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©David Sixt
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David Sixt
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PROFESSIONAL PRINTS
4 www.ppmag.com
PROFESSIONAL
Senior EditorJOAN [email protected]
Editor-at-LargeJEFF KENT
Art Director/Production ManagerDEBBIE TODD
Creative Services Manager/Publications & SSACHERYL [email protected]
Creative Services Coordinator
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EDITORIAL
Director of PublicationsJANE GABOURY
[email protected] attentionTHERES NO SUBSTITUTE FOR DILIGENCE
Technically, I was on holiday. But reality found me seated at my
kitchen counter in the still-dark morning hours, toiling away on two
laptops and a smartphone. I was organizing personal documents and
photos on my Mac, updating two Twitter accounts and one Facebook
page on my work computer, and reading
messages from three email accounts (two
personal, one work) on my iPhone. Oy.
My husband shuffled into the kitchen
sometime after the sun was up. What are
you doing? he asked. I thought I was being
efficient, making use of the pre-dawn hours
to catch up, get ahead, do more. And just
like that I saw myself through his eyes.
What I was doing was, in fact, ridiculous
multitasking madness that allowed no single
thing the luxury of my undivided attention.
And as has happened so often in my
publishing career, the very next issue I
worked on, this one, had lessons that spoke to the very topics that
had been prickling at the back of my mind. Those lessons spoke of
patience, of time, of attention. Working frenetically is a poor
substitute for working diligently.
Photographer David Sixt (Slow and Steady, page 66) shines as
an example of patient attentiveness rewarded. Having taken a passel
of college photography courses as continuing education, he began
working as a part-time pro while he maintained his day job. In fact,
he continued to hold his full-time teaching position for years while
he put in the hours he needed to hone his craft and nurture a small
business. He has an enviable body of work to show for it.
Wed all like to take a short and speedy route to success, but as
Larry Spencer asks rhetorically in this issue, How many prodigies
are there really ?
Editorial OfficesProfessional Photographer
229 Peachtree Street NE, Suite 2200, Atlanta, GA 30303-1608 U.S.A.404-522-8600, fax: 404-614-6406
Professional Photographer (ISSN 1528-5286) is published monthly Subscriptions
Professional Photographer P.O. Box 3606, Northbrook, IL 60065-3606, 800-742-7468;
fax 847-291-4816; [email protected]; www.ppmag.comMember Services
PPA - Professional Photographer 800-786-6277, fax 404-641-6400, [email protected], www.ppa.com
Advertising materials contact: Debbie Todd, [email protected] rates/information: U.S. Print: $27, one year; $45, two years; $66,
three years. U.S. Print and Digital Combo: $37, one year; $65, two years; $96, threeyears. Canadian Print: $43, one year; $73, two years; $108, three years. Canadian
Print and Digital Combo: $53, one year; $93, two years; $138, three years. International: $19.95 one year digital subscription.
Back issue/Single copies: $10 U.S.; $15 Canada; $20 International.PPA membership includes: Domestic $17.50, Non-Domestic $42 annual subscription. Subscription orders/changes: Send to Professional Photographer, Attn: Circulation
Dept., P.O. Box 3606, Northbrook, IL 60065-3606; 800-742-7468; FAX 847-291-4816; email: [email protected]; Web site: www.ppmag.com.
Periodicals postage paid in Atlanta, Ga., and additional mailing offices. Postmaster: Send address changes to Professional Photographer magazine,
P.O. Box 3606, Northbrook, IL 60065-3606Copyright 2014, PPA Publications & Events, Inc. Printed in U.S.A.
Professional Photographer (ISSN 1528-5286) is published monthly for $27 per year by PPAPublica tions and Events, Inc., 229 Peachtree Street, NE, Suite 2200, International Tower, Atlanta,GA 30303-1608. Periodicals postage paid at Atlanta, Ga., and additional mailing offices.
Acceptance of advertising does not carry with it endorsement by the publisher. Opinionsexpressed by Professional Photographer or any of its authors do not necessarily reflectpositions of Professional Pho tog raphers of America, Inc. Professional Photographer, officialjournal of the Professional Photog raphers of America, Inc., is the oldest exclusively professionalphotographic publication in the Western Hemisphere (founded 1907 by Charles Abel,Hon.M.Photog.), incorporating Abels Photo graphic Weekly, St. Louis & CanadianPhotographer, The Commercial Pho tog rapher, The National Photographer,Professional Photographer, and Pro fes sional Photographer Storytellers.Circulation audited and verified by BPA Worldwide.
Contributing EditorsDON CHICK & ELLIS VENER
LIKE us on Facebookto continue the discussionand share your experiences.
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JANE GABOURY, DIRECTOR OF PUBLICATIONS
Booth #1558
psi loveyoubooks.com
EVERY LOVE
STORY IS EPIC.
REALLY TELL IT.
Photos +
Story +
Mementos =
The Photo Storybook.
Firs
t Loo
k
Afte
r a
mor
ning
of
hair
and
mak
eup
with
the
girl
s, C
atie
s s
iste
rs h
elpe
d
her
into
her
wed
ding
dre
ss
an
emot
iona
l mom
ent a
ll it
s ow
n. S
oon
she
and
Chr
is w
ould
be
face
-to-
face
, st
andi
ng o
n th
e pr
ecip
ice
of t
he m
ost
exhi
lara
ting
even
t in
thei
r liv
es th
us fa
r. Th
e an
ticip
atio
n of
see
ing
Chr
is fo
r
thei
r F
irst
Look
was
pal
pabl
e. C
atie
sto
od a
t th
e do
or,
abse
ntm
inde
dly
wrin
ging
her
hand
s as
last
min
ute
prep
arat
ions
wer
e m
ade
for
a de
sign
ated
mee
ting
plac
e. O
nce
settl
ed, s
he s
tepp
ed o
ut in
to th
e op
pres
sive
hea
t of n
inet
y-pl
us d
egre
es, u
nusu
al fo
r a
Sep
tem
ber d
ay in
Wis
cons
in, a
nd b
egan
wal
king
tow
ard
the
tree
line.
It w
ould
be
ther
e,
in th
e sh
ade
of th
e th
ick
pine
s, th
at s
he a
nd C
hris
wou
ld h
ave
a fe
w p
reci
ous
mom
ents
toge
ther
bef
ore
taki
ng a
leap
of f
aith
and
of l
ove
At
rst
we
didn
t kn
ow w
here
we
wer
e go
ing
to d
o th
e Fi
rst
Look
, C
atie
rec
alls
, b
ut
we
deci
ded
to s
tand
in fr
ont o
f thi
s cu
te p
rop
outh
ouse
. It w
as re
ally
real
ly h
ot th
at d
ay,
than
k go
d w
e w
ere
stan
ding
in th
e sh
ade,
I w
as o
n th
e le
ft si
de o
f the
out
hous
e so
Chr
is
coul
dnt
see
me,
and
he
was
wal
king
tow
ard
us o
n th
e rig
ht s
ide.
. I w
as n
ervo
us a
nd
real
ly e
xcite
d, b
ecau
se I
didn
t kn
ow h
ow h
e w
as g
oing
to re
act.
I was
full
of jo
yful
tear
s,
I was
hol
ding
my
head
up,
bec
ause
that
s w
hat I
do
if I d
ont
wan
t to
cry,
and
I di
dnt
wan
t
to s
tart
baw
ling
befo
re th
e ce
rem
ony.
The
n C
hris
cam
e to
whe
re I
was
sta
ndin
g, w
ith a
sca
rf tie
d ar
ound
his
eye
s, s
o he
coul
dnt
see,
one
of m
y pe
rson
al a
ttend
ants
for t
he d
ay w
as le
adin
g hi
m to
us.
And
like
I sai
d, I
was
real
ly n
ervo
us, I
don
t kn
ow w
hy
why
sho
uld
I be
nerv
ous?
b
ecau
se I
ve
been
with
him
for t
hree
yea
rs, a
nd I
know
he
d se
en m
e do
lled
up b
efor
e. B
ut th
is w
as
diffe
rent
, of c
ours
e. I
was
won
derin
g ho
w h
ed
reac
t, th
inki
ng,
If he
sta
rts
cryi
ng th
en I
m
goin
g to
sta
rt c
ryin
g I
was
full
of jo
y at
the
sam
e tim
e it
s o
ne o
f tho
se m
omen
ts th
at
you
know
you
can
nev
er g
et b
ack,
so
I tho
ught
, G
osh,
I ho
pe th
is tu
rns
out t
he w
ay it
s
supp
osed
to.
And
yes
, it d
id!
