natural. Teyre the photos
you actually want to frame and look at every day. You can sense what everyone is feeling in that moment.
Brian Dorsey
Most-Sought-After
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RF_TopTen_72_86.indd 80 11/16/12 3:28:04 PM
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Celebrated wedding photographer, photojournalist, author and educator, Ryan Brenizer works tirelessly
to create images that are rich in meaning and expertly captured. Revealing overwhelming moments flled
with joy and tears, as well as subtle, intimate connections, Brenizers fne-art images speak volumes about
whats most important in the lives of the people he photographs. Clearly image-obsessed, but not obsessed
with his own image, hes a regular contributor to Amazon.com where he generously shares his expertise
with up and coming photographers. Brenizer lives in New York and travels the world capturing moments
and memories like no else can. Blair deLaubenfels, Co-founder, JuneBugWeddings.com
Ryan Brenizer
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Patricias work is always fawless and she has a unique eye for capturing details. I love this shot
(above) because it captures an incredibly sweet detail that is both unexpected and candid.
She transforms the standard bridal shot by capturing the sweet fower girl dreamily looking on at
the bride. I fnd it so darling.
Sarah Darcy, Editor, Classic Bride Blog
Patricia Kantzos
Most-Sought-After
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Jose Villa remains one of the most humble artists Ive ever met. He continues to choose projects that make
his heart soar and that translates to his work. My rule: if youre not excited about it, no one will be.
Following your innate passion as an artist will always lead you to produce your most authentic work.
Tere are so many phenomenal photographers, but Joses work continues to evolve and be sought-after.
Lara Casey, Editor-in-Chief, Southern Weddings Magazine
Jose Villa
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Creating lushly-saturated color photos and rich black-and-whites that are sensational, surprising, and
downright sexy, Ben and Erin Chrisman are masters at revealing moments in a unique way that set
trends in wedding photography. Living in the San Francisco Bay area, they spend most of their time
traveling to photograph weddings for couples that seek them out for their renowned artistry, and generously
teaching other photographers how to raise the bar with their own work.
Blair deLaubenfels, Co-founder, JuneBugWeddings.com
Ben and Erin Chrisman
Most-Sought-After
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RF_TopTen_72_86.indd 84 11/16/12 3:28:18 PM
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1 Basilica of the Sacred Heart at
The University of Notre Dame, IN
2 Blackacre Nature Preserve, Louisville, KY
3 Stowe Botanical Garden, Belmont, NC
4 Balboa Park, San Diego, CA
5 Casa Real at Ruby Hill Winery,
Pleasanton, CA
6 Charles Deering Estate, Miami, FL
7 Belhurst Castle (Finger Lakes Wine
Country), Geneva, NY
8 Oheka Castle (Gold Coast of Long Island),
Huntington, NY
9 The Ashford Estate, Monmouth County, NJ
10 Hanalei Bay, Kauai Island, Hawaii
Favorite Wedding
Venues
The Little Chapel
in the Woods in
Denton, Texas, [is
my favorite venue]
because it features
beautiful stained-
glass windows
depicting women of
various professions;
a gorgeous, tight-
winding staircase;
and lovely lanterns
suspended from the
high ceiling.
Shaina Sheaff,
Photographer
Every new location turns into a favorite! Even
the challenging venues, because they force me to
work harder to get those golden images.
Caitlin Cooper, Photographer
Where do editors fnd inspiration?
The best inspiration comes from couples who submit photos from their weddings. I
love to see frsthand the different vendors they choose, how they personalize various
locations around the city, and the coolest, newest trends theyre incorporating.
Each wedding feels completely unique. Its also fun to dip into archive photos to
see weddings from the 1920s and 30s. The style from that time, coupled with the
architecture of the city is stunning. Its truly inspiring.
THE TOP
1 Ansel Adams
2 Jerry Ghionis
3 Monte Zucker
4 Joe McNally
5 Sue Bryce
6 Henri Cartier-Bresson
7 Bambi Cantrell
8 Annie Leibovitz
9 Elizabeth Messina
10 Jose Villa
Photographers
Who Inspired You
(to get into photography)
THE TOP
Jerry Ghionis Bambi Cantrell Elizabeth Messina
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1 Rock N Roll Bride www.rocknrollbride.com
2 Bridal Snob http://bridalsnob.tumblr.com
3 The Brides Cafe www.thebridescafe.com
4 The Perfect Palette www.theperfectpalette.com
5 La Belle Bride www.labellebride.com
6 So Youre Engayged www.soyoureengayged.com
7 Off Beat Bride http://offbeatbride.com
8 Sparkle And Hay http://sparkleandhay.blogspot.com
9 Rock My Wedding www.rockmywedding.co.uk
10 Poptastic Bride http://poptasticbride.com
1 Green Wedding Shoes, Southern California
http://greenweddingshoes.com
2 Brooklyn Bride, Brooklyn, New York
http://bklynbrideonline.com
3 The Landlocked Bride, Midwest
www.landlockedbride.com
4 Austin Wedding Blog, Austin, Texas
www.austinweddingblog.com
5 Southern Weddings, Southern United States
http://iloveswmag.com
6 A Northwoods Wedding, Minnesota
http://anorthwoodswedding.com
7 Floridian Weddings, Florida
http://foridianweddings.com
8 Couture Colorado, Colorado
http://couturecolorado.com
9 Apple Brides, Pacifc Northwest
http://applebrides.com
10 Wedding Obsession, Canada
www.weddingobsession.com
When I look at bridal publications and blogs, many of the same ideas
and images are just being recycled, so I like to visit non-wedding publi-
cations and blogs for inspiration. They help me come up with fresh ideas
for my own blog. I have a list of style, personal and cooking blogs that
I reference when Im feeling uninspired. Art museums can also be quite
inspiring.Sarah Darcy, Editor, Classic Bride Blog
1 Style Me Pretty www.stylemepretty.com
2 Jasmine Star www.jasminestarblog.com
3 Green Wedding Shoes http://greenweddingshoes.com
4 The Knot www.theknot.com
5 Digital Wedding Forum www.digitalweddingforum.com
6 Jerry Ghionis www.jerryghionis.com
7 Junebug Weddings http://junebugweddings.com
8 Digital Pro Talk http://digitalprotalk.blogspot.com
9 Wedding Chicks www.weddingchicks.com
10 Knotty Bride http://theknottybride.com
THE TOP
THE TOP
THE TOP
Ten Alternative
Wedding Blogs
Regional
Wedding Blogs
Wedding
Blogs
Industry Blogroll
RF_TopTen_72_86.indd 86 11/16/12 3:28:24 PM
www.zenfolio.com
Photo by Laura Tillinghast | Zenfolio user since 2009
YOUR WEBSITE SHOULD BE TOO
See why thousands of photographers
switch to Zenfolio every month
B
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087_RF_Zenfolio.indd 87 11/18/2012 10:58:19 AM
88
Rangefnders staff members thought it would be fun to each choose our single fa-
vorite image published in the magazine in 2012, and share why we found it so spe-
cial. Our picks show the range of tastes and themes that speak to us as individuals.
Our
of the Year
Favorite Images
The children here have a spontaneous, natural
look while at play. Theyre being mischievous yet
they still look so innocent. The concept really hits
the mark for me.
Carl Lozada
Art Director
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As someone who shoots
racing action outdoors,
I appreciate the timing
and positioning of all the
elements in this shot. Oh,
and the lighting on the
rocks, cyclist and clouds
way, way in the background
are all perfect.
John Rettie
Technical Editor
From Shooting School Sports Like a Pro: The Definitive Guide,
in Augusts Back to School issue.
From Jason Lee: Kid Portraits with a Twist, in Julys Portrait issue.
YEAR-END
REVIEW
RF_88_90_staff_picks.indd 88 11/16/12 9:36:09 AM
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I love this image for several
reasons: the nostalgic
quality, offset by the edgy
vibe of the two hipster
subjects; the colors; the
reections; and the fact
that the subjects are friends
of the photographer.
The longer I stare at this
particular image, the more
layers I peel back. I love that
about Visones work, and I
love that she nds time to
pursue her personal projects,
which, to me, is what keeps
all photographers on their
creative toes.
Jacqueline Tobin
Editor -in-Chief
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I chose a portrait of singer Anna
Nalick, from our January cover, by
Jeremy Cowart. Its the tiny details
that make this image so interesting
to methe delicate, double rings
on her pinky; the feather in her
hand; the beading in her fascinator.
Also, the colors: muted green and
tan highlight her rich, red hair and
purple eye shadow. Its hip, artistic
and made the perfect cover; it also
proves that bridal portrait inspiration
can come from someone whos not
even a bride.
Jessica Gordon
Associate Editor
The cover image of Januarys WPPI Preview Issue, related to the story, Heart of Gold.
From Februarys Photo Finish column, Paris Visones Personal Vision.
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I like the movement on this
photo created by the composi-
tion. The use of color, as well as
the dream-like and artistic ap-
proach, invites you to see more
of Urbans work. There are few
instances where HDR actually
works on wedding images, and
I believe this is one of them.
Susan Cegarra
Creative Director
My photographic tastes tend
toward photojournalism. I have
a particular passion for historical
moments and the smaller mo-
ments that surround themthe
way history lays its effects on
everyday people. Shome Basus
On the Streets of Kabul cap-
tures this conict quite dramati-
cally. A father and son look quiz-
zically at the camera, two soldiers
stand stoically at attention, while
an explosion of birds centers the
frame. The conuence of motion
and emotion captures a tableaux
of post-war Kabul without the
sensationalism.
Harrison Jacobs
Freelance Editor
From Neal Urban: Brides Took Over My Life in Februarys Wedding issue.
From Shome Basu: Conflict-Torn in Marchs Fine-Art Issue.
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of the Year
Favorite Images
www.tamron-usa.com

