Popular Photography - May 2014

PERFECT
STORM
:
NATURE AT ITS
WILDEST
FULL
LAB&
FIELD
TESTS
NIKON
D3300
P.80
SAMSUNG
NX30
P.73
TAMRON
150-600MM
P.83
Pinhole
Time-Lapse
High-Speed
Photo Booth
Light Painting
Long Exposure
& Much More
P.42
Get Creative
With Your
Camera!

$I0NA U$ 0ook
Update, adjust & personalize. Customization
never thought possible. Sold separately.
$0vEREI0N.
The first, reigning over the Art line
of high level artistic lenses.
With a wide aperture of F1.4
and superior optics, the 35mm lens
sets a precedent of inspiring the
artist and returning stunning images.
SIGMA Corporation of America | 15 Fleetwood Court | Ronkonkoma, NY 11779, U.S.A. | Tel: (631) 585-1144 | www.SigmaPhoto.com
Follow us Twitter @sigma_photo and Facebook.com/sigmacorporationofamerica
Case and Hood LH730-03 included.
USA 4 Year Service Protection
35mm P1.4 00 P$N

50STORM CATCHER
How one photographer couples the
artistry of a monochrome master
with the courage of a daredevil
weather chaser. The result? A
portfolio that both fine art and
meteorological fans can embrace.
Photos by Mitch Dobrowner;
text by Jon Blistein
5 SUPER PHOTO PROJECTS
68 ANATOMY OF
A STUDIO SHOOT
How many professionals does it
take to pull off a singleand fairly
simplefashion shoot? We visit the
studio of a very busy clothing website
to find out. The answer may surprise
readers! By Matthew Ismael Ruiz
FEATURES
This how-to extravaganza provides practically everything you need to know to
produce great action-stopping, time-lapse, pinhole, paint-with-light, and DIY
photo booth projects. Cant decide which to try? Go for broke and do all five!
By the Editors of Popular Photography
57
HOW TO MAKE GREAT PICTURES MAY 2014 VOLUME 78, NO. 5
POPPHOTO.COM MAY 2014 POPULAR PHOTOGRAPHY 5

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

A
N
D

S
U
B
S
C
R
I
B
E
R

C
O
V
E
R
S
:

D
A
V
I
D

A
R
K
Y

(
X
-
R
A
Y
)
,

M
I
T
C
H

D
O
B
R
O
W
N
E
R

(
S
T
O
R
M
)
;

T
H
I
S

P
A
G
E
:

B
R
A
D

J
E
N
K
I
N
S

(
P
E
N
G
U
I
N
S
)
;

D
A
R
R
E
N

M
O
O
R
E

(
S
E
A
S
C
A
P
E
)
.

P
R
E
V
I
O
U
S

P
A
G
E
:

T
O
M

S
M
I
T
H

(
O
R
A
N
G
E
)
;
A
N
D
R
E
W

S
.

G
E
R
A
C
I
/
D
I
S
T
R
I
C
T

7

M
E
D
I
A

(
C
I
T
Y
S
C
A
P
E
)
;

A
N
D
R
E
W

W
A
T
S
O
N

(
B
E
A
C
H

C
H
A
I
R
S
)
;

H
A
R
O
L
D

R
O
S
S

(
T
R
E
E
)
;

S
T
A
N

H
O
R
A
C
Z
E
K

(
G
R
O
U
P

P
O
R
T
R
A
I
T
)
;

M
I
T
C
H

D
O
B
R
O
W
N
E
R

(
L
A
N
D
S
C
A
P
E
)
;

P
E
T
E
R

K
O
L
O
N
I
A

(
S
T
U
D
I
O
)
46
6 POPULAR PHOTOGRAPHY MAY 2014 POPPHOTO.COM
32
13
NEXT
13 WE WANT THIS The Nikon D4s
delivers the highest chip sensitivity yet: ISO
409,600. Now you can shoot by starlight.
14 JUST OUT A Panasonic ILC
flagship, Sigmas next Foveon camera,
a Nikon RAW converter, and other news.
18 ROUNDUP Flash and strobe
modifiers to make your lights softer, fuller,
more colorful, or just plain better.
SHARE
23 PHOTO CHALLENGE
This months winner aimed for the stars.
24 MY PROJECT An Alaskan
photographer transforms his bedroom
window into a picture window.
26 I, PHOTOGRAPHER She aims
her Canon at writers of the literary canon.
28 MENTOR SERIES On her
very first trek, this painter fell for the visual
riches of Irelandand for photography, too.
29 LETTERS You pelt us with
questions about Nikon DSLRs, the Sony
Alpha 7R, DIY refractographs, and more.
30 TECH TALK For those wondering
how your flashs output compares to the
competitions, we have some answers.
32 YOUR BEST SHOT This
month, charismatic animal couples prove
that two critters can be cuter than one.
HOW
37 CREATIVE THINKING Learn
how commercial pro David Arky shot this
months awesome cover image.
40 TIPS & TRICKS Add humor to
your selfies for sure-fire viewer appeal.
41 TRAVELING
PHOTOGRAPHER Wend your way
to Savannah, GA, to discover the heart of
southern charm.
42 SOFTWARE WORKSHOP
Try these six tricks to get the most out of
the lastest version of Adobe Camera Raw.
46 YOU CAN DO IT Lengthen your
shutter speeds for dreamy seascapes.
LAB
73 ILC TEST Samsung NX30 With
a new sensor, swiveling touchscreen, and
unique viewfinder, this is hot!
80 DSLR TEST Nikon D3300
Better bursts, a bigger buffer, and more.
83 LENS TEST Tamron 150
600mm f/56.3 Di VC USD Great focal
length range and, wow, that price!
DONT MISS . . .
8 EDITORS LETTER
10 SHOWCASE
94 TIME EXPOSURE
98 BACKSTORY
7642 Woodwind Drive, Huntington Beach, CA 92647
EXCLUSIVE DISTRIBUTION BY:
www.kenkotokinausa.com
PROFESSIONAL
Durable, Affordable
SLIK PRO series tripods use Super
A.M.T. (Aluminum, Magnesium, Titanium)
alloy to make them stronger and lighter
than standard metal tripods.
The best selling SLIK PRO 700 DX tripod
is a versatile and professional full sized
tripod designed to handle heavy camera
equipment. But despite it size it is very
light-weight and travels well. The SLIK
PRO 330DX is a smaller light-weight
tripod designed for the photo enthusiast.
PRO 700 DX
Max Height: 74.8 in.
Max Load: 15.0 lbs.
Weight: 7.1 lbs.
SUPER
A.M.T.
ALLOY
PRO 330 DX
Max Height: 63.0 in.
Max Load: 8.8 lbs.
Weight: 3.5 lbs.
SUPER
A.M.T.
ALLOY
Visit our website
for more information at

THE TOUGHEST FILTERS ON THE PLANET.

