Rangefinder May2014

THE MAGAZINE FOR WEDDING AND PORTRAIT PHOTOGRAPHERS RANGEFINDERONLINE.
COM MAY 2014
the
filmmaking
issue
Still to Motion
Transition
8 Wedding
Video Upsells
PLUS
WPPI 2014
Show Highlights
The 16x20 Print,

Album & Filmmaking
Winners’ Gallery
The Official Magazine of
PHOTO © MALIA JOHNSON
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contents
MAY 2014 / VOL. 63 / N°05
Features [82]
36 Photographer You Should Know
Fashion filmmaking innovator Bon Duke.
By Libby Peterson
98 Product Roundup: Flight Style

Airplane-ready camera bags.
By Peter Kotsinadelis
43 The Filmmaking Issue

44 So You Want To Be A Filmmaker?
Applying the tenets of photography
to the moving image.
By Lindsay Comstock
52 Go-To Gear for the Immersive Videographer

The Vice Media film crew talks equipment.
By Libby Peterson
54 7 Essential Tools
The video gear you need to start shooting now.
By Ibarionex Perello
56 Trade Secrets
Filmmaker Vincent Laforet’s favorite tools.
By Jack Crager
58 Filmmaking Add-ons
Eight video upsells for your photo business.
By Jessica Gordon and Libby Peterson
64 The WPPI 2014 Wrap-up 72 Graphistudio Presents:

A Day in the Life
66 The ABCs of a Trade Show Four photographers captured
Albums, bags, cameras and more! Las Vegas in their own distinct styles.
PHOTO © KEN DRAKE
By John Rettie
80 Film School
68 Products Worth Noting Joe Switzer guided 10 students
More standout gear on a 48-hour filmmaking adventure.
from the show floor. By Jacqueline Tobin
By John Rettie
82 The 16 x 20 Print, Album and
Filmmaking Competition
Winners’ Gallery
2 RANGEFINDER MAY 2014
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contents
MAY 2014 / VOL. 63 / N°05
36 56
Columns
26 Light Reading
Learning from filmmaking
PHOTO © LAFORET VISUALS, INC.

legends.
By Jim Cornfield
32 From the Cubicle

A creative challenge for
photographers.
By Jason Groupp
102 Digital Guru

PHOTO © BON DUKE
The fuss behind flying drones.

By John Rettie 16
108 First Exposure
A review of Elements XXL 2.
By Stan Sholik
98
112 DSLR Video
The right headphones
for quality audio.
By Ibarionex Perello
120 Photo Finish

Finding John Maloof.
By David J. Carol
PHOTO © KRISTI ODOM
Departments
8 From the Editor
By Jacqueline Tobin
12 From the WPPI Director

By Jason Groupp
14 Editor’s Pick ONLINE COMING IN

JUNE IN PRINT:
Felix Kunze
By Jacqueline Tobin NOW: The Marketing Issue
Video of the Week, Tools and tips for standing out
16 Focus plus all the films in a sea of talented shooters
By Libby Peterson featured in this issue! (and upping your income).
119 Ad Index

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from the editor
I
t was Benjamin Franklin who said,
“An investment in knowledge pays
PHOTO © SUE BRYCE
the best interest.” I’m reminded The Magazine for Wedding and Portrait Photographers ®
of this wise saying every year as
WPPI director Jason Groupp works Editor-in-Chief Jacqueline Tobin
Senior Editor Jessica Gordon
tirelessly with his team to put on
Associate Editor Libby Peterson
the best week-long educational photo show on the
planet. You definitely get your money’s worth and then Senior Technology Editor Dan Havlik
some at WPPI. This year, Jason and his team added a Contributing Editor John Rettie
Filmmaking Track, which inspired us to do an issue on
Creative Director Adana Jiménez
the still to motion transition permeating the industry.
Group Production Director Daniel Ryan
We’re not saying you need to switch gears entirely, but
Production Manager Gennie Kiuchi
rather broaden your base and skill set. Hop on board
Rangefinder Magazine
as the innovators in the industry—Vincent Laforet, 85 Broad Street, 11th Floor Contributing Writers
Joseph Switzer, Rob Adams, Sarah Pendergraft and New York, NY 10004 David J. Carol, Lindsay Comstock, Jim
more—offer sage advice and technical tips to help Cornfield, Jack Crager, Jason Groupp,
CEO, Emerald Expositions Peter Kotsinadelis, Theano Nikitas,
get your feet wet. And in case you missed this year’s David Loechner Ibarionex Perello, John Rettie, Stan Sholik
WPPI show, or just want to relive every pulse-pounding
moment, we’ve also included a gallery of images from CFO, Emerald Expositions
For list rental information contact:
Phil Evans
the show floor, the parties and special events, and the Mike Gangel (646) 654-5318
winners of WPPI’s 16x20 Print, Album and Filmmaking Executive Vice President,
Senior Vice President,
Competition. Enjoy! Gift & Home,
Photo and Jewelry Photo and Jewelry Groups
Christopher McCabe John McGeary (646) 754-5174
JACQUELINE TOBIN Senior Vice President, Vice President, Emerald Expositions

Editor-in-Chief Operations Photo Group
Lori Jenks Lauren Wendle (646) 654-5811
Associate Publisher
Vice President, Finance Mark Brown (646) 654-5795
Denise Bashem
On the Senior Account Executives
Mike Gangel (646) 654-5318
COVER
Vice President, Digital
Lori Reale (858) 204-8956
Teresa Reilly
Account Executives
Photographer: Malia Johnson Vice President, Manufacturing Jon McLoughlin (646) 654-7255
Camera: Canon 5D Mark II & Marketing Services Garet Moses (646) 654-5774
Lens: Tokina 10-17mm Joanne Wheatley Alexis Daloni (646) 654-8571
Housing: Del Mar Housing Director of Sales
Projects by Erik Hjermstad Melissa Kittson
Focal Length: 15mm Melissa.Kittson@emeraldexpo.com
Exposure: 1/400 at f/4.5
ISO: 200 For subscription information
Location: Wilkes Pass, and customer service, call:
Mamanuca Islands, Fiji (866) 249-6122 or locally, (847) 763-9546
Comments: “Shot in the late afternoon, we took
a boat ride out to this surf spot that has some of Operations Manager: Neeta Lakhani
the clearest water I’ve ever seen. Kahi and Louise Marketing Director Michael Zorich
(the bride and groom) are very experienced
surfers and swimmers; safety always comes first.”
(Johnson won first place in the Creative Division’s
“Bride and Groom Together: Non-Wedding Day”
category of the 16x20 Print, Album and Filmmaking
Competition. See the gallery of all the winners,
starting on page 82.)

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from the wppi director
H
ow many people have you run into over the years that have said to
you, “It must be so cool taking pictures for a living”? You humbly
shrug your shoulders and say, “Yeah it’s fun, it’s a living.” In “From
the Cubicle” (page 32), I reflect back on my many years as a photographer
and how I’m suddenly floored by the fact that I have taken my profession for
granted for so long. We all need a dose of reality now and again, which is
why—as I look back on WPPI this past March while gearing up for Photo-
Plus Expo in New York City later this year (October 29-November 1)—I’m
asking all of you to take some time to remember just how lucky we all are as
photographers and as people who give back. Taking pictures and doing some-
thing you love is a gift! As we move into our First Half Online Competition
(open now at wppiawards.com), pull your images together and think about
how much you’ve grown as an artist. Then take my challenge as outlined in
PHOTO © CHRISTIAN LALONDE
my column this month. It will get the creative juices flowing!
JASON GROUPP
WPPI Director of Education and Membership
Jason.Groupp@emeraldexpo.com
(646) 654-5786
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ALL PHOTOS © FELIX KUNZE

Felix Kunze
BY JACQUELINE TOBIN
I
first heard the name Felix Kunze from fellow photographers Sue I focus on non-models and place regular people in exaggerated
Bryce and Kristie Lee early last year. “You have to check out Felix’s situations that highlight an aspect of who they are.”
work; you have to meet Felix; Felix is a lighting master,” they would Kunze—who shot the images using a range of backdrops from
tell me repeatedly. Then, by chance, I opened up an email and saw these Oliphant Studio (www.oliphantstudio.com) in Manhattan, where he
striking images for a lookbook shot by Kunze himself. The photographs is currently based—says the little gloriana brand cast the girls from
were for little gloriana, a company that makes matching dresses for girls a wide pool of applicants and “hit the nail on the head with each of
and their beloved American Girl Dolls. In this case, Kunze showcased them, choosing girls that would bring their personalities to bear.”
the personalities of the young girls and their complementing dolls for What draws me to Kunze and his work is that whether he is shooting a
the company, with the resulting images now appearing front and center lookbook for little gloriana, documenting the work of a nonprofit in Haiti
on its website (www.littlegloriana.com). to help orphans there (vimeo.com/10871067) or working with people who
As the East Berlin-born, Sussex, England-raised editorial/commer- inspire him, his focus remains steadfast. You can see this throughout his
cial portrait photographer—who has worked with the likes of Annie commercial, editorial and documentary work (felixkunze.com).
Leibovitz and Mario Testino—tells it, “My goal with every image I Look for Kunze and Bryce later this month on CreativeLive in
take is to show the beauty, grace, strength and enthusiasm of people. their course “The Lighting Challenge: Natural vs. Studio.”

fo
News, Products,
Exhibits and More
BY LIBBY PETERSON
PHOTO © TRACEY BUYCE PHOTO © KRISTI ODOM
PHOTOGRAPHERS WITHOUT BORDERS:

ENCOURAGING SHOOTERS TO
“SEE THROUGH A NEW LENS”
Toronto-based non-profit organization photographers clean their lenses, another
PHOTO © TRACEY BUYCE

Photographers Without Borders (PWB) sends monkey wiped a watermelon on Buyce’s fil-
shooters all over the world to document and ter in the attempt to help her out.
share the stories of other charitable organiza- Both shooters were floored by the stories
tions. Photographers Tracey Buyce and Kristi they heard at La Senda and left with a reju-
Odom returned from PWB’s most recent trip venated purpose. “[Photography] can tell an
to Bolivia about a month ago where they had animal’s story when they can’t speak them-
a two-week stay at La Senda Verde, a wildlife selves and it can show you what is happen-
refuge for animals rescued from the black ing in the most remote areas of the world,”
market, trafficking and abusive owners. says Odom. “The ability to cause a visual
The statistics behind La Senda’s efforts are impact is huge, and we have that tool right
staggering: ten mothers are killed for every in our hand.”
monkey stolen from the wild to be trafficked, In an industry chock full of competition,
some of which are sold for as little as $10, it can be easy to forget the tremendous
and less than one percent of the animals at amount of good that photos can do for
PHOTO © KRISTI ODOM
La Senda would survive in the wild. PWB can others. “Many of us get caught up in mak-
give organizations like La Senda invaluable ing enough money to live that we forget
help, says Buyce. “Photography is a luxury about why we got into the trade in the first
that not-for-profits simply cannot afford. place,” says PWB executive director Danielle
Photos are uniquely impactful, as they move Da Silva. “I feel as though our photogra-
people in ways words cannot.” phers are left inspired, and so they are able
Buyce was moved by the monkeys’ to evoke inspiration in the viewer as well.” Clockwise from top left: Blonde howler
friendly and curious personalities, despite All trips are self-funded, and fundraising monkey Mya, 1, watches red howler Canelo,
the cruelty they endured. On her second opportunities are available through PWB. 4, take a rest; Maruka, a 19-year-old spider
day, she remembers a spider monkey that The next trips this year will be going to Gua- monkey, was the first monkey to be taken
gave her a big hug, took her by the hand temala in June, the Peruvian Amazon in Au- in at La Senda Verde; Kristi Odom lets
and invited her to sit down. Having seen the gust and to the Central Himalayas in the Fall. two capuchin monkeys explore her gear;
Tracey Buyce remembers several “monkey
WWW.PHOTOGRAPHERSWITHOUTBORDERS.ORG photobombs,” including this one from Leo.

©Justin & Mary Marantz
JUSTIN & MARY
WALK THROUGH A WEDDING
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FASHION PHOTOGRAPHER ALEXI

LUBOMIRSKI’S DECADE OF WORK
Over the past ten years shooting for such publications as
Harper’s Bazaar, Vogue and GQ, Alexi Lubomirksi has become
a household name in fashion photography. His approach to his
portraits leans toward the narrative genre, almost emulating film
stills, and he is notably interested in transitioning moments that
hint at a world outside the frame. Having sifted through his work
shot from 2003 to 2013, Lubomirski has chosen the cream of
the crop to entertain the pages of a book called Decade (Dami-
ani Editore). From studio shots to on-location narrative fashion
spreads, this recently released book features the likes of Cate
Blanchett, Heidi Klum, Charlize Theron, Victoria Beckham and
COURTESY OF DAMIANI EDITORE
more. Lubomirski, who received his first camera when he was

11 years old, worked as famed lensman Mario Testino’s assistant
before he ventured out on his own. This is the New York-based
photographer’s first book.
PRICE: $50
WWW.DAMIANIEDITORE.COM; WWW.ARTBOOK.COM
“PAPARAZZO EXTRAORDINAIRE”
RON GALELLA RELEASES NEW
BOOK
Dubbed as the “godfather of U.S. paparazzi culture,” Ron Galella
is one of the few paparazzi photographers to receive prominent
exposure—he’s been published in countless major newspapers and
magazines, released over a dozen photography books and has
been exhibited in the art world’s top venues around the globe—yet
he still remains one of the most controversial photographers of the
late 20th century. Known for his undying perseverance, Galella had
an ongoing obsession with Jackie Onassis, who was granted re-
straining orders against the shooter in a Supreme Court decision,
and he was very famously punched in the face by Marlon Brando.
Having sustained a broken jaw and lost five teeth from that inci-
dent, Galella audaciously wore a football helmet when he returned
to photograph Brando. A new book published by Damiani Editore
COURTESY OF DAMIANI EDITORE
called Ron Galella: New York will be the first to focus on Galella’s
celebrity photography in New York. The book will showcase some
unpublished photos of stars such as Madonna, Al Pacino and
Bianca Jagger in and around nightclubs, theaters and the gritty
cityscapes of the 1970s and ‘80s. Ron Galella: New York is sched-
uled for release at the end of this month.
WWW.DAMIANIEDITORE.COM; WWW.ARTBOOK.COM

© Ab Sesay
SIMPLY DECORABLE: storage) for printing, while the Wood
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Albums and canvases aren’t the only
the top of the bench, and the legs come
ways to display photos anymore; unveiled
in either black or white.
at this year’s WPPI is Simply Decorable,
a line of customizable home décor items PRICES: Wood Design Cube, $125 (14
from the online printing company Simply inches), $155 (16 inches) and $185 (20
Color Lab. Whether given as a wedding inches); Wood Side Table, $150 with 16-
gift, used to display portfolio images in a inch legs, $175 with 24-inch legs; Wood
photographer’s studio or baby and family Coffee Table, $215; Canvas Bench, $229
photos in a nursery, the Simply Decorable with tapered legs, $239 with traditional
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PROFOTO RFI
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In short, an RFi softbox is more than
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A NEW NEUTRAL GRAY
White balance filters company ClearWhite has updated its neutral gray card, making it
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A HOT TOTTY BELT

Totty Belt, the design company
that makes practical tool belts
for any design professional—
from florists and tailors to
event producers and interior
designers—has expanded its
repertoire with the latest DIGI
belt, a product made especially for
photographers and videographers.
This heavy-duty black canvas belt,
which debuted at WPPI this year, can
hold up to 60 pounds. An envelope flap
can hold 12 SD and CF cards as well as
battery packs, a cell phone and any other
valuables. The belt straps snugly holster lenses,
allowing photographers to venture out on as-
signments with multiple lenses on hand. A sleek
6-inch back pocket can house smaller essentials
such as keys, cash and credit cards. Totty claims
the black color will never fade, even after it’s
washed, and additional sizing information can be PRICE: $119
found on the company’s website. WWW.TOTTYBELT.COM

©Klara G. for Anna Ekre
PROFOTO
Above: “Untitled (2 photographers), 2008.” UMBRELLAS
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MOTHERHOOD
“Home Truths: Photography and Motherhood,” which is currently on view at the Mu-
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BOTH PHOTOS THIS PAGE © FRED HÜNING
Profoto US
PHONE (973) 822 1300, profoto.com/us
Above: “Untitled (Lake), 2011.”