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Drawing on the beauty of light
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the subtle aspects of beauty with Tamrons all new, high-speed standard zoom that gives
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By David J. Carol
favorite
things
David Carols
When I was frst asked to compile a list of my favorite photographic things for Rangefnders end-
of-year Issue, I balked. Its not an easy task because I have met so many amazing photographers
and gotten to play with so many new photo toys this year. That said, I accepted the challenge with
one caveat: I wouldnt include anyone I had already written about in my Photo Finish column this
year. So, without further ado, I present to you my favorite things of 2012! Enjoy!
I am a photographer above anything else, so if Im going to honestly list my favorite things of the year I must include my own favorite
photo. It was a tough choice between five or six, but in the end I went with this photo that I took on a back road in Maine this past
summer. It exemplifies what interests me when Im alone on a road trip. Im not convinced its my absolute favorite (I never really have
one favorite at any given time), but its definitely one of my top contenders for 2012.
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REVIEW
My Favorite Photo
RF_92_96_Carol_.indd 92 11/16/2012 11:34:58 AM
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I met Mathieu Young while reviewing his portfolio at PhotoPlus Expo in 2011. Young uses lighting in unique and original ways to focus
our attention and draw us deeper into his images. He has told me that he attempts to blend his experience with commercial production
and his training as a photojournalist to make produced situations feel real and real situations feel heightened. His work has been in
Time, Rolling Stone and on CNN. (http://mathieuyoung.com)
I was introduced to Jessica Lehrmans work by photographer Paris Visone earlier this year. Lehrmans images are about presenting
people in a truthful way. From fans and musicians at large music festivals to the Occupy Wall Street protesters in downtown Manhattan,
she gets us personally involved through her photos. Says Lehrman: I just shoot because Id die if I didnt. I hope people see me as
someone they can trust to shoot their family, as someone that can fit in with rappers and grandmas, religious fanatics and hipsters...
I love people, I really do. Her work has been published by Rolling Stone, Spin and Billboard. (www.jessicalehrman.com)
Its a joy for me to see these two bright, young stars establishing long, solid foundations in the world of photography.
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My Favorite Photographers
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Lenscratch (www.lenscratch.com) is a great place
to see photographs, interviews and the writings of
Aline Smithson.
Says Smithson: When I created Lenscratch six
years ago, it was simply to learn about fine art
and documentary photographers in a significant
way. Writing daily about photography and photog-
raphers has enriched my life in so many ways. Ive
connected with hundreds of photographers, taken
the time to understand their intentions and view-
points and provided exposure they might not get
elsewhere. I also create opportunities for exhibition,
giving emerging image-makers a chance to stand
next to established photographers. One of the best
rewards is that the exposure on Lenscratch often
leads to exposure elsewhereit makes me feel like
I am giving back to a community that has been so
good to me.
FotoVisura Inc. (www.fotovisura.com/home) provides numerous outlets for photographers worldwide, including an online photo sharing
community and self-publishing platform known as FotoVisura.com, which is becoming an in-depth resource with information about pho-
tographers and their work. Theres also Visura magazine, an online publication featuring personal projects by photographers; education
through workshops and portfolio consultations; exposure through exhibitions in formal gallery settings; and, FotoVisura offers grants to
help photographers continue their personal work.
FotoVisura is a creative firm in New York City dedicated to photography that specializes in publishing, design, production and online
media, say co-founders Adriana Teresa Letorney and Graham Letorney. Its mission is to develop a model that facilitates the career and
creative development of student, alumni and emerging photojournalist as well as other photographers in the different fields. Our goal is
to increase job opportunities for all photographers.
My Favorite Photo Blogs
David Carol
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The Wedding Artists Collective is a one-stop
shop for all wedding needs. Great photographers,
creative designers, video...pretty much everything
you need to capture a wedding!
I asked founder and manager Lisa Raffo Ashley to
describe what the group is all about. The Wedding
Artists Collective is based New York and Southern
California, with a focus on photography, Raffo
explains. We also offer filmmaking by the insanely
talented duo, The Cana Family, floral design by
Brooklyn based artist Ariel Dearie, and custom
invitation design by Ice Cream Social. If you cant tell,
were huge fans of natural light, all things vintage,
gorgeous design and most of all, people in LOVE.
(http://theweddingac.com)
All Photos Courtesy The Wedding Artists Collective
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Wedding Images
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Quantum has come out with another winnerthe Omicron 3 LED
Ring Light is just what the doctor ordered. It operates in constant
on mode for shooting video segments and switches seamlessly to
flash mode for capturing still. You can even get full TTL with Canon
or Nikon by using the Quantum CoPilot. This portable ring light is an
obvious choice for wedding portraits, head shots or any job where
you want a small piece of equipment that carries a big punch.
The Sony NEX-7 is cool! Yes, its
a great camera, everything you
need, all the bells and whistles.
But thats not why I chose it as
a favorite. I love it because it
feels like a real camera, solid and
intuitive. It takes the wonderful
Sony lenses, but it also takes Carl
Zeiss lenses too! At the end of
the day, I want a camera that I
feel connected to, not just a hand
held camera/computer. The Sony
NEX-7 is that camera. I love it!
The Canon PowerShot 20D underwater camera is awesome. For
the last few years, I have carried around a little digital point-and-
shoot inside an underwater housing. Its fine, does the job, but its
bulky and Im always worried it might leak. Canon to the rescue!
Earlier this year, I was on the beach in Mexico when I saw a kid
playing with a little blue camera. I asked her parents what kind
of camera it wasand Ill tell you what it was: the solution to my
problem. I got back to New York City and bought one right away,
including the accessories pack. This little baby is awesome; it even
comes with a bubble type deal that you attach to the camera to
make it float. Just throw it in the pool and let the kids have fun with
it. Canon PowerShot 20Dproblem solved!
My Favorite Products
David Carol
RF_92_96_Carol_.indd 96 11/16/2012 11:35:25 AM
www.photobiz.com
097_RF_Photobiz.indd 97 11/18/2012 11:01:48 AM
Hip Holidays
The holiday cardwhere the family portrait is kingbroadcasts a story
defning the whole year, usually with one picture. The ingenious photographers fea-
tured here reveal what inspired their joyful, revelatory shots.
By Sarah Kinbar
Photo booths have been a love of mine for as long as I can remember. Every
time I see one, I am in it, along with whomever Im with, and I have a great
collection [of pictures] now. I even collect books of photo booths, and have a
photo booth app for my phone! I have been sending these out every year for
the past fve years, but this card is from last year; I sent it out with a No. 10
envelope with a string and button. Everyone seemed to love it.
Eve Kakassy Brooklyn, NY petitesimone.com
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YEAR-END
REVIEW
RF_98_101_HolidayCards_Kinbar.indd 98 11/16/12 4:29:00 PM
We have been shooting a personalized Christmas card for 14
years and its become the most anticipated correspondence
we send to family members. I didnt plan it this way but over
the years it has also become the most sought-after promo
I send to clients. During the previous summer, I embarked
on a personal project to photograph rally bikers across the
American west. For months after, I was editing and retouching
graphic, black-and-white portraits of leather-clad bikers cov-
ered with tattoosI came to love how people were living out
loud through their tattoos and proud of it. When it came time to
shoot our holiday card, I thought it would be a really playful and
personal take on ChristmasSanta as a biker. I literally have
clients who ask months in advance what we are going to do
for our next card. We love the holidays and sharing with family
and clients makes the whole season that much richer.
Michel Leroy New York, NY michelleroyphoto.com
This shoot taught me to let go and let my children
tell the story. For this image, I wanted perfectly posed
children, pristinely dressed and cute as buttons. What I
got were over-excited beasts that wouldnt sit still while
fghting the process the whole time. When I thought I
was going to just scream, I asked them to do it instead.
As long as they were screaming, they would stay still
long enough (without crying) for me to get a shot. I chose
this image for our card because it really shows our loved
ones what our life was like at the time...chaos, pristinely
dressed and cute as buttons!
Nicole Kinbarovsky Austin, TX eastsidecreative.com
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The charm of this card is its raw joy, the cheer expressed by
a six-month-old thrilled to smile for the camera. This young,
modern couple wanted a simple holiday theme that would
let the image shine; this card frames the excitement of their
frst child in happy purples and yellows, and a nontraditional
design. To me, this holiday greeting radiates joy and warmth,
even if its not red and green. Who wouldnt love for this
happy family to land in their mailbox?
Anna Powers, Sunbright Sparrow Studio
Orlando, FL sunbrightsparrowstudio.com
When commemorating a special milestone,
many of our clients opt for a studio shoot as
opposed to shooting on-location. In this case,
it was Sams frst Christmas and her frst birth-
day. The clean, white look of the studio allows
for the outfts to be more stylized and playful,
which our clients really embraced in prepara-
tion for their shoot. This shot is a bit of an
in-between moment where father and daughter
were having some real fun on set, and the
camera kind of disappears. We love this image
because it fully captures the incredible joy she
was experiencing in that momentcomplete
unadulterated funin the way someone that
age can! Formally, we love the colors, the com-
position, and of course how incredibly high she
is soaring over her dads head.
Bellamy Blue New York, NY
bellamyblue.com
Hip Holidays
THIS IS HOW WE DO IT
Bellamy Blue: We dont print cards for our clients. Instead,
we direct them to our favorite DIY printers once they receive
their custom retouched jpgs from us: Minted, TinyPrints, Printed
Culture and William Arthur. The cards are gorgeous, fast and in-
expensive.
Michel Leroy: I usually use iPhoto cards or NextDayFlyers.
com because you can order smaller quantities. We send out
about 125 cards each year. They both have great quality printing
and are really easy to use.
Petite Simone: Mine are handmade by me on my Epson
3800, with Moab paper and acid fee tape.
Michael Jurick: To achieve the unique deck of cards holiday
card look, we hired a New York designer who specializes in cus-
tom-made invitations. The paper stock was thick to give it some
heft, about 120 grams, and we used matte for a classic look.
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With the sheer size of my daughters skirt and hair
in these images, I knew a simple, clean backdrop
with small pops of texture and color would make a
big statement. After salvaging four pole barn doors, I
fashioned my outdoor studio, hung a chandelier out
of the second story of our barn, and emptied out ev-
ery game box in our closet for the stacks of presents.
The picture in my head had a touch of Vogue coupled
with seven- and nine-year-olds personalities.
What a mix!
Erinn Finlan Milwaukee, WI
ef-photography.com
101
[From the client]: I knew that I wanted to do an indoor
shoot after we had done two years outdoors; I wanted to
have a white background in a controlled setting, with im-
ages about the subject and not the surroundings. I love how
the images pop on the white studio background.
[From the photographer]: This card arrives in the mail as
a small envelope; you open it up, and its actually a deck of
cardsof the family! The family made the mom the Queen,
dad the King, son the Prince, daughter the princess
and their youngest daughter Joker. We had so many great
shots from this session, but for these cards, we wanted
them all to be somewhat close-up and full smiles. The kids
had a great time during this shoot; music was playing in the
studio and their spirits show in the photos.
Michael Jurick New York, NY jurick.net
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angefinder and WPPI are proud to announce the
winners of the second annual Take Your Best
Shot photography contest. Photographers
from all over the world were asked to submit their very
best images featuring places, people or things.
The Grand Prize was awarded to Matt Andrews of Nashville,
Tennessee, for his image titled Gaelic Angels. As part of
his grand prize package, Andrews image is featured on this
months cover of Rangefinder. We would like to thank our
judgesRedbook photo director Bruce Perez, DDB Londons
head of art buying Daniel Moorey, Leo Burnett art buyer Leila
Courey, and Rangefinder executive editor Jacqueline Tobin
and all of the many talented photographers who entered.
Congratulations!
CONTEST
Presented by
Photographer: Matt Andrews
Title: Gaelic Angels
Caption: I captured this on a farm in Ireland, just a mile or so away from the Irish Heritage site, Br na
Binne. Those doves roosted in the barn that you can barely make out in the background. Every time I moved,
they would explode like this and then come right back for more seed. I loved the way they flled the frame and how
the sun lit up their feathers.
Bio: Matt Andrews is a professional photographer in Nashville, Tennessee, who shoots 40 to 50 weddings a year.
PLACES
PHOTO MATT ANDREWS
GRAND
PRIZE
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Photographer: Tracey Taylor
Title: Swan Lake
Caption: Lake Kussharo in Akan Na-
tional Park, Hokkaido, Japan. It is the
largest lake in Japan to completely
freeze over in winter. The sandy
shoreline has naturally heated sand
and hot spring water, so it provides
a warm place for the many beautiful
Whooper Swans to congregate.
Bio: Tracey Taylor is one of the
creative forces behind 37 Frames
Photography. This Australian photog-
rapher, with her love of Japan and
a passion for travel and landscape
imagery, has been based in Tokyo for
15 years.
Photographer: Robert C. Jenks
Subject: Maine Schooners
Caption: Film Image, Kodak Infra-
red black and white, 35mm
Bio: Robert C. Jenks, keeps the
family businessstarted in 1886
by his great-grandfather, William H.
Jenksgoing strong. As the world
moves forward with digital, Robert
follows his family past, still shooting
flm, from 35mm to 11 x 14.
PHOTO TRACEY TAYLOR
PHOTO ROBERT C. JENKS
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CONTEST
PEOPLE
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Photographer:
Antonio Martn
Title: Matador
Caption: This is a picture
I took while tracking a day
in the life of bullfghter Juan
Pablo Snchez. The photo
was taken just before leaving
for the arena and well refects
the tension of the moment
in his face right before the
bullfght.
Bio: Antonio Martn, from
Aranjuez, Spain, has dedi-
cated himself to photography
for almost 20 years, with a
specialty in weddings, studio
and editorial. My career is
based on hard work and train-
ing doing what I love: taking
photographs, he says.
105
Photographer:
Jamie Goodsell
Title: Refection
Caption: f/2.8, 1/250 sec,
ISO 100, 24-70 @ 34mm,
Canon 5D Mark III.
Bio: Jamie Goodsell is a
Nashville-based photogra-
pher who recently fnished
his BFA in Photographic
Imaging from The Art
Institute. He specializes in
live music/photojournal-
ism, editorial, and fne-art
photography. Learn more
about his work at
www.jamiegoodsell
photography.com

