Photo Professional Magazine

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GUIDE TO STUDIO ACCESSORIES HOW TO TURN EVERY ENQUIRY INTO A SALE WACOM INTUOS5 TABLET ON TEST WHY CAPTURING EXPRESSIONS IS A WEDDING GOLD MINE WHY ONE HEAD IS BETTER THAN TWO Location lighting made surprisingly easy ISSUE 80 £4.50 www.photopromagazine.com Follower of fashion Enjoy the outrageous Photoshop-fuelled world of John Farrar PRO PORTFOLIO Unmissable tips for getting your images in print HOW TO GET PUBLISHED THE PERFECT BACK-UP CAMERA? Low price, high spec Nikon D7100 tested Expert advice to help you print and sell your finest work FINE ART MAKE MORE MONEY FROM BRILLIANT SENNHEISER ACCESSORIES WORTH £500! WIN

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Issue 80 of Photo Professional Magazine

Transcript of Photo Professional Magazine

Page 1: Photo Professional Magazine

guide to studio accessories

how to turn every enquiry into a sale

wacom intuos5 tablet on test

guide to studio

why capturing expressions is a wedding gold mine

why one head is better than two Location lighting made surprisingly easy

issue 80 £4.50 www.photopromagazine.com

Follower of fashionEnjoy the outrageous Photoshop-fuelled world of John Farrar

Follower pro portfolio

Unmissable tips for getting your images in printUnmissable tips for getting

How to get publisHed

the perfect back-up camera?Low price, high spec Nikon D7100 tested

expert advice to help you print and sell your finest work expert advice to help you print and sell your finest work FiNe ARtFiNe ARt ARt ARMAKe MoRe MoNeY FRoM

the perfect back-up camera?Low price, high spec Nikon D7100 tested

brilliant sennheiser accessories worth £500!win

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004 PHOTO PROFESSIONAL ISSUE 80

CONTENTSISSUE 80

Business MattersPro Academy Gear

Regulars

032 SElliNg SmilES Forced smiles and clichéd poses don’t sell photos. Genuine emotions and real expressions do, so master the art of capturing them to guarantee good sales.

038 TravElliNg lighT COVER Damien Lovegrove explains how he packs all his kit into hand luggage and demonstrates his one-head approach to lighting fashion portraits on location.

044 fiNE arT fiNESSE You’re making the move into selling your images to collectors, but are your prints making the right impression? Choose the best media for your images and you’ll soon be producing prints with impact.

082 NikON d7100 COVER If you think this latest launch sounds like a minor upgrade to the company’s D7000, think again. It’s actually Nikon’s flagship DX DSLR, but does it wow our reviewer?

090 waCOm iNTuOS 5COVER If you eschew the modest mouse and take fine control of your editing with a pen and tablet, you might want to try this pro level but well-priced offering from Wacom.

092 buyErS’ guidE COVER Studio accessories – they can make or break a shoot, so make sure the ones you invest in add value.

055 buSiNESS maTTErSHot tips and expert advice to help you position, market and run your business so it stays in the black.

058 iT’S a TEam gamE Don’t fly solo. Collaborating with other professionals will improve your shoot and leave your portfolio bulging.

064 SigNEd & SEalEd COVER Getting a prospective client to sign on the dotted line is key to making the sale. So how do you do it?

068 makiNg iT pay COVER There’s probably no tougher market than fine art. Six photographers tell us how they turn a profit from it.

006 iNbOX Light up your photography life with news of the latest product launches, winners (there are no losers) and competitions.

016 pOrTfOliO: JOhN farrarCOVER Believing in the one killer shot, John Farrar strives for absolute perfection all the time. He hits that mark with every one of his striking beauty images.

016

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Discover powerful but portable alternatives to a speedlight when on location

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022 prOJECT: dOiNg TimE COVER Commercial photographer Adam Hinton doesn’t often get nervous, but he does admit to an anxious moment when shooting in a gang-run El Salvadorian jail.

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Photo Professional is published on the first Thursday of every month by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge, CB22 3HJ.

No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Photo Professional is a registered trademark of Bright Publishing Ltd. The advertisements published in Photo Professional that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher.

Can’t find a copy? Finding your nearest Photo Professional magazine stockist couldn’t be easier. Simply contact: COMAG, Tavistock Road, West Drayton, Middlesex, UB7 7QE Alternatively call 01895 433600.

