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  • ILLUMINATING OFF-CAMERA FLASH

    TECHNIQUES TIPS AND TRICKS

    TO HELP YOU RUN A BETTER BUSINESSAMAZING IMAGES

    OF DETROIT

    BLOG ROLE: HOW TO MAKE MORE OF YOUR ONLINE PRESENCE

    GET TO GRIPS WITH LIGHTROOM Simple steps for easy watermarking

    PHOTOKINA 2012 ROUND-UP All the news from this years show

    GO BEYOND THE WEBWhy offline promotion is crucial

    In depth tests and guides to studio kits, LED lights and flash triggers and flash triggers

    LIGHTING

    Top experts reveal unmissable tips for survival through the winter monthsWEDDINGS

    ISSUE 73 NOVEMBER 2012

    Formula for successDont miss Darren Heaths beautiful motorsport images

    DRIVING FORCE

    MORE MONEY FROM

    Why offline promotion is crucial WIN!EPSON

    PRINTER

    670

    LIGHTING16-PAGE SPECIAL

  • 004 PHOTO PROFESSIONAL NOVEMBER 2012

    CONTENTSISSUE 73 NOVEMBER 2012

    Business MattersPro Academy Gear

    Regulars

    030 LIGHTING MASTERCLASSCOVER We speak to pro photographer Klark Grant about the techniques he uses to light portraits and show you how to recreate the effects yourself

    038 GETTING TO GRIPS WITH ADOBE LIGHTROOMCOVER In the second part of our Lightroom series, Dave Stevenson shows you how to watermark your images to protect them from copyright infringement. Simple but vital info!

    046 OFF-CAMERA FLASHCOVER Think you cant use off-camera flash for commercial projects? Read this illuminating article and see the light!

    080 STUDIO LIGHTING TEST COVER Adam Duckworth takes a look at some of the latest studio lighting systems from key manufacturers, trying them out both in the studio and on location. Dont miss his definitive verdict

    090 PROFESSIONAL LED LIGHTS COVER Philip Nash tests out the new generation of continuous light panels from Rotolight and Bowens and looks at the technology behind them

    096 BUYERS GUIDE: TRIGGERSCOVER Want to fire a flash remotely? There are plenty of products to help you do just that. Weve hand-picked some of the finest to feature in this round-up

    051 BUSINESS MATTERSCOVER Top advice from our experts to help you run your business better

    054 MAKE MORE MONEY 054 MAKE MORE MONEY 054FROM WEDDINGSCOVER Is winter a period of discontent for your wedding business? Shake off the blues with these expert tips

    066 BLOG ROLECOVER Blogs play a crucial role in promoting your business. Heres how to make sure yours works to full potential

    070 G0 BEYOND THE WEBCOVER Dont limit marketing to online promotion. We look at the other options

    006 INBOX 006 INBOX 006COVER The Photo Pro team was out in Photo Pro team was out in Photo Proforce at the recent Photokina show. Read all the details on launches from Nikon, Canon, Sony and many more, then make an appointment with the bank manager!

    016 PORTFOLIO: DARREN HEATH 016 PORTFOLIO: DARREN HEATH 016COVER With unprecedented access to the McLaren F1 racing team, Darren Heath creates motorsport images that are both unique and beautiful. We showcase some of his finest work

    022 PROJECT: DETROITUSCOVER Matt Howell travels to Detroit to produce a haunting personal project on the once-great Motor City

    016

    Subscriptions & back issues: www.photopromagazine.com, call 01371 851876 or see p65 for our special offer

    080080Whether you want to use lighting in the studio or on location, dont miss our 16-page test special

  • NOVEMBER 2012 PHOTO PROFESSIONAL 005

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

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

    Cant find a copy? Finding your nearest Photo Professional magazine stockist couldnt be easier. Professional magazine stockist couldnt be easier. ProfessionalSimply contact: COMAG, Tavistock Road, West Drayton, Middlesex, UB7 7QE Alternatively call 01895 433600.

