5 TIPS TO GUARANTEE YOU GET YOUR PRICING RIGHT
SHOOTING STILLS FOR BLOCKBUSTING MOVIES
SONYS 2500 RX1 COMPACT TESTED
REVEALED! THE FULL COST OF SWITCHING TO FULL FRAME
BACK TO BLACK (& WHITE)Take mono portraits that sell
WEDDINGS: THE NEXT GENERATION Forget posing, its all about the
ISSUE 79 4.50 www.photopromagazine.com
In at the deep endDive into Christy Lee Rogers stunning abstract
How one pro is successful in two very diff erent markets
LIGHT BLUE BUSINESS SOFTWARE WORTH 350!WIN
Top pros share aff ordable ways to give your bottom line a
welcome boostBUSINESSKICK-START YOUR PHOTO
PP79_001 (COVER)rp2hbljc.indd 1 25/3/13 09:28:58
004 PHOTO PROFESSIONAL ISSUE 79
Business MattersPro Academy Gear
036 LIGHTING MASTERCLASS A project capturing life under the
Westway motorway gave Paul Wenham-Clarke some lighting challenges.
Heres how he tackled them.
044 BACK TO BLACK (& WHITE) COVER Damien Lovegrove explains
key techniques to create portraits with a lm noir look. It could be
just what your clients are looking for!
052 WEDDINGS: THE NEXT STEP COVER The Beloved Concept is a new
approach to wedding photography. We speak to one of the UKs leading
exponents of the style to discover what its all about.
082 THE COST OF FULL FRAME COVER Aside from the obvious outlay
for the camera body, what other hidden costs lie in wait for pros
moving to the larger format? We nd out.
092 CANON EOS M & SONY RX1COVER Canons compact system camera
and Sonys full-frame compact are well specied and capable of great
results, but is that enough to make them good second shooters?
098 BUYERS GUIDE: MEMORY Memory cards, hard drives and solid
state drives we take a look at the lot and hand-pick a selection of
manufacturers to consider.
028 MULTIPLE EXPOSURESCOVER Mark Bridger has carved a successful
career as a wedding and a wildlife photographer. Heres how.
061 BUSINESS MATTERS Want to run your business better? Youll be
needing this essential advice from our experts, then.
064 GET YOUR PRICING RIGHT COVER Its one of our most regularly
asked questions: what should I charge? Dont miss this priceless
070 KICK-START YOUR BUSINESS COVER Looking for an affordable way
to boost your business? We asked pros what theyd do with a
006 INBOX Why the recent Focus on Imaging show should give us
reasons to be cheerful, plus details on new launches from Bowens,
Peli, Sony and more.
016 PORTFOLIO: JOE ALBLASCOVER We meet the Hollywood star youve
probably never heard of, but whose work youll be very familiar
Subscriptions & back issues:
Find out all about the wedding style that makes posing a thing
of the past
022 PROJECT: IN AT THE DEEP END COVER For stunning abstract
fashion images just add water! We showcase the aquatic exploits of
Hawaiian-born photographic artist Christy Lee Rogers.
PP79_004-005 (CONTENTS)rpljchb.indd 4 25/3/13 15:06:02
ISSUE 79 PHOTO PROFESSIONAL 005
Photo Professional is published on the first Thursday of every
month by Bright Publishing Ltd, Bright House, 82 High Street,
Sawston, Cambridge, CB22 3HJ.