Photographer: Bill Gekas
Title: Doilies In Delft
Caption: Study of a character with
the underlying Golden Age aesthetic
of a past era.
Bio: Based in Melbourne, Australia,
Bill Gekas is a self-taught photogra-
pher who learned the techniques of
photography using a 35mm flm SLR
in the mid-1990s,then switched to
digital in 2005. I am practicing the art
of photography and constantly refn-
ing my style, he says.
PHOTO JAMIE GOODSELL
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Photographer: Stephanie Swartz
Title: Lion in the Shadows
Caption: This beautiful African lion found his light at the perfect moment for me to
capture it.
Bio: Stephanie Swartz is a commercial, editorial and wildlife photographer. Her clients
include OThe Oprah Magazine, Virgin Atlantic, The Dr. Oz Show, Yahoo, NBC, Fox, TLC,
Newsweek, Forbes, The Economist, The Independent, Scholastic Books, Scientifc Ameri-
can, The Los Angeles Times and The Chicago Tribune.
CONTEST
THINGS
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Photographer:
Christopher L. T. Brown
Title: Mossy Old Oak
Laying Back
Caption: Each central
California oak tree is unique
in character with its twisted
branches refecting the quiet
struggle of life.
Bio: Christopher L. T. Brown
is a technologist, writer
and photographer living in
Solvang, California, with his
wife, Bobbie, and French
Bulldog, Annie. Brown
endeavors to explore and
create photographs that
portray the complex nature
of everyday life.
Photographer: Kristi Sutton Elias
Title: The Magnifcent
Caption: The ferce love and inten-
sity between a dog and his ball.
Bio: Kristi Sutton Elias, a fne-art
portrait photographer and artist
in Long Beach, California, likes
exploring all mediums of art,
from sketch to sculpture. I have
worked as a professional photog-
rapher and Photoshop artist for
the past 14 years, and through the
use of Photoshop, I found I could
channel different mediums and
artistic energies into one creation,
she explains.
PHOTO CHRISTOPHER L.T. BROWN
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Sponsored by
@RFWPPI #WPPI2013 wppionline
MGM GRAND, LAS VEGAS
I
learn it live it love it
WPPI Conference+Expo is the premier industry event for photographers and
image-makers specializing in the creative and business aspects of wedding and
portrait photography. The exciting week-long event combines educational
seminars with a major industry trade show and networking events, all designed
around learning the latest techniques, building new relationships and growing a
business in a friendly, fun environment all at one time, in one place.
CONFERENCE
7-14
EXPO
11-13
MARCH
www.wppionline.com
WEDDING & PORTRAIT PHOTOGRAPHY CONFERENCE & EXPO
2013
RF_108_113_WPPI_savedates.indd 108 11/16/12 4:24:30 PM
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WPPI U March 8-9
WPPI University is a 2-day workshop for emerging photographers
who envision a successful future in photography. Sharpen
your technical skills, learn how to run a proftable business, and
break out on your own using top marketing tips from industry
leaders! A WPPI Full Conference Pass is not required.
MasterClasses March 10-13
MasterClasses cover everything from wedding, portrait, and
post-production to business marketing and lighting and posing.
Dont wait too long to sign up, as these classes fll up quickly!
If youre looking for a smaller class setting, a MasterClass will
satisfy your learning needs. A WPPI Full Conference Pass is
required (Limited to 50 seats per class).
PLUS Classes March 7-8
Offered to WPPI Members only. A PLUS class is an intensive 2-day,
hands-on workshop with one of the best instructors in the photography
industry that will help you take your skills & techniques to the next level.
A WPPI Full Conference Pass is required (Limited to 20 seats per class).
Platform Classes March 10-14
There are over 100 Platform classes available for those who
purchase a WPPI Full Conference pass. These classes are
extremely popular and limited seating is provided on a walk-
in basis. However, you can reserve a seat by registering for
a Platform class using Pre-board. Pre-board lets you reserve
up to fve Platform classes. There are a limited number of Pre-
board seats available, so act fast for the best selection.
CONFERENCES
I
View Full Conference schedule: www.wppionline.com
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Evening Events March 10-13
After a full day at informative seminars and seeing amazing products
and services on the expo foor, network with fellow photographers
during the evening events. Join old and new WPPI friends for a night of
great entertainment, fun, food and refreshments.
A WPPI Full Conference Pass provides access to all evening events.
www.wppionline.com
EXPO & EVENTS
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3-day Expo March 11-13
WPPI 2012 drew over 350 exhibitors to its convention space in the
MGM Grand Hotel in Las Vegas. WPPI 2013 will be no different.
Experience new photographic products and solutions frst-hand
from the biggest and best manufacturers, solution providers
and retailers serving the needs of emerging and professional
photographers. Touch, test and compare the latest products
and fnd some amazing offers too.
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WPPI Launch Pad March 10
Take a sneak peek at the latest and greatest products from
WPPIs exhibitors before the expo opens. WPPIs Launch Pad
will be open to all media and WPPI attendees.
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Print & Album Competition March 9-10
Experience live judging at WPPI 2013. All 16 x 20 Print and Album
Competition entries will be critiqued and judged by renowned
photographers. Listen, learn and take notes as a panel of judges
evaluates images and albums from around the world.
Winners will be recognized during the WPPI 2013 Awards Ceremony.
Enter 16x20 Print Competition at www.WPPI16x20.com and Album
Competition at www.WPPIialbum.com by January 25, 2013.
PHOTO ELENA HERNANDEZ
Register Now! www.wppionline.com
Early Bird: Through December 14, 2012 Regular: December 15, 2012 - March 6, 2013 Onsite: March 7 - March 14, 2013
I
WPPI Member
$199 Early Bird
$275 Regular
$325 Onsite
Non-Member
$379 Early Bird
$399 Regular
$450 Onsite
Student
$20 Early Bird
$25 Regular
$30 Onsite
Full Conference Pass
WPPI U
$110 Early Bird
$125 Regular
$150 Onsite
PLUS Classes
$695 Early Bird
$795 Regular
$850 Onsite
MasterClasses
$55 Early Bird
$60 Regular
$65 Onsite
Conference Add-Ons
Must have a WPPI Full Conference Pass to add a MasterClass or PLUS Class.
PLUS Class is for WPPI members only.
PHOTO JARED PLATT
Expo Only Includes:
3-day Expo
Launch Pad
Expo Only
$25 Early Bird
$30 Regular
$35 Onsite
PHOTO ART SUWANSANG
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Full Conference includes:
1 FREE guest
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INFORMATION SUBJECT TO CHANGE WITHOUT NOTICE
RF_108_113_WPPI_savedates.indd 113 11/19/12 8:45:13 AM
The WPPI Awards of Excellence
Album Competition
COMPETITION IS NOW OPEN.
Register albums online by January 25, 2013
All albums must be in our office by February 1, 2013.
Online registration and complete rules are
available at www.wppialbum.com
DISCOVER YOUR POTENTIAL
PHOTO JENNIFER HUDSON
PHOTO ROB GREER
A
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B
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PHOTO ALEXANDER NOZDRIN
RF_114_115_16x20_ALBUM.indd 114 11/16/12 3:58:07 PM
1
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PHOTO JOE COGLIANDRO
PHOTO JOSELITO SY
The WPPI Awards of Excellence
16 x 20 Print Competition
COMPETITION IS NOW OPEN.
Register 16x20 prints online by January 25, 2013
All prints must be in our office by February 1, 2013.
Online registration and complete rules are
available at www.wppi16x20.com
DISCOVER YOUR POTENTIAL
RF_114_115_16x20_ALBUM.indd 115 11/16/12 3:58:11 PM
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Discount ASMP membership offer for frst-time members
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Join now and choose from 3 membership levels starting as low as $125:
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RF_116_WPPI_membership.indd 116 11/16/12 11:24:26 AM
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The LOFT Line of cards from Black River Imaging is a luxurious card printed on a 51 point
paper, creating a substantial thick card that is sure to impress. LOFT paper has a hint of
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INTRODUCING
BY
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117_RF_BlackRiver.indd 117 11/15/2012 2:41:17 PM
T
aken during the couples
day-after session on a
wedding shoot in Bhu-
tan, we had been told that
we would have access to
a ladder anytime we needed one. The
planner also informed us that there were
a lot of flower petals leftover from the
wedding. We didnt go into the shoot
thinking much of either of those pieces
of information, but as we were wrapping
up a foggy morning of shooting, Daniel
had the thought that it would be cool to
try an aerial view. Time was running out,
the couple had to get ready for a blessing
ceremony at a Buddhist temple, and of
course the rainwhich had held off all
morningwas starting to come down,
necessitating umbrellas. It was chaotic!
The original idea was to have petals in
the foreground of the image, so once the
bride was lying on the hotels patio, with
flowers spread all around her and the
umbrellas removed, a half-dozen people
who were helping us out (guests, the
groom, and staff at the hotel), threw
bunches of petals in the air.
It didnt end up as well as we wanted,
so we put extra effort into posing the
bride perfectly, making her breathe
through her mouth, and giving us the
expression we were looking for. We
were afraid that the wet petals would
start dyeing her Vera Wang dress, but
luckily they didnt! It was one of those
times where you have to push your
clients, and trust that good things will
come out of it! Then, as with all our
photos, we adjusted brightness, con-
trast, colors, vignetting, etc. Everything
on this image was done in Photoshop
CS6, using Camera Raw.
118
RF COOKBOOK
A Floral Morning
in Southeast Asia
By Davina + Daniel
INGREDIENTS:
Camera: Nikon D700
Lens: Nikkor 35mm f/2
Exposure: 1/4000 f/4 ISO 200
Lighting: Full-on natural light
Location: Amankora Resort, Paro, Bhutan
P
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RF_118Cookbook.indd 118 11/19/2012 7:04:53 AM
