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THE MAGAZINE FOR WEDDING AND PORTRAIT PHOTOGRAPHERS RANGEFINDERONLINE.COM APRIL 2014 PHOTO © FEATHER + STONE wedding issue the Navigating a Celebrity Event Fresh Styles for Stale Shoots Filmmaking Like a Documentarian PLUS Our Favorite Light Tools 5 Tips for Lighting Video Productions B&W + Alternative Contest Winners Gallery 3 The Official Magazine of

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Page 1: Rangefinder April 2014

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The Magazine for Wedding and PorTraiT PhoTograPhers rangefinderonLine.CoM aPriL 2014

Photo © FEAthER + StoNE

wedding issuethe

Navigating a Celebrity Event

Fresh Styles for Stale Shoots

Filmmaking Like a Documentarian

pluSOur Favorite Light Tools

5 Tips for Lighting Video Productions

B&W + Alternative Contest Winners Gallery

3

The Official Magazine of

Regular cover+spine_FINAL/Without BARCODE.indd 1 3/18/14 5:14 PM

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MAKING EVERYPHOTOGRAPHER’SDREAM A REALITY

Mille�’s Signature Album

Visit www.millerslab.com to learn more about Miller’s Signature Albums.

1-2 DAY TURNAROUND with FREE OVERNIGHT SHIPPINGNEW COVERS!OVER 40

From seniors to weddings, create a breathtaking albumthat exceeds your client’s wildest expectations.

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Page 3: Rangefinder April 2014

www.millerslab.com

MAKING EVERYPHOTOGRAPHER’SDREAM A REALITY

Mille�’s Signature Album

Visit www.millerslab.com to learn more about Miller’s Signature Albums.

1-2 DAY TURNAROUND with FREE OVERNIGHT SHIPPINGNEW COVERS!OVER 40

From seniors to weddings, create a breathtaking albumthat exceeds your client’s wildest expectations.

Rangefinder.indd 1 2/18/14 9:36 AM

To request more information see page 111

IFC_1_RF_0414_Millers.indd 1 3/7/2014 10:59 AM

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contentsApril 2014 / vol. 63 / n°04

Features38 �Photographer�You�Should�Know�

Self-portraitprodigyKyleThompsongetssurreal. By Libby Peterson

46 �The�Right�LightsOurfavoritelightingtoolsandgadgetsforweddingandportraitphotographers. By Theano Nikitas

55The Wedding Issue56 Fresh�Perspectives

Threetalentedphotographystudiosstrayfromthesame,tiredshots.By Sarah Ristorcelli

62 Celebrity�Wedding�Logistics�Navigatingyourwaythroughhigh-profileevents.By Jacqueline Tobin

68 Trend�WatchSurpriseproposalphotography,weddingnewsgoneviralandtheartofthecinemagraph.By Jessica Gordon and Libby Peterson

76 IHNY:�An�Evolving�Brand�Acasestudyonagrowingpartnershipwithanenduringbrand.By Jack Crager

82 RF�Weddings�of�the�Week�FromourPhotoForwardblog,threeweddinggalleriesshownforthefirsttimeinprint.By RF Staff

88 Black�&�White�+��Alternative�ProcessesContest�Agalleryofwinners’work.

2 RANGEFINDER APRIl 2014

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Page 5: Rangefinder April 2014

www.pro.usa.canon.com/detail.com

PEMA0142_DSize.indd12-9-2013 12:28 PM Lauren Moise / Chris Martin

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JobClientMedia TypeLiveTrimBleedPubs

PEMA0142_DSizeCanon None7.75” x 10.25”8.375” x 10.875”8.5” x 11.125”Rangefinder

Job info

2014

Notes

Art DirectorCopywriterAccount MgrStudio ArtistProofreader

Alexis RoubilladNoneKaty WrightLauren MoiseNone

Approvals

FontsHelvetica Neue (Regular), Gotham Narrow (Black Italic, Medium Italic)

Images3836_01b_COS120630_0049_swop3v2.tif (CMYK; 375 ppi, 373 ppi; 63.85%, 64.25%), 3894_blackbar_Swop3v2.tif (CMYK; 254 ppi; 118%), 3836_02e_camera_lockup_swop3v2_SIMP.psd (CMYK; 265 ppi; 113.16%), 3894_X.ai (73.16%), 3894_1DX_logo.ai (28.49%, 26.63%), 3894_canon_logo_Swop3v2.psd (CMYK; 326 ppi; 45.95%), SPLASH_Proof-ing_Bar_Vert_2012.eps (100%)

Inks

Cyan, Magenta, Yellow, Black

Fonts & Images

Saved at 100%from nyc01lmoise by Printed At

© 2014 Canon U.S.A., Inc. All rights reserved. Canon and EOS are registered trademarks of Canon Inc. in the United States and may also be registered trademarks or trademarks in other countries.

DETAILDETAIL

The new EOS-1D X o� ers the most advanced focusing, exposure and low-light performance of any Canon DSLR. With the newly designed 18.1 megapixel full-frame CMOS sensor and a wide ISO range, you can shoot confi dently in any light with the ability to capture low noise images even at a high ISO. And when used with its 100,000-pixel RGB metering system and the new radio-based wireless Speedlite 600EX-RT fl ash system, you will shoot with total control in the most challenging situations.

pro.usa.canon.com/detail

S:7.75”S:10.25”

T:8.375”T:10.875”

B:8.5”B:11.125”

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contentsApril 2014 / voL. 63 / n°04

Columns30 ��Light�Reading

Atextdedicatedtobrides.By Jim Cornfield

34 From�the�CubicleAllthewaysWPPI2014ruled.By Jason Groupp

92 ��RF�CookbookChelliseMichael’salteye.By Libby Peterson

94� ��Digital�GuruPhotoAlbums:Digitalvs.Print.By John Rettie

96 First�ExposureTheZeissOtus1.4/55mmlens.By Stan Sholik

100Software�ReviewFundyDesignerwithAlbumBuilderv6.By Greg Scoblete

106 ��DSLR�VideoFilmmakinglikeadocumentarian.By Ibarionex Perello

112 Photo�FinishIanWhitemeetsDonDraper.By David J. Carol

Departments8 ��From�the�Editor

By Jacqueline Tobin

12 From�the�WPPI�Director�By Jason Groupp

14 Editor’s�Pick:�LucasFogliaByJessicaGordon

18 Focus�By Libby Peterson

111Ad�Index

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ComING�IN��mAy�IN�PRINt:

our�Video�of�the�Week�feature, plus weddings galore on our blog, Photoforwardblog.com.

The Filmmaking issue Profiles with top industry innovators, the tools that you need to go from still to video, and WPPI 2014 recaps.

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www.expodisc.comTo request more information see page 111

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You can now order your favorite Black River Imaging products from our website! Try our fast and easy ordering system to place your next order.

Online orderinghas arrived!

blackriverimaging.com

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Stationery Gift Items Home Decor Albums & Books PackagingBusiness & Promotional Prints

Black River Imaging | Springfield, Missouri | 1.888.321.4665Black River Imaging | Springfield, Missouri | 1.888.321.4665

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www.blackriverimaging.com

You can now order your favorite Black River Imaging products from our website! Try our fast and easy ordering system to place your next order.

Online orderinghas arrived!

blackriverimaging.com

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Stationery Gift Items Home Decor Albums & Books PackagingBusiness & Promotional Prints

Black River Imaging | Springfield, Missouri | 1.888.321.4665Black River Imaging | Springfield, Missouri | 1.888.321.4665

PRINT SALE!

thru July 31stPrints on Metallic paper .05¢ extra

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27¢

To request more information see page 111

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from the editor

Jacqueline Tobineditor-in-chief

Every time we plan a special wedding theme (yes, we know, we focus on weddings every

month...but this issue has even more coverage), we try to think about what’s new and fresh and modern in

the industry—who’s shooting what, talents we’ve yet to discover and, after attending WPPI 2014 in Las Vegas in March, uncovering the hot new gadget, lighting tool or client upsell. This month we give you the skinny on surprise proposal photography (which is oh so hot right now); fresh perspectives from three wedding shoot stars who are new to us; and a rundown of recent wedding news gone viral (think drones gone awry and questionable lawsuits). We also help you navigate your way through a celebrity wedding, discover how to evolve a brand, and revisit some of our favorite lighting tools for wedding and portrait photographers. And, for the first time in print, we feature some of our most cherished wedding shoots from our PhotoForward blog. Plus, check out our new look! We’re under new creative direction this month and are really excited about our updated layouts and fonts—let us know what you think on our Facebook page!

Photographer: Feather + Stone (Seth and Tenielle Mourra) Camera: Mamiya 645 aFLens: 80mm 1.9 Focal length: 80mmExposure: +1ISO: iSo 800 (Film stock was Kodak Portra 800,

processed by Richard Photo lab in los angeles.)Location: le Hameau des baux, Provence, France Comments: “This shot was taken handheld at TV (shutter speed) 1/30th of a second. There were no reflectors and no strobes, we used only the natural light in the room.”

On theCOVER

Editor-in-Chief Jacqueline Tobin

Senior Editor Jessica Gordon

Associate Editor Libby Peterson

Senior Technology Editor Dan Havlik

Contributing Editor John Rettie

Creative Director Adana Jiménez

Group Production Director Daniel Ryan

Production Manager Gennie Kiuchi

Contributing WritersDavid J. Carol, Jim Cornfield, Jack

Crager, Jason Groupp, Theano Nikitas,

Ibarionex Perello, John Rettie, Sarah

Ristorcelli, Bob Rose, Greg Scoblete,

Stan Sholik

For list rental information contact:Mike Gangel (646) 654-5318

Senior Vice-President, Emerald ExpositionsChristopher McCabe (323) 817-2215

Vice President, Emerald Expositions Photo GroupLauren Wendle (646) 654-5811

Managing Director John McGeary (646) 754-5174

Associate Publisher Mark Brown (646) 654-5795

Senior Account Executives Mike Gangel (646) 654-5318

Lori Reale (858) 204-8956

Account ExecutivesJon McLoughlin (646) 654-7255

Garet Moses (646) 654-5774

Alexis Daloni (646) 654-8571

Director of Sales Melissa Kittson

[email protected]

For subscription information and customer service, call:(866) 249-6122 or locally, (847) 763-9546

Advertising, Classified Garet Moses

Conference Coordinator Rigo Luis

Operations Manager: Neeta Lakhani

Marketing Director Michael Zorich

Rangefinder Magazine 85 Broad Street, 11th Floor

New York, NY 10004

CEO, Emerald ExpositionsDavid Loechner

Senior Vice President, business Development

Darrell Denny

Vice President, FinanceDenise Bashem

Vice President, OperationsLori Jenks

Vice President, DigitalTeresa Reilly

Vice President, Manufacturing & Marketing Services

Joanne Wheatley

®The Magazine for Wedding and Portrait Photographers

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Page 11: Rangefinder April 2014

www.tamron-usa.com

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Drawing on the beauty of light

SP 24-70mm F/2.8 Di VC USDThe world’s first F/2.8 full-frame standard zoom lens with image stabilization. Explore the subtle aspects of beauty with Tamron’s all new, high-speed standard zoom that gives you top in class optical quality while featuring VC anti-shake mechanism, fast, accurate and quiet USD AF system with full-time manual focus, and rounded 9-blade diaphragm for beautiful bokeh. Di design for use with full-frame DSLR cameras for excellent format versatility.

Model A007For Canon, Nikon and Sony* mount. *Sony mount without VC

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Page 12: Rangefinder April 2014

www.bayphoto.com/bay-designer

www.bayphoto.com

www.bayphoto.com/pacific-albums

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Jason GrouppWppI Director of Education and Membership

[email protected] (646) 654-5786

What a year! The energy you guys brought to WPPI and Las Vegas this year was electric! From shoot-outs in the desert to record-breaking numbers in the 16 x 20 Print,

Album and Filmmaking competition, WPPI began with a bang! But that was just the beginning. The days following were filled with hands-on training and the world’s best educators gathering from every corner of the planet ready to get their learn on with you (see my column, “From the Cubicle,” page 34, for my recap on specific events). We also had two huge tradeshow floors displaying the newest technologies while those embracing the past scurried in line for the rolls of celluloid being handed out. It was magnificent!

I know it sounds too good to be true, but true it is my friends, and you were all there to witness it. #WPPI2014 was the beginning of something great; the tribes gathered for our annual rhythmic pilgrimage, but the mood was different, a renewed sense of community has formed, and I’m so proud of all you who were there to be part of it. Thank you from the bottom of my heart, you guys are the best—YOU are WPPI!

from the wppi directorP

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www.acilab.com To request more information see page 111

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“I always take time to visit. It’s more fun than moving quickly through a place, and I learn and see more that way.”

editor’s pick

Lucas Foglia is a documentary photographer who embeds himself in less-traveled com-munities, shooting photographs that—for

lack of a better term—stick with you. Or at least they did me, after I saw his previous project, “A Natural Order” (photographs of people who left cities to live “off the grid” in natural environ-ments), in the International Center of Photogra-phy’s Triennial last year, and everywhere from TIME’s LightBox to the Huffington Post.

For his latest project “Frontcountry,” Foglia went even broader in landscape, documenting life in some of the least populated rural towns in Idaho, Montana, Nevada, New Mexico, Texas and Wyoming, which are gradually giving way to a mining boom sweeping the American West.

“A good friend, Addie Goss, worked as a public radio reporter in Wyoming,” Foglia explains of the project’s origins. “Traveling with her across

the state, I met a lot of other people living in very small communities, next to land that felt wild and open. In the communities we visited, the two main industries were ranching and mining. What drew me to photograph was the idea that these two very different lifestyles share and depend on the same harsh terrain.”

The collection of images starts with cattle and cowboys and evolves into office settings, excavation trucks, puddles of oil and mounds of coal. Shot between 2006 and 2013, Foglia pared 60,000 images down to 60, which were published as a book by Nazraeli Press last month.

“I visited most of the people I photographed multiple times, and because I was introduced to them by someone they trusted, they trusted me,” he says. “I always take time to visit. It’s more fun than moving quickly through a place, and I learn and see more that way.”

Lucas FogliaBy JessIcA GoRdon

Above: “coal storage, Ts Power Plant, newmont Mining corporation,” dunphy, nevada 2012. Opposite page: “Amanda after a Birthday Party,” Jackson, Wyoming 2010.

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All Photos © lucAs FogliA

Shot with a Leaf Credo 60 and an 80mm or 55mm lens on a Mamiya 645DF+, Foglia’s vast scenes and portraits of local resi-dents take on a moody, cinemagraphic quality.

“I don’t go into a photo shoot looking for a mood; I go in to build relationships,” says the photographer. “Out of those relationships come situations, and responding to those situations, I make photo-graphs. The mood in the book came from the choice of the best pic-tures out of the six years of photographing. I think one thing that comes across is that everyone I photographed—whether a cowboy or a miner—is working really hard to live in that landscape.”

Among his many honors, Foglia was named one of (our sister

publication) PDN’s 30 in 2009, a year before he graduated from Yale with his MFA.

Having grown up on a farm in Long Island with parents who fol-lowed “many of the principles of the back-to-land movement of the 1970s,” Foglia says his images are a response to his childhood. “I’ve photographed in rural communities across the United States,” he says. “My photographs explore how mythology inspires lifestyle, and how landscape shapes people into who they are.”

Images from the “Frontcountry” series will be exhibited at Fred-ericks & Freiser Gallery in Manhattan, Michael Hoppen Contempo-rary in London and Robischon Gallery in Denver this spring.

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Discover more online at www.blackriverimaging.com • 1-888-321-4665

Mosaic Leather AlbumsAvailable in 8x8, 10x10, and 12x12, our Mosaic Albums are handmade with one and two-leather covers with cameos available in most designs. Images are flush to the edge of the album, and the lay-flat binding makes panoramas appear seamless.

Mosaicalbums

Photos courtesy of Elise Ellis, Melissa DeWitt, Gene Ho and Kelly Broyles.

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www.blackriverimaging.comDiscover more online at www.blackriverimaging.com • 1-888-321-4665

Mosaic Leather AlbumsAvailable in 8x8, 10x10, and 12x12, our Mosaic Albums are handmade with one and two-leather covers with cameos available in most designs. Images are flush to the edge of the album, and the lay-flat binding makes panoramas appear seamless.

Mosaicalbums

Photos courtesy of Elise Ellis, Melissa DeWitt, Gene Ho and Kelly Broyles.

To request more information see page 111

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News, Products, Exhibits and More

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BLoom theoRy outfIts the chIc PhotogRAPheRcamera straps don’t all have to be made of black nylon and silicone; Bloom theory takes a different approach, keeping the fashionable photographer in mind. Vania Barbieri and christine Berry of simply Bloom Photography started the two-year-old company with the intent to cater to a market that looks for esthetic beyond the work they produce, to the accessories that help them make it. their 2012 and 2013 col-lections offer a variety of choices, including camera straps adorned with ribbon and rhinestones, made of soft, fine satin, and clad with a plethora of subtle, elegant designs. And while Bloom theory may have made style a priority, these straps are still supportive and comfortable, made with padded, impermeable backings. many of the straps may be especially suited for fashionistas, but there are also plenty of unisex options, too.

PRIce: $65-130www.BLoomtheoRystRAPs.com

smIthsonIAn exhIBItIon sums uP concePt of “cooL” wIth IconIc PoRtRAIts what does it mean to be cool? we can probably agree that “cool” is fighting the norm, embracing rebelliousness, oozing individual-ity and inspiring new trends without intent, all the while remaining unfazed by the attitudes and opinions of others. “cool” is likely not explaining what the word means, but showing it in photographs intrinsically is. Based on the photography book called American Cool by Joel dinerstein and frank h. goodyear III (Prestel, January 2014), the national Portrait gallery in washington, d.c., is showing an exhibition by the same name. Iconic photos taken by the likes of Annie Leibovitz, henri cartier-Bresson and Richard Avedon of trendsetters, rebels and visionaries whom society has deemed worthy of the term “cool”—miles davis, Patti smith, James dean, marlon Brando, debbie harry and more—are being featured in this exhibition, which runs through september 7, 2014.

www.nPg.sI.edu

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Above: Actress Audrey hepburn.

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www.profoto.com/us/justinandmary

www.profoto.com/usProfoto US | 220 Park Avenue, Florham Park NJ 07932 | PHONE (973) 822-1300, profoto.com/us

JUSTIN & MARYWALK THROUGH A WEDDING

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019_RF_0 14_Profoto.indd 19 3/7/2014 11:34 AM4

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Derek riDgers ChroniCles lonDon’s ever-evolving CounterCultureBetween the years 1978 and 1987, British photographer Derek ridgers devoted his lens to the documentation of the tumul-tuous subcultures ruminating on the streets and in the nooks and crannies of clubs and bars in london. the portrait shooter and cultural documentarian has come out with a book of this collection of work, titled Derek Ridgers: 78-87 London Youth (Damiani editore). having appeared in london’s institute of Contemporary Arts and style publications like The Face, ridg-ers’ body of work delves into the early punk period and its slow metamorphosis into the skinhead revival, goth and the new romantic movements, plus the development of Acid house and the new psychedelia scenes among the city’s youth. having been in the industry for more than 30 years, ridgers has shot celebrated artists and entertainers of all types, from Clint eastwood and Johnny Depp to James Brown and the spice girls, but this book represents a slightly different collec-tion of work, one of a less-explored creative spirit among the young rebels and innovators who sought an alternative form of artistic self expression.