    When you have finished with this magazine, please recycle it

    Bright House, 82 High Street, Sawston, Cambridge CB22 3HJTelephone 01223 499450 Fax 01223 839953enquiries@bright-publishing.comwww.photopromagazine.comeditorialEditorTerry Hope 01959 563007terryhope@bright-publishing.comSub EditorsLiz Greening 01223 499450Lisa Clatworthy 01223 499450Editorial DirectorRoger Payne 01223 499466rogerpayne@bright-publishing.comadvertisingAdvertising ManagerMatt Snow 01223 499453mattsnow@bright-publishing.comKey Accounts Maria Francis 01223 499457 mariafrancis@bright-publishing.comMike Elliott 01223 499458mikeelliott@bright-publishing.comBusiness Development DirectorDave Stone 01223 499462davestone@bright-publishing.comSenior Sales ExecutiveNatalie Howlett 01223 499458 nataliehowlett@bright-publishing.comAll advertising copy to: pproads@bright-publishing.comdesign & productionDesign Director Andy JenningsDesign Director Dean UsherDesign & Production Manager Grant GillardpublishingPublishing Director Andy BrogdenPublishing Director Matt PluckHead of Circulation Chris HaslumMarketing Manager Kelly Tarrant

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

    Cant find a copy?ProfessionalSimply contact: COMAG, Tavistock Road, West Drayton, Middlesex, UB7 7QE Alternatively call 01895 433600.

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    Subscriptions & back issues: www.photopromagazine.com, call 01371 851876 or see p65 for our special offer

  • 016 PHOTO PROFESSIONAL NOVEMBER 2012

    PORTFOLIO | DARREN HEATH

    IMPRESSIONSOF SPEED

    A new book from Formula 1 specialist photographer Darren Heath reveals another, gentler, side to this traditionally high-octane sport, one in which the focus has been thrown firmly on a more artistic approach WORDS TERRY HOPE PICTURES DARREN HEATH

  • 018 PHOTO PROFESSIONAL NOVEMBER 2012

    PORTFOLIO | DARREN HEATH

    f course this is the shot that every F1 fan demands, but the attraction of this sport goes way beyond such high intensity moments. Those who are addicted to the whole F1 circus

    love everything that goes with it, from the test sessions through to the build up, the quieter moments as mechanics prepare the gladiators for action and the spark of tension that grips the crowd as the countdown to the start gets underway. While every wannabee F1 photographer will know all about the obvious shots, there are precious few who understand the sport enough to be able to see and record the other aspects as well.

    One of those who very clearly lives and breathes the F1 way of life is Darren Heath, who has been covering the sport with his camera since 1988 and is now well into his 24th season. Hes the master of the action shot naturally, but no career could last that long if you couldnt add some variety to the mix as well, and his latest book, The Art of Racing, commissioned by McLaren and featuring shots that fully explore the beauty that comes alongside the sometimes brutal aggression that occurs at the height of the race, will perhaps surprise a few who have never seen that side before.

    As a child I loved Formula 1, says Darren, and once I discovered how much I enjoyed photography I made it my lifes work to combine the two. All my spare teenage time and most of my teenage money was spent on camera equipment and getting to race tracks so that I could improve

    WEVE ALL GOT THE VISUAL IN OUR HEAD OF A TRADITIONAL FORMULA 1 PICTURE, ONE IN WHICH THE CAR IS HURTLING INTO A BEND, SMOKE BILLOWING AS THE RUBBER BURNS FROM THE TYRES AND THE LEADING CONTENDERS JOSTLING CLOSE BEHIND FOR POSITION. OUR IMAGINATION SUPPLIES THE SOUND TRACK, THE DEAFENING SCREAM OF OVERWORKED ENGINES AND THE EXHILARATING SCREECH AS THE CORNER IS TAKEN AT FRIGHTENING SPEED. SURELY THIS IS WHAT THIS HIGH-OCTANE SPORT IS ALL ABOUT: MAN AND MACHINE PUSHED TO THE ABSOLUTE LIMITS IN A THRILLING RACE TO THE FINISH?

    my technique. In the summer of 1987, portfolio in hand, I took myself off to north London and cold-called top F1 snapper John Townsend. Luckily for me John was fantastically generous with his time, and he gave me the names and numbers of all his F1 photographer colleagues.

    After completing my college photography course I started as a junior black and white printer at the premier F1 photo agency of the time; Zooom Photographic. It was then a case of proving to the bosses that I was worthy of shooting at race events for the companys clients. I shot more than 35 race weekends in my first year (1988) to get more experience, and I covered everything from Formula First through to Formula Ford, FF2000, Opel Lotus Euro Series, F3, BTCC and F3000, all in that first season.

    My goal of shooting a foreign F1 race was f