When you have finished with this magazine, please recycle it

Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ Telephone 01223 499450 [email protected] www.photopromagazine.comeditorialEditor Terry Hope 01959 563007 [email protected] Writer Ian Fyfe 01223 499456 [email protected] Editors Lisa Clatworthy 01223 499450 Hannah Bealey 01223 499450Editorial Director Roger Payne 01223 499460 [email protected] Director Dean UsherDesign & Production Manager Grant GillardadvertisingSales Director Matt Snow 01223 499453 [email protected] Accounts Maria Francis 01223 499457 [email protected] Elliott 01223 499458 [email protected] Development Director Dave Stone 01223 499462 [email protected] advertising copy to: [email protected] Directors Andy Brogden & Matt PluckHead of Circulation Chris Haslum

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Cover image John Farrar

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PORTFOLIO | JOHN FARRAR

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John Farrar took a long hard look at the approach of others and made sure he did

something completely different. The result is a highly original style of photography where

nothing is quite what it seemsWORDS EMMA MESTON PICTURES JOHN FARRAR

KeepQui

John Farrar took a long hard look at the

QuiJohn Farrar took a long hard look at the

eepQui

eeprky

John Farrar took a long hard look at the

kyJohn Farrar took a long hard look at the

eepky

eeprkyr it

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PORTFOLIO | JOHN FARRAR

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038 travelling lightExpert advice from Damien Lovegrove on lighting location fashion with one head.

pro academyProviding you with the essential skills, techniques and ideas you need to make it as a successful professional photographer

EssEntial pro sEcrEts

rEvEalEd

032 selling smiles Top tips and helpful hints to capture the genuine happiness on the big day – that

will guarantee you good sales.

044 prints with impactFind out what media is available and how to create fine art prints that sell.

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P O S I N G W E D D I N G S

Genuine, happy expressions are what sell wedding pictures and yet it’s so easy to come away with results that look stiff and staged. Margaret

Soraya reveals how she achieves a more natural approachWORDS & PICTURES MARGARET SORAYA

eXpreSSIoNall IN the

hen I look at any image, what makes it come alive for me is just one thing: expression. It appears that others agree, because most of the couples who book me to photograph their

wedding say that the main reason they chose me is the natural and unposed feel of my work.

Real expressions, eyes that light up with smiles, genuine moments between couples, funny moments with children

– these are the things that produce reactions within us. Have you noticed how when looking at some images, you find yourself smiling without thinking? It’s simply a natural and emotional response. Here’s a look at some of the ways I manage to achieve this style throughout my work.

WMAIN IMAGE

Reportage-style photography is becoming ever

more popular and the key to this is staging

your subjects in a natural manner.

Candid style Laughter I never relax at a wedding. Often people come up and talk to me during the downtime at weddings, which is lovely, but one half of me is talking while the other half is constantly listening out for the sound of laughter. If you hear laughter, you usually have a great image just waiting to be shot. You have to be fast, find the laughter, lift the camera and shoot before the moment is gone. A longer lens is usually what you need for a scenario of this kind.

Bridesmaids together before the wedding can be a source of laughter and fun, while speeches are another time to capture some fantastic and natural expressions.

MomentsMoments happen at weddings everywhere, and usually discreetly. Ever known a bride and her dad to stop and pose for the camera whilst having a genuine and affectionate moment? You need to be aware of these things and to be prepared for when they might happen. Things to look out for include dad seeing his daughter ready to be married, line-ups, the groom seeing his bride for the first time and couples as they’re walking down the aisle, happy and relieved that they’re together.

Children At weddings, I usually take the approach of playing with children, setting up games of hide and seek behind my camera, throwing balloons and asking them to twirl. Their natural smiles will appear and, with a bit of effort, so will some lovely images. Candid styles work well with children as well. Watch them, follow them and shoot a lot because children move fast!

more INformatIoNwww.sorayaphoto.com

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n my albeit fairly biased opinion, copyright law should be essential training for everyone involved in creative industries, not just

photographers. I came across a case in point just this month.