PriCe: $50www.ArtBook.Com

FinAo Aims For CleAner DisPlAys with new nextone mAtteD AlBumsmakers at the photo album and packaging company Finao have created what they’re calling the next generation of matted albums. the mat edges are designed to be as flush as possible with the photos, giving a smoother, cleaner presentation than what is usually seen in matted albums. A signature embossed line surrounds each of the matted areas to give them a subtle accent, and all mats are sealed to prevent any potential damage. made without gutters, the albums have the option of displaying photos across the center of the book onto the other side of the spread, or even filling an entire spread with one photo, which should be particularly useful for displaying panoramic images. no special software is required to design these matted albums—in fact, photographers can use their very own software to create albums that truly reflect their style and represent their work.

PriCe: starting at $434 (for 10 x 15), with sizes available up to 12 x 18 or 14 x 14. Full pricing available online.

www.FinAoonline.Com

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Hydra101 LauncHes Line of PHotosHoP PLuginsautomotive design company Hydra design Labs’ latest endeavor, Hydra101—a teach-ing forum for people who are interested in learning about car design—has extended its QuicPic and video tutorials to include a new line of Photoshop plugins. so far, the line includes two new plugins: the Hydra Hdri Pro and the Hydra JPg degrader. the Hdri Pro converts an 8bit image into a 32bit spherical Hdri to be used in 3d rendering programs. the technology that once cost over $10,000 can now be replicated with a smartphone (Hydra101 recommends using the 360 Panoramic app from occipital, $0.99). the second plugin, the JPg degrader, adds JPg compression, chromatic ab-erration and noise to an image that may appear too sharp for a JPg background. this is especially useful for those wanting to composite a 3d rendering into an existing image (as in the image below). Hydra design Labs president Jon Hull confirms the company is currently working on a third plugin to be released later this year.

Price: $149.95 eachwww.Hydra101.com

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PROFOTO RFI SOFTBOXES. IT�S MORE THAN A SOFTBOX. IT�S A LIGHT SHAPING TOOL.Photography is all about light – about controlling and shaping light. Therefore, a photographer’s tools should be designed to do just that. This is where Profoto’s RFi softboxes enter the picture.

RFi softboxes come in all sizes and shapes, and are compatible with all major flash brands. To ensure full control for the photographer, they have a deeper shape, a recessed front, double-layered diffusers and a highly reflective silver interior. Optional accessories are available for even more precise light shaping.

In short, an RFi softbox is more than just a softbox…

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Profoto US220 Park Avenue, Florham Park NJ 07932PHONE (973) 822-1300, profoto.com/us

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Photojojo’s PoPPy tuRns IPhone Into 3D CAmeRA AnD VIeweRthe classic View-master stereoscope has been made over by quirky photography gear company Photo-jojo, and this one should bring a smile to the faces of iPhone users. the Poppy takes the basic concept of the decades-old View-master, but instead of popping in a thin, circular piece of cardboard with embedded photographs, you slide in the smartphone and create 3D photos and videos. the secret is in the mirrors housed within the Poppy; each viewfinder shows a slightly different angle that fools your brain into think-ing the image is three-dimensional. with the iPhone, Poppy users can make 3D wiggle GIFs that can be shared online or made into lenticulars, and videos can be uploaded to youtube. the Poppy itself is made of analog parts, so the iPhone is the only electronic component to this gadget.

PRICe: $59www.Photojojo.Com

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“My Florence”— A 67-yeAr-olD love Story Art Shay, the chicago-based photog-rapher most famous for his contribu-tions to such publications as Time, LIFE, Fortune, Sports Illustrated and many more, decided to put together a different type of exhibition of work that many haven’t seen before: one dedicated to his wife, Florence (right). Shay took his first photo of Florence the day they met as 20-year-old camp counselors in the catskills back in 1942 (shown below); little did he know then that he would go on to take countless photos of her throughout their 67 years of marriage, from the begin-ning of their relationship after his return from the Air Force through their lives to-gether with their five children. Always an avid supporter of his photography career, Florence, a rare-book dealer who owned and operated her own store, even helped out with some of Shay’s shoots, most notably those in which they secretly shot mob bosses and mafia members conduct-ing shady dealings with cameras hidden in briefcases and purses. Shay may have

been taught objective documentation, but “My Florence” is a love story. As Shay wrote in one of his many “From the vault of Art Shay” columns for The Chicagoist, “I learned long afterwards from one of my kids, that ‘Mom used to start your car in the morning before you did because she felt if the mafia blew you up, you wouldn’t be able to function without legs...but she would.’ ” the exhibition will be showing at columbia college chicago’s Museum of contemporary Photography and library through May 24, 2014.

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TAP PAckAgIng’s new coLoRfuL BouTIque LIne As part of its longtime vow to offer packaging that truly fits the core creative and artistic essence of a photographer’s work, Tap Packaging has released a new line of Boutique Packaging with fresh new colorful options. In addition to protecting prints, Tap Boutique was created to truly wow onlookers, and the organic Brand—a softer, more natural and feminine color palette that includes four colors, seven products and accompanying belly

bands and tags—is the first of Tap’s three Boutique Brand Profiles to become available after its reveal last month. Tap gave away 50 starter kits to the first 50 people who visited its wPPI booth in Las Vegas this year, and the packaging company will also conduct a raffle to give away $500 in credit for Boutique Packaging; photographers must submit photos that illustrate how Tap’s new line has enhanced their work and increased its value. The raffle contest runs through April 30, and Tap will reveal its other Boutique Brand Profiles later this year. www.PhoTo.TAP-usA.com

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new ZeIss Lens hAs BRoAdeR RAngefollowing the Touit 2.8/12 and 1.8/32 is ZeIss’s newest optic lens, this one with a wider focal length: the ZeIss Touit 2.8/50m. especially suited for portrait photographers and those wanting to shoot up close, the 2.8/50m is a particularly versatile lens, with the capability of bringing objects within short distances into focus while covering ground up to infinity. equipped with a mag-nification power of 1:1, photographers can know that their subjects will appear true to size on their camera sensors. The 2.8/50m pairs nicely with APs-c system cameras, and it was constructed with the floating lens design, meaning it adjusts the distance between groups as the lens is focused. with nine blades surrounding the iris, the lens gives the area around the point of focus a natural-looking softness, and subjects shot before blurry backgrounds can be accentu-ated with organic bokeh.

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Above: “nathan and Robyn, 2012, provincetown, Ma” from Touching Strangers (aperture, May 2014).

RichaRd Renaldi’s Touching STrangerS debuts this Monthhaving spent the past seven years traveling the country with his large-format 8 x 10 camera, Richard Renaldi’s unusual spin on the concept of a group portrait, in which he pairs complete strangers together, has become a book called Touching Strangers (aperture). the name takes on a subtle double meaning, offering both the outside perspective of the viewer observing the touching strangers as well as that of one of the participants who is, quite literally, touching a stranger. From this dual view, the photographer aims to exemplify our competing reactions, between our innate reserve toward intimacy with the unfamiliar and the undeniable illusion of long-standing friendship and familiarity between Renaldi’s subjects. these portraits cause an inspir-ing, sometimes awing and occasionally humorous discord between what we see and the elements we’ve known essential for an intimate portrait of two people. a traveling exhibition of some of Renaldi’s work will also be showing until May 15, 2014.

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FujIFILm unveILs X-T1 DsLR-sTyLe

PRo CAmeRA

Amid much speculation and many online rumors, Fujifilm finally took the next step in the evolution of its successful X series profes-sional cameras, introducing the Fujifilm X-T1, a mirrorless camera in a digital sLR-like body. We got a hands-on preview of this sturdy, new, weather-resistant camera at the recent Consumer electronics show (Ces) and offer the following first impressions of the camera.

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Throwback Design, All-New Camera True to the retro-styling first seen in the X100 fixed-lens camera, followed shortly by the mirrorless interchangeable lens bod-ies (starting with the X-Pro1), the Fuji X-T1 is a professional-grade digital camera well adorned with classic analog controls.

According to Fuji, the X-T1 features over 75 points of weather sealing, making the camera body dust-resistant and water-re-sistant. The X-T1 is also freezeproof to -14°F.

sharing the same 16.3-megapixel APs-C X-Trans II Cmos sensor as the Fujifilm X-e2 virtually guarantees the same image quality of that mirrorless camera. But, other than the X series lens mount, a few control but-tons and the same battery as the other X pro cameras, the X-T1 is all new.

Fuji says it has improved the real-time viewing performance of its 2.36-mega-pixel oLeD electronic viewfinder (evF) and placed it just off center on the top, incor-porating High eye Point (23 mm) viewing with .77x magnification, built-in diopters and an eyecup, altogether adding that slight bulge and a standard-size hot shoe so reminiscent of the traditional mirror pen-taprism of an sLR camera.

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Clay Blackmore is a master of lighting and classic portraiture… and a big fan of Quantum portable lighting equipment. “I’ve been using Quantum lighting products for over ten years. Every time I go outdoors, the Qfl ash goes with me because it produces the full spectrum of color and delicate skin tones that are essential to my work. Together with the user-friendly wireless TTL CoPilot and the compact Turbo SC I have all the power, control and versatility I need for capturing amazing shots.”

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DSLR-Like Body Gone is the rangefinder-esque look of Fuji’s other X cameras and in its place is a well-balanced, compact DSLR-like body. Repositioning the viewfinder made room for a spacious 3-inch, rear-mount-ed, tiltable 3:2 aspect ratio, 1,040K-dot display, which, like the EVF, was designed to show almost 100-percent-accurate viewing.

Top-mounted machined- aluminum analog dials give direct viewing and access to Shutter speed, EV compensa-tion, ISO, Drive and Metering mode. And electronic con-trols complement the other extended functions, which include more accessible video and Wi-Fi.

Good Fit It’s worth noting that, unlike many other cameras that seem to randomly place a whole bunch of but-tons anywhere they can fit them, we were immediately impressed by how easily our right hand fit the Fuji X-T1’s body in such a way that all major controls were easily accessible with just three fingers.

This feel was en-hanced by attaching the accessory Hand Grip MHG-XT, which added a nice firm contour to hold, and an Arca-Swiss compatible tripod mount—as well as a conven-tional ¼-inch—20 thread, which is centered on the opti-cal axis of the camera.

The Vertical Battery Grip VG-XT1 offers similar comfort but with the added benefit of doubling the battery power, while also providing a vertical shutter release and duplicat-ing some other key camera body command controls.

PerformanceSpeaking of vertical, although there are a number of new en-hanced viewing and focusing options, one notable feature is Portrait View, in which the X-T1 senses its orientation and flips the exposure and cam-

era data down to the bottom of the vertical frame so you get a nice clean view of the subject and no longer have to look at this camera informa-tion sideways.

And to round out the camera performance, Fuji is claiming its fastest focusing camera ever using Intelligent Hybrid AF (TTL contrast AF/TTL phase detection AF). The company did demon-strate (using new SDXC/UHS-II memory cards) frame rates of 8 frames per second with Tracking AF, shooting 24 Raw frames before the in-ternal memory buffer is filled.

The camera comes bundled with an External Flash EF-X8 (GN8 @ ISO 100) that will slide directly into the hot shoe.

Price and ShippingNow available, the Fuji X-T1 is $1,299.95 for the camera body only. With an 18-55mm FUJINON lens, the X-T1 cam-era kit sells for $1,699.95. Note that Fujifilm claims this camera is dust and weather resistant when used with a weather-resistant Fujinon lens, but we’ll have to wait for some of those lenses to be released later this year to see how that works.

Other additional features and details about remote control apps were being firmed up as this story was being written. For more information, go to: www.FUJI FILM.com/products/digital_ cameras.

—Bob Rose

www.edenpark.com

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I n the microcosm of a modern, pull-out-all-the-stops wedding, the photographer unquestionably sits in the hot seat.

Everyone else involved in the matrimonial process can commit some blunder or other: parking attendants might show up at the wrong address; the florist’s wares can wilt prematurely in the heat; a cook can ruin the Chateaubriand; the best man can stagger into the ceremony half in the bag; a brides-maid can trip over her hemline and take a header in full view of a packed church, and so on. Virtually any little calamity from oth-ers can ambush a wedding, but eventually, it will find its way into the benign, fondly remembered cocktail party lore of that day’s “goofs.” Bad photography, on the other hand, is unpardonable. This phenomenon is one of the realities of the pivotal role our craft plays in contemporary nuptials. It’s also one that veteran wedding shooter Peter Kleinschmidt has chosen to explore in a new and refresh-ing book, My Brides: A Photographer’s Story.

Imagery WIth a LIfe of Its oWnThe audience for My Brides is, ostensibly, the eager, if uninformed bride-to-be. “Con-gratulations!” the author gushes on page one, “You are about to begin one of the busiest and most exciting chapters in your life.”

What follows is touted on the photographer’s website as a “must-read guide for every bride” to help her orchestrate this crucial event in her life.

In this iteration alone, Kleinschmidt’s book, with its modest $19.99 softcover price

To Brides & Shooters

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My Brides: A Photographer’s Story By Peter kleinschmidt

spread: timing and interpersonal chemistry combine to make these strong wedding images, but they should never detract from the wedding party’s enjoyment of this all-important day.

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tag, would probably make a great gift for new wedding clients or prospective ones. But the book also has intrinsic tutorial value for wedding photographers.

Though many wedding shooters don’t realize it at first, their images are not just records of this venerated ritual; they are in some ways its reality. To paraphrase Susan Sontag, photographs are not mere represen-tations of life; they are life. Long after the cake, the luminous fluffs of lace and flowers, the thrown handfuls of rice, the honeymoon and then the whole decades-long bittersweet arc of a marriage and fam-ily, the laboriously crafted imagery of that single day survives with a life of its own. TIMING IS EVERYTHING Kleinschmidt is acutely sensitive to the emotional gravity of the wedding picture, and in this book he deftly partners brides and photographers in the act of sharing his appreciation of the whole marriage pro-cess—with the photograph as its nucleus.

A veteran of hundreds of wedding shoots, Kleinschmidt understands the rhythms of the big day—something that the photog-rapher can help the wedding party con-trol—in order to get the most out of the photographs and to give the newlyweds the most time to enjoy their precious hours in the limelight. In a private survey over the years, Kleinschmidt discovered that the most common complaint of brides and

grooms is that “the day goes by too fast…after months of planning, [it’s all] over in a matter of hours.”

Kleinschmidt optimizes everyone’s time with techniques like scheduling the tra-ditional group and pair shots for before, rather than after, the ceremony. Both the family and the photographer have a say in this, and by getting the formal setups out of the way first, these all-important images are much easier to control and stylize than when the bride and groom and other party members are still giddy and probably “want (and need) a drink,” he adds.

Kleinschmidt clearly gives no credence to the tradition of keeping the bridal gown beneath the groom’s horizon until the cer-emony begins. “It is little more than super-stition,” he explains to clients, guarantee-ing that once they separate, then rejoin for the walk down the aisle, “it will be like you never saw one another. Knees will shake and tears will flow.”

Timing, says Kleinschmidt, is also an important issue when it comes to candid coverage of the day. Again, speaking both to newlyweds and photographers, Klein-schmidt broaches the need for giving and responding to quick posing directions as the couple makes their way among cheer-ful friends and family. Part of the job is photography, he writes, and the other is di-plomacy, shooting on the move “to tactfully usher events along.”

THE DowNSIDE of DIGITalA core issue in My Brides: A Photographer’s Story is one that, since the dawn of the digital age, doubtlessly pops up in every wedding image scenario around the globe: the proliferation of all-too-accessible imag-ing technology, from smartphones to iPads to increasingly small point-and-shoots. Digital technology has turned every third wedding guest into an often annoyingly busy shooter, trying to duplicate (and sometimes obstruct-ing), the work of the person who’s being paid to create professional-quality, high-res imag-ery of a wedding.

Kleinschmidt comes down particularly hard on the “most obnoxious culprit,” the iPad, whose large silhouette—particularly when hoisted aloft or held out into the aisle for a clear shot of the newlyweds—not only blocks a good image from a professional’s DSLR, but hinders the view of every guest directly behind it. Ever the diplomat, Klein-schmidt includes a sample request card to be included with wedding invitations. “We want you to be able to really enjoy our wed-ding day,” it reads, “feeling truly present and in the moment with us. We’ve hired an amazing wedding photographer, so please leave all cameras and cell phones off during the ceremony and the ceremonial parts of the reception.”

It’s a good solution to one problem, but there’s another liability that’s accompanied the digital revolution: the ease with which a

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How Photographs Are Sold: Stories and Examples of How Fine Art Photographers Sell Their WorkBy Alain Briot

A new title from the dedicated photo mavens of Rocky Nook takes off from the notion that nothing succeeds like success. Celebrated teacher and fine-art shooter Alain Briot shares the detailed stories of eight accomplished photographers who’ve breached the stubborn walls of the fine-art world, each with a different esthetic and a unique career-building strategy. That’s

the centerpiece of this comprehensive guide, which also includes Briot and others discussing the basics of assessing and marketing your images and yourself in an artistic environment that’s not always friendly to newcomers. Briot probably understands the convolutions of that environment better than anyone, and he dedicates this extraordinary work to all serious artists who want to “live their dream.”

Mastering Photoshop Layers: A Photographer’s GuideBy Juergen Gulbins

If that Layers Panel in whatever generation of Photoshop you use remains untouched, you’re probably starting to feel self-conscious. You’re also missing out on a stunning array of after-capture techniques for optimizing and fine-tuning your images, which can only be properly executed using the wizardry of Layer-based image-processing

tools. This in-depth, lavishly illustrated explication of Photoshop Layers is all you’ll ever need for getting your feet wet with this indispensable technology, and then moving on to making it a standard part of your after-capture workflow, no matter how complex the challenge or how creatively you want to apply it. In short, Layers finally has its own bible. Hallelujah.

Also On Our Radar

totally talentless photographer with no experience can pass him or herself off as a seasoned professional.

Kleinschmidt recounts a couple of scams whereby legitimate wedding images were il-legally downloaded from websites and passed off as someone else’s work. He cautions both shooters and brides to be mindful of portfolio quality, both as seller and buyer, but he also stresses the importance of the personal inter-view that precedes every wedding shoot.

Choosing a photographer for this all-impor-tant day is more than a matter of images and al-bums and print packages. Those are major con-siderations, but Kleinschmidt reminds couples that there’s a profound but less tangible dimen-sion to the relationship: “The photographer will be with you all day,” he tells them, “sometimes closer to you than your best friends and family.” This phase of a transaction that will preserve your wedding moments for many generations is a matter of interpersonal chemistry.

www.RoCkYNook.Com

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A s I write this, I’m on a plane flying home from WPPI 2014 after an ex-hausting ten days in Vegas—I never

got more than four hours of sleep a night, my feet hurt, my back hurt and my legs were sore most of the time. That said, I could not be more pleased with the way things went this year. We came together from all corners of the world to learn, celebrate and, yes, PARTY!

Thanks to everyone who attended. We know you have other options, and we appreciate that you choose us every year. We hope you returned home this time with a wealth of new knowledge and were inspired to take your photography and business to the next level.

Of course, we wouldn’t have a great confer-ence without a stellar group of speakers. Our educators are the leaders in the industry and their willingness to give back each year is truly inspiring. If there was a class that really moved you or helped with something you had previ-ously struggled with, email that speaker and let him or her know! Trust me, it will go a long way.

To the speakers—you all came prepared and ready to not only teach in your classes, but also to spend time interacting with attendees. Whether it was in the hallways, the tradeshow floor, or at one of our parties, it was great to see

all of you taking the time to help others. Thanks, you guys!

Here’s a little recap of some of the updated, revitalized programs we offered this year.

WPPI-UThis is one of my favorite programs and is designed as a jumpstart for newer photog-raphers. Recently, we’ve added hands-on classes to the format, and it’s a great way for attendees to get some real-world, up-close experience. This new format included plat-form presentations as well as small breakout groups where you could choose from different studio bay demos. From lighting and posing to intimate workflow solutions, students were able to have up-close and personal attention from our teachers. We also had some great vendors on hand to answer questions and show their products (and we all know how important building relationships with vendors is to our businesses).

