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A NIGHT IN THE CELLS WITH SUE FOLL HOW TO KEEP YOUR BLOG INTERESTING PORTRAIT RETOUCHING SOFTWARE RATED NEW GEAR: FULL LAUNCH DETAILS OF THE NEW NIKON D7100 PERFECT PRINTS MADE EASY Vital kit to get colour confident THE ULTIMATE PHOTO FINISH 13 stylish ways to show your shots Get started Define your style Light bridal portraits Master post-production ISSUE 78 £4.50 www.photopromagazine.com Driving ambition Astonishing automotive art by CGI guru Carl Lyttle PRO PORTFOLIO Promote your skills to beat weekend warriors WEDDINGS IT’S ALL ABOUT YOU SPECIAL ISSUE AN AMAZING STEALTHY STABILISER WORTH £400! WIN

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  • A NIGHT IN THE CELLS WITH SUE FOLL

    HOW TO KEEP YOUR BLOG INTERESTING

    PORTRAIT RETOUCHING SOFTWARE RATED

    NEW GEAR: FULL LAUNCH DETAILS OF THE NEW NIKON D7100

    PERFECT PRINTS MADE EASYVital kit to get colour confident

    THE ULTIMATE PHOTO FINISH13 stylish ways to show your shots

    Get started s Define your style s Light bridal portraits s Master post-production

    ISSUE 78 4.50 www.photopromagazine.com

    Driving ambitionAstonishing automotive art by CGI guru Carl Lyttle

    PRO PORTFOLIO

    Promote your skills tobeat weekend warriors

    WEDDINGSITS ALLABOUT YOU

    SPECIAL ISSUE

    AN AMAZING STEALTHY STABILISER WORTH 400!WIN

    PP04_001 (COVER)rpljc.indd 1 25/2/13 14:10:54

  • 004 PHOTO PROFESSIONAL ISSUE 78

    CONTENTSISSUE 78

    Business MattersPro Academy Gear

    Regulars

    032 LIGHTING MASTERCLASSWEDDING Gordon McGowan, author of this months cover image, shares some of his lighting techniques to help your wedding images stand out.

    042 POST-PRODUCTION SKILLSWEDDING Find out how photographer Podge Kelly uses post-production techniques to off er clients an extra service and boost his bottom line.

    052 LIGHT BRIDAL PORTRAITSWEDDING All wedding photographers need to shoot good bridal portraits, but great shots will get more revenue. Peter Prior off ers sound advice to maximise sales potential when times against you.

    087 GET COLOUR CONFIDENT WEDDING Colour management is crucial for editing and outputting your images. We test gadgets from 100 to over 1000 that will save time, money and deliver great results.

    094 PORTRAIT RETOUCHINGWEDDING We test two soft ware packages that promise brilliant portrait retouching with a few mouse clicks. Which one is worth its weight in gold?

    098 PRESENTATION GUIDE There are many more ways to present images than a book or album. Here are 13 alternative options you can market to your clients.

    061 BUSINESS MATTERSDont miss these essential nuggets of advice from our experts that will help you run your business better.

    064 FANCY A CAREER CHANGE?WEDDING Sam Gibson left a successful media career to become a wedding photographer. Has it worked?

    068 CHOOSE YOUR STYLEWEDDING Theres a host of wedding styles to adopt, but which one is best for you and, crucially, your clients?

    076 PROMOTE YOUR SKILLSWEDDING Your professional skills and experience are valuable assets. Heres how to market them to your clients.

    006 INBOX Spec details on Nikons new sharp-shooting D7100, the latest launches from Courtenay and Sigma, plus your chance to win a 400 photo/video support.

    018 PORTFOLIO: CARL LYTTLEWitness Carls stunning automotive art that sees cameras and computers work in perfect harmony.

    018

    024

    Subscriptions & back issues:

    WEDDING Essential tips and tricks to help you shoot bridal portraits that will sell.

    052

    024 PROJECT: SUE FOLLEvent photography with a diff erence as Sue endures a night in the cells with a series of dedicated fi lm goers. No popcorn allowed!

    PP04_004-005 (CONTENTS)RPljchb.indd 4 25/2/13 14:45:44

  • ISSUE 78 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 written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher.

    Cant find a copy? Finding your nearest Photo Professional magazine stockist couldnt be easier. Simply contact: COMAG, Tavistock Road, West Drayton, Middlesex, UB7 7QE Alternatively call 01895 433600.