No part of this magazine can be used without prior written
permission of Bright Publishing Ltd. Photo Professional is a
registered trademark of Bright Publishing Ltd. The advertisements
published in Photo Professional that have been written, designed or
produced by employees of Bright Publishing Ltd remain the copyright
of Bright Publishing Ltd and may not be reproduced without the
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Telephone 01223 499450 [email protected]
www.photopromagazine.comeditorialEditor Terry Hope 01959 563007
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Stone 01223 499462 [email protected] advertising
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Directors Andy Brogden & Matt PluckHead of Circulation Chris
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www.photopromagazine.com, call 01371 851876 or see p90 for our
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016 PHOTO PROFESSIONAL ISSUE 78
PP79_016-021 (PORTFOLIO)hbljc.indd 16 25/3/13 14:21:06
PORTFOLIO | JOE ALBLAS
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PORTFOLIO | JOE ALBLAS
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Joe Alblas has been privileged to document some of the greatest
moments of human history, and although he might have been working
on a film set at the time, he still had to capture the action live
as it happenedWORDS TERRY HOPE PICTURES JOE ALBLAS
PP79_016-021 (PORTFOLIO)hbljc.indd 17 25/3/13 14:21:18
PORTFOLIO | JOE ALBLAS
018 PHOTO PROFESSIONAL ISSUE 79
I create make believe you were somewhere else images, by using a
combination of lighting set-ups, props and locations
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PORTFOLIO | JOE ALBLAS
ISSUE 79 PHOTO PROFESSIONAL 019
he world of film stills is a very different place today than it
once was. Forget those glorious, staged Hollywood classics by the
likes of George Hurrell and Clarence Sinclair Bull; now its all
about realism and images that
could essentially pass as virtual screen grabs from the movie.
Those like South African photographer Joe Alblas, who specialises
in this area, need all the razor-sharp reactions of a top
photojournalist while being nimble enough to keep out of the way of
a constantly moving film crew and cast of actors.
This is an endlessly challenging and stimulating job, and Joes
working day regularly involves being asked to produce stills of
epic scenes set up as part of a big budget film or TV production.
For example, towards the end of 2011 he spent three months
photographing Mankind: The Story of All of Us, a landmark History
Channel documentary series. In the process, he found himself
confronted by the ice age, the battle of Megiddo, the sacking of
Rome, the demise of Easter Island, Christopher Columbuss discovery
of America, the Salem witch hunts, plus a host of other key moments
from history. It was an extraordinary commission that yielded some
amazing images, as the past came vividly to life in front of Joes
Starting out in the late seventies working part-time as a press
photographer for the Sunday newspapers in South Africa, Joe found
himself shooting mostly cover stories during the apartheid
oppression. Each weekend I would hope to get a front-page spread
which would mean extra money, he says, particularly if the image
was being used in colour.
Within a few years he had changed direction, seeking more
technically challenging assignments. By chance I took another path,
which brought me into advertising and fashion photography, he says.
The latter was my preference, and for the next 20 years it allowed
me the freedom to express myself through my work. I soon began to
develop a technique of creating make believe you were somewhere
else images by using a combination of lighting set-ups, props and
interesting locations in my approach, similar to how directors
today use production designers, art directors and the like to
create their movie sets. Basically, this set the foundation for
what I now look for in producing all my set images.
In 2001 I finally moved back to Cape Town and almost immediately
started shooting stills on international commercials, and later
gravitated more towards long-form film and television drama as Cape
Town turned into one of the worlds most popular film-production
Shooting the big productionEvery production is different, and
usually Joes assignments are long-term and involve him spending
weeks, or even months, covering every angle of the action. The
style of photography needs to match the look of the film footage,
and its important for the approach to be tailored to fit the
I always look first at who is directing, says Joe, and study the
treatments, then Ill look at who is doing the cinematography to see
the style. Next I have
IMAGES Fast shutter speeds and a housing for the camera are
vital to capturing stills, quickly and quietly, on a movie set.
Working closely with the director of photography lets Joe Alblas
plan his shots without getting under the teams busy feet. His
stills are of huge importance but hes more of a voyeur on-set for
scenes, such as the explosion above, hes expected to work alongside
the film crew to capture the same moment.