EDITORS LETTER
Little Bits of Advice
At this magazine, we have a term for our own
tendency to try to tell you everything you need
to know about every aspect of photography:
The Pop Photo Answer. Read this months
Tech Talk (page 30) on how fash is measured
for The Pop Photo Answer at its best.
But while our annual Big How-To Issue
always seems to show us at our most ency-
clopedic, this year the editors decided to focus
on just a handful of really cool photo projects that any photographer
can doand everyone should try at least once. Youll fnd a few of these
in our HOW section and more in the feature on page 57. (Just forgive us
for the cover featuring a photographic technique, X-ray, that you may
never be able to do. You can learn, though, how commercial and editorial
pro David Arky makes X-ray his own in Creative Thinking, page 37.)
In another rebellion against the Pop Photo Answer, I asked Arky and a
few other photographers whose work we love to give us their best tips or
techniquesin 140 characters or less. And the length of a tweet was all
these pros needed. Whether I am shooting an X-ray or conventional still
life, I always make a sketch to help clarify the composition and palette
of my picture, said Arky, whose Twitter handle is @david_arky.
Said landscape shooter Rodney Lough Jr., Move left, move right, a
mere seven inches at a time. When you can see the forest for the trees,
youve got it. Snap the shutter! Ever the maximalist, he sent more.
Heres one: Patience rewards those who wait for the wind to stop. The
not-so-patient will have leftand you will be alone when the shutter is
snapped. You can fnd him on Twitter @rodneyloughjr.
Use all your senses to take a picture. Close your eyes. Hold your
subjects hand. Listen carefully. Smell all around. Then open your eyes,
advised portraitist George Lange (@langestudio). He added another
portrait how-to: Focus on one point. Let your subject walk into that spot
and away. Then have them come so close they can lick your lens.
Sports shooter Brad Mangin (@bradmangin) has Americas pastime in
mind: A clean background, pretty light, great facial expression, and peak
action are all needed in one frame for me to love a baseball photograph.
So hooked am I now on these mini tutorials that Ive decided to start
a new hashtag, #PopPhotoTips, on our Twitter feed, @PopPhoto. Look for
more brief advice from pros there, and tweet your own back at us using
that tag. But never fearwell still
always have The Pop Photo Answer.
NEWSSTAND David Arkys X-ray of a
Canon EOS 1D X with 50mm f/1.4 EF
lens exemplifies the Big How-To. But see
p. 57 for stuff you can actually do.
SUBSCRIBER The same camera,
now fitted a tripod-mounted Sigma
50500mm f/4.56.3 OS lens, also got
Arkys X-ray treatment. See how on p. 37.
POPPHOTO.COM 8 POPULAR PHOTOGRAPHY MAY 2014
FOR CUSTOMER SERVICE AND SUBSCRIPTION QUESTIONS,
such as Renewals, Address Changes, Email Preferences, Billing and Account Status,
go to: PopPhoto.com/cs. You can also call 800-876-6636, email us at
popularphotography@emailcustomerservice.com, or write to Popular Photography,
P.O. Box 420235, Palm Coast, FL 32142-0235
EDITOR-IN-CHIEF MIRIAM LEUCHTER
ART DIRECTOR Jason Beckstead
SENIOR EDITOR Peter Kolonia
SENIOR EDITOR Dan Richards
FEATURES EDITOR Debbie Grossman
TECHNICAL EDITOR Philip Ryan
TECHNOLOGY MANAGER Julia Silber
ASSOCIATE EDITOR Matthew Ismael Ruiz
GROUP PHOTO EDITOR Thomas Payne
ASSISTANT PHOTO EDITOR Linzee Lichtman
DESIGNER Wesley Fulghum
EDITORIAL COORDINATOR Jae Segarra
CONTRIBUTING EDITORS Laurence Chen, Tim Fitzharris,
Lori Fredrickson, Ian Plant, Jeff Wignall
POPPHOTO.COM EDITOR Stan Horaczek
ASSISTANT ONLINE EDITOR Dan Bracaglia
IN MEMORIAM Herbert Keppler
EXECUTIVE VICE PRESIDENT ERIC ZINCZENKO
GROUP PUBLISHER GREGORY D. GATTO
PUBLISHER ANTHONY M. RUOTOLO Anthony.Ruotolo@bonniercorp.com
ASSOCIATE PUBLISHER, INTEGRATED SALES DEVELOPMENT Michael Gallic
FINANCIAL DIRECTOR Tara Bisciello
PHOTO AND TRAVEL MANAGER Sara Schiano Flynn
NORTHEAST ADVERTISING OFFICE
Shawn Lindeman, Frank McCaffrey, Chip Parham
AD ASSISTANT Amanda Smyth
MIDWEST MANAGERS Doug Leipprandt, Carl Benson
AD ASSISTANT Lindsay Kuhlmann
WEST COAST ACCOUNT MANAGER Bob Meth
AD ASSISTANT Sam Miller-Christiansen
DETROIT ADVERTISING DIRECTOR Jeff Roberge
MANAGER Edward A. Bartley
AD ASSISTANT Diane Pahl
DIGITAL SALES MANAGER Adam Miller
ADVERTISING COORDINATOR Irene Reyes Coles
DIRECTOR OF CUSTOM SOLUTIONS Noreen Myers
GENERAL MANAGER, DIGITAL BUSINESS DEVELOPMENT Shannon Rudd
SR. DIGITAL CAMPAIGN MANAGERS Amanda Alimo, Wilber Perez, Ben Chen
DIGITAL MARKETING PRODUCER Joey Stein
DIGITAL CAMPAIGN COORDINATOR Justin Ziccardi
DIGITAL SALES DEVELOPMENT MANAGER Elizabeth Besada
DIGITAL SALES COORDINATOR Mojdeh Zarrinnal
INTEGRATED SALES DEVELOPMENT DIRECTOR Alex Garcia
INTEGRATED SALES DEVELOPMENT MANAGERS Kate Gregory, Kelly Martin, Charlotte Grima
GROUP CREATIVE SERVICES DIRECTOR Ingrid M. Reslmaier
MARKETING DESIGN DIRECTORS Jonathan Berger, Gabe Ramirez
ASSOCIATE ART DIRECTOR Sarah Hughes
DIGITAL DESIGN MANAGER Steve Gianaca
GROUP EVENTS AND PROMOTIONS DIRECTOR Beth Hetrick
PROMOTIONS AND EVENTS DIRECTOR Michelle Cast
ASSISTANT EVENTS & PROMOTIONS MANAGER Vanessa Vazquez
CONSUMER MARKETING DIRECTOR Bob Cohn
RETAIL SINGLE COPY SALES: PROCIRC RETAIL SOLUTIONS GROUP Tony DiBisceglie
HUMAN RESOURCES DIRECTOR Kim Putman
PRODUCTION MANAGER Betty Dong
CORPORATE PRODUCTION DIRECTOR Jeff Cassell
GROUP PRODUCTION DIRECTOR Laurel Kurnides
CHAIRMAN Jonas Bonnier
CHIEF EXECUTIVE OFFICER Dave Freygang
EXECUTIVE VICE PRESIDENT Eric Zinczenko
CHIEF CONTENT OFFICER David Ritchie
CHIEF FINANCIAL OFFICER Nancy Coalter
CHIEF OPERATING OFFICER Lisa Earlywine
CHIEF MARKETING OFFICER Elizabeth Burnham Murphy
CHIEF HUMAN RESOURCE OFFICER Leslie Glenn
CHIEF BRAND DEVELOPMENT OFFICER Sean Holzman
VICE PRESIDENT, CONSUMER MARKETING John Reese
GENERAL COUNSEL Jeremy Thompson
THIS PRODUCT
IS FROM SUSTAINABLY
MANAGED FORESTS
AND CONTROLLED
SOURCES.