Honors of ExcEllEncE PrInt, AlbUm And fIlmmAkIng comPEtItIonWow, what a great start to a revitalized pro-gram. The energy and excitement this year were amazing. We had over 30 percent more entries than last year, and the work was ab-solutely breathtaking! During the two days of judging, people gathered to watch the competition live and enjoyed a very unique learning opportunity. Rooms were jammed, and the judges kept the excitement going despite working 12-hour days.

WHAt WoUld JErry do (WWJd) On what used to be a quiet night for WPPI, Jerry Ghionis presented his second annual WWJD, a combination of a fun lighting and posing demo mixed with a dance party. cAnon/bAy PHoto PArty The opening night party at the Hakkasan

WPPI 2014: An Explosion of the ExtraordinaryBy Jason Groupp

from the cubicle

Everything culminated this year in an explosion of the extraordinary. Of all our WPPI’s, this one was certainly the most life-changing, and the ‘I’ in WPPI just felt stronger and more represented than ever. Loved every minute and have never been more inspired.”

—Tracey Taylor & Dee Green, 37 Frames Photography

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“It’s often expected that one walks away from an experience like WPPI feeling tired, exhausted and wanting a vacation from a chaotic week. But this year was different. I arrived with excitement and high expectations and left feeling more energized, inspired, encouraged and motivated to look forward to this year ahead. Jason and the WPPI staff did a tremendous job in putting this convention together, but they also made all of us feel like we’re part of the team. Together, we made WPPI work. We are WPPI.” —Kenny Kim

nightclub in the MGM Grand was amazing! We haven’t had a dance party like that since the days of Studio 54, and this nightclub did not disappoint. From the huge dance floor (which was packed all night) to the lightshow to the comfy lounges, this was truly an en-joyable evening. (Check out the photo booth photos, and the slow-motion booth video at wppionline.com.)

Meet and Greet We had our first Members-Only party/speak-er meet and greet where we gave away more than $15,000 in prizes, thanks to our spon-sors. It was fun to have an evening dedicated to thanking our members, and the karaoke was fun, too. We are used to throwing parties for larger audiences, so my goal for next year is going to be making it a bit more intimate and laid-back atmosphere.

Mark SeliGer keynote We also had our first keynote with celeb-rity- portrait photographer Mark Seliger (who came straight from his Vanity Fair Oscar party shoot), which included a performance by his band, Rusty Truck. Mark’s a great entertainer as well as a photographer, and his anecdotes behind photographing Rolling Stone covers with musicians like

Bruce Springsteen and Kurt Cobain are legendary. I want to continue bringing enjoy-able evenings like this to WPPI as well as introducing our audience to new inspirations outside their core networks. Mark was out-standing, and similar to our Members-Only party, I am going to work to make these kind of events a bit more intimate at future shows.

on the tradeShow FloorThis year’s tradeshow included 80,000 net square feet with over 300 exhibitors and brands representing the best of the best from around the world. This show is unlike any other convention floor I’ve been to. Between the contests, giveaways and small talk, you get a different experience here than anywhere else. In an effort to be very transparent (as I think I have been), I was disappointed to learn about the pushy vendors outside the Marquis ballroom. I agree with all of you that they didn’t belong there. Your feedback has been duly noted.

awardS niGht CereMonyIt’s the Oscars for photographers! This year, Jerry Ghionis and Roberto Valenzuela graciously served as our hosts. Their witty banter made us laugh long into the evening, and we also enjoyed some fantastic perfor-

mances by Triple Scoop Music artists J’Nae and Chris Pierce. It was a packed audi-ence for the entire evening, which ended with a teary Susan Stripling presenting our Lifetime Achievement award to one of our youngest most deserving photographers, Cliff Mautner (who is also Susan’s hus-band). While he is nowhere near finished with his career, we felt Cliff was our most deserving candidate as someone who has been doing this since his 20s. He’s been both a vocal advocate for helping the indus-try succeed through challenging times and a part of the new energy we are feeling.

MaSter ClaSSeS rUle Finally, we made a strong statement (thanks to the world’s best instructors!) that our focus is on core development and fundamental ed-ucation. The master classes were an excep-tional hit this year—we sold out three times as many this year compared to last—sending a strong message that these small, intimate programs resonated with you. The feedback has been overwhelmingly positive. Next year, look for us to change things up. Our industry continues to change, and we’re committed to moving with you. Mark your calendars—#WPPI2015 will be the week of February 26-March 5. We can’t wait!

from the cubicle

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Kyle Thompson makes wildly intriguing photos that were born of a recreational pas-time roaming around and exploring what’s possible in the suburbs of Illinois. In just a few short years since he first picked up a camera, these photos and the online

following he’s garnered since (he has more than 100,000 followers on Tumblr as of now, and more than 250,000 likes on Facebook) have solidified him as a full-blown organic conceptual surrealist photographer, a niche genre he defines as reinterpreting the ordinary in an uncon-ventional way. He was even picked up by the award-winning Paris-based photography agency VU’ last year, and he will undoubtedly continue to catapult to serious popularity.

On the other side of that coin is his reputed reserve; a characteristic Thompson is the first to acknowledge—as he’s written on his Twitter page, “Hi, I’m Kyle Thompson and I’m a photographer. I’m really bad at thinking of things to say.” Yet this emerging photographer managed to allow this part of his identity to quasi-contribute to his initial piqued interest in self-portraiture and photography at large.

By LiBBy Peterson

Right: “Untitled (2012).” kyle thompson says when he first started taking photos a few years ago, he hardly knew how to use his camera.

In just a few years, 22-year-old kyle thompson has made a name for himself in the stunning genre of organic conceptual surrealism.

IntRosPectIon ImAgIned

photographer you should know

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As a curious 19-year-old college student working as a pizza delivery driver with half-hearted plans to pursue psychology or ad-vertising, Thompson found solace exploring and teaching himself how to take pictures in the rural areas of his native Lisle, Illinois. “I started exploring abandoned houses near me. I’d drive through the countryside and look for broken windows and overgrown lawns,” Thompson explains. “I didn’t know who to take photos of, so I’d shoot myself.”

He soon upped the ante, committing him-self to a “365 project” on Flickr, wherein he took one conceptual photo every day and posted it online. And though he “barely knew how to use” his camera at the time, no one was the wiser.

Using his Canon 5D Mark II and 50mm f/1.8 and 35mm f/2.0 lenses, Thompson is especially intrigued by the once-civilized emptiness of drive-by landscapes. “Aban-doned houses allow me to reconstruct some-one’s life without ever meeting them,” he says. “Like a photograph, abandoned houses produce a frozen moment in time.”

Thompson’s exploration of the stagnant is offset by his photos of rousing near-death scenarios, such as being enshrouded in flames. “Fire is so passionate and destruc-tive,” he says. “Being engulfed allows me to release the emotions I work to capture.”

Photography is absolutely an emotional outlet, Thompson concedes, and self-portrai-ture allows him to explore something more

personal. “It’s hard for me to express myself with other models sometimes, because you have to be able to relate,” he explains. “I prefer using self-portraiture for more intro-spective work and other models for more story-based images.”

Yet it would be safe to say that all of his photos tell a story—or at least they give you the first few lines of it, inviting you to fill in the rest. Thompson seems fascinated by the inherent juxtaposition in the conceptually surreal, between the strict documentarian role that photography plays and the imagined scenarios that can be created from it. “Photography is usually very factual, and conceptual work kind of breaks that barrier,”

photographer you should know

“Photography is usually very factual, and conceptual work kind of breaks that barrier,” Thompson says. “It allows me to think more abstractly.”

Above: “Untitled (2014).” Thompson shoots his roommate and friend Brendon Burton. Opposite page: “Displacement (2013).” Thompson is particularly fascinated by fire and often obstructs his face in self portraits.

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photographer you should know

he says. “It allows me to think more abstractly.”Thompson identifies his conceptual surreal

photography as organic, because though it is not necessarily founded in the surreal, he creates unreal scenarios from conventional objects. This is especially evident in his more minimalist portraits, such as that of him standing in a waist-high river with red balloons floating around him, their strings pulled down into the water, or the one of his head half protruding from a puddle of water (shown on page 39). Yet he is no stranger to the technically complex, such as the eerie image of arms reaching and grappling from the depths of a creek (shown below).

A broader look at his work reveals another curious trend: Thompson hardly ever shows his entire face or the faces of others, and if he does, eyes almost never meet the lens. The viewer may not see a face at all; perhaps

Thompson experiments with juxtaposing ideas, such as putting death to the test and grasping for life as in “Pause (2012)” (right) and “Carcass (2013)” (below).

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Thompson’s head is covered in cloth as the fabric’s loose end whips and swirls in the air around him (shown on page 42). Other times he plays with the viewer, such as when he “accidentally” obstructs his own face as he walks toward the lens through mysteriously foggy darkness (shown above).

At the close of his 365 project, Thompson had dropped out of college (as the first of his family to do so), quit his pizza delivery job and set his sights on a new, full-time endeavor: to travel the country taking photos and turn them into a book. The introduction of this new

project was very well received; it became more than doubly funded on Kickstarter, so last year, Thompson hit the road for the unexpected.

“I spent six months driving around and liv-ing with strangers and out of my car,” Thomp-son says. “I slept in a ghost town on the clean-est bed I could find and climbed on the sup-porting structures under a bridge in Baltimore and smoked on rooftops in New York City.”

He spent his days taking conceptual photo-graphs of himself and the people he met along the way, including those who contributed the most to his Kickstarter campaign. “The book is basically

a travel memoir showing the strain of experienc-ing the unfamiliar,” Thompson explains. “The trip really showed me how to embrace the temporary; the images are so fleeting, like the moments and memories used to create them. They exist in a brief moment where they remain, like a small looping section of a story without context.”

The road trip affected him in more ways than one. Earlier this year, Thompson moved to Oregon, his favorite state he visited on the trip, to live with some other photographer friends and continue shooting. As his book is in the final printing stages, Thompson takes no pause before moving on to his next proj-ect; he’s working on a new series called “Ghost Town,” and he plans to produce a few short films this year, too. Thompson’s self-published book, an 11 x 13-inch, 120-page hardcover called Somewhere Else, will be available this spring.

photographer you should know

“The images are so fleeting, like the moments and memories used to create them. They exist in a brief moment where they remain, like a small looping section of a story without context,” says Thompson.

Above: “Untitled (2013).”

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product roundup

Whether you’re just starting to build your photo studio, have already accumulated a wealth of lighting gear or are expanding your offerings by venturing into video, it may be time to take stock of today’s lighting products. To help you figure out which right lights are for you, we’ve created a roundup of some of our favorite lighting tools and gadgets from the past year.

The Right LightsBy Theano nikiTas

Our favorite lighting tools and gadgets for wedding and portrait photographers.

AdorAmA FlAshpoint Budget studio monolightsIf you’re working with limited funds and want to pick up some inexpensive but quality lights for the studio or for traveling, Adorama’s Flashpoint family of Budget Studio Monolights may be the perfect solution. Available in 120-, 160- and 300-watt/second models, all three are priced under $100 and come bundled with a sync cord, AC power cord and in-struction manual. You also get a one-year warranty. Each light is equipped with a 3.5mm mini jack, a modeling lamp and a built-in reflector.

An aluminum housing keeps them lightweight—averaging around 2 pounds each—and measuring between 7.75 x 7 x 4 inches (120 w/s) to 9 x 7 x 4.25 inches (300 w/s). With flash durations

ranging from 1/2000th second to 1/800th second, they’re not the fastest lights on the market, but, combined with a four-stop output range, they’re more than sufficient for standard shoots. Recycle time measures between 0.5 and 2 seconds, with audio and LED alerts that indicate when they’re good to go. If your studio is in your home, no worries—a modest amp draw means no blown fuses on regular household electri-cal circuits.

The lights are equipped with a pre-flash test button, optical slave/master setting with LED indicator, a 5A fuse-protected circuit, replaceable flash tube and an umbrella shaft lock. And if you’re starting from scratch, you can purchase any of the monolights in kit form, with a 40-inch white/black umbrella with a

removable black layer and a 6-foot, three-section light stand. And if you want to take them on the road, Adorama also offers a portable power pack, the Flashpoint Power Station. These monolights and kits are a really good deal and they ship for free in the U.S.—you can’t beat that.

priCe: 120 w/s, $50/$90 (kit);160 w/s, $70/$110 (kit); 300 w/s, $100/$140 (kit);

Flashpoint Power Station, $900www.AdorAmA.Com

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Manfrotto Spectra LeD LightS Photographers who want to take advantage of LED lighting for video and still shoots but have more basic needs (and a smaller budget) should take a look at Manfrotto’s Spectra LED lights. The Spectra lineup has five models, all of which are powered by AA batteries, are dimmable from 100 to 0 percent and can be used on-camera with the bundled ball head/hot shoe accessory. The LEDs are compatible with .25-inch threaded accessories, including Manfrotto stands and arms for off-camera use.

The five models include the basic 500S—which offers a fixed 5600K color temperature and a 30-inch beam angle—and the highest end 900FT with color temperature adjustment from 3200 to 5600K and a 50-inch beam angle. Other than the 900FT, which is best suited for location shooting where lighting conditions vary, the others offer fixed color temperatures at 5600K or 5000K. All come with a trio of filters (shown below)—1/4 CTO warming, full CTO warming and Opal diffusion, which can be used individually or stacked—so you can easily tweak the color balance.

The Spectra LED lights are relatively compact and lightweight, so they’re highly portable and don’t take up much space in your camera bag or on your studio shelves. Battery life averages about 1.5 hours, but if you’re near an outlet, continuous power can be provided by the optional AC adapter, which comes with an inter-national plug set for jet-setting photographers. These LEDs are worth a look, even if you’re not currently shooting video.

price: $189-$519

www.Manfrotto.uS

DynaLite Xp-800 pure Sine wave inverterLike the best real estate, great photography is all about “lo-cation, location, location” as well. With its XP-800 Pure Sine Wave Inverter, Dynalite has added another power option for shooting in the field. Great for hooking up your studio lights while on location, the XP-800 is powered by a 12000mAh rechargeable lithium ion battery that can reach a full charge in under three hours and, with the Dynalite MP800 and 800 w/s pack, the inverter can recycle to full power in as fast as 1.4 seconds. Output power ranges from 750 to 1400w at its peak and it can operate under temperatures from 32 to 104 degrees Fahrenheit. The inverter weighs about 14 pounds (with battery) and is equipped with a trio of AC outlets. As a bonus, the XP-800 also features three USB ports, so you can easily charge your—and your clients’—mobile devices on site. Be sure to pick up a spare battery in case you need to swap it out during those long days on set.

price: XP-800, $999; spare battery, $359

www.DynaLite.coM

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broncolor softboxes and Move outdoor kit 2Well known for its powerful and versatile lighting products, broncolor is a great source for everything from softboxes to power packs. Last spring, the company launched a new series of nine softboxes in a variety of shapes and sizes. Each can be modified with up to three diffusers (two are included) for fine-tuning the light source, and speedrings are available for most of the current heads on the market.

Fashion and beauty photographer Lara Jade is a big fan of the bron Octa 150. She uses the Octabox paired with the Senso A4 on almost all of her studio shoots, either as a single light source or paired with a second light for fill and background. “I find that the 5-foot Octa is ideal for providing a soft but strong light source that is great for mimick-ing natural light in the studio,” Jade says. She also notes its versatility: “I can change the shape or contrast of the light by simply feathering the light or adding another diffu-

sion cloth inside the octabox itself.” But perhaps the ultimate portable light-

ing product from bron is its Move Outdoor Kit 2, which our sister publication PDN tested last year with photographer Jordan Matter. Matter, whose bestselling book, Dancers Among Us, featured more than 200 dancers in everyday situations around the country [see Rangefinder’s Editor’s Pick, November 2013], considers himself a “run-and-gun” photographer. Although part of the charm of his images is that they are completely “unplanned and spontane-ous,” the process has its disadvantages. “Most notably,” he says, “I always rely on available light, which can be limiting, especially at night.” Shooting with the Move kit on the streets of New York City at night was Matter’s first time photograph-ing dancers on location with lighting. “We wasted no time on setup so I could shoot quickly and keep my high energy,” he says. “The kit is lightweight so my assis-tant could move it easily as I changed the composition.” Perhaps most importantly,

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LimeLite mosaic Bi-coLor LeD PaneLCheck out videographer and visual storyteller Eduardo Angel’s sidebar accompanying this article (page 50) and you’ll notice that one of his tips for shooting video is to use adjustable temperature LEDs such as the Limelite Bi-Color LEDs. In fact, Angel says, “Right now, I’m shooting almost everything with Limelite’s Mosaic Bi-Color LED panels.”

Citing some of Limelite’s main attributes, Angel points out that the panels are “extremely portable, dimmable from 100 to 0 percent, can be easily adjusted from 2800K to 5600K and work with Anton/Bauer batteries.” While those may be the main benefits for Angel, other features add to the panel’s appeal. For example, the light bank consists of 576 power LEDs that provide from 2400 to 5200 Lux of light.

The Limelite Mosaics use a standard V-lock battery but are available with an optional Anton/Bauer battery and are equipped with an onboard digital control panel with full DMX in and out, so the lights can be operated remotely. Because the Limelite Mosaics are modular, you can add an optional mounting kit to create two- and four-panel light banks as well, and, with standard RJ45 Ethernet cables, control them from a single panel.

While the panel’s features are ideal for video capture, like other LEDs, it can easily be used to light still photo shoots as well. But unlike most LEDs, the Mosaics offer a special mode that displays the light output in f/stops on the

control panel, so you’re good to go regardless of how you’re using these ultra-versatile lights. More detailed specs are available on the Limelite website.

Price: $1,119 (with V-mount or Anton/Bauer battery plate)

www.LimeLite.us.com

Matter adds, “The light was just enough to freeze the ac-tion without looking artificial. I’ve never been able to get sharp jumps and leg kicks at night until this shoot.”

If you shoot on location, the bron Move kit is ideal. Avail-able in different configurations, Matter used the Move Outdoor Kit 2, which consists of the Move 1200L power pack, two MobiLED lamps, one softbox, one umbrella, one RFS 2 trans-mitter set, one MobiLED continuous light adapter, a waterproof power pack soft case and an outdoor trolley backpack.

Price: Octa 150, $362 (other softboxes from $214); Move Outdoor Kit 2, $7,195

www.Bron.ch

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Sekonic MeterSSince handheld meters seem to have been replaced by DSLR in-camera metering, many photographers may be using their light meters (if they ever had them) as paperweights these days. In still photography—es-pecially with a single type of light source—you can generally do okay without

a handheld meter. However, if you’re shooting video, you need to rethink your ap-proach, according to videog-rapher Eduardo Angel. Sure, if you’re doing a single scene and don’t have to repeat the lighting (exposure or color balance), then, he says, “You should be able to do it by eye.” But if you want con-sistency across shoots, you’ll

have to meter—particularly for color. Angel’s constant companion

for just this purpose is the Sekonic C-500 color meter (he also uses the Sekonic L-308DC and sometimes the Sekonic 478D, but the C-500 is his most essential meter). He gen-erally shoots with two to three cameras from different an-gles and says that setting the white balance for all of them is key, particularly when shooting under multiple light sources.

The C-500 ProDigi Color meter is designed specifically for digital photography (although it works for film photog-raphy, too). It’s compact but sophisticated, with readings displayed for brightness (LUX or foot-candle), color tem-perature and LB/CC indices to simplify filter selection. You can simultaneously measure the color of flash and ambient lights, and the meter is programmed with 19 presets for color compensation adjustments. You can quickly set a target color temperature in Kelvin. It’s compact, lightweight and runs on AA batteries. There are plenty of detailed specs on the Sekonic site, so visit them for additional infor-mation. There’s even a model, the C-500R, that has built-in wireless triggering capabilities.