    When you have fi nished with this magazine, please recycle it

    Bright House, 82 High Street, Sawston, Cambridge CB22 3HJTelephone 01223 499450 [email protected]

    editorialEditorTerry Hope 01959 [email protected]

    Technical WriterIan Fyfe 01223 [email protected]

    Sub EditorsLisa Clatworthy 01223 499450Hannah Bealey 01223 499450

    Editorial DirectorRoger Payne 01223 [email protected]

    Design Director Dean Usher

    Design & Production Manager Grant Gillard

    advertisingSales DirectorMatt Snow 01223 [email protected]

    Key Accounts Maria Francis 01223 499457 [email protected]

    Mike Elliott 01223 [email protected]

    Business Development DirectorDave Stone 01223 [email protected]

    All advertising copy to: [email protected]

    publishingPublishing Directors Andy Brogden & Matt Pluck

    Head of Circulation Chris Haslum

    068 087

    Cover image Gordon McGowan

    www.photopromagazine.com, call 01371 851876 or see p82 for our special offer

    PP04_004-005 (CONTENTS)RPljchb.indd 5 25/2/13 14:46:03

  • PORTFOLIO | CARL LYTTLE

    018 PHOTO PROFESSIONAL ISSUE 78018 PHOTO PROFESSIONAL ISSUE 78

    PP04_018-023 (PORTFOLIO)hbljc.indd 18 25/2/13 12:18:30

  • PORTFOLIO | CARL LYTTLE

    ISSUE 78 PHOTO PROFESSIONAL 019ISSUE 78 PHOTO PROFESSIONAL 019

    PP04_018-023 (PORTFOLIO)hbljc.indd 19 25/2/13 12:18:45

  • 032 PHOTO PROFESSIONAL ISSUE 78

    PP04_032-039 (PA LIGHTING MASTERCLASS)ljchb.indd 32 25/2/13 12:28:46

  • ISSUE 78 PHOTO PROFESSIONAL 033

    PRO ACADEMY

    L I G H T I N G M A S T E R C L A S S

    While many couples these days are opting for a reportage approach on their big day there is still strong demand for the classic wedding images

    that lighting maestro Gordon McGowan deliversWORDS CHRISTIAN HOUGH PICTURES GORDON McGOWAN

    LIGHTINGCLASSIC WEDDING

    ISSUE 78 PHOTO PROFESSIONAL 033

    egendary social photographer Gordon McGowans first encounter with the craft that hes gone on to master was at

    the age of nine, while in hospital for an ear operation. During his stay he was given a Russian Victor camera from Woolworths by his father, and equipped with this 15 gift he began taking photographs of the hospital staff. To this day he recalls the fantastic buzz he received from the reaction of

    the nursing staff when he returned to the hospital to hand out the prints hed had made.

    This experience inspired Gordon, who began photographing landscapes and family members on a regular basis. Ultimately it led to him shooting his first wedding for a work colleague in the early eighties, a commission that effectively kick-started his professional career. Since that point Gordons work has gone from strength to strength and his reputation has soared.

    His client base has broadened and hes also become a regular fixture on the training circuit, earning huge respect from his peers and the wider industry. Testament to the high technical level that he has achieved in his work, Gordons achievements include the accolade of Fellowship in Wedding Photography from the Royal Photographic Society and numerous awards from the professional industry bodies.

    L

    PP04_032-039 (PA LIGHTING MASTERCLASS)ljchb.indd 33 25/2/13 12:28:57

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  • ISSUE 78 PHOTO PROFESSIONAL 061

    hotographers who havent yet entered the big wide world of weddings might be put off by the horror stories.

    A quick glance through Google reveals tales of photographers in big spats with newly-weds. And given the widespread bridezilla stereotype, its easy to blame everything on the client, but the truth is a lot of disputes could be avoided.

    The first issue to consider with wedding photography is a legally binding contract. This contract exists whether or not you write it down. But if you do not issue a written contract, it can be difficult for you and the clients to be clear about both your expectations, what shots you must bag and when your payment is due.

    From time to time I host legal seminars for photographers and am often surprised at how many professionals accept jobs without a contract. With weddings often seen as the most important day in two peoples lives, the stakes are high so a proper contract is essential.

    While reading some online wedding complaints I saw a comment that made me stop and think. An unhappy photographer said hed done everything expected of him, but the clients were unhappy and refusing to pay. All of which, perhaps, shows how important it is to make the clients happy.

    From a legal point of view prevention is better than cure, so make sure youre clear what the clients really want. When clients book they can be frighteningly vague about this. Meet with them early on to find out what will make them a truly happy couple.