The worlds most mind blowing feature lms, television commercials
and music videos look amazing because they are lmed with digital lm
cameras! The new award winning Blackmagic Cinema Camera is unlike a
regular video camera or DSLR camera because its a true high end digital
lm camera! You get a true Hollywood cinematic look with 13 stops of
dynamic range, interchangeable lenses, high quality RAW and ProRes
le
recording plus much more!
Dramatically Better than DSLR Video
The Blackmagic Cinema Camera includes a large 2.5K
sensor for super sharp images that eliminate resolution loss
HD bayer sensors suffer from, while creating manageable
les that are not too big! The large screen LCD allows easy focusing and
the high speed SSD recorder lets you record in ProRes
, DNxHD
and
RAW le formats for Final Cut Pro X and DaVinci Resolve!
Super Wide Dynamic Range
The Blackmagic Cinema Camera captures an incredible 13
stops of dynamic range so you can simultaneously capture
the brightest highlights and the darkest shadows all at
the same time into the recorded le! This means you capture more of the
scene than a regular video camera can so you get more freedom for color
correction for a feature lm look! You also get a full copy of DaVinci Resolve!
Film Industry Quality
Every feature of the Blackmagic Cinema Camera has been
designed for quality. With 2 separate models, you can
choose from the worlds most amazing EF or MFT lenses
from crafters such as Canon
, Zeiss
and more. For extreme high end

work, you can shoot full 12 bit CinemaDNG RAW uncompressed les for
incredible creative range in DaVinci Resolve color correction, as well as the
worlds best chroma keying!
Accessories Built In
High end cinema cameras often require thousands of
dollars of extra accessories to make them work, however
the Blackmagic Cinema Camera includes accessories you
need built in! You get a large 5 inch monitor, super fast SSD RAW recorder
and professional audio recorder all built in! You also get UltraScope
software, used via the built in Thunderbolt
connection, for on set

waveform monitoring!
Lenses and accessories shown are not included
Shoot the next Hollywood blockbuster with the
worlds most amazing digital cinema camera!
Learn more today www.blackmagicdesign.com/cinemacamera
Blackmagic Cinema Camera
Includes DaVinci Resolve Software
$
1,995

P
H
I
L
I
P

R
Y
A
N
10 POPULAR PHOTOGRAPHY MAY 2014
SHOWCASE
*
NIKON D3300

POPPHOTO.COM POPULAR PHOTOGRAPHY 11
GET DUCKY
Philip Ryan, our technical editor, found these hand
painted ducks in a small shop in Kyoto, Japan. He
captured the intricate paint work using a Sigma
105mm f/2.8 EX DG OS HSM Macro lens on the Nikon
D3300. He shot with the camera mounted on a Benbo
1 tripod just inches from the left-hand figurine, to
make an exposure of 1/60 sec at f/10, ISO 200. For
our full lab and field test of this DSLR, see page 80.

WE WANT THIS
16
17
THE FIRST-EVER ILC WITH 4K VIDEO
AN EF TO E-MOUNT ADAPTER WITH ND FILTER
OUR ROUNDUP OF FLASH MODIFIERS
18
FOR THE first update to its
venerable flagship, the D4,
Nikon chose to refine rather than
16.2MP full-
frame sensor
11-fps bursts
CF and XQD
card slots
Gigabit
Ethernet
$6,497, street,
body only
nikonusa.com
mechanism to reduce vibrations
from mirror slap. The new
EXPEED4 processor can churn
out 200 continuous shots (with
autoexposure and autofocus) at
a blazing 11 frames per second,
up from the D4s 10 fps.
But Nikon didnt fix what
wasnt broken: The 91,000-pixel
RGB 3D Color Matrix Metering
and 51-point AF system from
the D4 remain untouched.
SPEED
BUMP
Nikons new flagship
hits ISO 409,600
reinvent, pushing the cameras
limits in sensitivity and speed.
Nikon says the D4s newly
developed sensor, a 16.2MP
full-frame CMOS imager,
improves on the D4s dynamic
range; the expanded sensitivity
now reaches an astonishing
ISO 409,600. The battery life is
improved, lasting up to about
3020 shots versus the D4s 2600,
and Nikon modified the mirror

4K FORAY
PANASONICS GH line of Micro
Four Thirds cameras have
been video-focused ever since
the runaway success of the
Lumix GH2. Its newest model,
This fagship ILC is the
frst to capture 4K video
14 POPULAR PHOTOGRAPHY POPPHOTO.COM
3-Layer Dip
Sigma has always faced
a challenge processing
the data from the many
pixels found on its Foveon
sensors. The latest
iteration reduces the
number of pixels on the
red and green layers, using
them only to provide color
information. This is then
added to the luminance
information captured on
the top layer, which also
provides the blue color
information. With fewer
pixels, processing is faster.
INSIDE TECH
> Getty Images
now allows
low-resolution
photos to be
embedded on
noncommercial
websites and
social media for
free. The photos
will have no
watermark, but
will be locked
in the Getty
Embedded
Viewer.
KILLER COMPACT
The next evolution of an unusual sensor
SIGMAS FOVEON sensor has
always been a little, well,
different, with its multi-layered
structure (see Inside Tech, at
right) and high nominal pixel
counts. And the companys
newest camera model with the
APS-C-sized Foveon X3 inside,
the dp2 Quattro, fits the bill.
Thinner and longer than its
predecessors in the Merrill line,
the Quattro has a new
Foveon that Sigma says
out-resolves the old
one by 30 percent. The
first of three planned
models, the dp2 sports
the GH4, takes it to the next
levelits the first ILC to
capture 4K video
The 16.05MP Live MOS
sensor and Venus Engine IX
processor can capture video
in QuadHD (3840x2160p30) or
Cinema 4K (4096x2160p24) at
bit rates up to 100Mbps. With
regular HD (1920x1080p60),
the bit rate can reach as high
as 200Mbps. A 10-bit video
stream can be output via
the HDMI 1.4a to an external
monitor or recorder.
Panasonic also introduced a
slew of accessories, including
a flash, shotgun mic, and
the DMW-YAGH Interface
unit ($1,998, street), which
sports two XLR inputs, four
SDI ports, and a 12V DC
power source for use with
professional video rigs.
The GH4
comes with
built-in NFC
and Wi-Fi,
a pop-up
TTL flash, a
stereo mic
and external
mic input.
Sigma dp2 Quattro
Price to be announced
sigma-global.com
a fixed 30mm (45mm full-frame
equivalent) f/2.8 lens. It has a
9-point AF system, and the leaf
shutter allows for flash sync at
all shutter speeds. The camera is
due in stores this summer.
M
A
T
T
H
E
W

I
S
M
A
E
L

R
U
I
Z

(
L
C
D

I
M
A
G
E
)
Panasonic Lumix GH4
$1,698, street, body only
panasonic.net

One step beyond
SP 150-600mm
F/5-6.3 Di VC USD
Capture clear, sharp images all the
way to 600mm. With advanced optical
technology, Ultrasonic Silent Drive
autofocusing and Vibration Compensation,
our stylish new zoom can take you closer
to the extraordinary.
Model A011
For Canon, Nikon and Sony* mounts
*Sony mount without VC
Hiroto Fukuda Focal length 483mm; f/9 at 1/2000 ISO 800
www.tamron-usa.com

