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RAN G E F I N D E R

NOVEMBER 2019

RISING STARS

30 RISING STARS OF WEDDING PHOTOGRAPHY

Our Choice of Wedding Photographers to Watch

NOVEMBER 2019 / VOLUME 68 • NO. 10 PHOTO © ELIZABETH AUSTIN PHOTOGRAPHY

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PRESENTS THE LEGACY PROJECT

Human Connections

Sharing a life’s work, husband and wife Tim and Laura Sullivan expand the heart of their community.

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#MyFujifilmLegacy

“Juana, from Guatemala, Her dream is to become a makeup artist to the stars,” says Laura Sullivan.

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ALL PHOTOS @ THE SULLIVANS/CAMERA: FUJIFILM GFX 50S

Laura and Tim Sullivan started Sullivan & Sullivan Studios with the deep belief that telling stories is a compelling and crucial pursuit for humans. Laura’s time spent as a social worker, as well as their deep desire to provide portraiture for people from all walks of life, led them to photograph refugee and immigrant communities in Seattle, Washington, for this project commissioned by Fujifilm and captured on a FUJIFILM GFX 50S with a GF63mmF2.8 R WR Lens.

Through their photography as well as their global retreat company, Moveable Feast Retreats, Laura and Tim’s overarching goal is to find wisdom in every corner and culture of the world.

“John, from the Congo, well dressed, kind and worldly,” says Laura Sullivan.

“We want to welcome these families into our country and community and represent them through portraits that have an air of nobility. We have a newborn daughter and we want to raise her to experience diverse communities and people from all

“Angie, from the Philippines, Still gets a dreamy look in her eye when she tells you about her husband,” says Laura Sullivan.

corners of the world.”

To learn more about Tim and Laura Sullivan, visit rangefinderonline.com/ sponsored-post/fuji-sullivans Visit Fujifilm’s Create Forever experience at PHOTOPLUS October 24-27th, which includes an interactive Legacy Project gallery, gear loaning and photowalks.

Register today at photoplusexpo.com.

ADVERTISEMENT

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CONTENTS November 2019 Vol. 68 No. 10

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PICTURED: Sparkler

exit images were in abundance from this year’s nominees. Here, a unique one from one of our newly named 30, Colin Ross.

PHOTO © COLIN ROSS

Our 2019 list of honorees from around the globe

PAGE

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NO PHOTOGRAPHER WAS EVER REMEMBERED FOR HER HARD DRIVE. PRINT YOUR LEGACY.

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epson.com/printyourlegacy EPSON is a registered trademark and EPSON Exceed Your Vision is a registered logomark of Seiko Epson Corporation. All other product and brand names are trademarks and/ or registered trademarks of their respective companies. Epson disclaims any and all rights in these marks Copyright 2019 Epson America, Inc.

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MONICA STEVENSON PHOTOGRAPHED BY TIM MANTOANI

CONTENTS

F E AT U R E S

30 Cultural Photo Ops Inside Indian weddings. b y Cha rm i P e ñ a

34 Fully Lit Strobe setups for three very different locations. b y ca m i gru dz ins k i

FOCUS

photo © charmi Peña Photography

20 News, Tech and Entertainment A look a the Rise + Shine all-day summit for emerging wedding photographers at WPPI 2020. b y jacque l ine to b in

22 Legal Eagle A supermodel takes on the paparazzi.

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b y aa ron m . a r ce sta r k

24 10 Questions For Sarah Ferrara.

16 Editor’s Pick: Maya Beano

COLUMNS

inte rv iew b y l i b b y pete r son

26 Wedding of the Month An epic elopement by Stephanie Zakas. cu rate d b y jacq uel ine to b in

8 From the Editor

by libby peterson

b y jacq ueline tobin

28 Insights and Observations The art of competition.

12 RF Conversations

by arlene evans

72 Product Roundup Fourteen stylish new gear bags. by g reg scoblete

75 Hands-On Review Fujifilm’s GFX 100.

by Greg scoblete

photo © stephanie zakas

77 Ad Index

26

78 On My Radar Photographer Lakin Ogunbanwo’s keen eye for neon.

online now !

check out the exclusives Angela Marklew shares her journey from scientist to photographer, Kenny Kim discusses unorthodox marketing, Michelle Harris breaks down building an associate team and Charmi Peña shares more Indian wedding ritual visuals.

PLUS: Look for Photo of the Day, Wedding of the Week, video how-to’s, industry news and more. + rangefinderonline.com

by Lyne Lucien

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FROM THE EDITOR

®

Photo © Sue Bryce

For two months out of every year, we ask that our newly selected 30 Rising Stars of Wedding Photography keep their mouths shut! Let me rephrase that: Our annual competition is a prestigious event that wedding photographers in their first five years of business hope to be nominated for, and then selected. After the judges (the Rangefinder editors and other team members) make their choices, there’s a period of about 60 days where the winners can’t tell their peers or clients that they’ve made the list. It’s tough to keep the secret, we know, but we are so grateful that they do. But now we can shout it far and wide, as can they, and if you turn to page 38, you will see the very talented list of 30 photographers from all over the world who we are honoring in this issue. We thank them for taking the time to edit down their vast portfolios to just 30 images that convey their signature voice and photographic approach, and we thank all the nominators and leaders in the industry who helped with the invite list. Not a wedding photographer? In this issue we also have a review on the Fujifilm GFX —jacqueline tobin, 100, a roundup of stylish-yeteditor-in-chief functional gear bags, a how-to on jacqueline.tobin@emeraldexpo.com using strobes on location, and rangefinderonline.com much more! Enjoy!

Editor-in-Chief Jacqueline Tobin senior Editor Libby Peterson Technology Editor David Alexander Willis art director Lisa Realmuto-Walsh Group Production director Daniel Ryan Production Manager Gennie Kiuchi Contributing Writers

Aaron M. Arce Stark, Cami Grudzinski, Lyne Lucien, Charmi Peña, Greg Scoblete Senior Vice President

Johanna P. Morse show director, WPPI AND PHOTOPLUS EXPO

Colin King WPPI Conference Producer

Arlene Evans (arlene.evans@emeraldexpo.com) Senior Account Executives

Joseph Kowalsky (646) 668-3694 Dennis Tyhacz (646) 668-3779

ON THE COVER

Photo © Elizabeth Austin Photography

At this Virginia wedding, Elizabeth Austin-Davis realized that the venue where it took place was pretty dark. As a film photographer with editorial flair, she knew it was the perfect opportunity to use her Ilford Delta 3200 black-and-white film and, after seeing the window behind the bride, atmosphere aerosol—she always keeps it in her bag, looking for the right opportunity to “enhance the rays of light” pouring in. “I had the bride give me as much curve with her body while being tasteful,” says AustinDavis, who was chosen as one of this year’s 30 Rising Stars of Wedding Photography. Check out the full gallery of honorees, starting on page 38.

For subscription information and customer service, call: (603) 739-0900 or email: subscriptions@cds1976.com Rangefinder, Creative Data Services, 440 Quadrangle Drive, Suite E, Bolingbrook, IL 60440 Subscribe at rangefinderonline.com/subscribe For List Rental information, contact: Greg Gilroy gregry.gilroy@reachmarketing.com (845) 201-5329 Senior Operations Manager Neeta Lakhani

a publication of

President and Chief executive officer Sally Shankland Chief operating officer Brian Field Chief financial officer Phil Evans Senior Vice President, General Counsel and Secretary

photographer: Elizabeth Austin-Davis camera: Contax 645 lens: Zeiss 80mm f/2 Film: llford Delta 3200 exposure: f/2.8 at 1/1600 sec. ISO: 60 Lighting: Natural location: Shallow Creek Weddings and Events in Purcellville, Virginia

David Gosling Senior Vice President, Finance Dave Sunderland senior Vice President, Marketing Services Joanne Wheatley Vice President and controller Kate Elder Vice President, Human Resources Eileen Deady

Rangefinder is a trademark owned exclusively by Emerald Expositions, LLC Copyright © 2019 Emerald Expositions, LLC. All rights reserved.

the official magazine of

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Rangefinder Magazine 100 Broadway, 14th Floor New York, NY 10005 (646) 668-3700

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PHOTO © LINDSAY ADLER

HOW I GOT

THAT SHOT LINDSAY ADLER ON HIGH-IMPACT GEL LIGHTING WITH PROFOTO D2S

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I TEND TO PHOTOGRAPH IN EXTREMES: either saturated, rich color or high-contrast black and white. My goal is to create high-impact, “scroll-stopping” images that pop off the screen.

As a beauty and fashion photographer, I enjoy portraying women with a balance of strength and elegance. I invoke this through lighting, camera angle, styling and pose.

One way I infuse my work with eye-catching color is by using gel lighting. For this image, I was inspired by Hollywood movie posters, which frequently use complementary or primary colors to create tension and make the subject pop. It was created as part of an in-depth video and tutorial for educating photographers about effective ways to use color gels in the studio and on location.

Contrasting color schemes are often used for blockbuster movie posters; The aesthetic has become associated with superheroes. I wanted to imbue my subject with these larger-than-life qualities.

I gelled my lights with colors of opposing temperatures: blue and yellow. I used three lights: a single main light and two rim lights. The main light was a beauty dish with a grid and a blue gel.

I chose this modifier to create a flattering quality of light on the model’s skin and added a grid to ensure the background would appear darker. The two rim lights, equally spaced on either side of my subject, were 1’ x 4’ strip soft boxes with yellow gels. I chose strip soft boxes to create an even

and soft rim on both sides of her body.

To add to the feeling of strength and power in this image, I shot my subject from a low angle.

The earring adds another layer of visual interest to the composition, allowing the eye a point to rest upon, and further elevating the image’s stylistic strength.

As a rule of thumb, when using color, warmer colors come forward and cooler colors recede.

In this image, for example, the rim light on her profile is warmer so the viewer’s eyes are drawn there first. While this setup worked when my subject was facing the camera, I found it to be more impactful with her in profile because of how strongly my eye was drawn to the warm rim lights.

My lighting style tends to be bold and crisp. I love using hard light, gels and careful placement of shadows. While my personal style is important to me, I also allow the concept of the shoot guide my creative decisions. I don’t just stick to one or two lighting setups; Instead, I vary the lighting based on the story I’m trying to tell, or the characteristics of the subject I want to highlight.

I’ve been using Profoto exclusively for years now—my gear is an extension of me and my creativity. It has become such an integrated part of my image creation that is never stands in the way. By knowing and trusting my gear, I’m able to allow my creativity to flow freely.

