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WorldMags.net

HOW TO MAKE GREAT PICTURES

MAY 2014

VOLUME 78, NO. 5

FEATURES 57 5 SUPER PHOTO PROJECTS

This how-to extravaganza provides practically everything you need to know to

produce great action-stopping, time-lapse, pinhole, paint-with-light, and DIY
photo booth projects. Cant decide which to try? Go for broke and do all five!
By the Editors of Popular Photography

50 STORM CATCHER

How one photographer couples the

artistry of a monochrome master
with the courage of a daredevil
weather chaser. The result? A
portfolio that both fine art and
meteorological fans can embrace.
Photos by Mitch Dobrowner;
text by Jon Blistein

68 ANATOMY OF

A STUDIO SHOOT

How many professionals does it

take to pull off a singleand fairly
simplefashion shoot? We visit the
studio of a very busy clothing website
to find out. The answer may surprise
readers!
By Matthew Ismael Ruiz
POPPHOTO.COM

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MAY 2014 POPULAR PHOTOGRAPHY 5

WorldMags.net

Durable, Affordable

32

13

46

NEXT

HOW

delivers the highest chip sensitivity yet: ISO

409,600. Now you can shoot by starlight.

how commercial pro David Arky shot this

months awesome cover image.

14 JUST OUT A Panasonic ILC

40 TIPS & TRICKS Add humor to

18 ROUNDUP Flash and strobe

41 TRAVELING
PHOTOGRAPHER Wend your way

13 WE WANT THIS The Nikon D4s 37 CREATIVE THINKING Learn

flagship, Sigmas next Foveon camera,

a Nikon RAW converter, and other news.
modifiers to make your lights softer, fuller,
more colorful, or just plain better.

SHARE

23 PHOTO CHALLENGE

This months winner aimed for the stars.

24 MY PROJECT
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An Alaskan
photographer transforms his bedroom
window into a picture window.

your selfies for sure-fire viewer appeal.

to Savannah, GA, to discover the heart of

southern charm.

42 SOFTWARE WORKSHOP

Try these six tricks to get the most out of

the lastest version of Adobe Camera Raw.

46 YOU CAN DO IT Lengthen your

shutter speeds for dreamy seascapes.

LAB

26 I, PHOTOGRAPHER She aims 73 ILC TEST

her Canon at writers of the literary canon.

Samsung NX30 With

a new sensor, swiveling touchscreen, and
unique viewfinder, this is hot!

SLIK PRO series tripods use Super

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than standard metal tripods.
The best selling SLIK PRO 700 DX tripod
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tripod designed to handle heavy camera
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80 DSLR TEST

29 LETTERS You pelt us with

SUPER
A.M.T.
ALLOY

28 MENTOR SERIES On her

very first trek, this painter fell for the visual
riches of Irelandand for photography, too.

83 LENS TEST Tamron 150

questions about Nikon DSLRs, the Sony

Alpha 7R, DIY refractographs, and more.

30 TECH TALK For those wondering

how your flashs output compares to the
competitions, we have some answers.
32 YOUR BEST SHOT

This
month, charismatic animal couples prove
that two critters can be cuter than one.

Nikon D3300

Better bursts, a bigger buffer, and more.

600mm f/56.3 Di VC USD Great focal

length range and, wow, that price!

DONT MISS . . .
8 EDITORS LETTER
10 SHOWCASE
94 TIME EXPOSURE
98 BACKSTORY

POPULAR PHOTOGRAPHY (ISSN 1542-0337) (USPS 504-890), May 2014, Volume 78, Issue 5, is
published monthly by Bonnier Corporation, 2 Park Ave., New York, NY 10016. Periodicals postage paid
at New York, NY and additional mailing offices. Authorized periodicals postage by the Post Office Department, Ottawa, Canada, and for payment in cash. POSTMASTER: Send address changes to Popular
Photography, P.O. Box 420235, Palm Coast, FL 32142-0235; www.PopPhoto.com/cs. If the postal
service alerts us that your magazine is undeliverable, we have no further obligation unless we receive
a corrected address within one year. Publications Mail Agreement No. 40052054. Return undeliverable Canadian addresses to: IMEX, P.O. Box 25542, London, ON N6C 6B2. SUBSCRIPTION SERVICES:
Visit www.PopPhoto.com/cs to manage your account 24/7.

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6 POPULAR PHOTOGRAPHY MAY 2014

NEWSSTAND AND SUBSCRIBER COVERS: DAVID ARKY (X-RAY), MITCH DOBROWNER (STORM); THIS PAGE: BRAD JENKINS (PENGUINS); DARREN MOORE (SEASCAPE). PREVIOUS PAGE: TOM SMITH (ORANGE);
ANDREW S. GERACI/DISTRICT 7 MEDIA (CITYSCAPE); ANDREW WATSON (BEACH CHAIRS); HAROLD ROSS (TREE); STAN HORACZEK (GROUP PORTRAIT); MITCH DOBROWNER (LANDSCAPE); PETER KOLONIA (STUDIO)

PROFESSIONAL

POPPHOTO.COM

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THE TOUGHEST FILTERS ON THE PLANET.

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WorldMags.net

EDITORS LETTER

Little Bits of Advice

At this magazine, we have a term for our own
tendency to try to tell you everything you need
to know about every aspect of photography:
The Pop Photo Answer. Read this months
Tech Talk (page 30) on how fash is measured
for The Pop Photo Answer at its best.
But while our annual Big How-To Issue
always seems to show us at our most encyclopedic, this year the editors decided to focus
on just a handful of really cool photo projects that any photographer
can doand everyone should try at least once. Youll fnd a few of these
in our HOW section and more in the feature on page 57. (Just forgive us
for the cover featuring a photographic technique, X-ray, that you may
never be able to do. You can learn, though, how commercial and editorial
pro David Arky makes X-ray his own in Creative Thinking, page 37.)
In another rebellion against the Pop Photo Answer, I asked Arky and a
few other photographers whose work we love to give us their best tips or
techniquesin 140 characters or less. And the length of a tweet was all
these pros needed. Whether I am shooting an X-ray or conventional still
life, I always make a sketch to help clarify the composition and palette
of my picture, said Arky, whose T
witter handle is @david_arky.
Said landscape shooter Rodney Lough Jr., Move left, move right, a
mere seven inches at a time. When you can see the forest for the trees,
youve got it. Snap the shutter! Ever the maximalist, he sent more.
Heres one: Patience rewards those who wait for the wind to stop. The
not-so-patient will have leftand you will be alone when the shutter is
snapped. You can fnd him on T
witter @rodneyloughjr.
Use all your senses to take a picture. Close your eyes. Hold your
subjects hand. Listen carefully. Smell all around. Then open your eyes,
advised portraitist George Lange (@langestudio). He added another
portrait how-to: Focus on one point. Let your subject walk into that spot
and away. Then have them come so close they can lick your lens.
Sports shooter Brad Mangin (@bradmangin) has Americas pastime in
mind: A clean background, pretty light, great facial expression, and peak
action are all needed in one frame for me to love a baseball photograph.
So hooked am I now on these mini tutorials that Ive decided to start
a new hashtag, #PopPhotoTips, on our T
witter feed, @PopPhoto. Look for
more brief advice from pros there, and tweet your own back at us using
that tag. But never fearwell still
always have The Pop Photo Answer.

NEWSSTAND David Arkys X-ray of a

Canon EOS 1D X with 50mm f/1.4 EF
lens exemplifies the Big How-To. But see
p. 57 for stuff you can actually do.

SUBSCRIBER The same camera,

now fitted a tripod-mounted Sigma
50500mm f/4.56.3 OS lens, also got
Arkys X-ray treatment. See how on p. 37.

8 POPULAR PHOTOGRAPHY MAY 2014

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EDITOR-IN-CHIEF MIRIAM LEUCHTER

ART DIRECTOR Jason Beckstead

SENIOR EDITOR Peter Kolonia
SENIOR EDITOR Dan Richards
FEATURES EDITOR Debbie Grossman
TECHNICAL EDITOR Philip Ryan
TECHNOLOGY MANAGER Julia Silber
ASSOCIATE EDITOR Matthew Ismael Ruiz
GROUP PHOTO EDITOR Thomas Payne
ASSISTANT PHOTO EDITOR Linzee Lichtman
DESIGNER Wesley Fulghum
EDITORIAL COORDINATOR Jae Segarra
CONTRIBUTING EDITORS Laurence Chen, Tim Fitzharris,
Lori Fredrickson, Ian Plant, Jeff Wignall
POPPHOTO.COM EDITOR Stan Horaczek
ASSISTANT ONLINE EDITOR Dan Bracaglia
IN MEMORIAM Herbert Keppler

EXECUTIVE VICE PRESIDENT ERIC ZINCZENKO

GROUP PUBLISHER GREGORY D. GATTO
PUBLISHER ANTHONY M. RUOTOLO Anthony.Ruotolo@bonniercorp.com

ASSOCIATE PUBLISHER, INTEGRATED SALES DEVELOPMENT Michael Gallic

FINANCIAL DIRECTOR Tara Bisciello
PHOTO AND TRAVEL MANAGER Sara Schiano Flynn
NORTHEAST ADVERTISING OFFICE
Shawn Lindeman, Frank McCaffrey, Chip Parham
AD ASSISTANT Amanda Smyth
MIDWEST MANAGERS Doug Leipprandt, Carl Benson
AD ASSISTANT Lindsay Kuhlmann
WEST COAST ACCOUNT MANAGER Bob Meth
AD ASSISTANT Sam Miller-Christiansen
DETROIT ADVERTISING DIRECTOR Jeff Roberge
MANAGER Edward A. Bartley
AD ASSISTANT Diane Pahl
DIGITAL SALES MANAGER Adam Miller
ADVERTISING COORDINATOR Irene Reyes Coles
DIRECTOR OF CUSTOM SOLUTIONS Noreen Myers
GENERAL MANAGER, DIGITAL BUSINESS DEVELOPMENT Shannon Rudd
SR. DIGITAL CAMPAIGN MANAGERS Amanda Alimo, Wilber Perez, Ben Chen
DIGITAL MARKETING PRODUCER Joey Stein
DIGITAL CAMPAIGN COORDINATOR Justin Ziccardi
DIGITAL SALES DEVELOPMENT MANAGER Elizabeth Besada
DIGITAL SALES COORDINATOR Mojdeh Zarrinnal
INTEGRATED SALES DEVELOPMENT DIRECTOR Alex Garcia
INTEGRATED SALES DEVELOPMENT MANAGERS Kate Gregory, Kelly Martin, Charlotte Grima
GROUP CREATIVE SERVICES DIRECTOR Ingrid M. Reslmaier
MARKETING DESIGN DIRECTORS Jonathan Berger, Gabe Ramirez
ASSOCIATE ART DIRECTOR Sarah Hughes
DIGITAL DESIGN MANAGER Steve Gianaca
GROUP EVENTS AND PROMOTIONS DIRECTOR Beth Hetrick
PROMOTIONS AND EVENTS DIRECTOR Michelle Cast
ASSISTANT EVENTS & PROMOTIONS MANAGER Vanessa Vazquez
CONSUMER MARKETING DIRECTOR Bob Cohn
RETAIL SINGLE COPY SALES: PROCIRC RETAIL SOLUTIONS GROUP Tony DiBisceglie
HUMAN RESOURCES DIRECTOR Kim Putman
PRODUCTION MANAGER Betty Dong
CORPORATE PRODUCTION DIRECTOR Jeff Cassell
GROUP PRODUCTION DIRECTOR Laurel Kurnides

THIS PRODUCT
IS FROM SUSTAINABLY
MANAGED FORESTS
AND CONTROLLED
SOURCES.

CHAIRMAN Jonas Bonnier

CHIEF EXECUTIVE OFFICER Dave Freygang
EXECUTIVE VICE PRESIDENT Eric Zinczenko
CHIEF CONTENT OFFICER David Ritchie
CHIEF FINANCIAL OFFICER Nancy Coalter
CHIEF OPERATING OFFICER Lisa Earlywine
CHIEF MARKETING OFFICER Elizabeth Burnham Murphy
CHIEF HUMAN RESOURCE OFFICER Leslie Glenn
CHIEF BRAND DEVELOPMENT OFFICER Sean Holzman
VICE PRESIDENT, CONSUMER MARKETING John Reese
GENERAL COUNSEL Jeremy Thompson
FOR CUSTOMER SERVICE AND SUBSCRIPTION QUESTIONS,
such as Renewals, Address Changes, Email Preferences, Billing and Account Status,
go to: PopPhoto.com/cs. You can also call 800-876-6636, email us at
popularphotography@emailcustomerservice.com, or write to Popular Photography,
P.O. Box 420235, Palm Coast, FL 32142-0235

POPPHOTO.COM

WorldMags.net

Lenses and accessories shown are not included

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* NIKON D3300
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PHILIP RYAN

SHOWCASE

10 POPULAR PHOTOGRAPHY MAY 2014

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WorldMags.net
GET DUCKY

Philip Ryan, our technical editor, found these hand

painted ducks in a small shop in Kyoto, Japan. He
captured the intricate paint work using a Sigma
105mm f/2.8 EX DG OS HSM Macro lens on the Nikon
D3300. He shot with the camera mounted on a Benbo
1 tripod just inches from the left-hand figurine, to
make an exposure of 1/60 sec at f/10, ISO 200. For
our full lab and field test of this DSLR, see page 80.

WorldMags.net

POPPHOTO.COM POPULAR PHOTOGRAPHY 11

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THE FIRST-EVER ILC WITH 4K VIDEO

16

AN EF TO E-MOUNT ADAPTER WITH ND FILTER

17
OUR ROUNDUP OF FLASH MODIFIERS

18

WE WANT THIS

SPEED
BUMP
Nikons new flagship
hits ISO 409,600

FOR THE first update to its

venerable flagship, the D4,
Nikon chose to refine rather than
POPPHOTO.COM

reinvent, pushing the cameras

limits in sensitivity and speed.
Nikon says the D4s newly
developed sensor, a 16.2MP
full-frame CMOS imager,
improves on the D4s dynamic
range; the expanded sensitivity
now reaches an astonishing
ISO 409,600. The battery life is
improved, lasting up to about
3020 shots versus the D4s 2600,
and Nikon modified the mirror

mechanism to reduce vibrations

from mirror slap. The new
EXPEED4 processor can churn
out 200 continuous shots (with
autoexposure and autofocus) at
a blazing 11 frames per second,
up from the D4s 10 fps.
But Nikon didnt fix what
wasnt broken: The 91,000-pixel
RGB 3D Color Matrix Metering
and 51-point AF system from
the D4 remain untouched.

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16.2MP fullframe sensor

11-fps bursts
CF and XQD
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nikonusa.com

MAY 2014 POPULAR PHOTOGRAPHY 13

WorldMags.net
Panasonic Lumix GH4
$1,698, street, body only
panasonic.net

4K FORAY

This fagship ILC is the

frst to capture 4K video

PANASONICS GH line of Micro

Four Thirds cameras have
been video-focused ever since
the runaway success of the
Lumix GH2. Its newest model,

The GH4
comes with
built-in NFC
and Wi-Fi,
a pop-up
TTL flash, a
stereo mic
and external
mic input.

the GH4, takes it to the next

levelits the first ILC to
capture 4K video
The 16.05MP Live MOS
sensor and Venus Engine IX
processor can capture video
in QuadHD (3840x2160p30) or
Cinema 4K (4096x2160p24) at
bit rates up to 100Mbps. With
regular HD (1920x1080p60),
the bit rate can reach as high
as 200Mbps. A 10-bit video

KILLER COMPACT
The next evolution of an unusual sensor

MATTHEW ISMAEL RUIZ (LCD IMAGE)

SIGMAS FOVEON sensor has

always been a little, well,
different, with its multi-layered
structure (see Inside Tech, at
right) and high nominal pixel
counts. And the companys
newest camera model with the
APS-C-sized Foveon X3 inside,
the dp2 Quattro, fits the bill.
Thinner and longer than its
predecessors in the Merrill line,
the Quattro has a new
Foveon that Sigma says
out-resolves the old
one by 30 percent. The
first of three planned
models, the dp2 sports
14 POPULAR PHOTOGRAPHY

Sigma dp2 Quattro

Price to be announced
sigma-global.com

a fixed 30mm (45mm full-frame

equivalent) f/2.8 lens. It has a
9-point AF system, and the leaf
shutter allows for flash sync at
all shutter speeds. The camera is
due in stores this summer.

stream can be output via

the HDMI 1.4a to an external
monitor or recorder.
Panasonic also introduced a
slew of accessories, including
a flash, shotgun mic, and
the DMW-YAGH Interface
unit ($1,998, street), which
sports two XLR inputs, four
SDI ports, and a 12V DC
power source for use with
professional video rigs.

INSIDE TECH

3-Layer Dip
> Getty Images

now allows
low-resolution
photos to be
embedded on
noncommercial
websites and
social media for
free. The photos
will have no
watermark, but
will be locked
in the Getty
Embedded
Viewer.

WorldMags.net

Sigma has always faced

a challenge processing
the data from the many
pixels found on its Foveon
sensors. The latest
iteration reduces the
number of pixels on the
red and green layers, using
them only to provide color
information. This is then
added to the luminance
information captured on
the top layer, which also
provides the blue color
information. With fewer
pixels, processing is faster.
POPPHOTO.COM

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One step beyond

SP 150-600mm
F/5-6.3 Di VC USD

Capture clear, sharp images all the

way to 600mm. With advanced optical
technology, Ultrasonic Silent Drive
autofocusing and Vibration Compensation,
our stylish new zoom can take you closer
to the extraordinary.
Model A011
For Canon, Nikon and Sony* mounts
*Sony mount without VC
Hiroto Fukuda

www.tamron-usa.com

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Focal length 483mm; f/9 at 1/2000 ISO 800

WorldMags.net

NEXT * JUST OUT

NEW CONVERT
Fotodiox puts an ND
flter in a converter
WE LOVE lens adapters
anything that gives old glass
new life is OK in our book. The
Fotodiox Pro Vizelex ND Throttle
adapter will let you mount your
Canon EF or EF-S glass on a
Sony E-mount ILC camera such
as the Alpha 6000, and keep
infinity focus. Heres the twist:
Its blue ring houses a variable
neutral-density filter, letting
you control the amount
of light that reaches
the sensor without
affecting color or
depth of field.
The catch?
With no electronic
contacts, the adapter
loses you autofocus
and automatic

diaphragm control, and you

will have to set your aperture
before mounting it. So its
best-suited for video use, where
shooters prefer manual focus
and apertures remain constant
throughout a clip.
The adapter is made of brass
with a stainless-steel finish and
comes with a removable tripod
mount and 2-year warranty.

Its now illegal

to take photos
in Hungary
without first
getting
permission
from each
subject in the
photograph.
Unsurprisingly,
Hungarian
photojournalists are
some of the
new laws
harshest
critics.

> The

Fotodiox Pro Vizelex ND Throttle

$100, direct
www.fotodioxpro.com

BIGGER IS BETTER
Sonys waterproof smartphone gets an upgrade

SMARTPHONE CAMERAS continue to improve, but

until recently they were limited by their tiniest of
sensors. Sonys Android-based, waterproof Xperia
Z1 raised the bar last year with its 1/2.3-inch, 20.7MP
Exmor RS sensor. And now, with the new Xperia Z2,
Sony takes the improvements for photographers
even further, adding image stabilization and 4K video
(3820x2160p30) capture. The high-res LED display
grows to 5.2 inches from 5, and
the processor is upgraded to
Qualcomms newest quad-core
Snapdragon 801 chip.
Sony Xperia Z2
Price to be announced
www.sonymobile.com
16 POPULAR PHOTOGRAPHY MAY 2014

> Watch out!

National
Press
Photographers
Association
awarded
Miami Herald
photographer
Al Diaz the
NPPA
Humanitarian
Award for
assisting in a
roadside
emergency
before fulfilling
his duties as a
photographer.

> The
Chinese
government
ordered Nikon
to stop selling
the D600 in
China after
the World
Consumer
Rights Day
television
program
reported on
defects in
the cameras.
Nikon will
cease sales
of the D600
and offer free
repairs.