One of my clients is a tattoo artist who occasionally applies his inky talents to celebrity skin. He recently tattooed a member of an internationally successful boy band (sorry for being vague but the case hasn’t been settled yet and names can’t be revealed in case a confidentiality agreement is required). Spotting this as a promotional opportunity my client took a photo of the clean-cut young singer showing off his body art. The tattooist then added a large watermark across the image before uploading it to his social media accounts. Within days the picture had appeared all over the place without any permission or payment.

My client’s photo appears to have been lifted by various different sources, one of whom crudely cloned out the watermark. This has effectively degraded the quality of the tattoo making it look smudged. As a result my client has lost business and I am helping him to settle his claims.

In the UK the law automatically protects the rights of photographers as authors of ‘original works’. However, enforcing these rights is left to the author. So, over the next three columns, I am going to explain how to protect image rights and exploit them for commercial gain.

So, what rights are protected? If you take a photograph, the basic principle is that you are the author of that image and the copyright rests with you. This means that others are

prevented from doing all manner of things, including copying the image, issuing copies of it, circulating it, adapting it, and using it without your permission.

I’ve lost track of the number of people I’ve met who think that because an image is on the Internet they can use it for free, even for commercial gain. Even if people know it’s illegal, there’s no moral stigma attached to nicking an image online. There is a flipside to this widespread copyright theft – if you catch someone stealing your image the law is entirely on your side.

If you find that someone’s used your image without permission, the Copyright Designs and Patents Act 1988 means you may be entitled to damages in the form of a cash settlement, or you could be entitled to any profit the thief made from your work. You may also be granted an injunction to stop them using your image again, or they may have to return all your images if they have printed them up, or used them in products, such as T-shirts for example. You do not need to register your copyright to have the benefit of these rights; they are available to you immediately, simply by virtue of being the person who pressed the shutter.

Next month I’ll run through steps to take to prevent people from stealing your images and then follow up with how to exploit your rights for financial gain.

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

earch engine optimisation (SEO) is something many professional photographers assume is too difficult or technical to do for

themselves, but the simple truth is anyone can do enough SEO to make a big difference to their business. Before you actually begin the task of finding the right keywords to help your clients find a photographer, you should seriously consider the SEO strategies you plan to use and have some idea of what your SEO plan should achieve for you.

With your goals in mind, you can now get more specific with your photography keywords choice. The more targeted you can make this, the better things will be in the long

BUSINESS MATTERS

058 BEcoME A TEAM plAyERCollaborate to boost your business

064 cloSINg ThE wEddINg dEAlTurn prospects into firm bookings

ScoTT gAIR, INTEllEcTUAl pRopERTy lAwyERTattoos, boy bands and image rights

NIgEl MERRIck, phoTogRAphER ANd BUSINESS wRITERStay on top of SEO

056 why yoUR BUSINESS NAME IS IMpoRTANT068 SpEcIAl REpoRT: how To MAkE fINE ART pAy

“ If you take a photo, you are the author of that image and the copyright rests with you”

I

S

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Financial security and fine art don’t always go together but can you stick to your principles and still generate additional or even primary income? We talk to a selection of photographers who have managed exactly that

Fine artthe Finances oFP R O F I T A B L E F I N E A R T

WORDS TERRY HOPE PICTURES VARIOUS

ine art is one of those areas that can keep hard-working, commercially-minded photographers sane. It’s a chance to forget the day job for a

few blissful hours and to remind yourself why you picked up the camera in the first place. You can chase your dreams and set out to create beautiful images whose main purpose in life is to satisfy your artistic expression and to speak to the souls of those who encounter them.

Many people who make their living from photography came into the business in the first place because they had a natural talent for seeing the image and capturing something special that so many others miss. They were tempted to see if they could turn that skill into a profession and then reality kicked in, as all the dreary paperwork-related trappings of running a small business followed and an urgent requirement arose to monetise what was once just a carefree hobby.

Odd moments shooting pictures for yourself are a reminder that photography is still one of the most enjoyable pastimes in the world, but are these private shots necessarily destined for no more than your personal collection? It’s tantalising to realise that some photographers have mastered the art of marketing their fine art images, either as a profitable sideline alongside their regular work or as their main source of income. Furthermore, as photography has finally shaken off its shackles as the perceived poorer relation of ‘traditional’ art, serious collectors and influential galleries have started to take photo-based fine art more seriously. It’s now possible to realise very decent sums of money for beautifully thought through and professionally presented works.