    I have come across instances of couples hiring a photographer to take informal candid shots with no formal group shots. Yet after the wedding the couples family have been upset to learn that theres no posed shot of the bride with her mum, the groom with his siblings, etc. Its tempting to say the client didnt ask for these pictures in the first place, so why should they get them? However, youll still be dealing with an unhappy couple, so be thorough in your preparation, think on your feet during the day and keep checking whats required. Its the only sure-fire way to avoid complaints, so ask the difficult questions and be specific.

    If someone genuinely doesnt want any formal shots, include that in the contract and point it out before they sign it. If they just want reportage shots it can still be useful to have a list of particular people theyd like you to capture. Armed with a list you can then tick people off on the (often hectic) day. Also ask clients to nominate a member of the wedding party to help, and the best man is usually a good bet. They can point out the important people and help you round them up.

    If all this preparation fails and the clients are still unhappy your written contract is there to save you from being sued and help you get paid. Like car insurance, it can feel like an unnecessary expense, but when the worst happens youll be very glad youve got it.

    Scott Gair is an intellectual property lawyer at Mayo Wynne Baxter and a professional photographer. Send questions for this column to [email protected]

    ebsites, business cards, Twitter, Facebook and even what you chose to wear to visit your client this afternoon its all

    marketing. And even though we were all taught to never judge a book by its cover, in reality we do just that. That first impression you create is what counts in getting your next client phone call or meeting, and there are important things to consider to make sure you are the first person they contact, not the second, third or last person on their list.

    BUSINESS MATTERS

    064 CHANGING UP A GEARFrom documentaries to weddings

    068 CORNERING THE MARKETBe different, and be successful

    SCOTT GAIR, INTELLECTUAL PROPERTY LAWYERDont blame it on the bride

    DANI RIOT, FASHION PHOTOGRAPHER AND FOUNDING PARTNER OF NEGATIVESPACETake care of personal marketing

    062 HOW TO MAKE EVERY BLOG POST COUNT076 FORGET ABOUT WEEKEND WARRIORS. YOURE A PRO

    Weddings are the most important day in their lives, so the stakes are high

    P

    W

    PP04_061-063 (BM BUS MATTERS)ljchb.indd 61 25/2/13 14:19:09

  • 068 PHOTO PROFESSIONAL ISSUE 78

    To rise above the level of mass market wedding photography, you need a style and approach that fits your profile and then you can market your business to your target audience

    STYLESELLING YOURT A R G E T Y O U R M A R K E T

    WORDS TERRY HOPE PICTURES VARIOUS

    068 PHOTO PROFESSIONAL ISSUE 78

    nce upon a time things were so very easy in the world of wedding photography. Everyone knew what to expect because

    there was a formula that ensured all the key highlights signing the register, bride and groom, groups and cutting the cake were covered, and by and large the style of photography was consistent. Uncle Bob was still in short trousers and was doing the best he could with his Box Brownie, the official photographer was the one with the Hasselblad and the happy couple were content with an album culled from the half a dozen or so films shot on the day.

    This all changed way back of course. But as the rules about what constituted good wedding photography were relaxed and couples became more discriminating, so the waters became muddied and what the wedding photographer was expected to supply became less clear. The arrival of good, quality DSLRs further moved the goalposts by encouraging photographers, who would once never have considered weddings, into this sector, while the removal of film costs meant way more pictures were being shot.

    Weve now arrived at a landscape littered with choices, both in terms of prices and packages available but also with regard to the photographic approach taken. Where once it was all about rigid formality, now there are options for the couple to book everything from a fly-on-the-wall documentary through to an avante garde approach, a traditional look or even, in the hands of someone like Jerry Ghionis, an editorial fashion shoot starring the bride. And thats without considering the move towards big production wedding videos and real niche sectors, such as vintage or gothic weddings.

    But as the wedding photography market has fragmented, its also thrown up heaps of opportunities. Now, as a photographer, you can truly be whoever you want to be, so long as you can sell that to your prospective client. And heres the rub: while many come into the business offering a very general approach and will essentially just cover anything that happens on the day to the best of their ability, those who differentiate and market themselves in a particular category will be targeting a much smaller potential client base. The upside to this is that because you are a perfect fit with your client base you effectively become a larger and far more appealing cog in a much smaller wheel. Furthermore, less competition within the chosen sector offers you the opportunity to charge a decent rate.

    Choosing your sectorYou know yourself what your strengths are, so play to them. If you enjoy creating artistic images on the day you probably wont make the best reportage photographer, for example. Decide what youre best at and see if you can hone your offering still further.