To learn more about the Profoto D2, visit www.profoto.com and follow @profotousa on Instagram.

See more from Lindsay Adler at lindsayadlerphotography.com.

BEHIND THE SCENES

TIPS & TRICKS ADDING COLORFUL DRAMA TO SHOOTS WITH GEL LIGHTING.

1

CHOOSE YOUR COLORS CAREFULLY to better tell your story. Consult a color wheel and color theory to help!

—

2

COOLER COLORS RECEDE TO THE BACK in a photograph while warmer colors attract more visual attention.

—

3

USE MODELING LIGHTS in order to carefully place your rim lights. You only want to illuminate what you want to draw attention to. In this image, you can see how perfectly the rim light accentutates her profile.

—

4

A BEAUTY DISH CREATES A QUALITY OF LIGHT that is soft but with more contrast. It can be a perfect choice for a modifier when you want to flatter the skin but still have a bit of drama on your subject.

—

5

TO LEARN MORE ABOUT GELS, visit lindsayadler.photo/gels. I’ll show you how to control the use of color and light in your images-creating results that will jump off the screen!

LIGHTING SETUP LEFT: Behind the scenes of Adler’s

SUBJ ECT

shoot. Adler used Profoto D2s 1000 AirTTL UK and gelled her lights with

P R O F OTO D 2 1’x4 ’ R F i S o f t b ox

P R O FOTO D2 1’x4’ RFi S of t box

colors of opposing temperatures to make her subject pop.

P R O F OTO D2 Profoto wi t h W h i t e B e a ut y Di s h a nd Gr i d

CAMERA

OPPOSITE PAGE: The final photo was created using hard lights, gels and

Brought to you by

careful placement of shadows.

ADVERTISEMENT

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www.profoto.com

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PHOTO © CORTIELLA PHOTOGRAPHY

rangefindermag: Before he popped the question, “she was giddy and excited and began taking photos on her phone” of the surrounding landscape, says @irinaventresca, who was pretending to be a landscape photographer nearby at San Francisco’s Sutro Baths. “She even told him, pointing at me, ‘Hey look, there’s a photographer. We should ask her to take our photo!’ To which he replied, ‘Maybe later,’ with a grin. Then he took her hands and started saying sweet nothings that I couldn’t hear, and I started firing away as he got down on one knee.” #RfPOTD

PHOTO © IRINA VENTRESCA

RF CONVERSATIONS

aliza_rae: Beautiful image and story! But how did she get down there in those stunning shoes?!? rangefindermag: At this wedding, Jennifer Cortiella [@cortiellaphotography] says she “prompted them by saying, ‘Show me what you would do if I told you that you just won the lottery.’” #RfPOTD

sayhellotome: @aliza-rae I had no idea! I thought we were walking down to dinner.

taylorenglishphoto: Love that prompt!

“Four Women Leading the Charge to Diversify the Wedding and Portrait Photography Industry”

(September Diversity Issue, pp. 56-58) Tyler Adams: Love seeing the female movers and shakers in the industry celebrated. Even prouder that I know two of them and have had the privilege to work alongside them.

Congratulations Carly [Romeo] and Charmi [Peña]!!! Get it!

Mary Moore: Thank you Rangefinder magazine for highlighting the ethos of the Real Life Conference and the work of my friends Erika Jensen-Mann and Charmi Peña.

These two dedicated humans strive to create change in the photography industry and do the necessary work of speaking up. I’m very humbled seeing my name mentioned in the article. Take a read!

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instagram: @rangefindermag

PHOTO © DARING WANDERER

cortiellaphotography: @taylorenglishphoto thank you Taylor, we all had a laugh and then started talking about what we would do with the money!

rangefindermag: Jess Craven [@daringwanderer] shot this portrait of her brotherin-law during his elopement in Banff National Park with his new wife. Near Moraine Lake, Craven asked him to stand on this rock.

“He was carrying the bouquet and stood there while I pretended to adjust my settings,” she says. “I love the light, how he isn’t looking at the camera or staring off longingly.” #RfPOTD sarah_and_ben: That VIEEEEEW scott_murrish_photography: “Doing a few test shots, just ignore me.”

twitter: @RangefinderMag

facebook: facebook.com/rangefinderonline

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WEDDING & PORTRAIT PHOTOGRAPHY INTL.

2 02 0

BRINGING MEMORIES INTO FOCUS

Register Now CONF E RE NCE

February 23-27 SH OW

February 25-27 M A N DA L AY B AY, L A S V E G A S

W P P I E X P O. CO M

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WPPIAWARDS.COM

THE ANNUAL COMPETITION 16X20 PRINT, ALBUM AND FILMMAKING ENTER THE MOST PRESTIGIOUS WEDDING, PORTRAIT AND PRINT COMPETITION IN THE WORLD, HONORING THE MOST ILLUSTRIOUS PHOTOGRAPHER OF THE YEAR.

The competition culminates with live judging at WPPI’s yearly event, a gallery exhibition and awards ceremony at the show taking place in Las Vegas, February 23 - 27, 2020.

SIMPLY FOLLOW THESE STEPS TO PREP YOUR PRINTS, ALBUMS AND FILMS:

PHOTO © NAGAYUKI KOJIMA

EARLY BIRD DEADLINE: december 2

Review the specific rules for each category at wppiawards.com.

Select your strongest work (cannot be

work submitted to past WPPI Annuals). Size your images to the required specs. Remove all watermarks, signatures and other identifying information from your work.

Decide which division(s) you want to

enter (Wedding, Pre-Wedding, Portrait,

Photojournalism, Creative, Filmmaking, Premiere, In-Camera Artistry, Album).

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ED I TO R’S PICK

Inside the Mind I don’t remember how I first came across Maya Beano’s photos, but I can’t seem to get enough. There’s something addicting about scrolling through them on Instagram (no wonder she has nearly 100,000 followers there). Each shot looks like a total experiment, yet somehow, they all belong in the same Maya Beano world.

She takes her viewers on adventures. A large number of them are to scenic pastures and mountains with wildflowers and wildlife. If you’re picturing the familiar Instagram palette combo of creamy brown and forest green, guess what: Beano’s photos are tinted hot pink, purple and ocean blue. They are mysterious, they look like cotton candy and they feel so refreshing. And, even though they’re permanently on the internet, they also kind of feel ephemeral—that could be due to their grainy quality (Beano shoots on film).

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I know, this photo doesn’t really embody what I’ve described. But as oddly captivating as the aforementioned work is, I was equally struck when she wandered off the paths she had beaten for herself and let people in on a scene that’s more intimate and personal. Beano framed herself in this double exposure to reveal a character-filled interior, picking up on the shadows cast by her and the kitten sitting next to her. I don’t know if I would love this as much without that tiny kitten head, but that’s Beano’s awareness of her surroundings at work.

Speaking of work, Beano shoots just for fun. Born in Amman, Jordan, and living in the UK where she studied chemistry, she makes her living as a research scientist in Cambridge. + mayabeano.com

Photo © Maya Beano

By Libby Peterson

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FOCUS

Photo © janine licare

A co m p i l at i o n o f n e w s , t e c h an d e n t e r ta i n m e n t

WPPI 2 0 2 0

Rise + Shine Summit By jacqu eline tobin

For WPPI 2020, Rangefinder is expanding its inaugural 2019 Rise + Shine program into an all-day educational event for emerging wedding photographers who are, roughly speaking, in the first five years of business.

It can be daunting to launch a wedding photo business; there is so much to consider,

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including naming your business and marketing your brand, finding your signature voice to help you stand out from the pack, upselling products, pricing packages and so on.

At Rise + Shine, you’ll hear from some of our current and past 30 Rising Stars, as well as those who nominated them, in short presentations and in-depth group mentor

sessions. This all takes place from 10 a.m. to 6 p.m. at Mandalay Bay in Las Vegas on Sunday, February 23, 2020.

Expect giveaways, live demos, face time with the editors of Rangefinder and lots of networking. You won’t want to miss it! + wppiexpo.com

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PHOTO BY RAX ARN

10/3/19 7:55 AM

FOCUS L E G A L E AG L E

Beaut y vs. the Beast The paparazzi sues a supermodel. Here’s how it went down.

B y A aron M. A rce Stark

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the photograph, for example—it is very, very unlikely that Hadid’s defenses would have succeeded.

We say “would have succeeded” because the court did not ultimately address these defenses. It didn’t have to because it was able to dismiss the case for a much more simple reason, one that is actually far more important than whether models can exert a coauthorship claim over pictures of themselves.

The case was dismissed because the plaintiff had not properly registered the photographs

forward with the case. What’s more, the plaintiff could not amend its complaint once it did finally receive registration; it had to start all over, filing an entirely new complaint with entirely new fees and filing costs. Hadid won this time but very much on a technicality, and her win really only buys her time. Xclusive-Lee is free to file a second lawsuit once it receives proper registration from the Copyright Office, and the court is not likely to allow Hadid’s co-authorship defense much room next time.

What’s more, Hadid seems not to have learned much from this experience.

Just two months after receiving the court’s ruling, she has been named in another lawsuit for similar reasons, this time for posting a paparazzi image of her then-boyfriend, Zayn Malik, to her Instagram. It is doubtful that she will get off the hook this time: the photographer, Robert O’Neill, has properly registered the image in question, and because the image does not depict her at all but rather a third party, she cannot make the same co-authorship and implied license defenses. We will see how this new case turns out, but it is likely that she will understand the weakness of her position and settle out of court.

Always register your copyrights as soon as you can. If you are worried that a collaborative situation with a model or other artist or photographer may create a co-authorship situation contra to your intent and expectations, talk to an attorney who can talk you through the circumstances and help you determine your risks. He or she can also help you negotiate and draft agreements with your collaborators that set your expectations of authorship in stone.

Photo © ethan yang photography

A few months ago, a lawsuit for copyright infringement that was filed against supermodel Gigi Hadid was dismissed. The lawsuit was fairly standard—a paparazzo sued Hadid for posting a photograph that he took on her own Instagram. This seems like a fairly cut-and-dry case, right? He took the photograph and thus owns the copyright, and Hadid posted it without his permission or a license.

Whatever feelings you may have about the paparazzi taking unconsented pictures of celebrities in public spaces, it is settled law that they have the right to do so, and own the copyright to whatever images they take. Thus, Hadid’s publication of the image on her Instagram constitutes infringement.

However, there are two wrinkles in the case that give us pause and are worth examining: Hadid’s defenses and the court’s ultimate ruling.

We turn to Hadid’s defenses first.