SMARTPHONE CAMERAS continue to improve, but
until recently they were limited by their tiniest of
sensors. Sonys Android-based, waterproof Xperia
Z1 raised the bar last year with its 1/2.3-inch, 20.7MP
Exmor RS sensor. And now, with the new Xperia Z2,
Sony takes the improvements for photographers
even further, adding image stabilization and 4K video
(3820x2160p30) capture. The high-res LED display
grows to 5.2 inches from 5, and
the processor is upgraded to
Qualcomms newest quad-core
Snapdragon 801 chip.
BIGGER IS BETTER
Sonys waterproof smartphone gets an upgrade
> Watch out!
Its now illegal
to take photos
in Hungary
without first
getting
permission
from each
subject in the
photograph.
Unsurprisingly,
Hungarian
photo-
journalists are
some of the
new laws
harshest
critics.
> The
National
Press
Photog-
raphers
Association
awarded
Miami Herald
photographer
Al Diaz the
NPPA
Humanitarian
Award for
assisting in a
roadside
emergency
before fulfilling
his duties as a
photographer.
> The
Chinese
government
ordered Nikon
to stop selling
the D600 in
China after
the World
Consumer
Rights Day
television
program
reported on
defects in
the cameras.
Nikon will
cease sales
of the D600
and offer free
repairs.
NEW CONVERT
NEXT
*
JUST OUT
POPPHOTO.COM
Sony Xperia Z2
Price to be announced
www.sonymobile.com
SIX NEW BRIGHT EYES
Olympus filed patents for six new wide-
angle lenses with maximum apertures
close to f/1, four of them in Micro
Four Thirds mounts. They include two
12.7mm designs (f/1.05 and f/0.95),
plus a 14.27mm and 13.99mm, both at
f/1. Its too soon to say whether theyll
come to market, but the news could
mean a bright future for Olys lens
line and competition for Voigtlnders
Nokton 17.5mm f/0.95 for MFT.
THE LOWDOWN
WE LOVE lens adapters
anything that gives old glass
new life is OK in our book. The
Fotodiox Pro Vizelex ND Throttle
adapter will let you mount your
Canon EF or EF-S glass on a
Sony E-mount ILC camera such
as the Alpha 6000, and keep
infinity focus. Heres the twist:
Its blue ring houses a variable
neutral-density filter, letting
you control the amount
of light that reaches
the sensor without
affecting color or
depth of field.
The catch?
With no electronic
contacts, the adapter
loses you autofocus
and automatic
diaphragm control, and you
will have to set your aperture
before mounting it. So its
best-suited for video use, where
shooters prefer manual focus
and apertures remain constant
throughout a clip.
The adapter is made of brass
with a stainless-steel finish and
comes with a removable tripod
mount and 2-year warranty.
Fotodiox puts an ND
flter in a converter
Fotodiox Pro Vizelex ND Throttle
$100, direct
www.fotodioxpro.com
RAW Revise
Nikon Capture NX-D (Beta)
As Nikon has steadily
updated its line of DSLRs,
its premium companion
software, Capture NX,
has languished recently.
But Nikon has finally
released the new Capture
NX (currently in Beta),
with a redesigned user
interface. The updated
version, called Capture
NX-D, includes batch
processing, improved
multi-monitor support,
and a nondestructive
workflow that saves
adjustments as separate
files, but it no longer has
U-Point control. Capture
NX 2 cost $180, but
Capture NX-D will be free.

awarded by the editors of 28 leading photography magazines
Best Photo Lab Worldwide
Proud winner of the TIPA award
WhiteWall.com
*
P
i
c
t
u
r
e
d
:

H
o
u
s
e

o
f

S
a
v
r
e
d
a

b
y

W
e
r
n
e
r

P
a
w
l
o
k
,

f
r
o
m

L
U
M
A
S
.
C
O
M
Lambda & LightJet prints on
Fuji and Kodak paper,
pigment & canvas prints
Mountings on aluminum
and under acrylic
More than 3,000 framing
options
Custom sizes
Over 220,000 satisfied
customers
The lab of choice for
12,000 pros and 300
galleries
5-year guarantee
Winner of 47 awards from
the photo press
your
photo under
acrylic
$19
6x4 inches
gallery quality for your photos

POPPHOTO.COM
>Flickrs
six-year
partnership
with Getty
Images has
come to an
end, but
Getty told its
contributors
from Flickr
that their
contracts
remain
unchanged.
> Giottos
has launched
a new line
of tripods.
The Air series
offers four
kit options,
ranging from
2.4 to 3.3
pounds, with
prices from
$250 to $465.
> Time named
Makati City,
Philippines, the
Selfiest City
in the World,
determining
that there
are 258
selfie-takers
per 100,000
people in the
Philippines
financial
capital. It
ranked first
among 100
selfie-obsessed
cities.
> Leicas
newest limited
edition camera
sees Playboy
and Hello Kitty
joining forces
to celebrate
anniversaries.
The $1,264
Leica C sports
a picture of a
winking Hello
Kitty wearing
the famous
bunny ears.
WHEN IT comes to storage,
bigger and faster is usually
better, and with its new
UHS-II Speed Class 3 SD cards,
SanDisk pushes the boundaries
just a little farther.
Designed to handle the
rigors of 4K video capture,
the new SanDisk cards have
a maximum write speed of
250MBps and a maximum read
speed of 280MBps, though its
unlikely youll ever reach that
theoretical limit. A 16GB card
will run $75, street, while a
64GB version will go for $245.
In addition, SanDisks
new 128GB microSD card
($200, street) has a UHS-I
classification, a requirement for
shooting 4K video on microSD
cameras like the GoPro Hero3.
SanDisks new SD cards
are the fastestfor now
TOOLBOX
128MB
SOURCE: SanDisk
Westcott Zeppelin Deep Parabolic Softboxes
$399 When its time for the big gunsstudio strobesthis 39-inch
parabolic softbox helps focus and diffuse the light. It fits Profoto, Bowens,
and other strobes but costs much less than comparable models.
RayFlash Universal RingFlash Adapter $140
Ring flashes are excellent (but expensive) tools for portraits, flattering
faces with even lighting. If youre on a budget and have a regular hot-
shoe strobe, this RayFlash unit can convert it into a diffused ring light.
Spinlight 360 Gel Collection $40
These gels work with the Spinlight 360 system to color the light from
your flash unit. Included are 20 gels, two clear disks, and a clear storage
case that doubles as a modifier when filled with translucent objects.
Rogue Safari Pop-Up Flash Booster $35
Designed for the built-in flash on APS-C Canon and Nikon DSLRs, the
Safari claims to extend the range of your cameras flash, useful with
lenses longer than 100mm. It mounts to the cameras hot-shoe.
Gary Fong LightBlade Diffuser LB-01 $35
This inexpensive modifier for shoe-mounted flash units attaches with a
hook-and-loop fastening strap and softens your strobes powerful blast.
It flips up or down to act as a bounce or shoot-through diffuser.
PHOTOGRAPHY IS ALL about light, and when the sun doesnt
give you enough, you bring your own. But not all light is created
equal, so how do you make it do what you want? These flash
modifiers will help make your light softer, reach farther, change
color, or simply just look better.
128GB
Storage capacity of SanDisks newly
released microSD UHS-I model
Storage capacity of SanDisks
first microSD card, in 2004
SD SPEED
CHAMP
NEXT
*
ROUNDUP
FLASH MOD
TWO SIZES
FIT ALL
One of the two
RayFlash RingFlash
sizes should fit your
hot-shoe unit.