Price: $1,216

www.Sekonic.coM

Lighting Design Tips for Video ProductionsBY EDUARDo AngEL

You can make a film without sound, without color and without a single camera movement, but you could never make a film without light. Here are a few tips to help you improve your video lighting skills and deliver a higher production value to your clients.

UsE coNtINUoUs lIGHt, Not NAtURAl lIGHtVideo often requires shooting over extended periods of time in which you have to tear down and repro-duce scenes days or weeks apart. Using continuous light—and a light meter—allows you to replicate the same lighting for each shoot. Try to minimize the impact of uncontrollable natural light by blocking the light, e.g., covering windows. In short, try to minimize the unknowns—those things you cannot control.

FIND tHE bAlANcEKnowing the color temperature of a scene is key for video, so always have a colorimeter handy. Like matching the exposure, color temperature is critical for replicating shooting conditions. Additionally, with-out color temperature continuity, post-production is more time-consuming and expensive.

UsE ADjUstAblE lEDs to bAlANcE mIxED lIGHtINGContinuous light fixtures, like the Limelite Mosaic Bi-Color LED Panels with adjustable Kelvin tempera-tures, are ideal for balancing mixed lighting, almost eliminating the need to gel the lights. They can also be battery operated, so they are a great complement for outdoor shooting.

HARNEss AND coNtRol sUNlIGHt wHEN sHootING oUtDooRs/DIFFUsE sUNlIGHtPlace diffusion material between the sun and the subject when shooting outdoors to prevent harsh highlights, and use a reflector to eliminate shadows, just as you would in still photography.

coNtRol lIGHtING DIREctIoN wItH bARN DooRsThis is especially important with LEDs, which tend to spill the light. By using barn doors (or create your own with cardboard and gaffer’s tape), you can di-rect the light and, ultimately, the viewer’s eye, which automatically goes to what is highlighted.

1

For information on these topics and more, be sure to check out Eduardo Angel’s new course on Lynda.com, “Lighting Design for Video Productions,” follow him on Twitter (@EA_Photo) and visit his website: www.eduardoangel.com.

product roundup

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Profoto B1 off-camera flash and deeP l UmBrella Perhaps one of the hottest lighting products on the market today is the Profoto B1 off-camera flash, although the “off-camera flash” designation is a little misleading. It’s not a speedlight, nor is it a monolight; rather, it’s sort of a mashup of the two. The battery-pow-ered, cordless B1 is highly portable. It weighs 6.6 pounds and measures 12.2 x 8.3 inches with a diameter of 5.5 inches and, from the short time I had with the flash, feels solidly made. This 500 w/s device can shoot up to 20 flashes per second and shoots in 1/10 or full f-stops. At full power, the bat-tery will last for up to 220 flashes. The B1 is equipped with a modeling light, and with the optional Air Remote, turns into a full TTL device. The optional Air Remote, which attaches to the camera’s hot shoe, is currently only available for Canon (TTL-C), but a Nikon version (TTL-N) is in development and should be released sometime this year.

I’ve only seen the B1 in action once, but Rangefinder/PDN senior technol-ogy editor Dan Havlik and photographer David DuPuy have already tested the

light, so you’ll soon be able to read Havlik’s full review in PDN. Meanwhile, DuPuy gave us some feedback about his experience with the B1, saying that this new light “seems to be a template for the future of flash photography.” Not only is it extremely portable, but the B1 is “easy to work with, feels solidly built and,” he adds, “makes a good impression with clients. Mine asked a number of ques-tions, which helped create a good energy for the shoot.” DuPuy says the B1 is “re-liable, consistent and enables a greater level of creative freedom and risk-taking during the shoot. I think if you take the B1 out on assignment, you may be sur-prised where you end up!”

The B1 is also compatible with all of Profoto’s light-shaping tools, including the company’s relatively new set of umbrel-las. While Swedish photographer Klara G didn’t test the B1, she’s a huge fan of um-brellas in general to create her signature style images and has been working with

Profoto’s Deep L umbrellas more recently. Klara G explains, “I love to be able to work fast, and on set there is rarely a lot of time to spend, so I don’t want to take time away from working with my model. With umbrellas, I can put up a really sim-ple yet beautiful light in minutes.” She points out, “They are also easy to bring to any shoot, easy to store and inexpensive compared to other equipment and acces-sories.” But the main reason she loves umbrellas is that “they give you natural and elegant light.” With the Profoto Deep L, Klara G explains, “Since it’s deeper than other umbrellas, the light is captured in an embracing way and bounces in a more concentrated way. It makes your subject even more mystical and interest-ing.” The depth of the umbrella also provides greater control over how the light is shaped.

The Deep L is available in large (51-inch diameter) and extra-large (65-inch diameter) sizes. Silver, white and trans-lucent options allows photographers to choose the most appropriate material for his or her shooting style. Profoto also offers optional diffusers to further cus-tomize the Deep L’s lighting capabilities. And, as a bonus, the B1 can be used with all 120 of Profoto’s light-shaping tools, including the Deep L, so be sure to check out the Profoto site for the full list of accessories.

PrIce: B1, $1,995; Deep L umbrellas, $249 (large), $349 (XL)

www.Profoto.com

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issuewedding

You may argue that every issue of Rangefinder is “The Wedding Issue,” but hear us out. While we regularly provide tips and tools for your wedding and portrait businesses, in this issue we cast an even wider net to provide you with some of the most aspirational and straight-up gorgeous wedding photography being shot today. From Brooklyn to Botswana, we’ve included profiles of some of our favorite fresh talent; three Weddings of the Week from our PhotoForward blog; the ins and outs of shooting a celebrity wedding; and a look at what’s trending now in the industry. Warning: Overwhelming creative inspiration may ensue upon turning this page.

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By Sarah riStorcelli

each hailing from different corners of the globe, these three photo studios reflect on what’s possible when typical wedding photography just won’t do.

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In one of Ed Godden’s earliest portraits, he is—at 5 years old—taking a picture. Never content to be the subject, he’s always taken an active interest in framing his own shots. At 17, he left college to launch his photography career, starting as an assistant for a commercial studio photographer in an industry niche he eventually discovered wasn’t as thrilling.

“After 12 months stuck in a studio, I decided this wasn’t the type of photography that really excited me, plus I wasn’t really getting to take any photos as the assistant,” Godden says. “It was a great learning curve, however, and I’d encourage anyone wanting to get their foot in the door to work as an assistant.”

Godden branched out on his own, gaining experience as a news and sports photographer for a 12-year run he remembers as extremely stressful, yet fun. During the summers, he shot weddings in his candid photojournalistic style and sought out clients who were a good fit for his relaxed and easygoing approach.

“Because I shoot 99 percent of my images with just natural and ambi-ent light, my photos have a distinctive ‘real life’ feel to them,” he says. “I hate using flash. I think it flattens a scene and kills any atmosphere.” But he loves his Sigma Art 35mm f/1.4: “It’s pin sharp, and the depth I can get from a portrait when shooting wide open is amazing.”

Knowing your equipment is one thing; standing out from the rest is another. “Building a photography business in the U.K. is not an easy task,” Godden says. “The affordability of camera equipment and the ease at which you can build a website means everyone thinks they’re a photographer. I’ve built my business and my brand by continually pho-tographing couples who really understand my style.”

This includes giving each couple a totally unique shoot by finding fresh new backdrops—which he usually stumbles upon while running—and advising his clients on what to wear to pair dress with location.

Godden’s approach seems to have served him well so far; while his work appears on blogs and in magazines like Save the Date, Practical Photography and fiXE, it’s word of mouth that keeps the business coming. “People often approach me at weddings and ask me to photograph their own,” Godden says.

He received the Professional Photographer of the Year 2013 award in the Wedding category from Professional Photographer magazine. Having been so im-mersed in his work until last year, he hadn’t entered for awards in a decade. He wrote on his blog, “I’m so chuffed I won this award because its judged by photogra-phers, not some number-crunching machine.”

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Seth and Tenielle Mourra, the husband-wife duo behind Feather + Stone, shoot destination weddings almost ex-clusively in film. Back in 2004, having just moved from his native Florida to Tenielle’s home in Australia, Seth was awaiting his work visa and began experimenting with an old film camera.

Tenielle, who was working as a personal assistant, was destined to be a photographer, says Seth, then a financial advisor. “She’s always been creative and had vision but lost interest in the technical side of things.” Before long, they combined their talents and thought they would go into fashion and editorial shooting, but after photograph-ing a friend’s wedding, their future opened up.

The Mourras say they attract a client base that finds artistry and originality appealing, and one could say that Feather + Stone chooses clients as much as clients choose them. Likewise, they carefully curate their cre-ative alliances by choosing only like-minded publica-tions to display their work.

“It all comes down to our taste, which is something so personal to us as artists,” Seth says. “Our taste is constantly changing and being refined and redefined as we experience more in life.”

Seth explains that shooting with film introduces a host of other related demands; the photogoraphers can’t fall back on post-production, so their process and discipline have to be immaculate—but this never seems to trip-up their business, as long as they focus on light.

“Especially with film, it’s imperative we shoot in good light at all times. We consult with our couples on timing, lighting and location for every part of the shoot—where they’ll get ready, where the ceremony and reception will be. These decisions are made with lighting in mind,” Seth explains.

At the beginning of their careers, the couple shot a wedding they felt appropriate for one of their favorite Australian fashion magazines, Frankie. “I submit-ted it and initially they declined,” he explains—the magazine had never featured weddings. “Six weeks later, they told us they would love to include it in an upcoming editorial.”

Their work was right at home on the pages of a fashion magazine; Seth names the playful 1950s-era fashion photographer Richard Rutledge as a big source of creative inspiration: “The quiet simplicity of his work resonates with me as a photographer. I feel like I see the world through similar eyes.”

Since their coverage in Frankie, their work has been widely published in magazines like Real Wed-dings, Peppermint, Modern Wedding DIY, Hello May, Magnolia Rouge and many others—but for the Mourras, it’s never just about exposure; it’s about being seen by the right audience. A

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Chellise Michael’s moody creativity is often infused with a dash of humor and sensitivity, both of which explain her start in photography. “A friend of mine came over to show me a professional portrait of her-self taken during her pregnancy,” remembers Chellise. “It was technically beautiful, but the girl that I knew so well was not the girl in the photo. It was so contrived, it hurt. She had a daisy on her belly—enough said.”

It was then that Chellise knew she could give people something to look at in 20 years and say, “That was me back then, 100 percent.”

The only photography experience she had at that point, however, involved portraits of 25-cent machine figurines, such as mini ninjas attacking mini farm animals and mini nuns rushing to save them. Chellise, who at the time was bartending in Scottsdale, Arizona, and her then-boyfriend Mike Busse would shoot these scenes with a macro lens for their own personal enter-tainment. They ended up selling some of the photos to Arizona State University, where they now hang in the halls of its Honors Department.

After the incident with the maternity picture, Chellise obsessively photographed friends and strang-ers alike, contacted other photographers for technical guidance, and did some assisting. “I grew really fast and it evolved into weddings,” she says. “I asked Mike to shoot one with me, and he loved it so much [that] he wanted to shoot with me always.”

Chellise and Mike married and made another life-defining decision: they said goodbye to the desert and

moved to New York in 2010, after being encouraged by another couple they knew who moved before them. But the move didn’t falter their clientele, Chellise says.

“We grew by persistence in sharing online and by constantly meeting new people,” she says. “Also, the relationships that we make with our couples is very genuine and honest. In fact, we are headed out to brunch in an hour to meet Mariah and Dan, a couple whose wedding we shot back in December. The wed-ding is obviously over, but we adore them and have become friends in the process.”

Now that she and Mike are well on their way, they’ve scored coverage in The Knot, Brides, and New York Magazine Weddings, which has boosted their business—as has incessant creativity, fueled by experimenting with Fuji Wide Instax film and their Lomography LC-Wide. “Double exposures are my personal favorite, and this Lomo camera offers it,” gushes Chellise. “I’m waiting impatiently for Fuji to offer a wide double-exposure camera.”

Beyond the technical preferences, Chellise says it’s getting to know the couples before they shoot that re-flects the most in their work. “We don’t want to pho-tograph strangers; we want trust, which allows us freedom to shoot the way we like,” Chellise says. “I don’t know many photographers who put that much time into the personal side as we do, but we could not imagine it any other way.”

Read more about the process behind Chellise Michael’s images in RF Cookbook on page 92.

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Spread: Chris Kirkpatrick and new bride Karly Skladany pose for a wedding day portrait with former ‘N Sync band mate Justin Timberlake and his wife, actress Jessica Biel.

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When ‘N Sync founding member Chris Kirkpatrick tied the knot with longtime girlfriend Karly Skladany this past November at Loews Portofino Bay Hotel near Universal

Studios in Orlando, Florida, Marc Anthony and Tony Ryan—who together make up Marc Anthony Photography out of Cleveland, Ohio—were the designated shooters for the special day. “It was our first celebrity wedding,” explains an excited Marc, who has pho-tographed mostly high-society nuptials over the past ten years. He adds that he and Tony take on only about 20 weddings a year so that they can go after high-end clientele and build personal relationships with them (see “Perfect Chaos,” Rangefinder March 2013) .

Wedding planner Brenda Kucinski of Socially Artistic Events, whom Marc and Tony had worked with in the past on socialite shoots, fought for the duo to shoot this particular wedding. “She

LogisticsBy Jacqueline ToBin

Celebrity wedding

Marc Anthony Photography takes us inside a high-profile ceremony.

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was really the one who suggested us for the shoot,” says Tony, “the main reason being [other than her already being familiar with their work] that, while the client’s manage-ment team was really pushing to hire famous fashion and art photographers, the planner kept saying that the couple really needed to have someone present who knew how to shoot weddings unobtrusively while still producing gorgeous imagery.”

Landing the JobOf course, the wedding planner could only push so far for a specific photographer; at the end of the day, the decision was still up to the bride and groom. What really im-pressed the bride, says Marc and Tony, was their website (www.marcanthonyphotography.com). “At the time when Brenda arranged a conference call with us, we had no idea who the bride or groom was, it was a big mystery.

The bride asked what our approach to wed-dings was, how we do things, etc. She wanted a good feel for our personalities, and said that she really liked the feel of the work on our site,” explains Tony, who, along with Marc, are known for bridal party tableaus that bring out each member’s unique personality. “Karly said she liked that we are able to capture key moments from the day, but are also able keep things light and fun at times.” She also liked the fact that the shooting duo was accustomed to working with very large bridal parties; hers totaled 18.

Not only did the work on the website speak volumes for the duo, the fact that the photographers’ personalities aligned so well with the wedding couple was also a plus. “[The bride] was concerned with potential hires being starstruck because there were going to be a lot of celebrities at the wed-ding; she just wanted us to be ourselves, to be relaxed and interact with everyone like we would anyone else,” Marc explains. To help further that along, the pair was invited to the rehearsal dinner to mix and mingle, and get to know everyone ahead of time.

Shot LiStSNo matter the style of photography a client re-quests and the amount of freedom a photogra-pher or a photography team is given, shot lists are inevitable, even partial ones. In this case, Marc and Tony had to shoot not only what

Above: The former boy band members of ‘N SYNC—JC Chasez, Lance Bass, Joey Fatone and Justin Timberlake—reunited in Orlando, Florida, for Kirkpatrick’s wedding. Top: The wedding party hams it up for the camera.

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Karly and Chris wanted, but they also had to keep in mind the type of images that would later be fed to media outlets (most of the se-lected images ran in HELLO! and People, as well as on People.com).

“One thing we prepped the couple for was that to tell the whole story, we really wanted to have male getting ready shots,” says Tony. “Chris totally agreed,” especially since—as the groom told People magazine in an ex-clusive once the photos were released—“we were getting ready together in the bathroom, and we laughed that the bathroom was bigger than some of our dressing rooms. We joked and laughed a lot; it really was like how things used to be.” For Marc and Tony, cap-turing those types of moments and feelings, of friends and band mates reunited was key to capturing the day successfully.

“When I was doing Chris’s pictures, Justin [Timberlake] went into the bathroom off the main room to groom his hair and stuff and he was singing to himself,” says Marc. “Just like he probably would at home.”

Adds Tony: “Out of respect to Chris, we treated him as we would any other groom and put the spotlight on him, and then we did a series of just him with the other four members of the band and got some interesting shots of them around a pool table, getting ready and also horsing around outside. They were al-ready used to being in front of cameras, so we were able to get some great shots that high-lighted the natural rapport between them.”

Challenges to overCome Security, says Marc, was extremely tight, leaving the pair as the only two people who had a camera; even cell phones were banned from the premises. “It was nice for us because it gave us an exclusive that no one else had,” adds Tony. A security team was also present as they were shooting the ceremony but the pair was already comfortable with everyone at that point.

Marc was the primary shooter, using the Nikon D800 as his camera of choice. Tony, whose background is more as a creative director, helped set up the shots, worked with the posing and kept track of the shot list to free up Marc up to be really creative. “I also did some second shooting during the ceremony, things like cap-turing the bride coming down aisle, shooting re-verse angles and unique scenes while Marc was up front getting the vows recorded,” he says.

In terms of rights and licensing, Marc says they had to negotiate a contract that worked for everyone. The contracts are sealed with confidentiality clauses, so they can’t get into details, but they did work with the couple and

their legal team to handle what shows up in the media and that it depicts the couple and their families and friends in the right light.

“We have ownership of the images with the couple,” Tony adds. “Anytime people want to order prints or photos, we have to get approval from Chris and Karly.”

Final thoughts Being published in a magazine like People ups our credibility and our exposure,” says Marc. “This wedding went so smoothly and everyone was so nice and normal. We would love to do more celebrity nuptials.”

One thing to keep in mind, though, says Marc, is privacy and discretion. “These types of people have such public lives, so trust is key. If you’re on social media sharing photos of your session and talking about client expe-riences, it scares them off. We released to the media only the images they permitted us to release. And we couldn’t even tell our own families we were shooting their wedding. All our families knew was that we were going to Florida to shoot a wedding!”

Above: One of the images from the couple’s shot list that would also be used for media outlets, included this one, of the band mates playing pool together. It ran in both HELLO! and People.

“Karly liked that we were able to capture key moments from a wedding day but could also keep things light and fun,” says tony. “she also liked that we were used to working with large bridal parties.”

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October 20, 2013 Location: Blackberry Farms in Tennessee Photographers: Koby & Terilyn Brown/ Archetype Studio, Inc.

“For this shot, we used an on-camera flash pointed up with white card for catchlights, and a Lasolite Tri-grip white reflector for soft fill. It was shot with a Canon 5D Mark III, 50mm f/1.2L at ISO 2001/125 sec f/2.5. Our biggest goal is to be a positive impact on the wedding day, not an interference. Our previous engagement shoot with the couple in England made the wedding day very comfortable, especially during such a private event. ”

—Koby and Terilyn Brown

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COMpILED by JESSICa GOrDOn

Some of our favorite celebrity wedding portraits with insights from the photographers who shot them.

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July 31, 2010 Location: Rhinebeck, New York Photographer: Genevieve de Manio

“The task of being sworn to secrecy about any details regard-ing the wedding was the biggest challenge of this wedding. Only a few images were released, and other than that, everything else has to remain private. It was an honor to be asked to record this historical event; every part of it was special.”

—Genevieve de Manio

June 1, 2013 Location: New Orleans, Louisiana Photographer: Margot Landen

“I will never forget that beam of light that surrounded Lake and her father as they walked down the aisle. The doors swung open and the sunset poured in behind them, creating this glow that any photog-rapher would dream of capturing. I could sense the reaction throughout the chapel. It was an honor to have had the best seat in the house.”