She argued, among other defenses, that because she had turned to the camera and smiled, she was a co-author of the image, or at least held an implied license because the image depicted her likeness. Coauthorship occurs when more than one party works together to create a copyrighted work. The idea that a model can be a co-author of a photographer’s work is a frightening proposition and would greatly change how photographers produce images in all contexts. But in order to be a co-author of a work, you must meet the requirements of an author: namely, you must have inserted more than a minimum of creativity into the work.

Simply smiling does not cross this threshold of creativity. One’s face and likeness are similarly not “creative”; they are products of our nature and do not on their own cross the threshold of creativity. While there may be cases in which a model does insert sufficient creativity for a co-authorship argument to have some weight—makeup artists and drag performers who create elaborate looks and have a strong say in the composition of

with the Copyright Office.

As we know, while ownership and authorship of a copyright vests as soon as the work is created, registration of the copyright with the Copyright Office is required in order to file a lawsuit. Registration is a sometimes slow process and an application often takes months to move through the system and receive proper registration (although, of course, you can expedite this process for an additional fee). The plaintiff in this case, paparazzi agency Xclusive-Lee, had applied for registration at the time it filed suit but had not yet received its copyright registration.

And so the court held that because the plaintiff lacked registration, it could not move

Aaron M. Arce Stark is a lawyer for artists and entrepreneurs. Learn more about his law firm, Arce Stark & Haskell LLP, at ashlawllp.com.

This article is for informational purposes only.

Contact a lawyer for legal advice.

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MODEL TECH:

PHOTOS @ COURTESY OF MPB

MPB ON ACCESSIBILITY AND TRANSPARENCY IF YOU DO A QUICK ONLINE SEARCH for reviews of MPB, you’ll notice they’re almost all good. Phrases like “fair pricing,” “honesty” and “excellent customer service” are repeated by customers again and again.

At the core of MPB is a custom-designed, user-friendly online platform that re-envisions how photographers and filmmakers access their camera gear. It’s all about accessibility and inclusivity.

MPB is the brainchild of Matt Barker, who founded the startup out of his bedroom in 2011, and it is transcending the tech world with a human-centered design and ethos.

“We’re on a mission to make photography more affordable and accessible for photographers and filmmakers everywhere, from amateurs to pros. MPB enables creatives to discover the value of their gear, quickly and easily. Buying used from MPB opens up access to better gear, for less. We aren’t linked to any brands, which means we’re completely impartial—we’re free to help creatives make educated choices when investing in their setup,” says MPB’s COO, Frank Sullivan.

This commitment to honesty has given MPB a loyal customer base. How’d they get there? “By obsessing about customer experience across every aspect of our company,” says Sullivan.

“We build trust and loyalty with our customers by providing correct, consistent pricing and by being completely transparent. We care about every user and every transaction.”

MPB specialists meticulously inspect every item that comes through the platform, adding custom descriptions, correct model identification

and detailed photos. Users can buy and sell their photo and video kits for cash in a single, seamless transaction. The company offers a free six-month warranty on their products and also ships internationally.

“We wanted to get it right from the beginning,” Sullivan says. “Investing capital in creating the best customer experience was our top priority.”

They pair this attention to detail with a website that highlights emerging and master photographers and a social media presence

To connect more deeply with the photo community and accommodate their growing brand, mpb recently moved their Manhattan headquarters to a space that is six times larger in Brooklyn’s buzzing Industry City. filled with discussions about the newest photo gear and trends, as well as curated images.

The company is steadily growing, with 130 employees and more than 135,000 users.

Originally based in Brighton, UK, they expanded their headquarters to Manhattan three years ago. To connect more deeply with the photo community and accommodate their growing brand, they recently moved their Manhattan headquarters to a space that is six times larger in Brooklyn’s buzzing Industry City.

The state-of-the-art Brooklyn space will allow

the team to speed up their processing, meaning faster payment to sellers and a greater supply for buyers. It also boasts an impressive communal workspace for its employees and has the potential for hosting community events.

Sullivan says they are excited to be a part of the creative hub of Brooklyn, in a community of other rental houses and photography and production studios. What’s next for MPB? They intend to continue connecting with the photo scene on the ground in Brooklyn, but they aren’t settling down anytime soon. They’re set to open up another warehouse in Berlin, where they will serve the photography and filmmaking community across mainland Europe.

FOR MORE INFORMATION ABOUT MPB SERVICES, PLEASE VISIT MPB.COM.

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FOCUS You made your debut at WPPI’s The Annual competition in 2017 and have consistently won awards since. What advice would you impart on someone who’s never submitted before?

Be willing to fail. Every “failure” is a step towards improving if you are willing to take the feedback on board. I also recommend finding someone whose work and approach you admire who does well in competition and ask them about mentoring. I mentored for a while with David and Luke Edmonson, and they were instrumental in encouraging me to find my own creative process and refine my work.

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What new technique, skill or lesson did you learn this year?

After my first experience as a judge at this year’s WPPI competition, I decided to study further. This summer, I spent three days at the SWPP Judging School in the UK to qualify as a judge for them as well. I have learned so much from competition and grown so much as an artist pursuing the WPPI Master accolade that judging has been a personal goal of mine since my first experience as a print handler in 2017. It is a huge honor, and I enjoy it enormously.

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What’s the most unexpected part about living in northern Italy?

Italians have a great sense of humor.

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If you had to live in another country, where would it be and why?

I love Denmark. It’s a beautiful country with great people. But if I didn’t live in Italy, I would love to return to Wales, my country of birth.

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Tell me about your recently launched business, Love Edits, and how you found a need for it in the industry.

Photographers think that if they outsource, they will lose control of the creative process. But if a business is to be scalable, photographers must be able to delegate certain aspects of their work or they risk being slave to what essentially becomes a low-paying job without the paid vacations.

I provide both wedding Lightroom catalog culling and editing with a flat fee per wedding, as well as Photoshop retouching for portrait studios, and a higher level retouch for large-scale wall art, all the way up to high-end retouching for print competitions.

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10 Q U E S T I ON S

Sarah Ferrara Photographer, New Judge on the Block, Editing Expert I n te rvie w By libby peterson

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also occasionally shoot fashion and advertising?

I have always made time to shoot creative projects for myself, with the exception of a two-year period when I was shooting a lot of weddings solo and just didn’t have time to do anything else. Now I make time, as these creative shoots attract my ideal clients, who approach me after seeing my work on social media.

My clients are wedding photographers and portrait studios, with whom I work closely to understand their style and preferences. Then I train my staff, who work with me in my studio, to that specific style so the photographer can completely relax and just get on with shooting, marketing and growing their business.

How have you perfected your workflow to keep on top of everything?

For weddings, I reduce time spent culling by shooting less. Do not use burst mode; wait for the moment. Shoot, get it right, then move on.

Get everything as correct as possible in camera, including framing and white balance, so that only really tiny tweaks are needed in post.

For my own weddings, I just apply one of my own Lightroom Profiles to the entire collection, a single slider in Lightroom CC that does not affect the raw adjustment sliders.

Then I run through adjusting a tiny bit for exposure or white balance if needed.

For portraits, the right lighting can reduce retouching time tenfold. Again, I always try to get it right in camera. I use a tripod in the studio, make sure the background is clean, ensure lighting is on point and I am really precise with expression, posing and hands.

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What do you do to unwind?

10 Unwind? What’s that? Kidding aside,

I like to go to the gym—it’s the best destressor ever—and watch movies with my daughter and my dogs. I also love podcasts and trained myself to enjoy audiobooks instead of reading print so that I can listen to business and personal development books while editing my images. If I’m not learning something, I feel restless.

Sarah Ferrara lives on Lake Garda in northern Italy. She’s a wedding and portrait photographer, as well as a Master of WPPI.

You teach advanced Lightroom and Photoshop techniques.

What’s a common mistake that you find photographers make in those programs?

Classic mistakes include over-sharpening eyes and over-smoothing skin. But recently I have noticed an over-reliance on third-party plugins for color toning and creative effects.

Many of the filters in these programs are very destructive, and while they might look great on screen, real trouble can occur when it comes to printing with banding, noise and artifacts being added to the image. Pretty much every effect created in any thirdparty plugin can be achieved using simple adjustment layers in Photoshop.

Another thing that can ruin a print is running actions with too many adjustment layers in them, or running too many actions and stacking them together. The more adjustment layers you add in Photoshop, the more the image can degrade.

If you could uninvent one thing, what would it be?

Those selfie face-smoothing apps for smartphones.

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How did you expand from wedding and portrait photography to

Photos © sarah ferrarA

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FOCUS

R F W EDDIN G O F T H E M ONT H

A n Epic Elopement c u r at e d bY J ac q u e l i n e to b i n

Photographing elopements may seem easy but they really aren’t, according to adventure elopement and intimate weddings photographer Stephanie Zakas. “Elopements are sometimes seen as a less-than wedding when they are every ounce of just as meaningful and important as a huge wedding,” she explains.

“I know I’m biased, but I almost feel like elopements are a bit more special, because every single part of the day is filled with intention and the couple creating an entire trip based on their love.”

Take, for example, her elopement shoot in Iceland of couple Alexandria and Luke. “These two are some of the sweetest humans I have ever met,” says Zakas. “They are high school sweethearts who endured a lot of moving from state to state together, and stayed with each other through it all.”

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Photos © stephanie zakas

photographer: Stephanie Zakas Locations: Reykjavík, Iceland (for ceremony) and BrewDog Reykjavík bar (for day-after session) Cameras: Canon 5D Mark III and IV lenses: 17-40mm f/4, Sigma 30mm ART, 50mm, 85mm L f/1.2

We had a picnic with Icelandic doughnuts (kleinur), cupcakes and Champagne at the end. Oh, and they had a super epic rainbow that lasted for the two hours that we were up at the top of the waterfall, one of the tallest in all of Iceland, which is a sign of a good marriage if I’ve ever seen one.”

—Stephanie Zakas ra nge find e ronline .com

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Photo © sandra coan

Insights and Observations

The Art of Competition

By Arlene Evans

I was very honored when Rf editor-in-chief Jacqueline Tobin and senior editor Libby Peterson asked me to be part of the judging team for this year’s 30 Rising Stars competition.

Each year, emerging wedding photographers are nominated by photo editors, veteran photographers, bloggers, wedding planners and other wedding industry professionals to

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submit a portfolio of 30 images.

The only criteria is that they must be shooting weddings full-time for five years or less, and are creating beautiful and innovative imagery. Nominees come from all over the world. This year’s honorees hail from Spain, Italy, Guatemala, Kenya, Australia, The Netherlands, India, Finland, Mexico, Germany, Slovenia and many other countries, as well as the U.S. (including Hawaii).