Those who want to move into the world of fine art have to do it in the right way, however. It helps to have a theme to tie the work together, and a clearly considered approach and artistic viewpoint: simply lumping a selection of individual and disparate images together won’t impress the serious collector. An artist’s

statement is expected; it should consist of a brief biography plus an outline of what you are trying to achieve in your work. Go online and study the statements of other photographic artists to get an idea of what’s required.

You also need to be able to guarantee the archival nature of your work, and it is now possible to offer certificates or an embossment from printer and media companies such as Epson (Digigraphie) to assure potential

F

buyers that your work really will last a lifetime. Presentation is also key. A good-quality mount and frame, or a modern presentation technique, such as sealing the print in acetate, can add the final touch, ensuring the image looks as though it’s worth every penny of its asking price.

Here then are the experiences of a selection of photographers who have ventured into fine art photography in some way. Maybe their stories can inspire you to do the same thing.

ABOVE Turning fine art into a sales opportunity can be daunting but there are a range of approaches.

Ian

Bram

ham

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You wouldn’t think it to look at his beautifully crafted images, but Ian Bramham is not a full-time professional photographer. His day job as an architect delivers the bulk of his income; he loves his career and isn’t about to step out of it. However, he is earning a steady extra income from fine art photography, and his work is increasingly attracting the attention of those who are prepared to pay £100 or more for a beautifully crafted piece of art.

“For me fine art photography is not a full-time career, but rather it’s something that I discovered by accident,” says Ian. “About six years ago I needed to replace our family’s compact film camera and, after some research on the web, I bought a digital Fujifilm F31. It was around this time that I discovered many amateur photographers who were publishing beautiful photos online using the same digital compact camera. That photography could be art was a complete revelation to me and I decided to give it a try.”

From the outset it was black & white that captured Ian’s imagination, and he’s applied the approach to a wide range of subjects to give his a work a distinctive and cohesive look. “I’m interested in photographing the natural beauty and visual drama of our urban and rural environment,” he says. “I try and emphasise this by finding great subjects and light and by keeping the composition as simple and direct as possible.”

Up to now Ian has marketed himself and his work through a comprehensive website and well-followed blog and, although representation through a gallery is something he might explore in the future, at the moment he’s happy to grow organically and to generate his own publicity. “It’s helped me that my work has been shortlisted or has won in regional and national photographic competitions,” he says, “and I’ve also had some of my photos featured in professionally curated exhibitions at prestigious spaces, including the Cube Gallery in Manchester, the Getty Images Gallery and the National Theatre in London. I’m also holding my first solo exhibition later this year, which will be in a commercial art gallery in Cheshire.”

The requests for prints and commercial licensing of his work started to arrive after Ian began posting his images online, and it led him to think of ways in which he could develop this interest. “As a result of these enquiries I set up my own photography website which offers signed prints for sale,” he says. “I used Clikpic for my website since it has an easy-to-use online admin system and doesn’t require HTML expertise. I’ve found it very cost-effective and I’m pleased with it.

“I also have some photos marketed through Getty Images. Although none of my images are really typical of stock photography they sell very well and bring in a regular monthly income.” Prints on Ian’s website are on sale in three sizes, which vary in price from

I’m interested in photographing the natural beauty and visual drama of our urban and rural environment by finding great subjects

£75 to £125. He also offers a signed limited edition book of his images that sells online for £156, and included in the price is a signed limited edition print of one of the photos from the book. Commercial licensing (for non-Getty images) is negotiated on a case-by-case basis, and Ian’s most recent large value licence was to a Danish retailer who wanted to license a number of his photos for sale in its stores as framed art.

“Prints sold via my website are signed and unframed,” says Ian. “I use a local commercial photo lab: prints less than 18x12ins are digital C-type on Fujifilm DP11 pro lustre paper, while larger prints are produced on an Epson Stylus Pro printer in tandem with pigment-based Ultrachrome K3 inks. At my solo exhibition I will be offering my framed prints in signed limited editions.”

more inFormationwww.ianbramham.com

IMAGES Ian dropped into fine art photography almost by accident; after replacing the family’s compact film camera he realised just what he could achieve with a digital model and discovered a love for black & white imagery.

case stuDY 1:on the sidelines: Ian BramhamAn architect, Ian Bramham is also gaining a steady income via his fine art photography online, concentrating on his favoured black & white style.