—Margot Landen

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While engagements, morning afters and boudoir shoots are still sturdy upsells for wedding photographers, proposal photography is on the rise and is all about being

discreetly on hand as someone pops the question. In pursuit of record-ing yet another component of a couple’s love story, the proposer hires a paparazzi-style shooter hidden a few feet away—usually at a romantic public destination—to capture the moment.

Lindsey Kent is an American photographer living in Paris who’s cashed in on this service since offering it on her website Pictours Paris (which also

offers tours around the romantic city with a photo shoot by Kent and picnic lunch by her chef husband). “I started [to shoot proposals] in January 2013, and have done more than 70 since,” says Kent, who estimates proposal sessions account for more than 1/5th of her yearly revenue.

Using her native English as an advantage for tourists from the U.S., U.K. and even Russia and Japan, Kent’s system for keeping the proposal a surprise is fairly simple. The future groom (or proposer) typically emails her anywhere between three weeks to a week before the event—usually having found her through her website (Google Adwords is her biggest ally) or her Facebook page. Kent then sends the client ten photos of location options around the city, and he chooses one. She sends the client

a map to the decided location with exactly where to stand, they agree on a time of day and then swap photos of each other so they can be spotted before the big moment.

Then the stealth part comes in: “I always get [to the location] early just to be ready,” Kent says. “I blend in with the tourists and start taking photos right away. If we’re at the Eiffel Tower, for instance, I’ve already told him in my emails exactly where to get down on one knee. A lot of times the guys see me

and get so nervous that it happens really fast.”

Opposite page: Surprise proposals are Lindsey Kent’s specialty; the American photographer living in Paris captured this one between Tracey and Josh, with the backdrop of the Eiffel Tower.

Down on one

KneeBy JESSIcA GoRdon

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Kent positions herself about 20 to 30 feet be-hind the couple to not blow her cover and uses her 70-200mm lens. In some cases, she’ll be closer with a fixed lens. “They always hug and kiss and cry, so I continue to shoot for another minute or so,” she says. “Then he points to me and she freaks out even more. It’s really fun.” The photographer then does a mini engage-ment session for about 10 to 15 minutes.

While the actual shoot tends to only take about 25 minutes, Kent’s rate includes a su-per-quick turnaround time so that the couple can share the images with folks back home while they’re still on vacation. She delivers photos via Dropbox, both in web and print resolution with a print release form.

“Basically my standard rate for [non-proposal] photography sessions is 175 euros per hour [about $240 at time of writing] with the images delivered in about two weeks,” Kent says. “The couple is eager to share the photos and exciting news with their friends and family, so I deliver the edited images within 24 hours. The fee of 195 euros [for a proposal session] seems fair for everyone, and guys are happy to pay and have their special moment captured!” Kent also offers two-hour engagement sessions, as well as add-ons including video coverage and Champagne.

While the majority of her proposal sessions have gone on without a hitch, there are always exceptions. “I had one last summer where I had exchanged at least 20 emails with a guy leading up to the date, and I was there at the location with Champagne,” Kent remembers. “I see him, and then I see the couple is talking really seriously. I

just started taking pictures of them, but then he looked at me and motioned like, ‘You gotta go.’ It was super awkward and I left. He emailed me after and said [his girlfriend] freaked out and she’s just not ready for it, so the proposal was prema-ture.” Aside from that one incident, though, Kent says it’s usually “just happiness and excitement.”

Kent says that specializing in proposals has not only added income, but also a sense of fulfillment to her business. “It’s so easy to make it happen in a public place, and in Paris, The City of Love, it’s definitely a thing,” she says. “But this is such a huge life moment for couples in love—no matter where they live. It’s worth documenting.”

Kent photographed each couple’s surprise proposal. Top: Craig and Amanda at Luxembourg Gardens. Above, left: Tosin and Gbola at the Château de Versailles. Above, right: Hannah and Mike on Pont de Bir-Hakeim.

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Wedding Pics, 61 Years OverdueAn 82-year-old couple from Boston finally got the wedding photos they should have received over 60 years ago when their photographer stood them up on their wedding day back in 1952, leaving them with only one photo from the day. Donald and Dorothy Lutz, aka Gramps and Nina, posed for a heartwarming photo shoot on the Old Northern Avenue Bridge in Boston for their 61st anniversary set to the tune of the Disney/Pixar movie Up. The couple received the shoot with Cam-bria Grace as a holiday present from their grandson’s wife, Lauren Wells.bit.ly/1hs9Z7X

a TOuching FaTher-daughTer Wedding PhOTO TribuTe After losing his wife Ali to lung cancer a few years after they mar-ried, Ben Nunery recre-ated his wedding pho-tos with their 3-year-old daughter, Olivia. The pair posed in parts of the home, reimagin-ing special wedding photo moments Ben had previously shared with his wife. The heartfelt tribute series was shot by Ali’s sister, Melanie Pace of Loft(3) Photography.bit.ly/1ivWtmJ

bride sues videOgraPher FOr Over $120,000A Brooklyn couple was so distraught over their wedding video that they sued Visualaz, the vid-eography company that filmed and edited the video. Likening the film to an episode of “Sein-feld,” bride Monica Nikchemny, at press time, was seeking $122,000 in damages for making “inappropriate and disrespectful” suggestions, showing up on the wedding day with only part of the equipment they agreed to bring, making a video without a recognizable timeline, editing in sound effects and laugh tracks, and causing the bride stress during her pregnancy. bit.ly/1ohZfh3

From an unexpected celebrity sighting to a stormy lawsuit From unhappy clients, here are some oF the top stories in wedding news that people couldn’t stop talking about.

What Went Viral?

The Zach braFF PhOTObOmbWhile editing an image of clients Verena and Michael leaning in for a kiss in the middle of Times Square, wedding photographer Sascha Reinking came across something unexpected: actor and director Zach Braff, seen walking be-hind the couple and smiling directly into Reink-ing’s camera. “Sir, I think you photobombed my newlywed couple the other day in New York. Well played,” Reinking tweeted to the actor. Braff, who’s known for his occasional spontaneous cam-eos, retweeted the image with the words, “This is one of my best photobombs ever.”bit.ly/1g2Wmzw

grOOm geTs hiT in The head WiTh FlYing drOneThe advent of drone photography has been all over the place, and its viral introduction into the wedding industry made quite the splash on YouTube. The Pointe Digital wed-ding photographer who goes by the You-Tube username WeddingMan123 was flying a DJI Phantom aerial drone quadcopter with a mounted GoPro camera for one couple’s wedding video when, after doing one fly-by, he underestimated the time needed to lift the drone over the couple’s heads for the second round. The quadcopter hit the groom in the side of the head, and although he

sustained a couple of cuts, the good-hu-mored couple was able to laugh it off and agree to the video’s upload to YouTube. bit.ly/1gyBnDr

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Right: In an environmental animation, Dan and Shaileen McGarrity hold hands as bikers pass behind them. Photographer Jennifer Moher takes her GIF portraits spontaneously.

By LiBBy Peterson

There may have been a time when a bold line was drawn between still and video, but as the years pass and tech-

nological advancements exceed our expecta-tions of what’s achievable, that line has deplet-ed into near obsolescence. The fascination of hybrid photography—or the creative melding of still and motion—has taken certain photog-raphers to places they could not have guessed existed a decade ago. But the consumer’s hun-ger for innovation and the photographer’s thirst for survival in an increasingly competitive industry has lead us here.

“We’re in the beginning of the age of screens,” says Giulio Sciorio, a hybrid pho-tographer and educator who capitalizes on this age by creating and teaching others how to make cinemagraphs, or animated portraits. Using short video clips taken with his Pana-sonic Lumix GH3 and GH4, he makes his cinemagraphs using Flixel’s Cinemagraph Pro for Mac, an app that hit No. 1 on the Mac App Store list of photography apps in over 50 countries within a couple weeks of its release. Sciorio also edits his clips in After Effects and Final Cut.

There is more than one way to create cin-emagraphs, which the online world simply calls GIFs. Wedding photographer Jennifer Moher shoots a sequence of stills with her Nikon D4 and 35mm f/1.4 lens, which she then opens in Lightroom, layers the images in Photoshop and saves as a GIF.

Sciorio classifies animated portraits into a few different categories. The home page of

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his online portfolio (www.giuliosciorio.com) features the first, called subject animation: a young woman slowly bursts into laughter, flips her head of curly hair, then seemingly flips it back into place as she composes her-self to square one.

Subject interaction animation, when the subject interacts with a prop, can be seen in one of Moher’s GIFs (shown above), in which a makeup artist brushes some blush onto a bride’s face. And then there is environmental animation, a repeated action that takes place somewhere in the landscape, such as Moher’s GIF of a bonfire crackling behind some bil-lowing towels drying on a rail. All serve to enhance a moment perhaps best remembered in their own bubble of motion.

“There are times at weddings when I feel a photo just doesn’t seem to provide a proper sense of the feeling at that particular moment,” Moher explains. “The cinemagraph of towels blowing in the summer breeze is one of my favorite examples of this kind of moment. It was such a warm, beau-tiful night, and the family of the bride and groom had been swimming earlier that day. The cinema-graph sums up so much in one file.”

Though these animated portraits seem to be on another level, they are still rooted in photog-raphy, Sciorio insists, so they serve as a logical step for photographers interested in exploring motion. “Photographers need to be photogra-phers. They don’t need to be moviemakers,” Sciorio says. “Animated portraits are just video for photographers.”

Sciorio learned to take the next step for his career the hard way. He went full time with photography in 2005, just a few years shy of the recession. Pushing himself into exploring the more “experimental” forms of photography in 2009 after enduring a six-month drought in employment, Sciorio re-launched his photog-raphy business with a new hybrid mindset and cinemagraphic skills in his back pocket.

“When photographers start understanding that motion is nothing but a bunch of still images spliced together, there’s going to be a huge explosion in hybrid,” says Sciorio.

This same notion could not be truer for the world of wedding photographers, adds Moher. “A sequence of images is such a compelling way to present a story. They give off this won-derful feeling of energy and excitement that

most brides would love to have documented.”Nothing can replace still images; we can

apply our own creativity and imagine what that moment was about. “Cinemagraphs just add a little more time,” Sciorio says. “They add an additional dimension to an already- powerful medium.”

Above: This subject interaction animation shows makeup artist Sarah Fairbairn continually applying blush to bride Kayla Kent’s face. Below: Mark and Kayla Kent’s wedding reception will be remembered by this subject animation of people’s dancing feet.

“Cinemagraphs add an additional dimension to an already-powerful medium.”

Giulio Sciorio’S Top TipS for a movinG cinemaGraph1. Start with the concept.

create a strong image first—speak to your vision—and then imagine the possibilities of animation from there.

2. Nail exposure in-camera. if you’re shooting in video, any errors you capture get multiplied tenfold in post since you’re shooting more frames per second.

3. Use a tripod. You’ll need to keep the camera steady so that the motion isn’t too shaky, and depending on the type, your model should be steady, too.

4. Don’t use strobe lighting. You’ll need continuous light, so opt for reflectors, an leD light kit or good old sunlight to illuminate your portrait.

5. Keep it simple. an overly complicated animation means there’s more chance it will look overdone or won’t work at all.

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By Jack crager

a growing partnership shows how as times and duties evolve, a Brand lives on.

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Ever since graphic designer Milton Glaser cre-ated the “I Heart New York” logo in 1977, it has resonated with residents and visitors alike,

an eye-catching pledge of fondness for the nation’s big-gest and most diverse city. Created as part of a tourism campaign, the slogan took on a life of its own—and in the hands of native New Yorker Jason Groupp, it be-came a hot photographic brand.

With I Heart New York (www.i-am-nyc.com), Groupp established a portrait practice around two ven-erable forces: true love and the Big Apple (see “Jason Groupp: I Love NY,” Rangefinder January 2012). Catering to both tourists and natives, the studio spe-cializes in portraits backdropped by iconic New York

City landmarks. Initially, Groupp’s emphasis was on engagement and proposal photographs of couples, as a corollary to his successful wedding photo business, and it evolved to include lifestyle portraits of families.

“We love New York City and taking photographs of the people that love it as well,” says Karen Seifert, Groupp’s former studio manager and current partner in the IHNY brand. After recruiting a third associate,

Opening Spread: Shot on the Brooklyn Bridge overlooking Manhattan, IHNY’s appeal is taking couples and families to different parts of the city and giving them an experience, not just a photo shoot.

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photographer Tim Co., IHNY now draws on the collective experience in wedding and portrait photography of all three principals.

In late 2012, when Groupp took his current post as the director of WPPI, he shifted much of the day-to-day operation of IHNY to Seifert and Co. “Instead of letting IHNY become a brand that slowed down, Jason trusted us—beyond what we ever could have imagined—to turn it into a whole new name that reaches out into many markets, not just the wedding or couples markets,” Seifert says, adding that IHNY now operates as a self-standing enterprise through the i-am-nyc.com website.

As established wedding and portrait pros, each of the IHNY partners brings an existing client base to the mix. “None of us are saying no to leads, our personal leads that are coming in through our own names; they’re just flowing into the IHNY system,” Seifert says. “We’re empha-sizing this dynamic and robust brand. And we not only can take pictures of people’s weddings but also of their families, and the children they have, and all their memorable times in the city. It just makes for a more long-lasting relationship that we can build with our clients.” She notes that IHNY shoots many family sessions in the homes and neighborhoods of New York resi-

dents, as well as tourist portraits.A sizable portion of the IHNY clientele,

however, remains couples in love. “We’ve shot a lot of proposals where we’re going to book their weddings as well,” Seifert says. “I think proposal photography is on the up-and-up; it’s becoming more popular (see “Down on One Knee,” page 68). And of course, if someone de-cides to elope in the Big Apple, we can be there to capture the moment.”

The three IHNY partners bring different skill sets to the table, making for a “synergistic combo,” says Co. “We have three people with different strengths: Jason’s being strategy and vi-

continued from page 77

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sion; Karen’s being shooting, editing, production, and social media; and mine being operations and communication. We’re all taking what we’re good at and combining it into one business, as opposed to trying to do everything yourself. I think that’s the reason this partnership is working.”

Social media is a big aspect : In addition to Facebook and Twitter, IHNY’s blog runs a clean, modern Tumblr platform that is constantly being updated with the partners’ travels and adventures as well as portrait shoots.

As for Groupp’s take on all of it, he says, “I am so proud of what Karen and Tim have done with my most treasured concept since

“We not only can take pictures of people’s wedding, but also their families and the children they have, and all their memorable times in the city. It just makes for a more long-lasting relationship...”

IHNY photo shoots take place on subway platforms (top), against graffiti (above) and on back streets (left)—all the places that capture the grit and personality of a city like New York.P

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I’ve been in business. IHNY is years in the making, and creating the perfect experience for our clients has been a labor of love. These guys have taken my idea into new directions that I never dreamed possible.”

Adds Seifert: “Jason has been incredible in supporting and trusting us to run the brand. He’s the right kind of mentoring coach for us in this sort of situation—giving us power and freedom to make everything work, but also offering ad-vice and guidance.”

It helps that the partners share a similar esthetic. “I think the style of IHNY is a clean, fashion-forward, fresh look with a sense of fun,” says Seifert. “I learned a lot from Jason during the first couple of years working with him, when I served as his studio manager. One of the key things was the effective use of off-camera light-ing, which he’s really good at. IHNY continues to try to keep the look of our images modern and

classic at the same time.”To that end, the city itself is an able prop.

“A huge part of what attracted me to Jason’s work is that it epitomizes the ‘New York City photographer,’ ” says Seifert, who hails from Virginia Beach, Virginia. “One of the appeal-ing perks is that we can turn any part of the city into our photo-shoot set. We travel all over the five boroughs, and it’s been a great education.” For Seifert, these explorations lead to new discoveries of her favorite things: local historical facts, coffee shops, meals featuring avocados and polka-dot fashions. For Co., they enhance his quest to find “every cool place to eat in the Big Apple.”

While IHNY’s resident-to-tourist ratio is “about 50-50,” Seifert says, the firm’s clients tend to vary with the seasons. “In the winter, most of our customers are out-of-towners,” says Co., who moved to New York from Orlando,

Florida. “But it’s a fun challenge to be visually creative in the wintertime.”

Looking ahead, IHNY hopes to recruit ad-ditional shooters who fit in stylistically. “As we grow, we definitely want to bring in other pho-tographers who share the same esthetic we do,” says Seifert. “That is, nice clean, uncluttered, but fun and creative portraits. And we’re looking for people who know how to reflect the energy and dynamism of New York City.”

The partners also hope to expand their hori-zons globally, regarding New York as a state of mind. In fact, at press time, Seifert and Co. were packing bags for a wedding shoot in Thailand and other parts of the Far East. “As we build our brand, I think it will be iconic New York City weddings—and really awesome destination weddings,” Co. says. “New York is the center of the world, so it gives us easy access to pretty much anywhere.”

“We can turn any part of the city into our photo- shoot set. We travel all over the five boroughs, and it’s been a great education.”

Left (above and below) and above: Photo- shoot sets can range from city streets to dark bars to popular theater lobbies.

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Presented by:

VISIT WWW.BESTFRIENDSPHOTOCONTEST.COM

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ENTRY FEES • $25 • $15 FOR WPPI MEMBERS • NEW! $5 FOR SOCIAL MEDIA ENTRIES

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best friendsTHE ULTIMATE ANIMAL PHOTO CONTEST

PRIZESOne grand-prize winner will receive:• $1,000 cash• A Full Conference Pass and three Master Classes to WPPI 2015• A Rangefinder subscription

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All winning images, including social media, will be featured in the July issue of Rangefinder as well as an online gallery.

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RF WeddIngs of the WeekEvery week, we highlight one notable series of wedding photos on our blog, PhotoForward, and ask the event’s photographers about the experiences had, the gear used and any challenges encountered along the way. For the first time since the feature’s inception last August, we present three standout Weddings of the Week in print.

For a fresh wedding each week, visit www.photoforwardblog.com.

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Photographer: Shauna Heron || Bride and Groom: Melanie and Robert || Location: Sudbury, Ontario, Canada || Cameras: Nikon D700 and D3s || Lenses: 35mm f/1.4, 50mm f/1.4, 85mm f/1.4 and 28mm f/1.8 || Flashes: SB900 and an old SB600

“Melanie was very excited about my work and my documentary approach and so had given me carte blanche to shoot the day as I saw fit,” recounts Shauna Heron. “I absolutely love when a bride has this kind of trust and confidence in me, it just makes the day such a joy to shoot. These two are an absolutely gorgeous couple, inside and out, with families as equally loving and gracious.”

See More IMageS froM THIS weddIng aT: http://bit.ly/19t8USt

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Photographers: Isabelle Selby, with second shooter Danielle Riviera || Bride and Groom: Mari and Max || Location: Brooklyn, NY || Cameras: Canon 5D Mark II and III || Lenses: Canon 50mm f/1.2, 24mm f/1.8 and 35mm f/1.8 || Flash: Canon Speedlite 580EX II, with bounce card

Wedding couple Mari and Max were married smack dab in the middle of the Pier 1 boardwalk in Brooklyn with plenty of onlookers and family from around the world. And while the outside ceremony presented gorgeous weather, the dark, odd-shaped reception venue at Galapagos Art Space presented lighting challenges for photographer Isabelle Selby, who relied on a high ISO and wide aperture, plus a Speedlite 580EX 2 and bounce card to overcome the challenge of a dark room. Second shooting the wedding was Danielle Rivera, an emerging shooter with a budding wedding business of her own.

