Digital Photo - 2014_04

dpmag.com

®

YOUR #1 GUIDE TO BETTER PHOTOGRAPHY

Pro Tips
For Brilliant
Photos
Discover The Positives
Of Negative Space

Night Shots!
How To Get Awe-Inspiring
Images After Sundown
Tools & Techniques For
Studio Quality Anywhere
Explore The Portable
Power Of Monolights

IS 4K FOR U?

The Future Of Digital Video Is
Headed To Your Living Room
APRIL 2014

RETRO REVOLUTION
Why Classic Camera
Design Is Making
A Big Comeback

®

FEATURES /// MARCH/APRIL 2014 ///

VOL. 18 NO. 2

28

/// HOW-TO ///

28 Shot In The Dark

It has never been easier to create
stunning astral photos
TEXT & PHOTOGRAPHY BY TOM BOL

The Positives

34 Of Negative Space

Consider the space surrounding
your subject for more dynamic
compositions
TEXT & PHOTOGRAPHY BY
J. DENNIS THOMAS

Workflow, Start To
40 Finish, Part 3

Use these tips for worry-free backup
TEXT & PHOTOGRAPHY BY TOM BOL

Art of iPhoneography::

43 Layers Of Emotion

Blending scenes from the
past to portray a feeling in
the present
TEXT & PHOTOGRAPHY BY
STEPHANIE CALABRESE

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Digital Photo | dpmag.com

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You coax a shy flower girl out of her shell.
Put the brakes on a runaway ring bearer.
Keep a beautiful bride completely at ease.
And find a way to turn a spontaneous moment
Into a memory that will last forever.
Just to get one shot.

Finish strong.
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MARCH/APRIL 2014
VOL. 18 NO. 2

/// EQUIPMENT ///

44 Retro Revolution

Classic camera styling is
making a comeback

24

26
dpmag.com

BY J. DENNIS THOMAS

®

EDITORIAL

Nikon D3300 &
47 Samsung NX30

48 Pop-Up Studio

Build a kit of essential gear
for shooting on location
BY WES PITTS

52 Toolbox: 4K

Cameras, software and
hardware available now
for capturing and producing
Ultra HD video

43

44

BY DAVID WILLIS

WWW.DPMAG.COM
Wes Pitts
Online Director
Mike Decker
Web Art Director
Damian Greene
Web Developer
Lisette Rose
Web Production Associate

56 High-Power Monolights
For versatility in and out of
the studio, these high-output
strobes are ideal
BY WILLIAM SAWALICH

/// SOFTWARE ///

onOne Software:
60 Perfect Photo Suite 8

47

48

A collection of slick apps
to handle your complete
photo workflow

Printed in the U.S.A.

24 Notes From The Field

Displaying Your Photographs
BY BRUCE DALE

Discovering Magic

52

56

BY TRACEY CLARK OF
SHUTTER SISTERS

64 Quick Fix

Dramatic Portrait Light
BY RICK SAMMON

/// DEPARTMENTS ///

10 Ed-Mail
16 Next

12 View
66 Exit

Digital Photo (ISSN: 1948-5557)—Vol. 18 No. 2—is published bimonthly except November and December by Werner Publishing Corp. Executive, editorial and
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Digital Photo | dpmag.com

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Steven D. Werner
Publisher
Christopher Robinson
Imaging Group Editorial Director
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EDITORIAL OFFICES
Werner Publishing Corporation, 12121 Wilshire Blvd.,
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/// COLUMNS ///

26 Point Of Focus

Wes Pitts
Editor
Maggie Devcich
Senior Editor
David Willis
Associate Editor
Ashley Myers-Turner
Assistant Editor
J. Ana Flores
Copy Editor
Mike Stensvold
Senior Contributing Editor
Bruce Dale, Michael Guncheon, Mark Edward Harris
Jeffrey Nielsen, Rick Sammon, William Sawalich,
John Shaw, Rob Sheppard, Shutter Sisters, Jon Sienkiewicz
Contributing Editors
ART
André D. Harrell
Art Director
Eric Beckett
Assistant Art Director

Digital Photo is published by Werner Publishing Corp. Executive, editorial and advertising
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Edmail
ne of my favorite parts of the
job as the editor of this magazine is my involvement with
our photo contests. I love reviewing the
submissions—being exposed to thousands of unique images, many of them
quite stunning. It’s difficult, though, to
select only a handful of finalists and
even more challenging to choose a
winner among those. There are often
images that resonate for me personally that, for a variety of reasons, don’t
make the cut.
In this issue, we feature the winners of our 7th Annual Your Best Shot
Photo Contest. Congratulations to
those winners, who were selected from
more than 3,000 entries. I encourage
you to check out the Finalists gallery at
www.dpmag.com/photo-contests/7thannual-your-best-shot/finalists to see
some really beautiful images.
We’re often asked why international
contestants aren’t eligible to win. Unfortunately, the complexities of international law, particularly when a prize is
involved, make it impractical for us to
award prizes internationally. However,
don’t let that dissuade you from participating in our contests. The image on this
issue’s cover is a case in point: Though
the Ireland-based photographer was
ineligible to win the contest, there’s no
restriction on negotiating editorial use.
In fact, we often find new talent in our
contests and galleries.
Also in this issue are many excellent how-to articles to get you thinking about your own contest-winning
photos. The winner of our Destinations
Photo Contest was featured on our
December 2013 cover, a striking photograph taken under Delicate Arch with a
brilliant night sky in the background.
Night photography has its own unique
challenges, and Tom Bol offers a complete primer to get you on your way to
creating nighttime magic in “Shot In
The Dark.”
Night photography is a genre where
paying attention to negative space—the
areas of a frame not filled by the subject—is particularly important. Actually,
negative space is an important consid-

O

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Digital Photo | dpmag.com

eration no matter the time of day or
subject. Negative space not only gives
your subject context, but it can create
shapes and patterns of its own. In “The
Positives Of Negative Space,” J. Dennis
Thomas explores the ways photographers can use negative space creatively.
On the technology front, we look at
the future of high-definition video. This
year at CES, 4K made its consumer debut, with relatively affordable displays
being introduced alongside the first
sub-$2,000 4K consumer video camera
from Sony. How quickly will 4K catch
on broadly with consumers? It’s hard
to say, with prices still out of reach of
many potential buyers, but if you’re
contemplating video equipment purchases, it’s good to consider what’s next.

We also consider a recent trend
in camera design toward classic styling. Nikon’s new Dƒ is the first DSLR
and latest in a series of cameras from
Olympus, Fujifilm and others to sport
a vintage makeover. What’s behind the
trend? We examine the historical influence of rangefinders on modern camera
design in “Retro Revolution.”
Lastly, be sure to read our guide
to on-location photography, “Pop-Up
Studio.” Whether you’re preparing for
a shoot outdoors or at a client’s office,
we talked to several pro photographers
who routinely work outside of their
studios to cover everything you’ll need
to get perfect shots anywhere. Mix and
match our selected gear to solve just
about any photographic problem.
—Wes Pitts, Editor

ON THE COVER
A finalist in our 7th Annual Your Best
Shot Photo Contest, “Megan” by photographer Vladimir Morozov was taken
in Morozov’s studio in Wexford, Ireland.
The model, Megan O’Malley, “is a model
like no other,” says Morozov. “She has a
very unique combination of fiery red hair
and porcelain white skin, lovely blue-steel
eyes—and loads of hair.”
To create the lighting, O’Malley was
in a horizontal position atop a white
studio background, her hair carefully

arranged, with two octaboxes used for
the main light and fill.
Of the composition, Morozov recalls,
“I thought it would be nice to change the
composition to off-center because she
has such unique and strong facial features contrasting with her red hair. Quintessential Irish! She’s my inspiration, and
I’ve had some lovely projects with her.”
You can find Vladimir Morozov
on Facebook at facebook.com/wedding
photographywexford.

Camera lens and accessories not included

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MICHAEL SHAEFER

View

7TH ANNUAL
YOUR BEST

SHOT
PHOTO CONTEST

WINNERS

FIRST PLACE

Congratulations to MICHAEL
SHAEFER of Atlanta, Georgia,
for taking the winning photograph in our 7th Annual Your Best
Shot Photo Contest. Captured on
the great plains of the southern
Serengeti in Tanzania, two bull
elephants battle for supremacy.
“The light for this remarkable
and dramatic scene was superb,”
recalls Shaefer. “The dark blue
storm clouds made for a perfect
background. I wanted to capture these huge animals in their
environment just as they made
contact. The arena in which this
drama was taking place was just
as important as the subjects.”
Nikon D600,
Nikkor 70-200mm ƒ/4

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dpmag.com | March/April 2014

Q

13

NICHOLAI GO

View

SECOND PLACE

“Dreams are a curious thing,” explains
Providence, Rhode Island, photographer
NICHOLAI GO. “They’re ephemeral and
seem to be without rules, where laws of
physics don’t exist. However, I’ve noticed one
constant: Time. Dreams are still bound by
time, which connects both realities. We have
a finite amount of time, no matter the reality.”

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DENNIS RAMOS

View

THIRD PLACE

“This is one of my favorite shots taken during our yearly
family vacation,” notes photographer DENNIS RAMOS of
Seffner, Florida. “While stopped in downtown Atlanta for the
night, we were walking on a crowded intersection when I noticed,
looking up at the sky, these towering buildings above me. The view
reminded me of the Batman movie trailer for The Dark Knight,
where the negative space of the cityscape creates the ‘bat.’”
Nikon D300S, Tokina 12-24mm ƒ/4

Check out all of the finalists in the 7th Annual Your Best Shot Photo Contest at

dpmag.com/photo-contests/7th-annual-your-best-shot/finalists.
dpmag.com | March/April 2014

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PRO SLING STRAP
When you’re constantly on the move, it’s important
to have a camera strap that keeps your camera safe
and secure. JOBY has created the Pro Sling Strap,
using an adjustable length Speed Cinch pulley
system to harness your camera to your body while
it’s not in use, then quickly deploys it so you don’t
miss a shot. You can use Fast Cinch mode for a quick
release when you know time is of the essence, or
Locked mode, to prevent tangles and scuffs while
hiking, biking or maneuvering crowded spaces. JOBY
has placed as much attention to their materials as
they did to their product design by creating a
custom textile for the strap
providing for flexibility and
durability. List Price:
$69. Contact: JOBY,
www.joby.com.

COMPACT CONTINUOUS LIGHT
If you’re taking advantage of HD video capabilities on Nikon 1 and COOLPIX cameras,
the compact, even, continuous light performance of the LD-1000 LED Movie Light
accessory may peak your interest. With a built in diffusion panel, the light provides
consistent soft lighting, designed for supplementary video lighting while also being
suitable for still photos. A removable bracket attaches the light to the camera for easy
operation while allowing for removal for handheld control of lighting direction and
height. List Price: $99. Contact: Nikon, www.nikonusa.com.

BARE-BULB PRO-FLASH
The Strobies Pro-Flash One Eighty provides versatile
lighting options at a budget friendly price. Used on or off
camera, jut like a traditional speedlight, the 180Ws bare bulb
flash spreads smooth and even light across your frame. The
Pro Flash One Eighty is powered by an external 11.1V/4500
mAh lithium ion battery pack that provides 700 flashes with
a 2.2 sec. recycle time for shutter speeds as quick as 1⁄8000 sec.
The One Eighty can also be used with a variety of modifiers
to vary the lighting look. List Price: $594 (Strobies Pro Flash
One Eighty and Battery Pack); $405 (Strobies Pro Flash One
Eighty Flash Head); $209 (Strobies Pro Flash Battery Pack,
compatible with Canon, Nikon, Sony and Metz speedlights).
Contact: Interfit, www.interfitphotographic.com.

NEW SIGMA GLOBAL VISION LENSES
Sigma has introduced two new lenses in their Global
Vision lineup: the 18-200mm ƒ/3.5-6.3 II DC OS HSM
Contemporary and the 50mm ƒ/1.4 DG HSM Art.
The 18 200mm is smaller and lighter than its
predecessor and improves macro capabilities (focusing
down to 15.4 inches for a 1:3 reproduction ratio), with
updated optics for corrected chromatic aberration and
minimized distortion. The new 50mm ƒ/1.4 DG HSM is
a pro level performer for full frame DSLRs, updated
with SLD glass and improved large aperture performance.
An optimized autofocus algorithm and a floating
focusing system improve AF. Both lenses provide quiet
high speed AF thanks to Sigma’s Hyper Sonic Motor
(HSM), and are compatible with Sigma’s USB Dock and
Mount Conversion Service. List Price: TBA. Contact:
Sigma, www.sigmaphoto.com.

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ADOBE PHOTOSHOP ELEMENTS 12
Using the technology of Adobe Photoshop, Adobe Photoshop Elements 12
offers both organizational and editing tools. The Organizer provides
a hub to catalog photo and video assets by location, person (with face
recognition), event and personalized tags. With Elements Mobile Albums and
Adobe Revel integration, it’s easy to view and edit your images while moving
between your desktop, tablet and smartphone. Elements 12 continues to offer
three levels of editing. Quick Mode includes new effects, textures and frames.
Guided Mode offers tutorials for more advanced edits, such as Restore Old
Photo editing. Expert adjustments include a new Pet Eye tool and Straightening
with auto fill edges. A new Collaboration Mode offers the ability to invite a
group or team to collect and share photos from an event in one convenient
place. List Price: $99 (Full License/Elements 12); Free (50 uploads/month);
$4.99 (per month for unlimited space/Adobe Revel App). Contact:
Adobe, www.adobe.com.
SPORTS-ACTION CAMS
Polaroid introduces three new mountable, high definition sports action cameras,
all with shockproof, waterproof technology and ultrawide angle lenses. The
XS100i provides Wi Fi with iOS and Android apps, a distortion free lens with 170°
of coverage, and can do 1080p, 960p and 720p video, plus 16 MP still images.
The XS1000i features a unique, patented, quick change mounting system, a
16 MP Aptina CMOS sensor and a 170° angle of view. It can do 1080p and
960p video at 30 fps and 720p at 60 fps, as well as still images. The Polaroid C
features a square design, 5 MP CMOS sensor and 120° angle of view, and can do
720p and 640x480 video, as well as 5 MP still images. List Price: $179 (XS100i);
TBA (XS1000i, Polaroid C). Contact: Polaroid, www.polaroid.com.

check out www.dpmag.com/next for more info

2013

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Next

mobile
apps
HDR DARKROOM 3
Everimaging has improved their HDR software with the newest version of HDR Darkroom
3. While the software offers additional HDR styles, the real upgrade is in processing power. An
improved alignment algorithm consistently corrects any alignment issues that arise between
bracketed frames without you needing to intervene. Advanced ghost reduction technology also
removes objects when they differ between frames. HDR Darkroom 3 supports over 150 cameras,
including Canon, Nikon, Olympus and Panasonic models, and is available for both Mac and
Windows. List Price: $129. Contact: Everimaging, www.everimaging.com.