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GEARAll the vital gear you’ll needto be a successful professional photographer

082 nikon’s nEw dx kinGThe new D7100 from Nikon takes crop sensor DSLRs to a new level.

092 BUYERs’ GUidE: sTUdio ACCEssoRiEsWe take a look at the wide selection of studio accessories available for the working photographer.All the vital gear you’ll need

to be a successful professional photographer

EssEntial pro gEar

rEvEalEd

090 TEsTEd: wACom’s nEw pRo lEvEl TABlETWe test out the new Intuos 5 tablet from Wacom and see what devices of this kind can offer the professional .

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NIKON D7100

Just as you thought Nikon had forgotten about its DX DSLR range, along comes a new flagship product, the D7100. Adam Duckworth sees what it has to offer the professionalWORDS & PICTURES ADAM DUCKWORTH

Nikon’s new DX flagship

ikon’s new D7100 might sound like a minor upgrade to the D7000, but in fact it’s the firm’s new flagship DX cropped-sensor camera. It’s

actually an all-new sensor that gets pretty close to the performance of full-frame cameras but at a fraction of the cost.

The D7000 was rightly a huge success, with its pro-like spec: 16.2-megapixel sensor, 14-bit processing, twin memory card slots, full 1080p HD movies, 100 per cent viewfinder and wide ISO range. The D7100 adds a new 24.1-megapixel sensor without the low-pass filter for super sharp images, bigger LCD screen, advanced autofocus using technology borrowed from the flagship D4, improved ergonomics, upgraded HD video and it even weighs slightly less. And with a current body-only street price of about £1000, it costs roughly the same as the D7000 when it was launched a little over two years ago. Having said that, of course, the D7000 is now available for about £350 less.

For the moment, the D7000 stays in Nikon’s range as a lower-spec DX camera. The D7100 sits higher than the ageing D300s, which was previously lauded as the range-topping semi-pro DX machine. The D7100’s waterproofing matches that of the D300s, which was previously the old camera’s trump card.

Brand new sensorWhat all of Nikon’s older DX models lack is what is at the heart of the new D7100: the all-new 24-megapixel sensor. True, you’ll find 24-megapixel DX sensors in the D5200 and D3200, but the D7100’s version surpasses these by not having an anti-aliasing or low-pass filter – the first Nikon to do away with it.

In every other Nikon DX or Canon cropped-sensor camera, the low-pass filter slightly blurs the image at the taking stage, and it’s then sharpened by software after capture. This may seem like a strange thing to do, but without this filter you would often get false colours and moiré patterning on certain subjects, usually objects such as fine fabrics or buildings that feature repeating patterns. This is troublesome, if not impossible, to remove successfully in post-processing.

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A handful of cameras – mainly medium-format models and the Leica M9 and M8 rangefinders that use CCD sensors rather than the more usual CMOS, plus the Ricoh GXR and Fujifilm’s X100 – likewise don’t have this filter, but none are conventional DSLRs. Then, last year Nikon threw the cat among the pigeons with its D800E. A variant of the mighty 36-megapixel D800, the D800E has had the anti-aliasing effects of its low-pass filter removed, rather than leaving the filter out completely.

ISO cOmpARISON: HOW DOES THE D7100 pERFORm?Up to ISO 1600, the D7100 performs well, but after that noise starts to creep in, and by the extended setting of 12,800 it's obtrusive and unuseable.

ISO 100 ISO 800 ISO 1600 ISO 3200 ISO 6400 ISO 12,800

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ABOVE With its 1.5 crop sensor the D7100 might be ideal for wildlife and sports but it's also a very capable studio camera.

This ISO 100 shot , lit by just two HMI continuous lights, shows a good range of tones and control of noise in the shadow areas.

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To produce studio shots that make your work stand out, your camera and lights aren’t enough. High-quality studio accessories will not only add something extra to your photos but can make your life easier too. Such accessories range from backgrounds and stands for your

lighting and kit, through to unique props for specialist genres. Finding the accessories that will add value to your business can be time-consuming, so we’ve put together a guide to give you an overview of who and what you should be looking for.