WorldMags.net

RAW Revise
Nikon Capture NX-D (Beta)

As Nikon has steadily

updated its line of DSLRs,
its premium companion
software, Capture NX,
has languished recently.
But Nikon has finally
released the new Capture
NX (currently in Beta),
with a redesigned user
interface. The updated
version, called Capture
NX-D, includes batch
processing, improved
multi-monitor support,
and a nondestructive
workflow that saves
adjustments as separate
files, but it no longer has
U-Point control. Capture
NX 2 cost $180, but
Capture NX-D will be free.

THE LOWDOWN
SIX NEW BRIGHT EYES

Olympus filed patents for six new wideangle lenses with maximum apertures
close to f/1, four of them in Micro
Four Thirds mounts. They include two
12.7mm designs (f/1.05 and f/0.95),
plus a 14.27mm and 13.99mm, both at
f/1. Its too soon to say whether theyll
come to market, but the news could
mean a bright future for Olys lens
line and competition for Voigtlnders
Nokton 17.5mm f/0.95 for MFT.
POPPHOTO.COM

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NEXT * ROUNDUP

TWO SIZES
FIT ALL

One of the two

RayFlash RingFlash
sizes should fit your
hot-shoe unit.

> Flickrs

six-year
partnership
with Getty
Images has
come to an
end, but
Getty told its
contributors
from Flickr
that their
contracts
remain
unchanged.

FLASH MOD
PHOTOGRAPHY IS ALL about light, and when the sun doesnt

give you enough, you bring your own. But not all light is created
equal, so how do you make it do what you want? These flash
modifiers will help make your light softer, reach farther, change
color, or simply just look better.

Gary Fong LightBlade Diffuser LB-01 $35

This inexpensive modifier for shoe-mounted flash units attaches with a

hook-and-loop fastening strap and softens your strobes powerful blast.
It flips up or down to act as a bounce or shoot-through diffuser.

Rogue Safari Pop-Up Flash Booster $35

Designed for the built-in flash on APS-C Canon and Nikon DSLRs, the
Safari claims to extend the range of your cameras flash, useful with
lenses longer than 100mm. It mounts to the cameras hot-shoe.

Spinlight 360 Gel Collection $40

These gels work with the Spinlight 360 system to color the light from
your flash unit. Included are 20 gels, two clear disks, and a clear storage
case that doubles as a modifier when filled with translucent objects.

RayFlash Universal RingFlash Adapter $140

Ring flashes are excellent (but expensive) tools for portraits, flattering
faces with even lighting. If youre on a budget and have a regular hotshoe strobe, this RayFlash unit can convert it into a diffused ring light.

Westcott Zeppelin Deep Parabolic Softboxes

$399

When its time for the big gunsstudio strobesthis 39-inch

parabolic softbox helps focus and diffuse the light. It fits Profoto, Bowens,
and other strobes but costs much less than comparable models.
18 POPULAR PHOTOGRAPHY MAY 2014

> Giottos
has launched
a new line
of tripods.
The Air series
offers four
kit options,
ranging from
2.4 to 3.3
pounds, with
prices from
$250 to $465.
> Time named

Makati City,
Philippines, the
Selfiest City
in the World,
determining
that there
are 258
selfie-takers
per 100,000
people in the
Philippines
financial
capital. It
ranked first
among 100
selfie-obsessed
cities.

> Leicas

newest limited
edition camera
sees Playboy
and Hello Kitty
joining forces
to celebrate
anniversaries.
The $1,264
Leica C sports
a picture of a
winking Hello
Kitty wearing
the famous
bunny ears.

WorldMags.net

SD SPEED
CHAMP
SanDisks new SD cards
are the fastestfor now
WHEN IT comes to storage,
bigger and faster is usually
better, and with its new
UHS-II Speed Class 3 SD cards,
SanDisk pushes the boundaries
just a little farther.
Designed to handle the
rigors of 4K video capture,
the new SanDisk cards have
a maximum write speed of
250MBps and a maximum read
speed of 280MBps, though its
unlikely youll ever reach that
theoretical limit. A 16GB card
will run $75, street, while a
64GB version will go for $245.
In addition, SanDisks
new 128GB microSD card
($200, street) has a UHS-I
classification, a requirement for
shooting 4K video on microSD
cameras like the GoPro Hero3.

128MB
128GB

Storage capacity of SanDisks

first microSD card, in 2004

Storage capacity of SanDisks newly

released microSD UHS-I model

SOURCE: SanDisk
POPPHOTO.COM

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A New Frame of Mind.

7R Compact Full Frame Interchangeable Lens Camera

See the diference for yourself at www.sony.com/fullframe

PH

2014 Sony Electronics Inc. The Sony logo is a trademark of Sony. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
All other trademarks are trademarks of their respective owners.

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OT

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ALASKAN WINDOW GAZER

24

PHOTOGRAPHERS WRITE STUFF

26
YOUR BEST ANIMAL PAIRS

32

CONVERSATION, INSPIRATION, CONTESTS, AND YOUR QUESTIONS ANSWERED

PHOTO CHALLENGE

STARRY
NIGHT
A reader looks up
and shoots for the stars

IT WASNT hard for Douglas Croft, 55,

to convince his shooting buddy to
drive up to the ancient bristlecone
pine forest outside Big Pine, CA, to
capture the night sky. At the Patriarch Grove in the White Mountains,
altitudes reach as high as 11,000
feet, and primordial trees dot the
stark landscape. I wanted something
natural for a foreground, Croft says.
These twisted, gnarly trees are so
old and uniqueperfect to showcase
the ancient light of the Milky Way.
So the fanance manager from
San Jose, CA, affxed an 1116mm
AT-X Pro DX Tokina lens to a tripodmounted Nikon D7000. With the lens
set to 13mm, his exposure (20 sec at
f/2.8 and ISO 3200) was fast enough
to keep the stars from trailing but
slow enough to reveal them. And his
composition? A clear winner in a
strong feld. Matthew Ismael Ruiz

DOUGLAS CROFT

In our big How-To

feature (5 Super
Photo Projects,
page 57), photographer Harold Ross paints
an idyllic nighttime landscape with a pair of
LED panels. Send us your best light-painted
outdoor scenes by May 31you could win
$100 and your photo here. For a full set of
contest rules, visit PopPhoto.com/contests.

POPPHOTO.COM

WorldMags.net

MAY 2014 POPULAR PHOTOGRAPHY 23

WorldMags.net

SHARE * MY PROJECT

Room With a View

An Alaskan photographers picture window

MARK MEYER (9)

WHEN MARK MEYER and his

wife moved to Anchorage from
California in 2007, it took a year
to find just the right house. With
its hand-hewn log siding and
old sash windows, the 100-yearold home stood out among the
hastily developed citys oil-boom
24 POPULAR PHOTOGRAPHY MAY 2014

surroundings. And ever since

the couple moved in, the unique
characteristics of their two
bedroom windows caught the
photographers eye. They have
a surprising range in the winter,
from tessellated ice when its
frozen outside to fog with the

humidity, Meyer explains.

A snapshot taken with his
iPhone in the fall of 2012 quickly
grew into an ongoing series, An
Alaska Window, with images
captured roughly every few
days and uploaded to Tumblr.
Even though the series now

WorldMags.net

Mark Meyer
(www.
photo-mark.
com) is an
editorial and
commercial
pro based in
Anchorage.

WorldMags.net

Meyer photographed the

view from
his bedroom
window
using an
Apple iPhone
5, 4x5 K.B.
Canham
view camera,
Fujifilm
X-E1, and
Nikon D800,
with various
lenses.

encompasses more than 100

photos, all taken from the same
window, very few look alike.
As Meyer began to take his
project more seriously, he
experimented with technique
and equipment. He shot not just
with his phone but with cameras
of all sizes, from a K.B. Canham
4x5 to a Nikon D800 to a Fujifilm
X-E1. Taking into account the
weather and small changes in
the window and the landscape,
he varied his creative approach

capturing a blur of windswept

trees or the view through a
condensation handprint.
The limits were, in a way,
what made the project most fun.
My yard isnt special, and its
not particularly active, Meyer
saysa fence-hopping moose
or a moth near the window sash
were equally exciting. His favorite
photos are those that include
a view of the actual window
frame, lending a reminder of the
projects literal context.

WorldMags.net

For Meyer, the work spurred

a return to a contemplative
form of photography, something
hes rarely had time for amidst
the fast pace of his editorial
assignments. His goal is to edit
and print a selection to show in
galleries. Its brought me back
to the fundamentals, and its
also made me appreciate the
mundane, he says. Looking
out a window is one thing, but
photographing it gives you a way
to notice it.
Lori Fredrickson
POPPHOTO.COM POPULAR PHOTOGRAPHY 25

WorldMags.net

SHARE * I, PHOTOGRAPHER

him from his 40th birthday party

in 1973 to his 80th last year in
Newark. Im always trying to get
the definitive shot of him.

Whats your technique for

getting an authentic moment?
I try to be as open as possible. I
am not inclined to impose an idea
of some sort. I like to see what I
can discover. It is exciting to work
on location, which usually means
at the persons home, especially if
I can use available light, because
there are so many possibilities.

What equipment do you use?

POET PORTRAITIST
Nancy Crampton has immortalized
generations of literary lions

JONATHAN LEVINE (TAKEN AT THREE LIVES & COMPANY BOOKSTORE)

Who was the first writer you

ever photographed?
The first time was in 1971 at a
reading that Allen Ginsberg was
giving at New York University. I
was prepared to take a picture
with my Leica and someone
passed me a note saying, I am
a German journalist and my
camera is broken. Please meet me
at the break. I started working
with him regularly: He would
give breezy interviews with all
sorts of people in the arts and I
would take my picture, and we
would file the story together. But I
consider my first literary portrait
to be the picture that I took of the
poet W.H. Auden in 1972 at his
home on St. Marks Place.
26 POPULAR PHOTOGRAPHY MAY 2014

Youve shot New Yorks 92nd

Street Y poetry reading series
for 25 years. What intrigues
you about this job?
I took up photography when I
went on a wildlife safari in East
Africa. But literature was my first
love, so it just felt very natural
to me. I never imagined when I
started out that it would lead me
back to literature. At 92Y, I have
had the opportunity to photograph
hundreds of writers. I try to make
the most of limited time backstage
to get a good portrait.

Is there an author whom you

shoot frequently?

Nancy
Crampton
(www.nancy
crampton.
com) is
the house
photographer at
the 92nd
Street Ys
Unterberg
Poetry
Center in
New York
City and
author of
Writers
(Quantuck
Lane Press,
2005). See
a gallery of
her work at
PopPhoto.
com/
Crampton.

I became Philip Roths official

photographer and photographed

WorldMags.net

I was very late in coming to

digital for my portraits. I finally
switched five years ago from
my Leicas to the Canon EOS 5D
Mark II. My standard lens is the
24105mm f/4L Canon EF zoom.
I have always used a 105mm
as my standard headshot lens
because I like being close to
my subjects. One thing about
shooting digital is that I can show
people photographs during the
session. At first I wondered if
that would make them too selfconscious, but they really like
participating in the process.

Do you have a favorite portrait

that you have taken?
No, I am awestruck by all the
writers I photograph. When you
are photographing someone,
they seem beautiful to you.

What of your own authorship?

One thing about my profession is
that a writer might spend years
doing a book and a photographer
spends an hour or two taking a
portrait, so I have found the need
to pull my work together. I did
a book several years ago, and I
have a traveling exhibition. Last
year I sold my first stamp to the
U.S. Postal Service, a photo of
Joseph Brodsky.
Interview by Zara Katz
POPPHOTO.COM

New York Institute of Photography

WorldMags.net

Learn to take better photographs

Online education with a personal mentor
Study at your own pace anywhere in the world
Learn to think and see like a photographer
Risk-free refund policy

Request a free course catalog at

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WorldMags.net

SHARE * MENTOR SERIES

WorldMags.net

Suzanne Trottier captured these Irish steeds with a Nikon D70 and 18200mm f/3.55.6G VR
Nikkor at 120mm, freezing their flowing manes with an exposure of 1/1250 sec at f/7.1, ISO 800.

A New Love

Follow your passion

for photography, while
taking your photo
skills to new heights.

From painter
to photographer

GREAT PHOTOS often come

+DQGV2Q/HDUQLQJ
([FOXVLYH3KRWR2SSRUWXQLWLHV
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6
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2014 Treks: Colorado, California,
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SUZANNE TROTTIER (2)

PRESENTING SPONSOR

from the eye of an artist. And as

Suzanne Trottier discovered, one
great picture can turn a painter
into a committed photographer.
Traveling to Ireland for her first
Mentor Series trek in 2008, this
resident of Portsmouth, NH, had
absolutely no experience with her
equipment. Until then, shed used
photography mainly as a basis for
her paintingsmostly landscapes,
still lifes, and portraits of animals.
It was my first time using a
DSLR camera, she says. I had
everything to learn.
Everywhere in Ireland that she
looked, she saw pictures waiting
to be taken: magical green
landscapes, with rainbows,
lonely trees, stone walls, and
ruins. On one particularly
windy, misty day in September,
the trekkers stopped along a
road. Others were drawn to the
landscape, with its rolling hills,
castle, sheep, and view of the

28 POPULAR PHOTOGRAPHY MAY 2014

WorldMags.net

ocean, but Trottier was drawn to

two horses she had spotted in a
field. I got off the bus first, so I
was first to approach the horses,
she says. I loved the wind in their
manes. They were still curious.
She fired off three exposures
this the only one with both horses
looking at the camera. I wasnt
thinking much, she recalls. I
find that spontaneity works better
with animals in general.
With treks to Egypt, Switzerland,
Lake Como, and China now
under their belt, Trottier and her
husband Tim Parker have no plans
to stop photographing. But for
Trottier, the first trip to Ireland
was special. I fell in love with
photography on that trek, she
says. It became my passion, and it
still is.
Matthew Ismael Ruiz

SUZANNE
TROTTIER

See more
work by this
painter and
photographer
at www.timand
suzanne.com.

WRITE TO US!
WorldMags.net
POPPHOTO@BONNIERCORP.COM

SHARE * LETTERS

Still Shooting

I read the article Light Show (You Can Do It,

February) and I hope to try the techniqueafter
I make a lens with a body cap, an old UV filter,
a Dremel tool, and some glue.This will alleviate
the dust fears expressed by reader William Ruting
(Letters, March).
Harvey Morgan II
Santa Fe, NM

REGARDING THE review of the Nikon

Df in your March issue, comparing
a couple of features of the $2,747 Df
to Nikons $6,000 D4 is fine. But how
could the article be complete without
comparing the Df to the Nikon D800?
Its only about $50 more than the Df,
and in my opinion a near-runaway
current-day seller, with a 36MP
sensor?
Pete Muller
Fairfield County, CT

EDITORS NOTE: Despite their similarity in

price, the DF and D800 have such different
sensor resolutions (16.2MP vs. 36.3MP)
that we dont see this as a fair comparison.
I AM PUZZLED by Paul Raffelds
complaint (Letters, April) on not being
able to find frame sizes and mats that
fit digital images. I do my own with
Nielsen aluminum sectional frames
so I can mix and match sizesand
board from Blick or an art supply
store. A Logan mat cutter is about
$100 and stores easily in a closet, and
32x40 board is about $15. I buy glass
by the box from the local glass store,
and for odd sizes like my photograph
of the Tregurtha, the longest ship on
the Great Lakes, I cut the mat and
glass to fit. A glass cutter, less than $4,
and a T-Square, less than $10, make
it all pretty easy. The expensive item
is a dry mounting press, but you can
sometimes find access at schools, or
just have that bit done commercially.
Tom Groenfeldt
Sturegeon Bay, WI
POPPHOTO.COM

IN THE ARTICLE about the Camera of

the Year (January) you mention that
the new Sony Alpha 7R is smaller
than a Leica M, but that tells me
zip. Ive never owned a Leica, never
even seen one. How about a shot of
the camera in someones hands for
comparison? Sonys ad didnt reveal
anything about it either. The result
is that Im interested but have to
research further.
Eric Meyers
via PopPhoto.com

EDITORS NOTE: The dimensions of the

Sony Alpha 7R (5.0x3.8x1.9 in.) are stated
in the specifications sidebar in the camera
test in that very issue. We find using
hands to be a poor comparison, since it is
impossible to tell how large the hands are.

HOW TO CONTACT US
Address your questions or
comments on editorial
content to Popular
Photography, 2 Park Avenue,
New York, NY 10016; e-mail,
PopPhoto@bonniercorp.com.
Published letters may be
edited for length and clarity.
We regret that we cannot
answer all letters. Editorial
contributions sent by mail
must include return postage
and will be handled with
reasonable care; however, we
assume no responsibility for
return or safety of
photographs, disks, or
manuscripts.

SUBSCRIPTIONS
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us at popularphotography@
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Please allow at least 8 weeks

for a change of address;
include both your old and new
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REPRINTS AND
EPRINTS
For Reprints email reprints@
bonniercorp.com.

WorldMags.net

MAY 2014 POPULAR PHOTOGRAPHY 29

WorldMags.net

SHARE * TECH TALK

Flash Decoder

Flash head
set to 100mm
GN = 160

Flash head
set to 28mm
GN = 100

How to read those

electronic fash specs

WESLEY FULGHUM (2)

HOW POWERFUL is your flash unit?

And how does the one youre

considering buying compare? We
often get asked for help with this.
Here are the major methods of
rating flash oomphand their
various imperfections.
Guide number (GN): Probably
the most confusing spec, in part
because it was never meant to
rate flash output. GNs original
function was to set the correct
f-stop for proper flash exposure
at a certain distance or vice versa.
Its the arithmetic product of the
two factors: You divide the GN
by one factor to get the other.
So with a flash with a GN of 80
placed 10 feet from your subject,
you would use an aperture of f/8
(80/10 = 8); at 20 feet, f/4.
The earliest electronic flash
guns were strictly manualmost
30 POPULAR PHOTOGRAPHY MAY 2014

From the
No Free
Lunch Dept.:
A zooming
flash head
set to cover
a longer lens
will provide a
higher guide
number, and
hence allow
greater flash
distance
but the flash
may be
inadequate
in angular
coverage.

featured GN dials or sliders that

showed, at a glance, the correct
f-stop for the distance. Flash
units with a higher GN for a given
film speed clearly had more
output than those with lower GN,
so it became a de facto measure
of flash powerand remained
so with the advent of automatic
flash units that vary output.
But GN tells you nothing about
flash coverage: A flash unit rated
GN 80 that covers the angle of
view of a 28mm lens is more
powerful than one of the same
GN than covers only a 50mm
lens. It varies with ISO, so you
must compare GNs at the same
ISO. And while ISO 100 is usually
a standard, some manufacturers
give GNs at other ISOs.
Then there is confusion about
linear measurementsome
manufacturers give GNs for
meters rather than feet. (Rough
conversion: Multiply a GN in

WorldMags.net

meters by 3.333 to get it in feet.)

Filters, diffusers, and other light
modifiers will affect the GN.
Zooming flash heads add another
variable; a flash with a GN of,
say, 100 for 28mm coverage will
typically have a GN of about 160
with the flash head zoomed to
100mm coverage. And sensor
format has a bearing here: A flash
that covers 18mm for APS-C will
cover about 28mm for full frame.
Beam candle-power seconds
(BCPS): Used by several makers of
studio flashes, this spec rates the
actual output as measured by a
meter, and so is often considered
the most accurate measure
of flash power. ISO and linear
measurement units make no
difference to a BCPS rating, but,
as with GN, the size, shape, and
color of a reflector or modifier
will change this measurement.
Watt-seconds (Ws): Measuring
actual energy (1 Ws = 1 watt
sustained for 1 second), this
spec, used on many studio
strobes, seems like it should be
the most precise. Actually, it has
essentially no bearing on flash
outputits simply a measure
of how much energy can be
stored in the flashs capacitor.
The shape and efficiency of the
flash tube, color and shape of the
reflector, and all the other factors
that can mess with GN and BCPS
also make Ws a pretty imprecise
measuring unit.
Our advice? Always make sure
youre comparing kumquats to
kumquats and pomegranates to
pomegranates when deciding on
flash units. Dont sweat small
differences in flash output
just focus on the important
stuff: ease of use, build quality,
accessories available, and, for
TTL shoe-mount units, the
compatibility of the flash with
your particular camera(s).
Dan Richards
POPPHOTO.COM


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and effortless focusing.
Wide-angle lenses for Full Frame
and APS-C DSLR cameras.