Lapse It is a full featured app for making time lapse
and stop motion videos with your mobile device.
There are no restrictions as to capture length or
number of frames. You can insert soundtracks,
adjust the frame rate, apply effects filters, and adjust
focus, white balance and exposure. Projects can be
rendered to MP4 and MOV, and uploaded directly
to your social networks. The Pro version lets you
make videos in resolutions from 240p to 1080p, the
free version, only a lower resolution. Lapse It is
available native for iOS and Android. List Price:
$1.99 (Pro version); Free (basic version). Contact:
Lapse It, www.lapseit.com.
PicPlayPost is an all in one app that lets you create
multimedia collages from your smartphone
combining still photos, video and audio tracks into a
single frame. With video, you can add effects to videos
and still images, play videos in sequence or
simultaneously, choose from 36 fully adjustable
frames, and rotate images and video inside frames,
among other personalizations. The new iOS 7 version
lets you add up to six videos per project (four in iOS 6
and earlier). Once you’ve finished your collage, share
your project on social networking sites (Instagram,
Facebook, YouTube, Tumblr, etc.). List Price: $1.99.
Contact: Flambe Studios, www.flambestudios.com.

PRIME LENS LINE
The HD Pentax DA Limited prime lens series by Ricoh Imaging consists of five lenses
designed for K mount DSLRs. Each lens features Super Protect and high definition coating for sharp
images with reduced ghosting and flare. A round shaped diaphragm has been designed to produce
a natural bokeh effect. Created from high grade aluminum, each lens is hand machined to ensure
proportion and feel. Lenses are available in both black and silver. Estimated Street Price: $549
(HD Pentax DA 15mm ƒ/4 ED AL Limited); $699 (HD Pentax DA 21mm ƒ/3.2 AL Limited); $699
(HD Pentax DA 35mm ƒ/2.8 Macro Limited); $749 (HD Pentax DA 40mm ƒ/2.8 Limited);
$749 (HD Pentax DA 70mm ƒ/2.4 Limited). Contact: Ricoh Imaging, www.us.ricoh imaging.com.
FLEXFLASH MONOLIGHTS
Ideal for indoor use with versatility to light large
group portraits down to studio product
photography, the FlexFlash monolights, in
both 200Ws and 400Ws options, are now
being offered by Photoflex. With an
oversized LCD screen, these monolights
sync with speedlights using a preflash
detection system and contain an auto
cooling system. With auto voltage
protection for worldwide use, Continuous
Mode allows for output control independent
of the flash for continuous light, and Auto
Power Save kicks in after 20 minutes of inactivity.
The FlexFlash features the universal S type bayonet
mount for all sizes of softboxes. Estimated Street
Price: $319 (FlexFlash 200Ws); $389 (FlexFlash
400Ws). Contact: Photoflex, www.photoflex.com.

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Bringing the classic analog flipbook into the digital
world, Flipagram creates short videos from your
digital images. This is a great platform for telling a
short story using a small series of photos or recapping
an entire event with “best of” images. Once you’ve
identified the photos, music and desired length of your
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Move into a New World

HOW-TO

Notes From The Field

Displaying Your Photographs
PREVISUALIZING WITH PHOTOSHOP AND “VIRTUAL GALLERIES” BY BRUCE DALE

I

was recently asked to put together
a collection of images to decorate
the halls of a new medical center.
To help me better visualize how the
pictures worked together, and at the
same time, give my client an understanding of how they’d look, I decided
to produce a virtual gallery of the images hanging on the walls. I did a walkthrough of the area and made a collection of on-site images with my pocket
camera, a Panasonic Lumix DMC-LX7.
Next, in Photoshop, I took a framed
miniature image and layered it on top
of one of the architectural scenes. For
a quick and dirty method, I use the
Distort command to scale the image
to match the perspective of my pho-

24

Q

Digital Photo | dpmag.com

tograph. If I want to be precise, I use
Photoshop’s Vanishing Point filter. It
superimposes an accurate grid to your
wall that your image snaps onto and
renders a perfect perspective. With the
more advanced versions of Photoshop,
you can even measure the final image
on the wall using the Ruler option.
I then make it more realistic by
adding a drop shadow to each hanging photograph. Hint: If you’re adding
drop shadows to an image added via
the Vanishing Point filter, be sure to
start by adding a new layer so the drop
shadow effect will be active. If you want,
you can even add a spotlight effect using Photoshop’s Lighting Effects filter.
A good starting point for putting

together photos for an exhibit or a display is to make miniature prints with
simulated mattes and frames. I know I
can juggle the same images on my computer screen, but I find I get a better idea

of relationships by seeing them in context with one another on paper.
After I narrow down my selection
to the ones I want to work with, I scale
down the images to a more manageable
size. For example, if my gallery print were
to be 16x20 inches, I scale it down, mat
and frame it as follows using Photoshop:
1. Resize to 16x20 at 36 pixels/inch
(use 36 pixels or thereabouts to make
file sizes manageable).
2. Save this file with a new name, i.e.,
“Arches sm framed.jpg”, so you don’t accidentally overwrite the original image.
3. Add a ½-inch signature and title relief to the photo on each side at
Image > Canvas Size. Be sure Relative
size is checked and white is selected from
the Canvas Extension Color menu, then
enter 1 inch for both width and height.
4. Now, draw a small gray line to indicate the signature relief area by using
Image > Canvas Size again, with a 0.05
height and width with gray selected and
Relative size checked.
5. Next, show the mat size. For a 3.5inch mat size, go to Image > Canvas Size,
with 7 inches for height and width, white
color selected and Relative size checked.
6. Add another ½-inch to the bottom
mat for balance. Go to Image > Canvas
Size, with 0.5 inches for height, white selected and Relative size checked. To apply this to the bottom of the canvas only,
be sure to click on the top-center arrow
of the Anchor controls.
7. Finally, add a 1-inch black frame.

Go to Image > Canvas Size, with 2 inches
for height and width, black selected and
Relative size checked.
Another hint: You can build an action to handle the above steps with one
click of a button.
Before you print the image, just rescale the pixel size to 240, and you’ll get
a nice print of a couple of inches.
In some cases, I simulate the rooms
or display space by building walls to

scale using foam board. I can then hang
the small prints on the walls to get an
idea of how the final exhibit will appear.
If you have someone in the family with
a dollhouse, make a couple of prints to
hang on their walls.
For the very ultimate virtual gallery,
you can do what I did for a show some
years ago in Tampa, Florida. I measured
the gallery walls, including the carpeting, windows and glass thickness. Using
a 3D program, I constructed the gallery including light placement, window
glass thickness and reflectivity. When I
was finished, I was able to do a virtual
walk-through and capture images with a
selected lens (28mm, for example) from
eye level or whichever height I decided.
Warning—this isn’t for the faint of heart
or the impatient computer user. It took
me weeks of learning and trial and error,
but the result was incredible. You can see
it on my website (www.brucedale.com)
under the Gallery tab. Note that for the
web version, I sized up the images to
make them easier to view. In the actual
gallery, they were hung with more generous spacing.
DP

For 30 years, photographer BRUCE DALE worked for National Geographic Magazine,
which published more than 2,000 of his pictures. An early convert to digital photography,
Dale has become an expert on the subject and teaches throughout the country on a regular basis. See more of his work at www.brucedale.com.
dpmag.com | March/April 2014

Q

25

HOW-TO

Point of Focus

Discovering Magic
HOW A HAPPY ACCIDENT CAN UNLOCK NEW PHOTO TECHNIQUES
BY TRACEY CLARK OF SHUTTER SISTERS

I

t’s amazing to me that after all these
years immersed in the world of photography, I still find myself stumbling
onto techniques—both technical and
creative—that I never knew existed. I
guess it shouldn’t surprise me, considering I’m neither a school-taught photographer nor an avid manual reader, and
have always subscribed to the “learn-asyou-go” way of thinking.
Especially with photography. I bring
this up only because a recent accidental,
yet awesome, iPhone discovery got me
giddy with new photographic potential
and possibility. All that from one tiny
“happy accident.” That’s the beauty
of any art medium, isn’t it? By working it and working it, one can discover
and create things that may have never

26

Q

Digital Photo | dpmag.com

been done before—at least not by the
one who, for the first time, discovered it
for themselves.
I’ve always enjoyed shooting out of
focus (on purpose) for images that feel
more like dreams than reality. And it
goes double for shooting light out of focus, as I’m also a sucker for the beauty of
bokeh. Although I had long been using
this technique with my DSLR, I hadn’t
quite mastered consistent results with
my iPhone. I test, try, experiment and
explore with each shot, learning the ins
and outs of the tiny, simple, little camera.
Through trial and error, I’ve gotten
more and more consistent with getting the artistic results I’m looking for.
From lens flare to getting the exposure I
want (with or without the help of auto-

command was hit or miss. I would focus on something close by and then
hastily move the camera, framing my
desired subject and shooting as quickly
as possible, in hopes to beat the autofocus that always wants to focus on the
subject for you. That is its job, after all.
As for “tricking” the camera to shoot out
of focus, sometimes the results were just
what I was hoping for, while other times
I would just hit delete.
Then, one day, while using my herkyjerky method, I focused on something
close and pressed my finger to the
screen for just a second longer than normal when—to my surprise—the focus
locked! And when I pointed the camera toward my intended subject, it was
magically and majestically out of focus
and it stayed that way until I touched the
screen to focus again. Eureka! Discovery

exposure) to finding apps that best match
my creative sensibilities, I’ve gotten to
know my iPhone camera quite well.
And, still, shooting out of focus on

made and mind blown in a single second. The world of dreamy iPhone images was now open!
I realize that something as simple
and seemingly obvious as my phone’s
focus controls might not blow everyone’s mind like it did mine. (I honestly
thought I might be the only iPhone user
on the planet who didn’t know about
it.) But that’s not really the point. The
point is recognizing and being open
to what’s possible with every click of
your shutter. As we keep exploring, experimenting, expressing ourselves in
our work, we continue to learn, grow
and evolve as photographers. No matter how long we’ve been shooting, how
well we know our equipment or how
many times we’ve read the manuals (or
not), there’s always going to be more
magic to discover.
DP

SHUTTER SISTERS is a collaborative photo blog (www.shuttersisters.com) and
thriving community of women, passionate about photography. Photographer,
author, teacher Tracey Clark (www.traceyclark.com) is the founder of Shutter
Sisters and the author of Elevate the Everyday: A Photographic Guide to Picturing
Motherhood (Focal Press).
dpmag.com | March/April 2014

Q

27

ShotDark
IN THE

IT HAS NEVER BEEN EASIER TO CREATE STUNNING ASTRAL PHOTOS
TEXT & PHOTOGRAPHY BY TOM BOL

28

Q

Digital Photo | dpmag.com

I

can’t see anything in my viewfinder.”
“What’s the symbol for infinity focus?” “How do I turn on my longexposure noise reduction?” “What white
balance should I use?”
A barrage of questions is hurling
my way in the frozen, ink-black night.
I’m teaching a photo workshop, and
we couldn’t resist going out for a lightpainting session. The stars overhead are
so bright, I feel like I’m in a planetarium, not standing at 9,000 feet by a deserted mine on Red Mountain Pass near
Ouray, Colorado.
“I think my battery just died.” “My
shutter won’t fire; I think my camera
is broken.”
The gauntlet of questions continues
in an almost comical scene: 14 photographers stumbling around in the night
blinding each other with their headlamps
while I run through the scene flashing a
red light on a deserted shack. Oh, yeah,
the joy of nighttime photography!
Star photography and light painting
have become popular, and with good
reason. Today’s DSLRs have excellent
high-ISO noise performance and incamera settings to help reduce longexposure noise. In many cases, it’s not
the camera that performs badly in the
middle of a frozen, dark night, but the

photographer who struggles to get the
right composition and focus.
After living in Alaska for years watching the winter sun set at 4 p.m., I naturally shot a lot at night. I’ve learned a few
tricks for night shooting and found some
useful tools to help. Let’s answer all the
questions mentioned above. Don’t put
your camera away when the sun sets—
grab a headlamp and your tripod and
head out for some night shooting!

BASIC SETTINGS
Before you venture out into the night,
figure out your camera settings in a nice,
bright room. Shooting at night requires
a sturdy tripod, cable release and fresh
batteries. Since exposures are long, the
tripod and cable release (or another
means of remotely triggering the shutter) are both critical to ensure sharp images. Also, batteries drain fast with long
exposures in cold weather; make sure to
bring spares.
I shoot all my night images in manual mode, which allows me to easily
adjust exposure. Automatic modes like
aperture and shutter priority often miscalculate the exposure, attempting to
lighten a scene that should be dark.
I normally shoot wide open around
ƒ/2.8 or ƒ/4. Why? Because you need

the added light from a large aperture
opening, and chances are, depth of field
isn’t as critical. For my white balance, I
prefer Incandescent. This white balance
will turn the night sky into a purple pincushion of stars and looks great for the
Milky Way.
Next, I’ll turn on my camera’s longexposure noise reduction. My shutter
speeds are going to be slow, so turning
on long-exposure noise reduction incamera greatly reduces noise over a long
exposure. Note that enabling this feature
will double your exposure time, so if you
take a one-hour star-trail shot, your camera will process the shot for one hour after the shutter closes.