BUYERS’ GUIDE: Studio AccessoriesThere’s no shortage of accessories when it comes to adding to your studio set-up, but the ones you invest in need to add value to your photography. Here’s a guide to what’s on offer from some of the bestWORDS IAN FYFE

Interfit’s range of studio accessories includes a special combi boom stand (£90) with a foldaway arm that can be opened to hold a small lighting head or reflector. With the arm folded away, it can be used as a standard lighting stand. Alternatively, Interfit’s 2-Section Boom Arm (£33) can be fitted to other lighting stands.

Interfit’s range of backgrounds includes Master’s Giant Collapsible, Double Sided Collapsibles and Muslin, as well as graduated backgrounds (£85). For still life and product shots, Interfit also has a tabletop studio with a matte, opaque and non-reflective white surface (£180 – top right), or a Portable LED Studio Table, which includes a 200-LED panel, flexi-arm and power pack (£140).

One of Slik’s best-selling tripods for more than 20 years, the Master Classic (£120) is still going strong and provides support for heavy equipment. All legs and joints are metal, while the textured locking rings allow easy use and adjustment. It can hold 6kg, making it suitable even for medium-format cameras. The standard head is the Master Classic Head, a two-way pan head also with an all-metal construction and one-lever operation.

For a studio tripod that’s easy to move around, Slik also has the Pro 700DX (£150). The legs are made from AMT super titanium alloy, which has a high strength to weight ratio so that it’s light but sturdy: it can hold equipment weighing up to 11kg.

Calumet has a range of light stands covering all requirements. This includes the Low Light Stand with a maximum height of 1.23m, a 4.1m light stand (£55) that folds to a length of 1.15m, and many standard and air-cushioned stands with heights in between.

Calumet also offers a complete background support kit with adjustable stands, crossbar and a carry case (£100), designed to hold background paper rolls and PVC or muslin backdrops. Its portable shooting table has a 60x60cm surface that can be disassembled and transported in its case (£150) and, if you’re shooting portraits, Calumet also offers a posing table on casters with heights adjustable from 78cm to 130cm (£71).

Bowens offers a wide range of stands to use with its lighting heads, with ten models catering for most studio needs. The smallest is the Backlight Stand (£32), with a maximum height of 85cm, while the tallest Heavy-Duty Air Stand (£90) extends to 3.95m and offers protection. A Heavy-Duty Boom Stand (£163) can support lights weighing up to 7.5kg, or lighting booms.

Recently added to Bowens’ studio range is the Jetstream Wind Machine. This has variable speed settings and includes an infrared remote control. It can be floor-mounted or attached to a lighting support or ceiling tracks via the 5/8in mount. Two models are available, the Jetstream 250 (£850) and the larger 350 (£1129).

• www.interfitphotographic.com

• www.intro2020.co.uk

• www.calumetphoto.co.uk • www.bowens.co.uk

Interfit

Slik

Calumet Bowens

lighting and kit, through to unique props for specialist genres. Finding the accessories that will add value to your business can be time-consuming, so we’ve put together a guide to give you an overview of who and what you

There’s no shortage of accessories when it comes to adding to your studio set-up, but the ones you invest in need to add value to your photography. Here’s a guide to what’s on offer from some of the best

Bowens

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As well as its range of tripods, which includes models designed for the studio, Manfrotto has light stands and background supports. Amongst the light stands is the Light Boom 35 Black A25 Black (£365), which has casters, a maximum extension of 2.8m and a load capacity of 6kg. For a compact design, Manfrotto also has the Nano Black stand (£55), which has a closed length of just 48cm but extends with five sections to a full height of 1.9m.

Manfrotto also offers background support systems, including a set of stands with support, bag and spring clamp in a carry bag (£250). It’s designed to support rolls or sheets of background paper and other materials, and can support loads of up to 10kg.

As an alternative to traditional backgrounds, Lastolite has its Plain Collapsible Backgrounds, and new colours have recently been added to the range. These reversible and crease-resistant backgrounds, easily portable due to their foldaway design, were previously only available in black, white and grey, but are now also in blue/pink, red/purple and orange/yellow versions (£160). Also requiring no stands is Lastolite’s new Panoramic Background (£420). It has a three-panel aluminium framework that’s self-supporting, and to which the fabric backgrounds clip. Currently, black and chromakey green covers are available (£126 each). The frame is up to 4m wide, and it’s also collapsible.