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INTERFIT’S NEW EX200TI FLASH KIT

Photography lighting and accessories company Interfit Photographic
Ltd. expanded its group of EXTi flash kits with the release of the
EX200Ti, a 200 w/s version that joins the EX400Ti. Perfect for pho-
tographers working in small studios (and with small budgets), this flash
kit is available both as a two-head kit and as a single head that is com-
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REBATES a 2-second recycle time at full power,
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Image © Pete Wright
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© Frederico Martins
A GARRY WINOGRAND RETROSPECTIVE
With an impressive oeuvre shot from the
1950s to the early 1980s, Garry Wino-
grand is often touted as the greatest
American street photographer of the
20th century. Though he shot more than
a whopping 25,000 rolls of film in his
lifetime, he often delayed in develop-
ing and proofing them. At the time of
his death, approximately 2,500 rolls of
undeveloped film were found, as well as
6,500 rolls of developed but un-proofed
exposures and stacks of unseen contact
sheets made from an estimated 3,000
rolls of film. Last year, the San Francisco Above: “New York, c. 1962.”
Museum of Modern Art put on the first
retrospective of the street photogra- remain through June 8 before moving on
pher’s work in over 25 years. The exhi- to The Metropolitan Museum of Art and
bition, which includes much of Wino- then to galleries around Europe.
grand’s unseen work, has relocated to
the National Gallery of Art where it will WWW.NGA.GOV
Below: “Park Avenue, New York, 1959.”

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BOTH PHOTOS THIS PAGE © THE ESTATE OF GARRY WINOGRAND/COURTESY OF FRAENKEL GALLERY, SAN FRANCISCO
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light reading
Learning from the

Legends of Filmmaking
BY JIM CORNFIELD
BEYOND THE CONTENT

While an individual photograph can be
examined by a viewer at his or her own
pace, films are different. Our impressions
are governed from beyond the content of
a shot: by the length of time we’re allowed
to view it, by the content of the frames that
preceded it—establishing shots, dolly shots,
PHOTO © WARNER BROS/THE KOBAL COLLECTION AT ART RESOURCE NY
pans or tilts—and the frames to follow,

such as reaction shots, zooms and closeups.
There’s also the nature of the editorial tran-
sitions between these images—hard cuts,
soft cuts, fades, long and short dissolves—
and the dialogue, sound effects and music
(maybe the audio fades up or down; maybe
it overlaps a cut to “tease” the next shot in
sequence).
Some of these tools are icons of
movie history: a wide establishing shot of
brooding Humphrey Bogart and piano-
playing Dooley Wilson, center stage at
Rick’s Café Américain (left) in Casablan-
ca (1942); the ever-dapper Cary Grant in
North by Northwest (1959) as he outruns
I
f you’re among the burgeoning group and foremost, photography.
of photographers—wedding, event Few writers understand that notion
specialists and photojournalists better than New Republic film critic
in particular—who now include video David Thomson. In his remarkable, newly
capture in their professional repertoire, released cinematic anthology, Moments
you’ve already encountered what I call That Made the Movies, Thomson looks at
© THAMES & HUDSON
the Big Paradox: that a film is made up 70 combinations of filmmaking tools as

of still photographs and a photograph they’re used in a selection of feature films
can become a movie. made over the last century.
Yes, on the surface a movie is, even in
the world of digital video, a series of still Above: From the movie Casablanca. Practi-
photographs strung together to create the cally all of the plot’s tension is revealed in one
illusion of movement in real time (just as perfectly crafted shot of Rick’s Café in strife- Moments That
ridden WWII-era Casablanca. The filigree
Eadweard Muybridge first managed over shadows on the wall suggest the Moroccan Made the Movies
130 years ago). And despite the multi- locale; every woman in sight ogles the glam- By David Thomson
plicity of other crafts usually required to orous Rick (played by Humphrey Bogart); Thames & Hudson
every man stares with admiration. Rick’s dour
create a movie—the script, theater, sound thamesandhudsonusa.com
expression reflects the important plot element
recording and editing—there’s no escaping 304 pp
built around one of movie history’s most cel-
the reality that every motion picture is, first ebrated music tracks, “As Time Goes By.”

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light reading
a crop-dusting biplane in Alfred Hitch-

cock’s (or maybe in history’s) most famous
movie chase (left), a sequence composited
from a location shoot and close-ups filmed
on a sound stage; a tight close-up reveal-
ing the breakout role of Faye Dunaway as
down-and-out waitress-turned-bank rob-
ber Bonnie Parker in Arthur Penn’s Bonnie
and Clyde (1967, below).
In the book’s introduction, Thomson
explains his selection of scenes as purely
personal, but adds that all are what he
considers “very ‘movie’ moments, doing
something that could be managed in no
other medium—the look, the pace, the
movement, the texture, the context, all
these things are vital [to filmmakers].”
FILM’S STILL ORIGINS

But Thomson remains acutely sensitive
to the motion picture’s birthplace in the
world of still imagery. The first selection of
his Moments That Made the Movies isn’t
a movie at all; it’s one of Muybridge’s still
sequences—a familiar frame-by-frame
human locomotion study, shot from three
separate angles, of two naked young
women interacting in real time with a
wooden chair. And he ends the book’s
selection of legendary film clips with
the work of another still shooter, sports
photographer Richard Lam. This final
image shows a young couple lying together
in a totally inappropriate embrace on the
PHOTO © WARNER BROS/THE KOBAL COLLECTION AT ART RESOURCE NY
pavement outside a hockey arena. They’re
passionately kissing, oblivious to the rioting
crowd in the background and the silhouette
of a helmeted policeman in the foreground.
Lam caught this tableau during a fracas
Top: In North by Northwest, a terse bit of

dialogue sets up this terrifying moment a few
cuts before. On a deserted stretch of rural
farm road, a local resident waiting for a bus
spots a tiny biplane in the distance and omi-
nously informs Cary Grant’s bewildered city-
slicker character that someone’s out there
“dustin’ crops where there ain’t no crops.”
Left: Bonnie and Clyde reveals the power of

the close-up: Faye Dunaway’s character re-
acts a little bitterly as smooth-talking strang-
er Clyde Barrow (Warren Beatty) claims he’ll
end the dreariness of her life as a small-town
waitress in Depression-era Texas.
PHOTO © WARNER BROS/PHOTOFEST

light reading
Also On Our Radar

In keeping with the filmmaking theme of this month’s issue, here is a pair
of titles that celebrate still shooters who made their way, quite successfully, into
the ranks of important motion picture directors.
Gordon Parks The Stanley Kubrick Archives

Introduction by Paul Roth Edited by Alison Castle
“Gordon Parks’ engagement with the It could be called criminal
medium of photography began as an in any discussion of
exercise in personal salvation,” begins photographers who
the introductory tribute in this visually graduated to movie careers
rich collection of work by one of to omit the name Stanley
history’s most eloquent and successful Kubrick. He’s regarded by
African American artists. A recent many as one of the greatest
addition to Thames & Hudson’s award- filmmakers of all time—Paths
winning Photofile series of compact, of Glory, Spartacus, Lolita, Dr. Strangelove, A Clockwork
affordable, but lavishly reproduced Orange and 2001: A Space Odyssey. Kubrick’s oeuvre
monographs, this newly introduced was honored recently in this lavish addition to the
collection is an astonishing achievement. large-format Taschen Archives Series featuring great
Parks was raised in poverty during a terrible period of motion picture directors. The phenomenon that was
repression for African Americans, yet he succeeded in Stanley Kubrick (he passed away in 1999) may well have
attaining the zenith of success in his chosen profession, begun when his father gave him a Graflex camera at
beginning with poignant images that exposed the power the age of 13. He took on freelance photography jobs
of segregation and bigotry in this country. He went on after high school, eventually selling some images to
to a Depression-era stint with the celebrated FSA, and LOOK magazine, where he ultimately landed a staff job.
then to freelance fashion photography and celebrity Kubrick’s early photos (1945-1950) were published in
portraiture for Vogue, followed by 20 years as both a the book Drama and Shadows in 2005, and also appear
writer and photographer for LIFE. Hollywood contacts as a special feature on the 2007 Special Edition DVD
led Parks to his second career as a film director, his first of 2001: A Space Odyssey. In 2011, many of his LOOK
effort being a movie adaptation of an autobiography, The pictures were selected by curators at the Museum of the
Learning Tree. His signature movie achievement was the City of New York and made available as limited-edition
1971 detective film Shaft. prints. Kubrick’s well-known passion for precision
Some of the most potent samples in this powerful collection in visual detail and historical accuracy in his films
are images of African Americans who helped change are doubtlessly the direct result of his photographic
the course of history, among them Martin Luther King, interest. The breadth of his visual sensibilities is the
Muhammad Ali, Stokely Carmichael and Malcolm X. “I needed dominant motif in the stunning collection of production
a weapon against evil,” Parks once said. “You have chosen a stills and behind-the-scenes images that make up The
gun. I have chosen a camera. I think my weapon is stronger.” Stanley Kubrick Archives.
THAMESANDHUDSONUSA.COM TASCHEN.COM
during the 2011 Stanley Cup tournament the racy sight of the kiss and the girl’s crowd—owe a collective debt to our shared
in Vancouver. The shot was scandalous bare thighs convey, he writes, a “wealth cinematic past. Whatever manuals you’re
enough to get worldwide media exposure of meaning,” ostensibly as much as a film devouring to make your transition into film
for a few days. The raucous fans and the sequence of the same scene might suggest. or digital videography, and no matter
truncheon-wielding cop are out of focus, Clearly, Thomson “gets” the resonance where you’ll ultimately head with the
so the lovers take center stage. And therein between stills and live action. knowledge, Moments That Made the
lies the shot’s cinematic credentials: The All filmmakers—from newbies to the Movies is a valuable collection of “teach-
dramatically selective planes of focus and selected few among the Red Carpet able” moments for you and your career.
www.simplydecorable.com
from the cubicle
Reflection &
Rejuvenation
BY JASON GROUPP
I know I can count on her when my ADD very close friends: After this year’s WPPI,
kicks in, walk into her office, close the door there was a part of me that felt like I failed
and just laugh for no reason. as a photographer. The feeling came over me
Thank you, Jacquie! as I walked from room to room during the
Her best piece of advice to me when it comes conference and spent short bursts of time
to this column is: “Don’t write for yourself, listening and watching images come up on
PHOTO © PETER HURLEY
write for the reader.” the screen. I sat in envy looking at recent
Well…this article is supposed to be a weddings many of my fellow photographers
wrap-up of WPPI, but since I’m feeling have shot and hearing them discuss rel-
nostalgic, I’m going to take a different ap- evant topics and how to navigate a wedding
proach. I mean, if you’d like for me to go on day. As I watched Ben and Erin Chrisman,
about how WPPI was a monumentally epic Davina and Daniel, and many others show
success I can, but instead I plan to con- amazing images to their classes, I felt a bit
O
h, the glamorous life I’ve signed up tinue waxing nostalgic. of jealousy wash over me. Then it hit me—I
for—it’s a Sunday night and I’ve When I took this job, I thought it would haven’t picked up a camera since October.
just had a raucous evening with a be easy for me to come from the world of That’s almost four months! In my 25 years as
bunch of middle-aged men in the United photography into the world of conferences a photographer, that has never happened. My
Club at Newark Airport in New Jersey. After and conventions. After all, I’ve been a good friend Colin Michael told me when I
a two-hour delay and several beers, I’m hop- speaker for many years, have traveled the took this job that I needed to have a creative
ing my bladder makes it to 20,000 feet so I world and have absolutely adored meeting outlet, which I quickly dismissed and said,
can go to the bathroom. As I watch the tired all of you. I do really cherish every friend- “Well I’m still shooting, I’m sure I won’t
masses of people get off the flight I’m about ship I’ve made with you guys. It’s no secret miss it that much.” Boy, I could not be more
to board, I remember back to the days of that I’m a bit of a social butterfly, so this job wrong! As the week continued I realized how
dropping my pops off at JFK when he was a fits me well. That said, I’m going to share much I missed being a photographer. During
sound engineer and traveled frequently. My something that I have only shared with a few the trade show, I walked around and looked
pops dressed like a Hells Angel biker while
everyone around him wore a suit and was
eyeing him up and down. I remember asking
him, “Daddy, why do you look so different?”
He responded, “Those people don’t know
any better.” How ironic that now I sit in an
We can’t forget the blessing of what
airport wearing a bowtie and jacket; it’s my
little protest to a bygone era.
we do every day! Too often we get
So what am I writing about? I’m not sure—
I’ve had seven beers and I’m feeling a little bogged down with running a business
rebellious… Jacqueline Tobin, the editor-in-
chief of Rangefinder, has the awesome task and forget just how lucky we are to
of editing my column every month. I can hon-
estly say that one of the perks of my WPPI gig have people let us into their lives and
open up for us. Remember that!
has been getting to know Jacquie. She is my
oasis when I need a laugh in the office, and

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from the cubicle
Let’s work together and share one shot a month with each
other. I’d love to see what you guys are up to creatively.
at all the new toys thinking to myself, “Wow, often we get bogged down with the logistics in, post their photos, and offer advice and
if I were shooting more, I would totally need of running a business and forget just how insight via our social media channels.
this,” and that made me a bit sad. In the lucky we are to have people let us into their Here’s how to play: On the 15th of each
past, I was always able to justify a purchase. lives and open up for us. Remember that! month, I’d like you to post your image on
Toward the end of WPPI, I went from a All of this reflection has led to me asking, Instagram, tag @rfwppi and use the hashtag
feeling of resentment to admiration. I en- what can I do to keep my creative juices going? #mypicrfwppi. The only rules are that it
joyed seeing people’s eyes light up when Being the social person that I am who loves a must have been shot in the last month
they touched a piece of gear or listened to good challenge, I’m going to combine the two, (honor system please)! It doesn’t matter
a favorite speaker. I’ve taken so much for task myself and have a little fun with you. what the subject is, what it was shot with
granted over the years, but being a creative Here’s my idea: Let’s work together and or how you made it.
person is a gift and I wanted to take today share one shot a month with each other. This To make this even more fun, I’m going to
to remind all of you of that! For those of you will get me out of my slump, and I’d love give away three free conference passes to
who are just getting started, and struggling to see what you guys are up to creatively! WPPI 2015 each month!
to the top, you get it. However, those of you Think of it as a monthly unveiling of your I hope you will join me, and I’m looking
who have been doing it for a while can’t for- best work that you share with the world. I’m forward to growing alongside you guys this
get the blessing of what we do every day! Too going to ask some of our industry clan to join year. Good luck!
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photographer you should know
motion à
la mode
Fashion photographer Bon Duke embraces filmmaking
in a niche genre without bounds.
BY LIBBY PETERSON
T
he fashion industry has long been reputed to be a world of earn full scholarships through the NYFFF to the one-year inten-
cutthroat competition, and for many of its photographers, sive MPS Fashion Photography program at New York’s School of
this could not ring truer. In the words of 26-year-old Visual Arts (from which Duke graduated in 2012).
fashion photographer and filmmaker Bon Duke: “The top dogs He explored nearly every medium of artistic expression during his
stay on top.” But while the fashion photography greats continue to studies, each of which has contributed to his philosophy of vision
thrive in traditional still imagery, this New York-based artist has today. First learning color study and texture with painting, Duke
muscled his way in and found his own raison d’être: fashion films. became most attracted to the instantaneous satisfaction of working
Video is a “fourth dimension,” Duke with his Canon 5D Mark II (though he now
says—an entirely new way of storytell- “There are no rules, uses a Nikon D800 for stills), at first gravitat-
ing that is on the one hand fixed and
stringent, and on the other, pliable and
especially in fashion films, ing toward portrait and music photography.
He then dabbled in graphic design, gaining an
versatile. “There are no rules, especially because no one knew what insider’s view of what a magazine’s art depart-
in fashion films,” he says, “because they were. It was an open ment looks for when laying out photos.
no one knew what they were. It was
an open playing field.” It’s only been playing field.” —Bon Duke ROLL THE CAMERA
four years since Duke began exploring Then came his introduction to filmmaking,
the potentials of a largely untapped, static film genre, yet he’s one that he calls ongoing. “People think it’s an easy transition,” Duke
already positioned himself as a highly sought innovator—and says. “I don’t think it is. For a photographer, you take an image and
he’s just getting started. it’s there; it’s all in that one frame. With film, you have to think of so
many other layers, it’s not as fast and you have to be patient.”
GO, GO, GO Duke estimates that his knowledge level of what’s possible in film-
Born and raised in Brooklyn, Duke humbly calls himself fortunate for making lands somewhere in the 60 percent range, and he makes sure
having parents who chose to move from Vietnam in the 1970s to one not to forget the mistakes he’s made that have led him to this point.
of the pinnacle cities of the fashion world. But these days, living and Today, he understands the importance of always writing down his
working as a young creative can be trying, he says. ideas, of the pre-conceptual stage, of storyboarding narrative and of
“New York is always go, go, go,” Duke says as he snaps his fingers working closely with an editor and cinematographer to understand
on each pronounced word. “It’s a lot of hustle. But when I try to slow what’s logistically possible, all to better achieve his vision for a film.
down, I kind of freak out, like, ‘What am I doing? I need to work!’” With a photography background, he knew the visual elements
As a co-founder of the New York Fashion Film Festival necessary to create something beautiful, but Duke attests that some
(NYFFF) who juggles a number of commissioned and personal of the mistakes he made in the very beginning are laughable now.
projects at once, Duke has certainly not been without his share of Opposite page: Despite the vibrant color in some of Duke’s images,
work. His ambitions have even given him the opportunity to help he always adds a darker, cooler tone to them, a look he attributes to
other promising young fashion filmmakers and photographers growing up watching music videos and Guy Ritchie films.