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SEE MORE IMAGES fROM thIS WEDDInG At: http://bit.ly/1iqDJ6n

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Photographers: Ike & Tash || Bride and Groom: Nia and Buki ||Location: Saratoga, CA || Cameras: Nikon D800, D700 and SB 700 || Lenses: Nikkor AF 105mm f/2.8D, AF-S 85mm f/1.8G, AF 85mm f/1.8D, AF-S 50mm f/1.4, AF 35mm f/2D and AF-S DX 10-24mm f/3.5-4.5G || Flashes: Bowens Gemini 500R and an old Vivitar

Of the couple, the photographers say, “They are both of Nigerian descent, which we loved because it gave us a chance to shoot some of their traditional customs. The bride and groom made their entrance into the reception in an Aston Martin and then went straight into a traditional money dance. They also had a dance competition between their bridal parties, there was a party booth with lots of cool props and at the end of the night, the couple got dressed in their traditional African garb and danced the night away. It was an exhausting but very fun and rewarding experience!”

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DaviD J. CarolDirector of Photography, CBS OutdoorPhoto Finish columnist, Rangefinder

David J. Carol was the first assignment photographer for The Image Bank photo agency (now part of Getty Images) and currently works as the director of photography at CBS Outdoor and as a contributing writer to Rangefinder and Emerging Photographer. Carol is the author of

three monographs and is currently working on a trilogy of books with Café Royal Books, London. He also serves on the Board of Advisors for the Center for Alternative Photography.

Jill EnfiElDPhotographer, Author and Teacher

Jill Enfield has taught hand-coloring and non-silver techniques at schools in New York City and throughout the United States and Europe. She is an award-winning author of two books, and her personal work is in collections and has appeared in many magazines throughout the world,

including Camera Arts, Hasselblad’s Forum, Nikon World and ZOOM. Her work in the Here Is New York archive was selected to commemorate the fifth anniversary of 9/11. She has been a Nikon Legend Behind the Lens and was selected as one the Top 100 Influential Photographers of the 20th Century by Professional Photographers Magazine.

ChuCk kEltonMaster Printer, Artist, Educator

Chuck Kelton is a master printer and is the owner of Kelton Labs in New York City. For the past two decades, Kelton has worked as a printer for exhibitions, books and advertising campaigns for leading photographers worldwide. Kelton received an award in 2014 acknowledging his teaching

career at the International Center for Photography and at workshops throughout the country. His own art is in the collections of the Bibliothèque Nationale de France, and The New York Public Library has exhibited his work in various galleries in New York City.

JuDGES

GRAND-PRIzE wINNER DON HUDSON will be profiled in Rangefinder and will receive a Lomography Belair X 6-12 Jetsetter medium format camera, a $500 gift card to a major photo retailer and a VIP/Full Conference Pass to PhotoPlus 2014 & wPPI 2015. Congratulations to first-, second- and third-place winners Emma Powell, william Schwab and Jane Heater, as well as the runners-up. Many thanks to our judges and Lomography for being a part of the contest.

To view this gallery online, and for more information on Rangefinder contests, visit:www.rangefinderonline.com/Contests.shtml

Rangefinder is proud to present the winners of the 2014 Black & white and Alternative Process photo contest! Entrants from around the world submitted evocative, timeless imagery with photographic processes that are truly a labor of love.

Presented by:

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Grand Prize

first Place

Black & White

Don huDson“Untitled” Belleville, Michigan, 1981.

alternative Processes

emma PoWell “Dance”

An image of bees created through the wet plate

collodion process.

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Second Place

third Place

AltERNAtIvE PRocEssEs

WIllIAm schWAb“Mackinac Bridge” An image of the Mackinac Bridge in Michigan on 4 x 10-inch collodion on aluminum.

blAck & WhItE

JANE hEAtER “Yellowstone Tree”

A tree at Mammoth Hot Springs in Yellowstone National

Park is surrounded by steam fog on a cold October morning.

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RunneRs-up

Black & White

Nicole caldWell“The Crowd” A shot of festival-goers at the Ink-N-Iron festival in Long Beach, California.

alterNative Processes

shaNe Mccoy “The Pilot” A wet plate collodion photo of a girl in New York City.

alterNative Processes

Marydorsey WaNless “Soaring” A photogram cyanotype mural made up of 300 pieces of watercolor paper.

Black & White

aMir lavoN“When the Soldiers Are Crying” While working as a newspaper photographer, Lavon took this image at a funeral held for a friend of his who was a casualty of the Second Lebanon War.

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Photo © CheLLIse MIChAeL

Making a Typical Wedding Photo Shoot Atypical

By liBBy Peterson

Ingredients:CAmERA Canon EOS 5D Mark III

LENs Canon 50mm f/1.2

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Above: Bride Anastasia poses for a dramatic shot in the Green Building in Brooklyn, New York, where Chellise only relied on one window of natural light.

Brooklyn photo duo Chellise Michael and her husband Mike Busse get it all the time: “Your photos don’t look

like wedding photos.” Chellise says she can’t quite put her finger on the reason, but she knows of a couple of contributing fac-tors: she and Mike avoid cliché images at all costs, and they strive for a fine-art approach over one that is strictly documentarian.

A self-proclaimed natural extrovert who’s good with people, Chellise thought wed-ding photography made the most sense as a new creative endeavor after spending a year shooting mini toy figurines with her husband

just for fun (read more in “Fresh Perspec-tives,” page 56). Transitioning from shooting quirky objects to a more traditional genre of photography meant her creative vision had to come from a different place—and it wasn’t in other people’s work. “So much of wedding photography looks the same,” Chellise says. “Once I stopped looking at other people’s work, I realized I could go against the cliché and do something different.”

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In fact, she and Mike offer free engage-ment sessions with couples for their wedding package, and though some couples initially decline the offer, they always change their minds once they hear they won’t have to pose for cheesy jumping, kissing or hand-holding pictures. Drawn to architecture and minimalism, Chellise focuses on the scene rather than the couple first, and she builds her technique from there. “I look for shots that would look good even without the couple,” she explains, “and then I tell the couple to come into the frame.”

Chellise and Mike always shoot as a team, except when the bride and groom are getting ready; Chellise joins the bride, and Mike follows the groom. Since the duo has already had an engagement session with the couple at this point, Chellise says the shoots on the big day go much easier because they’ve already established trust that allows for au-thentic shots and more creative leeway on the part of the photographers.

This especially came in handy when Chellise shot bride Anastasia (opposite page), who gave her the green light to get as creative as possible with her portraits, taken at The Green Building in Brooklyn, New York. Luckily, Chellise had shot there before, so she knew what kind of light she could get. “I was planning it out in my head, because I knew I wanted to accentuate the texture in her veil, and I knew the mood I was going for already, too,” Chellise explains.

She shot the images darker, relying solely on one window off to the side to illuminate Anastasia’s face and to lift the texture of the veil in the photo. She darkened the image slightly in post and removed a couple lone golden lights in the background to make an all-dark, dramatic image—one not typically seen in wedding albums.

Trust grants the photography duo some creative freedoms that may not be otherwise granted, but it’s also made them some good friends over the years, which comes with its own set of advantages. Having established a solid friendship with past clients Tim and Re-becca, for example, Chellise says their wed-ding was one of the most memorable they’ve attended, and it’s not just because it was a destination wedding in Jamaica (photo above).

As usual, Mike followed Tim as he got ready for the ceremony—and the groom’s son Owen, who had boundless energy. “He was like that all day,” Chellise remembers. “Mike said he kept jumping back and forth

and back and forth on the beds. He eventu-ally decided he wanted to wear beach shorts when he walked down the aisle, and by the end of the night, he didn’t have a shirt on. Owen’s just like that, and Tim is so calm.”

Mike caught the juxtaposing demeanors

exactly; opening up his aperture widely and slowing down his shutter, he caught Owen just as he lept for a “perfect swan dive” from one bed to the next as Tim, captured in crisp still-ness, coolly pulls on his sock.

Chellise and Mike make it a point to strive for familiarity with their clients to get the most intimate, effortless-looking photos. In fact, they sometimes become so acquainted with their clients that when Mike first walks into the groom’s room full of other grooms-men, “the groom will go up and hug him, and the other groomsmen ask, ‘Do you know each other,’ or ‘Are you guys friends?’ It’s always a funny question to answer, because we are, kind of,” Chellise says.

She divulges another secret: they only ac-cept 20 weddings a year. “It’s not very com-mon in New York, but by limiting ourselves a bit, we have time to really get to know the couples, and we have time to have lives of our own.”

With only one or two more spots available for 2014, the time in between to unplug, reload and refresh for a bit seems to be working.

rf cookbook

Ingredients:Camera Canon EOS 5D Mark II

Lens Canon 28mm f/1.8

IsO 1000

aperture f/2.3

shutterspeed 1/99

Above: Mike got his camera settings just right, as he simultaneously freezes groom Tim while he dresses and blurs Owen’s jumping from one bed to the other.

“Once I stopped looking at other people’s work, I realized I could go against the cliché and do something different,” says Chellise Michael.

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When Apple first introduced the iPad a few years ago, some pun-dits said it would replace printed

magazines and newspapers as the favored medium for reading articles and news. This premise has not yet been fulfilled, however, as tablet-based publications have been slower to catch on than predicted.

Judging by the wide variety of wedding albums still available these days, it’s obvious that a gorgeously printed album has not van-ished in the digital age either.

Of course, there are some situations in which a digital album can offer experiences that can-not be provided by a printed album. Video, for instance, comes immediately to mind, as slide shows with sound can easily be added to a dig-ital album. The ability for a couple to display images on a tablet or smartphone is another application that might be more convenient than hauling around a printed album.

If you Google “digital wedding albums,” you’ll find plenty of references to software and services, but most of them are links to ones that help you create print albums. Let’s take a brief look at some different ways of producing and delivering a digital album that can complement a printed album, not necessarily replace it.

The GalleryPhotographers are already producing image galleries on their sites, and most also use them for client print orders. Many couples will probably just show these images to friends and family, but professional photog-raphers, undoubtedly, want a slightly classier interface. Photographers can create simple slide shows from within editing programs, such as Lightroom, Aperture and Photo Mechanic, but it doesn’t take much effort to create something more magical.

animoToThis online service is one of the easiest and quickest ways to create a professional slide show. You can make a 30-second video, which will present approximately 20 photos with an accom-panying soundtrack, free of charge. The resulting video is saved on Animoto’s website and can be linked from your own website or through Face-book and other social media sites.

Watching Animoto’s software automatically upload images and video clips and creating a soundtrack that smoothly matches the transition from one image to the next is pretty amazing.

Naturally, any wedding photographer will want to sign up for the Pro version, which costs $249 for a year. It provides many more themes, styles and a choice of 2,000 music tracks from Triple Scoop Music. More im-portantly, the videos are saved in HD quality and can be downloaded for burning on a DVD or viewing without being online.

Boinx’s FoTomaGicoIf you want to have more control to create a more sophisticated video incorporating stills and video clips, a program such as FotoMagico from Boinx will fit the bill. FotoMagico’s interface is some-what similar to that of a video-editing program like Final Cut Pro in that it provides a timeline where you can transition photos and video clips along with audio channels. It provides a tremen-dous amount of customization in the way images are viewed with transitions including zooming and rotating. It’s possible to overlay a different picture with its own movements to come up with a video worthy of a professional photographer. Once the video has been created, it is rendered and can be saved in various formats and resolu-tions to fit different mediums, from a smartphone to a large monitor.

Mastering a program such as FotoMagico (which costs $99 and only works on a Mac) is not all that hard: it is the type of program that enables a wedding photographer to produce a deliver-able that can set you apart from what an amateur might accomplish. Providing a bride with a cre-ative video as well as a well-designed traditional album gives her the best of both worlds.

Photo Albums: Digital vs. Print

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By John Rettie

left: Boinx’s FotoMagico program allows you to control all aspects of creating a sophisticated slide show with a huge variety of transitions and special effects.

digital guru

think outside the box with these digital options for displaying photos for clients.

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DELIVERY DVDs anD FLash DRIVEs It doesn’t seem that long ago that the “fu-ture” of wedding albums was predicted to be on DVDs. They are still a viable way to dis-tribute a multimedia album, but increasingly more computers, especially slim laptops, no longer include a DVD drive. What’s more, the drives—if not the discs themselves—have not proven to be terribly reliable. How-ever, DVDs still offer a great cost advantage if several copies are requested.

Since the cost of USB flash drives has plummeted, they have become a more convenient way to deliver content, but just handing over a plain flash drive is not very professional. If you have attended WPPI in the past few years, you’ll no doubt have seen the impressive display of “containers” (for want of a better word) offered by Photo-FlashDrive.com. For example, the company sells attractive-looking wooden boxes that hold a flash drive. Each one can be custom engraved with your logo or the couple’s name on it. If you really want to get fancy, they offer the Ghionis Crystal Drive, which has a crystal glass finish and engraving with a frosted edge. What’s more, 10 percent of pro-ceeds go to wedding photographers Jerry and Melissa Ghionis’ Soul Society charity.

TabLETs anD WEbsITEsThere’s no denying that from an image- quality perspective, the best way to view photos, aside from a print, is seeing them on an iPad with a retina display. The resolution is so crisp that good images positively glow. It’s no wonder that iPads have gained favor as a great way to display portfolios.

The ultimate way to deliver a digital album for an iPad would be to create a custom app uniquely for the couple. There are already several such apps available on iTunes for wedding planning. Some of them include the ability for a bride or groom to include photo albums. If you use one of these, however, there is not much customization that can be done and they will look somewhat generic.

Perhaps you’ve never thought about creating your own app, but it has become surprisingly easy thanks to numerous drag-and-drop tools that can create a simple app without the need to learn coding. I took a quick look at a dozen or so, and the Con-

duit mobile app builder was one of the easi-est to use and also produces apps most ap-propriate to a photographic business. Most app-building software requires a monthly fee, but Conduit allows you to build one free for limited use.

hTML5By far the most distinct way to deliver a digital wedding album is to create a website; use your own or build one customized for the couple. The key, in my opinion, is to build a responsive website using HTML5. This will make the albums look good on a tablet or smartphone as well as a regular PC monitor.

A few years ago, a Flash-based website was regarded as the best solution to show-case photography. But, since Flash websites do not work at all, or, at best, very poorly on tablets and smartphones, they are no longer such a good solution. It’s true that companies such as Livebooks and Zenfolio offer a sec-ondary site using HTML, but in many cases

they do not look as good as those designed from the ground up using HTML5.

Thanks to several online services, it is re-ally quite easy to create your own responsive website. Two of the best are Squarespace and Wix, which offer some classy templates. Less expensive services such as Weebly might work for someone who knows how to modify HTML and CSS code. There are also more responsive HTML5-based Wordpress themes available that offer a really flexible solution, especially if you already have a hosting ser-vice such as Dreamhost for your websites.

OFF ThE cOFFEE TabLEAs mobile devices used to show images become more universal, the demand for well-designed digital wedding albums will grow. It’s doubtful everyone will want to abandon the large, beauti-fully crafted, print coffee table album, but it’s important to think outside the box—or should I say, “outside the album”—if you want to grow your business.

above: Animoto, an online service, provides the easiest way to create a classy slide show containing stills, video, text and sound.

There’s no denying that the best way to view photos, aside from a print, is seeing them on an iPad with a retina display. The resolution is so

crisp that good images positively glow.

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96 RANGEFINDER APRIL 2014

Because the resolution of DSLR sensors is on a slow but steady rise, and manu-facturers are eliminating anti-aliasing

filters to improve sharpness, optics firms are designing lenses that exceed the resolution of current and future image sensors while mini-mizing lens aberrations.

To meet this need, Carl Zeiss has attempted to produce the finest lens, both optically and mechanically, that current technology and a century of experience would permit. The Zeiss Otus 1.4/55 is the result, and with an MSRP of $3,990, it becomes evident that the price of perfection is high.

Just as the Zeiss Touit lens line for mir-rorless cameras is named after a genus of small parrot-like birds, the Otus lens is named for a genus of owls renowned for their night vision. From the looks of the Zeiss website, lenses.zeiss.com, other lenses will likely join the 55mm f/1.4 to form an Otus lens line of fast, high-performance optics.

Heavy DesignWhereas other f/1.4 50mm lenses are gener-ally based on the Planar lens design, the Otus is based on the retrofocus (reverse telephoto) Distagon design. While this choice certainly seems to be the right one for optimum opti-cal performance, it also is responsible for the 2.27-pound weight, 3.64-inch front diameter, and 5.66-inch length of the lens.

I noticed this heftiness immediately as I mounted the lens onto my Nikon D800E, which, with its MB-D12 accessory battery pack, weighs a little less than the lens. While the D800E body and Otus lens are reasonably well-balanced for hand holding, the system definitely deserves to be tripod-mounted with the mirror locked up to maxi-mize the performance.

Mechanically, the lens exceeds the al-ready-high standards of the Zeiss lens line. The focusing mechanism of the Otus 1.4/55 uses ball bearings like the best cinematog-raphy lenses for a silky-smooth feel, free of play or backlash. Only manual focusing is possible. The large, grippy focusing ring rotates through 248 degrees from the mini-mum 19.7-inch focusing distance to infinity, ensuring precise focus but requiring time turning through the entire range. The focus-

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Left: Accurate focusing is critical at f/1.4, and when you get it right, you can draw the viewer’s eyes right to where you want them. the natural vignetting at f/1.4 helps, too.

lens review

Zeiss Otus 1.4/55Zeiss has produced one of the finest 35mm lenses ever, and wedding photographers should take note.By Stan Sholik

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ing ring stops rotating at each end of the range. And the focus ring on the Canon and Nikon versions rotates in the same direction as lenses made by Canon and Nikon.

The all-metal lens is finished to a satin sheen. Distance scales in feet and meters are shown in bright yellow. Depth of field markings are provided below the distance scales for every aperture. There is even a mark for infrared focusing correction.

ImpressIve performanceWhile Zeiss’ attention to mechanical details is impressive, the optical performance of the Otus 1.4/55 is even more so. Images captured with this lens seem almost three-dimensional, especially at wide apertures with a high-resolution camera. There is about one EV of vignetting at f/1.4 that diminishes until it dis-appears by f/5.6. Other than that and the al-

most imperceptibly thin lines of color fringing at f/1.4, optical aberrations are nonexistent at all apertures and from the center of the frame to the edges.

Where other lenses have an optimum aper-ture, the Otus delivers superb images at every aperture. This allows selection of an aperture to control depth of field rather than to maxi-mize image quality.

The lens also offers advantages for photogra-phers in nearly every discipline other than ac-tion sports. Landscape photographers can shoot with the sun at the edge of the frame and even in the frame without flare or ghosts appearing in the image. Shadow areas are free of veil-ing glare, and you can open the shadow areas without them becoming dull. HDR photogra-phers, whose images often require additional post-processing to remove a gray haze in the shadows, will also appreciate it.

GorGeous results for WeddInG photoGraphyWhile it probably isn’t the lens of choice for fast-paced photojournalistic wedding cover-age, it is ideal for those shooting carefully composed portraits. The ability to accurately capture an extremely wide dynamic range will hold details in the bride’s dress as well as the groom’s tuxedo. And the freedom from distor-tion ensures that members of the wedding party at the ends of group shots aren’t any wider than they are in real life.

If the 55mm focal length is appropriate to the assignment, architectural, product and still-life photographers will not find a lens that delivers better sharpness throughout the frame, lower distortion, more accurate color and great-er freedom from flare. My studio shot of crystal glassware on a backlit Plexiglas table was sharp with crisp edges, despite the background

Below: The detail and texture in the fish at the center are clearly and sharply rendered while the bright background dissolves to a soft glow at f/2.8.

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www.dynalite.com

exposure being just overexposed.While the Otus is more appropriate for

head-and-shoulder portraits with an APS-C format sensor body (becoming the equivalent of approximately an 85mm f/1.4 lens), with a high-resolution full-frame body, you can crop in later. But when pulled back from the subject, especially in low light, achieving precise focus at f/1.4 can be a challenge. Camera (if hand-held) and subject move-ment, combined with the inherent difficulty of using a DSLR focusing screen to focus manually, can all lead to lost focus on the eyes. Working closer to the subject may make it easier to focus, but with the face at an angle to the camera, it is impossible to hold focus on both eyes at f/1.4.