Tetenal is the UK distributor of the top US brand for background rolls, Savage. The seamless backgrounds include 50 colours of background paper, as well as the Infinity and Accent ranges.

Infinity includes: Vinyl with a matte finish; Hand-Painted Muslin for an old world look; Collapsible Backgrounds, which are reversible cotton; and Canvas with a hand-painted top layer, a blackout middle layer and a vinyl backing.

Accent includes: Washed Muslin, double-sided with subtle blended appearance; Crushed Muslin with a distinct mottled appearance; Retro in six vintage designs; and Solid, simple 100 per cent cotton muslin backgrounds in white, black, green and grey.

Kenro’s range includes adjustable background supports that cover heights of 77cm to 3.94m and widths of 1.7m to 4.2m (£122-£219). Also available are cotton backgrounds in 21 colours. All are available in Regular size at 2.4x2.7m (£63), while some are available in Large, measuring 2.9x5m (£126).

Kenro also has products for still-life and product photography. The Photo Cube (£58) is a pop-up white translucent cube that can be packed into a 30cm flat case. Still-life tables with a translucent white panel over an aluminium frame are available with panel sizes of 60x130cm (£128) or 100x200cm (£460). Both can be disassembled for portability in the supplied carry case.

Orbitvu has a top-quality turntable for product photography, which can be used to create three-dimensional animations of products for online use. This is available in mini, midi and maxi versions, with respective turntable diameters of 50cm, 75cm and 180cm. Prices depend on the package and software you select, but start at £1700.

The most recent addition to Orbitvu’s range is the Alphashot, which is unique in that it’s the first compact studio with automatic background removal. Automatic image processing and background removal tools allow 2D, 3D and 360° product images that you can send straight to your client. Three versions of the Alphashot are available, including an XL model, with prices starting at £4495.

• www.manfrotto.co.uk • www.lastolite.com

• www.tetenaluk.com

• www.kenro.co.uk

• www.aj-s.co.uk

Lastolite

Tetenal

Kenro

Orbitvu

Orbitvu has a top-quality turntable for product photography, which can be used to create three-dimensional animations of products for online use. This is available in mini, midi and maxi versions, with respective turntable diameters of 50cm, 75cm and 180cm. Prices depend on the package and software you select, but start at £1700.

which is unique in that it’s the first compact studio with automatic background removal. Automatic image processing and background removal tools allow 2D, 3D and 360° product images that you can send straight to your client. Three versions of the Alphashot are available, including an XL model, with prices starting at £4495.

• www.aj-s.co.uk

Kenro

Orbitvu

Tetenal is the UK distributor of the top US brand for background rolls, Savage. The seamless backgrounds include 50 colours of background paper, as well as the Infinity and Accent ranges.

for an old world look; Collapsible Backgrounds, which are reversible cotton; and Canvas with a hand-painted top layer, a blackout middle layer and a vinyl backing.

blended appearance; Crushed Muslin with a distinct mottled appearance; Retro in six vintage designs; and Solid, simple 100 per cent cotton muslin backgrounds in white, black, green and grey.

• www.tetenaluk.com

Lastolite

Tetenal

As well as its range of tripods, which includes models designed for the studio, Manfrotto has light stands and background supports.

Manfrotto

Page 22: Photo Professional Magazine

SHOWCASE

096 PHOTO PROFESSIONAL ISSUE 80

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

SHOWCASE: Fine art papers

MOrE infOrMAtiOn MOrE infOrMAtiOn

MOrE infOrMAtiOn MOrE infOrMAtiOn

www.cansoninfinity.com 01249 714555www.fotospeed.com

01603 759266www.hahnemuehle.com

01234 572000; www.fujifilm.eu/uk/products/photofinishing/large-format-printing/inkjet-media-overview

Canson FotospeedCanson Discovery Fine Art Paper test packs, which come in a choice of Photo or Fine Art, allow you to discover which of the award-winning Canson Infinity papers best suits your style for just £6. Both packs include A4 sheets of the new generation Canson PhotoArt HD Canvas 400gsm. Its bright white, instant dry, matte finish is available in cut sheets and rolls to provide an excellent consistency in structure and weave. Also included in the packs is the TIPA 2010 Best Paper: Canson Baryta.

If you’re looking for a traditional darkroom finish to your digital prints, Fotospeed’s Platinum Baryta media bridges the gap between wet and digital darkrooms, whilst completing the Fotospeed Platinum family of papers.