...i
ts
on
e of
th
ose
mo
men
ts t
ha
t yo
u k
no
w y
ou
ca
n n
ever
get
ba
ck, s
o I
tho
ug
ht,
Go
sh,
I h
op
e th
is t
urn
s o
ut
the
wa
y it
s s
up
po
sed
to.
An
d y
es, i
t d
id!
Photo by: Ann Naugher, M. Photog., CPP previous Sunset Award winner, Southeast PPA District
Recognized!GetThe Sunset Print AwardAwarded at select PPA events and other competitions with a national recipient chosen from among the winners.
Learn more at: sunsetprint.com
SLOW AND STEADY David Sixt pairs passion with patience by Jeff Kent
EQUAL OPPORTUNITY As the legal recognition of gay marriage increases, a lucrative market growsby Lorna Gentry
FUELED BY CHANGE Diverse streams feed the ever-wanderingElia Locardiby Aimee Baldridge
TRAVEL: EXPEDITIONS IN BEAUTY
Travel Photographer of the Year Susan E. Frostby Karin Leperi
WEDDINGS: MORE THAN A PRETTY PICTURE
Larry Spencer on what it means to be a good wedding photographerby Stephanie Boozer
IMAGE BY LARRY SPENCER
98
86
110
66
76
Features
CONTENTSFEBRUARY 2014
DEPARTMENTS14 Feedback
16 Folio
121 PPA today
130 Good works
C O N TA C T S H E E T24 Kathy Drake-Dabbs:
Very special delivery
26 PPA media earn kudos
26 Giveaway of the month
PROFIT CENTER29 What I think:
Larry Spencer
30 Ask the experts
32 Is the plan working for you?by Bridget Jackson
34 Marketing youby Angela Pointon
36 Youre certified. Now what?by Julia Boyd
38 Less confrontation, more conversationby Fuzzy Duenkel
THE GOODS45 What I like: Susan Frost
46 Lens roundup: Glass actionby Stan Sholik
54 Pro review: Tamron SP 24-70mm f/2.8 lensby Pete Wright
56 Pro review: PhotoShelter Beam Portfolio by Ellis Vener
60 Pro review: Viewsonic VP2772 by David Saffir
ONLINEppmag.com/profit-centerFree checklist: Infuse personalityinto your businessby Angela Pointon
ppmag.com/winEnter to win this months giveaway
ppmag.com/tryeduVideo: The Wedding Consultation:Make it Effectiveby Carrie Wildes
8 www.ppmag.com
PROFESSIONAL PHOTOGRAPHER | FEBRUARY 2014 | WWW.PPMAG.COM
CONTENTS98
IMAGE BY SUSAN E. FROST
ON THE COVERDavid Sixt, M.Photog.Cr., CPP, made this Loan Collectionimage during the brides portrait session at her grand-mothers home. He used a Canon EOS-1D Mark IV camerawith a 24-105mm f/4L lens at 80mm for an exposure atf/4 for 1/60 second. A spot meter reading was taken justbelow the subjects eye. My main concern was to makesure I had detail in the shadow and highlight areas, saysSixt. I do many portraits in outdoor settings, but work-ing in someones home is always special since the sur-rounding elements have so much more meaning to them.
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Professional Photographers of America229 Peachtree St., NE, Suite 2200Atlanta, GA 30303-1608404-522-8600, 800-786-6277FAX: 404-614-6400, www.ppa.com
2013-2014 PPA boardpresident*RALPH ROMAGUERA SR.M.Photog.Cr., CPP, API, [email protected]
vice president*SUSAN MICHALM.Photog.Cr., CPP, [email protected]
treasurer*MICHAEL E. TIMMONSM.Photog.M.Artist.Cr., CPP, [email protected]
chairman of the board*TIMOTHY WALDENM.Photog.Cr.,Hon.M.Photog, [email protected]
directorsDON MACGREGORM.Photog.Cr., [email protected]
ROB BEHM, M.Photog., [email protected]
LORI CRAFT, [email protected]
STEPHEN THETFORDM.Photog.Cr., [email protected]
AUDREY L. WANCKETM.Photog.Cr., [email protected]
MIKE [email protected]
GREG DANIELM.Photog.Cr., [email protected]
MARY FISK-TAYLORM.Photog.Cr., CPP, ABI, [email protected]
industry advisorLOU [email protected]
PPA staffDAVID TRUST, CAE Chief Executive Officer [email protected]
SCOTT KURKIAN, CAEChief Financial OfficerChief Operating [email protected]
JULIA BOYDSenior Manager [email protected]
JANE GABOURYDirector of [email protected]
KRISTEN HARTMAN Director of [email protected]
FIONA HENDRICKSDirector of [email protected]
WAYNE JONESDirector of Sales & Strategic [email protected]
ANGELA KURKIAN,M.Photog.Cr. Director of [email protected]
SCOTT MORGAN Director of [email protected]
WILDA OKEN Director of [email protected]
CARLA PLOUIN Director of Marketingand [email protected]
SANDRA LANGExecutive [email protected]
*Executive Committee of the Board
12 www.ppmag.com
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KENNY ROGERS ROCKS THE SHOT
It is beautiful!
Kenny, keep
doing what you
are doing!
Amy Doerring
I love the simplic-
ity, natural feel
of the image.
Something everyone can relate to. Great job
on reaching out to all of us.
Renee Watts Glascock
Look at the detail in this shot. Remarkable.
Wayne Remines
This is an awesome image!
Cindy Romaguera, M.Photog.Cr.
As a fellow photographer, Id like to say great
work to Kenny. You can see the skill in this.
John Rycroft
I love the images and the article in the magazine!
Naomi Malkowski
What the Kenny Rogers?
Mark Betts
Thanks, everyone!
Kenny Rogers, Hon.M.Photog.
EDUCATIONAL AND INSPIRATIONAL
For years Professional Photographer magazine
has been the most helpful tool, besides classes,
to educate and inspire. When I am done read-
ing them cover to cover I pass the issues on
to photo educators to help get young pho-
tographers interested in our art.
Marie Curtis, M.Photog., CPP
Since joining PPA several months
ago, I always look forward to my
@PPmagazine. You guys rock!
@CVillePhotoLLC
Sorry for my bad English; Im French
speaking. Thank you a lot for your
beautiful and helpful magazine. Its the first
true professional photographer magazine on
the markethelpful tips and inspiring people
like Joseph and Louise Simone (State of the
Art, October 2013). Im always happy to
find in my mailbox this gift once a month.
Normand Laporte
INAPPROPRIATE IMAGESI wanted to send a quick note of concern
after reviewing the December 2013 issue. I
happened to open the magazine right to the
article about boudoir photography (Siren
Song). I was quite appalled and very upset
about the images you chose to use. While I
understand it is a very popular genre of photog-
raphy and I respect that, I dont believe the
images you chose were appropriate for this
setting. I would not be comfortable with my
husband opening our magazine and coming
across those images as well as any potential
client or a close friend.
Lesley Geers
14 www.ppmag.com
SEEKING FEEDBACK: If ProfessionalPhotographer is on your mind, tell us whatyoure thinking. Send your questions andcomments via these channels:
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Discover more online at XXXCMBDLSJWFSJNBHJOHDPNt
Mosaicalbums
Mosaic Leather AlbumsAvailable in 8x8, 10x10 and 12x12, our Mosaic Albums are handmade
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Photos courtesy of Elise Ellis, Melissa DeWitt and Kelly Broyles.
16 www.ppmag.com
folio| Showcasing images selected from the files of the PPA Loan Collection, Folio is a monthly sample ofaward-winning photography from the most recent International Photographic Competition (IPC), which is open to all professional photographers. The current Loan Collection is a select group of morethan 600 photographs chosen for distinction by the IPC jurors. ppa.com/IPC
ROXY AND FLOPSYBarbara Breitsameter specializes in artistic pet photography at Poppy Blue Photography in Chicago. She made Roxy and Flopsy for a client whobrought six Pembroke corgi puppies to her studio. With small dogs I like to compose the image using nooks and crannies, Breitsameter says.She placed the puppies in an old green locker. The breeder stood by and talked to them, inspiring these priceless expressions. poppybluephoto.com
CAMERA & LENS: Canon 5D Mark III camera, Canon EF 135mm f/2L USM lensEXPOSURE: 1/125 second at f/5.6, ISO 200LIGHTING: AlienBees 1600 strobe main with 7-foot Westcott Octabank soft box at a 90-degree angle from the subjects, Studio TitanSide Kick Light Stand, PocketWizardsPOST-CAPTURE: Custom white balance in camera, Adobe Photoshop Lightroom 4, Topaz Adjust 5 for select details
Barbara Breitsameter
February 2014 Professional Photographer 17
Jerry Stevenson
BOBBYThe eponymous subject of Bobby, says its
creator, Jerry Stevenson, is a friend and formerHollywood stuntman and character actor whose
face I have always found to be intriguing. I amespecially drawn by his captivating, haunting
eyes. Stevenson Studio in Upland, Calif.,specializes in portraits. stevensonstudio.net
CAMERA & LENS: Canon EOS 5D Mark II camera,Canon EF 85mm f/1.2 lens
EXPOSURE: f/8 for 1/125 second, ISO 100LIGHTING: One monolight modified by a white
umbrella directly in front of the subjectPOST-CAPTURE: Processed in Adobe Lightroom.In Adobe Photoshop, Stevenson used the Clone toolto apply a 50-percent gray layer to fill in lights anddarks. He applied additional effects in Nik software.