Shooting portraits with the lens stopped down to apertures of f/4 or smaller yield a higher percentage of in-focus captures. But be warned: this is a lens for subjects with perfect skin or professional makeup. Other-wise, you may be in for some serious post-processing to please the client.

End FramEBoth mechanically and optically, this is the fin-est lens ever produced for a 35mm camera, film or digital. For photographers looking for a lens

with ultimate image quality in a “normal” focal length for current Canon and Nikon DSLRs and for future cameras with higher resolution sen-sors, the Zeiss Otus 1.4/55 is that lens.

SPECIFICATIONSLens Construction 12 elements in 10 groups

Angle of View 36.7 degrees horizontal

Number of Diaphragm Blades 9

Minimum Aperture f/16

Minimum Focusing Distance 0.5 m / 19.7 in

Filter Size 77 mm

Dimensions 92.4 x 144 mm / 3.64 x 5.66 in

Weight 1030 g / 2.27 lb

Available Mounts Nikon F (ZF.2) Canon EF (ZE)

first exposure

To request more information see page 111

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software review

If you’ve had any exposure to profes-sional album-building tools over the past several years, the template looms large.

Originally designed as means of streamlining your workflow, album templates can also be something of a stifling straightjacket, coerc-ing you into a limited set of rigid designs. If you’re chafing under the template, you owe it to yourself to give Fundy Designer a try. We did and were impressed with the results.

Working in Album builder The first thing you’ll notice about Fundy De-signer is its stark minimalism—the layout is clean and uncluttered. If you’re a first-timer, the lack of immediately visible toolbars and menu options means you’ll have to hunt around a bit to learn the ropes. Fortunately,

the learning curve is quite small. Getting started is just a matter of dragging

and dropping a batch of images into Album Builder. A future update this spring will give you the ability to organize this batch into cat-egories, but for now you can just sort them by date. Then, you have a choice to make: selecting a professional lab. Fundy Designer is integrated with almost every professional lab in the country and stores its album specs so you don’t need to concern yourself with establishing page dimensions; just click on the lab, find the particular album you’d like to design and you’re on your way.

Alternatively, you can create a completely custom album for which you determine spread size (height, width, DPI, etc.) as well as the cover image. Then it’s on to building your album.

drop-kicking the templAte With drop ZonesFundy smashes the prevailing template para-digm in favor of a new approach: a series of dynamic “drop zones.” The drop zone is where your image “lands” on a page. Nothing about the zone is sacred, rather everything is tweak-

By GreG ScoBlete

left: fundy designer lets you quickly create professional wedding albums for $329. opposite page: In designer view, you’ll be able to work with fundy’s dynamic drop zones.

unleash your creativity with this template-free photo album software.

Fundy Designer with Album Builder v6

At A GlAnce Fundy designer With Album builder v6

PlAtFoRm: MAc And WindoWsPRIcE: $329

WWW.fundysoftWAre.coM

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able, often with nothing more than a click or drag of the mouse. If you add more images to a page, the drop zones resize themselves auto-matically to accommodate them (you can also drop more than one image into the same drop zone and turn one of them into the page’s back-ground). This structureless approach means that each album page is truly a blank slate, awaiting your creative touch.

You have two alternating workspaces. The first is a “planner view,” which shows every page you’ve built or need to build. From here you can drag-and-drop images onto pages and enjoy a high-level view of your complete album with the ability to make a few simple changes. You can drag the pages forward or backward to change their place-ment in the album, randomly “shuffle” the images on a given page iPod-style, or view a series of suggested layouts already pre-populated with the page’s photos. In keep-ing with the software’s minimalist style, the planner view editing tools only appear when you hover your mouse on a given page.

When you need to make more detailed, page-level adjustments, you can flip into “designer view.” It’s within this view that you can have fun with the drop zones and the images you’ve placed in them. Start with the photos; you can zoom in or move them around within a given drop zone. You can center or align them to the edge of the zone, change

their opacity and even drag them across the page to reposition them, with the displaced photos automatically adjusting themselves. The planner view has a series of grid lines that will tip you off to the edges and spine of the book as you work, but these can be turned off when you want a cleaner view.

When you click on a specific drop zone, a small menu bar provides access to a few more editing options. Here you’ll be able adjust the buffer (or frame) around an image, adjust the space between pictures in a single drop zone and lock the number of photos that will ap-pear in a column or row in a given zone.

Working with drop zones is strikingly simple, and fast. It’s not hard to imagine even newcomers cranking out high-quality album designs in an hour or so. In fact, the biggest bottleneck you’re likely to encounter is self-imposed: selecting the photos you want to use.

Beyond the ZoneFundy Designer doesn’t support image editing natively, so if you need to make more serious edits, the program can open your photo in your editor of choice. When your fixes are done, the changes immediately and automatically propa-gate into your album page and into the images

you’ve imported into Fundy for your project. As you work, your project is auto-saved

every five minutes, but there’s no undo button (it’s promised in a May update), so any mis-takes you make are impossible to take back.

Beyond the photos and drop zones, you can adjust the background color of your pages with either Fundy’s own generous palette or a cus-tom design you upload yourself. There’s also a basic text editor for adding some verbiage around the page. As you’d expect, there are plenty of font options and sizes, and text can be dragged and resized until you’re happy.

Your final product can be exported in full-resolution JPEGs (either single pages or two-page spreads as one file) for printing or low-resolution JPEGs for web posting. Later this year, the company will add the ability to export a layered PSD file or just a selection of page ranges instead of the entire album.

Missing PiecesAll software is a perpetual work in progress and Fundy Designer is no different. Fortunate-ly, the company is pretty upfront about what features are in the pipeline and when you can expect them. Among some of the features you can expect soon are the ability to apply three

It’s not hard to imagine even newcomers cranking out high quality album designs in an hour or so.

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black-and-white and three sepia looks to pho-tos; an export-to-Facebook option; and alerts if an image is zoomed in too much for export.

The bigger issue some may have with Fundy Designer is its versatility. Where some album builders offer the ability to create other pieces of output, including wall art or web pages, Fundy only accommodates professional albums. (Some photographers, on the other hand, might like this album-focused dedica-tion.) There will be additional software releas-es from Fundy later this year, such as Blog Collage and Gallery Designer for creating web pages and wall art, but they’ll cost extra.

Bottom LineI won’t pretend to have encyclopedic knowl-edge of every possible high-end album builder on the market, but using several of them over the past several weeks in addition to Album Builder is a rather dramatic study in contrast.

Where the dominant approach favors not just templates but usually a welter of features to go with them, Album Builder focuses on elegance, simplicity and ease of use (made possible—it needs to be said—by a powerful software). To put it crudely, it feels a lot like the difference between Win-

dows and Apple, with Fundy in the Apple role. There’s a crucial caveat though: Fundy doesn’t tack on an Apple-sized premium—the $329 you’ll pay for Fundy Designer is right around the $300 sweet spot most com-petitive album software titles command.

Still, if you’re used to having a huge arsenal of features and output options at your command, you won’t find them in Fundy Designer. My guess is you won’t miss them.

To put it crudely, it feels a lot like the difference between Windows and Apple, with Fundy in the Apple role.

software review

Above: Using planner view, you can move pages around, swap images and designs, and get a top-level overview of your album. Below: Fundy Designer takes a very visual approach to album building, an elegance that serves the user well throughout the design process.

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18-200/3.5-5.6 DX G AF-S ED-IF VR II Digital Lens• Exclusively designed for Digital SLRs• 35mm equiv.

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lens elements • 3.5-27 f/Stop Range • Minimum focus 9.5"• 77mm fi lter diameter• Weight 13.6 oz

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EOS-60D DSLR• 1920 x 1080 HD Video Capture• DIGIC 4 Image Processor• SD/SDHC/SDXC Card Slot• 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

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Body Only #CAE7D ..........................................1499.00Kit with 28-135mm IS #CAE7D28135 ..............1699.00

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AF FlashesSB-300 ...... 146.95 SB-700 ...... 326.95SB-910 ..........................................546.95R1 Wireless Twin Flash ...............................R1C1 Wireless Twin Flash System ...............

DX ED-IF Lenses for Digital Only10.5/2.8 Fish-Eye ......................................35/1.8 G AF-S (52ø) .......................196.9540/2.8 G AF-S Micro (52ø) ..............276.9585/3.5 G ED VR Micro (52ø) ............526.9510-24/3.5-4.5 G AF-S (77ø) .......................12-24/4 G AF-S (77ø) ................................16-85/3.5-5.6 G AF-S VR (67ø) ..................17-55/2.8 G AF-S (77ø) .............................18-55/3.5-5.6 G AF-S II (52ø) ....................18-55/3.5-5.6 G AF-S VR (52ø) .......196.9518-105/3.5-5.6 G AF-S VR (67ø) .....396.9518-200/3.5-5.6 G AF-S VR II (72ø) .........846.9518-300/3.5-5.6 G AF-S ED VR (77ø) .......996.9555-200/4-5.6 G AF-S (52ø) ........................55-200/4-5.6 G AF-S VR (52ø) ........246.9555-300/4.5-5.6 G AF-S VR (58ø) .....396.95

D-Type AF Lenses14/2.8 D ED .......... 24/2.8 D (52ø).......16/2.8 D (39ø) with Hood ...........................24/3.5 D ED PC-E (77ø) .............................28/1.8 G AF-S (67ø) .......................696.9528/2.8 D (52ø)....... 35/2.0 D (52ø).......45/2.8 D ED PC-E Micro (77ø) ....................

D-Type AF Lenses50/1.8 D (52ø)....... 50/1.4 D (52ø).......50/1.8 G AF-S (58ø) .......................216.9550/1.4 G AF-S (58ø) ..................................60/2.8 D Micro (62ø) (1:1) .........................60/2.8 G AF-S ED Micro (62ø) ....................85/1.8 D (62ø) with Hood ...........................85/1.8 G AF-S (67ø) .......................496.9585/1.4 D IF (77ø) ........ 85/1.4 G AF-S (77ø) .....105/2.8 G AF-S ED-IF VR Micro (62ø) .........105/2.0 DC D with Hood (72ø) ...................180/2.8 D ED-IF (72ø)................................200/4 D ED-IF Micro w/Case (62ø) .............200/2 G AF-S ED-IF VR II (52ø) ...................300/4.0 D AF-S ED-IF (77ø) .......................14-24/2.8 G AF-S ED-IF ................1996.9516-35/4.0 G AF-S ED VR (77ø) ......1256.9517-35/2.8 D AF-S ED-IF (77ø) ....................18-35/3.5-4.5 G ED (77ø) ...............746.9524-70/2.8 G AF-S ED-IF (77ø) .......1886.9524-85/2.8-4.0 D IF (72ø) ...........................24-120/4.0 G AF-S ED VR (77ø) ..........1296.9528-300/3.5-5.6 G AF-S ED VR (77ø) .....1046.9570-200/2.8 G AF-S ED-IF VR II (77ø).......2396.9570-300/4.5-5.6 G-AFS VR (67ø) ......586.9580-200/2.8 D with Collar (77ø) ...................80-400/4.5-5.6 D VR (77ø) ........................200-400/4 G AF-S ED VR II (52ø) ................TC-14E II (1.4x) Teleconverter .....................TC-17E II (1.7x) ..... TC-20E III (2x) ........

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MR-14EX Ringlight ....................................MT-24EX Twin Flash ....................... 829.99

EF-S Lenses for Digital Only (USA)(Not compatible with full frame cameras)

60/2.8 USM Macro (52ø) ................ 469.9910-22/3.5-4.5 USM (77ø) .............. 649.9915-85/3.5-5.6 IS USM (72ø) .......... 799.9917-55/2.8 IS USM (67ø) ................. 879.9917-85/4-5.6 IS USM (67ø) ........................18-135/3.5-5.6 IS (67ø) ................ 499.9918-200/3.5-5.6 IS (72ø) ................ 699.9955-250/4.0-5.6 IS USM (58ø) ........ 299.99

EF Lenses (USA)20/2.8 USM (72ø) .......................... 539.9924/2.8 IS USM (58ø) ...................... 599.9928/2.8 IS USM (58ø) ...................... 549.9935/2 IS USM (67ø) ......................... 599.9950/1.8 II (52ø) ............................... 125.9950/1.4 USM (58ø) .......................... 399.9950/2.5 Macro (52ø)........................ 299.9985/1.8 USM (58ø) ............................ 419.99100/2 USM (58ø) ........................... 499.99100/2.8 USM Macro (58ø) .............. 599.9928-135/3.5-5.6 IS USM (72ø) ........ 479.9970-300/4-5.6 IS USM (58ø) ........... 649.9970-300/4.5-5.6 DO IS USM (58ø) ....................75-300/4.0-5.6 III (58ø) ................. 199.9975-300/4.0-5.6 III USM (58ø) ....................

TS-E MF Lenses (USA)17/4.0 L ...2499.0045/2.8 .....1399.00

24/3.5 L II ..2199.0090/2.8 .....1399.00

EF “L” Lenses (USA)14/2.8 USM II .............................. 2359.0024/1.4 II (77ø) ............................. 1749.0035/1.4 USM (72ø) ........................ 1479.0050/1.2 USM (72ø) ........................ 1619.0085/1.2 USM II (72ø) ..................... 2199.00100/2.8 IS USM Macro (67ø) ........ 1049.00135/2.0 USM (72ø) ...................... 1089.00180/3.5 USM Macro (72ø) ............ 1579.00200/2.0 IS USM (52ø) ...............................300/4.0 IS USM (77ø) .................. 1449.00300/2.8 IS USM II (52ø rear) ......................400/5.6 USM (77ø) ...................... 1339.008-15/4.0 Fish-eye USM ................ 1499.0016-35/2.8 USM II (82ø) ................ 1699.0017-40/4.0 USM (77ø) .................... 839.9924-70/4.0 IS USM (77ø) ............... 1499.0024-70/2.8 USM II (82ø) ................ 2299.0024-105/4 IS USM (77ø) ................ 1149.0028-300/3.5-5.6 IS USM (77ø) ...................70-200/4.0 IS USM (77ø) ............. 1349.0070-200/2.8 USM (77ø) ................ 1449.0070-200/2.8 IS II USM (77ø) .......... 2499.0070-300/4.0-5.6 IS USM (67ø) ...... 1599.00100-400/4.5-5.6 IS USM (77ø) .... 1699.001.4x III Tele ..499.99 2x III Tele ....499.99

Call for Available Rebates & Promotions on Select Bodies, Lenses and Flashes!

Call for Available Rebates & Promotions on Select Bodies, Lenses and Flashes!

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* ......................................3399.00Kit with 24-105mm L IS #CAE5D324105 .........3999.00 22Mega

Pixels

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• 1920 x 1080 HD Video Capture • Live View Still and Video Recording• 61-Point High Density Auto Focus

Body Only #CAE1DX*.......................................6799.00 18MegaPixels

EOS-6D DSLR• Full-Frame CMOS Sensor • 3.0" LCD• DIGIC 5+ Image Processor• Uses Canon EF Lenses• SD/SDHC/SDXC Card Slot• Built-In Wi-Fi and GPS Connectivity• Full HD 1080p with Manual Controls• Built-In HDR and Multiple Exposure Modes

Body Only #CAE6D .........................................1899.00Kit with 24-105mm f/4 L #CAE6D24105 .........2499.00 20Mega

Pixels

Lumix DMC-GH3 Mirrorless System Camera• Magnesium Alloy, Weather-Sealed Body• Full HD 1080p Video at 60fps• 3.0" Free-Angle LCD• Micro Four Thirds System• SD/SDHC/SDXC Card Slot• 20fps Continuous Shooting• Built-In Wi-Fi to Link to Smart Devices

Body Only........................................... #PADMCGH3B#PADMCGH3B 16MegaPixels

OM-D E-M1 Mirrorless System Camera• 3.0" Tilting LCD Touchscreen• Micro Four Thirds System• SD/SDHC/SDXC Card Slot• Full HD 1080p Video• Built-In Wireless Connectivity• Dust/Splash/Freezeproof

Magnesium Alloy Body

#OLEM1* 16MegaPixels16Mega

Rangefinder 04-14 JN140107.indd 1 2/20/14 3:50 PM

042014

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 .....................................79.95

• 4 auto f/stop settings

Q� ash TRIO Parabolic Refl ector 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 TTLHandle 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

Handle Mount Flash• Requires Head• TTL with appropriate module

• Bounce & swivel • Auto f/Stops f/2.0, 2.8,

4.0, 8.0, 5.6, 11 & 16

Flash SystemFL-300R Flash .........169.95FL-600R Flash .........299.95

FL-50R Flash ...........499.95RF-11 Ring Flash .....249.95

Zuiko 4/3 System Digital Lenses35/3.5 Macro ED (52ø) ............................................ 229.9550/2.0 Macro ED (77ø) ............................................ 499.957-14/4.0 ED (72ø) ................................................. 1799.9511-22/2.8-3.5 ED (72ø) ........................................... 799.9512-60/2.8-4 ED SWD (72ø) ...................................... 999.9514-42/3.5-5.6 ED (58ø) ........................................... 249.9518-180/3.5-6.3 ED (62ø) ......................................... 499.95EC-14 1.4x Teleconverter ......................................... 439.95

AF Flash SystemAF-360FGZ ........................ AF-540FGZ ........................

DA Digital AF Lenses21/3.2 AL Limited “Pancake” (49ø) ......................................40/2.8 Limited “Pancake” (49ø) ...........................................70/2.4 Limited HD (49ø) ......................................................10-17/3.5-4.5 ED IF (77ø) ..................................................16-50/2.8 ED AL IF SDM (77ø) ............................................50-135/2.8 ED IF SDM (67ø) ...............................................50-200/4-5.6 ED WR (52ø) .................................................55-300/4-5.8 ED (58º)........................................................