I must admit that I was a little skeptical about the process, as I had previously heard grumblings in the photo industry that the 30 Rising Stars were not always representative of the emerging wedding photography market.

What I found was that this is not the case at all: the nominees are newer photographers who are trying to be at the top of their craft but are also working to sustain a full-time business. Doesn’t that sound like the typical wedding photographer you know?

And for the most part, the portfolios were amazing. Some were moodier with darker tones and others were softer with muted colors. But all reflected the same thing—the beauty of the wedding itself and the joy of bringing family and friends together to celebrate a very special life event, with all the diversity of the world fully included. Nominees ages ranged from early 20s up to the 50s, showing us that it’s never too late to follow your passion.

As I was judging, a few of the winners really stood out to me for their styles: Lukas Leonte (Austria) for his beautiful outdoor photos, Becy Farr of Belle Art Photography (England) for capturing so much emotion in her images, Janine Licare (San Francisco, CA) for the soft and almost dream-like colors, and Eric-René Penoy’s (Portugal) philosophy of combining fine art and photojournalism.

Having your portfolio reviewed by mentors and photographers who are your peers is an important way to learn more about how others view your work and what you can learn from their commentary. That’s why we at WPPI feel that the First and Second Half competitions, as well as The Annual for print, album and filmmaking, are so important to the development of photographers.

As the judging for The Annual at WPPI 2020 (on Feb. 23 and 24) moves to the Mandalay Bay Conference Center with no badge

restrictions, all attendees will be able to listen and learn from all of our impressive judges.

Remember when you were a kid and you’d love to go through old photo albums with your family? It’s not the same when you’re scrolling through images on an iPad. This is where the power of the print comes into play.

I’ve had several photographers tell me that when they send digital orders in for their clients to be printed, they don’t always get to see the finished product. To them, actually printing (or having the file printed by a lab or master printer) can be a scary process—what if the image doesn’t hold up when it’s a physical print? So, they’re challenging themselves when they enter The Annual, making sure that their images look as good when they’re printed as they do on the back of their camera.

We have eight divisions covering all three areas of the competition: Wedding, Pre-Wedding, Portrait, Photojournalism, Creative, Filmmaking, Album and In-Camera Artistry. Each judging room is moderated by a chairperson with five judges in each room, along with print handlers who display the prints and a proctor who announces the print title and records the scores. In 2019 there were 64 judges, many of whom were speakers, and they represented the U.S. and seven other countries. The setup for 2020 will be the same and you won’t need to take the tram this time; you’ll be right there already at Mandalay Bay. I hope that you’ll make time in your very busy schedule to come to Vegas a day or two earlier than usual so that you can be part of this amazing event. There aren’t too many print competitions left in the photo world and we’re proud to continue this tradition.

Arlene Evans is the WPPI conference producer. Email her your feedback or topics you want addressed in upcoming issues at arlene.evans@ emeraldexpo.com.

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Cultur al Photo Ops

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Inside Indian

Weddings

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All Photos © Charmi Peña Photography

By cha rmi Peña

There are so many beautiful and important rituals and traditions that take place at an Indian wedding; what follows here is just the tip of the iceberg. South Asian weddings vary greatly from region to region and even from family to family, so be sure to always keep your eyes wide open and your camera to your face!

While many of these traditions are rooted in the past, these days they are often modernized by our brides and grooms, two brides or two grooms to fit their story, family and love.

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Mangala Snanam In some families, mangala snanam (holy bath) is done after turmeric is applied, but I most

often see it done before in Telegu families that I’ve photographed. The bride (or groom) is “showered” by the family in a purifying bath, now qualifying to participate in everything to come.

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Pithi/Haldi In many Hindu families, and before the wedding, both people in the couple—separately with their families—will be smeared in turmeric paste (often inside the home) to purify and beautify them for the wedding day. This tradition can start a bit emotionally with mothers and grandmothers and aunties, but it quickly turns to fun when the cousins and friends get their hands on the paste!

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Mehndi/Henna Traditionally, a few days before the wedding the bride will have Henna paste applied to her hands. The application is meant to cool her, and use mehndi’s medicinal powers to help relieve stress.

These days men and women alike participate, and they bring the things they love into it—favorite sports teams, cities, etc. The designs are endless and incredibly beautiful.

In keeping with tradition, be sure to ask the bride if her betrothed’s name is hidden somewhere in her hand and arm designs. And then make sure to photograph her future spouse finding it a few days later.

If you have a groom with heavy mehndi, make sure to ask him as well, and photograph him, too. range find e ronline .com

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Sehra Bandi We’ve arrived at the wedding day! One of my favorite parts of a Punjabi wedding is a ceremony where the groom’s family prepares to send him off to the rest of the wedding by tying a headdress with draping garland pieces (sehra) that covers the face of the groom, and putting a small black dot on his face (near his eye or behind his ear) to ward off the evil eye.

Make sure to get friendly with the groom’s sisters because they’re usually tasked with the tying—if they have their guard down, they’re more likely to let themselves be emotional because it’s a big moment for them.

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Baraat Back in the day, the groom’s family would band together and adventure to the bride’s town for the wedding. In 2019, we’re just symbolically partying from the parking lot to the mandap (the four-pillared altar in which the ceremony takes place.)

Be sure to bring earplugs!

You’ll often have a van with giant speakers leading the procession and a dhol (drum) player, too. It’s a 30- to 60-minute dance party outside where the family and friends celebrate each other, the parents and siblings of the groom and the groom himself.

On the other side of the music, you’ll find the groom dancing and watching everyone dance on their

way to his wedding. He’ll often be on a horse or a carriage pulled by a horse, and sometimes a fancy convertible.

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Milni After the baraat at Punjabi weddings, the milni signifies the coming together of the two families. They greet each other with garlands (the dads, then uncles, grand-dads, etc.), but more and more I’m seeing this as a tradition for all and not just the men. The guests get to see who all the important people are and the two families get to bond.

After any given pair garland each other, there is a chance they’ll both try to pick each other up for some fun! Consider

shooting pretty wide since the crowd tends to be really tight around the action.

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Ponkvu At Gujarati weddings, instead of a milni, the family performs a ceremony called a ponkvu.

The bride’s mother greets the groom and welcomes him to the wedding by performing a few minutes of ritual. At some point she will likely make a grab for his nose as a signal to him that she’ll always be keeping an eye on him to be sure he’s treating her daughter well.

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Jaimala To kick off the ceremony, the couple garland each other.

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It’s called the jaimala. Sometimes the couple will make it difficult for each other to reach them (sometimes they’ll go up on family members’ shoulders or sometimes they’ll just keep moving to make it harder).

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Mangal Phera During the ceremony, the couple, guided by the priest, will feed a fire. When it’s grown enough, they’ll walk around it four times. (Some traditions walk around seven times!) When it is just four, they represent dharma (devotion to faith), artha (prosperity, for themselves, their family and those in need), kama (love and dedication) and moksha (liberation, freedom from earthly

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things), and their promise to commit to these goals together.

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Saptapadi After the phera, the couple perform saptapadi.

These are the seven vows they are making to each other. In my experience, each priest and family has a bit of a different translation, so listen up. Occasionally a hilarious vow or two will pop up!

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Sindoor In one of the final moments of many Hindu ceremonies, the groom will rub vermilion powder into the place where the bride’s hair parts. The sindoor signifies that the bride is now a married woman.

There are so many more rituals, too many to show here, including kredana. In many South Indian families, the ceremony continues on after the vows. In kredana, the couple is seated behind a pot filled with water (and sometimes with vermilion powder, milk, flowers, etc.). The priest drops a ring in the water and the couple searches for it.

Whoever finds it first wins! They go for the best of three, with the winner symbolically having the upper hand in marriage. Often, they will pull the third one together for balance.

To view even more Indian wedding rituals and special moments you want to make sure to capture, and read more advice from Peña, visit rangefinderonline.com

Charmi Peña is a documentary wedding photographer, educator and Nikon Ambassador based out of Princeton, New Jersey. Her success as a wedding photographer specializing in Indian and Southeast Asian weddings stems from her passion for preserving the intimacy of weddings, especially those of her own culture, and her desire to honor all wedding traditions by capturing them with the respect they deserve. ra nge find e ronline .com

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FULLY LIT

Magic Made

How strobes can let you shoot beyond what the eyes can see—in three very different locations.

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By c ami grudzinski

The Barn Most couples may panic at the thought of rain on their wedding day, but I love a good storm. Florida weather messes with people’s emotions—we have sudden, big storms, but they tend to be quick, leaving behind stunning skies, full of colors and textures to work with.

During this particular wedding, held at the Wishing Well Barn in Plant City, big storm clouds started forming as we were wrapping up portraits. The clouds had my heart and I wanted to keep shooting with them, but there was just no more time left—it was time to move forward with the timeline.

I got my lights set up for the couple’s first dances and proceeded to shoot as usual, with two lights: a Godox AD600 with a Westcott Rapid Box Beauty Dish and egg crate at the bottom left corner of the dance floor, and at the top right corner, a Godox AD200 with a MagGrid, ¼ CTO gel and a MagSphere.

While everyone was so focused on the couple dancing, I kept wondering how the sky looked above the barn. I captured all of the traditional shots quickly and just had to run back out to check. It was such an amazing view. Luckily, the couple was turning around as they danced and I did not have to change anything in my light setup to get the shot; the couple was well lit and all stars aligned. All I had to do was drop my shutter speed to open up the sky, wait for the right moment, shoot and run right back in. Despite the distance from which I shot, the light helps direct your eyes straight to the couple.

sub j ect s

G o d ox a d 200 with M agG r i d, M agS ph er e & ¼ CTO gel Godox ad600 with beauty dish & eg g crate

all Photos © Cami Zi Photography

Camera

Camera: Nikon D810 Lens: NIKKOR 24-70mm f/2.8 Focal length: 24mm Exposure: f/3.5 at 1/60

ISO: 1600

Lighting: Godox AD600, Godox AD200, Westcott Rapid Box Beauty Dish with egg crate, MagGrid, ¼ CTO gel, MagSphere

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FULLY LIT The Canyon The light outdoors can be unpredictable so I do my best to schedule my sessions around sunset. Sometimes my couples have limited availability, so I use strobes to work around any situation and create my own light.

That’s what happened here.

This portrait session was set to be held at the stunning Providence Canyon State Park in Lumpkin, Georgia, but the couple could only meet me in the middle of the day so I arrived early to scout. I found a really tight space to shoot from, but the view was worth it. I knew I wanted to frame the couple with the canyon walls so I shot with my wide lens to “open up” the space a bit more.