These lenses are available at Adorama Camera,

Amazon.com, B&H Photo, Beach Camera,
Cambridge World, Cameta Camera, Focus Camera,
Samys Camera, Wolfes Camera and more.

For more info visit a Rokinon

dealer near you or

WWW.ROKINON.COM

35mm f/1.4
Superbly constructed with spectacular
sharpness and high contrast

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WorldMags.net

SHARE * YOUR BEST SHOT

Two of a Kind

This months winners find charismatic pairs of animal subjects

Want to
enter? Get
the official
rules and
upload your
images at
PopPhoto.
com/
contests.

3rd Place $100 Prize

IWAN SUSANTO, 32, IT SPECIALIST, TANGERANG, INDONESIA

One afternoon in late January, I went shooting in the park near my
house, in a tropical garden filled with wild plants and insects where I
often make macro photos. The wet and muddy terrain was a difficult
challenge, but I was able to find this pair of green frogs locked in a unique,
human-like embrace. TECH INFO: Canon EOS Rebel T2i with 100mm f/2.8L
Canon EF Macro lens; 1/400 sec at f/6.3, ISO 400. Saturation, brightness,
shadows, and highlights adjusted in Adobe Photoshop CS5.

2nd Place $200 Prize

JASON LANIER, 39, PHOTOGRAPHER, MURRIETA, CA The Kruger National Park in South Africa is like visiting Jurassic Park.Its going
back in time.I searched and followed this herd of elephants for a while until I found an opening in the brush, wanting to capture
them in a natural frame. When the adult elephant came to protect the baby and started flapping its ears it made for a powerful
image. Shooting in Africa is not like shooting in a zoo. Its real,raw, and dangerous. TECH INFO: Nikon D700 with 28300mm f/3.55.6
VR Zoom-Nikkor lens at 50mm; 1/1000 sec at f/11, ISO 400. Minor edits in Adobe Photoshop Lightroom 2; sepia filter added in Photoshop CS3.

32 POPULAR PHOTOGRAPHY MAY 2014

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SHARE * YOUR BEST SHOT

1st Place

$300 Prize
BRAD JENKINS, 75,
BERNARDSVILLE, NJ,
RETIRED

On a November
morning during a
24-day photo safari
put together by Joseph
Van Os, we landed
on the beach of South
Georgia islands St.
Andrews Bay, home
to more then 300,000
king penguins.
Walking the beach, I
saw the chicks were
all in groups, like a
nursery.There were
usually some adults
with them, and I
wanted to capture
them together. By
9 a.m., 6070 mph
katabatic gusts blasted
sand across the beach,
and we had to leave.
What a memorable
experience.
TECH INFO: Canon
EOS 5D Mark II with
100400mm f/4.55.6L
Canon EF IS lens at
170mm; 1/100 sec at
f/22, ISO 320. Minor
edits in Lightroom 5 and
Photoshop CS6.

34 POPULAR PHOTOGRAPHY MAY 2014

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POPPHOTO.COM POPULAR PHOTOGRAPHY 35

WorldMags.net

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HOW

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ADD HUMOR TO YOUR SELFIES AND ROMANCE TO YOUR SEASCAPES

40

DISCOVER SAVANNAHS CHARMS

41
MASTER ADOBE CAMERA RAW

42

EXPERT TIPS AND TECHNIQUES FOR BETTER PHOTOS

46

CREATIVE THINKING

X-RAY ARTIST
Turn industrial X-rays into something fun
WHEN YOU see really cool X-ray

Thats not going to happen,

says an amused Arky, pointing
out that in the U.S. these machines are tightly regulated. No one
is allowed to X-ray other people
unless its medically necessary.
His skeletal legs on the next page?
They're just that: from a skeleton.

Still, we thought you might

want to learn how Arky actually
makes these amazing photos.
To that endand as the opening
salvo of this months big how-to
feature (page 57)we asked him to
explain how he uses heavy-duty,
industrial-grade cameras for his
more artistic ends.
X-ray cameras for medical use
are low-voltage and often digital
now, but they produce relatively
low quality, screen-resolution

DAVID ARKY

photographs like the one on this

months cover by New York-based
conceptual still-life photographer
David Arky, you could be forgiven
for hoping that maybe Santa
could score you an X-ray camera
for the holidays this year.

David Arkys
image of
a tripodmounted
Canon EOS-1D
X and Sigma
50500mm
f/4.56.3,
shot for us, is
a composite
of four X-rays
with exposure
times varying
from 30 sec
to 7 minutes.

POPPHOTO.COM

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MAY 2014 POPULAR PHOTOGRAPHY 37

WorldMags.net

DAVID ARKY (X-RAY); BRYANT CARMONA (STUDIO)

HOW * CREATIVE THINKING

files. When Arky began making

X-ray photographs almost 20
years ago, he realized that while
low-voltage devices might be
fine for things like flowers,
many other subjects required
X-ray equipment found in heavy
industry such as aerospace.
Arky forged a relationship with
technicians at an industrial lab
(whom he regards as creative
collaborators) to gain access to
these devices. I learned there are
many kinds of X-ray cameras,
but I work with five that best suit
my needs, he says. They are
infinitely more powerful than a
dentists X-ray.
In the shot on the previous page
of a Canon EOS-1D X and Sigma
50500mm f/4.56.3 APO DG OS
HSM lens that he made for Popular
Photography, Arky took numerous
exposures to get the best-looking
reveal of camera and lens parts.
His final image is a composite of
four shots. The first step is just
to feel the object and get a sense
of whats inside, he says. You
weight the exposure based on the
38 POPULAR PHOTOGRAPHY MAY 2014

heft and orientation of the object.

Relying on notes from hundreds
of previous X-rays, he selects a
voltage and exposure time to
serve as his base exposure. After
processing the film and reviewing
the results, he generally ups the
time or voltage to gradually find
the best look for the subjects guts.
The process is simple, but not
always easy, because X-ray film
is a bit imprecisethe reveal isnt
always what he had imagined.
Its a lot of experimentation, he
says, I made four exposures to get
one shot. He and his retoucher
finally scanned and assembled the
composite pieces, before adjusting
color and contrast for the whole.

DID YOU KNOW?

Above, left:
Levi Strauss
used Arkys
composite
of some 30
X-rays for a
Dockers ad
compaign.
Above, right:
The artist
stands in
an X-ray
exposure
vault, using
a plumb
bob to align
the subject
and camera
(in X-ray
jargon, the
generator).

Arky faces a creative challenge

in balancing the contrasting
densities of a subjects interior
and exterior. Many materials
look more dense along the edges
than in the center. Similarly, this
zooms housing is more dense
than its hollow interior, while in
X-rays, ironically, glass appears
the most opaque of almost all
materials.
Despite his many years of X-ray
imaging, Arky never tires of it.
Every time I learn something
new, and it always rekindles that
a-ha! feeling you experienced
when you processed your very
first roll of black-and-white film.
Laurence Chen

SUPPORT A LONG LENS BY THE LENS

THAT TRIPOD COLLAR on your big, heavy telephoto or tele-zoom lens isnt just for
affixing the lens to a tripod. It can also help save you from some very expensive grief.
If you carry a camera with a big lens via a strap mounted to the camera body, the weight
of the lens can bend or even break the cameras lensmount flanges. Its much better to
carry the rig on a strap with a tripod-mount fitting (such as a BlackRapid) attached to
the lens collar. (Some very large lenses have actual neckstrap lugs for the same reason.)
Another nice thing about the collar: its tripod platform can be positioned so as to rest on
the palm of your left hand when youre using the (correct) under-the-lens grip, for stable
handheld shooting. Is the tripod collar an extra-cost accessory for your lens? Buy it!

WorldMags.net

POPPHOTO.COM

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HOW * TIPS & TRICKS

Light Blaster

Laugh Line
QUICK TIP

DOM REED

WANT AN amusing kick

for your selfies? Dom Reed, a

40-year old software designer
from Cambridge, England, has
made a career of making funny
photos, mostly of himself.
Better known to thousands
of flickr fans as the absurd
Mr. Flibble (www.flickr.com/
photos/flibble/), Reed has
produced hundreds of wacky
self-portraits that appear in his
improbably successful, crowdfunded book, I Drink Lead Paint.
Flibbleer, Reedhas the
following suggestions for
making guffaw-full photos:

Dont be afraid to look stupid.

People like stupid.
Shoot with wide-angle lenses.
The wider the better. They can
make your nose look really big,
which viewers also tend to find
appealing in a funny/ugly way.
Get to know the Distort tools
in Adobe Photoshop. Reed used
Pinch here to distort his eyes a
bit. Just dont overdo it.
Dont take your camera too
seriously. Just because you paid
thousands for it doesnt mean
you shouldnt do outrageously
silly things with that DSLR.
Peter Kolonia

30-SECOND SOFTWARE

BEFORE

AFTER

Put some
humor in
your photos
Reed shot
with a Canon
EOS 5D
Mark II and
an 50mm
f/1.2L Canon
EF lens,
exposing for
1/200 sec at
f/11, ISO 50.
For more of
his zany selfportraits, go
to idrinklead
paint.com.

FILM IN LIGHTROOM

Plug-ins for Adobe Photoshop Lightroom can be great, but they can also
be frustrating since LR has to make a TIFF, costing you RAW flexibility.
To avoid going to a plug-in when you want to apply a more basic effect
such as an analog film simulation, try VSCOs Film 05 in LR 4 or 5. Load
the presets onto your system and select your camera brand, then the
film type you need. Next go to VSCO Film Toolkit set to choose from
modification presets. You can use those to go easier on the grain, say,
or bring back detail in the shadows.
Debbie Grossman

40 POPULAR PHOTOGRAPHY MAY 2014

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What it is: A slide

or transparency
projector, the Light
Blaster (starting at
$99, direct; www.
light-blaster.com) uses
a shoe-mount flashs
output to cast images
or light patterns.
Whats included:
You supply a standard
SLR lens and the
flash, while the Light
Blaster provides a
slide/transparency
carriage, its housing,
and a lightstand post.
(The pistol grip shown
below is an optional
accessory.)
How it works:
As the cameras
shutter opens, the
flash fires either in
a wired or wireless
(e.g. via optical slave)
mode, projecting a
transparencys image
onto a scene. You
bring the image to
maximum sharpness
by focusing the lens.

SAVORING
WorldMags.net
SAVANNAH

HOW * TRAVELING PHOTOGRAPHER

So much history, so little time!

Grab a mint julep and visit
some this citys most charming
points of interestincluding a
great photo exhibit.

OBONAVENTURE CEMETERY www.

bonaventurehistorical.org Described
as part natural cathedral, part sculpture
garden, this cemetery is featured in the
book and movie Midnight in the Garden
of Good and Evil, and photographer
Jack Leigh, who shot the books famous
cover, is buried there. Nothing says
spooky like a 150-year-old cemetery
dripping with Spanish moss. Open to the
public daily from 8 a.m. to 5 p.m.
OGEORGIA STATE RAILROAD MUSEUM
railga.com/oddend/roundhouse.html
Largest and oldest existing 19th-century
railroad complex in the countryit
dates from 1850, and 13 of its original
buildings still remain. On display: steam
and diesel locomotives, rail cars, and a
fully operational turntable.

JEPSON CENTER www.telfair.org

This downtown-Savannah museurm is
showing the work of legendary New York
street photographer Helen Levitt through
September 21.
O

GO
SOUTH
History blossoms in
Savannahs byways

WINTHROPE HIERS

IN MAY, Savannahs city parks

are decked out in the brilliant
pink plumes of crepe myrtle and
showy white magnolia flowers,
says local photographer and
history teacher Winthrope Hiers.
And mixing scenic beauty with
history is a Savannah trademark.
Forsyth Park, first laid out in
the 1840s, is a favorite of Hiers.
The north end, its paths lined in
magnolia and live oak dripping

OSAVANNAH NATIONAL WILDLIFE

REFUGE www.fws.gov/savannah
On U.S. Highway 17, six miles north of
Savannah, the refuge offers more than
29,000 acres of freshwater marshes
and tidal rivers, with critters including
ducks, wading birds, shorebirds, and
endangered species like wood storks
and manatees. The refuge has alligators,
too, so watch your toes!

with Spanish moss, is particularly

pretty, he says. The moss
photographs nicely backlit in the
early morning or late day sun.
He recommends photographing
the parks historic fountain.
Installed in 1858, it appears in
photos that a Mathew Brady
associate took during Gen.
Shermans famous march. Best
vantage point: Where Bull Street
meets the park looking south.
Savannah has the largest
historic district in the country
perfect for walkers and history-

Winthrope
Hiers shot
these
houses
along the
400 block of
Savannahs
East Huntingdon Street
using a Sony
Cyber-shot
DSC-F828.
Exposure
unrecorded.

WorldMags.net

lovers, says Hiers. He suggests:

Bull Street. Starting at City Hall
on Bay Street, head south on
Bull to pass through picturesque
squares and admire historic
homes and Civil War-era sites.
Streets around Forsyth Park.
Classic gingerbread homes line
three of the parks four sides.
Factors Walk. Between Bay
Street and River Street, this
offers striking stone archways
for warehouses that have been
linked to slave auctions.
Talmadge Memorial Bridge.
It dominates the skyline. Go at
sunset and add a well-lit riverboat as a foreground focal point.
Jeff Wignall
POPPHOTO.COM POPULAR PHOTOGRAPHY 41

WorldMags.net

HOW * SOFTWARE WORKSHOP

SIMPLE

PHILIP RYAN

SIX RAW TIPS

IF YOU have Adobe Photoshop,

you already have a great RAW
converter on your hands in the
form of Adobe Camera Raw.
Because it maintains feature
parity with Lightroom, its new
tools keep piling up. But because
its interface hasnt had an
overhaul in a long time, you may
not know a lot of them are there,
42 POPULAR PHOTOGRAPHY MAY 2014

and even if you do, you may have

some trouble locating them.
Getting familiar with the
intricacies of ACR can be especially important if you dont like
the RAW software that came with
your camera (or if it didnt come
with any). And it can be even
more important if you dont use
an application like Lightroom,

How to use Adobe Camera

Raws best new features

Creative
Clouds ACR
has all kinds
of cool
features;
we used the
interactive
histogram
to fix this
photoss
exposure.

WorldMags.net

COMPLEX

Phase One Capture One Pro/

Express, or Apple Aperture to
organize and process your RAW
files. So follow along to make
sure youre getting the most out
of Photoshop CCs version of this
stalwart converter. Even if you
use it all the time, youll likely
pick up something helpful.
Debbie Grossman

Tip 1

WorldMags.net

If you double-click on a
RAW file in Bridge, the
program will, by default,
run ACR within Photoshop.
To avoid opening that app
if it isnt necessary (or tying
it up if you need to work
on another image), run
ACR through Bridge. Go to
Bridges Preferences, then
check the box for DoubleClick Edits Camera Raw
Settings in Bridge. Click
OK. If you prefer to open
RAW files in Bridge only on
demand, you can highlight
your file or files and then
type Ctrl (Command) + R.

Tip 2

In Creative Cloud, youll no longer find

resolution options under the Crop tool.
Insteadand even betteryou can create
custom presets for output. Directly below
your image youll see a summary of the
settings by which your image will be
processed when you open it or save it.
Click on these, your Workflow Options, to
adjust. To make a preset for web sharing,
for example, set your Color
Space to sRGB, and choose
an appropriately small Image
Size. You can adjust Output
Sharpening here, too. When back
in ACR, right-click or Ctrl+click
on the Workflow Options to
choose the preset you need.

Print Preview Now you can soft proof

via ACR. In Workflow Options, set a paper
profile and intent under Color Space.

Tip 3

One of ACRs fun (and useful) features in

CC is the interactive histogram. Instead
of guessing which slider represents which
range of tones, you can just click and drag
on the histogram itself. Grab the midtones
and drag them right to brighten your
image; its respective slider will move
accordingly. If necessary, do the same with
Shadows, Highlights, Whites, and Blacks.

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POPPHOTO.COM POPULAR PHOTOGRAPHY 43

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HOW * SOFTWARE WORKSHOP

Tip 4

Spot removal was never one of

Camera Raws strong suitsif you
had something long, like a telephone
wire, to remove, you had to keep
adding spots. But now you can paint
on spot removal. Type B to access the
tool, or just find it in the toolbar. Use
the left and right bracket keys to
shrink or expand your brush to
a size slightly larger than what
you want to remove, and paint
the offending area out. Note
that the tools options now
include Feather; use this slider
to fine-tune your brush edge.
Type B again to exit the tool.

Adjust the Sample

After painting, youll still need to grab

the area, circled in green, and move it to
a sampling spot that works.

Tip 5

To reduce color noise in a new way,

head to the Detail panel. Zoom
in to 100%. After you make your
adjustments for Luminance and Color
noise reduction, minimize the colored
patchiness that sometimes occurs in
areas where there should be smooth
tone. Move the new Color Smoothness
slider to the right. If it desaturates too
much, pull it back to the left until the
effect is just barely noticeable.

Tip 6

The Radial Filter is a quick way to

focus an adjustment on a specific
circular or oval-shaped area. This
can be useful when you want to add
a vignette but dont want it centered,
or as a shortcut when you dont need
to paint on your selective adjustment.
Get it by typing J. Use the crosshairs
to draw a circle around the area you
want to affect, and move the central
red dot to reposition if necessary.
Adjust your feathering (or make any
other adjustment youd like), and
choose whether you want the Effect
to happen inside or outside the circle.
44 POPULAR PHOTOGRAPHY MAY 2014

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HOW * YOU CAN DO IT

DARREN MOORE

DREAM
SCENE

46 POPULAR PHOTOGRAPHY MAY 2014

WorldMags.net

SIMPLE

WorldMags.net1
Conjure up some
Step
scenic magic

Gather your gear. Start with a

TO FLIP mundane seascapes

Moore
shot with
a tripodmounted
Nikon
D7000 and
1770mm
f/2.84
Sigma lens
with 10-stop
ND filter; 79
sec at f/11,
ISO 100.

into something more magical,

the secret is simple: lengthen
your exposure times to a
full minute or more. Darren
Moore, a photographer
from Surrey, England, has
mastered this technique. As
you can see in his dozens of
hauntingly beautiful images
(www.darrenmoorephotography.
com), his seascapes are more
like dreamscapes, free of the
clutter, grime, and boring detail
of everyday scenes.
The cool thing here is that you
really can do this yourself. All it
takes is a camera that lets you
set long exposure times, a tripod
to hold your camera steady, and,
assuming you want to shoot in
daylightand not in the dead of
nighta neutral-density filter to
thread over your lens.
Neutral-density (ND) filters cut
the light reaching your cameras
image sensor or film without
affecting overall color balance.
They let you make accurate
daylight exposures that are
measured in minutes, not the
more usual fractions of seconds.
ND filters are calibrated
logarithmically, however, which
can lead to some confusion. An
ND filter that blocks 1 stop of
light, for example, is commonly
labeled 0.3; a filter that blocks 2
stops is labeled 0.6; and so on up
the line. The maximum-strength
3.0 filter will dim down a scene
by 10 full stops.
You can buy screw-in ND
filters of different densities to fit
each of your favorite lenses, or
get a kit with a standard holder
(such as the Cokin) that works
with a variety of lens sizes.
Variable ND filters, such as those
from Hoya and Tiffen, let you
dial in up to 9 stops of neutral
density.
Peter Kolonia

COMPLEX

camera that allows bulb

settings, a sturdy tripod, and
neutral-density flters (with or
without a holder) for your lens. A
telephoto lens will give you a deep
working distance that lets you
shoot far from the waters edge.
Also, a remote shutter release will
let you fre the camera without
jogging it.

Step 2

Find the right beach. You will

want a sheltered location with
a gentle surf and a minimum of
swimmers in your background to
clutter it up.

Step 3

Wait for the right conditions.

Moore went early in the morning
of an overcast day to take
advantage of its soft light, hazy
horizon, and lack of crowds.

Step 4
C

To capture his
model as sharply
as possible Moore
used a Pixel
TW-282 wireless
camera trigger
(A). His 10-stop
72mm B+W Neutral
Density filter (B)
and Vanguard
Auctus Plus 283AT
tripod (C) allowed
the long 79-sec
exposure that
blurred the motion
of the surf.