PHOTO
ALL © DUMMMY
PHOTOS © BONTEXT
DUKE
www.rangefinderonline.com
37
photographer you should know
“Instead of just saying ‘action,’ I would just

say, ‘OK, let’s roll the camera,’” he recounts,
“and the others on set would say, ‘What do
you mean roll the camera?’ because that
PHOTO © HUGO ARTURI
means something totally different.”

Though he needed to be corrected on
directorial commands, Duke otherwise
figured out his own errors, especially tech-
nically. Using an Arri Alexa camera, he
shot films with his friends and other will-
Bon Duke’s ing participants, and he clicked around
in Final Cut Pro and Adobe Premiere.
Filmmaking
Lessons Learned FACING FASHION
Duke caught his big break when he was cho-
Make your mistakes early. sen by the Council of Fashion Designers of
“The only way to learn was shooting America (CFDA) in 2009 to shoot a cam-
with people who wanted to help me paign for the designer Proenza Schouler.
out and be a part of the process, and Though he wasn’t necessarily intrigued by
making all my mistakes early.” fashion at the time, getting in the director’s
seat allowed him to be more of an artist
Understand what’s possible.
“People see things done in movies
than he expected, he says, likening the ex-
and say, ‘Oh, I want to do that,’ but perience of shooting clothes and accessories
they don’t realize that’s actually a six- to sculpting.
figure budget—though that shouldn’t The CFDA may have chosen Duke for his
stop you from trying to figure out individual talent and artistic perspective, but
how to do it anyway. When you want
something framed or done in a shot,
make sure it’s realistic, make sure you
and your cinematographer can do it.
And always talk to your editor about
your story to understand the editing.
It makes it so much easier to explain
your story.”
Write out your ideas. “No matter

what the project is, start writing it out
into a storyboard. Write whatever—it
doesn’t have to be dialogue—but the
physical act of writing and putting
your thoughts out helps you high-
light all these things that you want
to portray. From the storyboard you
lay out this imagery and you can
think of how to film it. It’s this layering
process, but it starts to branch out. It
really helps you solidify your film.”
Keep at it. “Constantly making

new work is one of the biggest les-
sons I’ve learned. If you don’t make
any work, you don’t take any steps
or face new challenges.”
Above: Dutch model Anniek Kortleve poses
Be humble. “You meet people for Duke in this Yves Saint Laurent shoot for
who are just awful in this industry, The Block Magazine. Right: Duke has an im-
but the greatest legends who you pressive array of clients, including Saks
respect the most are actually the Fifth Avenue for whom he shot this photo
nicest, most humble people.” of Canadian model Meghan Collison.

photographer
you should know
Clockwise from top left: Behind the scenes

on the set of Jive!Jive!Jive!, one of Duke’s
earlier films inspired by the Teddy Boy Cul-
ture; from Duke’s series “Floral”; a still of
New York City Ballet dancers Janie Taylor
and Justin Peck from a film Duke made for
Nowness.com.
visual eye candy, but is there anything else?

The majority of the time, no,” he says. “But
I think that’s changing. People are realizing
that we need to show something conceptu-
ally compelling besides just a beautiful
model and clothes.” Without a real under-
lying story in his films, Duke thinks his
work “would just fall dead. Then I’m just
“That’s the problem with a lot of fashion films, another machine making something that I
don’t really care about.”
they’re just visual eye candy, but is there anything Last year, Duke’s projects were overwhelm-
else? The majority of the time, no,” says Duke. ingly video-based with about 70 percent of
them going to clients. This year, he’s scaling
he walked away from that shoot blown away not be Avedon without those two. And I think his hired work back to 40 percent, devoting
by the collaboration on set. “All these intrica- that’s one thing that people take for granted.” the remaining 60 percent to personal projects,
cies and details that hair and makeup and films and exploring more with sculpture.
the stylists were paying attention to made a BEING BON DUKE Still, Duke says his dream project would
whole image, and it was up to me to translate Only time will tell whether Duke’s fashion likely be commercial, maybe an ad for
everything that we worked together to cre- films become as iconic as Avedon’s studio “Skittles or Starburst or something,” he says.
ate,” he says. “I’d never felt that teamwork.” portraits, but they already have a distinct “I used to always watch the Super Bowl com-
For him, a “truly great” project is collab- look and feel unique to the name Bon mercials and thought they were so great, so
orative, where creative minds from different Duke. “There’s a darker tone to it some- why not try to go for that?”
disciplines meld together to make one strong, times…well, the majority of the time actu- But the big screen is another story. “I don’t
multifaceted end result. This, Duke feels, is a ally,” he says, smiling. “I don’t retouch a think I’m ready for that anytime soon,” he
discipline that is unfortunately lost on many lot, but I always end up adding this cooler says. “I write a lot, but my heart’s not there
contemporary creators. layer.” yet.” And that’s just fine with him. Duke
“The legends, like Diane Vreeland and Duke also carries narrative throughout already uses the traditional principles of
Alexey Brodovitch, made their magazines his films, an element he finds absent in filmmaking in what he’s doing right now to
iconic because they knew great photogra- most fashion videos. “That’s the problem revamp a genre that even many of the “top
phers and models,” he says. “Avedon would with a lot of fashion films, they’re just dogs” haven’t yet tapped into.

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the filmmaking issue
So You Want to
Be a Filmmaker?
Three filmmakers speak on the essential tenets of filmmaking and how
to add these eight attributes to your movie-making repertoire.
BY LINDSAY COMSTOCK
S
ure, most photographers today
are equipped with the filmmak-
ing technology in their DSLR
cameras, but there is much more to
thinking like a filmmaker than meets
the eye. Where does a still-image pho-
tographer begin? “The most important
thing to remember about filmmaking
is that it’s still photography,” says New
Jersey-based wedding filmmaker Rob
Adams. “A lot of the same principles
still apply.” Here, we look at eight
principles of image making and how
they can be applied to motion.
PHOTO © DUMMMY TEXT
PHOTO © PICTURESQUE PHOTOS BY AMANDA
PHOTO © SARAH PENDERGRAFT

PHOTO © SARAH PENDERGRAFT
COMPOSITION place.” He explains that it’s easier to start Opening page: Filmmaker Sarah Pendergraft
In photography, composition is a key with a subject that’s stationary. From this getting a key shot during a reception.
element. The eye cannot be drawn in and perspective, he explains, it’s easy to think Above: A still from Pendergraft’s wedding
video of James and Laura.
around a frame without paying attention of lighting, composition and the Rule of
Opposite page: Pendergraft films a quiet
to the Rule of Thirds or understanding Thirds in the same way one would think moment in Jeff and Julia’s wedding story.
how depth of field changes one’s perspec- about framing a photographic image.
tive on a scene. Sarah Pendergraft of PenWeddings an image (or the spot with the strongest
While these same concepts apply in the reminds would-be movie-making auteurs contrast).“Practice your moving shots,
moving image, Adams reminds that you that you can no longer shoot verti- but don’t discount the power of a well-
have to stop thinking of scenes in terms cally. “And you can’t arbitrarily crop an framed static shot,” she says. “Not every
of a single frame, but instead over time. image to suit the surroundings (like a clip has to move.”
For the beginner, he cautions, “Don’t try tall archway or panoramic view),” she
to get too complex too fast—don’t start says. “Keep in mind the aspect ratio you 180-DEGREE RULE
moving the camera, don’t start thinking plan to deliver in, and shoot accord- A new rule photographers need to
of motion in terms of point A to point B; ingly. Just like in photography, the eye consider in filmmaking is the 180-de-
start thinking in terms of motion in one will be pulled to the brightest part of gree rule, a concept where characters or

objects in a scene are connected along if each frame is perfectly composed ac- eye on the left of the screen as far as
an imaginary axis; the camera remains cording to this rule. it can go, and then cut to an object on
on one side of the axis in order to help “I like to use what I call ‘Extreme the right side of the screen. That’s what
the viewer understand spacial relation- Thirds,’” Adams says. “Put the viewer’s keeps things visually interesting.”
ships between the subjects within a
scene. “Learn the 180-degree rule and
learn it well,” Pendergraft says. “Where “We will occasionally break the rule [of thirds]
you place your cameras during moments intentionally if we’re being artistic or trying to
like the ceremony, toast and garter and
bouquet toss need to follow the 180-de-
evoke a certain emotion in the viewer, but not
gree rule. It’s the reason football games during what I call the ‘meat and potato’ moments
are always shot from one side of the field like the vows and toasts.” —Sarah Pendergraft
(in addition to the end zones). If team A
is running to the left on your TV screen,
and suddenly we cut to a shot where
team A is now running to the right, it’s
confusing.”
But in most art, rules can be broken if
they are first understood. “We do some-
times break this rule during ceremonies,
but that’s because we know how to shoot
on certain lines, and edit in such a way as
to get from one shot to the next without
it feeling jarring,” Pendergraft says.
Adams says that composition changes
when the scene is moving. Then you have
to think about different kinds of shots “to
move the viewer’s eye around the screen
and tell the story;” in other words, the
close-up (details about the subject), the
medium shot (action of the moment), the
wide shot (to take the viewer out of the
scene and show an overall perspective of
what’s happening). “Composition, when
thought of that way, is how you tell sto-
ries over time in the fourth dimension,”
he says.
RULE OF THIRDS
When it comes to the Rule of Thirds,
Pendergraft says, it’s similar in both
mediums. “We will occasionally break the
rule intentionally if we’re being artistic
or trying to evoke a certain emotion in
the viewer, but not during what I call the
PHOTO © STAPLETON PHOTOGRAPHY
‘meat and potato’ moments like the vows

and toasts.”
Adams echoes her sentiment. “Film is
one of those things where sometimes you
can forget about the Rule of Thirds and
it works.” Because it’s about compos-
ing within a moving scene, not for each
frame, he explains that it doesn’t matter
[Switzer] suggests not hand-holding a camera

when capturing motion, but rather using a
monopod, sliders and a glide cam...
FOCUS “Coming from a world of auto-focus, you
Switzerfilm founder Joseph Switzer says now have to learn how to manually pull
one of the major problems photographers focus,” she explains. “There are a handful
have when first trying their hand at film- of DSLRs out there with auto-focus in
making is focusing the shot. “They aren’t video mode, but I’m still not sure I would
used to manually focusing, and they’re trust it in crucial moments like the bride
PHOTO COURTESY WPPI FILMMAKER STUDENTS
used to carrying a camera,” he says. He walking down the aisle.”

suggests not hand-holding a camera Adams cautions against relying on
when capturing motion, but rather using shallow DOF for narrative. “A lot of times
one of three tools to get that crisp shot: photographers like to shoot in shallow
a monopod, sliders and a glide cam (a focus because it looks good. But they’re
stabilizing device that allows the videog- ignoring the basic fundamentals of film-
rapher to run without camera shake). making—which is storytelling.”
Pendergraft agrees that while it’s
Left: Joseph Switzer uses a stabilizing device
easier to achieve a shallow depth of field to achieve a crisp shot. Below: A still from one
with DSLRs, actually learning how to of Switzerfilm’s wedding videos, “Justin and
focus between scenes is something new. Julia AZ Wedding.”
PHOTO © SWITZERFILM

Tell a story
www.animoto.com/photography T
Tamara Lackey as Veronica Lake Photographed by Sue Bryce
the filmmaking
issue
“Don’t ever put your

light on top of a camera.
It’s the worst thing you
can do for your image.”
—Rob Adams
STORYTELLING
How do you begin to tell a story cohe-
sively over time, throughout scenes?
Adams explains that for short or feature
films with a narrative, “storyboarding will
give you a blueprint,” but for weddings
he uses shot lists.
Pendergraft says while she doesn’t
necessarily use shot lists for filming a
wedding, she does have a good idea of the
types of shots she needs going into the day.
“The biggest thing for a photographer to
remember is that you have to learn to look
at continuity in a whole new light. A photo
that may not feel random at all in the
middle of a blog post or album, may—as a
video clip—feel totally out of place in the
same location in a film because of the flow
of the video and the song you’re using.”
Because shooting video requires the artist
to show more within a given scene, Switzer
says that variety is essential. “You don’t want
to take your clients to the same locations,” he
says. “You want to go to different locations
that are more grand and beautiful.”
LIGHTING
“There are lots of ways to light people
when it comes to photography, but for
video you have less choices. You have to
think faster,” Switzer says. This, Adams
explains, is because you have to think in
terms “of lighting over an entire scene;
you have to think about lighting a room
and how the subject will move in that
space,” primarily because continuity is so
PHOTOS THIS PAGE © ROB ADAMS FILMS
essential. The technology is different, too,

because lighting must be continuous.
As in still photography, however, natu-
ral light can be best. “We always try to
use natural light as much as we can,” says
Switzer. “If we’re at a [dark] reception, we
Right: Movie posters from various Rob

Adams feature weddings films.

The moment when the streets
you walk every day feel new again.
This is the moment we work for.
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The Touit lens family for Fujifilm X series cameras.

Featuring our patented T* anti-reflective coating for maximum flare reduction, nearly circular
diaphragms for surprisingly pleasant out-of-focus highlights, and superior build quality that
stands up to real-world use. ZEISS Touit lenses are designed especially for the art and the
demands of available light photography so that you can rediscover your world in stunning detail.
www.zeiss.com/touitforfuji
IN THE BAG
While photo and video equipment
are similar, “that pretty much stops
with the camera and lenses,” says
Sarah Pendergraft. Below are Rob
Adams’ best gear recommenda-
tions. (See more gear recs on pages
52 and 54.)
PHOTO © ASHLEY SWITZER/SWITZERFILM

• HD video-capable DSLR
• Stabilizer: “You usually don’t

want to hand-hold unless it’s a
specific look you’re going for.”
Adams recommends
the Manfrotto monopod.
• Tool for acquiring audio: A

high-quality gun mic like the
RØDE VideoMic Pro (mentioned
on page 55).
Above: Switzer is less inclined to use mic’d audio; instead he favors wedding music videos.
• Tripod
set up one or two battery-powered LED rate art from the film itself; putting the two
• Sliders: “A portable dolly track
lights. [But often] we’re dragging brides together is the art of filmmaking.” But he provides instant production value
to windows and grooms to hotel lobbies, warns, “Do not go cheap on audio.” of having a camera that looks
fighting to get them to good natural light.” Bad audio “can kill a beautiful film,” controlled and gives cinematic
If natural light is not an option, Swit- Pendergraft says. “Solid, clean audio mat- value,” Adams says.
zer recommends taking full advantage of ters more than the most epic of shots.” And • Software: Final Cut Pro 10 or
reflected fill light from still photographers this is because audio ties in the narrative. Adobe Premiere
while they’re doing shots like close-up “It’s not enough just to get the shot, you
portraits of the bride. need the story behind it,” she says. “This • Lighting: Arri lights for lighting
“The same rules apply evenly to both could come from the vows, the minister, a pinpoint area at a reception;
[still and video], you just have to learn toasts, interviews or special moments like Dedolight by Ledzilla if you have
to have a handheld light.
how to achieve the look you want without the first look. Your films will be so much
flash, and without the ease of a quick more compelling if you have strong audio
burn here or dodge there in post,” Pen- to pull people in.”
dergraft says. Like Switzer and Adams, Switzer has a different philosophy be daunting with software like the newest
she only recommends setting up lights at altogether: “I have 99 problems and audio version of Final Cut Pro. He recommends
receptions. “In those moments where the ain’t one,” he jokes. “Don’t do it.” Why? watching video-editing tutorials online to
lighting may not be totally ideal, remem- “It’s a different era,” he says, and most understand the process.
ber, there is no fill flash. Also keep in mind of his current clients are asking for music Adams agrees: “If you’re going to be
that if you’re in a space where you don’t videos (see page 59) instead of traditional doing your own editing, invest time
like the color temperature, you can’t say, wedding videos. However, in the simplest learning the tools and software.” But, he
‘I’ll just make it black and white.’ Black- terms: “If you do want to interview a sub- says, the video editing learning curve is
and-white has a whole different feeling in ject in your video, you have to use wireless “very steep.” This, however, shouldn’t be a
video, as if it’s a ‘flashback’ or a memory mics rigged to the camera, have head- deterrent to new shooters. “Some of the
of a time gone by. If there is suddenly a phones on to make sure it’s perfect, light best films I’ve seen only involve straight
black-and-white clip in the middle of a the subject and do it in a quiet room.” cuts from shot to shot,” Adams says. He
color film, it can be jarring.” explains that in the beginning, all a
Adams’ other words of wisdom? “Don’t EDITING filmmaker needs to understand are the
ever put your light on top of a camera. It’s Photographers are used to editing their basic features of an editing program,
the worst thing you can do for your image.” work, but the workflow is different when relying on visuals captured in-camera and
editing film. Pendergraft warns, “Be pre- audio to tell the story. He cautions against
AUDIO pared for it to take twice as long as your over-shooting video and taking on difficult
While audio is thankfully not an issue in photo editing did—if not longer.” projects too quickly. “If you want to learn,
still photography, it belies a skill all its own But Switzer, who successfully shot and shoot in short clips,” he says. “Don’t go out
in filmmaking. Adams puts it best when he edited a video in 90 minutes during a class and try to shoot a wedding if you’ve never
says, “The acquisition of audio is a sepa- at this year’s WPPI, says that it shouldn’t shot video.”