www.paulcbuff.com
119_RF_Paul_C_Buff.indd 119 11/15/2012 2:43:32 PM
www.bhphoto.com/catalog
Prices, specifcations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2012 B & H Foto & Electronics Corp.
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18-200/3.5-5.6 DX G
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EOS-5D Mark II D-SLR
Record HD Video 1080p Movie Mode
21.1 Megapixel Full-Frame Sensor 3" High
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EOS-7D D-SLR
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Dust & Weather-Resistant 8 fps Burst Mode
Selectable Video Exposure and Frame Rates
New 19-Point, All Cross-Type AF System
ISO 100-6400 (expandable to 12800)
Body Only............................................... #CAE7D
Kit with 28-135mm IS ................... #CAE7D28135 18
Mega
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AF Flashes
SB-400 ....................... SB-700 ..... 326.95
SB-910 .......................................... 546.95
R1 Wireless Twin Flash ...............................
R1C1 Wireless Twin Flash System ...............
DX ED-IF Lenses for Digital Only
10.5/2.8 Fish-Eye ......................................
35/1.8 G AF-S (52) ....................... 196.95
40/2.8 G AF-S Micro (52) .............. 276.95
85/3.5 G ED VR Micro (52) .......................
10-24/3.5-4.5 G AF-S (77) .......................
12-24/4 G AF-S (77) ................................
16-85/3.5-5.6 G AF-S VR (67) ..................
17-55/2.8 G AF-S (77) .............................
18-55/3.5-5.6 G AF-S II (52) ....................
18-55/3.5-5.6 G AF-S VR (52) ....... 196.95
18-105/3.5-5.6 G AF-S VR (67) ..... 396.95
18-200/3.5-5.6 G AF-S VR II (72) ......... 846.95
55-200/4-5.6 G AF-S (52) ........................
55-200/4-5.6 G AF-S VR (52) ........ 246.95
55-300/4.5-5.6 G AF-S VR (58) ..... 396.95
D-Type AF Lenses
14/2.8 D ED .......... 24/2.8 D (52).......
16/2.8 D (39) with Hood ...........................
24/3.5 D ED PC-E (77) .............................
28/1.8 G AF-S (67) ....................... 699.95
28/2.8 D (52)...........................................
35/2.0 D (52)...........................................
45/2.8 D ED PC-E Micro (77) ....................
D-Type AF Lenses
50/1.8 D (52)........... 50/1.4 D (52)............
50/1.8 G AF-S (58) ....................... 216.95
50/1.4 G AF-S (58) ..................................
60/2.8 D Micro (62) (1:1) .........................
60/2.8 G AF-S ED Micro (62) ....................
85/1.8 D (62) with Hood ...........................
85/1.8 G AF-S (67) ....................... 496.95
85/1.4 D IF (77) ........ 85/1.4 G AF-S (77) .....
105/2.8 G AF-S ED-IF VR Micro (62) .........
105/2.0 DC D with Hood (72) ...................
180/2.8 D ED-IF (72)................................
200/4 D ED-IF Micro w/Case (62) .............
200/2 G AF-S ED-IF VR II (52) ...................
300/4.0 D AF-S ED-IF (77) .......................
14-24/2.8 G AF-S ED-IF ............... 1,996.95
16-35/4.0 G AF-S ED VR (77) ...................
17-35/2.8 D AF-S ED-IF (77) ....................
24-70/2.8 G AF-S ED-IF (77) ...... 1,886.95
24-85/2.8-4.0 D IF (72) ...........................
24-120/4.0 G AF-S ED VR (77) ......... 1,296.95
28-300/3.5-5.6 G AF-S ED VR (77) .... 1,046.95
70-200/2.8 G AF-S ED-IF VR II (77)...... 2,396.95
70-300/4.5-5.6 G-AFS VR (67) ...... 586.95
80-200/2.8 D with Collar (77) ...................
80-400/4.5-5.6 D VR (77) ........................
200-400/4 G AF-S ED VR II (52) ................
TC-14E II (1.4x) Teleconverter .....................
TC-20E III (2x) Teleconverter .......................
EOS Flash System (USA)
270EX II ................
320EX ...................
430EX II ................
580EX II ................
600 EX-RT................................................
MR-14EX Ringlight ....................................
MT-24EX Twin Flash ..................................
EF-S Lenses for Digital Only (USA)
(Not compatible with full frame cameras)
60/2.8 USM Macro (52) ...........................
10-22/3.5-4.5 USM (77) .........................
15-85/3.5-5.6 IS USM (72) .....................
17-55/2.8 IS USM (67) ............................
17-85/4-5.6 IS USM (67) ........................
18-135/3.5-5.6 IS (67) ...........................
18-200/3.5-5.6 IS (72) ...........................
55-250/4.0-5.6 IS USM (58) ...................
EF Lenses (USA)
20/2.8 USM (72) .....................................
24/2.8 IS USM (58) .................................
28/2.8 IS USM (58) .................................
35/2 (52) .............
50/1.8 II (52) .......
50/1.4 USM (58) ..
135/2.8 (52) ........
50/2.5 Macro (52)...................................
85/1.8 USM (58) .....................................
100/2 USM (58) ......................................
100/2.8 USM Macro (58) .........................
28-135/3.5-5.6 IS USM (72) ...................
70-300/4-5.6 IS USM (58) ......................
70-300/4.5-5.6 DO IS USM (58) ....................
75-300/4.0-5.6 III (58) ............................
75-300/4.0-5.6 III USM (58) ....................
TS-E MF Lenses (USA)
17/4.0 L ................
45/2.8 ..................
24/3.5 L II .............
90/2.8 ..................
EF L Lenses (USA)
14/2.8 USM II ...........................................
24/1.4 II (77) ..........................................
35/1.4 USM (72) .....................................
50/1.2 USM (72) .....................................
85/1.2 USM II (72) ..................................
100/2.8 IS USM Macro (67) .....................
135/2.0 USM (72) ...................................
180/3.5 USM Macro (72) .........................
200/2.0 IS USM (52) ...............................
300/4.0 IS USM (77) ...............................
300/2.8 IS USM II (52 rear) ......................
400/5.6 USM (77) ...................................
8-15/4.0 Fish-eye USM .............................
16-35/2.8 USM II (82) .............................
17-40/4.0 USM (77) ...............................
24-70/2.8 USM II (82) .............................
24-105/4 IS USM (77) .............................
28-300/3.5-5.6 IS USM (77) ...................
70-200/4.0 IS USM (77) ..........................
70-200/2.8 USM (77) .............................
70-200/2.8 IS II USM (77) .......................
70-300/4.0-5.6 IS USM (67) ...................
100-400/4.5-5.6 IS USM (77) .................
1.4x III Tele ............ 2x III Tele ...............
EOS-5D Mark III D-SLR
3.2" Clear View High Resolution LCD
DIGIC 5+ Image Processor 61-Point
High Density AF Uses Canon EF Lenses
Dual CF, SD Card Slots Up to 6.0 FPS
Durable Magnesium-Alloy Construction
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Built-In HDR and Multiple Exposure Modes
Body Only..............................................#CAE5D3*
Kit with 24-105mm L IS ................ #CAE5D324105 22
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EOS-1Dx D-SLR
Dual DIGIC 5+ Image Processors
Magnesium Alloy Body
Eye-Level Pentaprism Viewfinder
3.2" LCD Monitor Uses Canon EF Lenses
Dual CF card slots
Live View Still and Video Recording
61-Point High Density Auto Focus
Body Only.............................................. #CAE1DX* 18
Mega
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Digital Rebel T4i DSLR
STM Lens Support for Quiet AF in Movies
3.0" Vari-Angle Touch Screen LCD
Uses Canon EF Lenses (1.6x factor)
SDHC/SDXC Card Slot
ISO 100-12800, Expandable to 25600
Full HD Movie Mode with Continuous AF
Body Only............................................... #CAEDRT4I
Kit with 18-55mm IS............................. #CAEDRT4IK 18
Mega
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Lumix DMC-G5 Mirrorless Digital Camera
Full HD 1080 60p Video Micro 4/3 Lens Mount
Redesigned Venus Engine Image Processor
3.0" Touch Screen Tiltable-Rotatable LCD
Live View Finder with Eye Sensor
Electronic Silent Shutter Mode
14 Adjustable In-camera Filters
Contrast AF, Touch AF and Light Speed AF
Kit with 14-42mm G Vario Lens ..... #PADMCG5KB 16
Mega
Pixels
E-PL5 Mirrorless System Camera
3.0" Flip Portrait LCD Touchscreen
TruePic VI Image Processor
4/3 Full Frame Zuiko Lenses
In-Body Image Stabilization
Full 1080i HD Video F.A.S.T. Auto Focus
12 In-camera Art Filters ISO 25600
Available in Black, Silver or White
Kit with 14-42mm II Lens .................... #OLEPL51442* 16
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Rangefinder 12-12 JN120926.indd 1 10/25/12 9:39 AM
122012
Page 2
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58 AF-2 TTL
Shoe Mount Flash
Guide No. 58'
Full TTL Mode
Zoom Head (24-105)
Bounce & Swivel Head
Update via USB Port
Weight: 12.8 oz
#ME58AF2* .............................. 399.99
285HV Professional
Auto Shoe Mount Flash
Guide No. 120'
Automatic exposure
range to 70'
4 auto f/stop settings
Removable sensor
Bounce Head
Zoom Head (28-105) Weight 14.9 oz
#VI285HV .....................................89.95
Qfash TRIO
Parabolic Refector Flash
Guide No. 110'
Bounce and
Swivel Head
Built-In FreeXwire
Radio Wireless TTL
High Speed Sync
USB Port TTL compatible
#QUQF8* ....................................875.00
622 Super Pro TTL
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Requires Head
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Guide No. 200
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#SU622S* ..................................196.95
D4 DSLR
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EXPEED3 Image Processor 100-12800 ISO
Compatible with Most Nikkor Optics
Matrix, Center-Weighted, Spot Metering
CF Type 1 & XQD Compatible
Nikon Inc. limited warranty included
Body Only...................... #NID4 .................. 5,999.95
Flash System
FL-300R Flash .........169.95
FL-600R Flash .........299.95
FL-50R Flash ...........499.95
RF-11 Ring Flash .....249.95
Zuiko 4/3 System Digital Lenses
35/3.5 Macro ED (52) ............................................ 229.95
50/2.0 Macro ED (77) ............................................ 499.95
7-14/4.0 ED (72) ................................................ 1,799.95
11-22/2.8-3.5 ED (72) ........................................... 799.95
12-60/2.8-4 ED SWD (72) ...................................... 999.95
14-42/3.5-5.6 ED (58) ........................................... 249.95
18-180/3.5-6.3 ED (62) ......................................... 499.95
EC-14 1.4x Teleconverter ......................................... 439.95