WorldMags.net

Make your (long) exposures.

After mounting your rig and
composing the scene, ask the
model to hold absolutely still for
the duration of the exposures,
which could be a minute or more.
The pose should be natural,
have some visual interest, and
be easy to hold. You may want
your model to turn away from the
camera to avoid a blurred face.

Final Step

Finesse the scene in software.

Moore wanted to exaggerate the
dreamlike quality of the scene by
getting rid of background detail.
This included the horizon line,
which he eliminated by selecting
it with Adobe Photoshop CS6s
Marquee tool and applying a
Gaussian blur to the selection.
POPPHOTO.COM POPULAR PHOTOGRAPHY 47

WorldMags.net

FOLLOW US ON
Mentor Series Ultimate Photo Adventure

David Roman - RomanDA Photography

David Roman - RomanDA Photography

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Bonnie J. Cameron

Jason Barnette

WorldMags.net
CHARLESTON, SC
Speedlight Workshop - September 19-21, 2014

Dave Allen

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WorldMags.net

50 POPULAR PHOTOGRAPHY MAY 2014

WorldMags.net

Howd you
WorldMags.netget started?

As a teenager in the early 1970s,

I was mainly about fast cars,
motorcycles, women, and getting
in trouble. Hoping to get me on a
different path, my father gave me
an old Argus rangefnder camera. It worked. I ended up with
a scholarship to Pratt Institute,
which I passed on because I didn't
want to drive from Long Island to
Brooklyn every day. My parents
said, Do something, so I went to
Manhattan and started assisting.
At one point I was working
for Hashi; Canon was one of his
clients. I showed someone from
the company my personal work
and they gave me some funding.
I used that to get the heck out of
New York. I had been exposed to
a lot of Ansel Adams, and, having grown up in New York, those
landscapes just blew my mind.
They looked like another planet to
me, and I had to go see them.
I experimented with shooting
tungsten flm in daylight, using
infrared, taking Ektachrome and
developing it in C41, reversing
things and using different types
of fltersit was all so much fun.
I was taking red, green, and blue
flters and using triple-exposures
and coming out with things that
looked like they were exposed correctly but were multiple exposures
on a single frame. That taught me
about learning the fundamentals
but doing my own thing.
Then I met my wife and I
dropped photography for 20 years.
We had our own design company,
doing images for the TV networks.

What led you to storms?

Mitch Dobrowner merges the artistry of

a monochrome master with the daring
of a weather chaser. Heres how does it.

Photos by Mitch Dobrowner; interview by Jon Blistein

WorldMags.net

I was shooting landscapes and

always found myself in the worst
weather because the light was the
most interesting. [Storm chaser]
Sean Casey lived behind me; he
recommended someone I could
go out with. I had this vision in
my mind of what I wanted to
shoot; Caseys friend recommended I go to South Dakota.
POPPHOTO.COM POPULAR PHOTOGRAPHY 51

WorldMags.net

How has your technique

evolved over the years?
Shooting storms is kind of a
hybrid of shooting a quiet landscape and a sports event: Compositions are constantly changing,
the lights changing, theres wind,
theres noise, theres a lot going
on and you have to stay focused.
I used a Sony Cyber-shot DSC-R1
when I started in 2009, which
wasnt the optimal camera for
storms. It was really limited to
landscapes, but I did get some of
my best shots that frst year, and
it was great for lightning strikes.
52 POPULAR PHOTOGRAPHY MAY 2014

GALATIA,
KANSAS
Arm of God,
2009. Sony
Cyber-shot
DSC-R1, 1/4
sec at f/8,
ISO 160.
LAKE
POINSETT, SD
Previous
page: Storm
Over Field,
2010. Canon
EOS 5D Mark
II, 24105mm
f/4L Canon
lens; 1 sec at
f/8, ISO 100.

The next year I upgraded to a

Canon EOS 5D Mark II. I really
like live view for shooting storms
and landscapes. I come from a
view-camera and wet-darkroom
background, and composing in
live view looked like ground glass
to me. I dont understand why
people still use optical viewfnders for landscapes. Now I shoot
with two lenses: a 24105mm and
a 70200mm. You give up a bit of
sharpness with a zoom but you
can compose on the fyyou dont
have time to switch lenses or cameras because it all changes so fast.

WorldMags.net

Do you use flters?

Yup. I have two 5D Mark IIsone
thats modifed for full spectrum
(the IR and anti-aliasing flters
have been removed) and another
that is not modifed. I think,
Whats the environment look like?
Whats the light look like? Then I
choose how to flter based on
what I see. In a lower-contrast or
overcast situation without a lot
of directional light, Ill use the
body without the sensor flters. It
gives me the opportunity to add
screw-on flters to the lens. I can
block parts of the spectrum based

WorldMags.net

on the way the situation looks. I

dont like the camera manufacturer telling me how I should see
or expose. I like the freedom to
pick and choose the way I want
to do things. I also use flters with
digital the way I did when shooting black-and-white flm. Red
(25), green, and blue flters are
still important components in my
arsenal. If I want to darken a sky
Ill use a red flter or a polarizer.

Do you adjust on the fy?

When I drop my tripod, Im usually set up at 50mm f/8 and half

a secondand focused at infnity.

Sometimes you drive 500 miles
and drop your tripod and the
perfect composition happens the
second you drop it, sometimes a
half an hour later. I dont shoot
much. In a 10-day trip I might
fll up two 16GB cards, but I only
shoot sequentially if Im trying to
capture a lightning strike.
I dont use rules of composition.
The main thing is just what looks
good to me. A lot of my shots have
a horizon in them, which helps

NO. DAKOTA
& NEW
MEXICO
From top:
Rope Out,
Regan, ND,
2011. Canon
5D Mark II,
24105mm;
1/6 sec at
f/8, ISO 100.
Shiprock
and Cloud,
Navajo
Nation, 2013.
Sony R1; 20
sec at f/6.3,
ISO 160.

WorldMags.net

ground the pictures, but I think

everybody has to have their own
vision. Its OK to go and use the
rulesAnsel Adams has obviously
infuenced me a lotbut thats a
foundation to deviate from.

Why monochrome mode?

I shoot in RAW but in monochrome mode so I can see a preview of what Im shooting. Unlike
with a flm camera, I dont have
to imagine what it will look like
in black-and-white, I can actually
POPPHOTO.COM POPULAR PHOTOGRAPHY 53

WorldMags.net

see it. When I convert my RAW

fle, all I do is take saturation and
turn it to 0 and it looks very, very
close to what I originally shot. Part
two is prints: My fnal product
and vision is the print. I print on
Epson Stylus Pro 9900 printers
using Epsons ABW driver. After all
the experimenting Ive found that
the ABW driver gives me the most
neutral black-and-white prints.

How do you prepare

for a shoot?
When I hear music I see colors,
and when I do photography most
times I see the picture in my brain
before I go out. I do a self-check
and see where Im at, what Im
looking to do, think of what I want
to capturewhats my goal? Like
that tornado shot: Before I went
on that trip I knew I wanted to
capture an iconic tornado. The Wizard of Oz made a big impact on me
when I was a kid, and I just always
envisioned this iconic tornado
54 POPULAR PHOTOGRAPHY MAY 2014

NEAR
LAWNDALE,
MINNESOTA
Mushroom
Cloud, 2010.
Canon EOS
5D Mark II,
24105mm
f/4L Canon
EF lens; 5 sec
at f/5.6, ISO
160.

shotand then it was there. All of

a sudden I was standing in North
Dakota and theres this thing.

How do you deal with the

weather itself?
I found that a cotton washcloth
is the best way to keep rain off,
and Ive tried every kind of rain
gear. I have long hair and I wear a
beanie, which keeps the hair out
of my eyes, and when its pouring rain I put the beanie over the
camera to keep it dry.
Also that thing of truly focusing on my work, even though
there might be a lot going on
around me. Thats where storm
tour leader (and photographer)
Roger Hill, who I often go out with,
comes in. I have to stay focused
and enjoy the moment, not let it
pass with pressure to get a great
shot, but to really enjoy it. The
only human thing I listen for is
Roger saying, We gotta get the
hell out of here right now!

WorldMags.net

How close are

you to the storms?
Usually with a tornado, were
somewhere around a mile, mileand-a-half from it. Roger usually
thinks of an escape route. We
never get ourselves in a super
dangerous position, though we
have what he calls close encounters where we get right under
something, like a rotating cloud.
Its pretty safe though. I dont get
scared because its so amazing
what Im looking at. We can be
far, we can be close; every storm
is a little bit different. I see these
storms as living thingsIm taking a portrait of them.
Mitch Dobrowners
book Storms (Aperture) was published
in 2013; he also
photographs rural
and urban landscapes. Visit
mitchdobrowner.
com for more.
POPPHOTO.COM

WorldMags.net

WorldMags.net

WorldMags.net

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The AF 18-270 covers an angle of view equivalent to that

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Close-up mode simply by touching the screen.

A World of New Shooting Possibilities

Share your talents with the World

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5 SUPER

WorldMags.net

PROJECTS

There are some kinds of

photography everyone
should try once. Dont
waittheyre easier than
you think.
By the Editors of
Popular Photography

HIGH-SPEED
TIME-LAPSE
PINHOLE
LIGHT PAINTING
PHOTO BOOTH
POPPHOTO.COM

WorldMags.net

MAY 2014 POPULAR PHOTOGRAPHY 57

PROJECT ONE
WorldMags.net

Freeze
High-Speed
Action

All you need

is a few fashes

TOM SMITH

hanks to an electronic ashs ability to produce instantaneous bursts of light lasting about 1/15,000
sec or shorter, most photographers can capture a moving subject with absolute sharpness in ways that
the human eye cant see. Tom Smith, a 15-year-old from Lytham, England, did just that when he set up
two off-camera accessory ashes in his Lancashire kitchen to capture this orange plunging into a sh tank.
While Smith timed the ash rings using his own reexes (and lots of trial and error), electronic ash trigger
kits make it much easier to photograph balloon pops, BB pellets ying through apples, or whatever else you
can dream up. These kits work with sound cues (like a balloons pop) or infrared beams with controllers that
let you ne tune ash rings to the millisecond in order to capture action at its most perfect peak.

58 POPULAR PHOTOGRAPHY MAY 2014

WorldMags.net

THE SETUP

WorldMags.net
C

E
KRIS HOLLAND/MAFIC STUDIOS

F
A
B

STOP-ACTION ON A TABLETOP A typical strategy for capturing a fruit splash involves a darkened
room and a tripod-mounted camera (A) with its shutter held open by a remote shutter release
(B). The photographer then drops the fruit into a tank, breaking an infrared beam (C) cast by an
infrared transmitter/receiving sensor (D). When the beam is broken, an electronic controller
(E) fires two hardwired flash units (F) after a user-set delay measured in milliseconds.

2
Collect your gear.

STEP

WHAT IT TAKES

Getting a high-speed action shot

may be simpler than you think;
this photographer did it without
a trigger. But with specialized
equipment, youll have more
patience for experimentation.

1
Pick a subject.
STEP

It could be a splash, like Tom

Smiths orange, a liquid droplet,
or a water balloon in mid-pop. And
once you get the lighting and trigger
technique down, you can apply it to
anything that moves fast.

STEP

For a shot like this, you will need a

camera that lets you manually set
long (or Bulb) shutter speeds, a
WULSRGZLUHOHVVUDGLRDVKWULJJHUV
a mid-range telephoto lens, remote
VKXWWHUUHOHDVHDFFHVVRU\DVK
XQLWVWZRZLWKIHHWDVKWDQN
black backdrop, and plenty of
towels. For more consistent and
predictable results, consider
DQHOHFWURQLFDVKWULJJHULQJNLW
like those from Cognisys (www.
cognisys-inc.com).

Turn off the room lights, open

your cameras shutter, and set
\RXUVXEMHFWLQPRWLRQ,IULQJ
WKHDVKHV\RXUVHOIZLWKUDGLR
triggers), perform test drops to
QHWXQHWKHWLPLQJ6PLWKZDV
rewarded with a handful of keepers
across hundreds of exposures.
:LWKDDVKWULJJHUVXFKDVWKH
IR-based StopShot, you can up your
success rateset it up according to
the manufacturers instructions. If
youre working with water, protect
\RXUDVKXQLWVZLWKSODVWLFZUDS

3 set.
Build your
STEP

Work in a room that allows total

GDUNQHVV8VH\RXUDVKHVLQ
manual mode, at the lowest power
IRUWKHVKRUWHVWDVKGXUDWLRQ
usually 1/32 or 1/64 power. Place
WKHDVKHVDVFORVHWR\RXUVXEMHFW
as possible, arranged so they light
the subject evenly. Dial in a midrange aperture (Smith used f/11)
and the lowest ISO that you can.

Fire away.

ACTION
STOPPERS
The Cognisys
StopShot
flash
controller
uses infrared
beams to let
you set to the
millisecond
exactly when
a flash fires.
A sturdy
tripod, like
Manfrottos
new MK190X
PRO3, is a
must.

WorldMags.net

5 later.
Fix things
STEP

Smith applied a few basic adjustments such as increasing Clarity

(for more midtone contrast), adding
Vibrance, sharpening, and cropping
to a tighter composition. His most
time-consuming task was cloning
out debris, out-of-focus bubbles,
and grit as he retouched in Adobe
Photoshop CS6.
POPPHOTO.COM POPULAR PHOTOGRAPHY 59

ANDREW S GERACI/DISTRICT 7 MEDIA (5)

PROJECT TWO
WorldMags.net

Make a Time-Lapse
Sequence
Speed up the world
with loads of timed shots

60

WorldMags.net

onsider time-lapse photography the anti-slow-motion video:

you can
WorldMags.net With it,built to comwatch morning turn to evening in a minute, see a structure being

pletion by superspeed workers, and be a spectator at a very fast snail race.

You probably already have everything, or most everything, you need to make a
time-lapse sequence. Really, all you need is a tripod, a DSLR, and an intervalometer, says Andrew Geraci, who confesses to using a very cheap intervalometer with
his Canon EOS 5D Mark III and 15mm f/2.8 Carl Zeiss ZE lens to make this timelapse of the Manhattan skyline. (See the full video at PopPhoto.com/time-lapse.)
An increasing number of DSLRs and ILCs have built-in intervalometers that allow
you to set the frequency and number of frames to be taken. If your camera lacks
this feature, you can connect an accessory intervalometer to most any DSLR.

1down!
Size it

4it up.
Power

STEP

STEP

You will likely play your timelapse sequence at standard

video speed, 30 frames per
second. This means that for
every second of video, you need
to take 30 still frames; for every
minute, you will need 1800
frames (30 X 60 seconds).
So dont take 12- or 16- or
24-megapixel images, but JPEGs
close to your largest playback
resolution640x480, 1280x720,

Your camera has a rated battery

life of 500 shots per charge,
and youre shooting a 3,000frame sequence. No go. If youre
shooting a sequence with long
intervals, you can simply swap
out batteries for fresh ones as
they drain. Accessory battery
grips can double or triple your
shot capacity. Shooting near an
AC outlet, your best bet is an AC
adapter for power supply.

or 1920x1080.

5 camera.
Set the

2out.
Time it

STEP

STEP

For most subjects, keep the

lens on manual focus. Use
autoexposure, unless you want
to record the changing light over
several hours, in which case try
a manual exposure for noon
daylight. Andrew Geraci manually changed the aperture every
time the light changed +/ 1 EV.

For a 1-minute (1,800-frame)

video of an event unfolding over
the course of 1 hour (60 minutes),
1,800 frames divided by 60 yields
30 frames in a minuteor one
every 2 seconds. So set your
timer to an interval of 2 seconds
and a duration of 60 minutes.

3
OK, guesstimate it.

STEP

WHAT IT TAKES
You may already have everything you
need for a basic time-lapse shoot;
plenty of recent camerasincluding
numerous point-and-shootshave
built-in intervalometers.

A simple guideline: For slowmoving subjects, use longer intervals, for faster moving subjects,
shorter intervals. For a time-lapse
of changes to a tree over a month,
you might want to use an interval
of a full day. For an hours worth
of that morning-blooming plant,
maybe 1 frame a second.

LONG-HAUL
SHOOTING
An accessory
battery grip
lets you
take longer
sequences.
Or power
the camera
with an AC
adapter from
a wall plug
or portable
AC supply.
And the new
Nikon D5300
has a built-in
intervalomer.

WorldMags.net

STEP

Put em together.

You may already have the software

you need to assemble your frames
into a video. If you have a Mac, you
can do it in iPhoto. Many enthusiastic time-lapsers recommend Apple
Quick Time Pro ($30 direct, for Mac
or Windows). You can also do it in
a variety of other still- and videoediting programs.
POPPHOTO.COM POPULAR PHOTOGRAPHY 61

PROJECT THREE
WorldMags.net

Take Pinhole
Photos

ANDREW WATSON (CHAIRS)

Ditch the lens to get a

wildly different look

62 POPULAR PHOTOGRAPHY MAY 2014

WorldMags.net

pinhole camera is as minimalist as photography gets: All you need

is a light-tight box with a tiny hole on the front, and something
light-sensitive fastened onto the inside rear of the box, and you can
take a picture. In the process, you will get weirdly beautiful results, including
innite focus from near to far (or, often more accurately, equal slight fuzziness
from near to far). Once you realize that there are no knobs, no ashing
lights, no buttons, dials, or digital displays to distract you, making pictures
becomes fun again rather than a technical chore, says Andrew Watson, who
made this photo of the beach in Brighton, England on Kodak Ektar 100.
You can make your own pinhole camera (out of practically anything), build a kit
camera, buy a ready-made camera, or, simplest of all, use the camera you already
have, whether lm or digital, SLR or ILC, with a pinhole body cap in place of a lens.

WorldMags.net

1 basics.
Learn the

4exposure.
Figure

STEP

STEP

Your DSLR or ILC metering

system will go blind at f/160,
although you will be able to compose the picture with live view
on a digital camera body. Starting
exposure in bright sunlight for
ISO 100 would be about 1 second, or sec for ISO 400.

The focal length of a pinhole

camera is determined by the
distance of the pinhole to the
OPRUVHQVRUDQGWKHUHDUH
optimal pinhole sizes for adequate
sharpness. Optimum pinhole size
for 50mm would be no bigger
than 0.3mm, for example; the
f-number would be about f/160.
So youll need a tripod, or at least
a solid perch for the camera.

5 the look.
Exploit
STEP

2 pinhole.
Make your
STEP

You can turn a cameras body cap

into a pinhole with a little fuss. Drill
a small (1/8-inch) hole in the center
of the cap. For the pinhole itself,
use soda-can aluminum. Cut an
inch-square piece of the can with a
snips, and pierce the center using
the smallest needle that will go
through. Then tape the pinhole over
the hole you drilled in the body cap.

STEP

Or buy a pinhole.

WHAT IT TAKES
Once you procure a pinhole camera (whether you buy one, build
one, or make an accessory for
your DSLR), shooting pinhole is
just a matter of nding the right
subject and guring exposure.

Commercially made pinhole body

caps have the advantage of being
properly sized and well machined.
Companies such as Rising, Holga,
Wanderlust, and Lenox Laser make
them, available through camera
retailers or direct. Most body-cap
pinholes give you a focal length of
about 45mm on DSLRs.

TINY LENSES
Toy
cameras
such as the
Lomo Diana
Multi-Pinhole
Operator are
inexpensive
options.
A pinhole
cap like the
Lenox Laser
transforms
a film or
digital SLR
into a pinhole
camera.
Andrew
Watson used
a wood-andbrass camera
from Zero
Image.

WorldMags.net

Place objects or subjects very

close to the camera to have
them loom against the background (wider focal lengths work
best for this effect). Photograph
bodies of water in lower light to
smooth the water out to glassno
QHXWUDOGHQVLW\OWHUVQHHGHG

STEP

Do it with flm.