OUR
FAVORITE
VIDEOS OF
THE WEEK
Straight from Video of the Week on RF’s
PHOTO © NIKON EUROPE

PhotoForward blog, the crew of Vice Media
describes how, with the right on-location gear,
they are prepared for anything.
BY LIBBY PETERSON
Behind the Scenes with Mick Rock
favorite of Ricciotti who says, “The Man Who Shot the Seventies”
used the Nikkormat back in the day,
“You can leave it turned on
but today he likes the Nikon Df for
in the car, and if an IED were its flexibility, focusing speed and its
literally going to blow up on the ability to keep up with him when
PHOTO © CANON CINEMA EOS
road, at least you’d be able to he’s moving around a shoot.

start recording.” That should be bit.ly/1oG7O5m
testimony enough for long-day
PHOTO © DYLAN COULTER

shooters who might not be work-
ing in such dangerous environs.
Burghart and Ricciotti both
use rig cameras, each with fairly
B
eginning as an underground “punk different setups. Burghart has a
zine” called Voice of Montreal, quick-release setup that allows him to
Vice Media is one of the most detach his camera from his rig if he Dylan Coulter Poses Olympians
prominent, spirited investigative news needs to suddenly move into a more To create his in-studio action portraits
confined space, like a car, while Ricciotti of Olympians, Dylan Coulter shot stills
sources, perhaps known most for their with a Hasselblad H5D and a Phase
documentaries. Immersing themselves relies on his Redrock micro cage to
One IQ180 Digital, froze motion with
in worldwide conflicts and controversy, protect his camera should it “take a
his Nikon D800 and took the cine-
the videographers at VICE need to be beating,” he says, which it has. Yet both grams with his Canon 5D, all with the
on their toes, and that means they—like Burghart and Ricciotti have what they help of his Kino Flo and Broncolor
anyone navigating a fast-paced event (i.e. a consider to be the essentials for their rigs: lighting equipment.
a top handle, an adjustable LCD screen, bit.ly/1cfNsOC
wedding)—need gear that can work with
them quickly and inconspicuously. In a a shotgun mic placed off to the side and
the invaluable ability to record and stop
PHOTO © LINDSAY KING
video created by Canon Cinema EOS,

Vice Media’s director of photography record, adjust the iris and magnify the
focus from the hand grip. This means
PHOTOGRAPHY
Jake Burghart and Jerry Ricciotti, the

segment director of photography for the that everything the videographers need
newly televised “VICE on HBO,” show is literally at their fingertips, without them
us their best on-the-job gadgets. ever having to jostle the camera around to
The Canon XF105 is a “specialty reach for different buttons. Lindsay King’s Stop-Motion Proposal
camera” they use, while the Canon 5D Lindsay King and her now-fiancé
BIT.LY/1KXJLFY Greg Wlosinski took almost 2,000
is relied on for stills on vice.com, the photos to composite together into
print edition and for promotions—plus a stop-motion proposal video, using
it’s a “great B-cam for interviews,” adds Top: Vice Media directors of photography
their Canon 5D Mark IIs and 16-35mm
Jake Burghart (left) and Jerry Ricciotti (right)
Burghart. Loved most for its incredible f/2.8, 40mm f/2.8, TS-E 24mm f/3.5
explain how they’ve customized their rig cam-
battery power, the Canon XF305 is a eras and why they’re invaluable on location. and 24-105mm f/4 lenses.
bit.ly/MICYvf

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7
BY IBARIONEX PERELLO
R
ecording video with an HD-DSLR can Video makes different demands on a videogra-
seem like nothing more than a novelty pher than it does on a still photographer. As a
for a photographer who is more ac- result, there are different skills and accessories
customed to capturing still images. However, that are needed.
once you see the quality of HD-DSLR video, With that in mind, we’ve put together a list
it’s hard not to be inspired to take advantage of several categories of products that are essen-
of this asset in your camera. tial for anyone who wants to become an adept
One thing that becomes quickly obvious, filmmaker. And for each category, we’ve picked
though, is that shooting great video takes more specific products we feel are good filmmaking
than just pressing the camera’s record button. tools with which to get started.
CAMERA
Virtually every new camera on the market these days can also shoot
video. Whether the camera is built around a full-frame, APS-C or Micro
4/3 sensor, these imaging chips are larger than the 3/4- or 1/2-inch sensor
commonly found in a video camera. These larger sensors, particularly a
full-frame sensor, provide a shallower depth of field that is more compa-
rable to a motion picture camera than a handy cam.
Though a full-frame DSLR such as the Canon 5D Mark III has become
the benchmark to which other cameras are often compared, models with
smaller sensors are being used to produce professional quality results as
well. And now with the advent of 4K capture, you can expect to see more
consumer-level cameras offering ultra-resolution regardless of sensor size.
The Panasonic LUMIX DMC-GH4 (left, www.panasonic.com) is the first
consumer-level camera to do so at a fraction of the cost of other high-end
models, including the Red series. The successor to the GH3, the GH4 fol-
lows the form factor of a traditional DSLR, but it now features a maximum
video resolution of 5840 x 2160. This not only produces footage that will
look great on new 4K television screens, but it also provides the ability
to crop, while still maintaining high-resolution quality. Though the APS-C
sensor used in this series may not deliver the shallow depth of field of a
full-frame sensor, its color rendering combined with its user-friendly form
factor has made the series popular among videographers.

NEUTRAL DENSITY FILTER FOCUSING RIG VIEWFINDER ADAPTER
When capturing video, the optimal shut- Stability is an important consideration when When having to use the LCD for composition
ter speed will either be 1/50th or 1/60th of a using an HD-DSLR for video capture. A focus- rather than the viewfinder, bright light hitting
second based on the frame rate at which you ing rig provides a much-needed platform for the camera screen can make focusing a chal-
are recording, making your aperture and ISO the improving stability when using a hand-held lenge. This is why using a viewfinder adapter,
only means by which you can adjust exposure. camera. A rig also offers a more precise mecha- which shields the LCD from stray light as well
This can be problematic when you’re shooting nism for manually focusing the lens as well as as slightly magnifying the screen, becomes
under bright conditions, so you’ll have to reduce attaching more accessories such as a light, indispensable.
the amount of light allowed to pass through the digital audio recorder or external LCD monitor. The Hoodman Custom Finder Kit for DSLR
lens. This is where a neutral-density (ND) filter The IDC System Zero Kit (www.idcphoto Capture (www.hoodmanusa.com) allows the
becomes a valuable asset. video.com) provides an ultra-portable alter- company’s HoodLoupe to be secure when
The Lee 100mm Filter Holder system native to shoulder rigs. National Geographic positioned on virtually any camera. The large
(above, www.leefilters.com) provides the abil- photographer Bruce Dorn designed the eyecup provides a clear view of the screen,
ity to use 100mm filter lenses with a variety of gearless follow-focus system shown above to whether you are using a full-sized HD-DSLR
filter thread sizes. This makes it convenient to provide for smooth follow-focus adjustment or a smaller mirrorless camera. Even without
use neutral density filters, including the com- with virtually any DSLR lens. When combined the use of a focusing rig, the use of this
pany’s new Big Stopper and Light Stopper, with a magnified eyepiece, it provides three accessory provides great stability, as the
which reduce the light passing through the points of contact with the camera to deliver eyepiece is resting on the face, providing an
lens by ten stops or six stops, respectively. maximum stability. additional point of physical contact.
LED LIGHTING EXTERNAL AUDIO RECORDER MICROPHONE SELECTION

HD-DSLRs are often touted for their ability to When audio is recorded using an external micro- As previously mentioned, a shotgun
produce incredible results under extremely low- phone, the sound captured by the camera can microphone, attached to your camera via
light conditions. Despite that, video always looks be acceptable, though not great. For optimal the hot shoe or to a camera rig, isolates the
better when the scene and the subject are lit. It quality, an external audio recorder is essential, al- sound from the subject and minimizes the
provides better color, contrast and detail when lowing the microphone attached to the recorder sound created by the camera or the operator.
it’s illuminated, which is why lighting becomes to be placed in closer proximity to the subject Due to its narrow pick-up area, it’s a far better
an essential part of a photographer’s kit. than the camera itself. This is especially im- solution than what is provided with an
The Litepanels Luma Pro (www.litepanels. portant if you are recording multiple subjects. on-board microphone.
com) delivers an LED light source, which is The Zoom H6 (www.zoom.co.jp), successor The RØDE VideoMic Pro (www.rodemic.com)
both strong and incredibly portable. The unit to the popular Zoom H4n, features four inter- is a shotgun mic that is designed around a
above delivers daylight-balance illumination changeable input capsules, X/Y, MS, Shotgun ½-inch condenser capsule that delivers a 40
in a 50-inch spread, can be easily mounted on and Dual XLR/TRS Combo to make it incred- Hz-20kHz response. When seated on a
the camera’s hot shoe or onto a camera rig, ibly versatile. Its four XLR inputs provide sup- camera’s hot shoe, the microphone connects
and is powered by six AA batteries or a D-tap port for a separate mic, including a wireless to the camera’s audio input using a 3.5mm
power cable. It provides flicker-free results at lavalier. The sensitivity of the mics combined minijack connector, providing a mono signal
any frame rate, as well as a consistent color with an uncompressed, high bit-rate of to both left and right channels. It includes a
temperature whether used at 100 percent recording delivers audio far superior than +20dB level boost designed specifically for
output or dimmed down. anything that could be achieved in-camera. use with HD-DSLRs.
Whether shooting video or stills, image-maker Vincent Laforet

says there’s no substitute for being prepared.
BY JACK CRAGER
ALL PHOTOS © LAFORET VISUALS INC./BLOG.VINCENTLAFORET.COM
I
n the field, director and photog- films, Laforet’s go-to camera is often the Above and opposite page: Behind-the-
rapher Vincent Laforet doesn’t RED Epic-X, which he’s used since it was scenes images from the Canon film Mobius,
directed by Laforet and shot in the Mojave
just bring a certain tool to a given introduced in late 2011. “The RED is a desert using a prototype Canon C300 cam-
job—he brings a toolbox. “I shoot with great tool because of its size and weight era. View the film at vimeo.com/30215350.
a lot of different cameras,” Laforet says, and resolution,” he says. “It has the
“and it’s just like with lenses: Every one portability and the great image quality York Times team covering post-9/11
has its sweet spot. A combination of size, as well. I consider it an interesting bridge events in Afghanistan and Pakistan. After
dynamic range, frame rates and resolu- between still photography and video.” going freelance with Laforet Visuals in
tion makes you pick one camera over Bridging those two disciplines is a 2006 (laforetvisuals.com), he moved to
the other. I’ll use whatever is the right key to Laforet’s success. He started out Los Angeles and shifted to commercial
tool for the job.” shooting photojournalism, earning a and fine-art photography, often shooting
Shooting commercial videos or short 2002 Pulitzer Prize as part of the New aerial stills with a cinematic quality.

“[Photo and video]
are two different
disciplines; they each
deserve their own
respect and time.”
Two years later, Laforet created the

short film Reverie—a pioneering 1080p
video shot on a Canon EOS 5D Mark II
DSLR—which went viral on YouTube
and was viewed by millions within weeks
of its release. “Reverie kind of changed a
lot of things for a lot of us,” recalls La- Whenever clients ask Laforet to shoot use a G-Dock with G-DRIVES, or a more
foret. “I went into directing and DP-ing both stills and video, he does them at dif- portable G-DRIVE Slim, depending on
commercials and shorts, and I haven’t ferent times. “I’ve never been a believer the job and the amount of stuff we have.”
stopped since.” in doing both at once,” he says. “You’re This allows his digital-imaging techni-
That led to the 2011 Canon short film using different parts of your brain, you’re cians to view work on a MacBook Pro
Mobius, which Laforet shot for the com- approaching a shoot differently, and while Laforet continues shooting. “They
pany on a prototype EOS C300 in the ultimately, when a big moment hap- are constantly off-loading data and
Mojave Desert (pictured in this spread). pens you have to make a choice of which checking the integrity and the technical
Now, many of his projects combining medium is going to get it—not a decision quality. And the G-DRIVE is the final
motion and imagery—including a recent you want to be making. They are two dif- storage place, since we don’t have film.
ad for Nike featuring star athletes Kobe ferent disciplines, and they each deserve I never have just one copy—in case the
Bryant and Richard Sherman—are shot their own respect and time.” worst happens. With a G-DOCK, I can
on the RED Epic with time-lapse photog- Whatever the means of capture, Laforet make two fast copies and give a copy to
raphy shot on a DSLR. “For time-lapse relies on G-Technology drives to transfer, a client at the end of the day.”
and stills, DSLRs give you the best bang review and store data. “We are shooting Laforet pointedly mentions another key
for your buck,” he says. “They have a mass amounts of data every day, between on-the-job tool. “The one thing that’s
larger sensor, a greater dynamic range, half a terabyte to a terabyte on average,” essential, that people don’t talk about, is a
better resolution. But for motion, I’ll he says. “With the RED, you use SSD good concept,” he says with a laugh.
want the RED, or a similar camera, for cards and then you copy those over to “Whatever you shoot with, ultimately, it’s
its smooth cinematic capabilities.” a variety of G-Technology products—I always about having a good story to tell.”
FILMMAKING ADD-ONS
Want to add video offerings to your already-established photography
business, but not sure where to start? Here are eight great, salable filmmak-
ing ideas to add movement to the mix and make some extra bucks in return.
BY JESSICA GORDON AND LIBBY PETERSON
1. THE STOP-MOTION VIDEO