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022 PHOTO PROFESSIONAL ISSUE 78
The sublime abstract images captured by Hawaiian photographic
artist Christy Lee Rogers are all based around water, and result
from a process that is deliberately raw and unplannedWORDS TERRY
HOPE PICTURES CHRISTY LEE ROGERS
022 PHOTO PROFESSIONAL ISSUE 79
In at the
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ISSUE 79 PHOTO PROFESSIONAL 023
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044 HOW TO SHOOT FILM NOIRMaster this moody black & white
technique with advice from Damien Lovegrove.
PRO ACADEMYProviding you with the essential skills, techniques
and ideas you need to make it as a successful professional
ESSENTIAL PRO SECRETS
036 LIGHTING MASTERCLASS Commercial and advertising
photographer, Paul Wenham-Clarke uses a minimalist set-up to light
his environmental portraits.
052 BELOVED PORTRAITSFind out how the Beloved concept can help
you capture raw emotions.
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PP04.indd 1 22/3/13 16:31:37
ISSUE 79 PHOTO PROFESSIONAL 061
etting behind the camera can lead to all sorts of unpredictable
situations, so before you take that step make sure it doesnt end
costing you thousands.Paparazzi are repeatedly reported to
get into scrapes with celebrities causing equipment damage,
court cases and sometimes serious injury. There is the infamous
clip of a photographer headbutting Jamiroquais Jay Kay, while
original Hollywood bad boy Sean Penn was fined for assault and
battery when he attacked two snappers following his one-time
partner Madonna. More recently Kanye West did 50 hours of community
service after smashing a paparazzos camera. Then there was the
photographer who tragically died in LA this January after being hit
by a motorist as he took pictures of Justin Biebers sports car.
While insurance cannot secure anyones safety, properly tailored
products can compensate for damaged equipment, legal costs and loss
of earnings. It isnt just the paparazzi who need to think about
this. Wildlife photographers can have their equipment chewed or
damaged by animals. Those working in war-torn or politically
unstable countries also take on extra risks. A film crew on David
Attenboroughs Africa series was one of the last to leave Libya in
the Arab Spring. They had to leave time-lapse equipment behind and
ineffectual vandals narrowly missed ruining groundbreaking footage
of shifting desert sands.
Accidents happen close to home too. I work with a sports picture
agency and heard of a finishing gantry collapse at a running event,
sending metal poles crashing down on to another photographer. I
forgot to ask which he tried to protect first, his head or his
70-200mm f/2.8 Canon lens!
Any line of photography work involves risk. When choosing
insurance consider the cost of your gear, the losses youd suffer if
you were unable to work and the more complicated issue of legal
liability. Find out if youd be covered for civil or criminal
charges and whether your insurance would fund the legal costs if
you ever need to take someone to court.
Public liability insurance protects you if something you do
causes harm, however inadvertently for example if someone trips
over your gear and gets hurt. Professional indemnity insurance is
another important one. When working for paying clients, there is
always potential for a complaint, however good you are. If a memory
card corrupts, a camera is stolen, a computer breaks, or an
accident prevents you from reaching a job, professional indemnity
insurance may protect you financially from lawsuits. If you operate
as a sole trader or in partnership your liability may be unlimited,
which means your house could ultimately be at risk.
Whenever I feel aggrieved at paying for insurance, I try and
remember Im buying peace of mind. You always know that 99% of the
time it wont get used, but its there just in case something goes
badly wrong one day. If it does, a proper bespoke insurance policy
is an extremely welcome safety net. Photo Professionals back
catalogue is full of tips on specialist insurance so you neednt
take a chance on a general policy, which may leave you at risk.
Scott Gair is an intellectual property lawyer at Mayo Wynne
Baxter and a professional photographer. Send your questions for
this column to [email protected]
o make any money in the photography business, we have to sell to
our clients. That inevitably leads to a quandary: how do we
present our prices to the client in such a way that sales are
maximised and the client is satisfied with their purchase? Its
often easier said than done. Are our prices too high? Too low? Why
is it so hard to talk about prices? To help, here are five tips
that have helped me with my own pricing quandaries.