Many like the look of pinhole

SKRWRJUDSK\ZLWKOPEXW\RXZRQW
be able to review your exposure
LQWKHHOG$%ODFN&DW([SRVXUH
Guide (blackcatphotoproducts.
com) can be very useful here: it has
f-stops to f/1024. Wed recommend
FRORUQHJDWLYHOPXVHGE\$QGUHZ
Watson for this beach scene) as it
has great latitude and can tolerate
a lot of overexposure. He uses a
variation of the sunny-f/16 rule for
exposure times; read how at
PopPhoto.com/pinhole.
POPPHOTO.COM POPULAR PHOTOGRAPHY 63

PROJECT FOUR
WorldMags.net

Paint with
Light

Apply light in broad strokes

to showcase your subjects

he popular technique called painting with light treats your cameras lm or sensor as a blank, black
canvas on which you paint in your subject by applying light something like the way artists apply paint
to a white canvas. One of the wonderful things about light painting, says Harold Ross, who painted
this idyllic scene, is that it can transform the mundane into something greater. Most light paintings are in
one of two styles. You can illuminate your subject with a handheld light source, applying light to bring out its
color, shape, texture, and dimensions. Or, you can turn your light toward the camera, and move it to create line
drawings, patterns, or even words that become your subjects. Light paintings can be done outdoors after dark,
or indoors in a darkened room, and your light source can be broad (LED panel) or focused (LED ashlight).

HAROLD ROSS (TREE)

64 POPULAR PHOTOGRAPHY MAY 2014

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THE SETUP

B
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KRIS HOLLAND/MAFIC STUDIOS

NIGHT LIGHTS Harold Ross used multiple exposures for his finished image, but you can
make successful paintings in long single exposures. In twilight, Ross made ambient-light
exposures for the water and background with a CamboWide RS body with Phase One P45+
digital back (A). In full darkness, he opened the shutter and painted with two attached 10x10inch LED panels (B), making separate exposures for each element. Later, he merged the
exposures in Adobe Photoshop CC.

Scout locations.

Practice the moves.

Perform a dry run, without opening
the shutter, to determine how long
it will take to apply the light, then
set an ISO and mid-range aperture
that will allow you to set that length
of time as your shutter speed.

Assuming youre going to paint your

scene with light (rather than make
WKHOLJKWLWVHOI\RXUVXEMHFWQG
an isolated subject that you can
approach and apply light from all
sides to bring out its dimensionality. Select locations with minimal
ambient light contamination.

WHAT IT TAKES

A monumental light-painted
photograph like this one takes
plenty of preparation and multiple exposures. But you can try it
on a smaller scale as long as you
have a dark subject.

Shop your closet.

Use a camera that lets you manually set long exposures, a tripod,
and a remote release. For painting
big scenes, use a large, soft light
and a portable battery to power it.
And wear black!

Shoot your scene..

Set up your gear.

For subjects like trees and water,

wait for a windless night, preferably one with a full moon to light
up your backgrounds. Go at least
an hour before nightfall so that
you can compose the scene and
set up your gear while you can
still see. Since histograms are
of limited use in night shooting,
consider tethering the camera to a
laptop; this can help you evaluate
and adjust the scenes exposure
as you paint. To add some extra
color to your composition, use
acetate gels over your light source.

LIGHT
IT UP
A batterypowered LED
like Interfits
Matinee
LED 1000,
or the Dorcy
spotlight
make good
painters. A
Bosch digital
IR distance
measuring
tool can help
find focusing
distance in
the dark.

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Open the shutter with a remote

release or self-timer, step into
the scene and start painting.
Move quickly and continuously. If for some reason you
need to pause, turn off your
light source. Dont aim the light
straight at the subject, especially
from the cameras position.
Instead, angle or feather the
way the light strikes your subject
to bring out shape, texture, and
dimension. Painting the background around your subject can
KHOSGHQHLWVRXWHUFRQWRXUV
:KHQQLVKHGTXHQFKWKHOLJKW
and close the shutter.
POPPHOTO.COM POPULAR PHOTOGRAPHY 65

STAN HORACZEK (3)

PROJECT FIVE
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66 POPULAR PHOTOGRAPHY MAY 2014

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Build a Photo
Booth

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Help party animals

shoot themselves

ure, you could have a company haul in a boxy little photo booth for your
next party. Or, for about the same amount of money (or less), you can get
everything you need to set up a full-on portrait station worthy of your guests
fancy duds. As an added bonus, most of it is gear that will be useful in other types
of photographyand you may have all or most of it already. Our web editor, Stan
Horaczek, who set up these festive photo shoots, told us how.
A photo booth is a basic studio setup using a clean backdrop, a large light
source, and as many props as you allow. It gives your guests room for bigger group
shots and produces far better results than those charming-but-crummy photo strips.

Pick a camera.

Use a studio unit.

An old APS-C DSLR with a

kit lens is a great choice for a shoot
like this. The 18mm focal length
(28mm full-frame equivalent)
should be wide enough to cover
the entire backdrop from a few feet
away, and youll be at or around
f/11 to keep everyone in focus, so
no need for a fast lens.

Pour on the light.

WHAT IT TAKES

Shooting plenty of great

photo-booth pictures
requires great light; youll
need a studio strobe for
best results. But the rest
could be done with an old
DSLR and a kit lens, and if
you lack a backdrop, you
could even use a wall.

<RXQHHGDOLJKWPRGLHUWKDWZLOO
cover the entire backdrop and
make everyone look good, even
in a big group shot. A 7-foot paraEROLFXPEUHOODLQUHHFWLYHZKLWH
placed about seven feet from the
background and slightly behind the
FDPHUDWRWKHULJKWZLOODWWHU

Pick a background.

Cloth backdrops are easier to

transport, but paper seamless, like
the 107-inch model from Savage
($45, street) is cheap, never needs
ironing, and when someone spills
a cocktail on it, you can cut the
stained piece off and keep shooting. Fashion gray is a good color.

$VKRHPRXQWDVKZLWKD
sync cable can typically dish
out enough light to pull this
off, but a dedicated studio
strobe is ideal. Because it doesnt
use batteries, it will recycle more
reliably throughout the night. And
its modeling light will help out the
cameras AF system.
TRAVELING
STUDIO
A Westcott
7-foot
parabolic
umbrella with
a Bowens
Gemini 400Rx
monolight
makes a
good setup
for a photo
booth. Youll
also need
a seamless
backdrop
holder like
the Impact
Background
Support
System.

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Go auto.

The portrait station can run on autopilot if you set-up a wireless trigger
like a Pocket Wizard and let guests
UHWKHVKXWWHUWKHPVHOYHV$YRLGD
wired remote releasea cord is an
accident waiting to happen. It may
also help to have someone overseeing operationsand interactions.

Display in real time.

So that guests can see what they

look like in the photos, use an EyeFi card or similar device to beam
photos to a tablet, or just use a
cable (keep it short!) to tether to a
laptop. The latter option also lets
you make small prints on site using
a portable printer.
POPPHOTO.COM POPULAR PHOTOGRAPHY 67

WorldMags.net

LIGHTS,
CAMERA
Freelance
photographer
Ben Ritter
directs the
action at
Refinery29s
Manhattan
studio; at
right, his
resulting
image.
68 POPULAR PHOTOGRAPHY MAY 2014

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WorldMags.net

Youve seen fashion photos

in print and online, but have
you ever wondered what
and whomit takes to make
them? We went behind the
scenes at a shoot for fashion
website Refnery29 to fnd out.
By Matthew Ismael Ruiz

FASHION PHOTOGRAPHY is no
longer the sole province of glossy
magazines, as blogs and retailers produce and publish highly
stylized work. Even for a relatively
small operation such as the website Refnery29, which combines
lifestyle content with a designer
clothing store, producing a shoot
can require as many as eight
pairs of hands. The company

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recently moved into new digs in

Manhattans fnancial district,
outftting an in-house studio for
the editorials and advertorials
that it regularly commissions.
Invited to shadow their crew
for a day, we watched how each
team member contributed to
produce the fnal images for the
story, which you can fnd at www.
refnery29.com/fashion-fears.
POPPHOTO.COM POPULAR PHOTOGRAPHY 69

PETER KOLONIA (STUDIO); BEN RITTER (MODEL)

For video interviews with the

whole crew, plus a time-lapse
of the shoot in progress, check
out our iPad app or go to
PopPhoto.com/FashionShoot.

WorldMags.net
G
C
D

ON SET
The photographer (A)
composes, the
fashion
assistant (B)
preps clothes,
makeup (C)
and hair (D) do
touch-ups, the
style director
(E) checks her
notes, and the
photo editor
(F) reviews
shots while the
model (G)
poses. The
stylist? Shes
off-set pulling
clothes for the
next model.

B
E

A PHOTOGRAPHER

Ben Ritter

zWhat he does:

A freelance
photographer, he
takes responsibility for the energy
on the set: Were
just trying to have a good time and
we want that to translate.
zPotential challenge: This time,
Ritter worked sans assistant. But
he shoots for Refinery29 often
enough that he knows what he
needs to do, and enjoys the chance
to handle lighting on his own.
zFavorite part of the job: Working with great people with great
attitudes, and turning that energy
into fun pictures.

D HAIR STYLIST

Adam
Maclay

PETER KOLONIA (8)

zWhat he does:

As a freelance
hairstylist, Maclay
comes to the
set ready to
collaborate with the art director,
makeup artist, stylist, and photographer to reflect the shoots concept
in the models hair.
zPotential challenge: Keeping the
model calm and confident.
zFavorite part of the job: Maclay
says he enjoys having the opportunity to create, change peoples lives,
and give them a new feeling about
themselves. And, he adds, all that
happens through hair itself.
70 POPULAR PHOTOGRAPHY MAY 2014

B FASHION ASSISTANT

Rachel
Besser

zWhat she does:

She tracks every

article of clothing
the model wears,
and makes sure
the brands are correct for credits.
zPotential challenge: The
fashion assistant also handles
the fashion closetthe repository
of the samples designers send to
be photographed. Getting all the
samples back to the designers on
time requires tons of organization
(she has her own intern).
zFavorite part of the job:
Seeing the latest looks as they
come in and out.

E STYLE DIRECTOR

Connie
Wang

zWhat she does:

Wang produces
Refinery29s
personal style
content. The concept of the shoot is hers, and she
is here to translate it into pictures.
zPotential challenge: Keeping
fashion grounded in realityreaders visit the site for what she calls
the service element, and she
ensures that whats shown doesnt
get too aspirational or out there.
zFavorite part of the job:
Im usually in front of my
computer all day, so I like how collaborative photo shoots are."

C MAKEUP ARTIST

Clarissa
Luna

zWhat she does:

A freelancer,
Luna arrives early
to unpack and
prepare. She
focuses on making the contouring
of her makeup work with the lighting the photographer has set up.
zPotential challenge: The toughest part is making sure everybody
is happy. You have to remember to
let go of what you want and work
as a team, says Luna.
zFavorite part of the job: She likes
the unusual intimacy of the situation and getting to know the model
as she does the makeup.

F PHOTO EDITOR

Julia Finch

zWhat she does:

She begins collaborating with

Wang three weeks
before a shoot.
She hires the photographer, stylist, hair, and makeup,
and works with the fashion department to get the looks right. On set,
shes at the monitor, seeing that it
all comes together in the images.
zPotential challenge: Hiring.
Because the models in this story
are real people, she needed a crew
who made them feel comfortable.
zFavorite part of the job:
Finch loves seeing our creative
direction come to life.

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STYLIST

(NOT PICTURED)

Jen Steele

zWhat she does:

The stylist (shes

freelance) picks
clothes to fit a
concept; this one
is about fashion
fears. The models are real Refinery29 editors shown two ways: first,
in what they usually wear, then in a
look theyd be shy about trying.
zPotential challenge: Finding
sizes when the models are real
peoplethis shoot had a range,
and Steele worked her connections
to find togs that would fit.
zFavorite part of the job: Pulling
pieces that the models like to wear
and feel confident in.

G MODEL

Kelly
Bourdet
zWhat she

does: Her job at

Refinery29 is as
its health and
wellness editor,
but today shes a model. She notes
that on this website, its important
to have models that represent
women and their experiences.
zPotential challenge: Posing
naturally when shes not a pro.
zFavorite part of the job:
Being on set with the other editors
form Refinery, and of course, my
hair and makeup does not usually
look like this, so I get to look and
feel really beautiful.
POPPHOTO.COM

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DSLR TEST: NIKON D3300

80

LENS TEST: TAMRON 150600MM F/56.3 DI VC USD

83

ILC TEST

WI-FI
WINNER
An updated ILC
with a viewfinder gets
some nice new stuff

SAMSUNG CONTINUES to make

impressive progress with its
interchangeable-lens compact
POPPHOTO.COM

camera system, with bodies

made in both the rangefinder
and DSLR styles. The newest in
the latter category, the NX30,
makes steep improvements in
both performance and handling
compared with its predecessor,
the NX20.
In addition to a new sensor,
Samsung graced the NX30
with a more secure-feeling
grip, an articulating, 3-inch,
1.037-million-dot OLED
touchscreen, and a 2.36-million-

SAMSUNG

NX30
20.3MP
APS-C-sized
CMOS sensor
Articulating,
3.0-inch,
1,037,000-dot
AMOLED touch
screen
2,360,000-dot
LCD EVF
$999, street,
with 1855mm
f/3.55.6 lens

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dot LCD electronic viewfinder

that can be pulled out away
from the finder hump and tilted
upward. Plus, as is now the
case for all of Samsungs ILCs,
the NX30 ($999, street, with
1855mm f/3.55.5 OIS lens)
comes with a full version of
Adobe Photoshop Lightroom 5.
All told, the package looked
like an attractive option in a
mirrorless camera with built-in
EVF, so we decided to find out if
it lives up to its promise.
MAY 2014 POPULAR PHOTOGRAPHY 73

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AMATEUR

SAMSUNG NX30

PRO

In the Test Lab

OK/AF point
selection
button

Video record
button

Though the NX30s 20.3MP CMOS

sensor carries the same number of
pixels as its predecessors (as well
as that of Samsungs current top
rangefinder model, the NX300),
this new sensor has shallower
pixel wells intended to let more
light reach the photodiodes. As we
did with our tests of the Samsung
NX300 and Leica M, both of which
ship with Adobe Lightroom, we
processed the test results with
varying amounts of luminance
noise reduction applied and
found the best balance of noise
reduction and resolution for each
of the cameras ISOs in whole-stop
increments. This worked out to
25% noise reduction at ISO 100 and
ISO 200, 50% reduction at ISO 800,
and 75% reduction at ISO 1600 and
above. Some photographers may
feel that 75% noise reduction is too
much, so this shouldnt be seen
so much as a recommendation as
a starting pointyou can always
adjust it to your liking when you
process your own images.
With these noise-reduction
settings applied, the NX30 earned
an Excellent overall image quality
rating from ISO 100 through 400.
Thats the same result that the
NX300 got when we tested it for
the August 2013 issue, and one
full ISO step better than the NX20
tested in October 2012.
In our resolution test, the
Samsung NX30 captured 2560
lines per picture height at ISO
100, which is high enough for an
Excellent rating and a virtual tie
with the NX20s result. At ISO 400,
it dropped to 2530 lines. After that
point the new camera dropped
SAMSUNG NX30
WHATS HOT
Great Wi-Fi; Excellent image quality
WHATS NOT
Oddly placed rear command wheel
WHO ITS FOR
Shooters looking for a powerful ILC
with a wonderful wireless connectivity

74 POPULAR PHOTOGRAPHY MAY 2014

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POPPHOTO.COM

PHILIP RYAN (LCD IMAGE)

LAB * ILC TEST

WorldMags.net

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WorldMags.netRESULTS
TEST

LAB * ILC TEST

SAMSUNG NX30

below the 2500-line cutoff

for our top rating. Still, it
managed to turn in 2430
lines at ISO 6400. Resolution
drops more precipitously as
sensitivity increases from
there, though, finally landing at
2030 lines at the cameras top
sensitivity of ISO 25,600.
In our noise test, with the
stated settings, the NX30
held noise to a Low or better
rating up to ISO 3200. Thats
impressive enough, but
remember that its obtained
with 75% noise reduction.
With 50% noise reduction at
ISO 3200, the test result would
still be in the acceptable range
with a score of 2.9, just below
our cutoff for an Unacceptable
rating. These results leave the
NX20 in the dustits noise was
Unacceptable by ISO 1600.
We were also impressed at
how low noise stayed at ISO

100 through 400 with only 25%

noise reduction applied. Given
Lightrooms particularly good
noise reduction, there is minimal
loss of resolution at the 25%
setting. With no noise reduction
at all, the NX30 would have
gotten a Low rating at ISO 100
and an Unacceptable by ISO 800.
Nearly matching the results
of Samsungs NX300, the NX30
earned an Excellent rating for
color accuracy with an average
Delta E of 5.6remarkable,
and significantly better than
the NX20s Excellent-level
7.4. As always in our tests, we
click a neutral gray patch for
white balance during RAW
conversion. You should always
use a gray card when shooting
for critically accurate color.

For info
on how we
test our
cameras,
visit our
website at
PopPhoto.
com/
reviews.

IMAGE QUALITY

EXCELLENT
POOR

EXCELLENT

RESOLUTION

ISO 200
2560 EXCELLENT

1500

2000

2500

3000

3500

POOR

4000

EXCELLENT

COLOR ACCURACY
EXCELLENT 5.6
HIGH

EXCELLENT

NOISE

AT ISO
EXTREMELY LOW 1.0

100

VERY LOW 1.2

200

LOW 1.6

400

LOW 1.6

800

VERY LOW 1.2

In the Field

1600

LOW 1.6

3200

MODERATELY LOW 2.3

While the NX30 generally

looks a lot like the NX20, it

If you want
an EVF, the
NX30 is the
best camera
Samsung
offers.

ISO 100400

6400

eUNACCEPTABLE 4.6

12,800

eUNACCEPTABLE 6.9
3.0

2.5

2.0

UNACCEPTABLE

12,800
1.5

1.0

0.5

EXTREMELY LOW

HIGHLIGHT/SHADOW DETAIL
HIGH
LOW

EXTREMELY HIGH

CONTRAST
HIGH
LOW

EXTREMELY HIGH

benefits from some obvious

improvements. The grip is
considerably more ergonomically
shaped. Youll find a divot for
your middle finger that gives a
more secure feel when angling
the camera body; on the camera
back there is a wonderful angled
ridge for your thumb to press
against for a better hold.
The controls arent quite as
sophisticated as weve been
seeing lately in some cameras,
but they get the job done. Plus,
76 POPULAR PHOTOGRAPHY MAY 2014

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POPPHOTO.COM

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develop your
creative skills
at the
learning
center

Your headquarters for free creative education.

Daily original videos

Workshops
Online tutorials
Product reviews
Gear guides

Scan and go
straight to
video here

create
great
theater at
Start the action sooner
with same day
shipping by 8PM
Scan for your
home theater
options here

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SPECIFICATIONS
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LAB * ILC TEST

SAMSUNG NX30

if youre a fan of Samsungs

i-Function lens-based controls,
then you may give the NX30
a few extra points here. There
are three assignable buttons,
though the functions you can
assign are pretty limited. One of
those buttons defaults to Wi-Fi
activation, and we left it at the
default for the entire field test
to have that direct access to
wireless.
There are two command
wheels, but one of them
surrounds the pad used for
menu navigation. We prefer a
second command wheel toward
the top of the camera back,
where your thumb can more
easily reach it.
The EVF is quite nice, with a
fast refresh rate. We didnt find
ourselves angling it upward
much during our field-testing,
but if you like shooting while
looking down, this feature
could set the NX30 apart from
some other cameras. Weve
heard from some landscape
and portrait photographers who
really like to shoot that way,
and some portraitists say that
the disconnect created when
the subject cant look them in
the eye helps their subject gaze
into the lens more intensely. We
ended up getting more use out
of the articulated touchscreen,
whether to frame images at
awkward angles or just to fight
glare during playback by tilting
the screen.
Autofocusing is quite fast
for an ILC, but not the fastest
weve seen. The AF did a fine
job of keeping up with the
cameras burst speed of 9
frames per seconda noticeable
improvement over the NX20.
And with 28 JPEGs per burst, or
11 RAW, burst fans should have
an adequate number of shots
for most purposes. Also, unlike
the NX20, this camera will let
78 POPULAR PHOTOGRAPHY MAY 2014

you access menus and controls

while it's clearing the buffer.
Samsung continues to do a
great job at implementing Wi-Fi
and NFC into its ILCs. The NX30
can push images to your phone
as you shoot, let you manage
all the most important camera
controls from your phone, and
give you a live view of what
your camera is seeing. Olympus
lets you control more esoteric
camera settings, but we were
pleased with what Samsung
offers, since it is particularly
easy to control the camera
remotely and share pictures
on the go. Plus, the NX30 uses
dual-band Wi-Fi, so it should
be able to deal with situations
in which you face a lot of radio
interference. For instance,
we saw the NX30 seamlessly
operated by a cellphone in
a demo at a trade showan
environment where Wi-Fi
connections usually fail.
Video shooters should be
pleased with the footage
from the NX30, which shows
relatively few artifacts, plenty
of detail, and nice-looking
colors. Theres an HDMI output
that allows a clean output
for recording to or streaming
through an external device.