FOCUSING
This is the crux of night photography,
especially star trails without foreground.
I always bring an inexpensive rechargeable flashlight with me on night shoots.
Sometimes I use this for light painting,
but other times I use this to shine on
foreground subject matter to help me
focus in the dark.
The first step with focusing at night
is turning off your autofocus. Your camera autofocus won’t work, and if your
shutter is linked to focus priority, your
camera won’t shoot. I start by setting my
focus to the infinity mark (the “figure
8” symbol located in the distance scale
on your lens barrel). Line it up with the
focus mark on your lens, and you’ve
focused at infinity. But this may not be
perfect focus. Infinity focus is a reference, but will slightly vary on the lens. I
often focus to infinity, then back off just a
tiny amount and take a shot. I’ll review
my image after capture on my LCD
screen to check critical focus. If I’m off
just a little, I’ll slightly adjust the focus
and try again.
If this sounds tedious, just think of
it this way: Once you know where the
accurate infinity focus is on your lens,
memorize it. The next time you shoot
at night, set your focus to that mark. I’ll
even attach a piece of gaffer’s tape on my
lens to hold the focus in place.
A new tool that many photographers like for focusing at night is the
CamRanger. This device allows you to
set your focus using an iPad (or iPhone).
dpmag.com | March/April 2014

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29

HOW-TO: SHOT IN THE DARK

Viewing the larger screen is nice and dramatically helps with focus. You can tap
anywhere on your iPad screen, and the
camera will focus on this point. The
CamRanger goes a lot further than just
being a focus aid. It also allows you to adjust settings and remotely trigger your camera. Just imagine shooting that star-trail
shot from the warm interior of your car!

SHOOTING TECHNIQUES
The quickest method for immediate
star images is using the high-ISO meth30

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Digital Photo | dpmag.com

od. With this technique, your end goal
is to freeze the stars in place and capture
the Milky Way. Start with these settings:
ISO 3200, ƒ/4 at 25 seconds. This should
let in enough light that you’ll get some
spectacular results very fast. Remember
to check your focus.
If you’re using a wide-angle lens like
a 20mm or wider, the stars shouldn’t
show movement during this exposure.
Use the “500 rule” to make sure the stars
are frozen—500 divided by the focal
length of your lens equals the longest

exposure you can have before the stars
will show movement. For example, if I’m
using a 20mm lens, 500 divided by 20 is
25; I can set an exposure of 25 seconds
and not have star movement.
The Milky Way is one of my favorite
subjects for this technique. On a dark
night with clear skies, the Milky Way
will appear as a hazy white line running
across the sky. If you can’t find the Milky
Way, try using a smartphone app like
Star Chart or Google Sky Map.
After you’ve photographed the Milky

using a wide-angle lens like a 20mm.
Remember, the wider the lens, the more
night sky and star trails you can capture.
Don’t worry if a plane flies through your
shot or meteors fall from the sky; these
items will add interesting streaks in the final shot. It’s very important to have your
long-exposure noise reduction on for this
shot. Your results will look a lot less noisy
using in-camera noise reduction.
Another star-trail technique is stack-

ing a series of short exposures to create
one star-trail shot. The advantage here is,
you’re using shorter exposures with less
noise to create the final image, but this
will require more postprocessing to get
the final shot. StarStaX software can help
you stack images together. A sample exposure here might be ISO 3200, ƒ/4 at
25 seconds for numerous frames. One
important point: Make sure your noise
reduction is off or the processing time

Way and stars without movement in the
night sky, how about trying star trails?
Star-trail photography involves leaving
your exposure open for an hour or longer to capture star movement through
the night sky. The camera settings are
similar except your exposure needs to be
set at “Bulb” and your ISO will be lower.
Also, use a cable release with a locking
mechanism so you can lock the shutter
open for as long as you need.
To really capture star rotation, try
these settings: ISO 100, ƒ/2.8 for 1 hour
dpmag.com | March/April 2014

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HOW-TO: SHOT IN THE DARK

might exceed the interval time you want
to use between shots.

ADDING FOREGROUND
Once you’ve mastered star-trail
shooting, you might decide to add some
interesting foreground elements. Adding foreground elements will make your
composition more dynamic and add
perspective to the image. I’ll often look
for an interesting tree or rock formation to use as a foreground element. I’ll
use my flashlight to illuminate the foreground and help me focus. Sometimes
I’ll put a colored gel like red or blue over
my flashlight to add creative colors to
the foreground subject.
I also use Litepanels LED lights for
foreground illumination. These lights
are small and run on AA batteries. I can
place them in various parts of my scene
to illuminate rocks and trees while I
take the shot. This is a great technique
when you’re by yourself and don’t want
to run around trying to light-paint a variety of elements.
32

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POSTPROCESSING
There are a few things to consider
when processing your star images to help
them reach full potential. First, adjust the
white balance to your liking. I generally
prefer to use Incandescent for my skies
since I like the deep blue color it produces. But what happens to the foreground
tree when you use Incandescent? It turns
a pasty blue—not good. To remedy
this problem, I choose the Adjustment
brush (in Photoshop or Lightroom)
and brush over the tree. Then I pull the
Temperature slider toward the right and
warm up what I’ve brushed over. This
will restore the color close to neutral.
Next up is noise reduction. The new
noise-reduction tools in Lightroom
and Photoshop are fantastic. Pull the
Luminance and Color sliders to the right
to reduce noise. For best results, enlarge
your image to 100% so you can see the
effects. I also use Noiseware to reduce
noise in my images. This plug-in has
preset actions that reduce noise. Try the
Night Scene action for star-trail images.

After reducing noise, your image
will need some sharpening. I use two
tools for sharpening. First, I apply some
Clarity, which makes the stars pop out
of the sky. Next, I’ll use Unsharp Mask
to sharpen the image. I start with these
settings: Amount of 100, Radius of 1 and
Threshold of 3. Experiment with your
settings until you like the results. Sharpening makes star trails much more defined in the night sky.
The last thing I may try with a
star image is applying an effect from
Topaz Adjust 5. I like to use actions
like Heavy Pop Grunge and Dynamic
Pop at around 50% strength. These
actions bring vibrance and acuity to an
image, and look great on night shots.
Ready to go out into the night with
camera in hand? One last bit of advice:
Check the moon phase in your area.
Stars look the best on a dark, moonless
night. Have fun!
DP
sss
To see more of Tom Bol’s photography, visit his website at www.tombolphoto.com.

P
e
Th

While photographing this BMX competition,
most of the area was covered with advertising,
not to mention the thousands of spectators all
around. I shot from many different locations until I found this spot with a simple building in the
background, creating a relatively unobtrusive
negative space.

34

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f
O
s
e
v
ti

NEGATIVE SPACE
CONSIDER THE SPACE SURROUNDING YOUR SUBJECT FOR MORE
DYNAMIC COMPOSITIONS | TEXT & PHOTOGRAPHY BY J. DENNIS THOMAS

A

s photographers, we often get so
involved in selecting, positioning
and composing for the subject
that we can forget the unrelated factors
that have just as much of an impact on
the composition as the main subject
itself. In many cases, the often forgotten
element is the negative space.
Negative space is the area of a composition that doesn’t contain the subject.
You often see the definition of negative
space given as “the space that surrounds
the subject,” but this isn’t necessarily an
accurate assessment. Usually, negative
space surrounds the subject, but in some
cases, the subject can surround the negative space, and in rarer cases, the negative
space actually can become the subject.
So what makes negative space so

important to an image? Well, negative
space has a number of useful aspects
when it comes to photographic composition. First of all, negative space can add
a sense of balance to a composition by
providing a counterweight to the subject.
Negative space typically should have little intricate detail so that it not only provides balance to the image, but also can
be effectively used to draw the viewer’s
attention to the main subject. By default,
the subject becomes the most important
part of the composition because therein lie the details that provide the point
of interest in the composition. In
product photography, a photographer
often creates ample negative space
within the composition to allow the
designers a place to add copy without

This on-location portrait of musician
Britt Daniel was taken at a huge festival
with more than 150,000 people. In order
to create negative space and minimize
distraction from the chaotic surroundings, I shot from a lower angle to use the
cloudy sky as the background.

infringing on the actual subject matter.
Negative space creates a dynamic tension between the subject and the background by creating a point/counterpoint
element that makes the image more dramatic, therefore attracting and holding
the eye of the viewer.

DEFINING THE
NEGATIVE SPACE
Obviously, the positive space is the
primary defining factor of the negative
space, but the negative space is also
defined by something that may not be
quite so obvious to the casual observer:
the edges or borders of the frame. In
retrospect, this may seem evident, but
when actively composing, it’s easy to fixate on the subject and dismiss the edges
of the frame as irrelevant. This is typical
of the way a normal human brain functions and is why casual “snapshooters”
often place the subject smack-dab in the
middle of the photograph—they aren’t
conscious of the edges of the composition because the brain simply doesn’t let
them see it. As a photographer, you must
train yourself to see and use the borders
of your image to frame and contain the
negative space, thus further defining it
and giving it shape within the confines
of the composition.
As previously mentioned, there are
times when the subject surrounds and
defines the negative space and the same
guidelines apply.
Negative space isn’t always a solid,
featureless area surrounding the subject.
It can be divided and segmented by other elements of the composition such as
leading lines, tonal variations and color
differentials. Furthermore, the positive
space of an image contains the subject,
but also can contain other elements that
aren’t part of the subject, but elements
dpmag.com | March/April 2014

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35

HOW-TO: THE POSITIVES OF NEGATIVE SPACE

In this semi-abstract cityscape, the buildings act
as the bounding area of the negative space in
the middle of the image. The buildings framing
the negative space create a figure-ground effect
that allows you to see either the buildings or the
negative space as the main subject.

that support the subject, and these supporting elements are also used to subdivide negative space.
Using a neutral background like gray,
white or black can easily define the sub36

Q

Digital Photo | dpmag.com

ject, but using colored elements in the
negative space can add an interesting
effect. For example, using a contrasting
color, also known as a complementary
color, allows you to create a more dra-

matic separation between the subject
and the background. Furthermore, using complementary colors also creates
a visual sensation in which the subject
appears to be advancing or receding.

COMPOSING FOR
NEGATIVE SPACE

Using a cool-colored negative space with
a warm-colored subject makes the subject appear to be “popping” off the page,
whereas the opposite is true when using
a warm background and a cool-colored

subject, which makes the subject appear
to be receding. You also have the option
of using analogous colors for the negative space. This gives the composition a
much more harmonious presence.

Composing an image to take advantage of negative space is accomplished in
many different ways. First and foremost,
you must actively visualize the negative
space as you’re composing. This means
not only looking at the subject in the
viewfinder, but also observing the background as well as the edges of the frame,
and considering how all of these combine to make a complete image.
Negative space doesn’t always exist
organically in a scene. Often, negative
space needs to be sought out. There are
a number of techniques that photographers employ to create negative space
within their images. Here are a few of
the best ways:
Subject Placement. Placing your
subject in an area that has a relatively
uncluttered background is important to
creating an area of negative space. You
can accomplish this by actively moving
the subject to a different area, by planning ahead and choosing an appropriate
scene, or even by simply using a plain
background of seamless paper or another similar backdrop.
Photographer Placement. There
may be times when you’re photographing an event that you have no control
over. In cases like this, you may have to
scout shooting locations that provide
less visually distracting backgrounds.
Shooting Angle. Sometimes the surroundings aren’t very conducive to an
uncluttered background and changing
locations isn’t an option. In this case, get
creative with your angles. Compose from
down low to use the sky as negative space,
or conversely, elevate yourself, aiming
down at the subject and use the floor or
ground as negative space background.
Use A Wide Aperture. Many photographers already know that using a wide
aperture creates shallow depth of field,
which blurs the background. Shooting
wide open can transform the background
into negative space. You still need to pay
attention, though, as even out-of-focus
backgrounds can be busy with indistinct
blobs of colors that can distract the viewer from the main subject.
As you can see, negative space can
have a positive impact on your images.
Make a concerted effort to see the space
dpmag.com | March/April 2014

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37

HOW-TO: THE POSITIVES OF NEGATIVE SPACE

I often incorporate negative space around
performers in my live music photography to
make the subject stand out—in this case,
rocker Billy Idol—as well as to provide an
asymmetrical balance that makes the image
more interesting as a composition.

Using negative space in a product photo allows graphic designers to add text and graphics to
the photo without impinging on
the actual subject. Most often,
these backgrounds are black or
white so the negative space can
easily be expanded, if needed.

For this shot, the negative space was divided
into two separate areas to create dynamic
tension by adding an element of asymmetrical balance to the composition. Although the
negative space is a dominating element of the
composition, it still allows the viewer to easily
discern the main subject.
38

Q

Digital Photo | dpmag.com

around your subject and utilize it as a
compositional element, too.
DP
sss
J. Dennis Thomas is a freelance photographer and an author based in Austin,
Texas. He’s the author of Wiley

Publishing’s Nikon Digital Field Guide
Series, as well as Concert and Live
Music Photography and Urban and
Rural Decay Photography published by
Focal Press. Find him at www.NikonDFG
.com and @JDennisThomas on Twitter.

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WORKFLOW, START TO FINISH
PART 3

USE THESE TIPS FOR WORRY-FREE BACKUP |

B

ackup is the stuff of nightmares,
or dreams, depending on how
you back up. As with all workflow,
backup will vary from photographer
to photographer based on shooting
habits, computer systems, work environment and your own conscience. But
with all things considered, backup has
one end goal: If your hard drive crashes,
all your files, programs and images are
safely stored on other drives and can be
quickly restored.
I break my backup workflow into two
areas: “in the field” and “back at home.”
I’ll start simple with field backup and
then look at home backup. No matter
if you’re a beginning photographer or
a seasoned pro, these guidelines will
ensure you never suffer from “the backup nightmare.”