1. Never apologise for your pricesYou need to let your client
know that your prices are fair and that they provide
064 IS THE PRICE RIGHT?Maintaining your profit margin
070 WHAT CAN 2000 BUY YOU?Great ways to invest in your
SCOTT GAIR, INTELLECTUAL PROPERTY LAWYERRisky business
NIGEL MERRICK, PHOTOGRAPHER AND BUSINESS WRITERPresenting your
062 3 PROVEN WAYS TO MAKE MORE MONEY063 HOW TO NEGOTIATE, AND
NOT BE A SOFT TOUCH
Insurance is there just in case something goes badly wrong one
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070 PHOTO PROFESSIONAL ISSUE 79070 PHOTO PROFESSIONAL ISSUE
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ISSUE 79 PHOTO PROFESSIONAL 071
OK, so lets imagine for a moment that youve got a mythical 2000
to spend on your photographic business. Where would you start, and
you splurge on one item or look to change your life?
BRASS IN POCKET
I N V E S T I N G I N Y O U R B U S I N E S S
WORDS TERRY HOPE PICTURES VARIOUS
ISSUE 79 PHOTO PROFESSIONAL 071
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ISSUE 79 PHOTO PROFESSIONAL 081
GEARAll the vital gear youll needto be a successful professional
084 THE TRUE COST OF FULL FRAME SYSTEMSHow much does it really
cost to get involved in full frame and what kit should you be
100 BUYERS GUIDE: MEMORYWe take a look at memory in all its
shapes and forms and highlight the latest products aimed at the pro
ESSENTIAL PRO GEAR
094 TESTED: CAMERAS FOR SECOND SHOOTERSWe take a look at Sonys
RX1 and Canons EOS M to see what they have to off er.
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082 PHOTO PROFESSIONAL ISSUE 79
FULL TILT FOR FULL FRAME?
Full-frame DSLRs are considered by many to be an essential item
of pro kit, but what do they actually offer the working
photographer? And is it worth paying for?WORDS & PICTURES ADAM
The full cost of full frame
f you take a long hard look at the professional camera market
right now you could be forgiven for thinking that the writing is on
wall for anything less than full frame. After all, Nikon hasnt
released a fully professional smaller-sensor camera since the D2XS
in 2006, and this was cast into the shadows by the full-frame D3 at
the end of 2007. On top of that, until the recent announcement of
the D7100, the companys most serious semi-pro DX camera, the D300S,
had been flying the flag for high-end DX since 2009. Meanwhile,
Canon was first to the full-frame party a decade ago with the
EOS-1D S, upgraded to the Mark II then Mark III version in 2007,
and only recently it launched a super fast, sports capable,
full-frame camera: the EOS-1D X.
However, its in the semi-pro arena that the market has truly
been transformed. First Canon brought out the full-frame EOS 5D in
2005, which was then updated to the EOS 5D Mark II, which
single-handedly revolutionised the videography market. Then cue
Nikons mini D3, the D700. Finally, last year, the EOS 5D Mark III
hit the stores as well as Nikons D800 and D800E super-megapixel
cameras. These were then joined by the lower-spec, enthusiast
models like Canons EOS 6D and Nikons D600 last autumn.
Theres even some full-frame rangefinders available in the form
of Leicas pricey M9 and its variants, and the new M, plus Sony has
launched a premium-priced, full-frame compact, the fixed-lens RX1
to go alongside its full-frame DSLRs, which started with the
Iin 2008, with the current offering being the A99-SLT. Even
top-of the-range compacts, such as Nikons new DX-size Coolpix A,
and compact system cameras, like Canons EOS M, now have larger
sensors. It seems that if you are serious about photography, the
message is crystal clear: bigger is better.