    Its important that you understand the clients you want to target. For example, couples who read contemporary lifestyle and fashion magazines might well see the beauty in a portrait where their heads have been cropped out, while this kind of ber chic approach would be anathema for those with a more traditional view.

    There is no longer any single way to approach wedding photography. Every couple is individual so you too should be shouting about your unique skills. Establish yourself in your chosen area and youll have a better chance of establishing your profile amongst your perfect clients.

    O

    PP04_068-075 (CHOOSE YOUR WEDDING STYLE)LJChb.indd 68 25/2/13 14:21:46

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    PP04_068-075 (CHOOSE YOUR WEDDING STYLE)LJChb.indd 69 25/2/13 14:21:58

  • 076 PHOTO PROFESSIONAL ISSUE 78

    Many wedding photographers live in fear of the so-called weekend warrior, and the rock-bottom prices they can charge. However, not everyone is

    so worried about the perceived threat from the part-timer

    WARRIORSMAKING PEACE WITH THE

    R E M E M B E R Y O U R E A P R O

    WORDS KAT WILLIAMS PICTURES HANNAH MILLARD/SARAH LAFFORD/SHELL DE MAR

    076 PHOTO PROFESSIONAL ISSUE 78

    PP04_076-080 (SHOUT ABOUT YOUR PROFESSIONALISM)ljchb.indd 76 25/2/13 14:24:03

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    Han

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    PP04_076-080 (SHOUT ABOUT YOUR PROFESSIONALISM)ljchb.indd 77 25/2/13 14:24:33

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  • 084 PHOTO PROFESSIONAL ISSUE 78

    A LENS FOR ALL OCCASIONSDiscover the treasure trove of optics that Lenses for Hire has available and you have the chance to equip yourself with the specialist kit you need to tackle any job

    ABOVE You can choose from a huge collection of lenses to cover every conceivable photo need at Lenses for Hire and rental isnt as expensive as you might think.

    ne of the most difficult decisions you face as a professional photographer is what gear you should invest in.

    Its a quandary that has become ever more pressing as times get harder and finances are squeezed further. Good quality lenses in particular can be hugely expensive, and you can end up spending a big chunk of your resources on a piece of high-end glass that digs you out of a hole on one job and then sits at the bottom of your gadget bag for weeks on end until you need it again. Not a good use of your hard-earned cash, but how else can you offer your clients the service they need?

    Well, there is an answer, and its one that more and more canny professionals are turning to as they realise the value of hiring in specialist kit as and when its required. And if you go to a reputable company such as Lenses for Hire its all remarkably straightforward.

    For a start the companys range of stock is mindboggling. Along with the more regular lenses they also stock some wonderful, exotic optics that you might never have considered pairing with your camera before. Ordering through the companys website is easy and its straightforward to find what you want, check availability and place an order. This can be done anything up to six months in advance for a hire of a week or longer, and up to three weeks ahead of the hire date for the shorter rentals.

    How much does it cost? Not as much as you might think, particularly when you take into account that all the prices

    include comprehensive insurance and VAT; the only thing thats extra is delivery and return for customers who cant or dont want to collect and return in person from the companys HQ in Maidenhead. There are multiple options for delivery, but in general terms it costs about 20 round-trip for single small or medium lenses, and about 30 round-trip for large lenses or multiple lens orders.

    Sample pricesq"OFYUSFNFXJEFBOHMF[PPNTVDIBT

    the Nikon 14-24mm f/2.8, costs 55 for

    three days or 79 for a week, while Canon users might prefer the Canon 16-35mm f/2.8 for 52/75.q'PSBOVMUSBGBTUQSJNFTVDIBTBNN

    f/1.4, the Canon version is 52/75 and the Nikon one is 58/83.q'JTIFZFTDBOCFWFSZBGGPSEBCMFUIF

    Canon 15mm f/2.8 is 32/46, while the Nikon 16mm f/2.8 is 34/48.q5IFNPTUQPQVMBSUFMFQIPUPMFOTGPS

    wildlife and air shows etc is the Canon 100-400mm (55/79), while serious safari photographers who arent bothered about size and weight could consider renting either a Nikon 200-400mm f/4 for 156/223 or the amazing new Canon 500mm f/4 Mark II for 243/347.q*GZPVOFFEBUJMUTIJGUGPSBSDIJUFDUVSFPS

    landscapes, the Canon TS-E 24mm f/3.5 is 69/99 and the equivalent Nikon PC-E 24m f/3.5 is 59/85.