Fotospeed Platinum Baryta 300gsm contains barium sulphate which gives an ‘unglazed’ glossy finish and a natural base colour. This paper promises to offer the deepest blacks while also preserving delicate highlights with smooth transitions.

Hahnemühle is the world’s leading brand of Fine Art Papers and is renowned for its excellent traditional papermaking. Today those skills are applied to the creation of a superb range of Digital Fine Art inkjet papers that produce exquisite archival quality prints. Hahnemühle’s newest addition, the Photo Range, includes the first PE papers with a microporous gloss and lustre inkjet coating. The collection features four papers, from 200 to 260gsm, with all the benefits associated with Hahnemühle paper.

Everyone knows that the choice of media is crucial for photographers who really care about producing profitable, professional quality work. Even keen amateurs will want to ensure their images stand up to scrutiny and the test of time. Luckily, Fujifilm has a broad range of exhibition/museum quality fine art media to suit whatever the intended end result.

Choose from Fine Art Fibre Baryte Gloss, at 310gsm; or Fine Art Photo Rag Paper, Etch Paper, Rough Paper or Torchon Paper, all 300gsm.

When it comes to printing your work, paper quality is essential for achieving the best prints. These eight companies provide a cornucopia of classic media for the fine art photographer

Hahnemühle’s Fine Art PapersFujifilm Fine Art media Hahnemühle’s Fine Art PapersFujifilm Fine Art media

Page 23: Photo Professional Magazine

ISSUE 80 PHOTO PROFESSIONAL 097

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

MOrE infOrMAtiOn MOrE infOrMAtiOn

MOrE infOrMAtiOn MOrE infOrMAtiOn

01892 771245www.onlinepaper.co.uk

01707 273747www.simlab.co.uk

01992 571775 www.innovaart.com

0116 289 3644ww.tetenaluk.com

The Online Paper Company was the first to sell Hahnemühle digital inkjet papers in a webshop in 1999. Its online catalogue offers one of the largest ranges of digital inkjet paper, including the complete Hahnemühle range of papers, the award-winning Canson Baryta as well as specialist papers such as Somerset Enhanced and Museo Silver Rag. Papers stocked also contain top sellers from PermaJet, Ilford and Fotospeed. The company’s philosophy is centred on customers being able to try out many different types of paper.

Giclée archival gallery quality printing, with 1440dpi to 2880dpi output resolution, is perfect for photographers looking for professional, great value, large format prints.

Giclée papers include: Fotospeed PF Lustre 270gsm, Fotospeed PF Gloss 270gsm, Hahnemühle Photo Rag 308gsm, Hahnemühle German Etching 310gsm and Hahnemühle Fine Art Baryta 325gsm.

15 per cent off code: ARTPRO (expires 31/05/13, Giclée prints only).

Over the past decade, Innova Art has been dedicated to producing high-quality inkjet media for fine art and photographic reproduction. The Innova range includes a wide selection of matte finish inkjet papers, available in a selection of weights and textures; these are designed to give you the highest quality prints when framing or exhibiting. Also included in the range is the award-winning FibaPrint® product line, developed to become the digital equivalent to traditional fibre based darkroom papers. To give your images the ultimate in fine art treatment, why not try one of the canvases also on offer? Available in a matte or high gloss finish, they can be stretched to a variety of sizes. All Innova media is available in cut sheets up to A2 format or rolls up to 60in wide.

Ilford Galerie Prestige Gold Cotton and Fine Art papers have been created for the professional fine art printer. The Gold Cotton is available in Smooth and Textured papers, both 330gsm and 100 per cent cotton rag complement the Fine Art Smooth and Textured 220gsm. Both deliver stunning contrast and sharpness for colour or black and white prints.

The range sits alongside some other fantastic finishes including the celebrated Gold Fibre Silk; TIPA award-winning Smooth Gloss and Smooth Pearl; and Photokina’s star product, the Prestige Gold Mono Silk, produced specifically for black and white images.

Tetenal is a one-stop shop for a wide range of inkjet papers, including Hahnemühle, Kodak Professional, SpectraJet and Epson.

Online Paper Simlab Giclée Prints

Innova ArtIlford Galerie Prestige

Page 24: Photo Professional Magazine

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