However, before you completely ditch the notion of smaller
sensors you should be aware that its not all roses in the
full-frame garden. There are lots of factors, other than the camera
body in isolation, to take into account. For a start, all that
capacity for extra resolution will have an impact on the lenses you
can use and the much larger file sizes will mean investing in some
extra computing power and more storage capability. Its all adding
further cost to your initial investment.
If a larger sensor in a DSLR is a good idea, then putting bigger
sensors in smaller cameras also offers a benefit in terms of image
quality, but the trade-off is price and bulk.
There are only two manufacturers who make compact full-frame
cameras, Leica and Sony. The Leica M9 and now the new M are
interchangeable lens rangefinder cameras that you have to manually
focus. They are well built and pricey at 5000 for the body, plus
Leica lenses cost from around 1000 each. They are specialist bits
of kit, quite hard to use if you are not used to rangefinders, and
the sensor in the M9 is now a bit long in the tooth and doesnt
perform as well as any modern full-frame camera. The new M hits the
shops any day and is said to have a far superior new sensor.
The Sony, reviewed in this issue, is the only other full-frame
compact and it uses a fixed 35mm lens and the 24-megapixel sensor
from the A99 but costs a steep 2500. Like the Leica, its not
particularly compact or light.
Compare the reach of a 70-200mm f/2.8 lens used on an APS-C
sensor ABOVE and on a full-frame sensor BELOW. The crop factor of
an ASPC-C sensor extends your lenss range by 50% (1.5x crop
factor). This, for example, will turn a 70-200mm zoom into a
FULL-FRAME COMPACT OR COMPACT SYSTEM CAMERA
For smaller sensors but still much larger than the tiny sensors
used in most cheap compacts you have cameras like Fujifilms X-Pro 1
and XE-1 or the Canon EOS M, which use interchangeable lenses.
Nikons new Coolpix A has a fixed lens and APS-C sensor, as does the
If you must have interchangeable lenses in a small package, then
Micro Four Thirds sensors are a quarter of the size of full-frame
sensors. Popular products include Olympuss PEN and OM-D ranges and
Panasonics LUMIX G series.
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ISSUE 79 PHOTO PROFESSIONAL 083
ABOVE Full-frame DSLRs have been around for several years now,
fighting alongside cropped sensor cameras for popularity, but are
they about to elbow their smaller-sized rivals out of the
way completely? Nikon D4, 1/200sec at f/2, ISO 640
PP79_082-088 (DUCKWORTH)ljchb.indd 83 25/3/13 15:01:41
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13 ISSUESFOR JUST
PP79_090-091 (SUBS)ljchb.indd 91 25/3/13 15:22:22
092 PHOTO PROFESSIONAL ISSUE 79
SONY DSC-RX1 & CANON EOS M
Pro-spec backup cameras are all the rage these days. Have Sony
and Canons latest models got what it takes to impress the
professional?WORDS & PICTURES IAN FYFE & ROGER PAYNE
The perfect backup?
ost pros dream of owning a handy, portable camera; it takes up
minimal space in their gadget bag, yet still packs enough power
to deliver quality images. There are plenty of potential cameras
to fulfil this dream, from Fujifilms X-Pro1 through to Nikons DX
Mcompact, the Coolpix A, and more are in the pipeline,
particularly in the growing CSC sector. The range of options is
developing by the day.
Were looking at two recent additions to the sector, the Sony
DSC-RX1 and the Canon EOS M. The Sony in particular appears to be
targeted firmly at the serious user, given its price tag of
over 2000, while Canons first CSC the EOS M will also appeal to
the high-end hobbyist, but pros will be interested by its ability
to accept EF lenses via an adaptor. Although theyre not directly
comparable, were checking them both out to see if they could be the
pros dream handy, portable, backup camera.