Sophie Bayly and Simon Moore began their photography business
Bayly & Moore in 2009 and shot their first stop-motion video with
Canon 5Ds at a friend’s wedding that year; the duo decided at the
time that rather than upgrading their gear to make films, they would
opt for photo-based stop-motion videos. These days, around 60
percent of Bayly & Moore’s clientele asks for stop-motion videos,
which take around 40 hours to make (excluding finding the right
soundtrack) and for which they charge about $2,000. Having shot
PHOTOS THIS PAGE © BAYLY & MOORE

around 130 stop-motion videos thus far, Bayly & Moore are now
marketing them as engagement shoots-only, which could possibly
be used for save-the-dates and wedding invitations. “We never
wanted to just be ‘going through the motions’ of making a film,
because it’s such an involved process,” Moore says, adding that the
wedding day stop-motions are particularly demanding. “Having said
that, we’re suckers for wonderful weddings, and we’re constantly
being talked into making stop-motion films by couples who’ll tell us
what they’re planning for their wedding day and then say, ‘Is there
any chance we could convince you to possibly consider doing one
more stop-mo—,’ and we’re always like, ‘Yes! Let’s do it!’ ”
PHOTO © PAPARAZZI PROPOSALS
2. SURPRISE WEDDING PROPOSALS ON FILM
PHOTOS © SWITZERFILM
Last month, we highlighted a still photographer documenting surprise marriage
proposals, but the service is equally viable for film. James Ambler, creative director
and owner of Paparazzi Proposals has been capturing down-on-one-knee surprises
since 2012, and while his company’s bread and butter is in still photography, he does
offer video as an option. While still photography goes for $495-575 for a standard
package, video packages start at $1,400 because of the extra manpower and time
spent editing (Paparazzi Proposals has contracted photographers in every major
city in the U.S.). But that’s not to say it can’t be done. “When I first started out, I’d 4. THE WEDDING MUSIC VIDEO
stick a camera body on a tripod and just let it run while I was shooting stills,” Ambler Forget the highlights reel of cliché toasts
says. “That’s a good and easy way to start incorporating video into [proposal and hard-to-hear audio on a couple’s big
photography], just putting some movement into it and dropping in some pictures day. Films like “Louis + Jeanna” (pictured)
[in the final edit]. It takes about half a day to put it together nicely.” by Switzerfilm (the 2014 WPPI Grand
Filmmaking Winner) is set to a fun, catchy
song (“Count on Me” by Mat Kearney),
and each poignant moment corresponds
to a different beat of the music. It’s much
more effective and watchable than an
hours-long, traditional wedding video, and
as Switzerfilm’s Joe Switzer says, the song
choice is paramount. “Use a song that fits
the couple,” he says. “You have different
cultures, venues and events, so match it
up. We use Song Freedom for all our music
because you don’t want to be limited on
just using indie music. Artists we like right
now are Mat Kearney, OneRepublic, Zerbin
and The Afters.” The other attractive qual-
PHOTO © NST PICTURES
ity about music videos? They’re 4 minutes

or less. “The average play on YouTube is
about 3 minutes, 30 seconds,” Switzer
says. “You can still film all the wedding
events, but by keeping the video short and
sweet, your clients will actually be likely to
share it on social media and other people
3. THE SAVE-THE-DATE VIDEO might even watch it. Don’t overthink it;
Whether filmed to announce an engagement to loved ones or serve as an eco-friendly keep it simple.”
alternative to wedding invitations, save-the-date videos are catching fire. NST
Pictures began offering these films as soon as the wedding videography company
expanded its business from Japan to the U.S. in 2011. Save-the-date films may be a
package add-on, but they also act as unique time-capsules, says Lindsay Quinn of
NST Pictures. “Save-the-dates end up being fun little keepsakes that preserve the
excitement of young love and engagement,” she says. Aside from the innate purposes
of save-the-date videos, Quinn says they’re a useful way to let the bride- and
groom-to-be get comfortable in front of the camera before the big day. “It’s a great
way to test out our service without a huge commitment,” she says. “A pre-wedding
shoot cancels out any doubt they may have about our services or products. These
little films are a cinch to share; Quinn says couples can easily upload their save-the-dates
to their websites and social media channels—plus, she finds that it’s best to
“advertise them heavily during engagement season and the few months after.
The virality brings us new clients all the time.”
PHOTO © TRACY LEE

5. THE CINEMAGRAPH
Hybrid photography walks an intriguing
tightrope between still photography and
motion, and its proponents argue that
incorporating this medium into a photo
or video business is practically necessary
to keep up with the times (see “Stay-
ing Animated,” Rangefinder, April 2014).
A “cinemagraph” can present motion in
a constantly looping image or highlight
a focal point of a photo by setting it in
motion. Since its launch this year, the
popularity of Flixel’s Cinemagraph Pro for
Mac has skyrocketed, with photographers
PHOTO © THE STUDIO MPLS

discovering how efficiently hybrid images
can be made. “Photographers can now
create cinemagraph imagery in a simple,
elegant fashion and in a short amount of
time, providing a new product to offer
their clients with a low cost and a high
margin profit,” says Flixel co-founder and
CMO Mark Homza. Exploring this genre
is Las Vegas-based photographer Tracy 6. THE SLOW-MOTION VIDEO
Lee, who finds cinemagraphs a little more We covered Slow-Motion Photo Booths in our January 2014 issue (see “Slow-Motion
eye-catching than still photos. “While on Photo Booths,” page 66), and five months later, we’re happy to report the trend is still
average, people may just glance over a hot; delivering a danceable slow-motion video is the quickest way to a happy client.
photo and move on, when they see a cin- Minneapolis-based The Studio MPLS Photo Booth rents booths to about 450 events per
emagraph, they stop, look at the entire im- year and began incorporating slow motion in September 2013. “In the past six months
age and want to see more,” she says. Lee’s we have done over 30 [slow-motion] gigs in 18 different cities,” says MPLS director of
been showing her cinemagraphs to clients sales and marketing Chris Meyer. “We get requests daily for our services for weddings
so they can see what’s possible in market- and corporate events all over the U.S.” With a team of editors that completes the studio’s
ing their businesses, “and the response is videos within four to five business days after the event, its slow-motion packages range
always positive,” she says. “It often causes from $1,499 to $4,899. “We typically find our wedding clients to be in the $2,200-$2,800
them to think of reasons to try and use a range,” says Meyer. While an outside photo booth company like The Studio MPLS is cer-
cinemagraph in their marketing, especially tainly a consideration, Meyer’s suggestion for photographers who want to DIY their slow-
when you can insert the cinemagraphs into mo offerings is to “partner with a videographer (someone who may have the equipment
your social media and websites so easily.” already and know the editing) and to work together to provide the service to brides.”

8. BEHIND-THE-SCENES FAMILY pher along, whom she pays by the hour; he

AND BABY SESSIONS does a rough cut of the video (typically two
As long as couples keep procreating, hours for every hour of footage), and sends
children and baby photographers will it to Brandt for review. Videos are uploaded
always have business. But what about on social media unless privacy is requested,
upping the portrait ante with great memo- as well as delivered on a logo’d USB with
ries of how kids move, yawn and even cry? photo cover (“We spend the $50 for a nice
PHOTO © REDSHEEP CINEMA

Ana Brandt began offering behind-the- USB case”). In response to the unexpected
scenes films of her newborns portrait demand, Brandt launched a new YouTube
sessions as teaching tools for other channel showing more tightly edited videos
photographers. But after posting them on aimed specifically at her clients. “Some of
her YouTube channel, clients began my older clients are saying ‘Gosh, I wish you
inquiring about how to add a session video would have done this a couple years ago!’ ”
to their portrait packages. “Right now, I’m she says. “So I’m building a new product
marketing these videos to my high-end and catalogue now, and video add-ons will
7. THE SAME-DAY EDIT VIDEO celebrity clients as a complimentary definitely be a part of it. Within six months,
For photographers and videographers look- add-on,” explains Brandt, who recently shot it should really make a positive impact on
ing to be kept on their toes, the challenge just such a family session with Real House- our revenue.” Brandt is passionate about
of a same-day edit video might be the wives of Orange County’s Heather Dubrow. photographers taking the risk and adding
answer. As the name suggests, this video “If a client is requesting it, it’s about a $300 video to their offerings. “You can’t say ‘I
is shot and edited the day of the wedding charge added to my portrait fee. Like any can’t afford a videographer,’ ” she says. “My
and then shown at the reception later that new product, right now it’s not a money- first videographers were interns four years
afternoon or evening. Kevin Shahinian’s maker. It’s a break-even, complimentary ago. Over the years, I was able to fine-tune
videography company Pacific Pictures offer. The money comes in the advertising [my video offerings], and take a portion of
provides this option for clients, as well as and promotion and drawing in new clients.” my salary and pay my videographer. That
the Philippines-based company redsheep As for process, Brandt brings a videogra- money is going to come back tenfold.”
Cinema, which has about 90 percent of its
clients opting for a same-day edit. The key,
says Shahinian, is bringing on an editor who
can put the video together as footage is
being shot; Shahinian hires someone who
can post up near the wedding venue while
he shoots footage and runs it over peri-
odically. Redsheep’s founder and creative
director, Guj Tungpalan, says same-day
edit videos have a special wow factor that
serves as a great marketing tool online as
well as a way to bring everything together
for the couple. “I mean, just imagine every-
thing unfold again at the end of your wed-
ding,” Tungpalan says, “all those moments,
big and small, that made up the day.”
Shahinian admits that same-day edits are
“definitely a creative challenge, but there’s
a demand for them. Plus, it’s a great way
to wow the bride and groom immediately,
instead of having to wait weeks or months
to see their video.”
PHOTO © ANA BRANDT PHOTOGRAPHY
PHOTO © AARON FINKLE

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WPPI 2014 Wrap-Up
Our Best Show Yet!

WPPI 2014 took place in March, but two months later we’re still
reliving the fun. Check out the new gear (pgs. 66-70), images from
the show (pgs. 72-78), stats, and feedback from attendees below.
“After making a very last-minute

decision to come to WPPI this STATS AT A GLANCE
year, I can safely say it was one
of the best things I’ve done for
myself in a very long time. As I sit
here trying to get back into the
swing of things and still recover-
ing from the lack of sleep, I also
am feeling incredibly inspired and
a sense of pride for my industry
that I haven’t felt in quite a while.
I can’t wait to implement some of
the new things I learned while in
More than 12,000 attendees
Vegas and strengthen the bonds represented 64 countries.
with the people I met. I’m already
looking forward to next year.
Thank you so much for such an
awesome opportunity!” “You rocked it, man. Awesome show. Hoping to keep all the
—Erin Watson positive vibes I accrued during this show with me throughout the
erinwatsonphotography.com year. Great reminder of what an awesome industry we work in!”
—Becky Brooks, Animoto
animoto.com/photography
300
companies showcased
products, hosted demos
and interacted with
Number of
platform and
master classes:
160
“Such a remarkably FANTASTIC WPPI this year! Every little
change and tweaked detail from years past made a big, positive difference.
I loved WPPI last year, too. But, Jason, your hard work and new direction
for 2014 was clearly felt and appreciated. Love the new direction, man!”
attendees on the show floor. —Phillip Blume
blumephotography.com

PHOTO © JASON WALKER
WPPI 2014 Wrap-Up
The ABCs of a Trade Show:
Albums, Bags,
Cameras (and More!)
BY JOHN RETTIE
J
udging by all the positive feedback
from attendees, this year’s WPPI
Conference & Expo—which welcomed
over 12,000 attendees from 64 countries—
was a tremendous success. One key reason
was the three-day trade show, where over
300 companies showcased their newest
products, hosted demos and conducted
interactive talks on the Expo show floor. Of
course, all the company promotions didn’t
hurt either, which ranged from iPads to
canvases, and one $10,000 trip to Iceland
to capture the aurora borealis on film for
one especially lucky attendee. Yes, it was an
alphabet of resources across two ballrooms,
ALL PHOTOS © JOHN RETTIE

with every company in the alphabet on
hand, from ACME Camera Rentals to
Zookbinders. And as one would expect, it
was the ABCs that seemed to draw the big-
gest crowds—Albums, Bags and Cameras.
Although there were no new cameras
announced at WPPI 2014, it was the first
time the Nikon D4s, Hasselblad H5D-50c Above: UNDFIND was just one of many companies showing a range of camera bags that, like
others, are looking less and less like traditional camera bags.
and Panasonic Lumix DMC-GH4 were
shown publicly in the U.S. Needless to say, be good enough to double as a stage for a ume snapshots to check out its surprisingly
these cameras, as well as other recently puppet show at a carnival. Needless to say, affordable dye-sub printers.
introduced models, attracted plenty of the kids loved it. If you’ve ever wanted to watch a
attention as visitors got to try them out. It would seem there is a growing and camera technician at work, you had your
profitable market for those photographers chance at WPPI, a draw that began at
Hot New Products who want to venture into the photo booth CES back in January when Canon had a
It took me three days to traverse all the business. These are all portable—some repair room behind glass where visitors
booths and play with new photo gear in more than others—and enable an en- could watch technicians fix cameras and
WPPI’s two halls. The buzz? Without a terprising event photographer to make lenses. Both Sony and Panasonic had re-
doubt, this was the year for photo booths. additional sales on the spot. pair technicians in their booths at WPPI,
I lost count of how many companies were You may not have heard of DNP, a maker and Canon had several technicians of-
displaying photo booths, which ranged from of dye-sub printers, but it seemed as if fering service for members of CPS in an
simple setups in a box, such as Photobooth these printers were being used by most of adjoining room. Nikon’s NPS members
Supply Co., to chic-looking ones, like Snap- the photo booth makers. DNP had its own could also avail themselves of repairs, but
den’s Firefly, to extravagant ones, like Ugly booth where the company was encouraging showgoers were not able to watch Nikon’s
Duck Photo Booths with a setup that would photographers who want to print higher vol- technicians at work.

Solutions video player in a cardboard folder that can offer an important service and among them,
Speaking of repairs, usually when a hard hold a 20-minute video or slideshow that Mopro had one of the largest yet simplest
drive goes bad, it gets tossed. If you have a plays automatically. It has a rechargeable booths, as it contained nothing much be-
backup, it shouldn’t be too inconvenient, battery and costs just $50, yet another way sides several rows of iMac computers where
but if you don’t, you could be in real trouble. of presenting a digital album, like the ones attendees could sit down, try out the service
Staff members of DriveSavers (the company Animoto produce. and sign up on the spot.
that nobody ever wants to use), told me they Speaking of Animoto, photographers who
had several photographers come by and tell use the company’s Pro service also have Video Products
them the company had “saved their lives” more control over editing stills and video There were a few people walking around
by retrieving photos that were stored on a clips down to 1/10th of a second (compared with camera stabilizers demonstrating the
dead hard drive or storage card. Naturally, to one second previously). ability to capture steady action shots without
DriveSavers tells everyone to backup their a tripod. One was the Comodo Orbit (shown
images, not once but two or three times. But Software on pg, 68) with what could be described as a
if you do lose those valuable images, the There were fewer companies displaying ed- mechanical gimbal, while Hot Rod Cameras
company can still retrieve them for you. iting software, though OnOne Software drew demonstrated the even more sophisticated
Aside from the major camera manufac- crowds at its booth’s demos. Not far away, Defy G2 with a motorized gimbal on the
turers, the biggest booths were occupied newcomer Macphun, a California-based Panasonic booth. Incidentally, there was even
by album producers and photo labs. As company producing some great editing tools a studio on the Panasonic booth broadcast-
always, it proved to be ideal for new wed- for Mac users, was also attracting attention ing live from the show using Lumix GH3
ding photographers, since it’s so much easier as many of its U.S.-based staffers are ex-Nik cameras. Although traditional videographers
to compare the look and feel of albums in Software employees who have an apprecia- might disagree, modern still cameras with
person instead of relying on images and tion for what wedding photographers need. video capabilities are good enough for cap-
descriptions on a website. ShootDotEdit now offers a service that turing high-quality video clips at events.
The same could be said for products from allows photographers to get an unlim-
suppliers of flash drives such as Neil Enter- ited number of photos edited for a flat That’s A Wrap
prises and Photoflashdrive.com. It was only monthly fee of $279. Is this a trend? We WPPI is a big show, attended by profes-
five years ago that Photoflashdrive first had will have to wait and see. sionals who have bigger budgets and are
a small booth at WPPI where it displayed There were plenty of companies at WPPI searching for new products and ideas. Best
flash drives with customized printing. This offering studio management software of all, this is a show where attendees can
year, the company had a booth five times [see “Taking Control of Your Business” in buy products right on the show floor. We
larger and it was drawing large crowds Rangefinder’s February 2014 issue] and saw plenty of photographers leaving with
displaying the latest in beautifully custom- online proofing services. One new company big boxes of stuff they’d purchased; others
ized wooden boxes for holding flash drives, was fotoShout, which offers software that had items shipped to their studios.
prints, keepsakes and even commemorative helps photographers “amplify” their social
bottles of wine. media presence.
The newest item being shown was a small Website-building companies continue to Bottom, left to right: Photoflashdrive.com
displayed an enormous range of wooden
storage “containers” for flash drives and
It took me three days to traverse all other mementos; Canon technicians worked
behind glass while servicing cameras and
the booths and play with new gear. lenses; you could hardly call Ugly Duck’s
photo booth portable.
WPPI 2014 Wrap-Up
More Show Floor