    A D V E R T I S E M E N T F E A T U R E

    O

    MORE INFORMATIONwww.lensesforhire.co.ukCall: 01628 639941 or 0800 61 272 61

    A lens for all occasionsDaniel Pearn-Rowe is a semi-professional wedding photographer who has been shooting weddings for two years. When I was first asked to photograph a friends wedding I immediately recognised that my 70-300mm f/4.5 was going to be woefully inadequate for the job, he says, and so I went looking for options. Like all start-ups, cash was low and enthusiasm was high and I wanted my images to be pin-sharp, but I couldnt afford to shell out 3000 for two lenses. Instead I chose to invest in a 24-70mm f/2.8 workhorse and then rented the 70-200mm f/2.8 for most weddings in the early days. I used Lenses for Hire for my first wedding and Ive since used them time and again.

    With most brides and grooms, we meet before the wedding and talk about ideas and photos. When visiting the venue, I size up the locations, the size of the rooms and the gardens, and Ill be thinking of the best lenses to use.

    Renting allows me to continually change perspectives and not get stuck in the safe 24-70mm, 70-200mm range, and it makes each wedding look a little different. The service from Lenses for Hire is amazing: their product knowledge and willingness to offer suggestions has really helped me carve out a great wedding photography business.

    sXXXEPXODPN

    PP04_084 (LENS FOR HIRE ADV)ljchb.indd 84 25/2/13 14:25:32

  • ISSUE 78 PHOTO PROFESSIONAL 085

    GEARAll the vital gear youll needto be a successful professional photographer

    087 TESTED: X-RITE i1 & COLORMUNKI Which calibrator gets the brides dress truly white?

    098 BUYERS GUIDE: PRESENTATIONIts not just albums and photo books. Weve 13 exciting, diff erent presentation options for you to consider.

    ESSENTIAL PRO GEAR

    REVEALED

    094 TESTED: PORTRAIT SOFTWAREDedicated retouching soft ware can produce pristine portraits in minutes, saving you time. We try two packages.

    PP04_085 (GEAR OPENER)ljc.indd 85 25/2/13 14:26:21

  • GEAR

    098 PHOTO PROFESSIONAL ISSUE 78

    BUYERS GUIDE: PresentationOffering more than just albums and books can boost your business and add crucial income to your bottom line. Heres an overview of products that can help you towards more profitable presentationWORDS IAN FYFE

    s a wedding or event photographer, youre almost certain to sell albums and photo books, but offering other products as part of your package could differentiate you from the crowd and help to boost

    your profit margins. Theres a huge range of presentation options out there, most notably large-format display products and print services involving unusual and distinctive materials, and these can be included in packages or offered as add-ons. Weve taken a look at some of the options on offer from a host of big names read on for an overview of what might suit your needs.

    A

    The Print LoungeThe Print Lounge offers Acrylic Photos, with direct printing on high-gloss perspex up to 1.6x3m (44-895), and Canvas Prints (40-464) which are fade and water resistant on genuine heavyweight canvas. Exclusive to the Print Lounge though is the AlloyBox. Your photo is printed directly onto aluminium, and available finishes are Gloss White or Brushed Aluminium with a selection of edge colours and image wrap options. The print is water and fade resistant. Custom sizes are available, costing 100 to 800.

    qprintlounge.co.uk

    Trade Canvas PrintTrade Canvas Print specialises in high-quality canvas prints for the photographic trade. Each canvas is hand-stretched, monitored at every stage of production, and covered by a lifetime guarantee. Theyre laminated to provide 200-year UV protection, scratch and crack resistance, and a cleanable surface. The heavyweight canvas is stretched onto a 38mm deep pine wood, knot-free frame.

    Canvas sizes range from 8x8in up to 36x60in, and they cost 5.50-75 unstretched, or 13-120 stretched. Turnaround time is 24 hours, and Trade Canvas Prints offers a White Label service for delivery direct to clients. You can also have your logo, signature or other branding along one edge to help build up your profile.

    qtradecanvasprint.co.uk

    New to GF Smiths range of books is the Expressions One, a bespoke solution at an affordable price. Its only available in A4, with ten double-page spreads, but features the same print quality and lay-flat pages as the rest of the Expressions range. As with GF Smiths other products, it can be designed and ordered through their new Print Presentation software, which allows you to easily select styles and use templates to design your bespoke book. You can also work on live edits with your clients or generate PDFs to send to them. The simplicity of the product means that its just 58 including delivery.

    qgfsmithphotomount.co.uk

    GF Smith

    The name says it all with this company, which specialises in printing directly onto wood. This is said to produce richer, more vibrant results than photo mounting or dye sublimation. No white ink is used, so the natural wood grain shows through, making each print unique.