PRISTINEGrowing up on the plains of Oklahoma, BobbyWheat was captivated by images of the grandmountains of the Pacific Northwest. They seemedto embody the essence of what I viewed asparadise, says Wheat. The mountains neverseem more majestic than when covered in apristine coat of snow in mid-winter. He capturedPristine after hiking several hours into MountRanier National Park in Washington, a gooddistance from Wheats home base in Las Vegas.He specializes in fine-art landscape and cityscapephotography using medium- and large-formatfilm cameras. bobbywheat.com
CAMERA & LENS: Fuji GX617 panoramic camera,180mm Fujinon lensFILM: Fujifilm Velvia EXPOSURE: f/32 for 4 seconds, ISO 50LIGHTING: Natural lightPOST-CAPTURE:Drum scanned the film, correctedand resized for printing in Adobe Photoshop
Bobby Wheat
Carrie Stadelman
WOLF ON THE ROCKSI never intended to be a productphotographer, but I found that I enjoylooking at a product and envisioning ascene with it, says Carrie Stadelman,CPP, of Wolf on the Rocks.Stadelman finds that creatingcommercial images in between herportrait work at Freeland Photographyin Jackson, Mich., keeps her fresh andcreative. Her goal was to best herLoan Collection image from last year.I knew what I wanted the image tolook like from the first moment I sawthis bottle, says Stadelman. I dontgo into my commercial images withouthaving a vision of my end result.freelandphotos.com
CAMERA & LENS: Nikon D700camera, Nikkor 24-70mm f/2.8 lensEXPOSURE: Dog 1/125 second atf/5.6, ISO 100. Bottle 1/25 secondat f/13, ISO 400. Smoke (dry ice) 1/30second at f/13, ISO 400LIGHTING: Dog AlienBees B800main with homemade snoot directlyabove subject; bottle AlienBeesB800 main above and in front withAlienBees B400 background light;smoke AlienBees B400 backgroundlight to illuminate the smoke,AlienBees B800 spot light to the leftof the glassPOST-CAPTURE: Adobe Lightroom 2,Photoshop CS4 for compositing andmajor retouching
FORBIDDEN FRUITForbidden Fruit (above) is one of a series of portraits by Maria Moore, CPP, for her2014 senior model campaign. The concept of the shoot was a flower princess, explainsMoore from her Huntsville, Ala., home studio. Outfits and headpieces were constructedby Maria Moore Photography, which specializes in family and senior photography. Thename for the image came from the models expression and overall look, says Moore. Shelooks like a young girl, yet her eyes show the intensity of a woman.mariamoorephotography.com
CAMERA & LENS: Canon EOS 7D camera, Canon 70-200mm f/2.8L lens at 70mmSETTINGS: 1/125 second at f/2.8, ISO 100LIGHTING: AlienBees 800 monolights, Paul C. Buff modifiers, CyberSync triggers; mainmodified by a large soft box, hair light modified with a strip box with a gridPOST-CAPTURE: Adobe Photoshop Lightroom 4 raw processing, Photoshop 5
THE TIES THAT BINDIt started as a regular studio session of a couple when the idea arose of using the borderof the rug to frame the image, says Jeff Bowman M.Photog.Cr., CPP, of The Ties thatBind (left). Bowman, who specializes in portraiture at his Chester, Va., studioCommonwealth Photography, then simply mounted the camera to the ceiling and shotstraight down. commonwealthphoto.com
CAMERA & LENS: Canon 5D Mark II camera, Canon 17-35mm f/2.8L lens EXPOSURE: f/13 at 1/125 second, ISO 100LIGHTING: Larson 4x6-foot soft box, white reflectorPOST-CAPTURE: Adobe Photoshop Lightroom processing, Photoshop painting and editing, Nik filters
Maria Moore
Jeff Bowman
The OM-D lets me get great shots because its rugged and durable. In this shot, I was shooting when the dust was the thickest because it enhanced the light. I even changed lenses and Ive yet to have a dust problem with my OM-D system.
-Jay Dickman, Olympus Visionary Shot with an OM-D, M.Zuiko ED 75-300mm f4.8-6.7 II
Move into a New World
0 5 ; 96+
CONTACT SHEETWhats New, Cool Events, Interesting People, Great Ideas, Etc.
Its a fact that babies arrive on their own
schedule regardless of whether the parents, the
doctoror the photographerare ready.
Last summer, Leslie Kitten, Cr.Photog., CPP, of
Savant Photography in Lubbock, Texas, hired
friend and fellow photographer Kathy Drake-
Dabbs, CPP, of Drake Design Photography, also
in Lubbock, to photograph the birth of her
third child. A week and a half past its due
date, the baby showed no signs of appearing,
so Kitten was scheduled for a labor induction
on Sept. 5. She arrived at the hospital early
that morning feeling strong labor pains, and
she texted Drake-Dabbs at 6:30 a.m. urging
her to meet her there ASAP.
Having photographed the delivery of Kittens
second child, which came moments after
Kitten was told to expect several more hours of
labor, Drake-Dabbs realized she had to hurry.
I knew Leslie had fast labors, she says. And
I knew she had chosen not to have an epidural,
which takes away some of the control. She
rushed to hospital, arriving by 7:15.
Thinking that Kittens labor would progress
for some time, her doctor returned to his nearby
office, and Drake-Dabbs set up camp in the
room with Kitten and Kittens husband. We
were sitting and chatting, and it suddenly
became intense, says Kitten, noting that what
she thought were contractions turned out to
be the baby moving through the birth canal.
When a third-time mother says Its com-
ing, shes usually right, says Drake-Dabbs,
who hastily paged the nurses. Within moments,
Kitten felt the urge to push. Drake-Dabbs
delivery
K
athy Drake-D
abbs
Nicholas K
itten
Very special Kathy Drake-Dabbs was at the hospital to work
BY STEPHANIE BOOZER
February 2014 Professional Photographer 25
put down her camera, did a quick search to
find gloves, and barely had time to catch
baby Clara Ann in a surgical towel. Nurses
rushed to the room immediately because the
babys heart rate monitor fell silent when
she was delivered.
Fortunately for Kitten, there were no com-
plications. And Drake-Dabbs is no ordinary
birth photographer. Prior to launching her
photography business, she had spent 24 years
as a nurse, 16 of them working in labor and
delivery. Now 18 years into her second career,
Drake-Dabbs is naturally inclined toward mak-
ing images of babies. In addition to her studio
and location work, she volunteers her services
to Now I Lay Me Down to Sleep, a nonprofit
organization that provides the gift of photog-
raphy to parents suffering the loss of a baby.
When the nurses arrived at Kittens bed-
side to find that Clara had already arrived,
Drake-Dabbs was able to hand over the baby
and pick up her camera. In the midst of the
medical drama, of course, she hadnt been able
to photograph the delivery. Kitten didnt mind.
Visit Kathy Drake-Dabbs online atkdrakephoto.com and Leslie Kitten at savantphotography.com.
Kathy Drake-Dabbs
The Kitten children: Clara Ann (from left), Georgia June, and Ethan Lawrence
CONTACT SHEET
PPA media earn kudosMagazine and social network honored for excellence
From PPAs oldest media to its youngest,
congratulations are in order.
With a venerable 107-year history,
Professional Photographer continues to
stand at the forefront of editorial and graphic
excellence, as evidenced by a recent flurry of
awards. As a fledgling 16-month-old,
theLoop is PPAs social media platform that
gives professional photographers a network
to call their own. And this baby has legs.