Though the canyon walls were darker for the shoot than when I had first spotted them, I just added two lights to the scene: one bare Godox AD200 as my main light, set up just outside the canyon wall and at camera left, and one Godox Speedlite, positioned by my feet on a short pole with a MagSphere from MagMod, pointing up the canyon walls to open up the shadows.

The result was a very unusual perspective, accentuating the rich colors of that scene.

subjects

Godox AD200

Godox speedlite & MagsPhere

Camera

Camera: Nikon D810 Lens: NIKKOR 14-24mm f/2.8 Focal length: 14mm Exposure: f/10 at 1/400 sec.

ISO: 100 Lighting: Godox AD200 (angled at 45 degrees), Godox Speedlite, MagMod MagSphere

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FULLY LIT

The Gangway s ub j ect s

Right after photographing Jeff and Arlene’s wedding in Orlando, Florida, we headed to the cruise terminal at Port Canaveral to board for their honeymoon. I was hired to tag along during their trip to the Bahamas to photograph a few additional sessions with the couple and their families.

We were on our way to board the ship and as we walked up the gangway, I noticed the lines and the blue glass.

I just couldn’t pass the opportunity to shoot a portrait there. Knowing of strict security rules in these kinds of areas, I asked permission before pitching the idea to the couple just to make sure that we would not get in trouble and ruin their honeymoon. Security told me I had zero seconds to do it and that I could not stop the boarding flow.

I sent up Anna, my assistant, (at camera

left, hiding in a very small gap) with a small Godox Speedlite and a MagMod MagGrid with a ¼ CTO gel. I checked my exposure and as the couple approached me, I asked them to drop their bags with their family and quickly stop just past where Anna was positioned. We took three frames and kept moving.

Adding the light here helped create a more colorful look in camera, and the ¼ CTO gel allowed me to drop the white balance a bit so that I could bring out the blues and add warmth to the center of the image where the couple was standing.

Cami Grudzinski (Cami Zi Photography), is a wedding photographer based in Gulf Breeze, Florida. She was designated a 30 Rising Star of Wedding Photography in 2017. She has spoken at, judged and won a Grand award at WPPI’s print competition.

G odox speedlite lite with MagG rid & ¼ CTO gel

Camera

Camera: Nikon D810 Lens: NIKKOR 24-70mm f/2.8 Focal length: 24mm Exposure: f/4 at 1/250 sec. ISO: 100 Lighting: Godox Speedlite (angled at 45 degrees), Magmod MagGrid with ¼ CTO gel

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PH RA OTOG

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Now in its eighth year, Rf’s 30 Rising Stars of Wedding Photography has grown and evolved significantly. This year we had almost 300 nominees from the greatest number of countries than in any year previous, some of which were new to the competition. We’re proud to see this diverse representation, as well as the wide variety of honed 38

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Congratulations to our

2019 Honorees

Ameirfikri Ash Powell Becy Farr Colin Ross Corinna & Dylan Daniel López Pérez Daniela Villarreal David Ruff Elizabeth Austin-Davis Eric-René Penoy Janine Licare Johanna Rosenlew Katz Photography Lukas Leonte Luke Bell Matteo Innocenti Me & Georgia Melody Joy Natalie J Weddings Plan Liebe Quyn Duong Rafal Borek Randi Kreckman Rimi Sen Rosa Garrido Sara Lincoln Tinted Photography Tjeerd Paul Jacobs Urška & Domen Will Khoury

judges Jacqueline Tobin Editor-in-Chief

photo © daniel lópez pérez

Libby Peterson Senior Editor Moneer Masih-Tehrani Director, Creative Services Arlene Evans Conference Producer, WPPI

honed styles—from colorful and editorial to subtle and cinematic—on the following pages.

Thanks to all the nominators, which includes Junebug, The Knot and more, and all our nominees for producing such thoughtful portfolios. Without further ado, this year’s list…

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rising stars of wedding photography

Ameirfikri Ameirfikri prefers to let things happen naturally and focus on moments that show emotion and human connection. “For me,” he explains, “weddings are not only about the bride and groom but other attendees there as well. Capturing them unposed and without direction helps infuse genuine feelings and emotions into my images.” Being from Malaysia, the photographer says that being raised in a community of different races helps set himself apart from other photographers by embracing diverse cultural heritages in his images. And using his trusty 35mm also helps, he says, as he loves the wider angle, mood and perspective it incorporates.

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Age: 29 Resides: Kuala Lumpur, Malaysia Years in business: 1 + ameirfikri.com Photos © Ameirfikri headshot © Afiqah

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Ash Powell Ash Powell seems to know who she is as a photographer after just one year—and that is no easy feat. She has a timeless, cinematic approach to her images, which she achieves by using natural light and capturing moments as they are unfolding. “I have always been obsessed with novels and films, so I love being able to use photography as an outlet to tell love stories.” Using mainly Canon 5D Mark IIIs and 35mm and 85mm lenses, Powell wants people to look at her work and always know it’s her who created it. “I stay true to the things I like photographing and always share work I’m proud of, regardless of whether it’s trendy or not.”

Age: 31 Resides: Cornwall, England Years in business: 1 + ashpowell.com Photos © Ash Powell Photography Headshot © James Frost Photography

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rising stars of wedding photography

Becy Farr (Belle Art Photography) “Someone once told me that when they look at my work, it’s as if the people in the image are about to move,” recalls Becy Farr of Belle Art Photography. This not only resonated with her, it inspired her to begin shooting videos on her old Super 8mm camera.

Farr’s artistic origins lie in filmmaking, but she moved to photos to master light. “But I still think like a filmmaker,” she says. Farr focuses on a couple’s passion and quirks, aiming to place viewers in the scene with them. Light, mood and atmosphere “with an almost dreamy and ethereal quality” reign supreme.

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Age: 27 Resides: Newcastle upon Tyne, England Years in business: 2 + belleartphotography.co.uk Photos © Belle Art Photography Headshot © Arif Stabler

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Colin Ross Colin Ross strives to connect with each individual couple in documenting their relationship and the story of the unique moments and details of their weddings. “I try to stay authentic to who I am and who they are, and photograph in an honest way, no matter what the latest trends and tricks are,” the self-taught photographer says. “When my couples receive their photos, I want them to look back on their day and experience the joy and emotion all over again. One way I achieve this is by underexposing my photos and tweaking them slightly by enhancing the tones; the goal is for the photos to stay as real to the original shot as possible.”

Age: 32 Resides: London, England Years in business: 3 + colinianross.com Photos © Colin Ross Headshot © Jonathan Coates

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rising stars of wedding photography

Corinna & Dylan When Corinna and Dylan Kovacevic are shooting a wedding, they’d like the frames to be represented as memories rather than exact representations of reality. Their style, heavily influenced by their love of cinema, is “a balance between taking truthful images ‘of’ people and artistic images ‘about’ people,” they say, and imperfections are welcome. “We’re not scared of dipping our toes into the absurd, or breaking tradition if it aligns with the values of our clients.” In that regard, it benefits the duo greatly to get to know their couples and truly connect with them.

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Ages: 31 (both) Reside: Canberra, Australia Years in business: 2 + corinnaanddylan.com Photos and Headshot © Corinna & Dylan

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Daniel López Pérez Photography Daniel and Melissa, of Daniel López Pérez Photography, love to tap into their bold and playful style, especially, they say, when it comes to color. “It would be really hard for us to work in Guatemala and use muted tones,” they say, “so we have found ourselves sticking with a fun, colorful vibe since we started working here.” They also both love solid lines and a well-composed photo. “It’s when you get one of these images in your viewfinder and say to yourself, ‘Hell yes,’” they say with a laugh. Minimalistic in their gear, which is Nikon based, they also like to incorporate a bit of photo-j into their style after the portraits are done.

Ages: 31 (Daniel), 32 (Melissa) Reside: Guatemala Years in business: 5 + daniellopezperez.com Photos © Daniel López Pérez Photography Headshot © Antonio López Pérez

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Daniela VillarreaL When asked how to describe her style, Daniela Villarreal responds: “The devil is in the details.” She says, “details remind me to appreciate the beauty in everyday things; they are so powerful in that they give us the opportunity to imagine the entire scene of anything.” One way she is able to sort out the best moments and details in her images is through her editing.

“I separate the photos by moments—getting ready, ceremony, reception, etc.—which helps me see more of everything and see the different kind of light I had at different times of day. I always respect the light and color of a moment for a more genuine feeling of realness.”

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Age: 28 Resides: Monterrey, Mexico Years in business: 5 + danielavillarreal.com Photos © Daniela Villarreal Headshot © Mariana Ballin

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David Ruff A nonconformist to the bone, David Ruff isn’t one to follow trends. While he does aim to create timeless keepsakes for his clients, he’s also not afraid to experiment with multiple exposures and hard light. “I’m a sucker for it,” he says, adding that his age-old obsession with vinyl album art and movies has also made its way onto his list of photographic influences. His work carries a sense of mystery, even a hint at something haunting at times. “I always aim to go further outside the box when shooting, not sticking to any traditional methods,” Ruff says. “The more unconventional, the better.”

Age: 31 Resides: Glasgow, Scotland Years in business: 3 + david-ruff.com

Photos and headshot © David Ruff

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Elizabeth Austin-Davis Elizabeth Austin-Davis shoots mostly film at her weddings, which are largely that of underrepresented communities of color and mixed cultures, she says.

“I showcase their love on film in a luxury approach.” Her style is more traditional and editorial. She poses people intentionally, always looking for the good light. “I love full-body shots that show the environment and the grain of my film,” she says. AustinDavis will overexpose her film “to pull more cool tones” from her film, exposing for the shadows and having her lab scan for the highlights.

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Age: 31 Resides: San Antonio, Texas Years in business: 3 + elizabethaustinphotography.com Photos © Elizabeth Austin Photography Headshot © JoPhoto

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Eric-René Penoy Eric-René Penoy hopes to add something unique to the wedding photography world—not least of all his own preset, called “Brue,” that mixes brown and blue hues.

His work is journalistic in nature mixed with romanticism, nostalgia and a sense of quiet. He draws from a range of film directors, including Wes Anderson, Denis Villeneuve and Andrei Tarkovsky. Having a mild form of Asperger’s, Penoy says, “I want to show people and to myself that I am able to create something with my brain and my hands. I have developed my own communication and trademark. But the journey is still long and I never take it for granted.”