    Prints on Wood offers standard sizes ranging from 4x6in to 24x36in (15-134). Custom sizes up to 4x8ft are also available on request. The final product can be cleaned without fear, and the company works uses sustainable FSC-certified wood.

    qprintsonwood.com

    Prints on Wood

    PP04_098-100 (BUYERS GUIDE)ljc.indd 98 25/2/13 14:38:32

  • GEAR

    ISSUE 78 PHOTO PROFESSIONAL 099

    GEAR

    OneVisionOneVision offers a wide choice of wall display and fine art prints, as well as traditional lab services. Fine art gicle prints (12-21) are available from 10x8in up to 40x40in on a choice of three papers: Artist 210gsm, Portrait 300gsm and Museum 310gsm. Other large-format products available are acrylic prints (56-481), canvases (27-570), Box Frames (32-214) and Coloured Edged Blocks (39-150), which are prints mounted on MDF blocks with coloured edges.

    qonevisionimaging.com

    -PYMFZ$PMPVSAll of Loxleys Bellissimo albums and books can be finished with a hand-built Premium Presentation Box (36.75-68.25). This is made to match the album, with personalised images and text, and has a cushioned finish. For presenting prints or proofs there are also the Print Box and Portfolio Box. The Print Box (22-26) can hold 100-300 prints and has either a photo or leatherette cover. The Portfolio Box (45 + prints) accommodates up to 15 mounted prints, and can be partnered with a display easel.

    Beyond its range of albums and prints, Loxley also offers a number of wall display products. Recent additions include Print Wraps (25-88), Float Frames (35-88), the Prism Range (25-108) and Acrylic Gallery (32-108).

    qMPYMFZDPMPVSDPN

    5IF7BVMUStretched canvases from The Vault can be produced from negatives, transparencies, digital files or photographs. Theyre printed on 340gsm cotton canvas and hand stretched, with the water resistant image on the front only or wrapped around the edges. Standard sizes range from 12x10in (45) to 48x36in (192), and stretcher bars are interchangeable for other sizes.

    Also available from The Vault are Gicle fine art prints. These are produced from digital files, but flat images up to 18x13in can be scanned to produce a digital version. The file is adjusted to match the original and a proof printed for your approval. Available paper finishes include flat matte or heavily textured, or files can be printed on cotton canvas and stretched. Available sizes are 12x10in (23) up to 48x36in (156.50).

    qUIFWBVMUJNBHJOHDPVL

    4USFBNMJOF*NBHJOHStreamline offers several simple presentation options. Amongst these are Canvas Block Wraps, which use canvas wrapped around 15mm solid MDF in sizes from 10x8in (40) up to 24x16in (68). Also using MDF panels are Block Mounts: a premium print is finished with a satin matte laminate and then bonded to MDF with black edges at sizes of 15x10in (38) up to 30x20in (69). A lighter option is print mounting on 5mm Kapa Foamboard, lined with aluminium for rigidity and sized from 12x8in (4), right up to 30x20in (20).

    qTUSFBNMJOFJNBHJOHDPVL

    6MUJNBUUltimat has made its name with its mounts and frames, and has nearly 20 different lines designed specifically to suit wedding, portrait or commercial photographers. Recent alternatives added to Ultimats range include the Portfolio Box and CD Box. The Portfolio box holds up to 20 7x8in or 10x8in mounted prints. The CD box is ideal for presenting digital photos with an album, and has an image insert inside the lid. Both products can be foil embossed with your logo.

    qVMUJNBUGSBNFTDPVL

    PP04_098-100 (BUYERS GUIDE)ljc.indd 99 25/2/13 16:47:14

  • NEXT ISSUE

    FILM NOIR ON LOCATION

    ON SALE THURSDAY 4 APRIL

    JOE ALBLAS: PORTFOLIO FROM THE MASTER OF FILM STILLS UNDERWATER FASHION THAT INSPIRED A CATWALK SHOW WHY THE CONCEPT OF BELOVED IS PERFECT FOR WEDDINGS PAUL WENHAM-CLARKES WESTWAY PORTRAITS HOW TO PUT UP YOUR PRICES WITHOUT LOSING CLIENTS WHAT SHOULD YOU BUY FOR 2000?

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