In December, Professional Photographer
was honored with two honorable mentions
by Folio, a magazine that serves the maga-
zine industry. From more than 2,300
entries, the Folio awards program selected
500 finalists that spanned all corners of the
industry to recognize the very best in edito-
rial and design. Its the largest publishing
awards program of its kind.
Magazines that were recognized with Eddie
(editorial) and Ozzie (design) awards included
such diverse titles as Sports Illustrated, People
Magazine, Architectural Digest, Travel +
Leisure, and O, The Oprah Magazine.
Professional Photographer was honored
for the feature article Brutal Beauty by
writer Eric Minton, photography by Howard
Schatz (May 2013) and for the cover design
of the February 2013 issue by Art Director
Debbie Todd, photography by Michael
Potthast, M.Photog., CPP.
These are honors for which everyone at
PPA, members and staff alike, should all feel
very proud, says PPA CEO David Trust.
When you look at the other honorees, it is
easy to see that Professional Photographer
has reached elite status. That being said, our
highest priority is not to win accolades from
the experts in New York City but, rather, to
produce the most relevant content for our
readers month in and month out.
The national recognition by Folio came
after Professional Photographer was cele-
brated in a prestigious regional competition
hosted by the Magazine Association of the
Southeast (MAGS). The MAGS Gamma
Award program bestowed a record 18 honors
on the magazine for editorial and design
excellence, including the singular Grand
Gamma, which is given to one publication
each year that the judging panel deems the
best of the best.
Professional Photographer magazine is
certainly worthy of winning the Grand Gamma,
said MAGS judge Glenn Himebaugh, pro-
fessor emeritus of journalism at Middle
Tennessee State University. Content is clearly
aimed at the professional photographers who
comprise the bulk of the readership, and the
quality of writing is uniformly excellent.
Also rated excellent in recent months was
theLoop, PPAs private social network. This
sharing platform for professional photogra-
phers has caught fire since its October 2012
launch, with more than 25,000 photographers
having logged on to share all manner of
technical, business, and creative topics related
to their work. The network runs on the Higher
Logic software platform. At the Higher Logic
Users Group Super Forum in December last
year, theLoop won Best Community Site
Redesign. In addition, it was named runner-up
for Community of the Year in a field of more
than 100,000.
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Director of Publications Jane Gaboury (left) and Senior Editor Joan Sherwood were on hand to accept the Grand Gamma award forexcellence in publishing.
26 www.ppmag.com
Will Pollock
Giveaway of the month
Celebration of Smiles is a nationwide fundraiser for Operation Smile, presented by PPA Charities in cooperation with Marathon Press. Participating photographers host an event where clients donate a minimum of $24 for a portrait mini
session and desk-sized portrait, and 100% of donations go to support Operation Smile.
Register & Learn More Now: PPAcharities.com
For every 10 sessions a studio photographs during this Celebration of Smiles event, one child will receive the life-changing gift of surgery from Operation Smile, a worldwide childrens medical charity focusing on facial deformities. Think how many smiles you could
help save by joining in this one-day event! Think how your name recognition and repeat business could grow!
Join in the Celebration of Smiles April 5, 2014
y Celebration of Smiles Marketing Guide & promotional materials you can use. y Studio name & website listed on CelebrationOfSmiles.com. y Weekly reminder emails to keep your marketing on track for the event. y Uplifting goodwill!
*PPA Charities members receive free registration to all of our promotions, visit PPAcharities.com
elebration of Smiles
The Professional Photographers Marketing Partner
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Professional Photographer P R E S E N T S Business, Marketing, and Sales Strategies
What I thinkLarry Spencer keeps raising the bar
Whats the biggest challenge your business has
faced in recent years? Educating clients and
potential clients on the importance of prints
and albums.
What do you wish youd known when you
were starting out? The importance of SEO
and marketing.
What has been your most successful marketing
strategy? Word of mouth, which is the result of
going above and beyond for your clients, as well
as extensive use of social media.
What task would you never outsource? Most
likely, postproduction. I love elevating my im-
ages after capturing them.
Is there something special you do when the
business reaches certain financial goals? Indeed.
I raise my prices.
IMAGE BY LARRY SPENCER
SPENCERPHOTOGRAPHY.NET
Q. In the 12 years my studio has been inbusiness, weve always met with newclients in person to design their portraitsession and discuss product options. Thishas helped distinguish our business andensures were a good fit for clients. Overthe years Ive done three phone consulta-tions with out-of-town clients, and theyveall been busts. We cover everything just aswe do in person only to find out at the ses-sion that our style doesnt suit them or theydidnt understand our product offerings. Idont like to send out our pricing blindlybecause thats not how I want clients to maketheir decision; however, I do want them toknow what to expect as an investment. Werenow getting a lot more inquiries from clientstraveling an hour or more to our studio, andId like to accommodate those families. Howdo we do a phone consultation to ensure agreat experience for them and for us?
A. Im glad to hear that youre doing pre-ses-sion consultations. Spending time with clientsup front was a game changer for my business,and as youve already seen, its a vital part ofthe sales process. Youre right: Its challeng-ing to get clients to come to you for a consul-tation when they have to travel a long distance.While a phone call allows you to share someessential information, it doesnt make theimportant visual connection.
Photography is a visual art, not a literalone, and many times what clients say theywant and what they are truly looking for canbe quite different. When clients come to yourspace they can see your work, share their likes,and point to images that resonate with them.
Instead of simply having a phone conver-sation with out-of-town prospects, considerSkype, Facetime, or a screen share. Usingthese technologies helps you make a morepersonal connection and allows you to showyour style and product offerings. Youll alsobe able to discuss collections theyre inter-
ested in, and instead of having to say yourprices out loud, you can simply share yourpricing guide for them to read. This is impor-tant for two reasons: Saying prices aloud canbe intimidating, and it throws clients intoleft-brain (analytical) thinking.
With a screen share you can show imagesof the products and collections you offer, andthey can start making decisions about whatbest fits their style and dcor. Start collectingimages of previous clients purchases as theyhang in their homes. Not only do people loveto see what others are purchasing, but theyfeel reassured when they see other people arebuying wall collections, setting up that pur-chase as an expectation. Subliminally, it helpsthem justify their purchase.
Angela Kurkian, M.Photog.Cr., CPPPPA Director of Education
Q. I have a question about licensing andselling. A client wants me to take a pictureof her storefront and edit it for use on herwebsite and in her advertising. Theres onlyone image. What is customary in this situa-tion: selling the image at a flat fee for usehowever they want or licensing it at a pricethats based on how they will use it for aspecific period of time?
A. Licensing and transferring copyrights is anindividual decision based on the preference ofthe photographer. Factors to take intoaccount include the scope of use, nature ofthe work, and potential value in retainingrights to the image.
For many commercial jobs, its preferableto license images (whether limited or unlimitedin scope) since it opens the potential for futurework or future income from the assignment ifthe licensing arrangement is non-exclusive. Atransfer is more appropriate if the images arehighly specific to the client, and the photog-rapher doesnt foresee the ability to use theimages in any other way. In transferring rights
to another party, the photographer loses allcopyright interest in the work and would thenneed to seek permission from the client priorto using the image in any capacity.
Either way, its customary to assess a fee.Licensing fees are traditionally commensuratewith the manner in which the image is usedand are assessed on top of any creative fees.A copyright buyout or all-rights transfer alsocarries a fee that could be incorporated intothe creative fee or, like a license, purchasedseparately based on the number of imagesbeing transferred.
Maria MatthewsPPA Copyright & Government
Affairs Manager
PPA Studio Management Services helps photog-raphers build more profitable businesses. Emailquestions to Jane Gaboury, [email protected],to get answers from SMS mentors.
STUDIO MANAGEMENT SERVICESPROFIT CENTER
30 www.ppmag.com
Ask the expertsOut-of-town clients and licensing vs. selling
MENTORS FROM PPA STUDIO MANAGEMENT SERVICES ANSWER YOUR BUSINESS,MARKETING, AND SALES QUESTIONS. FOR INFO ON WORKSHOPS, GO TO PPA.COM.
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February is an ideal time to assess your annual
marketing program. In order to make an
appraisal of your current strategy, you need
to start with the end in mind. How much do
you need to earn in 2014? In other words,
whats your bottom-line goal for the year?
Once you know that financial goal, you can
translate it into the number of sessions youll
need to do at a given sales average by prod-
uct line. Do this exercise annually even if you
met the previous years goals. Your market-
ing efforts need to evolve over time, building
relationships, increasing your footprint in
your market, and solidifying your brand.