Products Worth Noting
Navigating the show floor often means finding new cameras,
printers and lighting equipment, but you might have completely
overlooked some interesting yet less visible products, including
everything from a $1,499 camera stabilizer system to a $7.95
camera button upgrade. Here’s a small sampling of what you
might have missed on your first show floor walk-through.
continued on page 70
If you want to shoot

cinematic-style video,
you really need an image
stabilizer rig such as the
Comodo Orbit ($1,499).
www.comodorigs.com
ALL PHOTOS BY JOHN RETTIE
MagMod is a brand new

product funded through
Kickstarter. The flash
modifier ($89) uses a
silicone rubber adaptor
with accessories held in
place by magnets.
magnetmod.com

L
IG
HTI
NG IS
VISION PHOTOFLEX
For brilliant shots that capture the crystalizing moment, enhance a
For information email us at
06_2014_Range.indd 1 3/28/14 8:53 AM

WPPI 2014 Wrap-Up
continued from page 68

Fotodiox Pro
sells lighting
equipment
and numer-
CamRanger ous adaptors,
introduced including this
a new GoTough case,
motorized tripod mount
tripod head and Wonder-
($229.99) Pana adaptor
to further for using larger
enhance re- filters on a
mote capture GoPro camera
capabilities. (basic kit costs
www.cam- $34.95).
ranger.com www.foto
dioxpro.com
Third-party lenses are

gaining popularity,
but so are on-camera
flashguns. Nissin Digital
showed off its newest
model, the i40 ($250
approx.), which goes
on sale in June.
www.nissin-japan.com
JOBY makes far more than small

Lenz-A-Hand is a handy grip ($39.99)
tripods. Two of its newest products
for holding a long lens more steadily.
are the UltraFit hand strap with
It is held on by Velcro and can also
a universal base plate for DSLRs
be used to adjust zoom or focus.
($49.95) and a minimal, auto-
www.lenzahand.com
cinching wrist strap ($14.95).
www.joby.com
ProDot is a shutter button upgrade

($7.95 for two) that must be one of
the smallest-ever accessories. Cus-
tom SLR claims it reduces fatigue,
improves grip and lessens vibrations.
www.customslr.com/products/
prodot

Pro-flash
one eight y
power. speed. portabilit y.
Production Image Courtesy of: Vanden King Photography
Image Courtesy of: Jason Lanier Photography

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WPPI 2014 Wrap-Up
Graphistudio Presents
A Day In The Life of WPPI

“A
Day in the Life” is more than
a Beatles song; it represents a
project that started over nine
years ago by Graphistudio to help pre-
serve the memories of a much-anticipated
annual conference and trade show.
Highlighted on the following six pages
(in addition to an overview of some of
Graphistudio’s books and albums shown
at right) are the behind-the-scene looks
at activities, master classes, platform pre-
PHOTO © DANNY DONG

sentations, parties and special events, and
the grand finale (the awards ceremony)
of WPPI, all captured by this year’s Day
in the Life photographers: Danny Dong,
Ella Gagiano, David Medina and Collin
Pierson.
We’re hoping these images will not
only help you relive some of the special
moments from this year’s show but also
make you wish next year’s show was al-
ready here! Graphistudio will be publish-
ing these images in their hand-crafted,
Italian-made art books, which will be on
display at future shows.
Graphistudio is a leading global
supplier of commercial quality printed
books that services photographers in
over 128 countries. According to Mau-
reen Neises, director for the U.S. and
Canada operations, “Our vision is to help
advance every photography studio we
work with by providing innovative prod-
ucts and solutions. We are working on a
new wave of products that will change
the way photographers do business.
For example, adds Neises, “Our trendy
YOUNG BOOK appeals to new brides
and is available in very modern materi-
als. We are also working on new workflow
PHOTO © DAVID MEDINA
tools, which will be announced soon. Once

we find success in one category, we keep
moving—we are never satisfied.”
To learn more, visit www.graphistudio.com.

The WPPI 2014 Day in
the Life Photographers
DANNY DONG
PHOTO © DANNY DONG
dannydong.com
Danny Dong started wedding photography in 2008 and was
able to quickly grow his business from scratch to a high-end
wedding studio in the San Francisco Bay Area within five
years. In recent years, Danny has received awards from many
international photographic competitions and his work has
been well-recognized by the industry. This year, he served as a
judge for the WPPI 16x20 Print Competition and also taught a
master class at the conference. His current workshop is rated
one of the most popular wedding photography workshops in
Asia and he is very well-received by all his students.
PHOTO © DAVID MEDINA
ELLA GAGIANO
ellagagiano.com
Ella Gagiano moved to Las Vegas from beautiful Cape Town,
South Africa, where she got her degree in graphic design and
fell in love with photography. Ella, along with her husband
Jason, built the high-end brand Ella Gagiano Photography that
provides photography and video to discerning couples from
all over the world. In only three short years, they have also
built another photography studio, High Class Studios, which
provides complete wedding services such as photography,
cinematography, photo booths, and DJ and lighting services.
DAVID MEDINA
davidmedinaphotography.com
David Medina is an international wedding and lifestyle
photographer based in Puerto Rico. After studying advertis-
ing photography in 1990, he worked as a freelance editorial
shooter and as a photojournalist. In 2005, as a natural next
step in his photographic journey and passion for storytell-
ing, he opened his own studio specializing in documentary
wedding photography. As David’s work evolved throughout
the years, his wife joined the studio as a photographer to
better represent their passion, vision and mission for fine-art
storytelling photography, marriage and family. In 2013, they
rebranded and became Hidden Kiss Studio.
COLLIN PIERSON
collinpierson.com
Collin Pierson is a lifestyle and destination wedding pho-
tographer based in Chicago, Illinois. Combining his unique
past in photojournalism, sports and fashion photography,
he has created a style that is both candid and dramatic.
Collin’s passionate and personalized approach toward his
profession and clients is reflected in the images he cap-

tures of their life-defining moments. When he isn’t traveling
the world taking photos and finding new inspirations, he
loves to cook and learn new languages.
WPPI 2014 Wrap-Up
Danny Dong
Clockwise from top left: Jerry

Ghionis presents his “Creativ-
ity, Composition and Cropping”
Platform Class; the Print Competi-
tion winners are revealed; WPPI
director Jason Groupp high-fives
Andrew “Fundy” Funderburg
during the Members-Only Social;
before Jerry was giving a class
or running the Print Competition
with wife Melissa, he was hosting
the big Saturday night presenta-
tion, “What Would Jerry Do?”;
Roberto Valenzuela sits front and
center during Jerry’s Platform.
ALL PHOTOS THIS PAGE © DANNY DONG

Ella Gagiano
Top: Jim Garner during his “Transform & Thrive!” Platform class.
Middle (left and right): Hands-on workshop on the Vegas strip.
Bottom, left: Desert shoot.
Bottom, right: Triple Scoop team members.
ALL PHOTOS THIS PAGE © ELLA GAGIANO
WPPI 2014 Wrap-Up
David Medina
Clockwise from top right: Unique take on a show floor ex-
hibitor space; Dixie Dixon presenting at the Nikon booth;
Yervant speaking in the Graphistudio booth; riding the
escalator to education; Melissa Ghionis during the awards
ceremony; Melissa Ghionis applauds husband Jerry
during the awards ceremony.
ALL PHOTOS THIS PAGE © DAVID MEDINA

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WPPI 2014 Wrap-Up
Collin Pierson
ALL PHOTOS THIS PAGE © COLLIN PIERSON

Clockwise from above: The Marquee Ballroom; spotlight on Tamara Lackey; Cath-
erine Hall and Luke Edmonson with fellow judges during the Print Competition;
getting ready for the doors to open; attendees enjoying themselves; Kelly Brown
accepting one of her numerous awards during the awards ceremony; Dennis Orchard
judges a print; Michael Greenberg at his “Lighting on the Run!” Platform Class.

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WPPI 2014 Wrap-Up
Movie-Making WPPI 2014 “Hi-Five
Crash Course
Highlight” Film
• 100 percent filmed by WPPI
workshop students
BY JACQUELINE TOBIN • “Vegas “Baby” Music licensed
by Song Freedom
A
•Artist: Blue Stahli
s increasingly more still photog- of our educational tracks at WPPI be-
• Video Gear provided by
raphers expand their business cause, as with our photography programs, lensprotogo.com
models to include multimedia I wanted to have some hands-on classes
packages and video coverage for their that would lend to real world experience. Vimeo.com/88924900
clients, the need for acquiring a new skill And what better way to do that then by
set also increases. This year, WPPI intro- covering a live event, and turning the edit
duced a Filmmaking Track offering an around in a short period of time?”
impressive roster of talent and courses, learned how to use stabilization tools,
The four-day, deep-immersion class
including “Directing Motion with Vin- glidecams, lenses and more.
at WPPI had Switzer leading ten stu-
cent Laforet,” “Wedding Cinema Crash The movie-making process went like
dents through the A-to-Zs of the me-
Course” led by Ray Roman, “Concept this: Starting on a Sunday afternoon,
dium, which entailed writing, shooting
Filmmaking” with Kevin Shahinian Switzer and his ten students met Groupp
and editing the official WPPI 2014 film
and, among several other presentations, to go over the script and begin produc-
(vimeo.com/88924900). Switzer says
“WPPI Filmmaking 4-Day Class” with tion of the film. “I was fortunate to be
that at the time he had no idea what
Joe Switzer. As Switzer—who started at this first meeting with the crew, and
to expect but knew it would be great
Switzerfilm as a $150 wedding video I immediately felt a chemistry forming
regardless. “A few students had dabbled
on a VHS tape, and in just a few years between these guys,” Groupp recalls.
in video before, but 80 percent of
transformed into a wedding photo and During the next four days, this team
them were like, ‘Where is the record
video dream team—puts it, “The best worked constantly, shooting late into the
button?’” Switzer says with a laugh.
way to learn is by doing.” night at WPPI events, in the hallways, on
Everyone in the class, he adds, was
Adds WPPI director Jason Groupp, the trade show floor and in a small con-
curious, excited and interested in a fu-
“This year we added Filmmaking as part ference room huddled around a laptop,
ture in video and filmmaking. Students
each taking turns with editing.
On Wednesday evening, the night of the
WPPI Awards Ceremony, the class de-
buted the final “Hi-Five Highlight” Film.
“On stage they put their arms around
each other in nervous excitement as the
film played, which ended in a standing
ovation,” says Groupp.
Adds class attendee Beau Hobson, “I
learned so much working with Joe and his
crew! Just to be able to observe the little
things they do made my work so much
better as a videographer. It’s now a couple
of months later and I still apply what I
learned every single day.”
Switzer explains, “One of the key lessons
the group came away with here is that
once photographers want to do video, they
think it has to be complex, but it doesn’t”
(see pg. 43). “You just need to make an
impactful two-to-three minute video.”
Left: Joe Switzer (center) with his film class.

PHOTO © JASON WALKER

best friends
THE ULTIMATE ANIMAL PHOTO CONTEST
A Portion of the Proceeds with be
donated to Project Let it Rain Love
ENTRY FEES CATEGORIES

DOMESTIC ANIMALS • WILDLIFE ANIMALS
• $25
MY PET & ME • ANIMAL HUMOR • SOCIAL MEDIA • VIDEO
• $15 FOR WPPI MEMBERS
• NEW! $5 EACH FOR SOCIAL MEDIA ENTRIES PRIZES
$15 EACH FOR VIDEO ENTRIES One grand-prize winner will receive:
• $1,000 cash
JUDGES: • A Full Conference Pass and three Master
CLAUDIA KAWCZYNSKA Classes to WPPI 2015
Editor-in-Chief • A Rangefinder subscription
The Bark
All first-place winners (excluding social media)
KEN DRAKE will receive:
Pet Photographer
Zoo Studio • A $100 Amazon gift certificate
• A Rangefinder subscription
JESSICA TRINH • A Full Conference Pass to WPPI 2015
Founder & Photographer
Project Let it Rain Love All winning images, including social media, will
be featured in the July issue of Rangefinder as
well as an online gallery.
SHERI WAKE
Photo Producer
Discovery Communications
© Stephen OByrne
Presented by: DEADLINE : MAY 28, 2014

VISIT WWW.BESTFRIENDSPHOTOCONTEST.COM
16X20 PRINT, ALBUM AND FILMMAKING
WINNERS' GALLERY

THIS YEAR’S WPPI 16X20 PRINT, ALBUM AND FILMMAKING COMPETITION
HAD A COMPLETLY REVAMPED PROCESS AND JUDGING SYSTEM, AND WE
COULD NOT BE MORE PLEASED WITH THE RESULT.
Our judges and print handlers plowed through 2,544 entries this year, a 20 percent increase
from last year. In this gallery, we honor our Grand Prize and First-place winners in eight divi-
sions and 27 categories. We hope you are as inspired by the winners as we were. To view
all First-, Second- and Third-place winners, visit the website below.
www.wppiawards.com SPONSORED BY
Below: “Deanna and Dan,” from First-place

album winner Alex Albojer. See more of Albojer’s
winning work on page 94.
PHOTOS THIS SPREAD © ALEX ALBOJER
PREMIERE
1ST PLACE
PREMIERE
JORGE CASTILLO
“JOURNEY”

PHOTOJOURNALISM
GRAND AWARD
WEDDING PHOTOJOURNALISM
FENG HE
“UNTITLED”
1ST PLACE
NON-WEDDING PHOTOJOURNALISM
SAM SCIARRINO
“UNTITLED”
WEDDING
GRAND AWARD
BRIDE AND
GROOM TOGETHER:
WEDDING DAY
DIDAR VIRDI
“ASIAN PRINCESS”

WEDDING
1ST PLACE 1ST PLACE

WEDDING DETAILS ENGAGEMENT
SUSAN STRIPLING JOHNSON WEE
“UNTITLED” “UNTITLED”
1ST PLACE 1ST PLACE

BRIDAL PARTY/FAMILY AND BRIDE OR GROOM ALONE:
FRIENDS WEDDING DAY
ROCCO ANCORA DEE GREEN
“THE BEST MAN” “JAPANESE BRIDE”
PORTRAIT
GRAND AWARD
ANIMALS/PETS
KEN DRAKE
“SONIC SHAKES OFF”
1ST PLACE 1ST PLACE

HIGH SCHOOL SENIOR CHILDREN
CHERYL WALSH KELLY BROWN
“THE RED SWAN” “GOOD THINGS COME IN”

PORTRAIT
1ST PLACE
GROUP
KELLY BROWN
“DON’T WANT TO LOSE YOU”
1ST PLACE
BEAUTY/BOUDOIR
JOSEPH COGLIANDRO
“UNTITLED” 1ST PLACE
INDIVIDUAL
KELLY BROWN
“THE DIVINE”
CREATIVE
GRAND AWARD
ILLUSTRATIVE
PETER ROSSI
“ENLISTED 1952”
1ST PLACE
FASHION
CHRISTIAN LALONDE
“METALLIC FLAIR”
1ST PLACE 1ST PLACE

COMMERCIAL COMPOSITE
CHRISTIAN LALONDE KELLY BROWN
“TRUMP GRAND STAIR” “WHY ME?”