AF Flash System
AF-360FGZ ........................................................................
AF-540FGZ ........................................................................
SMCP-DA Digital AF Lenses
21/3.2 AL Limited Pancake (49) ......................................
40/2.8 Limited Pancake (49) ...........................................
70/2.4 Limited Pancake (49) ...........................................
10-17/3.5-4.5 ED IF (77) ..................................................
16-50/2.8 ED AL IF SDM (77) ............................................
18-55/3.5-5.6 AL II (52) ....................................................
50-135/2.8 ED IF SDM (67) ...............................................
50-200/4-5.6 ED WR (52) .................................................

Flash System
HVL-F20AM .............149.99
HVL-F20S................149.99
HVL-F43AM .............349.99
HVL-F58AM .............499.99
Digital Lenses
24/2 Carl Zeiss (72) ............................................ 1,399.99
50/1.4 (55) ............................................................ 449.99
100/2.8 Macro (55)................................................ 799.99
16-80/3.5-4.5 DT Carl Zeiss (62) ........................... 999.99
11-18/4.5-5.6 DT (77) ........................................... 799.99
18-200/3.5-6.3 DT (62) ......................................... 549.99
70-200/2.8 G APO (77) ....................................... 1,999.99
75-300/4.5-5.6 (55) .............................................. 249.99
D7000 DSLR
EXPEED 2 Image Processor 3" LCD Monitor
1080p HD Video Capture 39-point AF System
RAW + JPEG Still Image Capture
Accepts Nikon AF Lenses (1.5x factor)
Twin SD/SDHC/SDXC Card Slots
RGB 3D Matrix Metering System
i-TTL Flash + Speedlight Compatibility
Body Only #NID7000 ........................... 1,196.95 16
Mega
Pixels 16
Mega
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Octacool Light Kit
with 29.5" Octobox
Octacool 6 or 9
Lamp Fixture
Removable
Aluminum
Refector
28w Lamps
Internal Diffusion Baffe
Octacool-6 #IMOC6SB ........................................ 199.95
Octacool-9 #IMOC9SB ........................................ 259.00

Tota Light 2-Light Kit
Full Rotation
Adjustable Doors
Multi-Wattage,
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2 Tota-Lights
2 10' Light Stands
2 Tota-Brellas - White
Impact Light Kit Bag #3
#LOTLK .................................367.95
w/o case #LOTLKQ ...............349.95
Background System
Background Stands
Economy ..............................79.95
Port-A-Stand .................... 109.95*
Multi 3 Polevault ..............217.99
Paper Backgrounds
Available in 48 Colors
53" x 12 yds.........................25.00
107" x 12 yds w/Core ...........45.95
Octacool-6
Front
Octacool-9
Back
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D800 D-SLR
35.9x24mm CMOS FX Format Sensor
3.2" LCD Monitor Nikon F Mount Lens Mount
CF & SD Dual Card Slots Optical Low-Pass Filter
1920 x 1080/30/25/24p HD Video Capture
Matrix/Center-Weighted/Spot Metering
Built-In Flash + i-TTL Flash Control
Body Only............................ #NID800 ........................ $2,999.95 36
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Pixels
1 J2 Mirrorless Digital Camera
EXPEED 3 Dual Image Processor
Full HD 1080p Movie with Stereo Sound
Interchangeable 1 NIKKOR Lens System
3.0" LCD SD/SDHC/SDXC Card Slot
Available in Black, Orange, Pink, Red, Silver or White
1 J2 Kit with 10-30mm VR #NI1J21030* .....................549.95
1 J2 Kit with 10-30 & 30-110mm VR #NI1J21030K* ....799.95
1 J1 Kit with 10-30 & 30-110mm VR** #NI1J11030* ...846.95 10
Mega
Pixels
Alpha SLT-A99 DSLR
Sony Dual AF System & Translucent Mirror
Full-Frame Exmor CMOS Sensor
XGA OLED Electronic VF
3.0" TruBlack Tilting LCD
Uses Sony Alpha Lenses MS Pro Duo/
HG-Duo & SD/SDHC/SDXC Card Slots
Internal SteadyShot Image Stabilization
Full HD 1920x1080 60p Video Recording
Body Only.........................................#SOSLTA99V* 24
Mega
Pixels
Alpha NEX-6 Mirrorless System Camera
Fast Hybrid AF with Phase-Detection AF
3.0" LCD Uses Sony E-mount Lenses
XGA OLED Tru-Finder EVF
SD/SDHC/SDXC & MS Pro Duo/Pro HG-Duo
Card Slot Captures 1080 HD Video
Wi-Fi Capable Fast 10fps Burst Shooting
PlayMemories Camera Apps
with 16-50mm Lens .............................#SONEX6L* 16
Mega
Pixels
D3200 DSLR
EXPEED III Image Processor HD 1080p Video
3" LCD Live View 11-point Autofocus
Uses Nikon AF Lenses (1.5x factor)
SD/SDHC/SDXC Card Slot Up To ISO 12800
D3200 Kit Black w/18-55mm VR ...#NID32001855........ 696.95
D3100 Kit with 18-55mm VR ...........#NID31001855 ........646.95
D5100 Kit with 18-55mm VR #NID51001855 ................. 796.95 24
Mega
Pixels
D600 DSLR
FX-Format (Full-Frame) CMOS Sensor
Uses Nikon AF Lenses EXPEED 3 Processor
1080p HD Video Capture 39 Wide-Area AF
Focus Points 100-6400 ISO, Expandable to
50-25600 Nikon Inc. limited warranty included
Body Only #NID600 ..................................................2,096.95
Kit with 24-85mm VR Lens #NID6002485 ................2,696.95 24
Mega
Pixels
120_121_RF_B&H.indd 120 11/15/2012 3:08:09 PM
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Prices, specifcations, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2012 B & H Foto & Electronics Corp.
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18-200/3.5-5.6 DX G
AF-S ED-IF VR II Digital Lens
35mm equiv.
27-300mm
VR II Vibration Reduction
SWM (Silent
Wave Motor)
3.5-22 f/Stop Range
Focus 1.6' to Infnity
Weight 19.8 oz
SB-910 Speedlight
i-TTL Shoe Mount Flash
Tungsten & Fluorescent Filters Included
Guide No. 111.5'
Simplifed Graphic
User Interface (GUI)
Bounce, Swivel
& Zoom Head
(17-200mm)
Wireless Controller
Weight 14.8 oz
10-22/3.5-4.5
EF-S USM Digital Lens
35mm equiv.
16-35mm
3 aspherical
lens elements
3.5-27 f/Stop Range
Minimum focus 9.5"
77mm flter diameter
Weight 13.6 oz
600 EX-RT
Shoe Mount Flash
Dust and water resistance
Guide No. 197'
Wireless Radio
Multiple Flash System
Bounce and
Swivel Head
Zoom Head (20-200mm)
18 Custom Functions
Weight: 15 oz