Age: 40 Resides: Porto, Portugal Years in business: 5 + ericrenepenoy.com Photos © Eric-René Penoy Headshot © Gonçalo Cavaleiro

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Janine Licare Janine Licare says that as a wedding photographer, finding your color palette is very important. “True color is beautiful as it is and my editing is light and natural; colors should be authentic and celebrated, not muted or overly saturated.” Licare also strives to match her digital images as closely to her film ones as possible. “When I receive my film scans back,” she says, “it helps me remember exactly what that moment actually looked like. I use those colors and that light to edit the wedding day. I try to capture the world as it is and match colors and mood as closely to how it was at the time the image was taken.”

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Age: 30 Resides: San Francisco, California Years in business: 4 + janinelicarephotography.com Photos © Janine Licare Headshot © Maria Lamb

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Johanna Rosenlew Johanna Rosenlew turns to paintings from the Dutch Golden Age for inspiration in her work. Though it isn’t always easy to create chiaroscuro (the strong contrasts between dark and light), Rosenlew always looks for ways to use natural light with rich, moody tones. She never lets the pursuit for this aesthetic get in the way of the day as it would naturally unfold, observing and capturing sincere or energy-filled moments without disturbing the party or faking a scene for the camera. “The biggest compliment is when a stranger says [the photos] make them feel something,” she says, “even when they don’t know the person in the photograph.”

Age: 29 Resides: Helsinki, Finland Years in business: 4 + johannarosenlew.com

Photos © Johanna Rosenlew Headshot © Alexandra Andersin

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KATZ PHOTOGRAPHY Timothy and Monicah Katua of Katz Photography were shooting macro, family and event photography before switching full-time to weddings. They don’t believe that weddings should be treated as photo shoots, instead opting for a documentary style with creative flair. In their eyes, it’s about “showing authentic moments of how the wedding was and at the same time, reminding the couple of how it felt,” letting them relive it when their photos become art in their homes. In post, the duo likes to pop the highlights and shadows to show some dimension in their storytelling and to enhance the mood of the day.

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Ages: 34 (Timothy), 30 (Monicah) Reside: Nairobi, Kenya Years in business: 5 + katzphotographykenya.com PHOTOS © KATZ PHOTOGRAPHY HEADSHOT © KATZ STUDIOS

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Lukas Leonte Lukas Leonte likes to mix a romantic sense of adventure into his documentary-style wedding photography. He skews to warmer colors “that spark that fuzzy feeling,” he says, but Leonte is also careful to edit a wedding according to how it felt during the celebrations (albeit staying consistent for the sake of his clients’ expectations). “I do love to direct my couples, especially in the beginning of our shoots,” he says, “but then let their personalities unfold as they feel more and more comfortable in front of the camera.” Leonte likes to incorporate Polaroids and steers clear of retouching.

Age: 25 Resides: Linz, Austria Years in business: 2.5 + lukasleonte.com

Photos and headshot © Lukas Leonte Photography

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LUKE BELL While he makes certain to capture all of the important moments of a wedding day, Luke Bell is most drawn to what he calls “the challenge of making images that are less obviously ‘wedding photos.’” Inspired by cinema, painting, fashion and contemporary design, he hopes to spur feelings of wonder and curiosity in those who look at his photos as he follows intriguing light and keeps an eye on what might only seem mundane to the naked eye. “I like to keep things as minimal as possible but never at the expense of sacrificing the ambiance,” Bell explains. “Less is more, and atmosphere is king.”

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Age: 41 Resides: York, England Years in business: 4 + lukebellphotography.co.uk

PHOTOS AND HEADSHOT © LUKE BELL

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Mat teo Innocenti There’s an undeniable sense of warmth, elegance and simplicity in Matteo Innocenti’s wedding photography. “At least that’s what I look for in my pictures,” he says. “I always look for some Caravaggio-style natural light” and dramatic shadows, so you can mostly find him looking for peculiar light for his portraits, even in unconventional places. More than his style, though, Innocenti suspects he gets hired for his laid-back approach and relaxed attitude. “I am not a superstar,” he says, “I do not push people to play a role on their wedding day.”

Age: 39 Resides: Tuscany, Italy Years in business: 1 + mipstudiowedding.com Photos © Matteo Innocenti Photography Headshot © Francesco Spighi

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ME & GEORGIA Manos Mathioudakis and Georgia Kontodimou look at wedding photography cinematically. They prefer to let the day flow as intended without intervening or worrying about a shot list. And having documented mostly Greek weddings so far, those days are usually “quite massive events,” they say, “which has trained us to locate and capture emotional moments and moments of calmness among the hustle and bustle of a big crowd.” They shoot both digital and film but lean on the aesthetic derived from film and try to “remove the digital ‘feel’” from those photos.

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Ages: 36 (Manos), 34 (Georgia) Reside: Heraklion, Crete, Greece Years in business: 2.5 + meandgeorgia.com PHOTOS AND HEADSHOT © ME & GEORGIA

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Melody Joy What motivates Melody Joy to create? “I am a movie buff, so cinema has always inspired me...maybe because thrillers, crime stories and suspense are my favorites, I tend to have a darker editing palette!” Melody also loves to travel and says that her most recent trip, to Mexico City, involved eight days of “taking photos nonstop as I ate my way through the tacos of the city and found new ways to shoot light. I don’t wait for weddings or even paid work to ‘practice’ my art and love of photography. It constantly challenges me and grows me creatively as a photographer.”

Age: 29 Resides: Chicago, Illinois Years in business: 3 + melodyjoy.co Photos and headshot © Melody Joy CO

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NATALIE J WEDDINGS With a background in fashion and editorial photography (which comes in handy especially during her oft-requested group photos), Natalie J Watts truly sees her role as a precious one that connects and remembers life and loss. After hearing from past clients that the most priceless frames are those of loved ones and not epic couple photos and intricately placed details, she has focused herself harder on capturing simple moments with real emotion. “A little bit of my heart and soul goes into each wedding that I photograph to help tell each couple’s story in the most true and heartfelt way possible,” she says.

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Age: 36 Resides: London, England Years in business: 5 + nataliejweddings.com

PHOTOS © NATALIE J WEDDINGS HEADSHOT © SHARRON GIBSON

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Plan Liebe Katrin and Marco of Plan Liebe would call their collective photographic and filmmaking style as romantic, peaceful and melancholy. With Katrin shooting stills and Marco filming motion, they try to remain observant in an artistic way. Inspired by stories, music, movies and people, they keep post-processing minimal while focusing on giving emotions more expression with moody tones. “For us, it is the beauty in the chaos and moments of longing,” they say. “That’s what we’re trying to put into our work. We think it’s about embracing every heartfelt, intimate emotion and thoughtful detail along the way.”

Ages: 30 (Katrin), 35 (Marco) Reside: Hamburg, Germany Years in business: 3 + planliebe.com Photos © Plan Liebe Headshot © Chris Parkinson

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QUYN DUONG Quyn Duong’s images look the way a memory feels. “Our memories are never exact,” she explains. “They’re blurry, imperfect, like a dream or a daze. The details are a little fuzzy, but we remember how we felt—everything between the nerves and the euphoria.”

One way Duong captures these memories is by being as unobtrusive as possible and letting people take the lead in creating their own memories. “I want people to forget there’s even a camera between us so they can fully be present in their experience and their emotions. I love bringing out their unique personalities.”

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Age: 27 Resides: New York, New York Years in business: 3 + onenightcereus.com

PHOTOS © QUYN DUONG HEADSHOT © SARAH KUSZELEWICZ

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Rafal Borek Natural moments, the highs and lows, the mix of emotions that come with getting married...

Rafal Borek finds the beauty and artistic composition in all of it, especially the moments that unfold naturally. “Over the past three years, I’ve pushed myself to make the portrait element natural with as little direction as possible,” he says. With black-and-white imagery being his first love and the mirrorless camera taking over the industry, he says he took advantage of the monochrome viewfinder, to minimize any distraction while composing an image, and it makes him even more sensitive to the importance of light in photography.

Age: 40 Resides: Sligo, Ireland Years in business: 4 + ralvphotoworld.com Photos © Rafal Borek Headshot © Ciara Cassidy

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RANDI KRECKMAN Randi Kreckman says she’s very drawn to human connection and that is the primary focus of her wedding photography. “I look for the intricacy in small interactions and focus more strongly on them in my images than on getting detail shots,” she says. She also loves to play with unique elements, such as balancing light and shadow or slowing down her shutter speed, to create interest.

Her self-described style—”intricate, authentic and meaningful with a dash of nostalgia”—includes doing minimal post-production aimed at keeping “truth in colors and enhancing, not taking away, from what my couples remember.”

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Age: 33 Resides: Kailua, Hawaii Years in business: 2 + randikreckman.com PHOTOS © RANDI KRECKMAN HEADSHOT © EMILY JOHNSON OF ONE CREATIVE ADVENTURE

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Rimi Sen While Rimi Sen admits that Indian weddings are intrinsically colorful and sometimes even chaotic, most of her post-production work involves toning down the disorder and distractions and bringing attention to the moment, and to the key subjects. “I believe in a true depiction of the events with subtle and minimalistic postprocessing, keeping my photos vibrant and moody.” In addition, Sen says that what makes her work relevant and successful is her ability to learn from each and every person and experience. “Photography makes me fall in love with life more and more.”

Age: 32 Resides: Bangalore, India Years in business: 4 + rimisen.in

Photos © rimi sen Headshot © Vidhi maheshwari

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ROSA GARRIDO Rosa Garrido loves telling stories with her camera and modeling images with light.

“Although technique does come into play,” she says, “my closeness to my couples, along with being kind and always having a smile, makes them relax enough to show their true selves, natural and excited.” Garrido adds that a wedding is the type of event where the photographer has to always think about immediate solutions, and make decisions on framing, lighting, posing (or not posing) and location in mere seconds. “The most difficult part of being a wedding photographer,” she sums up, “is being able to combine art, sensitivity and agility.”

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Age: 38 Resides: Huelva, Spain Years in business: 4 + rosagarrido.com

PHOTOS AND HEADSHOT © ROSA GARRIDO

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Sara Lincoln Sara Lincoln likes to play with a warmer palette and muted colors. At the same time, she doesn’t like to box herself into one specific style. In that vein, she likes that couples from different cultures hire her. “I love the big gestures celebrated at weddings,” she says, “the confetti madness and the dance floor shenanigans, but I am also super sensitive to the small stuff too.” She attributes the music photography she shoots in her spare time to keeping her on her toes both creatively and logistically when “you have to engage ninja mode in order to react to the ever-changing light.”