2014 Sony Electronics Inc. The Sony logo is a trademark of Sony. All rights reserved. Reproduction in whole or in part without written permission is prohibited.
All other trademarks are trademarks of their respective owners.
The Sony 7R is the worlds lightest full frame interchangeable lens camera thats so small,
youll take it everywhere. 36MP. OLED viewnder. Wi-Fi sharing all in a compact body that
will change your perspective entirely. Power of Imaging.
See the diference for yourself at www.sony.com/fullframe
A New Frame of Mind.
Sony
7R Compact Full Frame Interchangeable Lens Camera

P
H
O
T
O G
R
A
P
H
Y
P
O
P
U
LA
R

Vicki Jauron
FOLLOW US ON
Mentor Series Ultimate Photo Adventure
Dale Johnson Ido Meirovich
Scpicmbcr :-, :o:+
LONG ISLAND, NY

SCHEDULED TO APPEAR Limiicd io :o siudcnis pcr insirucior
Special thanks to our premier sponsor:
WORKSHOP COST: $1,150
Includcs in-ihc-icld insiruciion, cnirancc ccs, prcscniaiions, digiial rcicws,
and iransporiaiion io cach shooiing locaiion.
DAVID
TEJADA
REED
HOFFMANN
Visii Moniauk ihis all wiih ihc Mcnior Scrics and discocr
onc o Ncw York`s mosi piciurcsquc occanroni dcsiinaiions.
Capiurc Long Island`s naiural bcauiy and uniquc aiiraciions
wiih insiruciion rom Nikon procssional phoiographcrs Daid
1c[ada and Rccd Homann.
Join us ai Diich Ilains Bcach, Long Island`s mosi noiorious
suring localc, io phoiograph scasoncd surcrs in aciion alongsidc
brcaihiaking clis and crashing wacs. Swiich gcars and ollow
ncarby irails along ihc coasi io wiincss local mouniain bikcrs
naigaiing ihcir way ihrough ruggcd icrrain. Bcorc dcpariing
or ihc ccning, wc will isii ihc Moniauk Lighihousc. Icrchcd
aiop a rocky lcdgc on ihc casicrnmosi poini o Long Island,
ihc lighihousc is aailablc or shooiing rom iwo acsihciically
appcaling aniagc poinis.
Vc will coniinuc inland io a local wincry io cxpcricncc winc
making and iasiing whilc ocrlooking a landscapc o rolling
hills and incs. Surround yourscl wiih siunning sccncry and
rusiic dccor as you saiisy your own iasic buds wiih rcrcshing
wincs. Jusi in iimc or sunsci, ihc Mcnior Scrics will isii ihc
Moniauk Yachi Club io phoiograph sailboais as ihc ccning
lighi sciilcs upon ihc surrounding waicrs.
Expcricncc a blcnd o ari and naiurc ai LongHousc Rcscrc
Gardcns, a uniquc sculpiurc gardcn and arborcium in Easi
Hampion. Viih your camcra rcady, cniurc ihrough :o acrcs o
land pcppcrcd wiih ocr oo sculpiurcs. Siroll ihrough ircc-lincd
paihs whilc capiuring cxicnsic plani collcciions surrounding
ponds, duncs, and bridgcs. Bc on ihc lookoui or birds o prcy
whilc cxploring a naiional wildlic rcugc. Shorcbirds, songbirds,
and rapiors arc known io bc spoiicd during carly all monihs.
Build cxpcriisc and cxpand your phoiography skills whilc using
Moniauk`s naiural bcauiy as your backdrop. Register today!
Come to New York and try out some of the
latest equipment that Nikon offers including
their high-performance HD-SLRs, NIKKOR lenses,
the Nikon 1 System, and a variety of COOLPIX
compact digital cameras.
COOLPIX A D610 D800
WITH ADDITIONAL SUPPORT FROM:
REGISTER AT MENTORSERIES.COM
Ior morc inormaiion, call ioll-rcc sss-oo-o+os
Atif Saeed Junel Corales

www.meridianpro.com | 800-544-1370
Great Prints. GreatPrices. Easy Ordering. Its that Simple.
8x10
for
only
$
1.
69
Your choice of LAB CORRECTED or
NOCORRECTION for the same price.
PROFESSIONAL PRINTS
I
M
A
G
E

B
Y
T
H
E
R
E
S
A
T
H
U
R
M
A
N
I
M
A
G
E

B
Y

R
E
X

K
E
S
L
E
R
Metal Prints
Inks are infused directly into specially coated aluminum
sheets, using high temperature and pressure. Your
images take on a bright, vibrant, luminescent quality
when printed on metal through this process.
Q
4 diferent fnishes available
Q
Sizes from 4x8 to 30x40
Q
Rich vibrant color
Q
Durable prints without glass
Q
Waterproof
Hanging options:
Q
Easel back
Q
Float Mount
Q
Shadow Mount
Q
Standout
8x10 Metal Prints
$
16.
95
We ofer the highest quality photographic
prints in over 80 sizes, up to our 10 ft.
Panoramix prints. We also ofer a wide
variety of other products, including:
standouts, books and albums, cards,
iPhone covers, mugs, and much more.
Visit our website to browse through all our
products and see pricing. You can sign up
and begin ordering today.
Easel Back
shown.

24
32
26
ALASKAN WINDOW GAZER
PHOTOGRAPHERS WRITE STUFF
YOUR BEST ANIMAL PAIRS
MAY 2014 POPULAR PHOTOGRAPHY 23
SHARE
CONVERSATION, INSPIRATION, CONTESTS, AND YOUR QUESTIONS ANSWERED
STARRY
NIGHT
A reader looks up
and shoots for the stars
PHOTO CHALLENGE
D
O
U
G
L
A
S

C
R
O
F
T
IT WASNT hard for Douglas Croft, 55,
to convince his shooting buddy to
drive up to the ancient bristlecone
pine forest outside Big Pine, CA, to
capture the night sky. At the Patri-
arch Grove in the White Mountains,
altitudes reach as high as 11,000
feet, and primordial trees dot the
stark landscape. I wanted something
natural for a foreground, Croft says.
These twisted, gnarly trees are so
old and uniqueperfect to showcase
the ancient light of the Milky Way.
So the fanance manager from
San Jose, CA, affxed an 1116mm
AT-X Pro DX Tokina lens to a tripod-
mounted Nikon D7000. With the lens
set to 13mm, his exposure (20 sec at
f/2.8 and ISO 3200) was fast enough
to keep the stars from trailing but
slow enough to reveal them. And his
composition? A clear winner in a
strong feld. Matthew Ismael Ruiz
In our big How-To
feature (5 Super
Photo Projects,
page 57), photographer Harold Ross paints
an idyllic nighttime landscape with a pair of
LED panels. Send us your best light-painted
outdoor scenes by May 31you could win
$100 and your photo here. For a full set of
contest rules, visit PopPhoto.com/contests.
POPPHOTO.COM

Room With a View
WHEN MARK MEYER and his
wife moved to Anchorage from
California in 2007, it took a year
to find just the right house. With
its hand-hewn log siding and
old sash windows, the 100-year-
old home stood out among the
hastily developed citys oil-boom
surroundings. And ever since
the couple moved in, the unique
characteristics of their two
bedroom windows caught the
photographers eye. They have
a surprising range in the winter,
from tessellated ice when its
frozen outside to fog with the
humidity, Meyer explains.
A snapshot taken with his
iPhone in the fall of 2012 quickly
grew into an ongoing series, An
Alaska Window, with images
captured roughly every few
days and uploaded to Tumblr.
Even though the series now
An Alaskan photographers picture window
M
A
R
K

M
E
Y
E
R

(
9
)
SHARE
*
MY PROJECT
Mark Meyer
(www.
photo-mark.
com) is an
editorial and
commercial
pro based in
Anchorage.