FIELD BACKUP
Backup first starts in the field. After
a few days of shooting on vacation or
working on assignment, flash cards start
filling up. Wouldn’t it be a disaster if you
lost your European family vacation pictures? Or, my worst-case scenario, losing
40

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TEXT & PHOTOGRAPHY BY TOM BOL

images shot on assignment for a client,
some of which might be very hard and
expensive to reproduce. It’s time to back
up in the field!
One guideline I use in my backup
strategy is the Rule of 2. I always have
my images backed up in at least two different locations. Sometimes I even back
up to three locations for peace of mind.
You have to decide what works for you.
When I’m on assignment, I carry 200
gigabytes of flash cards, my MacBook Air
and external 500 GB hard drives. After
a day of shooting, I return to my hotel
and download my images onto my laptop and my external hard drive. Remember, downloading can take a lot of time,
so choose fast flash cards, card readers
and external hard drives that use your
computer’s fastest connection, like USB
3.0 or Thunderbolt. At this point, I now
have my images on my computer and on
an external hard drive.
Why do I carry 200 gigabytes of flash
cards? First, I may actually shoot that
amount of images on a long commercial
assignment. But another benefit is that I
don’t have to reformat my flash cards in

the field—I have enough card space to
keep shooting on new cards. The flash
cards I’ve already shot become another
source of image backup since I don’t
reformat them in the field. And flash

PRO TIP: With high-grade cards more
affordable than ever, they’re an option for
both short- and long-term backups.

card prices keep dropping, making them
more affordable. I now have three backups of my images: my laptop, an external hard drive and flash cards.
What happens if your computer dies
or gets stolen? Well, the good news is
that you have your images on flash cards
and portable hard drives, so you haven’t
lost your images. First, you can continue
to keep images on flash cards as one
source of backup. You could also carry a
multimedia image viewer like the Sanho

HyperDrive, which allows you to download your flash card directly without the
need of a computer, or use a friend’s
computer to download images to your
external hard drives.
When I’m on commercial shoots, we
bring two laptops. I’m not recommending everyone go out and buy a second
laptop! But when I’m on big-budget
shoots, it’s expected that I have redundancy in everything to ensure a flawless
shoot, including cameras, lenses, lighting, etc. If one computer goes down,
we have a working clone already on-site
and ready to go. On normal photo excursions, I carry one laptop, two external 500 GB hard drives and lots of flash
cards for field backup.
Smart traveling habits also ensure
solid field backup. I always put my laptop out of sight when I leave my hotel
room and put my external hard drives in
my room safe. My flash cards stay with
me in my photo pack. By putting your
backup devices in different areas, you’re
helping to ensure one will survive any
catastrophe. I’ve been known to carry my
external hard drive with me at all times.
There’s just something warm and fuzzy
knowing my entire shoot is with me.

HOME BACKUP
Once I get back from a shoot, it’s time
to download the images onto my primary computer. This is the location where
your images “live” and where you access

them regularly to make prints, send out
submissions or share online. It might
be your home or an office outside your
home—but the Rule of 2 still applies.
You need to have your images backed
up in at least two different locations,
and maybe a third location to be really
safe. And just as important as how many
places your images are backed up is how
they’re backed up. On-site and off-site
backup are both important.
When I first converted to digital
many years ago, my image backup consisted of burning archival DVDs and
storing images on a hard drive. Technology advancements prompted me to improve my office backup. First, hard drive
connection speeds rapidly increased,
making backup speed very fast, much
faster than burning DVDs. Second, digi-

out from my G-SPEED Q and replace it
with another. The G-SPEED Q will restore the data using the three functioning drives and nothing will be lost. RAID
systems can also be configured other
ways, but generally don’t offer as much
redundancy and data protection as RAID
5 systems (unless they’re higher than
RAID 5). My G-SPEED Q is connected
to our main computer in the office, allowing instant access to over 250,000
images. When we fill up the 8-terabyte
drive, we move everything over to larger
12-terabyte G-SPEED Q drives.
Since this drive is RAID 5 and offers
protection if one drive fails, I should
be backed up, right? Yes...and no. The
images on this drive are, in essence, on
multiple drives, but what happens if my
office burns down? Hasta luego to my

tal camera file size kept increasing. My
main camera today is a Nikon D800,
which shoots 36-megapixel files. I can
easily shoot many gigabytes of images
on a one-day shoot. Backing up to DVDs
would be too slow and take numerous
DVDs for all the files. And newer Mac
computers don’t even have DVD drives.
It was time to change our backup system.
Today, our on-site office image backup consists of all hard drives. We use
G-Technology G-SPEED Q RAID (redundant array of individual disks) 8-terabyte
drives. These four-bay drives are configured for RAID 5, which means data is
distributed across four hard drives. If
one hard drive crashes, I simply pull it

images! To ensure I can sleep at night,
we have a second G-SPEED Q 8-terabyte
with all our images stored in another
location off-site. We regularly download new images to this drive, as well
as our office drive, to make sure we’re
safely backed up. If one RAID system is
completely destroyed, we have a second
RAID system stored safely off-site. Some
photographers even use three separate
RAID systems stored in different areas.
You have to decide what you’re comfortable with in your system.
So far we’ve talked about image backup, but what happens to all our documents and applications if our computer
hard drive crashes? This brings up another
dpmag.com | March/April 2014

Q

41

HOW TO: WORKFLOW, START TO FINISH, PART 3

Apple AirPort
Time Capsule

G-Technology
G-SPEED Q RAID

it crashes, but it’s simple to use and you
can access your files anywhere you have
an Internet connection. It’s also popular
for file sharing with clients and friends.

PEACE OF MIND
Backup is a critical part of your
workflow. All the work you’ve done in
the early stages of workflow is saved

aspect of our backup system: protecting
our computer drives. For this task, we
use two items, Apple’s Time Capsule and
OS X Time Machine software.
AirPort Time Capsule is a wireless
hard drive that backs up our computers via Wi-Fi. Used with OS X Time Machine, Time Capsule automatically backs
up our files on a regular interval so we
won’t lose any data if a computer hard
drive fails. Once a bad hard drive is replaced, Time Machine will allow you to
restore the data you lost.
Windows users also have an option
similar to Time Machine. In Windows 8,
choose the File History option. This allows you to automatically back up your
files to an external hard drive. You then
can restore your files using the external
hard drive if you have problems.

OTHER OPTIONS
So far we’ve looked at how I back up
my computer and image files, but there
are other options to consider in conjunction with the methods mentioned
earlier for even more secure backup.
One popular way photographers
back up is by using online services like
CrashPlan or Carbonite. These services
charge you a fee for storing images and
backing up data on their industrialgrade servers, offering secure backup
and encryption of your files. What’s
really nice is that these services can automatically back up your data on your
42

Q

Digital Photo | dpmag.com

computer, similar to Time Machine. Another benefit of these services is that you
can access your files anywhere in the
world as long as you have an Internet
connection, and you can back up in the
field, as well. If you combine using your
own RAID system with online services,
you’re a role model of backup!
Another off-site data-storage option
is Dropbox. Dropbox offers secure data
storage for all your files and documents.
Once your files are downloaded to
Dropbox, they’re automatically backed
up at regular intervals. Dropbox doesn’t
automatically restore your hard drive if

in backup. What exact system you use
is up to you, but make sure you remember the Rule of 2 and use both
on-site and off-site backup methods.
Once you have reliable and secure
backup in place, you’ll be able to sleep
better at night.
DP
sss
Check out the previous articles in this series on our website, dpmag.com/how-to.
For an in-depth look at Tom Bol’s workflow, pick up a copy of his book, Adventure
Sports Photography: Creating Dramatic
Images in Wild Places. Visit Tom’s website at tombolphoto.com.

HOW-TO

Art of iPhoneography

Layers Of Emotion
BLENDING SCENES FROM THE PAST TO PORTRAY A FEELING IN THE PRESENT
TEXT & PHOTOGRAPHY BY STEPHANIE CALABRESE
ach year, I choose one word to
guide me through the year. It’s
a self-reflective practice I began
five years ago, inspired by Ali Edwards
and her “One Little Word” blog posts
(aliedwards.com/2013/12/one-littleword-2014.html). Unlike a resolution,
my one-word intention can’t be broken. Much like a compass, it guides
me, particularly when I’m feeling stuck
or uncertain. I don’t put any expectations around the word or what it might
bring, but I do find that experiences
throughout the year tend to unfold in
accord with it.
The selection of my word has typically been a mind-bending process. It
starts as a collection of words in midDecember. Then I squeeze it down to
a handful. I roll the words around,
hold each one up to the light, extro-

E

vert a subset with my soul sisters, and
eventually land on one on 1/1. In past
years, I’ve chosen words such as seek,
stretch and joy. This year’s selection—
love—was remarkably easy. There were
no contenders. I’m not sure why, but
this four-letter sequence appeared repeatedly in my physical world and sort
of surrendered itself.
But what does love look like beyond the four-letter composition? We
can feel it, but is it possible to visually
represent its complexity and intensity
in a two-dimensional image? Can one
evoke the feeling of it in a photograph
without actually seeing it? I’m not certain, but I’ll be exploring these questions in a series of images this year.

This first image is a composite of
four images—disparate scenes from my
past. To simplify the subjects, I used the
VSCO Cam app to convert each photograph to black-and-white. I used the
Blender app to blend images 1 and 2
together. Then I opened the resulting
blended image and blended it with image 3. I repeated this process to blend
in image 4, making minor zoom and
positioning adjustments to create the
illusion of my interlocking hands.
Next, I opened the blended image
in the Mextures app and added a Light
Leak filter, adjusting the saturation
and blend mode to add a subtle color
palette. Finally, I opened the image in
VSCO Cam and increased the tempera-

ture of the color palette, image contrast
and sharpness.
When you feel the urge to create, but
lack subject matter that interests you in
the moment, scan your iPhone Camera
Roll for elements that might portray the
current state of your heart or mind. Can
you blend moments of your past to
evoke a feeling in the present?
DP
sss
Stephanie Calabrese (www.stephanie
calabrese.com) is an award-winning
documentary photographer and the
author of the best-selling The Art of
iPhoneography: A Guide to Mobile
Creativity, 2nd Edition, and Lens
on Life: Documenting Your World
Through Photography.
dpmag.com | March/April 2014

Q

43

Retro

REVOLUTION
CLASSIC CAMERA STYLING IS MAKING A COMEBACK
BY J. DENNIS THOMAS

M

any photographers—even seasoned pros who once revered
their large pro DSLRs with all
the bells and whistles and huge, fast
zooms—are starting to take notice of
the trend toward smaller, simpler, interchangeable-lens systems sparked by
mirrorless cameras, and are downsizing
their systems for much of their work.
Not all subjects can be covered effectively with a smaller system, but many, if not
most subjects, can.
For many years, compact cameras
were sleek and small, made to be pock44

Q

Digital Photo | dpmag.com

etable, but with small sensors and slow,
built-in zoom lenses that weren’t very
good for much more than snapshots.
The growing trend at the moment is to
fit a larger sensor into a camera that’s
relatively diminutive, while still allowing room for buttons for dedicated functions, as well as keeping it large enough
to be handled comfortably.
The most interesting part of this
trend, however, is the retro-styling aspect. Camera designers have one eye to
the past while designing these cameras
for the future, and it has really caught

on. Some dismiss this as “hipster” formover-function aesthetic snobbery, but the
truth is, these iconic designs are coming
back because they actually function very
well. They’re compact, yet comfortable.
Let’s take a look at some of the options available, and the strengths and
weaknesses of each.

RANGEFINDERS
The real rangefinder digital camera is about as close to the experience
of shooting a film camera as you can
get. This realm is dominated by one

The Nikon Df is currently the
only retro-style DSLR on the
market. It combines the style
of a vintage Nikon F with the
outstanding image quality of
Nikon’s flagship camera, the D4.

Olympus PEN E-P5

company: Leica. Introduced in 2007,
the 10-megapixel APS-H-sensor Leica
M8 had quite a few bugs, but was still
a success. Leica built upon that success
with a much improved 18-megapixel,
full-frame CCD-sensor M9, which is carried on (slightly modified) into the current line as the M-E, and they have since
released their flagship model, the 24megapixel, CMOS-sensor, full-frame Leica
M (Typ 240), as well as the unprecedented black-and-white-only camera based on
the M9, the Leica M Monochrom.
The Leica M-series digital rangefinder
cameras are for all practical purposes
fully manual. There’s no autofocus,
and the aperture is set manually on the
lens. The cameras do have an aperturepriority auto setting, which uses a cenJ. DENNIS THOMAS

Leica M

ter-weighted meter to select the shutter
speed, but that’s about the most automation you’ll find for exposure settings.
The main drawback to the digital
M series is the price. The M (Typ 240)
camera is about $7,000 (add $1,000 for
the M Monochrom), and the cheapest
current camera, the M-E, comes in at
$5,400. Leica lenses are expensive, as
well, ranging from $1,650 to $10,000
new. Fortunately, you can find a few
somewhat less expensive older lenses in
the used market, and some good thirdparty Voigtländer and Zeiss lenses, too.
The main advantage of going with a
Leica system is that it’s an investment.
The lenses are expensive, but they hold
their value. Being digital, the cameras
themselves hold their value for less
time, but longer than a typical digital
camera does.

HYBRID RANGEFINDERS
The hybrid rangefinder camera is an
invention of Fujifilm, first introduced
with the revolutionary X100 camera. The styling of the camera is 100%
vintage, but these cameras represent
cutting-edge technology. It’s a brilliant
fusion of optical and electronic viewfinder (EVF). The cameras feature an
optical viewfinder that has electronic
shooting information overlaid on it,
including traditional-looking “bright
lines” that outline how much of the
frame is captured. A flip of a switch
turns on the EVF, allowing you to see
exactly what the sensor sees with the addition of the shooting info.
Currently, the hybrid market consists
dpmag.com | March/April 2014

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EQUIPMENT: RETRO REVOLUTION
of only two cameras, the Fujifilm X100S
and X-Pro1. The main difference between
these cameras is that the X100S is a fixedlens camera, while the X-Pro1 is an interchangeable-lens camera that can be used
with Fujifilm’s X-series lenses.