Fans of
plastic
cameras
should take
note that
you can
get a Holga
29mm f/8
lens in the
NX mount.
We tried one
during our
field test
and found
all the same
lo-fi charm
weve come
to expect
from Holga
images.

The Bottom Line

The Samsung NX30 is a
meaningful improvement over
its predecessor, the NX20. For
shooters who want a built-in
EVF, this camera is the best
option that Samsung offers.
Sonys upcoming Alpha 6000
will, we predict, provide stiff
competition for the NX30. In
demos of preproduction units,
that 24MP APS-C Sony has
wowed many with its fast AF
speed and OLED EVF. Fans of the
DSLR-style body design, though,
will note that that Sony doesnt
have the same form factor as

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IMAGING: 20.3MP effective, APS-Csized CMOS sensor captures images at

5472x3648 pixels with 12 bits/color in
RAW mode
STORAGE: SD, SDHC, SDXC slot stores
JPEG, SRW RAW, RAW + JPEG files
BURST RATE: Full-sized JPEGs (Fine
mode): 9 fps up to 28 shots; RAW:
9 fps up to 11 shots; RAW + JPEG: 9 fps
up to 11 shots when using a Class 10 or
higher UHS-I memory card
AF: TTL contrast and phase detection
with 105 phase and 247 contrast AF
points; single-shot and continuous AF
with face detection and subject tracking
VIEWFINDER: Tilting eye-level
2.359-million-dot LCD with 0.96X
magnification and 100% accuracy
SHUTTER SPEEDS: 1/8000 to 30 sec,
plus B (in 1/3-EV increments); shutter
life not rated
METERING: TTL metering with 221-zone
Multi (evaluative), centerweighted, spot
(spot size not specified)
ISO RANGE: ISO 10025,600
(in 1- or 1/3-EV increments)
VIDEO: Records at up to
1920x1080p60 in H.264 format; builtin stereo microphone; stereo mic input;
maximum clip length 29 minutes 59
seconds at 1920x1080p
FLASH: Built-in pop-up flash with A-TTL
autoflash; GN 37 (feet, ISO 100); flash
sync to 1/200 sec
MONITOR: Articulating 3-inch
Super AMOLED touchscreen with
1.037-million-dot resolution; five-step
brightness adjustment
BATTERY: Rechargeable BP1410 Li-ion,
CIPA rating 360 shots
SIZE/WEIGHT: 5.0x3.8x1.6 in., 1.0 lb
with a card and battery
STREET PRICE: $999 with 1855mm
f/3.55.6 OIS i-Function lens
INFO: www.samsung.com

the NX30. Olympus's OM-D E-M5

does though, and fans of Four
Thirds can get it for about the
same price as the NX30.
Samsung continues to fill out
an already impressive line of
lenses: We were able to use such
gems as the 60mm f/2.8 macro
and 85mm f/1.4 during our field
testing, and very much enjoyed
the experience. Were confident
that if you do the same, you'll
have fun too.
Philip Ryan
POPPHOTO.COM

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AMATEUR

Dollar
Sense

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LAB * DSLR TEST

NIKON D3300
PRO

NIKONS BUDGET
DSLR DELIVERS

DESPITE THE growing popularity

of interchangeable-lens compacts,
Nikon continues to offer compelling entry-level DSLRs. Its latest,
the D3300, succeeds the D3200 we
tested in our August 2012 issue.
The pixel count of this new $647
(street, with 1855mm f/3.55.6G
Nikkor VR II lens) APS-C-sensor
camera holds at 24.2MP and the
metering and AF systems stay the
same as the D3200. But bursts
have increased to 5 frames per
second, the buffer can hold more
JPEGs before flling, and the top ISO
reaches 1 stop higher, to ISO 25,600.

In the Test Lab

NIKON D3300
WHATS HOT
Excellent image quality up to ISO 400
WHATS NOT
No headphone out for video monitoring
WHO ITS FOR
Budget-minded DSLR shooters
80 POPULAR PHOTOGRAPHY MAY 2014

WorldMags.net

DAN BRACAGLIA (LCD IMAGE)

Nikon used a new sensor in the

D3300, and we saw it hit higher
levels of noise than the D3200 at all
sensitivities over ISO 100, earning it
an Excellent rating in overall image
quality from ISO 100 through 400
(the D3200 reached ISO 800).
This could refect the difference
in hardware, but it may also be due
to changes in the latest version
of Nikons View NX software that
ships with the camera, which we
use to convert RAW fles to TIFFs
in our tests. DxOMark.com, which
tests unprocessed RAW image fles,
rates the D3300s higher ISO performance above the D3200s.
In our resolution test, the D3300

WorldMags.net
noise test, the D3300 garnered a
Low or better rating up to ISO 400,
after which the noise increased
rapidly. While the T5i achieved a
Low or better rating up to ISO 800,
and didnt reach Unacceptable
noise levels until ISO 12,800, the
D3300 landed in Unacceptable
range by ISO 3200.
This may have more to do with
Nikons defaults for automatic
noise reduction in RAW conversion than the actual RAW sensor
output. But we regard the manufacturers default as its standard
for the camera and always use
the provided softwares defaults
for our tests. That said, one would
expect more noise here, since the
Nikon has signifcantly more pixels
packed into nearly the same APSC-sized sensor area.
When shopping for cameras in

The D3300
can make
some very
nice video,
but there
isnt any
headphone
output, so
you cant
monitor the
audio while
shooting
video.

TEST RESULTS
IMAGE QUALITY

ISO 100400

EXCELLENT
POOR

EXCELLENT

RESOLUTION

ISO 100
2725 EXCELLENT

1500

2000

2500

3000

3500

POOR

4000

EXCELLENT

COLOR ACCURACY
EXCELLENT 6.4
HIGH

EXCELLENT

NOISE

AT ISO
EXTREMELY LOW 1.1

100

VERY LOW 1.4

200

LOW 1.9

400

MODERATE 2.9

800

MODERATE 2.7

1600

eUNACCEPTABLE 3.6

3200

eUNACCEPTABLE 4.4

6400

eUNACCEPTABLE 6.4

12,800

UNACCEPTABLE 10.6
3.0

2.5

25,600

2.0

1.5

UNACCEPTABLE

1.0

0.5

EXTREMELY LOW

HIGHLIGHT/SHADOW DETAIL
EXTREMELY HIGH
LOW

EXTREMELY HIGH

CONTRAST

EXT. FAST

VERY HIGH
LOW

EXTREMELY HIGH

AF SPEED

TIME (SECONDS)

0.2
0.4
0.6

0.48 0.48 0.54

0.57 0.59
0.72
0.84
0.91

0.8
1.0
1.2

EXT. SLOW

essentially matched the D3200,

with 2725 lines per picture height
at ISO 100 versus the D3200s 2710
lines. At ISO 400 the D3300 served
up 2540 linesstill well over the
2500 lines that is the cutoff for
Excellent in this test. By ISO 1600
it dropped below that mark, with
2440 lines, but it held its resolving power up to ISO 6400, with
2420 lines. Thereafter, resolution
dropped more sharply, ending up
at 2240 lines at ISO 25,600.
Thats still impressive for an
entry-level DSLR, though.To compare, Canons 18MP EOS Rebel
T5i ($850, street, with 1855mm
f/3.55.6 Canon EF IS STM lens)
resolved 2500 lines at its best and
2100 lines at ISO 6400; it produced
1860 lines at ISO 25,600.
The Canon T5i wins, though,
when comparing noise. In our

1.16

1.4
1.6
12

BRIGHT

WorldMags.net

(LIGHT LEVEL)

POPPHOTO.COM POPULAR PHOTOGRAPHY 81

DIM

SPECIFICATIONS
WorldMags.net

LAB * DSLR TEST

NIKON D3300

this market segment, you have to

think about how much resolution
you really need. If you crop often
and severely, the D3300s extra pixels make a lot of sense. If you dont
usually crop much, then you might
get more out of the Canon.
In autofocus, the D3300s results
were very similar to its predecessors. At the brightest light level in
our test, the D3300 focused in less
than a half-second and remained
under 0.6 sec down to the brightness of a typical living room. At EV
0, the level of an average nighttime
scene, the D3300 still focused in
less than a second. At EV 1, the
lowest light for which the cameras
AF is rated effective, the speed
became more erratic but averaged
out to 1.16 sec. Canons T5i was
able to focus faster in bright and
medium light, but in dim lighting
the two cameras tied. Since the
D3300 is aimed at amateurs, we
think its AF results are plenty good
for the kind of use itll likely see.
With an average Delta E of 6.4,
the D3300 easily earned an Excellent rating in color accuracy, a test
that most current DSLRs ace.

In the Field
Though the D3300 is a bit smaller
than the D3200, the overall feel
and button layout is very similar.
The camera still feels quite stable
in the hand. Theres only one command wheel, so you must hold
down the exposure-compensation
button when in manual. Nikon
clearly assumes that most D3300
owners will use full auto or one of
the priority shooting modes. While
this may well be true, we still
prefer a camera that has two command dials, especially when you
can assign exposure comp to one
of them when in a priority mode.
Movie recording got an upgrade
to 1920x1080p at 60 frames per
second, from the D3200s 30 fps.
We expect that non-pros will be
plenty happy with the footage
82 POPULAR PHOTOGRAPHY MAY 2014

from the D3300, which showed

lots of detail and no more artifacts
than one would expect from an
inexpensive DSLR.
Burst speed now meets our
criterion of at least 5 fps for amateur sports shooting. With JPEGs,
you can get upwards of 100 shots
before the buffer flls, likely the
result of D3300s newer Expeed 4
processor; with RAW you get 11
shots per burst. Thats down from
the D3200s 18, but by no means
shabby for a camera of this class.
If Nikon did one thing wrong, it
was omitting built-in Wi-Fi (same
with the Canon T5i). You can add
its optional WU-1a wireless mobile
adapter ($60, street) to transfer
images straight to your smartphone and control the D3300 from
the phone. The new camera costs
about $50 less than the D3200 did
when we tested it, taking some
monetary bite out of the equation.

In addition
to its lone
command
wheel, the
D3300 has
only one
memory card
slot. If you
want fancier
controls and
a second
card slot
youll have
to move up
to a pricier
DSLR body.

The Bottom Line

Nikons D3300 doesnt change too
much compared with the D3200
and thats mostly a good thing.
It captures tons of detail in still
images, serves up extremely accurate colors, and has enough power
to get great shots of any familys
high-school sports star.
Plus, Nikon put out a relatively
inexpensive 35mm f/2.8G lens at
the same time as the D3300. This
rounds out a series of inexpensive
primes that Nikon has offered in
recent years. It also signals a true
commitment to amateur shooters
and bolsters an already extensive
array of glass and accessories that
few ILC makers can match.
If youre torn between Nikon and
Canon and not invested in either
system yet, youll have to decide
whether Canons twisting, tilting
LCD trumps the D3300s fxed one,
and whether Nikons choice of
more noise for more pixels makes
a difference to you. From where we
sit, its a tossup.
Philip Ryan

WorldMags.net

IMAGING: 24.2MP effective, DX format

APS-C-sized CMOS sensor captures images
at 6000x4000 pixels with 12 bits/color in
RAW mode.
STORAGE: SD, SDHC, SDXC. Stores JPEG,
NEF RAW, RAW + JPEG.
VIDEO: Up to 1920x1080p60 H.264/
MPEG-4; built-in mono mic, stereo minijack
mic input; continuous AF; maximum clip
length 10 min. at 1920x1080p60 and high
quality, 20 min. at 1920x1080p30 and
high quality.
BURST RATE: Full-sized JPEGs
(Fine mode): 5 fps up to 100 shots; RAW
(12-bit): 5 fps up to 11 shots when using a
UHS-I memory card
AF SYSTEM: TTL phase detection with 11
illuminated focus points (one cross-type
point in center); single-shot, continuous, 3D
focus tracking; tested sensitivity down to EV
1 (at ISO 100, f/1.4).
LIVE VIEW: Full-time contrast detection
or single-shot phase-detection AF with
mirror interrupting view momentarily; face
detection and subject tracking available.
SHUTTER SPEEDS: 1/4000 to 30 sec
(1/3-EV increments); shutter life not rated.
METERING: TTL metering using
420-pixel RGB sensor; Matrix (evaluative),
centerweighted, and spot (approx. 2.5% of
finder at center) metering; range, 020 EV
(at ISO 100).
ISO RANGE: ISO 10012,800 (in 1-EV
increments), expandable to ISO 25,600.
FLASH: Built-in pop-up flash; GN 39 (feet,
ISO 100); flash sync to 1/200 sec.
VIEWFINDER: Fixed eye-level pentamirror.
LCD: Fixed 3-in. TFT with approx.
921,000-dot resolution; 11-step
brightness adjustment
OUTPUT: Hi-Speed USB 2.0, mini-HDMI
video, composite video
BATTERY: Rechargeable EN-EL14a Li-ion,
CIPA rating 700 shots
SIZE/WEIGHT: 4.9x3.9x3.0 in., 1.0 lb with
card and battery
STREET PRICE: $647, with AF-S DX Nikkor
1855mm f/3.55.6G VR II lens.
FOR INFO: www.nikonusa.com

VIEWFINDER TEST: Accuracy, 95%

(Excellent); magnification, 0.85X (Very Good).
POPPHOTO.COM

WorldMags.net

LAB * LENS TEST

TAMRON 150600MM F/56.3 DI VC USD

Big Deal
AMATEUR

THE WORLDS
LONGEST TELE-ZOOM

PRO

4.15 in.

DAN BRACAGLIA

13.68 in.

Di VC USD zoom sports one of

the classs broadest focal-length
ranges (4X) as well as the longest
reach in the tele-zoom category,
to 600mm. It also packs Vibration
Compensation (VC), an Ultrasonic
Silent autofocus drive, three
low-dispersion elements for
suppressing color fringing, a new
eBAND lens coating the company
claims will improve anti-reflection
performance, and a lets-getcovetous street price of just over a
grand ($1,069, street).
A full-frame lens that reaches
the equivalent of 960mm on

10.24 in.

TAMRONS 150600MM f/56.3

2.19 in.

*TESTED MEASUREMENT NOT AVAILABLE DUE TO INSTRUMENT LIMITATION.

SPECIFICATIONS

150600MM (149.96mmn.a. tested*),

f/56.3 (f/4.32n.a. tested*), 20 elements
in 13 groups. Focus ring turns 130 degrees.
Zoom ring turns 150 degrees. Focal lengths
marked at 150-, 200-, 250-, 300-, 350-,
400-, 450-, 500-, and 600mm.
DIAGONAL VIEW ANGLE: 16--4 degrees
WEIGHT: 4.5 lbs FILTER SIZE: 95mm
MOUNTS: Canon AF, Nikon AF, Sony AF
INCLUDED: Lenshood, removable tripod
collar, Silkypix Developer Studio software
STREET PRICE: $1,069
WEBSITE: tamron-usa.com

0.88 in.

TEST RESULTS

DISTORTION: At 150mm, 0.21% (Slight)

pincushion; at 300mm, 0.20% (Slight)
pincushion; at 600mm, 0.20% (Slight) pincushion.
LIGHT FALLOFF: At 150mm, gone by f/5.6;
at 300mm, none; at 600mm, gone by f/8
CLOSE-FOCUSING
DISTANCE: 94.75 inches
MAXIMUM MAGNIFICATION RATIO:
At 150mm, 1:14.46; at 300mm, 1:7.6;
at 600mm, 1:4.03
IMAGE STABILIZATION: 2.33 stops
POPPHOTO.COM

TAMRON 150600MM F/56.3 DI VC USD

WHATS HOT

Nice zoom range, great price

WHATS NOT

Like most lenses reaching 600mm,

requires a monopod; no lens case
WHO ITS FOR

All landscape, nature, sports, and

wildlife photographers
MAY 2014 POPULAR PHOTOGRAPHY 83
WorldMags.net

WorldMags.net

LAB * LENS TEST

TAMRON 150600MM F/56.3 DI VC USD

Canon APS-C bodies (900mm on

Nikon and Sony), the lens has a
removable tripod collar, lenshood,
and rubber cowl around its mount
to fend off the elements.
Among lenses with this much
telephoto reach, this Tamron is by
far the most compact and, at least
for short periods, hand-holdable.
At 4.5 pounds, it weighs about
half as much as Canons 600mm
f/4L, for example, and fully racked
out it measures about four inches
shorter. Its removable tripod collar
has finger notches that improve
the grip when handholding. That
said, it still requires at least a
monopod for extended use.
In the field, we liked the large,
ribbed zoom ring for its convenient
placement and easy, albeit
slightly uneven, turn. The zoom
lock, which confines the lens to
its contracted 150mm position,

The fullframe
Tamron
150600mm
comes in
Canon,
Nikon,
and Sony
mounts, but
the latter
version
lacks
Vibration
Compensation, since
image
stabilization
is built into
Sony DSLR
bodies.

prevented the zoom creep that can

occur when walking with the rig
on a neck strap (always support a
lens this size when carrying it on
the camerasee page 38). We really
appreciated the focus-limiter switch,
which has full and non-closeup
ranges. The latter, going from about
50 feet to infinity, worked well for
wildlife and sports.
On the Popular Photography optical
bench, the lens delivered Excellentrange SQF numbers at 150 and
200mm. At 300mm, the longest
setting our bench allowed, tested
performance dropped only one
notch into Very Good numbers.
Most other tele-zooms weve tested
have dropped a rating notch further,
into the Good range, at their 300mm
focal lengths. (These include the
Tamron 70300mm f/45.6 Di VC
USD and the Sigma 70300mm
f/45.6 DG OS.)