Age: 33 Resides: London, England Years in business: 5 + lincolnpictures.co

Photos: © Lincoln Pictures headshot © Martijn Roos

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TINTED PHOTOGRAPHY The duo Sirjana Singh and Benjamin Lane stay away from universal presets and edits applied for consistency’s sake. “We believe each love story brings to the canvas its own set of colors,” they say. In fact, colors play a primary role in their work, which they describe as anthropological in nature and holistic in approach. They try to be present for every stage of a couple’s wedding planning process. They’ve created stationery, tagged along for dress shopping and helped brainstorm ideas for the bride and groom’s surprise celebrations. “We do this because art is deeper with genuine connections,” they say.

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Ages: 34 (Benjamin), 33 (Sirjana) Reside: New Zealand Years in business: 2 + tintedphotography.com PHOTOS AND HEADSHOT © TINTED PHOTOGRAPHY

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Tjeerd Paul Jacobs When asked to describe the influences behind his imagery, Tjeerd Paul Jacobs says that cinematography taught him a lot about camera angles, storytelling, lighting and color grading, while street photography taught him to embrace any type of light and step out of his comfort zone. “On a wedding day I’m very much intuitive and gravitate to the little moments, interesting light and strong compositions.” On average, he delivers around 300 edited images at a 10-hour wedding. “Before batch-editing all my favorite images, I create a color grade that complements the look and feel of the wedding day.”

Age: 37 Resides: Utrecht, The Netherlands Years in business: 3 + tjeerdpauljacobs.nl Photos © Tjeerd Paul Jacobs Headshot © Victor Hamke

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URŠKA & DOMEN PHOTOGRAPHY Urška and Domen say they have a simple and relaxed style that is “pure, authentic and warm. Our main goal during the wedding is to capture the day as it unfolds, photographing real and honest moments, big and small ones, that mean the most to our couples.” These moments include quick glances between newlyweds, tears of joy and tight hugs shared with friends and family. The photographers say that they prefer a touching and emotional moment over a technically perfect one. “We love to add a few softer focused images to the final galleries, because they have that je ne sais quoi touch that fits perfectly.”

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Ages: 27 (Urška), 31 (Domen) Reside: Celje, Slovenia Years in business: 5 + urskadomen.com PHOTOS © URŠKA & DOMEN PHOTOGRAPHY HEADSHOT © LAURA KOLŠEK

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Will Khoury Will Khoury loves imperfections and finds comfort in capturing them. He is not looking for the technically perfect shot; he’s after emotionally filled images for clients to treasure. “I like to capture moments up close and personal,” he says, “which gives an intimate feel rather than being distant shooting with a zoom lens.” Khoury sees himself as a storyteller, to see the bigger picture and find a purpose in what he can capture. “I don’t have a specific approach because each couple is different and I want the photos to reflect them for who they are so that they are meaningful to each of them.”

Age: 29 Resides: Modesto, California Years in business: 4 + willkhoury.com Photos © Will Khoury headshot © Alexandra Khoury

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Panasonic Lumix DC-S1 Mirrorless Digital Camera

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As part of Panasonic’s entry into full-frame mirrorless, the Lumix DC-S1 is a well-rounded camera offering advanced feature-sets for both stills and video, along with a robust physical construction. Characterized by its full-frame 24.2MP MOS sensor, which is supported by an updated Venus Engine, the S1 offers impressive image quality along with a quick 9 fps shooting rate and expanded sensitivity range up to ISO 204800. In regard to video, the S1 can record UHD 4K30p with full-pixel readout, 4:2:0 10-bit color, and unlimited shooting times, as well as 4K60p for up to 29:59.

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9/10/19 9:42 AM

PRODUCT ROUNDUP

b y greg s co b l et e

Pack It in Style From brilliant backpacks to snappy shoulder bags, here’s a look at some stylish new gear bags.

Hex Glacier Style: Backpack Carrying Capacity: Full-frame DSLR, up to four large lenses, 15-inch laptop External Material: 900D water-resistant poly Size: 18.5 x 12 x 5.5 inches Special Features: You can access your gear via a top opening that reveals the interior’s adjustable dividers. On the outside, you’ll find a phone pocket, adjustable water bottle pouch, YKK zippers and a tripod strap. There are also three mesh and Velcro pockets in the interior for stowing small accessories. The pack’s back panel and straps are padded in EVA foam for a comfortable fit. price: $190

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+ hexbrand.com

Manfrotto Advanced2 Style: Backpack (convertible to shoulder or hand bag) Carrying Capacity: DSLR and up to two lenses, 14-inch laptop, accessories External Material: Water-repellent synthetic fabric Size: 11 x 7.4 x 16.9 inches Special Features: With the Advanced2, you get three bags for the price of one. Backpack shoulder straps can be stowed in a zippered compartment, while the top handle stays put and a cross-body shoulder strap is fully removable, giving you three different carrying options. A rain cover is included in case the skies really open up. price: $129

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Billingham Hadley Pro 2020 Style: Shoulder bag Carrying Capacity: DSLR, up to three lenses including a 70-200mm and accessories External Material: Choice of threelayer waterproof canvas or three-layer waterproof FibreNyte Size: 17 x 6.4 x 9.4 inches Special Features: An update to Billingham’s most popular bag, the 2020 edition of the Hadley Pro now features a top handle with a leather underside and a pass-through strap for rolling luggage. The shoulder sling is now fully removable. The bag includes a removable, foam-padded insert for holding camera gear, plus a weatherproof zippered back pocket for storing documents. There are also adjustable front pockets for storing small accessories. price: $250

+ manfrotto.us

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+ billingham.co.uk

Peak Design Everyday Sling 5L Style: Shoulder sling, fanny pack Carrying Capacity: Camera body, up to two lenses, 11-inch tablet External Material: Waterproof 400D nylon canvas Size: 12.2 x 7.5 x 4.3 inches Special Features: This compact sling includes a pair of Peak Design’s FlexFold dividers that can be fitted, origami-style, around your gear. They can also be removed entirely if you want to free up space for personal storage. There are two flexible interior side pockets for stowing accessories and an inner flap compartment that has four small pockets for additional accessory storage. price: $100

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Tamrac Bushwick 2 Style: Messenger bag Carrying Capacity: One body, up to two lenses, flash, accessories External Material: Weatherproof fabric Size: 9.75 x 7 x 4.5 inches

Think Tank Vision 15 Style: Shoulder bag Carrying Capacity: Camera body with a 24-70mm attached, up to four lens, flash, a 15-inch laptop and a 10-inch tablet plus accessories External Material: 420D Velocity nylon with a durable, water-repellent coating Size: 17.3 x 9.8 x 5.1 inches

Special Features: Pavement pounders and street shooters in the market for a compact, budgetfriendly shoulder bag should give the Bushwick 2 a look. The exterior sports expandable side pockets and a pair of front access zippered pockets. The interior has customizable dividers. price: $70

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+ tamrac.com

Special features: The Vision 15 (centered) is the largest of the new Vision family of shoulder bags. It protects your gear behind a zippered flap that provides an extra layer of defense against both the elements and unwanted hands. There’s a pass-through strap for attaching the bag to rolling luggage and a seam-sealed rain cover that can be pulled out in weather emergencies. price: $140

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+ thinktankphoto.com

Compagnon Backpack 2.0 Style: Rolltop backpack Carrying Capacity: Three full-frame bodies, seven lenses, accessories External Material: German bull leather, hybrid-canvas Size: 19.5 x 12.6 x 8.6 inches Special features: This rolltop backpack has a removable bottom section and zippered pockets on both sides for stowing small accessories. The hybrid canvas features a water-resistant wax embedded in the fiber and will show less of that faded patina look over time. A leather SD/CF card holder that can attach to the interior via Velcro is also included. price: $569

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+ compagnon-bags.com

Tenba Sue Bryce Tote 15 Style: Tote bag Carrying capacity: Two DLSRs, up to six lenses, accessories External material: Vegan-friendly black leather Size: 17 x 12.5 x 8 inches

Portage Supply Mariner Style: Messenger Carrying Capacity: Camera body, up to two lenses, 15-inch laptop External Material: Gray waxed or tan cotton canvas Size: 15 x 15 x 12 inches Special Features: The Mariner sports side weather flaps to protect your equipment and removable internal dividers if you want to free up room in the bag for personal items. There’s a front zippered pocket for small items like smartphones. price: $99

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+ portagesupply.myshopify.com

Special features: Designed in conjunction with the popular portraitist, the Tote 15 features YKK zippers and antique brass metal hardware. It has a pass through strap for rolling luggage and meets international standards for carry-on luggage. price: $230

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PPRROODDUUCCTT RROOUUNNDDUUPP Langly Multi Globetrotter Style: Backpack Carrying Capacity: Up to ten lenses or several camera bodies, 15-inch laptop External Material: Waterproof fabric Size: 20 x 11 x 8 inches Special Features: Built for bulk, the Globetrotter’s straps have chest and waist attachments to help distribute heavy loads while air channels on the back and sweat-wicking mesh panels cool you off as you tote around your stuff. It boasts TSA-approved locking zippers, sweat-wicking mesh panels and hidden pockets to safely stow valuables. price: $249

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+ langly.co

Ona Monterey Style: Backpack Carrying Capacity: DSLR, up to five lenses, 13-inch laptop, accessories External Material: Full-grain leather top, waxed canvas body Size: 14.5 x 10.5 x 6 inches Special Features: The top portion of the Monterey bag is adjustable, giving you more or less room to store personal items as the day demands. The lower portion features removal padding for storing camera gear. The bag’s base is a padded leather so it can rest upright.

Jo Totes Granada Style: Cross body or hip Carrying Capacity: Compact DLSR or mirrorless with lens attached, one extra lens External Material: Nylon and black leather Size: 9.3 x 9.3 x 4.5 inches

price: $262

|

+ onabags.com

Special Features: Pop open the Granada and you’ll find an adjustable padded interior. The envelope-style pocket can be accessed with a turn lock and there’s an additional zippered pocket inside the bag for safely stashing smaller items. The waist belt can be stored in the large back pocket when not in use. The Granada is compact enough to serve as an insert in a larger bag for when you need to travel with more gear. price: $99

|

+ jototes.com

Mission Workshop’s Integer Oliday Journeyman Style: Backpack Carrying Capacity: DSLR, up to six lenses, accessories, 15-inch laptop External Material: Water-resistant cotton canvas and full-grain leather Size: 11.5 x 17.5 x 5.75 inches Special Features: Thanks to its removable padded organizer, the Oliday can double as a day bag when you’re off duty. There are side pockets and a pair of interior zippered pockets for stowing smaller accessories. The Journeyman uses a YKK brass zippered closure with storm flaps to protect your stuff from inclement weather. price: $1,590

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+ oliday.net

Style: Rolltop backpack Carrying Capacity: Three lenses, full frame body, accessories,15-inch laptop External Material: HT500 nylon textile with weather-resistant coating Size: 20 x 14 x 6.5 inches Special Features: The weatherproof Integer has three access points: a zippered front panel, a zippered side panel or an expandable roll top. The interior has adjustable dividers that can be fully removed. You’ll find a dedicated laptop sleeve, expandable water bottle pouch, luggage pass-through straps and exterior loops for holding a tripod. price: $485

|

+ missionworkshop.com

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10/8/19 10:40 AM

C A M E R A R E VIE W

B Y G REG S CO B L ET E

FUJIFILM GFX 100 Fujifilm’s revolutionary medium-format camera goes under Image Engineering’s microscope.

