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
ISSUE 78 4.50 www.photopromagazine.com
Driving ambitionAstonishing automotive art by CGI guru Carl
Promote your skills tobeat weekend warriors
WEDDINGSITS ALLABOUT YOU
AN AMAZING STEALTHY STABILISER WORTH 400!WIN
PP04_001 (COVER)rpljc.indd 1 25/2/13 14:10:54
004 PHOTO PROFESSIONAL ISSUE 78
Business MattersPro Academy Gear
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
076 PROMOTE YOUR SKILLSWEDDING Your professional skills and
experience are valuable assets. Heres how to market them to your
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.
Subscriptions & back issues:
WEDDING Essential tips and tricks to help you shoot bridal
portraits that will sell.
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
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editorialEditorTerry Hope 01959
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Sub EditorsLisa Clatworthy 01223 499450Hannah Bealey 01223
Editorial DirectorRoger Payne 01223
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All advertising copy to: [email protected]
publishingPublishing Directors Andy Brogden & Matt Pluck
Head of Circulation Chris Haslum
Cover image Gordon McGowan
www.photopromagazine.com, call 01371 851876 or see p82 for our
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PORTFOLIO | CARL LYTTLE
018 PHOTO PROFESSIONAL ISSUE 78018 PHOTO PROFESSIONAL ISSUE
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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
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
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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
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
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
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.
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
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
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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
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
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.
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Many wedding photographers live in fear of the so-called weekend
warrior, and the rock-bottom prices they can charge. However, not
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
076 PHOTO PROFESSIONAL ISSUE 78
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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
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.
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
Canon 15mm f/2.8 is 32/46, while the Nikon 16mm f/2.8 is
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
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
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
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ISSUE 78 PHOTO PROFESSIONAL 085
GEARAll the vital gear youll needto be a successful professional
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
ESSENTIAL PRO GEAR
094 TESTED: PORTRAIT SOFTWAREDedicated retouching soft ware can
produce pristine portraits in minutes, saving you time. We try two
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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
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.
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
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,
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.
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
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
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.
Prints on Wood
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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
-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).
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).
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
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.
PP04_098-100 (BUYERS GUIDE)ljc.indd 99 25/2/13 16:47:14
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
Damian Lovegrove on the techniques you need to produce dramatic
PP04_114 (NEXT MONTH)ljc.indd 114 25/2/13 14:41:09