MIRRORLESS CAMERAS
Sony recently broke new ground by
adding full-frame sensors to relatively
small mirrorless cameras. The newest
cameras to Sony’s arsenal are the a7 and
a7R. On the outside, the a7 and a7R
have the same retro look, but on the inside the differences lie. The a7R features
a 36-megapixel sensor, no low-pass filter and contrast-detect autofocus; the
a7 sports a 24-megapixel sensor with a
low-pass filter.
Fujifilm’s newest camera, the X-E2, is
an update to the highly regarded X-E1,
which is basically the X-Pro1 without
the hybrid finder. The X-E2 takes the
form factor of the X-Pro1 and adds some
of the X100 technological advances such
as on-sensor phase-detection AF for faster, more accurate focusing. The X-E2 also
takes Fujifilm’s line of X-mount lenses,
as well as just about any other type of
lenses with adapters. The little sister to
the X-E2 is the X-M1, which omits the
viewfinder and adds a tilt-screen LCD
for composition.

Sony a7

Fujifilm X-Pro1

The Olympus PEN E-P5 has a
vintage rangefinder look that borrows from the styling of Olympus
PEN F 35mm cameras produced in the late 1960s
and early 1970s, but has
thoroughly modern features like built-in Wi-Fi.
There’s no built-in viewfinder, but an optional
EVF can be mounted to
the hot-shoe.

DSLRS
So far the only company to jump on the
retro-style
bandwagon
with a DSLR is Nikon with
the Df, which combines the guts of
their full-frame D4 inside a smaller,
film-camera-style body. The premise
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behind this camera is to make a classically styled design with top-of-the-line
current technology and fuse them into
one relatively small professional-grade
camera body. The main exposure setting
controls are placed right on top of the
camera where they’re immediately and
easily accessible.
Another great feature is that the
Df is the first Nikon DSLR that’s fully
compatible with pre-AI Nikkor lenses,
which opens a new life for some old,
but excellent glass that can’t be used on
most Nikon pro DSLRs. This camera is
for those who want the retro styling and
controls, but still need the strengths of a
DSLR system, such as proven, consistent
AF, a TTL optical viewfinder, weathersealing and a strong build, as well as the
compatibility with the lenses in their
existing Nikon system.
DP

EQUIPMENT

Cameras
NIKON D3300

STANDOUT FEATURE: This easy-to-use, entry-level DSLR
provides excellent image quality.

1 | The D3300 is available in red, black or gray. 2 | The mode
dial also provides access to an expanded Guide Mode,
which helps the user become a better, more knowledgeable photographer. 3 | The optional WU-1a Wireless Mobile
Adapter adds Wi-Fi uploading and remote operation.

Nikon’s new D3300 improves on the excellent D3200 entry-level
DSLR in a number of ways. There’s a new EXPEED 4 image processor
(vs. the EXPEED 3 in the D3200), and normal ISO range is now 10012800 (vs. 100-6400), expandable to 25600 (vs. 12800). While the
pixel count remains a whopping 24.2 megapixels, the D3300’s
sensor has no OLPF (optical low-pass filter), increasing sharpness potential. It can shoot at 5 fps (up from 4 fps with the
D3200) and can do 1080 full HD video with full-time AF at
60p (vs. 30p for the D3200). The new camera is slightly
smaller and comes with a new retractable 18-55mm VR II kit
zoom that makes the camera/lens package considerably slimmer than the D3200 with its 18-55mm kit zoom. And the specs
indicate that the D3300 can do about 30% more shots per battery charge per CIPA testing standards.
Like its predecessor (which remains in the Nikon DSLR lineup),
the D3300 employs a 420-pixel RGB metering system and 11-point
AF system that functions in light as dim as EV -1. Like other entrylevel Nikon DSLRs, the D3300 has no AF motor, relying on lenses
that have one—the AF-S and AF-I optics—which currently range
from a 10-24mm superwide zoom to an 800mm supertelephoto.
The eye-level pentamirror viewfinder shows about 95% of the
actual image area, while the 3-inch LCD monitor shows 100% (in
Live View mode). Shutter speeds range from 30 to 1⁄4000 sec. Images
are stored on SD/SDHC/SDXC cards (one slot). The optional WU-1a
Wireless Mobile Adapter adds Wi-Fi connectivity for instant uploading of images and videos to a smart device, which can also be used
to operate the D3300 remotely. The camera is compatible with the
optional GP-1A GPS. Dimensions are 4.9x3.9x3.0 inches and 15.1
ounces (body only).
Estimated Street Price: $649 (with 18-55mm VR II kit zoom).

INTRO

D

DUCE

1/2014

SAMSUNG NX30

STANDOUT FEATURE: The 20.3 MP APS-C DSLR-style mirrorless camera makes it easy to capture and share images.

1 | The new eye-level EVF and external Super AMOLED
touch-screen monitor are both adjustable. 2 | A big handgrip provides good ergonomics. 3 | The new 16-50mm
ƒ/2-2.8 S ED OIS zoom is the first in Samsung’s premium
S-series.

Samsung offers mirrorless interchangeable-lens cameras in two
form factors: DSLR-style and flat compact-style. Interestingly, all
feature 20.3-megapixel Samsung APS-C CMOS sensors. The new
NX30 replaces the NX20 as the flagship DSLR-style model. It improves on its predecessor in a number of ways, including a more
powerful image processor, better EVF and external monitor,
and improved video and wireless capabilities. (The higherpriced Samsung Galaxy NX uses a similar form factor, but
is larger—almost DSLR size—to accommodate its built-in
Android operating system and 4.8-inch screen.)
The eye-level EVF features XGA resolution and tilts up
to 80° upward for easy low-angle shooting. The new 3-inch
Super AMOLED touch-screen monitor swings 180° horizontally
and swivels 270° for easy all-angle shooting.
Benefits of the new DRIMeIV processor include 9 fps shooting
at full 20.3-megapixel resolution, ISO settings from 100-25,600,
1080/60p full HD video capability (with OIS Duo stabilization), and
2D/3D capture with the optional Samsung 45mm ƒ/1.8 2D/3D lens.
Integrated NFC and the Photo Beam feature let you transfer images and videos from the NX30 to a compatible smartphone or tablet
just by touching the devices together. AutoShare sends each photo to
your smartphone or tablet automatically, while MobileLink allows you
to send selected images to four smart devices simultaneously. Remote
Viewfinder Pro lets you operate the NX30 remotely via smartphone.
Images are stored on SD/SDHC/SDXC media with UHS-I compatibility. Lens focal lengths from 16mm to 200mm are available for
Samsung’s NX cameras (with the sensor’s 1.5X focal-length factor,
this is a range equivalent to 24-300mm on a 35mm camera or fullframe DSLR). Dimensions are 5.0x3.8x1.6 inches and 13.2 ounces
(body only).
List Price TBA.

INTRO

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dpmag.com | March/April 2014

Q

47

BUILD A KIT OF ESSENTIAL
GEAR FOR SHOOTING ON
LOCATION | BY WES PITTS

udio

The Interfit Photographic Strobies Modi-Lite Kit offers 18 different modifier combinations to achieve a wide variety of lighting effects. The kit includes the
Uni-Mount universal adapter that will fit any flash unit.

W

hat does it take to get pro results
practically anywhere? This onlocation shooting guide covers
all the bases for shooting outdoors, at
events or in your subject’s home or office. Much of this gear also is useful for
creating an instant studio at home.

FLASH MODIFIERS
Achieving perfect light on location
is one of the primary challenges versus
the controlled environment of a studio.
For the ultimate in on-location lighting,
monolights are relatively portable, affordable and easy to use. (See our coverage of high-powered models suitable
for outdoor use in this issue. Also check
out the article featuring battery-powered
monolights in our sister publication,
Digital Photo Pro: tinyurl.com/photopro-monolights.)
If you’re working with flash, modifiers are extremely helpful for fine-tuning
flash output. Modifiers help you control
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Harbor Digital Design’s Ultimate Light Box Kit
transforms your flash to create a soft, diffused
light source. A set of six color filters designed for
the Ultimate Light Box is also available.

the light through diffusion, shape and
directional control, and color correction. Diffusers reduce and spread the
light from your flash for a softer effect
and less contrast. They’re especially useful for portraiture and for fill lighting.
In the studio, you can bounce flash
off the ceilings or walls. For outdoor
shoots or really big spaces, bounces,
snoots and grids, and beauty dishes help
you refine your flash output to blend
seamlessly with the ambient light or to
create dramatic effects. Modifiers that
bounce light are reflective and allow you
to redirect the angle of your flash output.
Snoots and grids create a spotlight effect,
shaping and restricting the flash output
to a specific area of your composition.
Beauty dishes reflect light for a soft effect
and create flattering catchlights in your
subject’s eyes, ideal for portraiture.
Essential for outdoor work or mixedlighting environments, gels let you
change the color of light from your flash.

backdrop choices, you’ll be able to turn
almost any room or outdoor space into
a studio.

Use them to match your flash output to
the ambient light or for creative effect by
adding color contrast to the scene.

REFLECTORS, SCRIMS
AND FLAGS
In addition to modifying your flash
output, it’s good to have tools to redirect
or restrict ambient light, too. Reflectors
are one of the most important accessories
for on-location photography. They’re easy
to use, require no power and are ideal for
redirecting available light to fill shadows
for more even light on your subject.
Conversely, there may be situations
where you want to reduce or block

POWER SOLUTIONS
Bringing a laptop or tablet along
gives you options for remote camera
control, image review on a big screen,
and even editing and backup in the field.
You might be able to get by with a single

For still and video lighting, the Flashpoint 500C
LED is daylight-balanced, includes barn doors to
control light direction and can be powered by AC
or by an optional rechargeable battery.

for natural-looking results, and because
they’re always on, you can readily see
and adjust their effect. That continuous
lighting ability is also what makes them
an excellent choice for video work.

PORTABLE BACKDROP
Sometimes you’ll find the perfect setting on location, and sometimes you
won’t. A portable backdrop, muslin or

Goal Zero’s Yeti 150 Solar Generator can power
laptops and lights, and recharge cameras and tablets anywhere. Charge the Yeti 150 in just a few
hours using a wall or car outlet, or pair it with a
Nomad solar panel for total energy independence.

charge, but there are portable solar-powered options for recharging your gear
on location. While an extension cord
is always smart to carry with you, if you
won’t be near an outlet, the solar power
option can power up all of your devices,
plus recharge camera and flash batteries.

LOUPE
Camera LCDs are incredibly convenient and continue to improve, but they
remain difficult to use in bright sunlight.
An LCD loupe is critical for checking fo-

The Photoflex MultiDisc Kit includes a 42-inch
5-in-1 MultiDisc reflector, plus a LiteStand
and LiteDisc—everything you need to redirect
ambient light.

ambient light (overhead sunlight, for example). Scrims soften and reduce ambient light, similar to a flash diffuser, while
flags can be used to completely block a
light source.
All-in-one products are available that
combine reflectors, scrims and flags in a
convenient, unified design.

LED LIGHTS FOR
FILL & VIDEO

The F.J. Westcott X-Drop is an extremely portable 5x7-foot backdrop system that assembles
in about a minute, weighs less than three pounds
and comes with its own travel case. Multiple
backdrop patterns are available for variety.

Though typically less powerful than
flash or strobes, LED lights are excellent
for providing fill light and are particularly ideal for video. Adjustable output
lets you dial in the strength of the light

roll of seamless paper is wise to have on
hand, especially for portraiture. Whether
you choose a convenient kit or build
your own with a pair of stands and a few

The Hoodman HoodLoupe 3.0 is compatible with
3-inch LCDs to block glare and give you a clear
1:1 magnification of your camera’s display.

cus, exposure and image details under
bright outdoor conditions—even more
dpmag.com | March/April 2014

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HOW-TO: POP-UP STUDIO
so when working with mirrorless cameras that omit an eye-level viewfinder
outdoors—and it’s a much more contemporary and elegant solution than a
black drape over your head.

FILTERS
Optical filters still have their place in
the photographer’s toolbox despite the
proliferation of special-effects software.
One filter you must have in your kit is a
polarizer. There’s no magic software bullet to handle unwanted reflections, and
you can’t re-create detail in the computer when glare blows out the highlights
of your exposure. A polarizer handles
this instantly. Another practical filter
for outdoor use is a graduated neutraldensity filter, which can help you rein
in extreme contrast for better exposures
and less postprocessing.

TRIPOD & HEAD
A good tripod and head are essential for on-location photography. While
the most important characteristics of
a tripod are its stability, sturdiness and
ability to support the weight of your par-

Gitzo’s Traveler Series 2 carbon-fiber tripod
weighs just 4.2 pounds, but can support more
than three times its weight and can be used with
lenses up to a 200mm telephoto prime.
50

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The midsized BH-40 LR Ballhead from Really
Right Stuff is an ideal choice for keeping weight
down without sacrificing adjustments—in addition to the full movement of the ball with dual
drop notches, the base pans, as well.

ticular camera and lens combination,
the size and weight of the tripod itself
become a consideration for fieldwork.
You want to put your energy toward creativity, not gear portage.
The weight of everything in your kit
adds up, and a tripod is one piece of
equipment where you can shed a few
pounds by choosing a lightweight carbon-fiber model. A typical carbon-fiber
model might weigh 30% less than a
comparable aluminum design, and yet
support 20% more weight from your
camera and lens.
You also need a head for your tripod.
If you’re shooting strictly still photos,
ballheads are popular for their ability
to position the camera in just about any
orientation quickly. For a heavier camera and weighty telephoto lens combination, a gimbal head may be a better
choice for balancing the weight—you
don’t want your tripod tipping over!
If you plan to do any video, you’re
going to want a fluid head. These pan/
tilt heads use a hydraulic system to
dampen vibration for the smooth pans
essential to video work.