encompasses more than 100
photos, all taken from the same
window, very few look alike.
As Meyer began to take his
project more seriously, he
experimented with technique
and equipment. He shot not just
with his phone but with cameras
of all sizes, from a K.B. Canham
4x5 to a Nikon D800 to a Fujifilm
X-E1. Taking into account the
weather and small changes in
the window and the landscape,
he varied his creative approach
capturing a blur of windswept
trees or the view through a
condensation handprint.
The limits were, in a way,
what made the project most fun.
My yard isnt special, and its
not particularly active, Meyer
saysa fence-hopping moose
or a moth near the window sash
were equally exciting. His favorite
photos are those that include
a view of the actual window
frame, lending a reminder of the
projects literal context.
For Meyer, the work spurred
a return to a contemplative
form of photography, something
hes rarely had time for amidst
the fast pace of his editorial
assignments. His goal is to edit
and print a selection to show in
galleries. Its brought me back
to the fundamentals, and its
also made me appreciate the
mundane, he says. Looking
out a window is one thing, but
photographing it gives you a way
to notice it. Lori Fredrickson
Meyer photo-
graphed the
view from
his bedroom
window
using an
Apple iPhone
5, 4x5 K.B.
Canham
view camera,
Fujifilm
X-E1, and
Nikon D800,
with various
lenses.

J
O
N
A
T
H
A
N

L
E
V
I
N
E

(
T
A
K
E
N

A
T

T
H
R
E
E

L
I
V
E
S

&

C
O
M
P
A
N
Y

B
O
O
K
S
T
O
R
E
)
him from his 40th birthday party
in 1973 to his 80th last year in
Newark. Im always trying to get
the definitive shot of him.
Whats your technique for
getting an authentic moment?
I try to be as open as possible. I
am not inclined to impose an idea
of some sort. I like to see what I
can discover. It is exciting to work
on location, which usually means
at the persons home, especially if
I can use available light, because
there are so many possibilities.
What equipment do you use?
I was very late in coming to
digital for my portraits. I finally
switched five years ago from
my Leicas to the Canon EOS 5D
Mark II. My standard lens is the
24105mm f/4L Canon EF zoom.
I have always used a 105mm
as my standard headshot lens
because I like being close to
my subjects. One thing about
shooting digital is that I can show
people photographs during the
session. At first I wondered if
that would make them too self-
conscious, but they really like
participating in the process.
Do you have a favorite portrait
that you have taken?
No, I am awestruck by all the
writers I photograph. When you
are photographing someone,
they seem beautiful to you.
What of your own authorship?
One thing about my profession is
that a writer might spend years
doing a book and a photographer
spends an hour or two taking a
portrait, so I have found the need
to pull my work together. I did
a book several years ago, and I
have a traveling exhibition. Last
year I sold my first stamp to the
U.S. Postal Service, a photo of
Joseph Brodsky.
Interview by Zara Katz
SHARE
*
I, PHOTOGRAPHER
Who was the first writer you
ever photographed?
The first time was in 1971 at a
reading that Allen Ginsberg was
giving at New York University. I
was prepared to take a picture
with my Leica and someone
passed me a note saying, I am
a German journalist and my
camera is broken. Please meet me
at the break. I started working
with him regularly: He would
give breezy interviews with all
sorts of people in the arts and I
would take my picture, and we
would file the story together. But I
consider my first literary portrait
to be the picture that I took of the
poet W.H. Auden in 1972 at his
home on St. Marks Place.
Youve shot New Yorks 92nd
Street Y poetry reading series
for 25 years. What intrigues
you about this job?
I took up photography when I
went on a wildlife safari in East
Africa. But literature was my first
love, so it just felt very natural
to me. I never imagined when I
started out that it would lead me
back to literature. At 92Y, I have
had the opportunity to photograph
hundreds of writers. I try to make
the most of limited time backstage
to get a good portrait.
Is there an author whom you
shoot frequently?
I became Philip Roths official
photographer and photographed
Nancy
Crampton
(www.nancy
crampton.
com) is
the house
photog-
rapher at
the 92nd
Street Ys
Unterberg
Poetry
Center in
New York
City and
author of
Writers
(Quantuck
Lane Press,
2005). See
a gallery of
her work at
PopPhoto.
com/
Crampton.
POET PORTRAITIST
Nancy Crampton has immortalized
generations of literary lions

New York Institute of Photography
Request a free course catalog at
www.nyip.edu/pop or call 1-800-445-7279
Learn to take better photographs
Online education with a personal mentor
Study at your own pace anywhere in the world
Learn to think and see like a photographer
Risk-free refund policy

A New Love
GREAT PHOTOS often come
from the eye of an artist. And as
Suzanne Trottier discovered, one
great picture can turn a painter
into a committed photographer.
Traveling to Ireland for her first
Mentor Series trek in 2008, this
resident of Portsmouth, NH, had
absolutely no experience with her
equipment. Until then, shed used
photography mainly as a basis for
her paintingsmostly landscapes,
still lifes, and portraits of animals.
It was my first time using a
DSLR camera, she says. I had
everything to learn.
Everywhere in Ireland that she
looked, she saw pictures waiting
to be taken: magical green
landscapes, with rainbows,
lonely trees, stone walls, and
ruins. On one particularly
windy, misty day in September,
the trekkers stopped along a
road. Others were drawn to the
landscape, with its rolling hills,
castle, sheep, and view of the
ocean, but Trottier was drawn to
two horses she had spotted in a
field. I got off the bus first, so I
was first to approach the horses,
she says. I loved the wind in their
manes. They were still curious.
She fired off three exposures
this the only one with both horses
looking at the camera. I wasnt
thinking much, she recalls. I
find that spontaneity works better
with animals in general.
With treks to Egypt, Switzerland,
Lake Como, and China now
under their belt, Trottier and her
husband Tim Parker have no plans
to stop photographing. But for
Trottier, the first trip to Ireland
was special. I fell in love with
photography on that trek, she
says. It became my passion, and it
still is. Matthew Ismael Ruiz
From painter
to photographer
SUZANNE
TROTTIER
See more
work by this
painter and
photographer
at www.timand
suzanne.com.
Suzanne Trottier captured these Irish steeds with a Nikon D70 and 18200mm f/3.55.6G VR
Nikkor at 120mm, freezing their flowing manes with an exposure of 1/1250 sec at f/7.1, ISO 800.
S
U
Z
A
N
N
E

T
R
O
T
T
I
E
R

(
2
)
Follow your passion
for photography, while
taking your photo
skills to new heights.
Sign up or Mcnior Scrics
Vorldwidc 1rcks ioday!
MENTORSERIES.COM
PRESENTING SPONSOR
Hands-On Lcarning
Exclusic Ihoio Opporiuniiics
Shooi w/Nikon Iros in ihc Iicld
Spccial Vidco Lighiing Vorkshops
Digiial Rcicw Scssions
Alumni Communiiics
2014 Treks: Colorado, California,
Montana, Ireland, Charleston,
Puerto Rico, Long Island,
Prague, and more!
SHARE
*
MENTOR SERIES