Marketing means an investment of time
and money. How much money? PPA
Benchmark recommendations are 6 percent
to 9 percent of gross receipts for a retail stu-
dio, 4 percent to 6 percent for a home stu-
dio. Assessing marketings return on
investment is easiest to ascertain by using
studio management software that tracks
inquiries based on their source as well as
inquiries converted to sales. Dont forget that
the value of your marketing efforts isnt in
the number of inquiries you receive but in
the number of inquiries that are converted
into paying clients. Last year, I laid out a
method for developing a marketing strategy
(Plan to Market, April 2012). For each
product line (seniors, weddings, etc.), youll
want to identify your target client, their pre-
ferred social media, opportunities to engage
with them via co-vendors and charitable
events, and the unique promotions you can
conduct to get their attention.
Once you have identified a marketing strat-
egy for each product line, establish a mar-
keting calendar. To make it easy, download
a free template and adapt it to your needs
(see jupiter-labs.com/free-resources, for
example). PPA Studio Management Services
mentor Mary Fisk-Taylor, M.Photog.Cr.,
CPP, ABI, API, uses a marketing calendar
thats delineated by product line and also
lets her coordinate marketing efforts
between her two studios.
Lets look at an example in social media
marketing. The crazy world of senior pho-
tography changes rapidly. Regardless of what
new social network may capture seniors atten-
tion, photographers who serve the seniors mar-
ket have to stay up to date on them. Its imper-
ative that you are current and consistent in
social media; random posts are a shot in the
dark that wont generate much interest. To
reach the seniors market, Fisk-Taylor uses
an editorial calendar to schedule social media
postings directed toward them specifically.
For example, shell make four original Facebook
posts per month and two or three non-origi-
nal posts. How does she do it with her busy
schedule? She prepares the content in advance
and schedules each item to post at a later time.
Original posts are those that you write
that may feature examples of your work;
non-original posts are links to material that
comes from like-minded vendors who have
the same target audience that youre work-
ing to connect with. Fisk-Taylor links to sto-
ries from the Kaplan Inc. website to provide
college admissions info. For teen-oriented
fashion advice, she turns to online content
from CeciStyle Magazine and Rachel Zoe.
As Fisk-Taylor explains, In an era of
constant busy, instant social media, and
non-stop posting, the idea of long-term
planning has become a luxurya luxury of
time, a luxury of conducting business, and
unfortunatelya luxury that we really cannot
overlook. All businesses, but particularly
small business owners, seem to spend too
much time running from project to project
with very little or no direction. That is why
in planning for my business I try to combine
the concept of a daily to-do list with a broader
and more defined editorial calendar.
Its never too late to create a plan.
Bridget Jackson is manager of PPA StudioManagement Services, which helps photog-raphers make their business profitable. Sheis a certified pubic accountant. Reach her [email protected].
Is the plan working for you?Reviewing your annual marketing program
32 www.ppmag.com
PROFIT CENTER: MAKING MONEY
BY BRIDGET JACKSON
Mary Fisk-Taylor uses an editorial calendar toschedule social media postings directed toward clients in her seniors market.
Real Life Studios
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Last month I wrote about new marketing
opportunities related to video; this month,
lets talk about you.
Many business books delve into the lives
of successful entrepreneurs. In her book
Quiet, Susan Cain reveals countless cre-
ators who appeared to be extroverts but
who, behind closed doors, were pensive,
reserved, and spent hours in quiet contem-
plation. These introverts, trained to be out-
going and verbose, put on a false public face.
Modern media gives us no choice but to be
ourselves. Some people may try to appear to
have more clients than they really do, to be
charismatic when theyre actually shy, or to
be funny when humor doesnt come naturally.
But when posting daily and tweeting hourly
is the typical pace of face time with an audi-
ence, that level of acting is exhausting.
Pretending to be the person you think
your clients want to hire is not a realistic
option. The only alternative is to be yourself.
WHY BE YOU?I dont need to tell you how to be yourself.
Only you know how to do that. Being
openly yourself every day in your marketing
can feel quite strange. This is business,
right? And many of us grew up thinking
there was a place for the business faade
and a place for personal stuff. I know this
feels weird at first because its what I do.
But heres why being you matters so
much when it comes to your marketing.
PEOPLE BUY EMOTIONALLYHuman beings are emotional creatures.
Neuroscientists and leaders in the relatively
new field of neuromarketing study the brain
and purchasing choices that consumers make.
The truth is that consumers cant articulate
the emotional or subconscious reasons why
they buy the things they do. But if there is a
unique product, service, or person behind
the company, the emotional decision-mak-
ing portion of a persons brain is stimulated.
And the converse is true: When there is
little to stimulate emotional purchasing
decisions, peoples choices are made inside
the rational brain. They can easily articulate
these reasons, such as He was cheaper or
She was offering a discount. Since marketers
can hear these reasons because consumers
can specify them, marketers start down the
wrong path of thinking this is the only way a
business can influence a consumer to buy.
HUMANS BUY FROM HUMANSTwitter allows consumers to have instant,
one-on-one conversations with celebrities,
brand representatives, and commercial per-
sonalities. If youre on Twitter, perhaps you
squealed out loud the first time a person you
admire tweeted you back. Your potential
customers are no different. You may seem
like a big deal to them!
Whether through email, a website form, or
a phone call, the ability to talk to customers
is a gift. Take advantage of these opportuni-
ties and treat them as special as they are.
Respond, connect, and communicate.
BEING YOU IS ATTRACTIVEYour ideal clients are people who appreciate
you for who you are. At the end of the day, if
they dont like your work, arent fond of your
personality, or cant relate to where you
come from, they arent likely to hire you.
In his book Unconscious Branding,
Douglas Van Praet suggests that a con-
sumers human desire for social attachment
is accessible to companies by treating buyers
as members of communities whose buying
preferences are a mark of their self-identity.
Be yourself and offer the kinds of images,
products, and delightful surprises that your
ideal consumer appreciates. Youll begin
making connections that no fancy-pants
marketer could ever achieve by faking it.
INFUSE MORE YOUI put together a checklist of the ways in
which you can infuse your personality into
your business and spark your consumers
emotional brain. Download it at
ppmag.com/profit-center.
Angela Pointon advises photographersthrough Steel Toe Images. Visit steeltoeimages.com and click to add her on Google+, Facebook, and Pinterest.
34 www.ppmag.com
Marketing youBeing yourself is the only option
PROFIT CENTER: MASTERING MARKETING
BY ANGELA POINTON
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You passed the rigorous exam and success-
fully submitted your portfolio for review.
Congratulations on becoming a PPA certi-
fied professional photographer. Now what?
First and foremost, you need to let current
and potential clients know about this
achievement and what it means to them
consistent, high-quality photography.
PPA has resources to help CPPs get the
word out about their credential. Start by
watching the video Learn How to Use Your
CPP Resources, found at ppa.com/cpp under
Im a CPP. The video walks viewers through
the process of updating their marketing
plan to take advantage of their certification.
It gives an overview of the materials and
resources available to CPPs with ideas about
how to incorporate certification as a focal
point of your business marketing.
Brian Leavell Ritchey, CPP, and Lisa
Leavell Ritchey, CPP, own Leavell Photog-
raphy in Bridgeville, Pa. After they were both
certified in 2012, they wasted no time incor-
porating the credential into their marketing.
They showcase the CPP logo on their cus-
tomer brochure and include information
inside about what CPP means and why its
important from a clients perspective.
In our studio, our CPP certificates are
prominently displayed above our Better
Business Bureau accreditation plaque, says
Lisa. The Ritcheys explain to all clients
what it means to be a certified professional
photographer and why its important, not-
ing the commitment she and Brian have
made to continuing education and refine-
ment of their craft. During a wedding day
full of once-in-a-lifetime moments, they
remind potential clients, you
want to feel confident that your
photographer will capture those
moments beautifully with the
correct lighting, camera settings,
and posing. We proudly tell
them how rare CPP is, even
more rare for a husband-and-
wife team specializing in wed-
dings. There are very few CPPs
in our area, and we are very
proud to be one of the few with
the designation, says Lisa.
The Ritcheys include the
CPP logo on their website, link-
ing it to the Certification
Makes a Difference page on
ppa.com, which explains certi-
fication and its significance.
Educating your client base is the best
thing you can do to differentiate your busi-
ness in the marketplace. John Webb, CPP,
of A Day in the Life Photography, says he
capitalizes on every piece of CPP marketing
material. We use the advertisement for the
certification process, the materials we were
given, window stickers, logos, says Webb.
He references his certification regularly on
the studios Facebook page as well as in the
studio itself. Webb conservatively estimates
a 25 percent increase in what he classifies
as mid- to upper-tier clients as a result of
marketing his certification.