CREATIVE
1ST PLACE
IN-CAMERA ARTISTRY
RYAN SCHEMBRI
“UNTITLED”
1ST PLACE
BRIDE AND GROOM TOGETHER:
NON-WEDDING DAY
MALIA JOHNSON
“BRAVING THE STORM”
1ST PLACE
BRIDE OR
GROOM ALONE:
NON-WEDDING DAY
JOHNSON WEE
“UNTITLED”
FILMMAKING
GRAND AWARD
WEDDING/ENGAGEMENT SHORT FILM
MARK WIEMERS/SWITZERFILM
“LOUIS + JEANNA”
1ST PLACE
VIDEOGRAPHY COMMERCIAL/ILLUSTRATIVE SHORT FILM
MARK WIEMERS/SWITZERFILM
“MILWAUKEE BREWERS”

ALBUM
GRAND AWARD
EVENT/INFORMAL
NADINE SAACKS
“PERKAL BROS”
ALBUM
1ST PLACE
WEDDING (SINGLE PHOTOGRAPHER)
ALEX ALBOJER
“DEANNA AND DAN”

ALBUM
1ST PLACE
ENGAGEMENT
ROB GREER
“VADER’S FIST 501ST LEGION”
1ST PLACE
WEDDING (MULTIPLE PHOTOGRAPHERS OR STUDIO)
ALEXANDER NOZDRIN
“AREKCEÚ U ANNÁ”
PHOTO © ROB GREER / WWW.ROBGREER.COM
THANK
THANK YOU TO ALL OF OUR
WPPI 2014 16X20 PRINT, ALBUM
AND FILMMAKING COMPETITION
JUDGES, PRINT HANDLERS AND
VOLUNTEERS for extending their
time, talent and knowledge to the
YOU
wedding and portrait community!
A special thank you to our

competition directors and chairs!
(listed below)
JERRY GHIONIS MELISSA GHIONIS DAVID A. WILLIAMS BAMBI CANTRELL ROCCO ANCORA RYAN SCHEMBRI CHRISTIAN TONY CORBELL DENNIS ORCHARD
CO-DIRECTOR CO-DIRECTOR PREMIERE ALBUM/ WEDDING WEDDING LALONDE PORTRAIT FILMMAKING
IN-CAMERA CREATIVE
ARTISTRY

product roundup
Flight Style
Airplane-Ready Camera Bags
BY PETER KOTSINADELIS
Above: Hold Fast’s Roamographer Bag is where

“vintage esthetics meet modern-day function,”
according to the company’s website.
P

product roundup
Smaller airplanes, limited storage space and the recent

announcement that United Airlines (for one) will be more
rigorous in enforcing size requirements for carry-on luggage
all spell trouble for the photographer on the go.
Recognizing this trend, bag manufacturers developed new
“airplane-ready” bags designed to meet size requirements for
carry-ons. To help photographers decide which travel bag is
best, here are some of our favorites to take with you on your
flight (that look stylish to boot).
For your refer- Additionally,

ence, a carry- personal items
on bag cannot are shoulder bags, THE LONDON BACKPACK BY
exceed 45 linear purses, laptop
bags, etc. that do
EPIPHANIE BAGS
inches, nor have
any one dimen- not exceed 17 x 10 The versatile London Backpack from Epiph-
sion exceed 22 x x 9 inches. Should anie can be worn as a backpack or used as a
14 x 9 inches, in- a camera bag of
9 inches this size be used,
standard shoulder bag. With four touch-fas-
cluding a handle 9 inches
and wheels. the photographer tened adjustable dividers, it’s large enough to
22 inches
17 inches
has the option of hold a camera with an attached lens, a long

using a carry-on
bag for other gear, lens like a 70-200mm f/2.8, one or two extra
clothing, etc. lenses, a flash and other accessories. A foam-
14 inches 10 inches
paneled pocket inside the bag safely holds an
iPad or laptop up to 15 inches.
Two front and side pockets, an inte-
rior zippered pocket and a rear zippered
pocket provide considerable storage for
accessories and other items, while the rear
zippered pocket can also be converted into
HOLD FAST’S a sleeve, allowing you to place the bag
ROAMOGRAPHER over a rolling luggage cart handle.
The Roamographer is a luxury camera Made from water-resistant synthetic
bag made from American Bison Leather leather, the London comes in four colors.
that comes in either brown or black.
This beautiful bag has a removable PRICE: $224.99
camera insert with adjustable divid- WWW.EPIPHANIEBAGS.COM
ers and a flap with a zippered pocket
underneath that can be folded back for
quick access to its contents. There is an
interior pocket for an iPad or up to a
15-inch laptop and six small pockets
around the outside of the insert for small items.
A shearling-lined shoulder strap is used for carrying the bag, but it can also secure
a small camera on the outside that can slide up the strap at a moment’s notice.
Bridle leather straps with buckles secure the bag closed, with a shorter leather
strap in the center providing quick opening and closing when used while shooting.
The Roamographer also includes carrier straps for a tripod and a matching
luggage tag wallet.
PRICE: $495
WWW.HOLD-FAST.MYSHOPIFY.COM
DOMKE NEXT GENERATION ments of varying size and shape using
Announced earlier this year, the bendable, self-adhering separators.
Domke Next Generation line com- PocketFlex is an additional system
prises all shoulder bags, making them of pockets, patches and pouches that
ideal as carry-ons. Next Genera- adhere to the bag’s interior.
tion builds on the idea of a working Two new bag designs are the Director
photographer bag, but it adds new and Image Maker. Both are more stylish,
features such as Domke’s patent- lighter and offer dimensions different
pending GearProtex insert and Pock- from previous Domke bags.
etFlex storage component system.
The GearProtex system is a unique PRICES: DIRECTOR, $249.95;
way photographers can organize the IMAGE MAKER, $289.95
inside of their bag into compart- WWW.DOMKEPHOTO.COM
THINK TANK AIRPORT SERIES

Think Tank Photo has recently debuted three
new airplane-ready rolling bags as part of its
Airport Series line. These bags have greater
security and added protection for photog-
raphy gear with front and back cable locks,
a TSA combination lock and Think Tank’s
Security Plate “Lost and Found” service.
The Airport AirStream is the smallest bag in the lineup and meets most international
carry-on requirements but will still hold a large 400mm lens, multiple DSLRs and lenses,
and other items. Next in size is the Airport International V2.0, followed by the Airport
Security V2.0. The latter not only holds a considerable amount of gear, but it also features
removable emergency shoulder straps for carrying the bag when rolling is not possible.
All bags come with a monopod and tripod holder, a seam-sealed waterproof rain cover,
an organizer inside a zippered front pocket for items such as pens, memory card wallets,
notepads, etc. and a front pocket for carrying a laptop.
PRICES: AIRPORT AIRSTREAM, $339.75; AIRPORT INTERNATIONAL V2.0,

$389.75; AIRPORT SECURITY V2.0, $414.75
WWW.THINKTANKPHOTO.COM
MANFROTTO ROLLER BAG 70 fers sharp impacts.

The Manfrotto Roller Bag 70 is a profes- A laptop compartment holds up to a
sional-grade bag designed to hold two 17-inch laptop and a foldout weather
pro-sized DSLRs, two long lenses such as protector for full protection from the ele-
a 70-200mm f/2.8, four to five additional ments. Top, side and base grip handles,
lenses, two flashes, a tablet, tripod and external tripod connections, a zippered
more. This airplane-ready roller features pouch and pocket on the outside of the
Manfrotto’s Camera Protection System bag for document and other items are all
specifically engineered to ensure a high- designed to accommodate the traveler.
level of protection and shock resistance.
P
The exterior has a water-repellent coating PRICE: $407

and an Exo-Tough Construction that buf- WWW.MANFROTTO.US

LOWEPRO PRO-ROLLER
X-SERIES AW ROLLERS
Just released this past March, the Lowepro x100 and x200 AW
(All-weather) rolling bags are two new airplane-ready bags based
on proven designs that incorporate a new patent-pending MaxFit
System and the patented AW Cover. The MaxFit System uses micro-
fitting adjustable, interior dividers to pack camera gear closer to
improve existing interior space, while the built-in AW Cover offers pro-
tection from heavy rains, snow, sand, dust and even hot sun. The exterior
is made of high-impact ballistic nylon for greater protection when traveling.
The unique characteristic of these bags is Lowepro’s Reserve Pack. This
feature allows you to unzip the interior, remove it from the roller case and carry it as a backpack.
The x100 and x200 come with locking zippers and a TSA-approved lock.
PRICES: X100 AW, $369.99; X200 AW, $399.99 WWW.LOWEPRO.COM
THE BERLIN BAG FROM ONA

In celebration of 100 years of Leica photography, ONA has
announced its limited-edition Berlin bag designed for the
Leica M-System. Handcrafted and made from full-grain
leather which is promized to develop a rich patina over time,
the Berlin has a signature Leica red interior that is fully pad-
ded and customizable and capable of carrying one Leica M-
System camera, two to three lenses, an iPad and other small
personal items.
Other attributes? “A zipped organizer pocket, a convenient
removable top-grab handle, antique brass buckles, red rivet
accents and a streamlined back pocket,” according to the
company website.
PRICE: $369 WWW.ONABAGS.COM
KELLY MOORE’S LIBBY BAG

Kelly Moore creates fashionable bags designed to not only keep
you organized and protect your gear, but they also look great.
The Libby—named after Moore’s friend—is one of the com-
pany’s most popular airplane-ready bags and is designed for
use as a carry-on. This bag will hold a camera with
grip and lens attached, a 70-200mm f/2.8 lens or
other lens up to 10 inches, flash, laptop and other
items. The Libby includes a removable interior
basket, adjustable dividers and plenty of pockets
to store whatever you like.
All Kelly Moore bags are made of lightweight,
handmade, water-resistant materials in a variety
of colors and come made with Antique Brass
or Silver Hardware.
PRICE: $249
WWW.KELLYMOOREBAG.COM
digital guru
The Flying Camera Drone

Controversy
BY JOHN RETTIE
D
uring the two decades that I have A DRONE BY ANY OTHER NAME Above: This DJI Phantom enabled a pho-
been penning this column on new tographer in Baja to capture some close-up
Naysayers who don’t like the idea of photog-
motorcycle action at night.
digital gear, I have never once come raphers using RC helicopters for photogra-
across a technology that is so appealing phy call them drones, as do many others, sisting farmers in managing crops and
to photographers (yet so divisive for most including me. Drones, though, have a nega- livestock as well as aiding rescuers in
everyone else) as drones. tive connotation—especially military ones— disasters. After all, an RC helicopter can
Radio controlled (RC) planes and helicop- as they are flown remotely, far out of visual fly in places too dangerous for humans or
ters flown by hobbyists have been around sight from the operator. RC quadcopters, too restricted for a full-size helicopter.
for many years and have never caused or multi-rotor helicopters used by photog- Recently, a photographer was fined
much of a problem. In fact, they are deemed raphers, are controlled by an operator who $10,000 by the FAA for using an RC plane
so insignificant that the Federal Aviation retains visual sight of the copter and should for commercial use. He fought the fine and,
Administration (FAA) all but ignores them not, strictly speaking, be called drones. to many photographers’ delight, the judge in
as long as they are flown for fun, kept away Drones are such a hot topic (especially the case dismissed it and went as far as to say
from urban areas and airports, and do not since Amazon announced it is planning the FAA was way out of line in trying to con-
fly higher than 400 feet. to use them to deliver packages), that trol small unmanned aerial vehicles (UAVs).
But attach a camera to one and fly it as they continue to make news. Drones are Does this mean it’s now safe to use an RC
a professional photographer, and you’re discussed everywhere from tech blogs to copter for photography? In theory, yes, but
breaking the law, according to the FAA. NPR; even CBS’ 60 Minutes got in on the the FAA is appealing the case, so the whole
In theory, the FAA says you can only fly a controversy with a segment in March. (The situation is still in legal limbo.
helicopter, manned or unmanned, for com- topic also made the front page of my local
mercial use if you are a certified helicopter newspaper as I was writing this column). HANDS-ON EXPERIENCE WITH
pilot and carry millions of dollars in liability Surprisingly, the news articles have A DJI PHANTOM 2 VISION
insurance. Yes, believe it or not, the same been generally in favor of RC copters, I’m sure many readers have seen RC heli-
regulations apply to small three-pound toy touting their many positive aspects—not copters in flight at trade shows and watched
helicopters as to a full-size helicopter. just for photography, but also for as- stunning aerial videos captured by them out

Become a Member—Connect With the Best!
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• Special rates to WPPI Conference & Expo with newsletters, events, direct mail and editorial features
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• Exclusive access to Members Only competitions
© Doug McGoldrick
digital guru
in the open. In each case, they look relatively it would not take off in a straight line. Like
easy to fly. However, the only way to really so many of us, I had skipped part of the les-
find out is to try it yourself. sons and had not taken each baby step. Nor
Without a doubt, the RC quadcopter that is had I set it up so it would return “home”
garnering the most coverage at present is the automatically.
ALL PHOTOS © JOHN RETTIE

DJI Phantom. It was a hit at the PMA Show Earlier, when I asked two photographers
at CES back in January (see my column in who have ventured into the world of aerial
the March 2014 issue of Rangefinder) and is photography, they both said, “You will
being sold by many photo retailers, including crash.” They were right. It turns out, unsur-
B&H Photo. prisingly, that learning to operate a RC heli-
DJI is based in Hong Kong and the com- copter is not so easy. I’ve checked numerous
pany has experience in the commercial field, online forums, and aside from longtime RC
making some large RC copters that cost sev- enthusiasts who tend to be older hobbyists, Top: This heavily modified RC helicopter
shooting footage at the Mint 400 off-road
eral thousand dollars. Much of the technol- most successful operators are teenagers or race required an operator for the copter,
ogy has been adopted for the DJI Phantom people in their 20s. Perhaps they become another controlling the RED camera and two
2, which costs just $679 without a camera, “naturally” skilled because they grew up assistants who acted as spotters and kept
or $1,219 for the 2 Vision, which includes a with computer games? the extra batteries charged on a portable
generator.
built in 14-megapixel HD camera. Fortunately, DJI includes four spare
DJI recently lent me one for review. It rotors, so it was easy to repair the copter. Above: Currently the DJI Phantom 2 Vision,
arrived within 36 hours of leaving the Unfortunately, I’ve been unable to do any with a 14-megapixel HD camera on board, is
factory in China and the customs label more practice flights; it has been too windy regarded by many as the most sophisticated,
safest and affordable ($1,219) RC camera
listed it as a “toy.” where I live. (I plan to do a blog post on my copter on the market.
hands-on experiences in upcoming months.)
EASY SETUP, DIFFICULT TO FLY determined by the size and weight of a quad-
Unlike expensive RC quadcopters that re- READY OR NOT? copter as much as anything, and that there
quire assembly, the Phantom is ready to fly If all of the above debates about the realities will be few restrictions on a small, easily con-
once you have charged the battery, screwed of owning and operating a RC helicopter trolled quadcopter weighing a few pounds,
on the four rotors, and attached a Wi-Fi camera are discouraging you from even with safety features such as automated return
booster and an arm on the controller for contemplating using one in your business, I home. Surely these machines will be just
holding a smartphone. would not blame you. However, if you feel about as safe as many tools we already use,
It took a few minutes for the copter and confident that you or one of your staff (prob- like ladders and jib beams.
my iPhone to find each other and connect. ably a youngster who will fly it for free) can
I also had to calibrate the built-in compass learn to operate one safely, it’s potentially MORE CHANGES COMING
and make sure it was receiving GP signals. worth thinking about adding one to your If you’re not ready to jump into the world
Once all that was done, I turned on the arsenal of photographic equipment. of RC copters now, the situation should
copter and made sure I was clear of two Even if you do nothing more than use one improve radically in the next year or so,
friends spotting for me. Rather than test to go straight up and snap a few still shots even without an FAA ruling. Just a couple
the bird at home, I went out into the des- overlooking a reception or wedding venue, of years ago, an RC copter capable of tak-
ert where there were no humans or power you will be able to get shots that are likely ing pro level video or stills would have cost
lines to worry about. to be impossible to get any other way. If you several thousand dollars. Now, thanks to
The training manual takes you through consider the copter to be a toy and you give mass marketing—mainly by Chinese com-
several steps that get progressively more away the photos, you will, strictly speaking, panies—and the rapid deployment of more
difficult. The first step was easy: the copter be within the FAA’s voluntary guidelines. sophisticated electronic controllers, copters
lifted straight up and then came down safely In an ideal world, the FAA will come up are getting smaller, cheaper and easier to
to land. After doing this a couple of times, I with some concrete rules and regulations, operate.
was confident that I could fly it away from which will take away the silly ambigui- There is even talk about developing
me and get it back easily. Wrong; it’s very ties that exist right now. The FAA says it is tethered copters that, while restricting
difficult orienting yourself as you try to turn working on regulations but is not due to have movement to a smaller area, will make it
the quadcopter around and head back, so I them ready until sometime next year. In the even easier and safer to operate. Better yet,
had to land it away from me, but managed to meantime, more photographers are using RC having a wire (not unlike a long dog leash)
do so safely. copters to take unique still photos and video, connecting a copter to the operator will take
I tried again, and this time it landed on a so there is increasing pressure on the bureau- it out of the jurisdiction of the FAA and free
slope, causing the rotor blades to hit the dirt crats to clear up the confusion. us up from being tethered to overzealous
and chip. This put the copter off balance, so We can hope that the regulations will be rules and regulations.