Our DxO Analyzer Version 5.3

tests found pincushion distortion
in the mid-Slight range at all focal
lengths, a significant improvement
over the uniform Visible-range
pincushioning of Tamrons
200500mm lens. Light falloff was
gone from the corners by f/5.6
at 150mm and f/8 at 600mm. At
300mm, we found no detectable
vignetting, a performance that
tops all of the earlier tested
tele-zooms at this focal length.
Tamrons VC mechanism helped
three testers to an average of 2.33
extra stops of handheld sharpness
versus without VC engaged.
The appeal of this lens for focalreach-hungry photographers is
obvious. Relative to others that
reach 600mm, its handling could
hardly be more user-friendly. And
that price! (The Canon 600mm
f/4L streets for nearly $13,000.)
Performance outstrips the closest
comparable tele-zooms. Plus, it
comes with Tamrons customized
version of the Silkypixs RAW
converter, which automatically
corrects for distortion, chromatic
aberration, and edge falloff in this
and every other Tamron SP-series
lens. Nice!
Julia Silber

150
MM

200
MM

300
MM

KEY

WorldMags.net

84 POPULAR PHOTOGRAPHY MAY 2014

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60/2.8 USM Macro (52).................................................... 469.99
10-22/3.5-4.5 USM (77) .................................................. 649.99
15-85/3.5-5.6 IS USM (72) .............................................. 799.99
17-55/2.8 IS USM (67)..................................................... 879.99
17-85/4-5.6 IS USM (67) ............................................................
18-55/3.5-5.6 IS (58) ...................................................... 199.99
18-135/3.5-5.6 IS (67) .................................................... 499.99
18-200/3.5-5.6 IS (72) .................................................... 699.99
55-250/4-5.6 IS USM (58) ............................................... 299.99
55-250/4-5.6 IS STM (58)................................................ 349.00
EF Lenses
20/2.8 USM (72) .............................................................. 539.99
24/2.8 IS USM (58) .......................................................... 599.99
28/1.8 USM (58) .............................................................. 509.99
28/2.8 IS USM (58) .......................................................... 549.99
35/2 IS USM (67) ............................................................. 599.99
40/2.8 STM Pancake (52)................................................. 199.99
50/1.8 II (52) ................................................................... 125.99
50/2.5 Macro (52)............................................................ 299.99
50/1.4 USM (58) .............................................................. 399.99
MP-E 65/2.8 1x-5x Macro (58) ....................................... 1049.00
85/1.8 USM (58) .............................................................. 419.99
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50/1.2 USM (72) .............................. 1619.00...... $150 .... 1469.00
85/1.2 USM II (72) ........................... 2199.00...... $150 .... 2049.00
100/2.8 IS USM Macro (67) .............. 1049.00...... $100 ...... 949.00
135/2.0 USM (72) ............................ 1089.00...... $100 ...... 989.00
180/3.5 USM Macro (72).................. 1579.00.............. ..................
200/2.8 USM II (72) ........................... 819.99........ $50 ...... 769.00
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300/4.0 IS USM (77) ........................ 1449.00...... $100 .... 1349.00
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400/5.6 USM (77) ............................ 1339.00...... $100 .... 1239.00
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500/4 IS USM II (52 rear).............................. .............. ..................
600/4.0 IS II (52 rear)................................... .............. ..................
8-15/4.0 Fish-eye USM...................... 1499.00.............. ..................
16-35/2.8 USM II (82) ...................... 1699.00...... $150 .... 1549.00
17-40/4.0 USM (77) .......................... 839.99...... $100 ...... 739.99
24-70/4.0 IS USM (77)..................... 1499.00...... $200 .... 1299.00
24-70/2.8 II USM (82) ...................... 2299.00...... $200 .... 2099.00
24-105/4 IS USM (77)...................... 1149.00.............. ..................
28-300/3.5-5.6 IS USM (77) ........................ .............. ..................
70-200/4.0 USM (67) ........................ 709.99........ $80 ...... 629.99
70-200/4.0 IS USM (77)................... 1349.00...... $150 .... 1199.00
70-200/2.8 USM (77) ...................... 1449.00...... $100 .... 1349.00
70-200/2.8 IS II USM (77) ................ 2499.00...... $200 .... 2299.00
70-300/4.0-5.6 IS USM (67) ............ 1599.00...... $200 .... 1399.00
100-400/4.5-5.6 IS USM (77) .......... 1699.00...... $200 .... 1499.00
EF "L" Teleconverters
1.4x III ............................................................................... 499.99
2x III .................................................................................. 499.99

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Pixels

Final Cost

#PEZ
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#NID7100 ...............................................  ..... $50 ......... 1149.95

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#NID710018105 .................. .... $300 ........ 1299.95
D7000 #PEZ
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#NID7000 B&H SPECIAL! .........899.00 .... $200 ..........699.00

SLR Lenses and Flashes

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Pixels

Final Cost

#PEZ
0OMZ #NID610........................................................ $100 .....1896.95

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D800 DSLR

$200
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Mega
Pixels

DX ED-IF Lenses for Digital Only

Price
Rebate
Final

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#PEZ
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16

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Rebates Expire 3-29-14 Call for Current Rebates & Promotions

Instant Savings on Lenses

AF Flashes
4#
146.95
4#
546.95
4#
326.95
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* Instant Savings ONLY when purchased with a D7100 body

** When purchased with a D3100/3200/5200/5300 body and
receive an additional $150 when purchased with a D7100 body
*** Special! Receive an additional $200 in savings when
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Page 5
052014

AF LENSES

Six-Year Warranty

FLASHES

Manual Focus Lenses

In Stock Call for Prices

WorldMags.net

MN
4-3
DBNFSBT
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Di-II
GPS
%JHJUBM
4-3T
0OMZ
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Di III for mirror-less cameras Only
Di
GPS
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C = Canon

The Professionals Source

Di-II
Di
Di
Di
Di-II
Di-II
Di-II
Di-II
Di-III
Di-II
Di
Di
Di
Di
Di
Di
Di

www.BandH.com

N = Nikon

P = Pentax

SM = Sony/Minolta

60mm f/2.0 LD IF Macro (55)

90mm f/2.8 Macro (55)
90mm f/2.8 SP Macro VC USD (58)
180mm f/3.5 LD IF Macro (72)
10-24mm f/3.5-4.5 (77)
17-50mm f/2.8 XR LD IF Aspherical (67)
17-50mm f/2.8 XR VC LD IF Asph. (67)
18-200mm f/3.5-6.3 (62)
18-200mm f/3.5-6.3 VC (62) Black or Silver
18-270mm f/3.5-6.3 VC PZD (62)
24-70mm f/2.8 VC USD (82)
28-75mm f/2.8 XR (67)
28-300mm f/3.5-6.3 XR LD (62)
28-300mm f/3.5-6.3 XR VC (62)
70-200mm f/2.8 SP VC USD (77)
70-300mm f/4.0-5.6 VC USD (62)
200-500mm f/5-6.3 LD IF (86C)
1.4x SP AF Pro Teleconverter
2x SP AF Pro Teleconverter

SE = Sony E Mount

SKU #
#TA602DI*
#TA9028M*
#TA9028VC*
#TA18035*
#TA102435*
#TA175028*
#TA175028*Q
#TA1820035*
#TA1820035S*
#TA18270*
#TA247028*
#TA287528*
#TA2830035XD*
#TA2830035*
#TA7020028*
#TA70300*
#TA2005005*
#TA14XP*
#TA2XP*

** Price After Rebate

Available for
C, N, SM
C, N, P, SM
C, N, SM
C, N, SM
C, N, P, SM
C, N, P, SM
C, N
C, N, P, SM
SE
C, N, SM
C, N, SM
C, N, P, SM
C, P, SM
C, N
C, N, SM
C, N, SM
C, N, SM
C, N
C, N

Rebate

$20

$50
$100

$100
$100

Expires 3-31-14

28 CS-2 Digital Slave Shoe Mount Flash ................ 139.99

36 AF-5 Digital ..................................................... 129.99
44 AF-1 Digital Shoe Mount Flash .......................... 199.99
52 AF-1 TTL Touchscreen ...................................... 300.00
58 AF-2 TTL Digital Shoe Mount Flash ................... 399.99
45 CL-4 TTL Digital Handle Mount Flash ................ 519.99
45 CL-4 TTL Digital Handle Mount Flash Kit............ 699.99
76 MZ-5 TTL Digital Handle Mount Flash.............. 1039.99

Price
524.00
499.00
749.00
739.00
499.00
499.00
649.00
179.00**
739.00
399.00**
1199.00**
499.00
419.00
629.00
1399.00**
349.00**
949.00
224.00
254.00

Q-fash TRIO ......................................................... 875.00

Q-fash T5D-R ...................................................... 706.00
Q-fash T5D-R with Turbo SC Battery & Charger .... 1172.00
Q-fash T5D-R with Turbo 3 Battery Kit ................. 1330.00
Batteries
Battery 1 ............... 224.00
Turbo Blade ........... 466.00
Turbo SC ............... 466.00
Turbo 3 ................. 624.00
E-Flash Flat Panel Kit #SUFP38 ............................... 58.95
PF20XD Digital Slave Shoe Mount Flash ................... 44.95
RD-2000 Shoe Mount Flash .................................... 64.95
DF3000 Digital for Canon, Nikon, Sony ..................... 69.95
PZ-4000 AF TTL Shoe Mount .................................. 84.95
PZ-40x II AF TTL Shoe Mount f/Nikon (Silver) ............ 69.95
PZ-42x AF TTL Shoe Mount for Canon, Nikon ......... 139.00
622 Super Pro TTL Handle Mount Flash ................. 179.95

AF LENSES

DX for Digital SLRs Only FX Designed for full frame DSLRs

When in New York,

Visit our SuperStore

420 Ninth Ave.

Corner of 34th Street

New York, N.Y. 10001

FX
DX
DX
DX
DX
FX
FX

Canon EOS
#TO10028PCAF
#TO101735CAF
#TO111628PCII
#TO12244DXC
#TO12284DXC
#TO1628FXC
#TO1735F4FXC

100mm f/2.8 Pro D Macro (52)

10-17mm f/3.5-4.5 ATX Fisheye
11-16mm f/2.8 Pro II (77)
12-24mm f/4.0 Pro II (77)
12-28mm f/4.0 Pro (77)
16-28mm f/2.8 Pro
17-35mm f/4 Pro (82)

Nikon AF
#TO10028PNAF
#TO101735NAF
#TO111628PNII

#TO12284DXN
#TO1628FXN
#TO1735F4FXN

Price
489.00
669.00
599.00
399.00
549.00
699.00
549.00

285HV Professional Auto ......................................... 79.95

Pearstone SB-4 AC Adapter for 285HV #PESB4 ........ 14.95

AF LENSES & FLASHES

Expires 3-31-14
** Price After Rebate

DC
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GPS
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Page 6

DC
DG
DC
DG
DG
DG
DG
DC
DG
DG
DG
DG
DG
DG
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DG
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DG
DC
DC
DC
DG
DC
DC
DC
DC
DC
DG
DG
DC
DG
DG
DG
DG
DG
DG
DG
DG
DG
DG
DG
DG
DG

H HSM Model with Canon, Nikon, Sigma

R Rear Slip-in Gelatin Filter Slot

4.5mm f/2.8 EX Circular Fisheye HSM R

8mm f/3.5 EX Circular Fisheye R
10mm f/2.8 EX Fisheye HSM R
15mm f/2.8 EX Diagonal Fisheye R
20mm f/1.8 EX DF RF Aspherical (82)
24mm f/1.8 EX DF Aspherical Macro (77)
28mm f/1.8 EX DF Aspherical Macro (77)
30mm f/1.4 HSM (62)
35mm f/1.4 HSM (67)
50mm f/1.4 EX (77) H
50mm f/2.8 EX Macro (55)
70mm f/2.8 EX Macro (62)
85mm f/1.4 EX HSM (77)
105mm f/2.8 EX Macro OS HSM (62)
150mm f/2.8 EX APO Macro OS HSM (72)
180mm f/2.8 EX APO Macro OS HSM (86)
300mm f/2.8 APO EX HSM (46 Rear)
500mm f/4.5 APO EX HSM (46 Rear)
8-16mm f/4.5-5.6 HSM
10-20mm f/4-5.6 EX HSM (77)
10-20mm f/3.5 EX HSM (82)
12-24mm f/4.5-5.6 EX Aspherical HSM II
17-50mm f/2.8 EX OS HSM (77)
17-70mm f/2.8-4.0 OS Macro HSM TSC (72)
18-35mm f/1.8 HSM (72)
18-200mm f/3.5-6.3 OS II HSM (72)
18-250mm f/3.5-6.3 OS Macro HSM (62)
24-70mm f/2.8 EX IF HSM (82)
24-105mm f/4.0 OS HSM (82)
50-150mm f/2.8 EX APO OS HSM (77)
50-500mm f/4.5-6.3 APO OS HSM (95)
70-200mm f/2.8 EX APO OS HSM (77)
70-300mm f/4-5.6 Macro (58)
70-300mm f/4-5.6 APO Macro (58)
70-300mm f/4-5.6 OS (62)
120-300mm f/2.8 OS HSM (105)
120-400mm f/4.5-5.6 APO OS HSM (77 Rear)
150-500mm f/5-6.3 APO OS HSM (86)
1.4x EX APO Tele-Converter
2x EX APO Tele-Converter
EF-610 ST
EF-610 Super Flash
EM-140 TTL Ringlight

Canon
#SI4528EXDCC
#SI835CA
#SI1028EXDCC
#SI1528DGCAF
#SI2018CAF
#SI2418MCAF
#SI2818MCAF
#SI3014DCHSMC
#SI3514C
#SI5014C
#SI5028MDGCAF
#SI7028MDGCA
#SI8514C
#SI10528MDGCE
#SI15028AMOC
#SI18028AMEOC
#SI30028DGCAF
#SI50045DGCAF
#SI8164556CA
#SI102045DCAF
#SI102035C
#SI122445C
#SI175028CA
#SI1770284DCC
#SI183518DCC
#SI1820035CQ
#SI1825035MC
#SI247028C
#SI24105C
#SI5015028CA
#SI505004563C
#SI7020028CQ
#SI703004SCAF
#SI703004DGCA
#SI7030045C
#SI120300C
#SI120400C
#SI150500C
#SI1.4XDGCAF
#SI2XDGCAF
#SIEF610STC
#SIEF610C
#SIEM140DGC

18-200mm f/3.5-6.3 DC II
OS HSM Digital Lens

70-200mm f/2.8 EX APO

OS HSM DG Lens

t

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Nikon
#SI4528EXDCN
#SI835NA
#SI1028EXDCN
#SI1528DGNAF
#SI2018NAF
#SI2418MNAF
#SI2818MNAF
#SI3014DCHSMN
#SI3514N
#SI5014N
#SI5028MDGNAF
#SI7028MDGNA
#SI8514N
#SI10528MDGNQ
#SI15028AMON
#SI18028AMEON
#SI30028DGNAF
#SI50045DGNAF
#SI8164556NI
#SI102045DNAF
#SI102035SN
#SI122445N
#SI175028NI
#SI1770284DCN
#SI183518DCN
#SI1820035NQ
#SI1825035MN
#SI247028NF
#SI24105N
#SI5015028NA
#SI505004563N
#SI7020028NI
#SI70300456N
#SI70300456AN
#SI7030045N
#SI120300N
#SI120400N
#SI150500N
#SI1.4XDGNAF
#SI2XDGNAF
#SIEF610STN
#SIEF610N
#SIEM140DGN

Pentax
#SI4528EXDCP

#SI1028EXDCP
#SI1528DGPAF
#SI2018PAF
#SI2418MPAF
#SI2818MPAF

#SI3514P
#SI5014PE
#SI5028MDGPAF
#SI7028MDGPA
#SI8514P

#SI30028DGPAF
#SI50045DGPAF
#SI8164556PE
#SI102045DPAF
#SI102035P

#SI175028PE
#SI1770284DCP
#SI183518DCP
#SI1820035P
#SI1825035MP
#SI247028PS

#SI505004563P

#SI703004PAF
#SI703004DGPA

#SI120400P
#SI150500P

#SIEF610STP
#SIEF610P
#SIEM140DGP

Sigma
#SI4528EXDCSI
#SI835SI
#SI1028EXDCSI
#SI1528DGSA
#SI2018SA
#SI2418MSA
#SI2818MSA
#SI3014DCHSMS
#SI3514SI
#SI5014SI
#SI5028MDGSA
#SI7028MDGSA
#SI8514SI
#SI10528MDGS
#SI15028AMOSI
#SI18028AMEOQ
#SI30028DGSA
#SI50045DGSA
#SI8164556SI
#SI102045DSA
#SI102035SG
#SI122445SI
#SI175028SI
#SI1770284SI
#SI183518DCS
#SI1820035SAQ
#SI1825035MS
#SI247028S
#SI24105SI
#SI5015028SAF
#SI505004563
SI7020028SIQ
#SI703004SA
#SI703004DGSA

#SI120300SIQ
#SI120400S
#SI150500S
#SI1.4XDGSA
#SI2XDGSA
#SIEF610STSI

#SIEM140DGS

17-50mm f/2.8 XR VC
LD-IF Di II Digital Lens
t

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WorldMags.net

Sony
#SI4528EXDSO
#SI835SO
#SI1028EXDCSO
#SI1528DGMAF
#SI2018MAF
#SI2418MMAF
#SI2818MMAF

#SI3514S
#SI5014SOM
#SI5028MDGMAF
#SI7028MDGSAQ
#SI8514S
#SI10528MDGSM
#SI15028AMOS
#SI18028AMEOS
#SI30028DGMAF

#SI8164556SO
#SI102045DMAF
#SI102035S
#SI122445S
#SI175028SO
#SI1770284DCS
#SI183518DCSO
#SI1820035SQ
#SI1825035MSO
#SI247028SM
#SI24105SO

#SI505004563S
#SI7020028SOQ
#SI703004MAF
#SI703004DGMA

#SI120400SQ
#SI150500M

#SI2XDGMAF

#SIEF610S
#SIEM140DGM

Rebate

$100

$75
$300

$150

$50

$100
$50

$200

$150
$150
$150
$25

$170

$50
$30
$30

Price
899.00
899.00
649.00
609.00
629.00
549.00
449.00
499.00
899.00
399.00**
369.00
499.00
894.00**
669.00**
1,099.00
1549.00**
3,399.00
4,999.00
699.00
429.00**
649.00
949.00
569.00**
449.00**
799.00
499.00
349.00**
899.00
899.00
949.00**
1509.00**
1249.00**
144.00**
189.00
359.00
3599.00
999.00
899.00**
249.00
249.00**
135.00**
225.00**
379.00

11-16mm f/2.8 Pro DX AT-X II

Wide-Angle Digital Lens
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lighting equipment and accessories

LiteTrek 4.0 (LT) Series

The Professionals Source

Whether it's fashion, wedding or portrait

photography, the best way to achieve
professional-looking results in the feld
is by adding fash to the ambient light.
The Impact Mini LiteTrek Battery Pack
provides DC juice to your Impact
LiteTrek 4.0 portable fash or select
Nikon & Canon fashes with optional
power cords as well as Quantum
fashes without adaptation.

GPS
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LiteTrek 4.0 DC Monolight

Flash Head #IMLTFH..$499.95

Over 300,000 products,

at your leisure

www.BandH.com

Instant Savings on LiteTre

k 4.0
Monolight Kits (Expires 3-31-14)

LiteTrek 4.0 DC Monolight Kits

with Mini LiteTrek Battery Pack
1-Light Kit #IMMLTBK ...................$799.95 Instant Rebate -$150 $649.95
2-Light Kit #IMMLTBK2 .............$1199.90 Instant Rebate -$150 $1049.90
Mini LiteTrek (LT) Battery #IMMLTB ......................................................................$199.95
Mini LiteTrek (LT) Battery Pack #IMMLTPBP .......................................................$549.95
Mini LiteTrek (LT) Pack & Charger Kit with CKE Nikon Cable #IMMLTPBPK1 ...$573.95
Mini LiteTrek (LT) Pack & Charger Kit with CZ Canon Cable #IMMLTPBPK2 .....$577.95

LiteTrek Accessories
Charger for Mini LiteTrek #IMCBP ...$49.95
IM-CKE Nikon Flash Cable #IMCKE .$39.95
IM-CZ Canon Flash Cable #IMCZ.....$39.95
LiteTrek 4.0 Flash Tube #IMFTFH .....$79.95
Refector Adapter (Bowens Adapter) #IMBAFH ...........................................................$24.95

PHOTOGRAPHY ACCESSORIES
FILTERS

in stock
B&H SPECIAL! Buy 3 or more
B+W Filters & Get 5% Off.