Stuart Hasson, CPP, of Stuart Hasson
Studios in Marietta, Ga., makes potential
clients feel good about choosing him by
reinforcing their sense of security in hiring
someone with professional credentials.
Once you explain the CPP process and
recertification requirements, your clients
are going to know they made the right deci-
sion going with you as a certified profes-
sional photographer because you take your
business and craft seriously says Hasson.
Christine R. Walsh-Newton, M.Pho-
tog.Cr., CPP, of CWN Photography in
Dover, Ohio, finds great value not only in
the credential but in the certification
process itself. I continue to photograph
and study as if I am preparing for certifica-
tion because I dont believe that achieving
the CPP is the final step in the certification
process, she says. I believe its the first
step in the process of becoming the
absolute best photographer I can be.
Julia Boyd is senior manager of certificationat PPA.
BY JULIA BOYDPROFIT CENTER: PROFESSIONAL DEVELOPMENT
Youre certied. Now what?Put your CPP status to use
36 www.ppmag.com
Leavell Photographys client brochure includes the CPP logo onthe cover and an explanation of the CPP designation inside.
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In the October issue of Professional Photog-
rapher, columnist Kalen Henderson,
M.Photog.MEI.Cr., CPP, API, wrote about
the massive influx of new photographers
and their influence on the industry (No
Highjacking Allowed). A veteran of the photo
business, Henderson shared her opinions
about how the balance between established
studios and relative rookies has changed as
the industry shifts from mostly full-time stu-
dios to many more part-time photographers.
While I wont support or criticize the
points Henderson made, I want to give credit
to Professional Photographer for setting the
stage for a forthright and respectful discus-
sion about what our industry needs. Let me
offer a few items for thought.
WORKING FOR FREEA former high school senior girl I photo -
graphed is now a photographer. Its a com-
mon story and flattering to know we affect
clients so positively that they want to do for
others what we did for them. This woman
isnt a professional (Ill leave it to others to
define that term); she makes photographs
for clients at no charge. But what she told
me was like hearing fingernails on a chalk-
board: Im not hurting your business because
I only photograph my close friends and rela-
tives. I told her that she is certainly free to
follow her dreams. But I added that she is
indeed negatively affecting the business of
professionals because for every person she
photographs, there is one less client who will
seek the services of a professional photographer.
Now multiply that by thousands of people
like yourself who photograph only their
close friends and relatives, and suddenly our
phones stop ringing, I said. Then I advised
her to charge appropriately for her services.
I was polite and understanding of her
zeal, but I was also clear about the effect on
professional studios when this happens
across the industry. Sadly, she took offense,
and I lost her friendship. Maybe one day
shell understand.
MUTUAL BENEFITA short time after I started my career as a
wedding photographer, a local professional
encouraged me to raise my prices because I
was affecting his business. I respected him,
followed his advice, and eventually we both
benefited. That mutual benefit is what todays
BY FUZZY DUENKEL, M.PHOTOG.CR.PROFIT CENTER: MASTER CLASS
Less confrontation, more conversationWhen we give newcomers a hand, we help ourselves, too
38 www.ppmag.com
HOLDERS OF THE PPA MASTER OF PHOTOGRAPHY DEGREE SHARE ESSAYS AND IDEAS IN SERVICE TO THE INDUSTRY
All im
ages Fuzzy D
uenkel
new photographers need to understand.
There always were and always will be new-
comers who dont charge enough, in effect
buying business from established studios.
But the sheer number of new photographers
is devastating the health of the wedding and
portrait business as never before. They fail to
realize that they need to get up to speed on
their business practices if they and the
industry are to survive.
Whenever this topic comes up, there are
invariably voices critical of my point of view,
often misunderstanding my message and
intentions. Its usually a relative newcomer
who lacks a full appreciation of what this busi-
ness is capable of producing for them and their
families. Their assertion is that I need to just
get over it. I dont waste emotional energy by
worrying excessively about individuals who
dont charge enough. Im concerned about
the collective effect of their practices, the
impact of which cannot be ignored.
What I would like to see is rational dis-
cussion about the realities and consequences
of the issues that contribute to instability in
the profession. Those issues include unsus-
tainable pricing, selling full-size printable
files, not owning a portrait facility, failure to
adhere to solid business practices, the absence
of regular hours of operation, and last but
not least, lack of photographic competence.
Before anyone gets insulted, I am not
asserting that any one of those issues is unpro-
fessional by itself. Successful businesses can
be run in many different ways. But many
new photographers are guilty of many of
those deficiencies, which contributes to a
poorer reflection on the industry as a whole.
The structure of the photography business
is changing. We have to accept that and discuss
how we can help each other. We need to carry
on this conversation without being accused
of prejudice against new photographers.
Reasonable business people welcome
change that brings improvement. What we
dont welcome, nor should we be complacent
with, are changes we feel are harmful to the
profession. Henderson voiced her opinion
about forces that are weakening a previously
healthy industry. While we can disagree with
some of her views or definitions, I commend
her for expressing her thoughts, and I hope
the result will be a new dialog that serves as
a foundation for growth. We cant mature
until we acknowledge and accept realities,
respect differences, find common ground, and
build alliances. We can learn and benefit from
each other if we reach out. Theres currently
an us-vs.-them divide that helps no one.
COME TOGETHERA national organization like PPA brings
photographers together, but its also impor-
tant that we meet each other face-to-face at
a grassroots level. I recently invited all the
photographers in my immediate area to come
together and learn some lighting techniques
as a way for us to get know each other.
Many new photographers wont travel
great distances to attend a convention; how-
ever, theyd likely drive across town to learn
a new photography technique, especially if
there is no cost involved.
At a recent convention in Wisconsin,
photographer Serena Sblendorio stood up and
told everyone that she was at the convention
because someone invited her. According to
her, she had been the proverbial MWAC
(mom with a camera). But because a fellow
professional helped her, she obtained a sellers
permit, began paying taxes, and is now proud
to be a professional. The most important mes-
sage she had was about newbies: Stop talk-
ing about them, she said, and talk to them.
That is what we need: less confrontation
and more conversation.
Fuzzy Duenkel operates a small studio inWest Bend, Wis., duenkel.com. He has been amember of PPA since 1993.
40 www.ppmag.com
We cant mature until we acknowledge and accept realities, respect differences, find commonground, and build alliances. We can learn and benefit from each other if we reach out.
TAMARA LACKEY
Professional Photographer P R E S E N T S Products, Technology, and Services
What I likeSusan Frost stays flexible
Whats indispensable when youre
on location? A positive attitude,
flexibility, and a professional
DSLR camera and lens
When you need to move fast, whats
most valuable to you? The ability
to seize the moment. Plant myself
next to a stationery object and have
my Canon 28-135mm image stabi-
lizer lens attached to my DSLR.
Any gear or accessory that youre
lusting after? Canon 5D, Mark III
What could simply not do your job
without? A fast computer and
Adobe Photoshop CS6
Aside from Photoshop, whats your
fave creative imaging software?
Nik Softwares suiteEfex Pro 4,
BW Efex Pro, and HDR Pro
What are your best-selling photo
products? Fine-art abstracts and
florals, and travel images
IMAGE BY SUSAN E. FROST
FROSTPHOTOGRAPHY.COM
A full-frame or APS-C sensor digital SLR
camera is a significant purchase with a limited
lifetime of professional performance. Though
they also often represent a significant pur-
chase price, lenses generally have a far
longer useful life, performing well through-
out many camera body generations. This
makes lens-purchasing decisions even more
important than the choice of camera body.
2013 saw several trends in the introduc-
tion of new lenses, with sports photographers
in particular benefitting from new optics. There
were zoom lenses with greater ranges or wider
maximum apertures and fast new primes.
With the latest generation of high-megapixel
sensors placing greater demands on lens res-
olution, manufacturers responded with lenses
of higher resolution and lower aberration levels
targeted specifically for these new sensors.
A lot of attention has gone to mirrorless
interchangeable lens cameras, and the selection
of new offerings for full-frame and APS-C
sensor digital SLRs is less than it has been in
the past. Youll see the lens offerings reflect
that shift. Here is an overview of some of the
recently released lenses for digital SLRs.
CANONIn May last year, just nine months after
announcing the delivery of its 80 millionth
EF lens, Canon announced the delivery of
its 90 millionth. Lenses in the EF line
include those for EOS digital SLRs as well
as EF Cinema lenses and EF-M lenses for
ES-M cameras. Two new lenses became
available in 2013.