Presents
PHOTOGRAPHY CONTEST
CE L E BRATI N G T HE BEST I N W EDDI N G P H OTO GRA P H Y !
CATEGORIES DEADLINE
Bridal Portrait July 30, 2014 All winning images will be featured
on Rangefinderonline.com and in the
Bridal Party
October issue of Rangefinder magazine,
Wedding Reception ENTRY FEES: which will be seen by over 60,000 readers.
Destination Weddings Professional: $35/image or photo essay
Wedding Details Amateur: $25/image or photo essay Please visit www.rangefinderwedding
(Receive a 30% discount with a contest.com for the most up-to-date list
of judges.
PRIZES Photo Group Membership)
One grand-prize winner will receive:

A $500 B&H gift card
A Full Conference Pass to WPPI 2015
Five first-place winners will receive:

A $100 B&H gift card
A Photo Group membership
The 2014 Rangefinder Wedding
Photography Contest winner’s seal
for use on your website and promo-
tional materials.
Sponsored by:
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Rangefinder 05-14 JN140255.indd 2

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first exposure
SOFTWARE REVIEW
Elements
XXL 2
Powerful new plug-in
expands Adobe Photoshop
Elements to a pro-size level.
BY STAN SHOLIK
A
dobe Photoshop Elements remains
the most popular imaging pro-
gram among enthusiast photog-
raphers and has a growing number of
professional photographers checking it
out as an alternative to Adobe Photoshop
CC. However, for many professionals,
without layer support for 16-bit images,
smart objects, a pen tool and paths panel,
the full complement of adjustment layers,
smart filter support and more, Photoshop
Elements isn’t powerful enough to meet
their needs.
Above: Using the 16-bit workaround in

Elements XXL 2, I was able to apply adjust- With the release of Elements XXL 2, on the version of Photoshop Elements
ments to the original RAW file and output a it may be time for pro photographers you have installed. For our purposes, I’ll
flattened 16-bit image that retained all of the to look even more closely at Photoshop assume you’re using the current version,
smooth gradations in the sky for an inkjet
print. Below: You access the Elements XXL 2 Elements. Elements XXL 2, from Harald Photoshop Elements 12, which makes
16-bit workaround from the new Render menu Heim’s The Plugin Site, adds 230 fea- available the full complement of Ele-
(left). This converts the 16-bit file to and 8-bit tures to Photoshop Elements, over 100 ments XXL 2 features.
file with embedded 16-bit data. When you are
of which are new to this latest release of
finished editing, you convert the image back
to a flattened 16-bit file from the Render menu Elements XXL. FULL INTEGRATION
(right). The available features are dependent Unlike many plug-ins that hide the
ALL PHOTOS © STAN SHOLIK

interface when active, Elements XXL 2 bits. The Render menu of Elements XXL in the Window menu. As with 16-bit support,
integrates completely into the Photoshop 2 includes a Check Bit Depth command these, too, are compromises. The Pen tool ac-
Elements user interface. For users unfamil- that you can use to see the actual bit tually activates the Photoshop Elements Text
iar with Photoshop, this may not seem im- depth of the image. Because of the lack of on a Path tool. Elements XXL 2 has modified
portant, but for Photoshop users it presents full 16-bit support in Photoshop Elements its behavior so that the path is no longer
a workspace that looks very familiar. 12, you are forced into this compromise, deselected when you switch to another tool.
Integration is so complete that if the but at least Elements XXL 2 offers greater In the Tool Options bar for the Pen tool,
additions were not highlighted in blue, you freedom when processing 16-bit images. you click the Modify button, and dots (an-
would have difficulty knowing they are By using the Elements XXL 2 Color chor points) appear along the path. Drag
there. Once you become familiar with the Range feature to create a selection based these dots individually to modify the path.
additions, you can disable the highlighting. on colors and tones, and the Quick Mask To reposition the path, activate the Draw
Photographers who have tested Photo- mode to create a mask from the selec- icon, hold down the Control key and drag
shop Elements and decided to stick with tion, it is possible to perform sophisticated the path to a new position.
Photoshop generally do so because it masking on 16-bit images. The Curves, A major compromise with the Elements
lacks one or more essential tools in their Channel Mixer, Fade and Apply filters are XXL 2 Pen tool is the inability to draw
workflow. For me, Photoshop Elements 12 also available for 16-bit images using the curves. You cannot add an anchor point in
lacks the full complement of adjustment workaround.
layers, especially Curves, and it lacks Below, left: Elements XXL 2 moves the Actions
support for 16-bit images. These needs are SOME COMPROMISES panel above the preview window. The 20 ac-
answered with the addition of Elements Elements XXL 2 also adds a Pen tool at the tions from Photoshop Elements 12 are included,
and you can load others that you create.
XXL 2 to Photoshop Elements 12. bottom of the Tools panel and a Paths panel
Elements XXL 2 not only adds the Middle, left: Additions to Photoshop Elements
provided by Elements XXL 2 are highlighted in
Curves adjustment, it also adds Exposure, blue. They are present throughout the interface
Vibrance, Color Balance, Channel Mixer, and add functionality deep into the menu structure.
Black & White and Selective Color. With Middle, right: With Elements XXL 2 installed,
the adjustment layers already in Photo- you have the ability to covert an image to a re-
shop Elements, the only adjustment miss- editable Smart Object from the Layers menu.
ing is Color Lookup. Those few who have Bottom: After converting the image file to a
figured out how to use it will need to stick Smart Object, I masked the boring sky, replaced
it with a new one, and made adjustments and
with Photoshop. sharpened the image using Smart Filters.
16-BIT RAW POWER

Although you can open a RAW file as a
16-bit image in Photoshop Elements, sup-
port for 16-bit images is lacking for many
tools. Elements XXL 2 performs a work-
around, making a wide range of tools and
filters available to adjust 16-bit images.
The plug-in does this by converting a
16-bit image to a special 8-bit document
with embedded 16-bit data. You can then
apply smart filters and add layers, make
adjustments and finally render everything
to a new flattened 16-bit image.
You can save the 8-bit workaround
image and return to it at a later time,
make further adjustments and render a
new flattened 16-bit image. There are 29
tools available to use on 16-bit images in
Elements XXL 2, as well as the ability to
switch between 8-bit and 16-bit modes as
needed. The workaround is a compromise,
as the final rendered image may end up
with an actual bit depth of less than 16
first exposure
XXL 2. For example, it is coded as an 8-bit

program to make it compatible with versions
of Photoshop Elements prior to 12, so it slows
the opening of Photoshop Elements and
exacts a slight performance penalty.
Unlike with most other plug-ins and pro-
grams, each Elements XXL 2 license only
allows installation on a single computer.
But with a cost of $49.95 for a huge gain in
the direction of the curve like in Photo- Above: Elements XXL 2 adds a Pen tool to functionality, I don’t see this as a big issue.
shop. You must draw segments and later drag the bottom of the Tools panel (left). You
access the Paths panel (right) and its options
With the street price of Photoshop Elements
the dots into precise position around curves. for naming and working with the path from at $60 as I write this, you end up with a
It is slower to do in Elements XXL than in the Window menu. Photoshop competitor for $110. A bigger
Photoshop, but it works. issue is the unavailability of Elements XXL
The Path panel in the Window menu There are hundreds of other additions in 2 for Mac users not running Windows emu-
works in conjunction with the Pen tool. A Photoshop Elements introduced by Elements lation software. A Mac version is promised
path you create is a temporary Work Path XXL 2. There is even a separate Elements soon, and I’m hoping there will be a 16-bit
until you make it permanent by giving it a XXL 2 preferences panel. From it you can Windows version available soon.
name. The Path panel provides options for decouple Elements XXL 2 from Photoshop Elements XXL 2 still lacks a few Photo-
saving, duplicating, deleting and renaming Elements without uninstalling it, restoring shop features such as CMYK, video and 3D,
the path. You can also convert the path to a Photoshop Elements to its original form. You but if you never needed these in Photoshop,
selection or a shape, fill and stroke the path, can easily reactivate it from File>Automate. the Elements XXL 2 plug-in for Photoshop
and make it a clipping path from the Path Elements may be an economical alternative
panel. All of these options are unavailable in FINAL THOUGHTS to your current imaging software. Elements
Photoshop Elements 12. I found only a few downsides to Elements XXL 2 is available at thepluginsite.com.
www.koylab.com
110 RANGEFINDER MAY 2014 To request more information see page 119
© Betina La Plant
presents
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dslr video
Picking the Right Headphones

for Quality Audio
Tips and recommendations on how to make
your DSLR video sound as good as it looks. AUDIO-TECHNICA
ATH-M50X
BY IBARIONEX PERELLO The collapsible design of the Audio-
Technica provides for convenient por-
tability, while not skimping on durability
or comfort. Its 45mm Neodymium
drivers deliver an extended frequency
range for well-defined lows and highs.
Its ear cups can be swiveled 90
degrees, allowing for single-ear use,
which can be a big convenience when
recording on location. It weighs 10
ounces.
Price: $169
www.audio-technica.com
Multi-Purpose Headphones
The best choice in headphones is directly
related to how you intend to use them.
Under ideal circumstances, you would be
using two different types for your mul-
timedia productions. The first would be
used for monitoring audio when it’s being
recorded on location. The other would
be used for monitoring the audio during
editing and mixing. The former could be
in an environment where there is a lot of
ambient sound, while the editing space of
the latter will likely be relatively quiet.
Closed- and Open-Back

Headphones
These typically fit over your ears so little
W
hen I’m working on a movie recorder and lastly, but no less important, to no sound escapes into the outside
I shot with my DSLR, I want a good set of headphones. world and vice versa. They are favored for
the finished product to not just Though headphones or ear buds are work in a studio because when a singer
look good, but to also have quality sound. pretty ubiquitous in a world where we are is recording his/her vocals, no sound is
Achieving the visuals are often the easy constantly jacked into our smartphones, allowed to bleed out from the headphone
part with today’s cameras, which are ad- film work requires a higher grade of to be picked up by the microphone. Such
ept at delivering excellent sharpness, color headgear to ensure that you are recording headphones have not always been known
fidelity and that shallow depth of field the best audio possible. And while it can for providing the best audio experience,
that was once the sole domain of motion be tempting to use the ear buds that came but they do provide the right degree of
picture cinematographers. with our phones to monitor audio, they’re information to detect the final details that
To get my audio to a similar premium not the best choice. The bottom line: an can weaken audio.
level, however, I incorporate several high- investment in a good set of headphones is Open-back headphones are designed
quality microphones, an external digital essential when producing quality video. with an open back, which allows air and

dslr video
sound to pass through, providing a richer

and more satisfying sound. They don’t
isolate the sound in the same way that
closed-back headphones do, which can be
an issue when you are recording or editing
in a noisy environment. Though ideal for AKG K271 MKII BEYERDYNAMIC DT 150
editing in a quiet environment, they won’t The AKG K271 MKII is an over-the-ear The stylishly designed Beyerdynamic
be ideal for recording audio on location— style headphone designed with 30mm DT 150 headphone delivers excep-
such as at a wedding where there is a XXL transducers for a full range of tional sound quality along with its own
considerable amount of ambient sound. sound including solid bass response unique look. It incorporates a neodym-
with well-defined highs. It provides a ium magnet system to deliver well-
Ideally, you would have two separate high degree of comfort with an easy- balanced, accurate sound and ample
headphones for recording and mixing, but to-use self-adjusting headband. It also noise isolation. It includes a single-sid-
if your budget limits you to just one, a features replaceable ear pads and a ed detachable cable and well-padded
closed-back headphone may provide the mini XLR connector for replacement of earpieces and headband for optimal
best alternative. the cable. It weighs 8.5 ounces. comfort. It weighs 8.82 ounces.
Price: $199.99 Price: $269
www.akg.com north-america.beyerdynamic.com
Sweetened vs. Flat Response
There has been an explosion of branded
headphones during the past several years,
which are touted for their great bass
response and their ability to deliver an
amazing audio experience when listening
to music. And while they may be great
for listening to everything from Chopin
to Eminem, they may not be ideal for
monitoring audio.
Many of these branded headphones
are optimized specifically to enjoy music.
Their audio has been “sweetened” to de-
liver a strong, well-defined bass and crisp,
clean highs. They provide a full sound, SENNHEISER HD 380 SHURE SRH440
which is pleasing to the ear and shows off The collapsible design of the The lightweight Shure SRH440
the music at its best. Sennheiser HD 380 Pro headphone headphone features a closed-back
provides for easy portability without design that helps accentuate the
But what’s great for music is not neces-
sacrificing audio quality. Its large driv- strength of its large drivers, which
sarily best when you are monitoring audio ers and patented diaphragms design deliver detailed audio with a full
while recording and/or editing and mixing deliver accurate sound with minimal range of sound. The collapsible
the audio in post. For that, you want a distortion. Its single-sided, user- design includes swivel ear cups
headphone that delivers a flatter response. replaceable cable provides a variable for convenient single-ear monitor-
Though this may not provide as pleasing degree of slack and is resistant to ing. The ear cups are well padded
tangling. It weighs 7.7 ounces. and are user-replaceable, as is the
a sonic experience as a sweetened head- single-side cable.
phone, it’s the better choice for discerning Price $135.99
en-us.sennheiser.com Price: $99.99
the subtle qualities of sound. This is es-
www.shure.com
pecially important when you are cleaning
and mixing audio.
SONY MDR-V6
Seeking Comfort
Though it’s tempting to judge the comfort The popular Sony MDR-V6 is an affordable monitor
headphone that delivers excellent quality at an af-
of a headphone based on a few minutes of fordable price. Its closed-back design reduces exter-
wear, it’s important to gauge how they will nal noise, while its ear pads provide a good level of
feel over an extended period of use, which comfort for long-term use. They are designed using
can be anywhere between 20 minutes to 40mm drivers that deliver a strong sound with rich
several hours. Your choice is one you are clarity. It weighs 8.1 ounces.
going to have to live and work with for Price: $82.99
www.sony.com

when you’re
behind the camera,
is behind you.
Your go-to resource for professional

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SAME DAY SHIPPING

on most orders till 8PM
dslr video
many years. So, it’s a decision that should

involve thoughtful consideration.
Film work requires a higher grade of headgear
Circumaural headphones (or over-the-ear than the ear buds that come with your phone. The
headphones), can have either a closed-back bottom line: an investment in a good set of head-
or open-back design. These models cre-
ate a seal around your ears, which provide
phones is essential when producing quality video.
excellent sound isolation. With this type of
headphone, it’s good to choose a model that
use over an extended period of time. You noise. Avoid purchasing extra-long or
is slightly larger than your ears so that they
want to avoid looseness that will result in inexpensive cables, as they can introduce
aren’t squeezed uncomfortably for long
the headphones slipping off your head—find signal noise, which can result in a less-
periods of time. Pay careful attention to the
headphones that provide just enough hold to than-accurate listening experience.
cushion around the earpiece and how it feels
maintain their position. While choosing the right headphones
against your skin.
can sometimes seem overwhelming, the
Supra-aural headphones rest on your ears
Accessories suggestions on page 114 are meant to fit
rather than encompassing them but don’t
A good set of headphones can last you for a variety of needs and budgets. And
isolate sound in the way that circumaural
years, but you can extend the life of these although some of these choices may
headphones do.
units if they have the ability to have key involve a solid investment in money, it’s
The earpieces are connected via a head-
components replaced. important to remember that it’s a piece
band, which can greatly influence your
When you invest in high-quality of gear that you will likely continue
comfort level. Though they will offer some
headphones, you should expect a well- using long after you have replaced your
level of adjustment, the tension offered by
shielded cable, which will reduce signal camera twice or even three times.
some designs can be too tight to allow for
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EK
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“I absolutely day such
just makes the
saw fit,” recounts and confidence in me, it inside
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Alexis.daloni@emeraldexpo.com
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photo finish
PHOTO © JOHN MALOOF 2014
FINDING JOHN MALOOF

BY DAVID J. CAROL
J
ohn Maloof has gained a great deal of notoriety since click...something about that is so satisfying to me.”
discovering street photographer Vivian Maier’s nega- Maloof adds that while there is some overlap with photog-
tives at an auction in 2007. He has produced two mono- raphy and cinematography—“in both you are composing,
graphs of her work and made his directorial debut with a judging light, what to put in the frame, etc.”—the main differ-
documentary titled Finding Vivian Maier (which opened in 75 ence is that street photography is “more intuitive and reflex-
theaters this past March). What people may not know about ive than cinematography because the anticipation of a scene
Maloof, however, is his personal love of street photography. about to unfold and hitting the shutter at the right moment
“I got into photography after being inspired by Vivian Maier’s is a lot more difficult than just rolling tape on a scene.”
negatives,” Maloof explains. “From there I became obsessed
with the art form. Unlike painting, which I dabbled in prior To see more of the photographer’s work, visit
to this, the idea that I can make an image with every shutter www.johnmaloof.com

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Learning from the

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