Still Shooting
I read the article Light Show (You Can Do It,
February) and I hope to try the techniqueafter
I make a lens with a body cap, an old UV filter,
a Dremel tool, and some glue.This will alleviate
the dust fears expressed by reader William Ruting
(Letters, March). Harvey Morgan II
Santa Fe, NM
REGARDING THE review of the Nikon
Df in your March issue, comparing
a couple of features of the $2,747 Df
to Nikons $6,000 D4 is fine. But how
could the article be complete without
comparing the Df to the Nikon D800?
Its only about $50 more than the Df,
and in my opinion a near-runaway
current-day seller, with a 36MP
sensor? Pete Muller
Fairfield County, CT
EDITORS NOTE: Despite their similarity in
price, the DF and D800 have such different
sensor resolutions (16.2MP vs. 36.3MP)
that we dont see this as a fair comparison.
I AM PUZZLED by Paul Raffelds
complaint (Letters, April) on not being
able to find frame sizes and mats that
fit digital images. I do my own with
Nielsen aluminum sectional frames
so I can mix and match sizesand
board from Blick or an art supply
store. A Logan mat cutter is about
$100 and stores easily in a closet, and
32x40 board is about $15. I buy glass
by the box from the local glass store,
and for odd sizes like my photograph
of the Tregurtha, the longest ship on
the Great Lakes, I cut the mat and
glass to fit. A glass cutter, less than $4,
and a T-Square, less than $10, make
it all pretty easy. The expensive item
is a dry mounting press, but you can
sometimes find access at schools, or
just have that bit done commercially.
Tom Groenfeldt
Sturegeon Bay, WI
IN THE ARTICLE about the Camera of
the Year (January) you mention that
the new Sony Alpha 7R is smaller
than a Leica M, but that tells me
zip. Ive never owned a Leica, never
even seen one. How about a shot of
the camera in someones hands for
comparison? Sonys ad didnt reveal
anything about it either. The result
is that Im interested but have to
research further. Eric Meyers
via PopPhoto.com
EDITORS NOTE: The dimensions of the
Sony Alpha 7R (5.0x3.8x1.9 in.) are stated
in the specifications sidebar in the camera
test in that very issue. We find using
hands to be a poor comparison, since it is
impossible to tell how large the hands are.
SHARE
*
LETTERS
WRITE TO US!
POPPHOTO
@
BONNIERCORP.COM
HOW TO CONTACT US
Address your questions or
comments on editorial
content to Popular
Photography, 2 Park Avenue,
New York, NY 10016; e-mail,
PopPhoto@bonniercorp.com.
Published letters may be
edited for length and clarity.
We regret that we cannot
answer all letters. Editorial
contributions sent by mail
must include return postage
and will be handled with
reasonable care; however, we
assume no responsibility for
return or safety of
photographs, disks, or
manuscripts.
SUBSCRIPTIONS
Visit PopPhoto.com/cs for all
subscription inquiries, call us
at 800-876-6636, or email
us at popularphotography@
emailcustomerservice.com.
Please allow at least 8 weeks
for a change of address;
include both your old and new
addresses, and if possible an
address label from a recent
issue. Subscription prices:
U.S.: 1 year, $14; 2 years,
$28; 3 years, $42. Canada:
1 year, $26; 2 years, $52;
3 years, $78. All other foreign:
1 year, $38; 2 years, $76;
3 years, $114. Occasionally
we share our information with
other reputable companies
whose products and services
might interest you. If you
prefer not to participate,
please contact us at
popularphotography@
emailcustomerservice.com or
popphoto.com/cs.
REPRINTS AND
EPRINTS
For Reprints email reprints@
bonniercorp.com.

HOW POWERFUL is your flash unit?
And how does the one youre
considering buying compare? We
often get asked for help with this.
Here are the major methods of
rating flash oomphand their
various imperfections.
Guide number (GN): Probably
the most confusing spec, in part
because it was never meant to
rate flash output. GNs original
function was to set the correct
f-stop for proper flash exposure
at a certain distance or vice versa.
Its the arithmetic product of the
two factors: You divide the GN
by one factor to get the other.
So with a flash with a GN of 80
placed 10 feet from your subject,
you would use an aperture of f/8
(80/10 = 8); at 20 feet, f/4.
The earliest electronic flash
guns were strictly manualmost
featured GN dials or sliders that
showed, at a glance, the correct
f-stop for the distance. Flash
units with a higher GN for a given
film speed clearly had more
output than those with lower GN,
so it became a de facto measure
of flash powerand remained
so with the advent of automatic
flash units that vary output.
But GN tells you nothing about
flash coverage: A flash unit rated
GN 80 that covers the angle of
view of a 28mm lens is more
powerful than one of the same
GN than covers only a 50mm
lens. It varies with ISO, so you
must compare GNs at the same
ISO. And while ISO 100 is usually
a standard, some manufacturers
give GNs at other ISOs.
Then there is confusion about
linear measurementsome
manufacturers give GNs for
meters rather than feet. (Rough
conversion: Multiply a GN in
meters by 3.333 to get it in feet.)
Filters, diffusers, and other light
modifiers will affect the GN.
Zooming flash heads add another
variable; a flash with a GN of,
say, 100 for 28mm coverage will
typically have a GN of about 160
with the flash head zoomed to
100mm coverage. And sensor
format has a bearing here: A flash
that covers 18mm for APS-C will
cover about 28mm for full frame.
Beam candle-power seconds
(BCPS): Used by several makers of
studio flashes, this spec rates the
actual output as measured by a
meter, and so is often considered
the most accurate measure
of flash power. ISO and linear
measurement units make no
difference to a BCPS rating, but,
as with GN, the size, shape, and
color of a reflector or modifier
will change this measurement.
Watt-seconds (Ws): Measuring
actual energy (1 Ws = 1 watt
sustained for 1 second), this
spec, used on many studio
strobes, seems like it should be
the most precise. Actually, it has
essentially no bearing on flash
outputits simply a measure
of how much energy can be
stored in the flashs capacitor.
The shape and efficiency of the
flash tube, color and shape of the
reflector, and all the other factors
that can mess with GN and BCPS
also make Ws a pretty imprecise
measuring unit.
Our advice? Always make sure
youre comparing kumquats to
kumquats and pomegranates to
pomegranates when deciding on
flash units. Dont sweat small
differences in flash output
just focus on the important
stuff: ease of use, build quality,
accessories available, and, for
TTL shoe-mount units, the
compatibility of the flash with
your particular camera(s).
Dan Richards
From the
No Free
Lunch Dept.:
A zooming
flash head
set to cover
a longer lens
will provide a
higher guide
number, and
hence allow
greater flash
distance
but the flash
may be
inadequate
in angular
coverage.
W
E
S
L
E
Y

F
U
L
G
H
U
M

(
2
)
Flash Decoder
How to read those
electronic fash specs
Flash head
set to 28mm
GN = 100
Flash head
set to 100mm
GN = 160
SHARE
*
TECH TALK

14mm f/2.8
Ultra-wide angle of view on both full frame and APS-C cameras
24mm f/1.4
Compact & lightweight with fast aperture of f/1.4
35mm f/1.4
Superbly constructed with spectacular
sharpness and high contrast

M
i
c
h
a
e
l

S
.

T
h
o
r
n
e
Since 1979, ROKINON lenses and optics have
been synonymous with unparalleled quality
and integrity. The ROKINON brand continues
to deliver on its stellar reputation by providing
superbly engineered and innovative products
at prices that are affordable. As one of the
largest and most popular brands of DSLR
camera lenses in the world, you can be
condent and secure that ROKINON products
will provide outstanding performance with
unsurpassed durability.
Fast aperture allows for an
impressive range of depth of
eld and maximum brightness.
Smooth focus with pristine
sharpness and clarity.
Features rubber grip for easy
and effortless focusing.
Wide-angle lenses for Full Frame
and APS-C DSLR cameras.
About our Prime Lenses
For more info visit a Rokinon
dealer near you or
WWW.ROKINON.COM
These lenses are available at Adorama Camera,
Amazon.com, B&H Photo, Beach Camera,
Cambridge World, Cameta Camera, Focus Camera,
Samys Camera, Wolfes Camera and more.
Where
performance
meets
perfection!