CAMERA & LENS
PROTECTION
You don’t have to be drenched in a
torrential downpour to appreciate protection for your camera and lens—even

The LensCoat RainCoat 2 Pro shields your camera and lens from rain, snow, salty air and sand
while allowing easy access to controls, even your
lens zoom. The lightweight waterproof material
is available in several colors, including four camouflage options.

a light, unexpected shower can wreak
havoc on cameras that lack weather sealing. It’s not just water to protect against,
either. Extended exposure to direct sunlight, salty seaside air, and windy or
dusty environments are all distractions,
at best, and potential damage to your
camera system, at worst. If photography
frequently takes you outdoors for hours
at a time, camera protection is a worthwhile investment. Plus, waterproof options let you get creative for portraits
poolside or in stormy weather.

LENS CLEANING
OPTIONS
Outside the controlled environment
of a studio, you’re practically guaranteed
to get dust on your lens. That can be a
relatively minor problem (more time
spent retouching photos) or a major
bummer (scratched lens). You’ve invested in precision optics, so make the extra

BAGS FOR
TRIPODS & STANDS
If you’ll be bringing more than one
tripod, or a tripod and stands for reflectors, backdrops and the like, an additional bag to keep organized is a wise

The LensPen DSLR Pro Kit includes three unique
LensPen tools for keeping your lenses, filters
and viewfinder spot-free. The kit travels in a
microfiber pouch that can be used to keep your
tablet screen clean, too.

investment in cleaning products specifically designed for photographic lenses.
The ability to efficiently care for your
optics as you shoot protects your gear
and can save you a lot of time fixing
spots in postprocessing.

Waterproof hard cases like the iSeries DSLR Pro
models from SKB provide custom-cut organization for your camera, lenses and accessories
with rugged, all-conditions protection.

With room to carry tripods or stands up to 19.7
inches long (folded), the 3LT Choobz Tripod Bag
570mm from 3 Legged Thing has a detachable
shoulder strap and an integrated compartment
for tools and spare parts.
Manfrotto’s new Professional Bags Collection
includes the Professional Roller Bag 70, with
room for two pro DSLRs, plus up to seven lenses,
two flashes and a 17-inch laptop. There’s even a
strap for securing your tripod.

CAMERA BAGS & CASES
One of the most important considerations working on location is organization—that’s why so many pros have
assistants in tow. If you don’t have that
luxury, then it’s doubly important to
choose a bag or case that keeps all your
gear organized and easily accessible. The
right bag for you depends on the gear
you typically use. If you carry a big-range
zoom lens and few accessories, your organization needs will be different than
if you prefer to work with a variety of
primes or specialty lenses.
Most camera bags are designed to
stack gear, with padded dividers, to
economize the bag’s volume. An ideal
bag or case will have room for all the
tools you most frequently use on the top
level, where they’re easily accessible—
you don’t want to be fumbling to find
the right lens or filter.
Choose a bag or case with plenty of
room for your gear, and spend some
time thoughtfully arranging your kit. If
everything has its place and if you keep
it there, you’ll never be digging through
your bag while the talent waits.

investment. It simplifies carrying these
somewhat unwieldy—yet indispensable—supports, especially if you’re
working alone and need to carry several
at once. Even when I’m only bringing
a single tripod, I still like to use a bag,
and keep a pair of pliers, the adjustment
tools supplied by my tripod’s manufacturer and a sandbag or two for stabilizing my tripod in there, as well.

GAFFER’S TAPE
Every pro we talked to agrees: Gaffer’s
tape is awesome, and you need to carry

it for gear first-aid and “best-alternative”
solutions. Fix a broken battery door, improvise a snoot, hang backdrops, secure
extension cords, strap a bag with a broken zipper—gaffer’s tape can handle a
lot of field emergencies so you can get
the shot.
DP
dpmag.com | March/April 2014

Q

51

Toolbox

The 4K Resolution

Revolutio
O
ffering four times the image information of high-definition video, this
holiday season saw a big push for
consumer-level 4K televisions from companies like Panasonic and Sony. While
content is still in short supply, it’s likely
this year will see an even bigger explosion
of new projects, as the means with which
to capture and play back 4K are starting to
come down to affordable levels.
Popular movie rental and streaming service Netflix, for example, has been testing
4K video streams, and many of their original
content shows, like House of Cards, are being shot in 4K. Amazon has also announced
several new 4K productions, while Google
and YouTube have been showing off a new
video-compression format called VP9,
making high-quality compression a reality
for streaming 4K video over the Internet
much faster and with better reliability.
Huge new 4K television sets from LG,
Panasonic, Samsung, Sharp, Sony and others are capable of playing back this content, as well as upscaling high-definition
content, and there are also a few new 4K
projectors, like the Sony 4K Ultra Short
Throw Projector, which will turn a blank
wall into a 147-inch 4K display. Several Bluray sets and 3D systems will upscale highdefinition content for playback on these
new sets, as well.
So while you may not feel you’re ready
for 4K, if you have any interest in futureproofing your video content, you should
consider a look. Current offerings actually
make 4K productions a possibility, thanks
to new and affordable camcorders and
monitors. Up until 2013, there were a number of 4K-capable cinema cameras from
RED and Sony available for 4K movie productions, but these solutions were priced
for professional filmmaking, and they require a dedicated digital workflow to manage the massive amounts of data created
52

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CAMERAS, SOFTWARE
AND HARDWARE
AVAILABLE NOW
FOR CAPTURING
AND PRODUCING
ULTRA HD VIDEO
BY DAVID WILLIS

Sony 4K Handycam FDR-AX100

by each frame, which offers four times the
image information of a 1920x1080 highdefinition frame. 4K video is also useful for
HD productions, as well, because frames
are large enough in terms of resolution that
you can reframe or crop for editing into HD
resolution projects.
While the terms are often used interchangeably, Ultra HD refers to the
more broadcast-friendly UHD resolution of 3840x2160, while true 4K video is
4096x2160 pixels or more. Frame rates of
up to 60 fps are currently available, which is
a very fast frame rate more suited to action
sequences. Peter Jackson recently used
the format for his latest Hobbit films. Other
frame rates are also available; 24 fps and 25
fps are most commonly used for DSLR video
because the look is very smooth and cinematic, while 30 fps is a slightly faster frame
rate for a crisp video look.

4K CAMCORDERS

Ironically, some of the very first devices
capable of capturing 4K video were smartphones like the Samsung Galaxy Note III
and the Acer Liquid S2, though the video
compression is so high that the advantage
over HD video is questionable. The Nikon J1
and V1 mirrorless cameras are also capable
of capturing 4K sensor output at up to 60

fps, though this is technically a workaround
on the electronic bursting mode and captured videos are very, very short.
Even though most current DSLR sensors
can capture stills at resolutions above 4K,
the processing needs for capturing, converting, compressing and outputting such
huge files at so many frames per second requires much faster camera mechanics than
are available. DSLRs capture in the H.264
codec while its upcoming successor, H.265,
is much more compression-friendly when it
comes to 4K and other files, so it’s likely that
we’ll be seeing DSLRs and mirrorless models capable of 4K video soon. Panasonic,
for example, has confirmed that its next GH
model will be capable of 4K video resolution.
Sony’s 4K Handycam FDR-AX100
was announced in January as a more
compact 4K camcorder solution over
their previously announced 4K-capable
model, the FDR-AX1. Notable for its price
under $2,000 and offering a brand-new
14.2-megapixel Exmor R CMOS sensor, it
captures UHD at 3840x2160 in 24 fps and
30 fps, as well as 120 fps for slow-motion
effects. The 12x optical zoom Zeiss VarioSonnar T* lens starts wide at 29mm, and
while the XAVC S file format will play back
on Sony 4K Bravia TVs through the camcorder’s HDMI connection, the camera can

also work in a Dual Video Recording mode
for simultaneously acquiring a high-def
copy for HDTVs and Blu-ray discs.
The more expensive FDR-AX1 includes
several professional options like Sony
Vegas Pro 12 editing software, dual XQD
memory card slots and two high-quality
XLR jacks for working with advanced microphone systems.
For professional filmmakers, Sony produces the highly capable NEX-FS700R,
PMW-F5, PMW-F55 and F65 cameras,
which require dedicated (and expensive)
SxS memory cards or video recorders to
capture 4K. List Price: $1,999 (FDR-AX100);
$4,999 (FDR-AX1); $7,699 (NEX-FS700R),
$19,400 (PMW-F5); $34,927 (PMW-F55);
$65,000 (F65).
As part of the Canon Cinema EOS line
of EF lens-mount cameras and camcorders,
the Canon EOS-1D C is an 18.1-megapixel,

Camera 4K with a Super 35mm-sized
sensor (21.12x11.88mm). The dedicated
video solution can capture Ultra HD in
compressed ProRes 422 or CinemaDNG
RAW video, which, much like a RAW still
file, offers very high image quality and more
leverage in editing, especially when adding
effects or working with computer graphics
like greenscreen. The Canon EF-compatible lens mount will communicate with electronic Canon EF lenses for TTL metering
and abilities. The BMPC captures to solidstate drives that can be removed to work
with files from a computer while they’re still
on the drive. It also includes the highly regarded DaVinci Resolve color-grading software. List Price: $3,995.
The JVC GY-HMQ10 camcorder will
record up to two hours of 4K video to affordable and readily available SDHC/ SDXC
memory cards. Delivering Ultra HD resolu-

Blackmagic Design Production Camera 4K

top-of-the-line, full-frame DSLR capable of
capturing full 4K video resolution at 24/25
fps with high-definition video capture available at up to 60 fps.
The Canon EOS C500, also compatible with EF lenses, is a dedicated camcorder solution capable of both full 4K and
Ultra HD resolutions at a frame rate of up
to 60 fps.
There are several new Cinema Lenses
developed to meet the heightened resolution requirements of 4K video. This line is
available in EF mount for Canon cameras
as well as PL mount, a common lens mount
for cinema lenses and movie cameras. (The
C500 is also available with a PL mount.)
These solutions are priced for professional
users. List Price: $11,999 (Canon EOS-1D C,
body only); $19,999 (Canon EOS C500).
For those invested in Canon lenses, you
have another much more affordable option
in the Blackmagic Design Production

tion at 24p, 50p or 60p frame rates, the
system also captures HD at 60i/60p and
50p/50i. Live 4K productions can be livestreamed (the system works by splitting
the signal output through four HDMI ter-

Canon EOS-1D C

minals), and there are two XLR connectors
with phantom power for working with audio. You’ll also find pro features like focus
assists, manual and auto control of focus,
iris, gain, shutter, gamma, color matrix and
white balance. List Price: $4,995.
One of the most affordable 4K camera
solutions available is the diminutive GoPro
HERO3 Black Edition, but the only fullresolution frame rates available are 15 fps,
12 fps and 12.5 fps for adding slow-motion
effects. That being said, there are a number of frame rates available for HD video,
and the camera is designed as a durable
video camera that can be placed almost
anywhere, making it an ideal choice as a
B-camera for 4K projects. List Price: $399.
With pricing to match, RED cameras are
designed for use by professional filmmakers. The latest DRAGON sensor actually
will capture video at up to 6K resolution at
6144x3160. The RED SCARLET X is the
most affordable option from the company
to offer 4K, but a body purchase requires
a number of extra items to be able to piece
together the dedicated cinema systems,
like RED’s very expensive lenses and the
REDMAG solid-state drives. This modular
design allows you to adapt the camera body
as technology advances. RED also manufactures the very first 4K-capable camcorder, the RED ONE, as well as the RED EPIC.
List Price: $7,950 (SCARLET-X, BRAIN
only); $725 (REDMAG 1.8-inch SSD drive).