Rangefinder is a member of the Technical Image Press Association which has contracted with Image Engineering (IE) to perform detailed lab tests of digital cameras. Here are IE’s results for the Fujifilm GFX 100.

Fujifilm broke new ground in the medium-format camera market with the GFX 50S, a camera that looked and functioned more like a conventional mirrorless than your traditional medium-format system.

With the GFX 100, they’ve piled in more medium-format firsts.

For starters, it’s the first camera in its class to use a 102-megapixel back-side illuminated image sensor,

in-body stabilization and a hybrid autofocus system with phase detect pixels covering nearly 100 percent of the image sensor. According to Fujifilm, the AF system is 210 percent faster than the contrast-detect system used in the GFX 50R. It’s also capable of recording 4K (4096 x 2160)/30p video at 400Mbps)— another medium-format first. You can apply Fujifilm’s film simulations during

video recording as well as output a 10-bit, 4:2:2 signal through HDMI to an external recorder. The camera supports Fujifilm’s F-Log profile (Rec 2020) and there are both microphone and headphone jacks for audio recording and monitoring.

Beyond its video prowess, the GFX 100 offers a native ISO range of 100 to 12,800 (expandable from 50 to 102,400) and 16-bit RAW image capture. You’ll

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enjoy 5.5 stops of image stabilization along five axes thanks to the camera’s in-body stabilizer.

On the design front, the camera sports a 3.2-inch tilting touch display and ships with a removable EVF. The GFX 100 is weather sealed in 95 places across the camera body and the detachable EVF. It uses a double structure design to segregate the imaging unit (sensor, lens mount) from the main body panel to improve durability. Size-wise, it measures and weighs in at about the same dimensions as a flagship DSLR with two batteries and the EVF attached.

Learn more at bayphoto.com Image by Sal Cincotta

RESOLUTION & SHARPENING The Fujifilm GFX 100 captures 100 percent of its sensor’s theoretical maximum at ISO 100 and 400 (out of a total possible result of 120 percent).

The camera can capture over 90 percent of its sensor’s theoretical maximum resolution at ISOs 800 through 6400. Resolution drops to 82 percent at the top native ISO of 12,800 and down to 75 percent at the extended setting of ISO 51,200.

In-camera sharpening was found to be moderate, though slightly stronger than that applied by the 50-megapixel GFX 50R. VISUAL NOISE IE found that noise is visible in every image enlarged to 100 percent on a digital display starting right at ISO 100. By contrast, the GFX 50R didn’t begin to show obvious noise in this viewing condition until ISO 800. By ISO 12,800 IE warns that noise would be “disturbing.”

However, when viewing GFX 100 output as a postcard-sized print, noise won’t be visible at any of the native ISO settings—a performance IE deemed “superb.” In a large print, noise is similarly not visible in any of the native ISO settings. Again, superb

by IE’s reckoning.

DYNAMIC RANGE & COLOR REPRODUCTION Dynamic range in the GFX 100 measures in at a respectable 9.3

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f-stops at ISO 100 and 9.0 at ISOs 400 and 800. This trails the performance of the 50R, which hit 10.8 stops at ISO 100.

IE found that the dynamic range in the GFX 100 remains consistent: it’s 8.9 stops at ISO 1600, 8.7 at ISO 3200, and 8.5 at ISO 6400. Dynamic range drops off to 7.5 stops at ISO 12,800.

Color reproduction is excellent.

Only five colors show deviation from the original hue when reproduced by the GFX 100, all of which are bright reds. White balance, on the other hand, performed only “fairly well” at ISO 100 and poorly at ISO values above that.

VIDEO The GFX 100 could resolve 100 percent of its sensor when shooting video at base ISO (which, for videos, is ISO 200). Visual noise would not be obvious in videos shot at ISO 200 and only just visible, when viewing a 100 percent enlargement of a video frame, at ISO 1600.

As with stills, IE found that the GFX 100’s automatic white balancing missed the mark, delivering poor results at ISO 200 and ISO 1600. On the flip side, dynamic range measured in at an excellent 11 stops at ISO 200 and 10.3 stops at ISO 1600.

SPEED AND PERFORMANCE The camera’s start-up time clocked in at 1.8 seconds, slower than the GFX 50R’s 1.2 seconds. The GFX 100 records 4.3 frames per second for a total of 80 frames in JPEG mode, faster than either the GFX 50R or the GFX 50S (3.0 frames per second in each). That’s also faster than the speed promised by competitors like the Hasselblad X1D 50c (Mark I or II). In RAW mode, the GFX 100 shoots 4.3 frames per second for a total of 16 frames.

Autofocus in bright light took 0.2 seconds, plus a shutter lag of 0.1 seconds. That’s speedier than both the GFX 50R or 50S. price: $10,000 | + fujifilmusa.com

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10/11/19 12:26 PM

AD INDE X Acrylic Idea factory........................................................................................................29 B&H Photo-Video ....................................................................................................70, 71 Bay Photo ..........................................................................................................18, 19, 76 Circle Graphics....................................................................................................... 80, IBC Delkin Devices Inc..........................................................................................................79 DNP IMS America Corporation.......................................................................................13

Coming IN D e c e m b e r

The Trends Issue!

The latest innovations in tech, social media and print, our editor picks and why they work, plus WPPI 2020 product picks to look for at the show.

PLUS! A roundup of backgrounds and studio props, a TIPA review of the Sony a7 IV and WPPI’s Second Half Winners Gallery.

Epson America Inc............................................................................................................ 5 Fuji Photo Film USA.......................................................................................................2.3 HahnemÜhle...................................................................................................................45 Miller’s Professional Imaging ..................................................................................... 7, 9 MPB.com .................................................................................................................21, 23 Paul C. Buff Inc........................................................................................................... IFC, 1 Professional Photographers of America............................................................19, 21, 23 Profoto.....................................................................................................................10, 11 Signs 365....................................................................................................................OBC Tamron USA Inc..............................................................................................................17 WPPI 2020 Wedding & Portrait Photography Conference & Expo...............................14 WPPI the Annual Competition Call For Entries..............................................................15

online now Features, online-exclusive stories and galleries, Photos of the Day, Weddings of the Week and more, all in one place. + rangefinderonline.com

The Index to Advertisers is provided as a courtesy to Rangefinder advertisers.

The publisher assumes no responsibility for errors or omissions.

RF, RANGEFINDER IS A MONTHLY PUBLICATION dedicated to the ad­vance­­ment of photographers. Features encompass all phases of professional photography, including: solutions to technical problems, business practices, handling assign­ments, equipment test reports, processing techniques and future trends.

Acceptance of advertising does not carry the endorse­ment of the publishers.

SUBSCRIPTIONS: Free to qualified subscribers within the U.S. For nonqualified subscribers the cost is $20.00 for 1 year, $38.00 for 2 years and $55.00 for 3 years. For Canada the cost is $45.00 for 1 year, $85.00 for 2 years and $128.00 for 3 years. For all other countries the cost is $55.00 for 1 year, $105.00 for 2 years, or $155.00 for 3 years. All fees are payable in advance in U.S. dollars. Change of Address: Please allow four weeks for uninterrupted service. Tear off the address label of the magazine and send it with new address to Rangefinder, Creative Data Services, 440 Quadrangle Drive, Suite E, Bolingbrook, IL or send email to: subscriptions@cds1976.com None of the material appearing herein can be reprinted without the permission of RF, RANGEFINDER. Un­­­so­licited material will not be returned unless sufficient postage is provided.

Material submitted for pay must carry “Submitted At Your Usual Rates.” The publishers and editors shall not be responsible for loss or injury of any submitted manuscripts and/or art.

The ac­ceptance of advertising in RF, RANGEFINDER does not imply endorsement of the publishers. Publishers re­serve the right, without giving specific reason, to refuse advertising if copy does not conform with editorial policy.

RF, RANGEFINDER (USPS 768-880, ISSN 0033-9202) is published monthly except bi-monthly in July/August by Emerald Expositions, 100 Broadway, 14th floor, New York, NY 10005.

Periodicals Postage Paid at New York, NY and additional mailing offices.

POSTMASTER: RANGEFINDER, Creative Data Services, 440 Quadrangle Drive, Suite E, Bolingbrook, IL 60440.

Canada Post: Publications Mail Agreement #40798037. Return undeliverable Canadian addresses to: Emerald Expositions, P.O. Box 2601, 915 Dixie Rd., Mississauga, ON L4T0A9. © Copyright 2019 by Emerald Expositions.

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ON M Y RA DAR

Keen Eye For Neon Many photographers use neon saturation in the background as a means of brightening the overall tone of an image, but outside of that, the hyper-saturated colors don’t necessarily serve a purpose in the visual narrative.

On the other hand, Nigerian photographer Lakin Ogunbanwo uses neon to bring the figure to the foreground. His selective color use feels natural because he downplays it by contrasting it with the shaded dark green in the background.

Ogunbanwo invites the viewer to interact only with what is brought to light and ignore everything in darkness.

His use of color houses visual paradoxes that add depth and allows viewers to draw conclusions about the narrative. + @lakinogunbanwo

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Photo Š Lakin Ogunbanwo/WHATIFTHEWORLD

By Lyne Lucien, Senior Photo Editor, The Daily Beast

N ov em b er 2 019

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United States Postal Service

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Monthly except bi-monthly in July/August 11 $20.00 7. Complete Mailing Address of Known Office of Publication (Not Printer) (Street, city, county, state, and ZIP+4) Contact Person Emerald Expositions 100 Broadway, 14th Fl New York, NY 10005

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RANGEFINDER 15.

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Sources)

79

94

-

-

26,773

26,877

5,965

5,831

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-

-

2,422

1,045

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6,876

35,160

33,753

318

981

35,478

34,734

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