SONY DSC-RX1 Sony has broken the mould and put a full-frame
sensor in a compact body, but is creating a portable camera for
professionals as simple as that? Ian Fyfe takes a look at Sonys top
Cyber-shot to find outThe idea of full-frame image quality from a
camera touted as portable was nothing more than fantasy just a few
months ago. But Canon and Nikon have given us smaller full-frame
options in the form of the EOS 6D and D600, and Sony has gone one
step further with this full-frame compact, the DSC-RX1. With a
fixed 35mm lens, its never likely to be your main camera, but what
does it offer that could justify a reserve spot for it in your
The design is sleek; its clean simple lines and black metal
casing make it inconspicuous. It feels solid in the hand, and
almost everything about it speaks of quality the lens rings, the
buttons and dials, the LCD screen. And all of this comes in a unit
about the size of most compact system cameras.
Despite its diminutive dimensions, theres no doubt about the
quality of the RX1s core. The 24.1-megapixel sensor features the
same light concentration technology as the chip in the RX1s DSLT
brother, the A99. Channelling light to this sensor is a 35mm f/2
Zeiss T* Sonnar lens, which is fixed in both senses of the word and
includes an advanced aspherical element to minimise its size. It
has an aperture ring, providing a retro touch and saving space on
the body, and a second lens ring shifts the front element to reduce
the minimum focusing distance and provide a macro mode.
There are a couple of notable absences from the RX1s autofocus
(AF) system. Theres no phase-detection AF, which may seem
inevitable for the size of camera, but the A99 launched at the same
time includes on-sensor phase detection. Why isnt it on the RX1?
Sony says its because this would necessitate a larger battery,
compromising the compact size of the camera.
The second significant omission is a continuous AF mode.
Included in RX1 prototypes, this was removed at the last moment.
Instead, single shot AF is the only option, unless youre in movie
mode when it automatically switches to continuous AF and stays
there. Although perhaps not hugely significant with a focal length
of 35mm, this leaves a large dent in the claim that the RX1
provides full DSLR functionality.
Besides these focusing shortfalls, just about everything else
youd find on a full-frame DSLR is here and more. Sony packs every
feature it can into every one of its cameras, and some of the more
gimmicky features are little more than menu clutter on a camera of
this calibre. That said, Sonys Clear Image Zoom is one of
these features, but could be handy with the RX1 it increases the
focal length of the lens by up to double without losing out on
The camera in useFor me, design has taken precedence over
practicality when it comes to handling, and I didnt find the RX1
comfortable to hold. The larger battery that Sony was keen to avoid
may have not only improved the AF system, but had the happy side
effect of providing a more substantial grip as well. As it is,
theres an add-on thumb grip intended to help, but I thought this
made things worse.
The start-up time is around two seconds, but once on, the
controls offer good flexibility with a total of five customisable
buttons. The Fn button accesses the Quick Navi Pro menu system for
speedy adjustments; this is very easy to use. Whats more, there are
three custom settings on the mode dial for set-ups stored to
Despite its diminutive dimensions, theres no doubt about the
quality of the RX1s core
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ISSUE 79 PHOTO PROFESSIONAL 093
The full-frame sensor and the 35mm fixed Zeiss lens work in
combination to produce images that are rich in detail.
PP79_092-097 (CANON & SONY TEST)ljchb.indd 93 25/3/13
MASTER OF THE BIZARRE
ON SALE THURSDAY 2 MAY
OUR REGULAR HDSLR MOVIEMAKER SUPPLEMENT FREE WITH THIS ISSUE
AMAZING IMAGES FROM THE PRISONS IN EL SALVADOR FINE ART
MEDIA TO USE AND HOW TO PRINT WHAT YOU NEED TO KNOW TO SET UP
STYLED SHOOT LIGHTING FIGURES IN THE LANDSCAPE USING
TESTED: NIKONS NEW DX FLAGSHIP AND PRO-SPEC COOLPIX A
John Farrar presents his alternative view of fashion, where
nothing is what it seems
PP79_114 (NEXT MONTH)ljc.indd 114 25/3/13 14:43:05
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