The EF 200-400mm f/4L IS USM
Extender 1.4X Super-telephoto zoom lens,
which was available for use by a few fortu-
nate photographers at the 2012 Olympics,
became generally available for photogra-
phers with deep pockets in 2013. The lens
features an optically matched built-in 1.4X
extenderavailable at the flip of a switch
that increases the maximum focal length to
560mm. The lens incorporates a nine-blade
circular aperture, internal focusing, image
stabilization, a high-speed CPU, and opti-
mized autofocus algorithms. Fluorite crystal
and UD glass are used to minimize chromatic
aberration. The lens retails for $11,799.
The EF-S 18-55mm f/3.5-5.6 IS STM,
originally introduced as the kit lens for the
EOS Rebel 5Ti, became available as a sepa-
rate product in April. The new stepping
motor and focus mechanism in Canon STM
lenses minimizes sound from the lens
motor, allowing the camera to record only
the stereo scene sounds during video record-
ing, not sound from the lens. When paired
THE GOODS: LENS ROUNDUP
The current crop of lenses includes greater zooms, fast primes, and popular formats
BY STAN SHOLIK
Glass action
Canon EF 200-400mm f/4L IS USMExtender 1.4X Super-telephoto zoom lens
Canon EF-S 18-55 f/3.4-5.6 IS STM
46 www.ppmag.com
with the Hybrid CMOS AF in newer Canon
bodies, it allows for smooth and quiet con-
tinuous AF for photo and video capture. The
built-in optical stabilizing system is said to
deliver up to four stops of shake reduction.
Street price is $249.
Another new lens in the STM line is the
EF-S 55-250mm f/4-5.6 IS STM. With a newly
designed high-speed CPU, rear-focus mech-
anism, and an improved AF algorithm for
high-speed performance, it offers video record-
ing without lens noise in a lightweight, com-
pact, 4.5X zoom lens. The new six-group zoom
system provides a maximum magnification
of 0.29X at the telephoto end and a minimum
focusing distance of 2.79 feet throughout the
zoom range. The optical system includes an
ultra-low dispersion lens element to reduce
chromatic aberration. The lens features
Canons image stabilization system, a seven-
blade circular aperture, a non-rotating front
element, and full-time manual focusing when
in autofocus mode. Youll find it priced at
about $349.
NIKONThe year 2013 marked the 80th anniversary
of the launch of Nikkor photographic lenses
and saw the production of its 80 millionth lens.
It also marked the availability of Nikons
AF-S Nikkor 800mm f/5.6E FL ED VR,
which was announced in 2012, making the
lens the longest focal length in the history of
Nikkor autofocus lenses and certainly the most
expensive. Weighing over 10 pounds and meas-
uring 18.15 inches in length, it includes Nikons
vibration reduction system for those photog-
raphers handholding the lens. (Seriously,
Nikon?) Two fluorite and two extra-low dis-
persion (ED) lens elements help to reduce
chromatic aberrations. Included with the lens
is an AF-S Teleconverter TC800-1.25E ED to
effectively increase the lens focal length to
1,000mm f/7.1 (FX format). The teleconverter
itself integrates an ED lens element to main-
tain the high image quality. The lens incor-
porates an electromagnetic aperture system to
provide exposure consistency in rapid shoot-
ing situations, and the electromagnetic aper-
ture mechanism is fully functional when using
the teleconverter. Retail price is $17,897, but
at press time, it was on backorder.
The year also saw the introduction of two
wide-range zoom lenses among the four
other new lenses announced. The AF-S DX
18-140mm f/3.5-5.6G ED VR is designed for
Nikons APS-C bodies. With a 7.8X zoom
range, the lens is constructed with one ED
glass element and one aspheric lens element.
It incorporates a seven-blade diaphragm
and a Silent Wave Motor for quiet and pre-
cise AF operation. Also included is Nikons
vibration reduction (VR) system, said to
provide up to four stops of shake reduction.
Retail price is about $600.
For both full-frame and APS-C cameras,
the 5X zoom range of the AF-S 80-400mm
f/4.5-5.6G ED VR makes it ideal for sports,
nature, and bird photography. The lens
incorporates vibration reduction with auto
tripod detection, allowing for effortless sta-
bilization when mounted on a tripod. Also
included is Nikons exclusive Nano Crystal
Coat to prevent ghost and flare, a Silent Wave
Motor to ensure fast and quiet AF operation,
and two focusing modes, including M/A
(AF with manual override) and M (manual).
A new optical formula features 20 elements
in 12 groups and includes one Super ED
Glass Element and four ED glass elements.
Street price is approximately $2,700.
The compact and lightweight AF-S 18-
35mm f/3.5-4.5G ED zoom should appeal to
landscape photographers on a budget who
Nikon AF-S 80-400mm f/4.5-5.6G ED VR Nikon AF-S 58mm f/1.4G
THE GOODS: LENS ROUNDUP
48 www.ppmag.com
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use full-frame or APS-C bodies. People who
photograph large groups, architecture, and
those who shoot still shots or HD video in
tight interiors will also benefit from this
new lens. The 18-35mm is one of the new
crop of high-performance Nikkor lenses
optimized for ultra-high-pixel-count digital
SLR cameras, including the Nikon D800
series and D600.
Constructed with 12 elements in eight
groups, the lens features a seven-blade aperture,
two ED glass elements to reduce chromatic
aberration, three aspherical lens elements,
and Nikons Super Integrated Coating (SIC)
to reduces ghosting in backlit situations.
Focusing is internal with two focus modes,
and the Silent Wave Motor built into the
lens allows its use on all Nikon digital SLR
bodies. The lens retails for about $750.
Nikon hasnt neglected photographers
who prefer fast primes over zoom for their
work. Available in the last quarter of 2013,
the AF-S 58mm f/1.4G is optimized for
shooting in the most challenging low-light
environments with Nikons latest high-reso-
lution full-frame digital cameras. The focal
length and wide maximum aperture also
provide for HD video with dramatically
shallow depth of field. With an 87mm focal
length for Nikon DX sensor cameras, the
lens is ideal for flattering portraiture, mak-
ing it the equivalent of the 85mm f/1.4
Nikkor designed for FX bodies.
The lens features a nine-blade diaphragm,
two aspherical lens elements, Nano Crystal
coating, and a Silent Wave Motor. Mini-
mum focusing distance is less than two feet.
Retail price is $1,700.
SIGMATwo years ago, Sigma restructured its lens
line with the Sigma Global Vision initiative.
New lenses are organized into three product
categories: Contemporary, Art, and Sports.
The Contemporary line incorporates the lat-
est lens technology while keeping size and
weight to a minimum. The Art line is designed
for the most demanding photographers who
approach their work as artists. Sports pho-
tographers, along with nature and bird pho-
tographers who need long prime and
telephoto zoom lenses, are the target market
for the Sports line. Sigma Photo released
four new lenses in 2013, three in the Art and
one in the Sports line. All are compatible
with Sigmas USB dock, allowing photogra-
phers to update Global Vision lens firmware
and change focus parameters using Sigmas
Optimization Pro software.
The newest Art lens for full frame sensors
is the 24-105mm F4 DG OS HSM lens. With
internal focusing that prevents front element
rotation, the lens features Sigmas optical
stabilization (OS) system to reduce camera
shake and Hyper Sonic Motor (HSM) for
fast, quiet autofocusing while allowing man-
ual override. High-performance glass ele-
ments, which are equal to fluorite and
glass-molded single- and double-sided
aspheric lenses, are included in the optical
system to prevent aberrations, field curva-
ture, and distortions. The lens is available
for Canon, Nikon, Sigma, and Sony bodies
at a retail price of $900.
Two new lenses in the Art line designed
for APS-C sensor bodies were also intro-
duced. When the 18-35mm F1.8 DC HSM
lens was introduced early last year, it was the
first to offer a constant f/1.8 aperture
throughout its zoom range. The equivalent
35mm focal lengths are 27-52.5mm. Four
aspherical elements as well as five low-dis-
persion glass elements are used in the 17 ele-
ments arranged in 12 groups. Internal
50 www.ppmag.com
THE GOODS: LENS ROUNDUP
Sigma 18-35mm F1.8 DC HSMSigma 24-105mm F4 DG OS HSM
rear-element focusing and internal zoom
keep the lens at its compact length of less
than 5 inches during operation and without
rotating the front element. The lens is avail-
able for Canon, Nikon, and Sigma APS-C
camera bodies for $800.