Flash SystemHVL-F20M ...............149.99 HVL-F20S ................ 149.99HVL-F43M ...............398.99 HVL-F60M ............... 548.00

Digital Lenses 24/2 Carl Zeiss (72ø) ............................................. 1399.9950/1.4 (55ø) ............................................................ 449.99100/2.8 Macro (55ø)................................................ 799.9916-80/3.5-4.5 DT Carl Zeiss (62ø) ........................... 999.9911-18/4.5-5.6 DT (77ø) ........................................... 799.9918-250/3.5-6.3 DT (62ø) ......................................... 649.9970-200/2.8 G APO (77ø) ........................................ 1999.9975-300/4.5-5.6 (55ø) .............................................. 249.99

Octacool Light Kitwith 29.5" Octobox

• Octacool 6 or 9 Lamp Fixture

• Removable Aluminum Refl ector

• 28w Lamps• Internal Diffusion Baffl e

Octacool-6 #IMOC6SB ........................................ 199.95Octacool-9 #IMOC9SB ........................................ 259.00

Background System

Background StandsEconomy ..............................74.95Port-A-Stand ....................114.95*Multi 3 Polevault ..............217.99

Paper BackgroundsAvailable in 48 Colors

53" x 12 yds.........................24.95107" x 12 yds w/Core ...........45.95

Octacool-6 Front

Octacool-9 Back

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• Nikon Inc. limited warranty included

Body Only...................... #NID4 ...................5996.95 16MegaPixels

* 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• Eye-Level Pentaprism Viewfinder• 1920 x 1080/30/25/24p HD Video Capture • Matrix/Center-Weighted/Spot Metering• Built-In Flash + i-TTL Flash Control• Nikon Inc. limited warranty included

Body Only............................ #NID800 ............................2996.95 36MegaPixels

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* 16MegaPixels

D7100 DSLR• Magnesium Alloy Body • Moisture Resistant• EXPEED 3 Image Processor • 3.2" LCD• 1080p Full HD Video Capture• Accepts Nikon AF Lenses (1.5x factor)• Dual SD/SDHC/SDXC Card Slots• Built-In Flash with Commander Function• Nikon Inc. limited warranty included

Body Only #NID7100 .................................................. 1199.95Kit with 18-105mm VR #NID710018105 .....................1599.95 24Mega

Pixels

D610 DSLR• FX-Format (Full-Frame) CMOS Sensor • 3.2" LCD• Uses Nikon AF Lenses • SD/SDHC/SDXC Card Slot• EXPEED 3 Image Processor• Expandable Sensitivity to ISO 25600• Full HD 1080p Video Recording at 30 fps • Multi-CAM 4800 AF Sensor with 39 Points • Nikon Inc. limited warranty included

Body Only #NID610 ....................................................1996.95Kit with 24-85mm VR Lens #NID6102485 .................2596.95 24Mega

Pixels

Alpha A7 DSLR• Full Frame Exmor CMOS Sensor• Direct Compatibility with E-mount Lenses• 3.0" Tiltable TFT LCD • Multi-Interface Shoe• SD/SDHC/SDXC, MS Pro Duo/

Pro HG-DuoCard Slots• Full 1080/60p with Uncompressed Output• Built-In Wi-Fi and NFC • Direct Access Interface

Body Only #SOA7BKit with 28-70mm Lens #SOA7KB 24Mega

Pixels

Panel Frame Re� ector KitsZebra Gold / Zebra Silver

• Reversible Two Sided Fabric• Collapsible

Aluminum Alloy Frame

• Tool-Free Assembly• Padded Shoulder

Bag Included Instant Final Price Rebate Cost43 x 67" #IMFPK436ZGZS ....... 299.95 ......$60.... 239.9559 x 82" #IMFPK598ZGZS ....... 464.95 ....$100.... 364.95

Instant Final

59x82" Silver

43x67" Gold

D3300 DSLR• EXPEED 4 Image Processor • Full HD 1080p

Video Recording • 3.0" LCD • 5 fps Shooting• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Available in Black, Grey or Red• Nikon Inc. limited warranty included

Kit with 18-55mm VR II #NID33001855* ......................646.95D3200 Kit Black w/18-55mm VR #NID32001855* ....599.95D3100 Kit with 18-55mm VR #NID31001855 ............429.95 24Mega

Pixels

D5200 DSLR• Full HD Video with Full-Time Servo AF• 3.0" Vari-Angle LCD • Live View• Uses Nikon AF Lenses (1.5x factor)• SD/SDHC/SDXC Card Slot• Available in Black, Bronze or Red• Nikon Inc. limited warranty included

Kit with 18-55mm VR #NID52001855* ........................896.95D5300 Body Only #NID5300*....................................796.95D5300 Kit with 18-55mm VR II #NID53001855* .......896.95 24Mega

Pixels

Rangefinder 04-14 JN140107.indd 2 2/20/14 3:50 PM104_105_RF_0414_BH_lr.indd 104 3/7/2014 12:15 PM

Page 107: Rangefinder April 2014

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Prices, speci� cations, 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. © 2000-2014 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• Exclusively designed for Digital SLRs• 35mm equiv.

27-300mm• VR II Vibration Reduction• SWM (Silent

Wave Motor)• 3.5-22 f/Stop Range• Focus 1.6' to Infi nity• Weight 19.8 oz

SB-910 Speedlight i-TTL Shoe Mount Flash• Tungsten & Fluorescent Filters Included• Guide No. 111.5'• Simplifi ed 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• Exclusively designed for Digital SLRs• 35mm equiv.

16-35mm• 3 aspherical

lens elements • 3.5-27 f/Stop Range • Minimum focus 9.5"• 77mm fi lter 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• 1920 x 1080 HD Video Capture• DIGIC 4 Image Processor• SD/SDHC/SDXC Card Slot• 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 .........................................899.99 18MegaPixels

EOS-70D DSLR• Dual Pixel CMOS AF with Live View• DIGIC 5+ Image Processor• SD/SDHC/SDXC Card Slot• Uses Canon EF & EF-S Lenses• 3.0" Vari-Angle Touchscreen• 7 fps Continuous Shooting• Full HD 1080p Video

Body Only #CAE70D ........................................ 1199.00Kit with 18-55mm STM #CAE70D1855 ...........1349.00 20Mega

Pixels

EOS-7D D-SLR• Record HD Video • 18 Megapixel Sensor• 3.0" LCD • 100% Viewfinder• Uses Canon EF Lenses • CF Card Slot• 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 ..........................................1499.00Kit with 28-135mm IS #CAE7D28135 ..............1699.00

1499.001699.00 18Mega

Pixels

AF FlashesSB-300 ...... 146.95 SB-700 ...... 326.95SB-910 ..........................................546.95R1 Wireless Twin Flash ...............................R1C1 Wireless Twin Flash System ...............

DX ED-IF Lenses for Digital Only10.5/2.8 Fish-Eye ......................................35/1.8 G AF-S (52ø) .......................196.9540/2.8 G AF-S Micro (52ø) ..............276.9585/3.5 G ED VR Micro (52ø) ............526.9510-24/3.5-4.5 G AF-S (77ø) .......................12-24/4 G AF-S (77ø) ................................16-85/3.5-5.6 G AF-S VR (67ø) ..................17-55/2.8 G AF-S (77ø) .............................18-55/3.5-5.6 G AF-S II (52ø) ....................18-55/3.5-5.6 G AF-S VR (52ø) .......196.9518-105/3.5-5.6 G AF-S VR (67ø) .....396.9518-200/3.5-5.6 G AF-S VR II (72ø) .........846.9518-300/3.5-5.6 G AF-S ED VR (77ø) .......996.9555-200/4-5.6 G AF-S (52ø) ........................55-200/4-5.6 G AF-S VR (52ø) ........246.9555-300/4.5-5.6 G AF-S VR (58ø) .....396.95

D-Type AF Lenses14/2.8 D ED .......... 24/2.8 D (52ø).......16/2.8 D (39ø) with Hood ...........................24/3.5 D ED PC-E (77ø) .............................28/1.8 G AF-S (67ø) .......................696.9528/2.8 D (52ø)....... 35/2.0 D (52ø).......45/2.8 D ED PC-E Micro (77ø) ....................

D-Type AF Lenses50/1.8 D (52ø)....... 50/1.4 D (52ø).......50/1.8 G AF-S (58ø) .......................216.9550/1.4 G AF-S (58ø) ..................................60/2.8 D Micro (62ø) (1:1) .........................60/2.8 G AF-S ED Micro (62ø) ....................85/1.8 D (62ø) with Hood ...........................85/1.8 G AF-S (67ø) .......................496.9585/1.4 D IF (77ø) ........ 85/1.4 G AF-S (77ø) .....105/2.8 G AF-S ED-IF VR Micro (62ø) .........105/2.0 DC D with Hood (72ø) ...................180/2.8 D ED-IF (72ø)................................200/4 D ED-IF Micro w/Case (62ø) .............200/2 G AF-S ED-IF VR II (52ø) ...................300/4.0 D AF-S ED-IF (77ø) .......................14-24/2.8 G AF-S ED-IF ................1996.9516-35/4.0 G AF-S ED VR (77ø) ......1256.9517-35/2.8 D AF-S ED-IF (77ø) ....................18-35/3.5-4.5 G ED (77ø) ...............746.9524-70/2.8 G AF-S ED-IF (77ø) .......1886.9524-85/2.8-4.0 D IF (72ø) ...........................24-120/4.0 G AF-S ED VR (77ø) ..........1296.9528-300/3.5-5.6 G AF-S ED VR (77ø) .....1046.9570-200/2.8 G AF-S ED-IF VR II (77ø).......2396.9570-300/4.5-5.6 G-AFS VR (67ø) ......586.9580-200/2.8 D with Collar (77ø) ...................80-400/4.5-5.6 D VR (77ø) ........................200-400/4 G AF-S ED VR II (52ø) ................TC-14E II (1.4x) Teleconverter .....................TC-17E II (1.7x) ..... TC-20E III (2x) ........

EOS Flash System (USA)270EX II .....169.99320EX ...................

430EX II .....299.99600 EX-RT..549.99

MR-14EX Ringlight ....................................MT-24EX Twin Flash ....................... 829.99

EF-S Lenses for Digital Only (USA)(Not compatible with full frame cameras)

60/2.8 USM Macro (52ø) ................ 469.9910-22/3.5-4.5 USM (77ø) .............. 649.9915-85/3.5-5.6 IS USM (72ø) .......... 799.9917-55/2.8 IS USM (67ø) ................. 879.9917-85/4-5.6 IS USM (67ø) ........................18-135/3.5-5.6 IS (67ø) ................ 499.9918-200/3.5-5.6 IS (72ø) ................ 699.9955-250/4.0-5.6 IS USM (58ø) ........ 299.99

EF Lenses (USA)20/2.8 USM (72ø) .......................... 539.9924/2.8 IS USM (58ø) ...................... 599.9928/2.8 IS USM (58ø) ...................... 549.9935/2 IS USM (67ø) ......................... 599.9950/1.8 II (52ø) ............................... 125.9950/1.4 USM (58ø) .......................... 399.9950/2.5 Macro (52ø)........................ 299.9985/1.8 USM (58ø) ............................ 419.99100/2 USM (58ø) ........................... 499.99100/2.8 USM Macro (58ø) .............. 599.9928-135/3.5-5.6 IS USM (72ø) ........ 479.9970-300/4-5.6 IS USM (58ø) ........... 649.9970-300/4.5-5.6 DO IS USM (58ø) ....................75-300/4.0-5.6 III (58ø) ................. 199.9975-300/4.0-5.6 III USM (58ø) ....................

TS-E MF Lenses (USA)17/4.0 L ...2499.0045/2.8 .....1399.00

24/3.5 L II ..2199.0090/2.8 .....1399.00

EF “L” Lenses (USA)14/2.8 USM II .............................. 2359.0024/1.4 II (77ø) ............................. 1749.0035/1.4 USM (72ø) ........................ 1479.0050/1.2 USM (72ø) ........................ 1619.0085/1.2 USM II (72ø) ..................... 2199.00100/2.8 IS USM Macro (67ø) ........ 1049.00135/2.0 USM (72ø) ...................... 1089.00180/3.5 USM Macro (72ø) ............ 1579.00200/2.0 IS USM (52ø) ...............................300/4.0 IS USM (77ø) .................. 1449.00300/2.8 IS USM II (52ø rear) ......................400/5.6 USM (77ø) ...................... 1339.008-15/4.0 Fish-eye USM ................ 1499.0016-35/2.8 USM II (82ø) ................ 1699.0017-40/4.0 USM (77ø) .................... 839.9924-70/4.0 IS USM (77ø) ............... 1499.0024-70/2.8 USM II (82ø) ................ 2299.0024-105/4 IS USM (77ø) ................ 1149.0028-300/3.5-5.6 IS USM (77ø) ...................70-200/4.0 IS USM (77ø) ............. 1349.0070-200/2.8 USM (77ø) ................ 1449.0070-200/2.8 IS II USM (77ø) .......... 2499.0070-300/4.0-5.6 IS USM (67ø) ...... 1599.00100-400/4.5-5.6 IS USM (77ø) .... 1699.001.4x III Tele ..499.99 2x III Tele ....499.99

Call for Available Rebates & Promotions on Select Bodies, Lenses and Flashes!

Call for Available Rebates & Promotions on Select Bodies, Lenses and Flashes!

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* ......................................3399.00Kit with 24-105mm L IS #CAE5D324105 .........3999.00 22Mega

Pixels

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• 1920 x 1080 HD Video Capture • Live View Still and Video Recording• 61-Point High Density Auto Focus

Body Only #CAE1DX*.......................................6799.00 18MegaPixels

EOS-6D DSLR• Full-Frame CMOS Sensor • 3.0" LCD• DIGIC 5+ Image Processor• Uses Canon EF Lenses• SD/SDHC/SDXC Card Slot• Built-In Wi-Fi and GPS Connectivity• Full HD 1080p with Manual Controls• Built-In HDR and Multiple Exposure Modes

Body Only #CAE6D .........................................1899.00Kit with 24-105mm f/4 L #CAE6D24105 .........2499.00 20Mega

Pixels

Lumix DMC-GH3 Mirrorless System Camera• Magnesium Alloy, Weather-Sealed Body• Full HD 1080p Video at 60fps• 3.0" Free-Angle LCD• Micro Four Thirds System• SD/SDHC/SDXC Card Slot• 20fps Continuous Shooting• Built-In Wi-Fi to Link to Smart Devices

Body Only........................................... #PADMCGH3B#PADMCGH3B 16MegaPixels

OM-D E-M1 Mirrorless System Camera• 3.0" Tilting LCD Touchscreen• Micro Four Thirds System• SD/SDHC/SDXC Card Slot• Full HD 1080p Video• Built-In Wireless Connectivity• Dust/Splash/Freezeproof

Magnesium Alloy Body

#OLEM1* 16MegaPixels16Mega

Rangefinder 04-14 JN140107.indd 1 2/20/14 3:50 PM

042014

Page 2

The Professional’s Source™

800-947-9963212-444-6663

Fax:

212-239-7770

Store & Mail Order Hours:

Sunday 10-5 • Mon.-Thurs. 9-7Friday 9-1 EST/9-2 DST

Saturday Closed

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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

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106 RANGEFINDER APRIL 2014

Today’s wedding videos are often full-fledged productions, complete with high-resolution footage and originally

composed scores. In many ways, Hollywood has found its way into the personal world of weddings. Videographers are using the same equipment and software as Hollywood filmmakers, but they are also embracing the same principles and techniques of visual storytelling.

In recent conversations with two accom-plished independent documentary filmmak-ers, Miguel Duran (director and producer of UNREST: Founding of the Cal State Northridge Chicana/o Studies Department) and Taylor Johns (associate producer of Last Days of Vietnam), they explained their ap-proach and tips to filmmaking that can easily take a cookie-cutter video to new heights.

Finding the StoryAs with most historical documentary films, a story often follows a linear plot, but a good film should be more than a sequence of events; it should begin with characters.

As an example, Johns explains that his film revolved around the event of the USS Kirk, a Knox-class destroyer that was chosen for the special mission to evacuate Vietnamese fami-lies to the Philippines during the fall of Saigon. The film couldn’t just be a chronicling of facts, says John; it had to convey the people’s stories.

“We had to find the characters,” Johns says. “What we wanted to do had to be pieced together by the individual stories, which were mind-blowing.”

It’s this same approach that can make a wedding video that much more personal. A

wedding is more than just a ceremony and reception; how and why two people found one another can provide the heart of a story.

Interviewing the SubjectsThough Duran and Johns are using inter-views to tell a story that occurred decades before, they both understand that these per-sonal narratives create immediate, intimate reactions from the audience. The story of how and why the couple came together helps express the importance of the wedding.

Duran and Johns use these interviews as the means of finding the story and searching for

Filmmaking Like a Documentarian

By IBarIonex Perello

Above: Aboard the USS Kirk, the crewmembers signal the Chinook to hover over their deck and drop its passengers out in Last Days of Vietnam.

Two accomplished documentary filmmakers share tips on the techniques of visual storytelling.

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imagery, which will propel that narrative. “Once I have the story, then it comes down

to finding the visuals to help tell it,” Duran says. “Those visuals help shape the planning and what I have available to me and what I will need.”

Mind-MappingPre-planning is at the core of each film, but it’s more than merely planning the logistics of a shoot.

In the case of Duran, he often “mind-maps” his short and feature-length videos. He finds the structure of the overall video by defining the beginning, middle and end, but he is also breaking up the film into indi-vidual segments and chapters.

“It’s easier for people to consume and un-derstand segments,” Duran says. “By break-ing it up into chapters, I am literally creating mini movies within the movie.”

The action of defining the core and ancil-lary stories on paper, whiteboard or mind-mapping software provides clarity of vision. This is especially important when working with raw materials. Johns and Duran had to contend with archival stills and footage that needed to be combined with their own interviews.

Most importantly, it helped them think

about the imagery they would need in order to illustrate those individual moments. Even before they began editing in Final Cut Pro or Adobe Premiere, they were visualizing how each chapter could be told.

Videos are a visual medium, and both filmmakers stress that it’s important not to forget that. “It’s always better to show people rather than to tell people,” says Johns.

Working the Rough DraftThe first edit is called a rough cut for good reason. Though it may contain good content, the pacing and emotional impact of the piece may fall short. Much like a novel, the first draft is largely functional and won’t resemble the effectiveness of the final version.

For Johns, that rough draft exists on paper in the form of a treatment. It serves not only as the guidebook for the production, but also helps to discern the rhythm and pace for combined footage, stills and interviews.

“The treatment defined the story for us. We knew the direction we wanted to head in,” Johns says. “Our primary structure changed a number of times during the editing process, but we always came back to the story.”

If the story doesn’t flow quite right, Duran suggests taking a break for a couple of days after making the rough cut. With multiple versions of a chapter or segment in Final Cut Pro, it allowed him a point of comparison for both minor and major changes.

Seeing with Fresh EyesWhen continually working on a piece, it’s easy to lose perspective on what is and is not working. Repeated viewing can cloud objec-tive judgment of the film’s success.

Johns avoided watching the first three edits of the film so that he could see it more objectively than its director, Rory Kennedy, and the film’s primary editor, Don Kleszy.

“We really wanted to have some fresh eyes on it,” Johns says. “You can totally burn out on a project, and it can lead to big problems, including trying to micromanage everything.”

Duran solicits feedback from filmmakers and non-filmmakers alike. “I would show it to multiple people to find out what was working and what wasn’t,” he says, explaining a criti-cal step to assess the effectiveness of the editing with respect to flow and pacing.

The Role of MusicMusic is a critical component, but it is easy to use it heavy-handedly, especially in a wedding video. Johns and Duran see music as an integral part, but they emphasize that its use has to move beyond sentimentality.

“The film is building up to this emotional mo-ment when we see the Vietnamese flag being taken down,” says Johns, explaining that the moment captures the loss of families and homes for the characters in the film. “We use the music carefully, beginning with the playing of a single instrument. We slowly build up from there, and at the end it’s like a knife to the heart. I cry every time I see it.”

Duran, who also composed the music for his film, took a thoughtful approach, too.

“Music can make or break your film,” he says. “I would often listen to a segment without music and determine whether I felt it needed it or not.”

Videos are about people and their intimate sto-ries. It is up to the filmmaker to use the tools available to create something that honors those people, their memories and their stories.

“Our primary structure changed a number of times during the editing process, but we always came back to the story,” says Johns.

Above: A campus demonstration in UNREST during 1968 with students voicing their desire for a Chicana/o studies program.

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Far left: Lighting and camera setup for the first interview of Last Days in Vietnam.Left: screen capture of the timeline of the film UNREST on Final Cut Pro.

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R enowned portrait photogra-pher Ian White writes on his website, “I am a lucky man,

my work lets me interact with some of the most interesting people on the planet. It’s like having a back-stage pass for life.” White recently shared with me his experience pho-tographing Mad Men’s Jon Hamm.

“It was a quiet Saturday morning and I had a date with actor Jon Hamm to shoot him for a multi-page spread for People magazine,” White says.

“We first shot some softer, cozier interior scenes within the modern décor—interesting, but not definitive of Hamm. The harder Don Draper shot that was chosen (shown here) is my fa-vorite. When Jon stepped in the doorway to make a call, I told him, ‘Don’t even move.’ I hustled the crew in to lock the scene and here we go, another for my collection of icons. File it under Jon Hamm.”

To see more of Ian’s work, visit www.ianwhite.com.

Ian WhIte meets Don Draper

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112 RANGEFINDER APRIL 2014

By DAVID J.CAROL

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