EOS-60D DSLR
Works with all Canon EF & EF-S Lenses
Vari-Angle Clear View 3.0" Flip-Out LCD
5.3 fps Continuous Shooting
ISO 6400 - Expandable to 12800
HDMI Output to HDTV
Body Only................................................... #CAE60D 18
Mega
Pixels
EOS-5D Mark II D-SLR
Record HD Video 1080p Movie Mode
21.1 Megapixel Full-Frame Sensor 3" High
Res. LCD SLR viewfinder Live View Mode
Dust & Weather-Resistant USB 2.0
Self Cleaning Sensor 3.9 fps Burst Mode
9-point AF Sensor Array ISO 50-25600
Body Only..................................................#CAE5D2
Kit with 24-105mm IS ...................... #CAE5D224105 21
Mega
Pixels
EOS-7D D-SLR
Record HD Video 18 Megapixel Sensor
3.0" LCD 100% Viewfinder
Dust & Weather-Resistant 8 fps Burst Mode
Selectable Video Exposure and Frame Rates
New 19-Point, All Cross-Type AF System
ISO 100-6400 (expandable to 12800)
Body Only............................................... #CAE7D
Kit with 28-135mm IS ................... #CAE7D28135 18
Mega
Pixels
AF Flashes
SB-400 ....................... SB-700 ..... 326.95
SB-910 .......................................... 546.95
R1 Wireless Twin Flash ...............................
R1C1 Wireless Twin Flash System ...............
DX ED-IF Lenses for Digital Only
10.5/2.8 Fish-Eye ......................................
35/1.8 G AF-S (52) ....................... 196.95
40/2.8 G AF-S Micro (52) .............. 276.95
85/3.5 G ED VR Micro (52) .......................
10-24/3.5-4.5 G AF-S (77) .......................
12-24/4 G AF-S (77) ................................
16-85/3.5-5.6 G AF-S VR (67) ..................
17-55/2.8 G AF-S (77) .............................
18-55/3.5-5.6 G AF-S II (52) ....................
18-55/3.5-5.6 G AF-S VR (52) ....... 196.95
18-105/3.5-5.6 G AF-S VR (67) ..... 396.95
18-200/3.5-5.6 G AF-S VR II (72) ......... 846.95
55-200/4-5.6 G AF-S (52) ........................
55-200/4-5.6 G AF-S VR (52) ........ 246.95
55-300/4.5-5.6 G AF-S VR (58) ..... 396.95
D-Type AF Lenses
14/2.8 D ED .......... 24/2.8 D (52).......
16/2.8 D (39) with Hood ...........................
24/3.5 D ED PC-E (77) .............................
28/1.8 G AF-S (67) ....................... 699.95
28/2.8 D (52)...........................................
35/2.0 D (52)...........................................
45/2.8 D ED PC-E Micro (77) ....................
D-Type AF Lenses
50/1.8 D (52)........... 50/1.4 D (52)............
50/1.8 G AF-S (58) ....................... 216.95
50/1.4 G AF-S (58) ..................................
60/2.8 D Micro (62) (1:1) .........................
60/2.8 G AF-S ED Micro (62) ....................
85/1.8 D (62) with Hood ...........................
85/1.8 G AF-S (67) ....................... 496.95
85/1.4 D IF (77) ........ 85/1.4 G AF-S (77) .....
105/2.8 G AF-S ED-IF VR Micro (62) .........
105/2.0 DC D with Hood (72) ...................
180/2.8 D ED-IF (72)................................
200/4 D ED-IF Micro w/Case (62) .............
200/2 G AF-S ED-IF VR II (52) ...................
300/4.0 D AF-S ED-IF (77) .......................
14-24/2.8 G AF-S ED-IF ............... 1,996.95
16-35/4.0 G AF-S ED VR (77) ...................
17-35/2.8 D AF-S ED-IF (77) ....................
24-70/2.8 G AF-S ED-IF (77) ...... 1,886.95
24-85/2.8-4.0 D IF (72) ...........................
24-120/4.0 G AF-S ED VR (77) ......... 1,296.95
28-300/3.5-5.6 G AF-S ED VR (77) .... 1,046.95
70-200/2.8 G AF-S ED-IF VR II (77)...... 2,396.95
70-300/4.5-5.6 G-AFS VR (67) ...... 586.95
80-200/2.8 D with Collar (77) ...................
80-400/4.5-5.6 D VR (77) ........................
200-400/4 G AF-S ED VR II (52) ................
TC-20E III (2x) Teleconverter .......................
EOS Flash System (USA)
270EX II ................
320EX ...................
430EX II ................
580EX II ................
600 EX-RT................................................
MR-14EX Ringlight ....................................
MT-24EX Twin Flash ..................................
EF-S Lenses for Digital Only (USA)
(Not compatible with full frame cameras)
60/2.8 USM Macro (52) ...........................
10-22/3.5-4.5 USM (77) .........................
15-85/3.5-5.6 IS USM (72) .....................
17-55/2.8 IS USM (67) ............................
17-85/4-5.6 IS USM (67) ........................
18-135/3.5-5.6 IS (67) ...........................
18-200/3.5-5.6 IS (72) ...........................
55-250/4.0-5.6 IS USM (58) ...................
EF Lenses (USA)
20/2.8 USM (72) .....................................
24/2.8 IS USM (58) .................................
28/2.8 IS USM (58) .................................
35/2 (52) .............
50/1.8 II (52) .......
50/1.4 USM (58) ..
135/2.8 (52) ........
50/2.5 Macro (52)...................................
85/1.8 USM (58) .....................................
100/2 USM (58) ......................................
100/2.8 USM Macro (58) .........................
28-135/3.5-5.6 IS USM (72) ...................
70-300/4-5.6 IS USM (58) ......................
70-300/4.5-5.6 DO IS USM (58) ....................
75-300/4.0-5.6 III (58) ............................
75-300/4.0-5.6 III USM (58) ....................
TS-E MF Lenses (USA)
17/4.0 L ................
45/2.8 ..................
24/3.5 L II .............
90/2.8 ..................
EF L Lenses (USA)
14/2.8 USM II ...........................................
24/1.4 II (77) ..........................................
35/1.4 USM (72) .....................................
50/1.2 USM (72) .....................................
85/1.2 USM II (72) ..................................
100/2.8 IS USM Macro (67) .....................
135/2.0 USM (72) ...................................
180/3.5 USM Macro (72) .........................
200/2.0 IS USM (52) ...............................
300/4.0 IS USM (77) ...............................
300/2.8 IS USM II (52 rear) ......................
400/5.6 USM (77) ...................................
8-15/4.0 Fish-eye USM .............................
16-35/2.8 USM II (82) .............................
17-40/4.0 USM (77) ...............................
24-70/2.8 USM II (82) .............................
24-105/4 IS USM (77) .............................
28-300/3.5-5.6 IS USM (77) ...................
70-200/4.0 IS USM (77) ..........................
70-200/2.8 USM (77) .............................
70-200/2.8 IS II USM (77) .......................
70-300/4.0-5.6 IS USM (67) ...................
100-400/4.5-5.6 IS USM (77) .................
1.4x III Tele ............ 2x III Tele ...............
EOS-5D Mark III D-SLR
3.2" Clear View High Resolution LCD
DIGIC 5+ Image Processor 61-Point
High Density AF Uses Canon EF Lenses
Dual CF, SD Card Slots Up to 6.0 FPS
Durable Magnesium-Alloy Construction
Full HD 1080/30p and 720/60p Formats
Built-In HDR and Multiple Exposure Modes
Body Only..............................................#CAE5D3*
Kit with 24-105mm L IS ................ #CAE5D324105 22
Mega
Pixels
EOS-1Dx D-SLR
Dual DIGIC 5+ Image Processors
Magnesium Alloy Body
3.2" LCD Monitor Uses Canon EF Lenses
Dual CF card slots
Live View Still and Video Recording
61-Point High Density Auto Focus
Body Only.............................................. #CAE1DX* 18
Mega
Pixels
Digital Rebel T4i DSLR
STM Lens Support for Quiet AF in Movies
3.0" Vari-Angle Touch Screen LCD
Uses Canon EF Lenses (1.6x factor)
SDHC/SDXC Card Slot
ISO 100-12800, Expandable to 25600
Full HD Movie Mode with Continuous AF
Body Only............................................... #CAEDRT4I
Kit with 18-55mm IS............................. #CAEDRT4IK 18
Mega
Pixels
Lumix DMC-G5 Mirrorless Digital Camera
Full HD 1080 60p Video Micro 4/3 Lens Mount
Redesigned Venus Engine Image Processor
3.0" Touch Screen Tiltable-Rotatable LCD
Live View Finder with Eye Sensor
Electronic Silent Shutter Mode
14 Adjustable In-camera Filters
Contrast AF, Touch AF and Light Speed AF
Kit with 14-42mm G Vario Lens ..... #PADMCG5KB 16
Mega
Pixels
E-PL5 Mirrorless System Camera
3.0" Flip Portrait LCD Touchscreen
TruePic VI Image Processor
4/3 Full Frame Zuiko Lenses
In-Body Image Stabilization
Full 1080i HD Video F.A.S.T. Auto Focus
12 In-camera Art Filters ISO 25600
Available in Black, Silver or White
Kit with 14-42mm II Lens .................... #OLEPL51442* 16
Mega
Pixels
122012
Page 2
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58 AF-2 TTL
Shoe Mount Flash
Guide No. 58'
Full TTL Mode
Zoom Head (24-105)
Bounce & Swivel Head
Update via USB Port
Weight: 12.8 oz
#ME58AF2* .............................. 399.99
285HV Professional
Auto Shoe Mount Flash
Guide No. 120'
Automatic exposure
range to 70'
4 auto f/stop settings
Removable sensor
Bounce Head
Zoom Head (28-105) Weight 14.9 oz
#VI285HV .....................................89.95
Qfash TRIO
Parabolic Refector Flash
Guide No. 110'
Bounce and
Swivel Head
Built-In FreeXwire
Radio Wireless TTL
High Speed Sync
USB Port TTL compatible
#QUQF8* ....................................875.00
622 Super Pro TTL
Handle Mount Flash
Requires Head
TTL with appropriate module
Guide No. 200
Bounce & swivel
Auto f/Stops f/2.0, 2.8,
4.0, 8.0, 5.6, 11 & 16
Vari-Power
#SU622S* ..................................196.95
D4 DSLR
RAW, TIFF, JPEG, RAW+JPEG Files 3.2" LCD
with Live View FX-format (full-frame) CMOS
Sensor 1080p HD Broadcast Quality Video
EXPEED3 Image Processor 100-12800 ISO
Compatible with Most Nikkor Optics
Matrix, Center-Weighted, Spot Metering
CF Type 1 & XQD Compatible
Body Only...................... #NID4 .................. 5,999.95
Flash System
FL-300R Flash .........169.95
FL-600R Flash .........299.95
FL-50R Flash ...........499.95
RF-11 Ring Flash .....249.95
Zuiko 4/3 System Digital Lenses
35/3.5 Macro ED (52) ............................................ 229.95
50/2.0 Macro ED (77) ............................................ 499.95
7-14/4.0 ED (72) ................................................ 1,799.95
11-22/2.8-3.5 ED (72) ........................................... 799.95
12-60/2.8-4 ED SWD (72) ...................................... 999.95
14-42/3.5-5.6 ED (58) ........................................... 249.95
18-180/3.5-6.3 ED (62) ......................................... 499.95
EC-14 1.4x Teleconverter ......................................... 439.95

AF Flash System
AF-360FGZ ........................................................................
AF-540FGZ ........................................................................
SMCP-DA Digital AF Lenses
21/3.2 AL Limited Pancake (49) ......................................
40/2.8 Limited Pancake (49) ...........................................
70/2.4 Limited Pancake (49) ...........................................
10-17/3.5-4.5 ED IF (77) ..................................................
16-50/2.8 ED AL IF SDM (77) ............................................
18-55/3.5-5.6 AL II (52) ....................................................
50-135/2.8 ED IF SDM (67) ...............................................
50-200/4-5.6 ED WR (52) .................................................

Flash System
HVL-F20AM .............149.99
HVL-F20S................149.99
HVL-F43AM .............349.99
HVL-F58AM .............499.99
Digital Lenses
24/2 Carl Zeiss (72) ............................................ 1,399.99
50/1.4 (55) ............................................................ 449.99
100/2.8 Macro (55)................................................ 799.99
16-80/3.5-4.5 DT Carl Zeiss (62) ........................... 999.99
11-18/4.5-5.6 DT (77) ........................................... 799.99
18-200/3.5-6.3 DT (62) ......................................... 549.99
70-200/2.8 G APO (77) ....................................... 1,999.99
75-300/4.5-5.6 (55) .............................................. 249.99
D7000 DSLR
EXPEED 2 Image Processor 3" LCD Monitor
1080p HD Video Capture 39-point AF System
RAW + JPEG Still Image Capture
Accepts Nikon AF Lenses (1.5x factor)
Twin SD/SDHC/SDXC Card Slots
RGB 3D Matrix Metering System
i-TTL Flash + Speedlight Compatibility
Body Only #NID7000 ........................... 1,196.95 16
Mega
Pixels 16
Mega
Pixels
Octacool Light Kit
with 29.5" Octobox
Octacool 6 or 9
Lamp Fixture
Removable
Aluminum
Refector
28w Lamps
Internal Diffusion Baffe
Octacool-6 #IMOC6SB ........................................ 199.95
Octacool-9 #IMOC9SB ........................................ 259.00

Tota Light 2-Light Kit
Full Rotation
Adjustable Doors
Multi-Wattage,
Multi-Voltage
2 Tota-Lights
2 10' Light Stands
2 Tota-Brellas - White
Impact Light Kit Bag #3
#LOTLK .................................367.95
w/o case #LOTLKQ ...............349.95
Background System
Background Stands
Economy ..............................79.95
Port-A-Stand .................... 109.95*
Multi 3 Polevault ..............217.99
Paper Backgrounds
Available in 48 Colors
53" x 12 yds.........................25.00
107" x 12 yds w/Core ...........45.95
Octacool-6
Front
Octacool-9
Back
* FREE!
Roll of
White Paper
w/ Purchase
D800 D-SLR
35.9x24mm CMOS FX Format Sensor
3.2" LCD Monitor Nikon F Mount Lens Mount
CF & SD Dual Card Slots Optical Low-Pass Filter
1920 x 1080/30/25/24p HD Video Capture
Matrix/Center-Weighted/Spot Metering
Built-In Flash + i-TTL Flash Control
Body Only............................ #NID800 ........................ $2,999.95 36
Mega
Pixels
1 J2 Mirrorless Digital Camera
EXPEED 3 Dual Image Processor
Full HD 1080p Movie with Stereo Sound
Interchangeable 1 NIKKOR Lens System
Available in Black, Orange, Pink, Red, Silver or White
1 J2 Kit with 10-30mm VR #NI1J21030* .....................549.95
1 J2 Kit with 10-30 & 30-110mm VR #NI1J21030K* ....799.95
1 J1 Kit with 10-30 & 30-110mm VR** #NI1J11030* ...846.95 10
Mega
Pixels
Alpha SLT-A99 DSLR
Sony Dual AF System & Translucent Mirror
Full-Frame Exmor CMOS Sensor
XGA OLED Electronic VF
3.0" TruBlack Tilting LCD
Uses Sony Alpha Lenses MS Pro Duo/
HG-Duo & SD/SDHC/SDXC Card Slots
Internal SteadyShot Image Stabilization
Full HD 1920x1080 60p Video Recording
Body Only.........................................#SOSLTA99V* 24
Mega
Pixels
Alpha NEX-6 Mirrorless System Camera
Fast Hybrid AF with Phase-Detection AF
3.0" LCD Uses Sony E-mount Lenses
XGA OLED Tru-Finder EVF
SD/SDHC/SDXC & MS Pro Duo/Pro HG-Duo
Card Slot Captures 1080 HD Video
Wi-Fi Capable Fast 10fps Burst Shooting
PlayMemories Camera Apps
with 16-50mm Lens .............................#SONEX6L* 16
Mega
Pixels
D3200 DSLR
EXPEED III Image Processor HD 1080p Video
3" LCD Live View 11-point Autofocus
Uses Nikon AF Lenses (1.5x factor)
SD/SDHC/SDXC Card Slot Up To ISO 12800
D3200 Kit Black w/18-55mm VR ...#NID32001855........ 696.95
D3100 Kit with 18-55mm VR ...........#NID31001855 ........646.95
D5100 Kit with 18-55mm VR #NID51001855 ................. 796.95 24
Mega
Pixels
D600 DSLR
FX-Format (Full-Frame) CMOS Sensor
Uses Nikon AF Lenses EXPEED 3 Processor
1080p HD Video Capture 39 Wide-Area AF
Focus Points 100-6400 ISO, Expandable to
50-25600 Nikon Inc. limited warranty included
Body Only #NID600 ..................................................2,096.95
Kit with 24-85mm VR Lens #NID6002485 ................2,696.95 24
Mega
Pixels
120_121_RF_B&H.indd 121 11/15/2012 3:08:10 PM
FIRST EXPOSURE
D
evices capable of triggering cameras by sound,
motion or a flash of light have been widely avail-
able for years. A device that can trigger a camera
and an additional piece of equipment with all of
the inputs abovelike the TriggerSmart MCT-1
distributed by Quantum Instrumentsis far more unique.
Ive used an array of triggering devices over the years both in
the studio and on location, but none has the combination of trig-
gering inputs and controls found in the TriggerSmart. Ive shot
editorial assignments using a sound trigger to photograph a vi-
cious dog in mid-bark, light-activated triggers to fire electronic
flash units in sequence, and motion-activated triggers more times
than I can count to capture splashes in drinks. While each of
these required very different systems, the TriggerSmart is capable
of doing them all.
The TriggerSmart is described as the MCT-1 Motion Cap-
ture Systemand a system it is. Included is the main control
unit, a combined infrared receiver and light intensity sensor,
a combined infrared transmitter and sound sensor unit, con-
nection cables for the sensors and camera, a baffle to narrow
122
FIRST EXPOSURE
The Quantum
TriggerSmart MCT-1
By Stan Sholik
A
L
L