The other new Sigma Art line lens for
APS-C bodies is the 30mm F1.4 DC HSM,
joining the 35mm F1.4 prime for full-frame
sensors introduced in 2012. Lens configura-
tion, including a double-sided aspherical
lens element to minimize spherical distor-
tion, is updated to nine elements in eight
groups from Sigmas previous 30mm F1.4
lens. The circular nine-blade diaphragm
delivers pleasing out-of-focus highlights.
Autofocus with full-time manual override is
fast and quiet with a minimum focus dis-
tance of just under one foot. The lens is
available for $500 for Canon, Nikon, and
Sigma bodies.
The first lens to be introduced in the
Sports line is the 120-300mm F2.8 DG OS
HSM. The lens features a dust- and splash-
proof design to stand up to harsh outdoor
environments. Weighing nearly 7.5 pounds,
its about a pound heavier than Sigmas pre-
vious 120-300mm F2.8, which used a simi-
lar internal configuration of 23 elements in
18 groups. With internal focusing and
zooming, the lens does not change length in
use. Along with Sigmas optical stabilization
system, the lens is said to be able to be hand-
held for shooting fast action. Using Sigmas
USB dock and Optimization Pro software it
is possible to program focus limit points into
the lens to suit your specific shooting condi-
tions. Street price is $3,600 for Canon,
Nikon, and Sigma bodies.
SONYSony seemed to concentrate on expanding
its line of lenses for mirrorless cameras in
2013 but still upgraded two lenses in its A-
mount line for full-frame Alpha bodies and
added one new lens for its APS-C Alpha
bodies. Sony builds shake-reduction features
into its camera bodies rather than lenses.
The 70-400mm F4-5.6 and 70-200mm
F2.8 are both upgrades from previous models.
The 70-400mm G SSM II features a new
drive circuit and faster autofocus responsive-
ness. When coupled with an Alpha body, the
result is an improved ability to capture crisp,
sharply focused still images and full HD videos
of fast-moving subjects. The new-generation
Sony 70-400mm F4-5.6 G SSM II
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RFi softboxes come in all sizes and shapes, and are compatible with all major ash brands. To ensure full control for the photographer, they have a deeper shape, a recessed front, double-layered diffusers and a highly reective silver interior. Optional accessories are available for even more precise light shaping.
In short, an RFi softbox is more than just a softbox
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lens also features Sonys proprietary Nano
AR Coating on its optical surfaces. Said to
offer around five times the efficiency of con-
ventional anti-reflection coatings, it reduces
flare and ghosting to produce exceptionally
high-contrast images.
There are three focus-hold buttons avail-
able for locking in focus positions, and you
can employ a focus range limiter for greater
focus response and subject-tracking effi-
ciency. When working with manual focus,
an easy-grip focus ring provides for more
control, and an auto-clutch mechanism dis-
ables the manual focusing ring when work-
ing in AF modes. Retail price of the
70-400mm is about $2,200.
The 70-200mm F2.8 G SSM II incorpo-
rates the same new drive circuit and faster
autofocus responsiveness as the 70-400mm
F4-5.6, which Sony claims to be as much as
a four-fold improvement. A focus range
limiter switch also helps increase focusing
speeds. The upgraded lens now includes
Sonys proprietary Nano AR coating, two
extra-low dispersion lens elements, and a
nine-blade circular diaphragm. Street price
is about $3,000.
The DT 18-55mm f3.5-5.6 SAM II is the
kit lens for Sonys APS-C Alpha cameras but
is also available separately. The equivalent
35mm focal lengths are 27-82.5mm, mak-
ing it ideal for wide-angle to portrait photos.
The lens features two aspherical elements
and one ED glass element. The Smooth Aut-
ofocus Motor (SAM) is incorporated within
the lens itself and receives AF drive controls
directly from the camera body. This is said
to provide higher accuracy and more fluid
focusing that suit HD video recording. The
lens is available for $218.
TAMRONTamron expanded its well-respected line of
high-ratio zoom lenses in 2013 with the
announcement of its SP 150-600mm F/5-6.3
DI VC USD. This lens is an outgrowth of its
popular 200-500mm lens, with the focal
lengths on each end of the range increased
for a final 4X zoom range. The lens is com-
patible with full-frame and APS-C Canon,
Nikon, and Sony bodies. The Canon and
Nikon mounts include vibration compensa-
tion built into the lens; the Sony mount
relies on the mechanism in the camera body.
The lens consists of 20 elements in 13
groups and includes three low-dispersion
glass elements and two types of anti-reflec-
tion coating to reduce ghosting and flare.
Tamrons Ultrasonic Silent Drive (USD) is
incorporated to ensure quick and accurate
autofocus.
Tamron has upgraded the aesthetics and
finish of this lens to create a look thats in
keeping with the demands of professional
photographers. The new design incorporates
a sophisticated linear-pattern rubber grip on
the zoom and focus rings and an attractive
and stylish tungsten silver brand ring.
Also included with the lens is Silkypix
Developer Studio for Tamron software.
Used in tandem with Tamrons SP series
lenses, the software is said to efficiently pro-
duce the highest quality images from the
lenses. Pricing and availability of the 150-
600mm lens was not available at press time.
TOKINATokina is best known for its innovative ultra
wide-angle zoom lenses. The latest lens from
the company, the 12-28mm F/4 AT-X Pro
DX, extends the line for Canon and Nikon
APS-C sensor cameras.
In Canon-mount, the lens is equivalent
to 19-45mm. In Nikon-mount, it is equiva-
52 www.ppmag.com
THE GOODS: LENS ROUNDUP
Tamron SP 150-600mm F/5-6.3 DI VC USD
Tokina 12-28mm F/4 AT-X Pro DX
lent to 18-42mm. Lens design for both
mounts is identical, incorporating 14 ele-
ments into 12 groups and utilizing ultra-low
dispersion glass and molded glass aspherical
lens elements to minimize distortion and
aberrations. A newly designed precision
magnetic autofocus sensor is mounted close
to the autofocus motor, and the lens silent
drive module increasesautofocus response
with minimal noise.
The lens incorporates Tokinas manual
focus/autofocus clutch mechanism to switch
between focusing modes. Sliding the focus
ring back allows for manual focus; sliding it
forward engages the autofocus mechanism.
You can buy the lens for about $550.
ZEISSZeiss lenses have lately set the design stan-
dard for digital SLR lenses, both optically
and physically. The latest offering from
Zeiss, the Otus 1.4/55 (55mm f/1.4) for the
latest high-resolution full-frame Canon and
Nikon digital SLRs raises the bar even fur-
ther.
Zeiss says no compromise was made in
the design or manufacture of the lens. A
floating-element design with 12 elements in
10 groups, its said to deliver near perfect
optical correction, eliminating nearly all
possible flaws, from color fringes and distor-
tion to chromatic aberrations throughout
the aperture range from f/1.4 to f/16. Its
Zeiss T anti-reflection lens coating virtually
eliminates ghosting and flare.
The lens design is also unique, with
form following function in the best
Bauhaus style. The all-metal construction
contributes to its 2.13-pound weight. As
with other Zeiss lenses, the Otus 1.4/55 is
manual focus, with an extended rotation
angle of the rubberized focus ring. Focus
range is 20 inches to infinity with a hard
stop at both ends of the focus range, mak-
ing the lens ideally suited for video capture.
The design provides a focus scale with
highly visible yellow marking against the
black lens body and a depth of field scale
associated with it in the same bright yellow.
Perfection comes with a price however.
The Zeiss Otus 1.4/55 is $3,990.
Stan Sholik is a commercial/advertisingphotographer in Santa Ana, Calif., specializ-ing in still life and macro photography. Hislatest book is Photoshop CC: Top 100 Tipsand Tricks (Wiley).
Zeiss Otus 1.4/55 (55mm f/1.4)
PROFOTO UMBRELLAS 12 MODELS. 2 SHAPES. INFINITE POSSIBILITIES.Available in 12 unique models and made with high-quality fabrics and surface-treated metallic elements, Profoto Umbrellas will provide a superior light for years to come.
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With DSLR video becoming increasingly
popular, photographers are looking for every
tool they can to gain an edge in what is
becoming a competitive market. When I was
in the market recently for a new 24-70mm
f/2.8, I decided to look for one that would not
only be great for photography but could also
accommodate my video work. There has been a
buzz about the Tamron SP 24-70mm f/2.8 Di
VC USD primarily because its the only f/2.8
lens in that focal range with image stabiliza-
tion. Being a photographer who does a lot of
low-light shooting at weddings and events
as well as video, I was excited by the possi-
bility of stabilization added to the primary
focal length I use. But I wondered about the
quality of what Tamron calls its vibration
compensation (VC). Would I have to sacri-
fice optics