TABLETS AND
COMPUTER DISPLAYS

GoPro HERO3 Black Edition

There has been a lot of criticism of 4K
televisions, since you have to be sitting
dpmag.com | March/April 2014

Q

53

Toolbox
very close to a display to notice the heightened resolution and sharpness. People sit
very close to computer displays and tablets, however, and with affordable options
finally available on the market, they’re
quickly becoming some of the most exciting ways to enjoy 4K material. Currently,
the only options for full 4K resolution are
professional editing monitors available
Panasonic Toughpad 4K UT-MA6 20-inch tablet

Dell UP2414Q UltraSharp 24-inch monitor

from Panasonic, Sony, TVLogic and a
few others, though these systems cost
tens of thousands of
dollars. Right now, UHD systems are available at much more accessible pricing.
The 28-inch PB287Q from ASUS
is one of the most affordable 4K display
options around at an expected street
price of $799. At the same resolution of
3840x2160, ASUS also offers the larger
31.5-inch PQ321Q display with dual HDMI
ports instead of the single HDMI connection
you’ll find in the PB287Q, though the price
is much higher (see the Apple entry).
Also priced aggressively, the Ultra
HD resolution Lenovo ThinkVision
Pro2840m monitor with articulating
stand houses three HDMI connections
and four USB ports for use with multiple
external devices. Announced at the same
time, the ThinkVision 28 (as in 28-inch)
“smart display” has the same specifications, but it can also function on its own as
a tablet of sorts that runs on the Android
4.3 operating system with multi-touch capabilities. (It won’t be available until July,
however.) List Price: $799 (ThinkVision
Pro2840m); $1,199 (ThinkVision 28).
54

Q

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Dell is currently producing three
UHD monitors: the budget-oriented
UP2414Q
UltraSharp
24-inch monitor (which can be swiveled to
portrait mode), the 28-inch P2815Q and
the 31.5-inch UP3214Q. For photo and
video editing, the UP3214Q and the smaller UP2414Q cover 99% of the AdobeRGB
and 100% of the sRGB color spaces with
a wide viewing angle of 176º and 178º, respectively. You can also set up Custom
Color modes, and advanced editors can
even download look-up tables (LUT) for
viewing footage in commonly used filmic
“looks.” Connections include an HDMI,
USB 3.0 and a six-in-one media card reader, as well as DisplayPort ports for working with additional monitors. List Price:
$3,499 (UP3214Q); $1,299 (UP2414Q);
$699 (P2815Q).
On the higher end of the performance
spectrum, Panasonic’s Toughpad 4K
UT-MA6 20-inch tablet packs a dense
pixel count of 230 ppi (pixels per inch) into
the 3840x2560 display for top-of-class
resolution and sharpness. With the optional Panasonic desktop cradle, the tablet
can be used as a desktop solution. It runs

Windows 8.1 Pro, and an optional Bluetooth
Panasonic Electronic Touch Pen is available for sketching or adding handwritten
notes. A lower-cost 4K model, the 20inch Toughpad 4K UT-MB5, offers similar
abilities. List Price: $6,999 (Toughpad 4K
UT-MA6); $5,999 (Toughpad 4K UT-MB5).
Apple has finally unveiled an update
to their long-awaited professional desktop
computer solution, the Mac Pro, which is
capable of supporting multiple 4K displays
through both HDMI and Thunderbolt connections (3840x2160 at a 30 Hz refresh
rate and 4096x2160 at a 24 Hz refresh
rate, though display mirroring isn’t supported at this resolution). In 60 Hz operation,
the Mac Pro supports the 32-inch Sharp
PN-K321 and 31.5-inch ASUS PQ321Q monitors through the DisplayPort connection.
The latest MacBook Pro will also work with
a 4K display or Ultra HD television at the
same specs, but the Mac Pro will support
playback on up to three 4K displays. List
Price: Begins at $2,999 (Mac Pro); begins
at $1,199 (MacBook Pro); $3,595 (Sharp
PN-K321); $2,999 (ASUS PQ321Q).
DP

Apple Mac Pro

HIGH-POWER
MONOL TS
FOR VERSATILITY IN AND
OUT OF THE STUDIO,
THESE HIGH-OUTPUT
STROBES ARE IDEAL
BY WILLIAM SAWALICH

W

hen it comes time to invest
in serious strobe lighting,
many photographers opt
for the versatility of monolights.
Whereas pack-based systems typically provide greater output (measured
in watt seconds, or ws, equivalent to
joules), monolights are modular, selfcontained and less expensive—making
them the ideal entrée into the studio
strobe lighting universe.
But the typical monolight is limited
by power. The most prevalent monolights are under 600ws, commonly in
the 300ws range. While these relatively
low-power lights can work fine in
the studio, they can present a major problem outside of it: They’re
practically impossible to balance
with daylight.
A typical sunny-day exposure is 1⁄100
sec., ƒ/16, ISO 100. This requires a lot of
light from a strobe to equal the sun’s intensity. The workaround with an underpowered strobe is to position it very close
to the subject. To overpower daylight—
that is, eliminate its influence in the image and rely solely on the strobe exposure—even more power is needed. For
lighting flexibility, high-power strobes are
crucial. Thankfully, high-power monolight options are increasing.

MONOLIGHT BENEFITS
AND DRAWBACKS
Monolights are inexpensive and
modular because, unlike pack and head
56

Q

Digital Photo | dpmag.com

Paul C. Buff Einstein E640

systems, they can be purchased one light
at a time, and different brands of lights
can work together. Although you’re not
locked into a single system with monolights, it can still be wise to consider the
variety of modifiers available—from umbrellas to reflectors, snoots to softboxes—
before investing in a particular brand.
Proprietary speedrings and connectors
could tie you to a specific line, anyway.

Adjusting one monolight’s output
has no impact on the power available to
other lights, and if one monolight fails,
the remaining heads continue to function. If you’re using multiple lights over
a large area, monolights can be helpful. They have built-in photo sensors
for slaved triggering across distances,
and better units have integrated (or at
least optional) radio receivers for sync-

ing multiple units without having to maintain line of sight.
Some of these remotes can also
adjust output settings, as well. As
long as there’s electricity near the
position of each monolight—
or an optional battery pack, a
popular monolight accessory, is
used—they can be placed as far
from one another as necessary.
By comparison, a pack and head
system tethers each light to the
same pack, limiting their spread, and
isn’t as easily powered by battery.
High-end monolights increasingly
offer more features and benefits over
their entry-level cousins. Color consistency—the ability to precisely reproduce
the same color temperature every time,
flash after flash, even as bulbs age and
voltage changes—is the mark of a wellmade monolight. Other indicators of
the best lights are build quality, “finetunability” (the ability to make very
small adjustments to the light’s output)

Profoto D1
Air 1000

Interfit Stellar X

and recycle time. A full-power flash may
take five seconds to recycle in an inexpensive unit, but only two seconds in a
high-end model.
Flash duration is also a useful measurement of a monolight’s performance,
as the ability to produce brighter light
in a shorter time makes stopping fast
action easier. When working with a

high-output
monolight
outdoors, short flash durations for freezing motion
are extremely helpful.
Another useful flash feature is called “auto-dumping.”
With it, strobes automatically
discharge excess power from
the capacitors when the output level is dialed down. Without this feature, the photographer has to
manually discharge (i.e., fire the strobe)
when decreasing power in order to empty the capacitor of the excess power.
Fan cooling in monolights is helpful
for dissipating heat from model lamps
and high-strobe wattages, as well as
when using light modifiers that retain heat—like snoots, softboxes
and grids.
While it’s increasingly rare to
find a flash head that requires
factory service to replace model
lamps and flash tubes, keep an
eye out when shopping for monolights (or any kind of strobe),
as you’d hate to have to pay for a
repair for something as simple as
changing a light bulb.

HIGH-POWER
MONOLIGHT MODELS
The Flashpoint 1820A is an inexpensive 900ws fan-cooled monolight. It features stepless power down
to 1/8 output—approximately 112ws—
and low sync voltage to make the strobe
safe for digital cameras via a regular PC
connection without requiring an inline Safesync voltage regulator. Flash
dpmag.com | March/April 2014

Q

57

Tamron
Macro

EQUIPMENT: HIGH-POWER MONOLIGHTS

Hensel Integra 1000 Plus

©Rick Lieder, BugDreams.com

Think Big, Shoot Small

Explore the macro world and create
stunning, high-impact photos of
tiny subjects with Tamron’s 90mm
and 180mm lenses. Rendering the
smallest details with clarity and sharpness the SP 90mm F/2.8 Di VC USD
MACRO and the SP AF180mm F/3.5
Di LD [IF] MACRO give you true
1:1 macro capability on full-frame or
APS-C DSLRs.
“I often photograph in non-ideal and
difficult conditions, and it helps to
know I can depend on the sharpness
and smooth focus of Tamron’s 90mm
and 180mm macro lenses, even when
I can’t use a tripod. Each lens has a
beautiful bokeh, essential to my visual
style and approach. These lenses are
my partners in vision.”
—Rick Lieder, BugDreams.com

To learn more, go to:
tamron-usa.com
58

Q

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duration varies from 1⁄600 to 1⁄1000 sec., and
the Flashpoint 1820A recycles in three
seconds to full power. The unit weighs
six pounds, measures 13x8x6 inches and
ships with a long, 15-foot power cable.
A 1200ws model is also available. Estimated Street Price: $299.
Bowens makes the Gemini 750 Pro,
a 750ws monolight with a short 1⁄2300
sec. flash duration. Five-stop adjustability is available in tenth-stop increments,
down to 13ws. An optional Travelpak
battery makes the unit useful even in
remote locations, and the 1.5-second
recycle time is fast for full-power
flashes. Another notable feature is the
Pulsar/PocketWizard card slot to integrate an optional radio receiver. The
unit’s multi-voltage power system automatically selects the correct voltage
when plugged in, making it adaptable
to anywhere there’s electricity, anywhere
in the world. Measuring 16x7x6 inches,
the Gemini 750 Pro weighs 8.8 pounds.
Estimated Street Price: $1,049.
Elinchrom’s Digital Style 1200RX is
a compact fan-cooled flash unit. From
full 1200ws output down to just 36ws,
it offers a six-stop range in tenth-stop increments. An optional two-way remote
control allows the power settings to be
adjusted remotely from the camera position—taking advantage of the ability to
move monolights far afield—and it can
even be controlled by PC and Mac computers when tethering. Ultra-consistent
flash output is ideal for multi-shot applications where even small variations in

power are unacceptable. It has a fast 1⁄1450
sec. flash duration and a 2.3-second recycle time in a fairly compact 7.6-pound,
12x6x6-inch unit. Low-voltage (5v) sync
eliminates the need for a voltage regulator, too. Estimated Street Price: $1,399.
With its 1⁄2000 sec. flash duration and
2.1 seconds to full recycle, the Hensel
Integra 1000 Plus is a high-performance,
feature-rich monolight. Built-in fourchannel radio receivers augment standard optical slaves, and multi-voltage
compatibility makes the unit useful
worldwide. It has a six-stop range down
to 1/32 power in tenth-stop increments,
and the LED display makes for easy
reading of adjustments. The aluminum
housing on the 16x9x6-inch unit is
heavy-duty without being heavy, weighing in at 8.6 pounds. Estimated Street
Price: $1,110.
Interfit’s Stellar X monolight offers
1000ws of power with easy-to-use analog controls. Stepless power adjustments
cover a five-stop range, down to 1⁄16 sec.,

(roughly 30ws), with a three-second recycle time at full power. The fan-cooled
unit is 20x10x6 inches and weighs just
six pounds. Estimated Street Price: $479.
The Einstein E640 from Paul C.
Buff offers 640ws of power adjustable
in tenth-stop increments over a ninestop range—down to 1/256 power, or
a miniscule 2.5ws (useful for balancing with low-level ambience). The short
1.7-second recycle time at full power
is complemented by a superfast 1⁄13,000
sec. flash duration for efficient actionstopping power. Color Consistency
mode lengthens that flash
duration, but ensures color
precision, making the unit
customizable for a given
shot’s needs. With alldigital controls and an
LCD display, the fancooled Einstein E640
has low-voltage safe
sync and automatically
senses input voltage to
work worldwide (from
95 to 265 volts). Remote-control capability
is optional via Cybersync,
and the unit’s Easy Set button makes returning to default
settings a snap. A Micro SD card
slot readies the unit for firmware
updates in the future. This feature-filled light is also compact and light, weighing
just 4.3 pounds

at just 8x7x5 inches. Estimated Street
Price: $499.
The StarFlash 650ws monolight from
Photoflex offers adjustability down to
1/8 power—a five-stop range—and a
1
⁄1700 sec. flash duration at full power,
which recharges in four to five seconds.
It has a rugged aluminum chassis with
a rubberized finish for durability, and
a proportional model lamp for a whatyou-see-is-what-you-get look at the
light’s output. The StarFlash 650 measures 16x6x5 inches and weighs 7.1
pounds. Estimated Street Price: $499.
For professonials with bigger budgets,
Profoto’s D1 Air 1000 promises quality
and performance. The 1000ws unit is adjustable in tenth-stop increments across
a seven-stop range, down to 15.6ws
(1/32 power). Color consistency at 1⁄1800
sec. flash duration, as well as fast twosecond full power recycling and integrated Profoto Air radio sync control, make
the unit useful for a variety of pro assignments. At 12x12x7 inches, the D1 Air
1000 weighs just 6.5 pounds. Estimated
Street Price: $1,749.
DP

Bowens Gemini 750 Pro

dpmag.com | March/April 2014

Q

59

SOFTWARE

onOne Software

Perfect Photo Suite 8
A COLLECTION OF SLICK APPS
TO HANDLE YOUR COMPLETE
PHOTO WORKFLOW
BY THE EDITORS
istorically, photo software
could be divided into three
basic types: organizers, editors and special-effects filters. Over the
years, the lines have blurred, with each
type adding functions from the other
two. onOne Software’s Perfect Photo
Suite 8 is an example of all three types
coming together in one package. Eight
apps, organized into Modules, form a
single workflow that many photographers will find offers every necessary
tool for their typical photo enhancements. Among many new features in
version 8 are 13 new adjustable filters,
Perfect Eraser to quickly remove unwanted objects from an image and customizable presets for effects.
This software is available in three
editions. The Standard Edition works
as a standalone app, the Lightroom
& Aperture Edition integrates with
those applications, and the Premium
Edition also offers integration with
Photoshop. List Price: $79 (Standard);
$129 (Lightroom & Aperture); $179
(Premium). Contact: onOne Software,
www.ononesoftware.com.

H

EIGHT MODULES
BROWSER: The Browser Module
is where you get access to your files,
with tools to search and sort. It also
displays basic metadata for a selected
file. Browser also integrates with cloud
storage services like Dropbox, Google
Drive and iCloud Photo Stream for direct access to those files—very handy if
you use those services.
LAYERS: This Module lets you
work with multiple layers, either copies
of the same photo or for compositing
multiple images. The Layers workspace
has tools to crop, mask and retouch,
along with layer blending controls.
60

Q

Digital Photo | dpmag.com

LEFT SIDEBAR

In the Browser Module, you’ll find all of
your available files. In the Layers Module, this
area also serves as a file browser, handy if
you’re compositing multiple images. In all other
Modules, this area displays preset effects, with
the exception of the Mask Module, which omits
the left sidebar entirely in favor of expanded
workspace for a larger view of your image.

ENHANCE: In the Enhance workspace (shown here), you have access
to a variety of preset effects in the left
sidebar, and controls to refine those effects or create your own. This Module
is where you’ll probably spend most of
your time.
PORTRAIT: Open a portrait in the
Portrait Module, and it automatically

detects faces in the scene, and specific facial features to enhance (you can manually add faces it doesn’t detect). Tools are
available to retouch skin, whiten eyes
and teeth, and correct color tones.
EFFECTS: Here, you’ll find lots
of additional effects you can apply to
a photo: vignettes, borders and more
wild visual effects to achieve a particular

MODULE SELECTOR

Here’s where you select the task at hand. Choosing a Module displays tools specific to that activity so
you can focus on just those adjustments. It’s a somewhat guided approach as opposed to Photoshop, where
you’re left to search among menus for the tool you need.