P
H
O
T
O
S

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T
A
N

S
H
O
L
I
K
Top: With a lucky guess for the trigger delay setting, this is the first capture
made with my assistant dropping an olive through the TriggerSmart infrared
beam into the martini (ISO 100, 1/250, f/22, 200mm Nikkor macro lens).
Above: By turning the trigger delay on, it was possible to capture the falling
olive at any position, including one where it appears to sit on the surface of
the liquid.
RF_122_126First_Exposure.indd 122 11/16/2012 9:08:58 AM
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123_RF_ICE_Society.indd 123 11/18/2012 11:05:06 AM
124
FIRST EXPOSURE
the infrared beam, and two mini tripods
for the sensors, which are so mini and
lightweight that I found them useless.
Adding to this basic system is a range of
optional accessories, including a 6V AC/
DC converter, a self-contained battery-
powered infrared transmitter, extension
cables and a tilt sensor switch.
The heart of the system is the main
control unit, powered by two AA batteries.
Rotary knobs on the top control sensitivity,
trigger delay and trigger time. The sensi-
tivity knob controls the sensitivity of the
selected sensor to the existing conditions.
You rotate this dial clockwise until the indi-
cator LED glows, and then back it off until
it extinguishes. Its best to do this with your
camera turned off unless you want a series
of useless frames.
With the trigger delay knob set fully
counterclockwise, there is a minimum
1/1000-second delay before the shutter is
released. Rotating the trigger delay clock-
wise adds a delay up to 1/10 second if the
Short delay setting is active, and from 1/10
to 10 seconds if the Long delay setting is
active. Adjusting the trigger delay knob is
pretty much trial-and-error depending on
your initial conditions.
The trigger time control knob setting
determines how long the shutter release
is activated. For example, if your camera
is set on high-speed continuous capture,
you can use the trigger time control to set
the number of captures, again by trial and
error. Or if you set the shutter on Bulb, the
trigger time setting will control the length
of time the shutter remains open.
On the top of the control unit there
are also membrane switches to remote-
ly focus your camera, manually trigger
it, or temporarily inhibit the TriggerS-
mart from operating. The back of the
control unit contains input and output
connections, and switches for power
and sensor type selection.
I found that setting up the system for
motion triggering with the infrared sensors
is easy physically, but not so easy electroni-
cally. The infrared transmitter and receiver
both have a standard -20 tripod mount
on the bottom. I used these to mount them
to substantial tripods and aligned them
carefully. Switches on the backs of the units
need to be moved to the infrared position.
The 10-foot cables supplied were easily
long enough to reach the control box next
to the camera. I could also have connected
on transmitter to the receiver and the
receiver only to the control unit. Next I
connected the camera to the control unit.
I would have liked a much longer cable for
this, but one is available optionallythats
the easy part.
Although the manual describes this pro-
cedure in precise detail, when I turned
everything on, I couldnt get the camera
to fire when I broke the beam. After a chat
with tech support, I discovered that op-
eration is very sensitive to the settings for
the sensitivity knob. Set too high and the
camera fires continually; set too low (my
problem) and the camera wont fire.
With this sorted out, I was curious
about how far apart the transmitter and
receiver could be separated before the
camera wouldnt trigger. Separated by
15 feet, the farthest the supplied cables
would reach, and with the sensitivity
properly adjusted, the camera fired each
time. This is better than the specification,
Top: The set for capturing the olive drop. The TriggerSmart infrared transmitter and receiver are circled
in red and the control box is circled in blue.
Above: The TriggerSmart system is composed of the main control unit, a combined infrared receiver
and light intensity sensor, a combined infrared transmitter and sound sensor unit, connection cables for
the sensors and camera, a baffle to narrow the infrared beam, and two mini tripods for the sensors.

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126
which lists the usable separation as about
1 to 6 feet. Alignment didnt seem to be
much of an issue either, even though the
beam angle is only 6 degrees.
As light sources, I used a Quantum
T5d-R to backlight the set and a Quantum
Trio for front light. Both flashes were at
low power in manual mode and I adjusted
the power levels on each with a Quantum
CoPilot in the cameras hotshoe.
With a guess setting of 1/10-second
delay on the trigger delay knob, my as-
sistant dropped an olive through the
beam. The first drop produced a perfect
splash! Playing with the trigger delay
dial we were able to stop the olive at any
position we wanted, including one that
made the olive appear to float on the
surface of the martini.
Encouraged by this success, we decid-
ed to photograph breaking balloons. Big
problems; we were going to break them
with the sound trigger that would be ac-
tivated when the air gun fired a BB at the
balloon. We switched the transmitter to
sound mode and repositioning the sensor
out of harms way. The flash system re-
mained the same, though it too was repo-
sitioned. All we ever photographed was the
background. The balloon had burst before
the camera and flashes triggered. We tried
breaking the balloon with a pin. Even at
the shortest trigger delay, the setup was too
slow to capture the balloon as it burst.
Another call to tech support showed
me the error of my ways: it turns out that
every device in the system introduces its
own delay. With an event that happens
as quickly as we were attempting (we
calculated about 1/10 second for the BB
to reach the balloon), the delay intro-
duced by the CoPilot wirelessly firing
the Quantum flash units was too long.
Replacing the CoPilot with an on-cam-
era flash in the hotshoe did the trick,
but with ugly lighting. Lighting these
events and triggering the lighting at the
proper instant isnt as easy as it seems,
but the TriggerSmart seems capable of
handling it.
I wanted to try the lighting trigger func-
tion with lightning or fireworks, but nei-
ther the weather nor the local amusement
parks were willing to cooperate in the time
that I had the unit. I had a similar problem
using the system to attempt to photo-
graph the hummingbirds in my garden
the TriggerSmart would have done it if the
hummingbirds had cooperated.
If I didnt have individual trigger units for
light, sound and motion already, Id buy a
TriggerSmart. Once you sort out the inter-
action between the sensitivity, trigger delay
and trigger time knobs, and the associated
membrane switches, it is a reliable and
versatile system if you need the capabilities
of what it can do.
MSRP of the TriggerSmart MCT-1
system is $398. Contact Quantum
Instruments at www.qtm.com.
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FIRST EXPOSURE
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ADO_Rangef_2012_12.indd 1 11/13/12 5:25 PM
127_129_131_RF_Adorama.indd 127 11/15/2012 3:10:58 PM
O
ne of the biggest lessons
Ive learned from creating
videos with an HDSLR is
the importance of plan-
ning. Though its easy
to produce amazing video clips from
todays cameras, putting them all to-
gether for a satisfying and effective
video is another matter.
Though many people say that
the magic happens in the edit-
ing, I have found that the best
editing experiences have always
begun with solid planning before
a single pixel is exposed to light.
The editing process quickly re-
veals the lack of planning. This
can be reflected in realizing you
dont have enough material to
shape a story, or that you have
far more footage than you need
to achieve your goal.
To help formulate a plan for
a shoot, the team I normally
work with creates whats called
a mind-map, or a visual dia-
gram allowing us to not only
create an outline for a project,
but also provides the means by
which we can see how every-
thing is interconnected.
The software we prefer is Inspi-
ration 9, one of the most popular
applications of its kind. It pro-
vides a form of visual mapping,
which is a great tool whether
youre brainstorming an idea, planning
a shoot, or trying to plan an edit even
before youve placed the clips on your
video editing timeline.
Ive never been one for produc-
ing a traditional outline, but Inspi-
ration 9 makes it easy to organize
my thoughts, ideas and plans on the
computer screen.
Using the softwares Diagram View
and its RapidFire feature, I can begin
from a primary concept or goal, and
expand on it, as well as plan what I need
in order to achieve it.
We can start with an idea for a video
and break up into our pre-production,
production and post-production sec-
tions. Beneath each item, we detail the
goals and tasks that need to be fulfilled in
order to complete each phase of produc-
tion. This can include research, schedul-
ing, equipment lists, storyboards, etc.
Inspiration 9 creates an intuitive web-
like visual map for ideas, allowing me to
see each step necessary to pull off the
project. The software is so adaptable, it
lets me not only create text blocks, but
also use images or icons to represent
important thoughts. I also can attach
detailed notes to any entry, which ap-
pears as a sticky note.
If you are more of a traditionalist,
you can simply click on the
Outline view, and the web-
like mind-map is trans-
formed into a standard
outline format.
However, I prefer the
Diagram View because its
far easier for me to scan
the plan, and quickly and
clearly identify omissions
or concerns with the pro-
duction. This also makes it
easier for all the members
of the team to do the same
thing and make suggestions
by adding notes to any single
entry. As I usually place the
file in my Dropbox folder,
its accessible to anyone on
the team at anytime. This is
extremely important so that
every member of the team
has an understanding of not
only the story we are trying
to tell, but also how each
persons role is contributing
to the look, feel and ulti-
mate success of the project.
As I use the software to plan an en-
tire shoot, I can also use it to refine the
story Im working toward. For example,
because many of the videos I produce
are profile pieces, they often revolve
around interviews with my subjects.
This process begins with a pre-inter-
view, occurring over the phone before
the shoot day, allowing me to narrow
DSLR VIDEO
Planning a Shoot
with Inspiration 9
By Ibarionex Perello
128
RF_128_130DSLRVideo_Perello.indd 128 11/16/2012 8:09:51 AM
T
he most unappreciated, underused
piece of equipment in all of photogra-
phy is without a doubt the tripod. Even
photographers who understand a tripods
value are often reluctant to spend money
on one. Its money well spentbut you
dont have to pay a lot to get a good
tripod.
Flashpoint tripods, tripod heads, and
monopods offer the features and quality
of big-brand competitors at a fraction of
the cost. The Flashpoint F-1428 tripod,
for example, is made of 8X carbon fber,
which gives it high strength without ex-
cess weight. It can support a camera and
lens weighing over 26 pounds, yet weighs
less than six pounds itself. And while the
F-1428 rises to six feet when you extend
its center columngreat for high angles
and tall photographersit collapses to
two feet in length thanks to the four-sec-
tion design of its rubberized twist-lock
legs. (The column is reversible for low-
level work.)
Prefer fast-action lever-locks? Take a look
at the carbon-fber Flashpoint F-2328.
Like the F-1428, it supports over 26
pounds in camera and lens weight, fea-
tures a built-in bubble level for easy
alignment, yet weighs even less than its
twist-lock sibling!
Before you moan and groan about the
nuisance of carrying a tripod around, con-
sider what it can do for you. First and
foremost, it gives you tack-sharp pictures
at slow shutter speeds that would cause
blur if you were to handhold the camera.
What about the in-camera image stabili-
zation found in most of todays DSLRs?
Sure, it gives you an edgebut since ev-
eryones degree of steadiness is different,
you never really know how slow you can
safely go. And the damage isnt always
obvious blur. Sometimes shaky hands
just cause an irksome lack of crisp detail
that you may have been blaming on im-
proper focus. A tripod insures that this
wont happen.
A tripod is especially important when
youre using a long lens, such as a tele-
photo for wildlife photography. Thats be-
cause the longer a lens, the greater the
chance of blurred results. This is why
long-lens photographers set high shutter
speeds for handheld shootingbut
theyre still often pushing their luck. A tri-
pod is the best insurance that theyll
come back with sharp shots. And as a
side beneft, a tripod keeps the viewfnder
image from jumping around the way it
does with a handheld telephoto, letting
you frame the subject more precisely.
Even at less extreme focal lengths, a tri-
pod is an important compositional tool,
providing precision and repeatability you
cant get handheld. It means that brack-
eted exposures will all have the same
framing. And its essential for exact
matching of frames with HDR imaging.
To learn more about which Flashpoint tri-
pod is right for your kind of photography,
visit the Flashpoint store at Adorama.
com. (Just type Flashpoint carbon into
the search feld.) Youll fnd a tripod for
every purpose, from the models men-
tioned here all the way down to ultra-light
travel tripods, plus everything in be-
tween. Youll also fnd a complete line of
Flashpoint tripod heads for these models,
as well as Flashpoint monopodssingle-
legged supports that offer a compromise
between stability and mobility. But thats
a discussion for another time!
Flashpoint tripods & heads
Flashpoint tripods and heads are available
exclusively from .
To order, visit the Adorama store, Adorama.com,
or call (800) 223-2500.
SCAN TO GET
YOURS TODAY
T R I P O D R E P O R T
Right: Two of the top Flashpoint carbon-fber tripods, the twist-lock
Flashpoint F-1428N and the lever-lock Flashpoint F-2328N ($229.95),
plus the muscular Flashpoint F-4 ball head ($114.95).
One classic photographic effect that requires a good tripod is turning car lights into
streaks with a long exposure, achieved here with a Flashpoint tripod.
P
h
o
t
o
g
r
a
p
h
e
r
:

S
a
n
d
y

R
a
m
i
r
e
z
Why every photographer needs
a good tripod. By Marvin Good
Advertorial
Supporting Role
130
DSLR VIDEO
down the focus of our conversation and
providing ideas for the types of visuals
Ill need to tell the story.
I can then create a rough storyboard
for the shoot, especially when it comes
to the B-roll, which is the second-
ary footage that will be used by the
editor to produce the completed piece.
Because I dont have drawing skills
to produce a traditional illustrated
storyboard, Inspiration 9 provides the
means by which I can structure my
overall story as well as emphasizing
what visuals I believe are necessary.
To me, the big advantage of the
software is the speed in which I can document my ideas and reorganize
or amend them. Creating a tradi-
tional outline with Roman numerals
and letters was always a cumbersome
process that slowed me down when I
was trying to put my ideas on paper.
Inspiration 9 frees me to see what I
am thinking and considering almost
instantaneously, which for me is a
huge advantage.
The software, available for both Mac
and PC, is affordable at only $59 for
download or $65 for download and CD
back-up.
Find out more about Inspiration 9 by
visiting www.inspiration.com.

Ibarionex Perello is a photographer, writer and the
host and producer of The Candid Frame photog-
raphy podcast (www.thecandidframe.com). He is
also the author of Chasing the Light: Improving
Your Photography Using Available Light and 5D
Mark III: From Snapshots to Great Shots, both
from Peachpit Press.
Above: By using Inspiration 9s Diagram View, I
can easily plan and review each step of a video
shoot from pre-production to post-production.

Below: The software offers different views of your
project, including Diagram View, Map View, Out-
line View and Presentation Manager.
RF_128_130DSLRVideo_Perello.indd 130 11/16/2012 8:09:56 AM
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Send completed form to
Rangefinder Publishing Co.
P.O. Box 2198, Skokie, IL 60076
CLASSIFIED ADVERTISING
TO ADVERTISE IN
PLEASE CALL
Mark Brown Associate Publisher
Ph: (646) 654-5795 C: (201) 723-9686
mkbrown@pdnonline.com
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Lori.Reale@Nielsen.com
Stephen Ditoro Account Executive
(323) 817-3510
Stephen.Ditoro@Nielsen.com
Drips, drops, droplets and ripples
are all part of this photogra-
phers day. The divine art of the
splash has been one of Portland
resident Martin Waughs favorite
pastimes since 2002. He claims hes
obsessed with creating high-speed
photographs of drops and splashes, and
is constantly exploring and inventing new tech-
niques to wow viewers.
Seven years ago, Waugh posted a few dozen images on his
Web site. At the time, he had a day job developing software that tracked Web
site traffic, so he was very aware his site had been logging just 20 to 30 visitors a day. But the
day after this auspicious upload, he noticed 3000 hits; the following day they rose to 20,000; within a month, more
than a million people had visited his site. Waughs experimentation with high-speed digital photography from the
basement of his home was bringing him both acclaim and offers to bid on commercial work. The hubbub and novelty
may have slowed in recent years, but interest remains strong in his work.
29
28
a
M
A
R
T
I
N
W
A
UGH By Mart ha Bl a n c h f i e l d
RADIO
15
By Dave Good
In 1960, filmmaker John Sev-
erson published the first surf
magazine ever. The Surfer, a 32-
page magazine with photo wave
action, was originally intended
as a marketing tool to promote
Seversons latest movie, Surf
Fever. But the magazine was an
unexpected success. The Surfer
eventually became Surfer Mag-
azine. Soon there was a demand
for images to fill the pages of
surf magazines, which sprouted
up all over Southern California
magazine racks. It was then and
there that the profession of surf
photographer was born.
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Adorama .............................................. 127, 129, 131
American Color Imaging ......................................................33
Animoto .................................................................................41
Anthropics .............................................................................69
B & W + Alternative Photographic Processes Contest
Call for Entries ..................................................................24
B&H Photo-Video.......................................................120, 121
Bay Photo Lab ...........................................54, 55, 70, 71, 132
Big Black Bag ........................................................................67
Black River Imaging .................. Cover 2, 3, 46, 47, 117, 132
Canon Inc. ................................................................................ 7
Datacolor ...............................................................................21
Drivesavers ............................................................................25
Epson America Inc. .........................................................12, 13
Expo Imaging ........................................................................... 9
Fuji Photo Film USA .......................................................28, 29
Full Color .....................................................................133, 134
Graslon .................................................................................134
H&H Color Lab ......................................................................20
Hahnemhle USA .................................................................39
Hollywood Fotofix .................................................................45
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Lense On! ............................................................................133
LustreColor ..........................................................................133
Meridian Professional Imaging .......................... 60, 61, 134
Millers Professional Imaging .......................16, 17, Cover 3
MpixPro .......................................................................... 36, 37
Nikon Inc. .........................................................................14, 15
Onlinephotofix.com ............................................................134
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Pacific Mount ......................................................................132
Panasonic.........................................................................22, 23
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PCL West Imaging ..............................................................134
PDNs Top Knots Contest Call For Entries .......................125
PhotoBiz LLC ..........................................................................97
PictoBooks ...........................................................................133
Profoto ...........................................................................Cover 4
Rangefinder.................................................34, 135, 136, 137
Schneider Optics...................................................................19
Sigma ....................................................................................... 5
Simply Color Lab ................................................... 42, 43, 133
StickyAlbums Inc. .................................................................53
Tamron USA ....................................................................35, 91
TAP Packaging Solutions .....................................................65
Tenba ......................................................................................31
Vision Art ...................................................................... 11, 133
whcc ........................................................................26, 27, 132
WPPI ........................................................................... 116, 134
WPPI Awards of Excellence Album
Competition Call for Entries ...........................................114
WPPI Awards of Excellence 16x20 Print
Competition Call for Entries .............................................115
WPPI Convention and Tradeshow 2013 ................................
108, 109, 110, 111, 112, 113
WPPI en Espaol ................................................................126
Zenfolio ..................................................................................87
137
The Index to Advertisers is provided as a courtesy to Rangefinder advertisers. The publisher assumes no responsibility for errors or omissions.
To request more information from our advertisers, and for links to the websites of the
companies listed below, visit our free Resource Center at www.rangefinderonline.com.
AD INDEX
Contests, Classieds,
Blogs, AfterCapture
magazine, Gear Reports,
Imaging Techniques,
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Art, How-to, Proles, links
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much, much more!
Rangender:
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137_RF_dec_Ad_Index.indd 137 11/19/2012 8:20:56 AM
138
PHOTO FINISH
S
ylvia de Swaans images instantly moved me in a
way that is usually reserved for music and prose.
My first exposure to the Romanian-born photogra-
phers pictures was a project called Return.
De Swaan explained the project on her fotovisura.com profile:
In early 1990, I ventured on the first of a series of train journeys
through post communist Eastern Europe, retracing routes my
family traversed as Holocaust survivors at the end of the Second
World War. I would compare these emotionally-packed vi-
gnettes to a visual time capsule filled with memories of pain and
loss, but also with enlightenment and hope. We never know what
others are feeling or thinking when taking photos, but these beau-
tiful photographs touch me deeply and inspire my own memories.
Its a rare photographer whose photos speak of the human condi-
tion so subtly, delicately and with total honesty. De Swaan is that
rare artist who can create a beautiful photographic work of art and
inspire a visceral reaction in the viewer. Take your time looking at
her images; like a fine wine you must pause and savor every drop.
http://sylviadeswaan.com
Each month David Carol highlights work from a photographer
who shoots for love, passion and personal experience.
David J. Carol is the director of photography at CBS Outdoor. His images and
award-winning books are in the collections of major museums and institutions
throughout the U.S. He serves as a portfolio reviewer for several organizations
around the country. Contact him at david@davidcarol.com or visit his website,
www.davidcarol.com
Sylvia de Swaan
By David J. Carol
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The War Game, Szczecin, Poland, 1994
The Wedding Guests, Cluj-Napoca, Romania, 1994
RF_138PhotoFInish.indd 138 11/16/2012 10:33:38 AM
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