B&H SPECIAL! Buy 3 or more Hoya Filters & Get 10% Off.
UV, Skylight (1B) HMC
UV, Skylight (1B) Super HMC
Linear Polarizer
Circular Polarizer
Circular Polarizer HMC
Moose Warm Circular Polarizer
K2 Yel, X0 Yel/Grn, Grn X1, Or G, Red 25A HMC
Close Up Set (+1, +2, +4)
Close-Up Set HMC (+1, +2, +4)
Intensifer Blue, Green Field, Enhancement (Red)
Neutral Density 2x, 4x, 8x HMC
Star 6, Star 8

52mm
16.50
27.89
16.99
23.95
39.95
35.75
23.95
39.99
52.68
34.68
23.88
16.89

58mm
21.50
26.49
25.00
29.95
49.00
39.55
28.35
47.35
64.88
39.95
19.95
22.50

67mm
27.50
33.00
38.85
34.95
55.90
53.90
41.95
53.00
73.00
55.08
36.95
43.35

72mm
29.95
52.95
36.85
42.95
69.00
55.65
46.35
63.00
100.68
60.00
30.99
49.90

77mm
36.20
44.99
44.90
38.90
104.90
91.50
60.90
68.00
145.35
71.50
34.80
46.68

Made exclusively with glass from Schott (Zeiss)

the worlds fnest optical glass supplier.
55mm 58mm 67mm 72mm 77mm
Skylight (1B), UV
39.99
41.99
62.99
77.99
89.99
Skylight (1B), UV SH-PMC
72.99
78.99 103.99 131.99 157.99
Circular Polarizer, Slim Circular Polarizer
115.99 121.99 151.99 180.99 195.99
Circular Polarizer SH-PMC, Slim Circ. Pol. SH-PMC 161.99 171.99 214.99 242.99 275.99
#5, #8, #11, #13, #15, #22, 81A, 81B, 81C
49.99
51.99
78.99
96.99 108.99
Digital Filter
176.99 180.99 222.99 261.99 301.99

UV Haze SC
UV Haze MRC 010M
Circular Polarizer SC
Circular Polarizer MRC
Circular Polarizer Slim
Skylight KR1.5 (1A)
Digital Pro UV MC
Graduated (N.D. & Colors)
Neutral Density 106
Close-Up Lenses 1, 2, 3, 4, 5

Digital Essentials Kits

In Stock
812 Warming
Grad ND 0.6
Circular Polarizer
Ultra Clear
Haze 86
ND 1.2
ND 0.6
Soft FX3
Star 4 pt 2

55mm 58mm 62mm 67mm 72mm 77mm

18.50 24.95 28.99 31.95 34.00 39.99
35.50 31.50 36.30 42.90 49.89 71.75
83.95 85.95 83.50 80.00 73.95 99.00
78.00 87.53 82.50 109.99 89.99 119.99
56.95 49.99 68.00 69.99 59.99 80.00
24.50 25.95 31.95 38.95 42.00 53.95
41.95 41.95 44.00

99.95 106.95 99.50 109.50 142.50 152.95

56.00 60.95 97.95 105.95 121.95 137.95
25.95 25.95 31.95 38.95 45.95 53.95

Ten -Year Warranty

Made in USA
52mm
48.95
74.95
74.10
34.95
38.95
41.50
48.95
56.95
64.95

Multicoated Filter
Technology

DIGITAL HT FILTERS
58mm 62mm 72mm
74.95
99.95 109.95
63.95
82.90 119.95
89.95 119.90 129.95
38.95
45.95
54.95
47.95
56.90
64.95
56.95
74.90 109.95
50.95
69.95
99.95
63.95
82.90 119.95
56.95
74.90 109.95

77mm
129.95
139.95
199.99
54.95
99.95
129.95
119.95
139.95
129.95

COLOR PRINT

Gold Max
GC 400 135-24..........2.09
GC 400 135-36..........2.99

Ektar
100 135-36 ...............5.50
100 120 Roll ..............4.70
Portra
160 135-36 ...............6.99
160 120 Roll ..............5.19
160 220 Roll ............14.70
160 220 PP (5) .........73.50
400 135-36 ...............7.35
400 120 Roll ..............5.85
400 220 Roll ............15.19
400 220 PP (5) .........75.95
800 135-36 ...............9.99
800 120 Roll ..............8.98

Fax:

212-239-7770
Store & Mail Order Hours:

Sunday 10-5 t Mon.-Thurs. 9-7

Friday 9-1 EST/9-2 DST
Saturday Closed

April 14 - April 22 .... Closed

When in New York,

Visit our SuperStore

420 Ninth Ave.

FILM B&W AND COLOR

Superia
CA 200 135-24 ..........1.99
CA 200 135-36 ..........3.50
CH 400 135-24..........2.25
CH 400 135-36..........3.99
CZ 800 135-24 ..........3.49
Pro
400H 135-36 .............8.99
400H 120 Roll ............7.95

800-947-9980
212-444-6666

BLACK & WHITE PRINT

COLOR SLIDE

Provia

Velvia RVP

RDP 100F 135-36 ...10.51

Pro 50 135-36.........11.59

135-36PP (5) .......52.55

Pro 50 120 Roll..........8.55

RDP 100F 120 Roll ....7.19

100 135-36 .............10.64

135-36PP (5) .......35.95

100 120 Roll ..............7.69

PROCESSING MAILERS
Slide
36 Exposures
(35mm) ....................9.99

Print C41 35mm ......13.49

Print C41 120 Roll ...15.49
Print C41 220 Roll ...30.95

Pan F+ 50 135-36.....6.50
Pan F+ 50 120 Roll....4.99
FP4+ 125 135-36......6.99
FP4+ 125 120 Roll.....4.39
HP5+ 400 135-36 .....4.75
HP5+ 400 120 Roll ....4.09
Delta Pro
100 135-36 ...............6.25
100 120 Roll ..............4.50
400 135-36 ...............6.29
400 120 Roll ..............4.95
3200 135-36 .............7.99
3200 120 Roll ............5.99
XP-2 Super
400 135-36 ...............6.49
400 120 Roll ..............4.75

Infrared
SFX 200 135-36 ........7.99
SFX 200 120 Roll .......7.50
Acros 100 135-36 .....6.25
Acros 100 120 Roll ....4.62
Neopan 400 135-36..5.79
Tri-X 400 135-36 ......4.49
Tri-X 400 120 Roll .....4.95
TMX 100 135-36 .......4.95
TMX 100 120 Roll ......4.49
TMY 400 135-36 .......4.95
TMY 400 120 Roll ......4.59
BW 400CN 135-36 ....6.50

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Page 7
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WorldMags.net

PLEASE NOTE: It is impossible for

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NEW DIGITAL & FILM CAMERAS

LENSES, FLASHES, SCREENS
PAPER AND ACCESSORIES

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IF YOU DO NOT SEE

IT, IT DOESNT MEAN
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High Resolution
Top Quality Lenese
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Macro Lens
All for

$229

650-1300mm F8-16
Zoom Lens...239.99
800mm F8...189.00
8mm F3.8....189.00
NEW FLASHES

LENSES

16M19.95
DF 283 AF89.95
DF 293 AF89.95
385 HV.........149.95

DF 183 AF.44.95
285HV...87.00
DF 383 AF124.95
DF 483 AF159.95

C an on , Cosina, Nikon, Pent ax, O lympus, Leica, So ny, M inolta,

Vi vi tar, S ch neider, Mam iya, Hasselblad, Ro densto ck, Zeiss, etc.

SIGMA F1.4..........358.95
50mm

4.5mm F2.8..........838.95
8mm F3.5.............828.95
10mm F2.8...........598.95
15mm F2.8...........568.95
19mm F2.8...........178.95
20mm F1.8...........588.95
24mm F1.8...........498.95
28mm F1.8...........308.95
30mm F1.4...........278.95
30 mm F2.8174.95
35mm F1.4.848.95
60mm F2.8...........278.95
400mm F5.6.299.95
85mm F1.4...........848.95
800mm F5.6.......6698.95
12-24mm F4.5-5.6..748.95
18-50mm F2.8-4........188.95
18-50mm F2.8............375.95

50mm F2.8..........234.95
70mm F2.8..........468.95
105mm F2.8........458.95
150mm F2.8.......688.95
180mm F2.8.......1488.95
300mm F2.8.......2998.95
500mm F4.5.......4598.95
10-20mm F4-5.6....478.95
10-20mm F3.5........548.95
10-20mm F4.398.95
17-70mm F2.8-4.5...458.95
18-35mm F1.8.748.95
18-200mm F3.5-5.6..238.95
18-250mm F3.5-5.6.358.95
24-70mm F2.8.....798.95
17-50mm F2.8
8-16mm F4.5-5.6 DC...618.95 EX DCOS HSM..548.95
28-70mm F2.8.....318.95
28-70mm F2.8-4....88.95 28-300mm F3.5-6.3...234.95
28-200mm F3.5-5.6...174.95 50-150mm F2.8....698.95
35-135mm F4-5.6...99.95
55-200mm F4-5.6...124.95
50-150mm F2.8968.95
50-200mm F4-5.6.148.95 70-300 F4-5.6......138.95
50-500mm F4-6.3...948.95 70-300mmDGOS.248.95
70-200mm F2.8....888.95 100-300mm F4-5.6...99.95
70-300 F4-5.6 APO...188.95 120-300mm F2.8...2698.95
70-200/2.8OS..1148.95 150-500mm F5-6.3...948.95
100-300mm F4....1098.95 120-400 F4.5-5.6...938.95
200-500mm F2.8 APO EX DG...................25998.95
300-800mm F5.6 EX BE HSM.....................7698.95
1.4X APO............218.95 2X APO...............278.95

LENSES FOR MOST MANUAL

& AUTOFOCUS AF CAMERAS
8mm F3.5.............279.95 14mm F2.5..........398.95
24mm F2.8.............79.95 135mm F3.5..........29.95
28mm F2.8.............49.95 135mm F2.8..........49.95
35mm F2.8.............39.95 200mm F3.5..........79.95
50mm F1.8.............69.95 300mm F5.6..........99.95
50mm F1.4...........189.95 400mm F6.3..........99.95
85mm F1.4...........308.95 500mm F8.............99.95
100mm F3.5.........119.95 500mm F6.3........124.95
800mm F8............219.95 1000mm F11.......799.95
500mm 1000mm combination.........................129.95
19-35mm F3.5-4.5....149.95 28-80mm F3.5-5.6...79.95
28-105mm Zoom...99.95 28-210mm F3.5-5.6...99.95
28-300mm F4-6.3..169.95 35-105mm Zoom.....119.95
70-210mm Zoom...79.95 75-150mm F3.5.......49.95
75-300mm F4.5 Macro Zoom Lens..................89.95

100-300mm F5.6-6.7....99.95 100-500mm F5.6-8...395.95

650-1300mm F8 Long Zoom Lens...................249.95
1000-4000mm zoom.........................................349.95
1.4X Teleconverter..............................................99.95
2X Teleconverter......29.95
3X Converter...69.95
1.5X Teleconverter...69.95
1.7X.Converter..99.95
0.42X Fisheye Lens............................................39.95
0.45X Wide Angle Lens.....................................39.95

TAMRON

14mm F2.8...........989.99 90mm F2.8..........348.95

28mm F2.5.............99.99 180mm F3.5........628.95
24mm F2.5.............79.95 500mm F8...........198.95
11-18mm F4.5-5.6...434.95 10-24mm F3.5-4.5...429.95
18-200mm F3.5-6.3...158.95 17-50mm F2.8.....334.94
18-270mm............398.95 18-250mm F3.5-6.3...414.95
20-40mm F2.7-3.5...298.95 19-35mm F3.5=4.5...159.95
TOKINA
24-135mm F3.5-5.6...398.95
16-28mm F2.8 .....748.00 12-28mm F4598.95
28-105mm F2.8....298.95
28-200mm F3.8-5.6...118.95
300mm F6.3.299.95 17-35mm F4........719.00
24-70mm F3.3-5.6...89.95
28-75mm F2.8.......348.95
10-17mm F3.5-4.5...444.95 100mm F2.8.........384.95
24-70mm F2.8......1195.00 28-300mm F3.8-5.6...294.95
11-16mm F2.8......564.95 28-200mm F3.5-5.6....99.95
28-80mm F3.5-5.6...68.95 70-300mm F4-5.6 329.95
12-24mm F4.........424.95 50-135mm F2.8....674.95
28-300mm F3.8-5.6 VC....584.95 200-400mm F5.6......298.95
16-50mm F2.8......594.95 80-400mm F4.5-5.6....638.95
55-200mm F4-5.6...128.95 75-300mm F4-5.6...128.95
KENKO TELECONVERTER
70-200mm F2.8...664.95 200-500mm F5-6.3..758.95
1.4x..99.95 1.5x..84.95 2X..129.95 3X..219.95
60mm F2 Macro........399.95 10-24mm F3.5-4.5....458.99
SAMYANG/ROKINON/BOWER
7.5mm F3.5...299.00
8mm F3.5299.00 14mm F2.8399.00 1.4X Converter....124.95 2X Tele Converter.....138.95
35mm F1.4499.00 85mm F1.4299.00 500mm F8...99.99
500mm mirror..119.99 500mm F6.3..159.99 800mm F8...219.99 1.4X SP Converter...178.95 2X SP Converter...208.95
24mm F1.4...$699.00 24mm F3.5 Tilt and Shift..999.00
650-1300mm f8-16 Zoom Lens....279.99

CINE LENSES

8mm T3.8...329.00 14mm...T3.1...449.00 24mm T1.5 749.00

3.5mm T1.5...549.00 85mm...T1.5...349.00

OF PROJECTION
BULBS...CALL ALEX

1-800-221-2253

INSTRUCTION MANUALS

WE DO HAVE MORE THAN

5000 INSTRUCTION BOOKS
IN STOCK CALL US AT
1-800-221-2253 AND ASK
FOR PAUL OR EMAIL US AT

SALES@CAMBRIDGEWORLD.COM

SPECIALS
OF THE MONTH

New Latest

NEW SCHNEIDER PC TS LENSES

50/2.8 HM Super Angulon.........................................3498.99

90/4.0 HM Makro-Symmar.......................................3198.99
120/5.6 HM Aspheric Apo-Digitar...........................4698.99

WE PAY FOR YOUR RETIRED GEAR!

TOP DOLLAR$$$

Cambridge World 60-18 Fresh Pond Rd, Maspeth, NY 11378

TOP QUALITY EXPERIENCED

REPAIR SERVICE!

AT DISCOUNT PRICES! Send your equipment for a

FREE repair estimate to: Cambridge World
60-18 Fresh Poind Rd., Mespeth, New York 11378

USED DEPARTMENT
We have more than 30,000 Used items. Email us your Wish Listat
sales@cambridgeworld.com or CALL 1-800-221-2253 and we will
assist you and SAVE you $$$$$$. No item is too small or large.
Listing is very partial.

Bronica GSI...............399.50
Canon 24mm F1.4 ........989.00
Bronica SQ camera.....199.99
Canon 50mm F1.4 ..........79.50
Canon 1V....................499.99
Canon 85mm F1.2 .....1,299.00
Canon 1X......................69.99
Canon 300mm F2.8 ...2,199.00
Canon Elan....................69.99
Canon 16-35mm F2.8 ...889.00
Canon VT....................299.99
Canon 24-105mm F4 ....789.00
Canon XTi .................399.99
Canon 28-300mm F3.5 ...1,299
Contax N1...........349.99
Canon 70-200mm F2.8 ...1,199
Exakta RTL................149.99
Canon 100-400mm F4.5 ....1,199
Fuji Digital S3....299.95
Canon 430EX ...............129.00
Exakta VX 1000......129.50
Canon 580EX................269.00
Hasselblad 503CW.....499.95
Large selsctions of new
Retina Reflex ................99.99
Canon 24-70mm F2.8 ...899.95
and used Rollei and Rolleiflex
Leica IIIG....................699.99
50mm F1.4 Zeiss Planar...209.00
cameras,lenses and accessories
Leica M3.....................499.99
80-200mm F4 sonnar.....199.00
at discount prices!!!!!
Leica R8......................749.99
Hasselblad 150mm F4 ..299.00
Minolta X700................99.99
Leica 35mm F2 Summicron M...899
CALL William 1-800-221-2253
Mamiya 110mm RZ lens...229.99 Leica 50mm F2 Summicron M...399
Maxxum HTsi...........69.99
Minolta XTi............59.95
Leica 135mm F4.5 Hektor Screw..129
Maxxum 5000...............39.95
Maxxum 7000.........49.95
Leica 50mm F2 Summicron R..349.50
Maxxum 700I.............119.95
Maxxum 9000.........69.95
Mamiya 55mm F2.8 ........99.00
Adapters Lenses
Maxxum 7D................299.99
Maxxum 5D..........199.95
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Nikkormat FTN.......99.95
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Nikon F...................99.99
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Nikon F100.................199.99
Cambron, Gossen, Kenko, Sekonic, Minolta, Pentax, Nikon FA..............169.99
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Nikon F5...............349.99
Nikon 50mm F1.4............69.00
Nikon N55....................66.99
Ansmann, BRNO, Canon, Cambron, Elinchrome, Gary Fong, Nikon D200..........499.99
Nikon 18-200mm F3.5..349.00
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Nikon 80-200mm F2.8 ......399
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Olympus OM1........99.99
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Pentax 120mm 645macro..399.99 Olympus 50mm F1.8 Zuiko...39.00
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Pentax LX...................299.99
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Topcon super RE249.99
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Topcon UNI..................79.95
Voigtlander Bessa...599.99
Pentax 28-80mm F3.5.....39.00
Vitomatic II..................99.95
Voigtlander Bessamatic...129.99
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Sigma 70mm F2.8.........379.00
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Sony 16-80mm F3.5......499.00
Zeiss Icarex................149.99
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Canon 5D.....999.00
Sony 55-200mm F4.........99.00
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(Kodak, Ilford, Fuji, Forte, Etc.) Contax Aria299.95
Nikon F4.299.00
Vivitar 283 Flash..................29.95
Exakta 66....999.99
Nikon D300........699.00
LARGE & MEDIUM FORMAT Leica M6.....999.99 Nikon D200....499.00 2X Teleconverter Extended Lens..29.95
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Canon rebel 2000......89.99
Canon F1...............119.99
Canon rebel XT.....299.99
Contax G2.............699.99
Contax RTS III........699.99
Exakta VX..............99.99
Fuji S5 digital.......599.95
Hasselblad 500C..149.99
Kodak Retina IIIc...99.95
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Leica IIIF...............299.99
Leica R3................199.99
Mamiya RB67.......199.99

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Minolta 160.......69.99
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TIME EXPOSURE * MAY 1954

outstanding example of actionstopping with a high-speed shutter

is this photo of a woman at the
beach flying through the air, frozen
at 1/500 sec.

Our Gifted
Readers
Professionals
were not the only
photographers
featured in our
pages. Much like
today, we also used
appealing pictures
from our readers,
such as this Dutch
village scene
recorded by New Yorker Eugenia
Redka, an art teacher. She made
an exposure of 1/50 sec at f/6.5 on
daylight Kodachrome with a Kodak
35. Our editors admired the way
Redka handled the pattern and
various colors in this charming and
unpretentious shot.

Two-Faced Woman
Peter Gowland, noted for his
pin-up photos of young ladies
in bathing suits, altered his
approach to create this blackand-white harlequin effect.
He used a black background
and theatrical makeup on
model Barbara Osterman for
this unusual portrait. Gowland
shot with a 5x7-inch Marvel
view camera and a 14-inch
Commercial Ektar f/6.3 lens,
94 POPULAR PHOTOGRAPHY MAY 2014

60
YEARS
AGO

We featured
the wideangle Panon
camera, with
its 140-degree
angle of view.

exposing Daylight Ektachrome

film at f/11. Lighting: two Heiland
Strobonar IV electronic flash units
placed 3 feet from the subject.

Flying Through the Air

This months major feature was a
review of action photography by
Peter Martin, covering both indoor
and outdoor
subjects using a
range of shutter
speeds. An

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Outdoor Silhouette
Readers were encouraged to try
different approaches to their
personal photography, evidenced
by this short feature on taking
outdoor silhouettes. The key is to
expose for the sky for an extreme
underexposure of your subject.
Contrast can be enhanced by
printing the picture on highcontrast (Grade 4 or 5) paper.
Harold Martin
POPPHOTO.COM

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BACKSTORY

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New
Folk City
Morgan Silk captures a
steampunk Morris dancer
I DECIDED to explore British folk-

MORGAN SILK

lore traditions through portraits

at an event in Hastings, England,
an ancient seaside town. Theres
a May Day tradition called Jack
in the Green: Everyone dresses
up and they carry a 13-foot
conical Green Man effgy. Its a
fertility rite about bringing in
the season. This man is from
a group of steampunk Morris
dancers in the procession. They
perform the traditional English
folk dance but dress with a
steampunk aesthetic and use
traditional instruments to play
contemporary music, like Guns
N Roses Sweet Child o Mine.
The procession takes three
hours. Thousands of people turn
up and the streets are really
narrow. You cant really shoot
any of it. I wanted to isolate the
subject, so we set up a studio
outdoors, on a hillside overlooking the sea, where we knew the
end of the procession was going
to be. We got there early in the
morning when all these other
people were arriving.
I could hardly move because
I was shooting handheld on a
Hasselblad H4D-50 tethered to
a laptop. We lit the whole thing
outdoors, so we were mixing
fash and daylight.
As told to Adam Griffth

98 POPULAR PHOTOGRAPHY MAY 2014

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POPPHOTO.COM

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The moment when your lens opens your eyes.
This is the moment we work for.

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