RIGHT SIDEBAR

In every Module except for Browser, this area
displays controls to fine-tune preset effects,
or create your own. This is where most of your
adjustments will be made. There’s also an information panel at the top for image navigation and
zoom, fine detail inspection with a loupe, and
histogram and metadata info.

aesthetic. Each effect is applied on its
own layer so you have blending controls to fine-tune the results.
B&W: This Module makes conversion to black-and-white as easy or as
detailed as you’d like. You can apply numerous presets, or use slider controls to
control every aspect of the conversion.
There are also brushes that let you paint

contrast, brightness and other refinements to select areas of your photo.
MASK: Use the Mask Module
when you want to knock out a subject from its background. Paint over
objects you want to remove (the sky,
for example), and Mask analyzes the
color data and removes just that area.
Another brush lets you refine the edge.

Mask does all of the heavy-lifting.
RESIZE: Need a larger file for printing? Use Resize to enlarge older, lower-resolution digital photos, or blow
up a favorite image for poster-sized
printing. You can control grain and
sharpness, and even create a “gallery
wrap” with borders for printing to a
wrapped canvas.
DP
dpmag.com | March/April 2014

Q

61

Lumix DMC-GH3 .JSSPSMFTT 4ZTUFN $BNFSB

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Flashes!
h !
AF Flashes
4# ......146.95
4# ......326.95
4# ......................................... 546.95
3 8JSFMFTT 5XJO 'MBTI..............................
3$ 8JSFMFTT 5XJO 'MBTI 4ZTUFN..............
DX ED-IF Lenses for Digital Only
 'JTI&ZF.....................................
 ( "'4 
...................... 196.95
 ( "'4 .JDSP 
............. 276.95
 ( &% 73 .JDSP 
........... 526.95
 ( "'4 
......................
 ( "'4 
...............................
 ( "'4 73 
.................
 ( "'4 
............................
 ( "'4 ** 
...................
 ( "'4 73 
...... 196.95
 ( "'4 73 
.... 396.95
  ( "' 4 73 ** 
........ 846.95
  ( "' 4 &% 73 
...... 996.95
 ( "'4 
.......................
 ( "'4 73 
....... 246.95
 ( "'4 73 
.... 396.95

D-Type AF Lenses
 % &% ..........
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.......
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XJUI )PPE..........................
 % &% 1$& 
............................
 ( "'4 
...................... 696.95
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.......
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 ( "'4 
...................... 216.95
 ( "'4 
.................................
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........................
 ( "'4 &% .JDSP 
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 ( "'4 
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.............. 746.95
 ( "'4 &%*' 
...... 1886.95
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..........................
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......... 1296.95
  ( "' 4 &% 73 
.... 1046.95
 ( "' 4 &% *' 73 ** 
...... 2396.95
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...............
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)7-'................ 149.99 )7-'4 ............. 149.99
)7-'................ 398.99 )7-'. ............ 548.00
Digital Lenses
 $BSM ;FJTT 
.......................................... 1399.99
 
............ 449.99  .BD 
.. 799.99
 %5 $BSM ;FJTT 
........................ 999.99
 %5 
........................................ 799.99
 %5 
...................................... 649.99
 ( "10 
..................................... 1999.99
 
........................................... 249.99

10-22/3.5-4.5
EF-S USM %JHJUBM -FOT

18-135mm f/3.5-5.6
ED AL (IF) DC WR %JHJUBM -FOT

18-200/3.5-5.6 DX G
AF-S ED-IF VR II %JHJUBM -FOT

SB-910 Speedlight
i-TTL 4IPF .PVOU 'MBTI

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Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers’ rebate forms. Not responsible for typographical or illustrative errors. © 2000-2014 B & H Foto & Electronics Corp.

Alpha A7 DSLR

OM-D E-M1 Mirrorless System Camera

t 'VMM 'SBNF &YNPS $.04 4FOTPS
t %JSFDU $PNQBUJCJMJUZ XJUI &NPVOU -FOTFT
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,JU XJUI NN -FOT #SOA7KB

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D5200 ,JU XJUI NN 73 #NID52001855* ............896.95
D3200 ,JU #MBDL XNN 73 #NID32001855*.......599.95
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24

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Body Only #NID800 .............................2996.95

36

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16

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Body Only #NID610............................................ 1996.95
,JU XJUI NN 73 -FOT #NID6102485.......... 2596.95

AF LENSES

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Body Only #NID4..................................5996.95

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DC o GPS %JHJUBM 4-3T 0OMZ t DG – Optimized for Digital SLRs

C = Canon N = Nikon O = Olympus P = Pentax S = Sigma SM = Sony/Minolta
H – HSM Model with Canon, Nikon, Sigma
SKU #
Available for Price
R – Rear Slip-in Gelatin Filter Slot

#SI1528DG*
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#SI1820035*
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C, N, P, S, SM
C, N, P, S, SM
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C, N, S
C, N, P, S, SM
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C, N, P, S, SM
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C, N, P, S, SM
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C, N, P, S, SM
C, N, S, SM
C, N, P, S, SM
C, N, P, S, SM
C, N, P, S, SM
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C, N, P, S, SM
C, N, S
C, N, P, S, SM
C, N, P, S, SM
C, N, P, S, SM
C, N

609.00
629.00
449.00
499.00
899.00
499.00
369.00
499.00
969.00
969.00
1099.00
3399.00
699.00
479.00
949.00
669.00
499.00
499.00
549.00
899.00
1099.00
1659.00
1399.00
169.00
359.00

AF LENSES

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DX – for Digital SLRs Only FX – Designed for full frame DSLRs

*** Also Available for Sony Alpha DSLR

FX
DX
DX
DX
FX
FX

100/2.8 Pro D Macro (52ø)
10-17/3.5-4.5 ATX Fisheye
11-16/2.8 Pro II (77ø)
12-24/4.0 Pro II (77ø)
16-28/2.8 Pro (77ø)
17-35/4 Pro (82ø)

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

Nikon AF
#TO10028PNAF
#TO101735NAF
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—
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#TO1735F4FXN

Price
489.00
669.00
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In Stock – Call for Prices
Di GPS EJHJUBM  ýMN 4-3 DBNFSBT t Di-II GPS %JHJUBM 4-3T 0OMZ t Di III for mirror-less cameras Only
C = Canon

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

N = Nikon

P = Pentax

** Price After Rebate (Exp. 3-31-14)

60/2.0 LD IF Macro (55ø)
90/2.8 Macro (55ø)
10-24/3.5-4.5 (77ø)
17-50/2.8 XR LD IF Asph. (67ø)
17-50/2.8 XR VC LD IF Asph. (67ø)
18-200/3.5-6.3 (62ø)
18-200/3.5 6.3 VC (62ø) Black or Silver
18-270/3.5-6.3 VC PZD (62ø)
24-70/2.8 VC USD (82ø)
28-75/2.8 XR (67ø)
28-300/3.5-6.3 XR LD (62ø)
70-300/4.0-5.6 VC USD (62ø)
200-500/5-6.3 LD IF (86Cø)
1.4x SP AF Pro Teleconverter
2x SP AF Pro Teleconverter

SM = Sony/Minolta

SKU #
#TA602DI*
#TA9028M*
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#TA70300*
#TA2005005*
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SE = Sony E Mount

Available for Rebate
C, N, SM
—
C, N, P, SM
—
C, N, P, SM
—
C, N, P, SM
—
C, N
—
C, N, P, SM $20
SE
—
C, N, SM
$50
C, N, SM
—
C, N, P, SM
—
C, P, SM
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$100
C, N, SM
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C, N
—
C, N
—

Muse
Selective Focus SLR Camera Lens

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

12-24mm
f/4.0 AT-X Pro II DX Digital Lens

58 AF-2 TTL
Shoe Mount Flash

'BTU BOE -PPTF
Ideal for tabletop and
macro photography.
Squeeze the Muse to
focus, and bend your
4XFFU 4QPU BSPVOE
the photo.

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Price
524.00
499.00
499.00
499.00
649.00
179.00**
739.00
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1299.00
499.00
419.00
349.00**
949.00
224.00
254.00

for Canon, Leica, Nikon, Olympus,
Pentax, Sony #LEMU* .............149.95

for Canon, Nikon,
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#TA175028*.............................. 499.00

for Canon, Nikon
#TO12244DX* ........................... 399.00

for Canon, Leica, Nikon,
Olympus, Panasonic, Pentax,
Samsung, Sony #ME58AF2*.. 399.99

10-20mm f/4-5.6
EX HSM DC Digital Lens

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

EM-140 DG TTL
Ringlight Flash

285HV Professional
Auto Shoe Mount Flash

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subjects in fine
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for Canon, Nikon,
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Sony #SI102045D*...................479.00

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D4 DSLR

D610 DSLR
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15/2.8 EX Diagonal Fish-Eye R
20/1.8 EX DF RF Aspherical (82ø)
28/1.8 EX DF Asph. Macro (77ø)
30/1.4 HSM (62ø)
35/1.4 HSM (67ø)
50/1.4 EX (77ø)
50/2.8 EX Macro (55ø)
70/2.8 EX Macro (62ø)
85/1.4 EX HSM (77ø)
105/2.8 EX OS Macro (62ø)
150/2.8 EX APO Macro OS HSM (72ø)
300/2.8 APO EX HSM
8-16/4.5-5.6 HSM
10-20/4-5.6 EX HSM (77ø)
12-24/4.5-5.6 EX Asph. HSM R
17-50/2.8 EX OS HSM (77ø)
17-70/2.8-4.0 OS Macro HSM (72ø)
18-200/3.5-6.3 OS II HSM (72ø)
18-250/3.5-6.3 OS Macro HSM (62º)
24-70/2.8 EX IF HSM (82ø)
50-150/2.8 EX APO OS HSM (77ø)
50-500/4.5-6.3 APO OS HSM (95ø)
70-200/2.8 EX OS HSM (77ø)
70-300/4-5.6 Macro (58ø)
70-300/4-5.6 OS (62ø)

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D800 D-SLR

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032014

HOW-TO

Quick Fix

Dramatic Portrait Light

TURN A SNAPSHOT INTO A COOL SHOT WITH SIMPLE, CREATIVE LIGHTING | BY RICK SAMMON

T

here’s an old adage about portraiture: If you want an interesting portrait, don’t light the entire
subject. In other words, you can create
interesting lighting by creating interesting shadows. And when it comes
to shadows, keep this adage in mind:
Shadows are the soul of the picture.
Here’s something else important to
keep in mind when it comes to light
and shadows. A photograph isn’t a picture of an object. It’s a picture of light
on a subject. Creative lighting is often
the quick fix for a boring portrait.

The opening image for this column was taken
in a warehouse. My friend and I set up a cool,
painted background and then drove his car
into position.
64

Q

Digital Photo | dpmag.com

Here’s a shot that illustrates boring lighting, as
well as a boring pose.
To create the much more dramatic image, I
set up two Westcott Ice Lights, one in front of the
model to light her face and one behind the model
as a hair/separation light. I dialed down the natural light exposure so the added lights became the
main lights and created shadows.
To add extra interest to the photograph, I
used what’s called the disequilibrium effect, tilting the camera down to the side, which puts the
equilibrium of the image off just a bit. I also got
closer to the subject. When it comes to people
photography, the closer you are to the subject,
the more intimate the photograph becomes. I
photographed the model with my Canon EOS 5D
Mark III and Canon 24-105mm lens set at 24mm
for a wide perspective. Of course, the other factor

that improved the photo is the much cooler pose.
For both photographs, I had my ISO set at
4000. That relatively high ISO setting was required for a handheld shot due to the low light.
My original file did have a bit of noise. I removed
the noise with Topaz DeNoise, just one of several

Hey, one of the reasons why you’re reading Digital Photo magazine is because you like how digital effects can enhance a photograph. I’m with you.
As much as I may like an image, any image, I usually experiment with plugins to see how they can make it even more creative. For this photo, I applied

plug-ins that are available for noise reduction.
Newer versions of Lightroom and Adobe Camera
Raw also do a good job of reducing noise.
As an aside, my dad had a wonderful expression about noise. If a picture is so boring that you
notice the noise, it’s a boring picture.

the Duplex filter in Nik Color Efex Pro and then added a digital frame using
Image Borders. Explore plug-ins—they can help to awaken the artist within.
So, play with light for a quick fix for boring portraits, and remember,
shadows are your friend!
DP

Our friend RICK SAMMON has been writing for this magazine for more than 10 years. Visit with Rick at ricksammon.com to learn more about digital imaging.

dpmag.com | March/April 2014

Q

65

Exit

TOM GILLESPIE

“X” Marks The Spot
A finalist in our 7th Annual Your Best Shot Photo Contest,
this photo was taken from a helicopter while photographer
TOM GILLESPIE of Trinity, North Carolina, was en route
to an assignment. “I don’t remember much at all about the
shots from the assignment,” Gillespie confides, “but I sure
remember this one! The contrast of the black road against the

66

Q

Digital Photo | dpmag.com

white snow and the design of the ‘X’ element immediately
caught my eye. Because of the speed of the helicopter, I had
time for only a few frames, and this one was the only one that
properly caught the design elements I wanted.”
Nikon D300, Nikkor 55-200mm ƒ/4-5.6

© Ian Plant

Focal Length: 600mm; 1/100 sec.; F/9; ISO 800

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©2014 Micron Consumer Products Group, Inc. All rights reserved. Information is subject to change without notice. Lexar, the Lexar logo, and When Memory Matters are trademarks of Micron Consumer Products Group, Inc. The Micron logo is
a registered trademark of Micron Technology, Inc. All other trademarks or registered trademarks are property of their respective owners. Micron Consumer Products Group, Inc. is a subsidiary of Micron Technology, Inc.
333 457 DP