Two of a Kind
Want to
enter? Get
the official
rules and
upload your
images at
PopPhoto.
com/
contests.
SHARE
*
YOUR BEST SHOT
3rd Place $100 Prize
IWAN SUSANTO, 32, IT SPECIALIST, TANGERANG, INDONESIA
One afternoon in late January, I went shooting in the park near my
house, in a tropical garden filled with wild plants and insects where I
often make macro photos. The wet and muddy terrain was a difficult
challenge, but I was able to find this pair of green frogs locked in a unique,
human-like embrace. TECH INFO: Canon EOS Rebel T2i with 100mm f/2.8L
Canon EF Macro lens; 1/400 sec at f/6.3, ISO 400. Saturation, brightness,
shadows, and highlights adjusted in Adobe Photoshop CS5.
This months winners find charismatic pairs of animal subjects
2nd Place $200 Prize
JASON LANIER, 39, PHOTOGRAPHER, MURRIETA, CA The Kruger National Park in South Africa is like visiting Jurassic Park.Its going
back in time.I searched and followed this herd of elephants for a while until I found an opening in the brush, wanting to capture
them in a natural frame. When the adult elephant came to protect the baby and started flapping its ears it made for a powerful
image. Shooting in Africa is not like shooting in a zoo. Its real,raw, and dangerous. TECH INFO: Nikon D700 with 28300mm f/3.55.6
VR Zoom-Nikkor lens at 50mm; 1/1000 sec at f/11, ISO 400. Minor edits in Adobe Photoshop Lightroom 2; sepia filter added in Photoshop CS3.

Take your music
places its never
been.
Bose
SoundLink
Mini Bluetooth
Speaker
Enjoy better sound that fits in the palm of your hand with
SoundLink
Mini the smallest portable Bluetooth speaker ever

from Bose.
$
199 Free Shipping at OneCall.com
Start the party
anywhere.
Bose
SoundLink
Bluetooth
Speaker III
The SoundLink
Bluetooth
speaker III is the best-

performing mobile Bluetooth speaker from Bose.
It connects easily to your Bluetooth device, and its
rechargeable lithium-ion battery lets you share your music
for up to 14 hours. Optional accessory covers let you add
color to reflect your personal style.
$
Bring your
favorite music
to any room.
Bose
SoundTouch
Portable Wi-Fi
Music System
The SoundTouch Portable Wi-Fi music system lets you
wirelessly stream Internet radio, Pandora and your music library
with the touch of a button.
$
AUDIO
CAMERA
KITCHEN
WIRELESS
TV
1.888.427.2309 onecall.com
Visit Us Online Call Us Today
Expertise is the Difference.
OneCalls Spokane, WA, call center staff is highly
trained, experienced and non-commissioned.
Were happy to answer your questions about
technology, compatibility, performance and more.

SHARE
*
YOUR BEST SHOT
1st Place
$300 Prize
BRAD JENKINS, 75,
BERNARDSVILLE, NJ,
RETIRED
On a November
morning during a
24-day photo safari
put together by Joseph
Van Os, we landed
on the beach of South
Georgia islands St.
Andrews Bay, home
to more then 300,000
king penguins.
Walking the beach, I
saw the chicks were
all in groups, like a
nursery.There were
usually some adults
with them, and I
wanted to capture
them together. By
9 a.m., 6070 mph
katabatic gusts blasted
sand across the beach,
and we had to leave.
What a memorable
experience.
TECH INFO: Canon
EOS 5D Mark II with
100400mm f/4.55.6L
Canon EF IS lens at
170mm; 1/100 sec at
f/22, ISO 320. Minor
edits in Lightroom 5 and
Photoshop CS6.


D
A
V
I
D

A
R
K
Y
MAY 2014 POPULAR PHOTOGRAPHY 37 POPPHOTO.COM
HOW
EXPERT TIPS AND TECHNIQUES FOR BETTER PHOTOS
MASTER ADOBE CAMERA RAW
40
42
ADD HUMOR TO YOUR SELFIES AND ROMANCE TO YOUR SEASCAPES
46
41
DISCOVER SAVANNAHS CHARMS
David Arkys
image of
a tripod-
mounted
Canon EOS-1D
X and Sigma
50500mm
f/4.56.3,
shot for us, is
a composite
of four X-rays
with exposure
times varying
from 30 sec
to 7 minutes.
WHEN YOU see really cool X-ray
photographs like the one on this
months cover by New York-based
conceptual still-life photographer
David Arky, you could be forgiven
for hoping that maybe Santa
could score you an X-ray camera
for the holidays this year.
Thats not going to happen,
says an amused Arky, pointing
out that in the U.S. these mach-
ines are tightly regulated. No one
is allowed to X-ray other people
unless its medically necessary.
His skeletal legs on the next page?
They're just that: from a skeleton.
Still, we thought you might
want to learn how Arky actually
makes these amazing photos.
To that endand as the opening
salvo of this months big how-to
feature (page 57)we asked him to
explain how he uses heavy-duty,
industrial-grade cameras for his
more artistic ends.
X-ray cameras for medical use
are low-voltage and often digital
now, but they produce relatively
low quality, screen-resolution
X-RAY ARTIST
Turn industrial X-rays into something fun
CREATIVE THINKING

HOW
*
CREATIVE THINKING
files. When Arky began making
X-ray photographs almost 20
years ago, he realized that while
low-voltage devices might be
fine for things like flowers,
many other subjects required
X-ray equipment found in heavy
industry such as aerospace.
Arky forged a relationship with
technicians at an industrial lab
(whom he regards as creative
collaborators) to gain access to
these devices. I learned there are
many kinds of X-ray cameras,
but I work with five that best suit
my needs, he says. They are
infinitely more powerful than a
dentists X-ray.
In the shot on the previous page
of a Canon EOS-1D X and Sigma
50500mm f/4.56.3 APO DG OS
HSM lens that he made for Popular
Photography, Arky took numerous
exposures to get the best-looking
reveal of camera and lens parts.
His final image is a composite of
four shots. The first step is just
to feel the object and get a sense
of whats inside, he says. You
weight the exposure based on the
heft and orientation of the object.
Relying on notes from hundreds
of previous X-rays, he selects a
voltage and exposure time to
serve as his base exposure. After
processing the film and reviewing
the results, he generally ups the
time or voltage to gradually find
the best look for the subjects guts.
The process is simple, but not
always easy, because X-ray film
is a bit imprecisethe reveal isnt
always what he had imagined.
Its a lot of experimentation, he
says, I made four exposures to get
one shot. He and his retoucher
finally scanned and assembled the
composite pieces, before adjusting
color and contrast for the whole.
Above, left:
Levi Strauss
used Arkys
composite
of some 30
X-rays for a
Dockers ad
compaign.
Above, right:
The artist
stands in
an X-ray
exposure
vault, using
a plumb
bob to align
the subject
and camera
(in X-ray
jargon, the
gen er ator).
Arky faces a creative challenge
in balancing the contrasting
densities of a subjects interior
and exterior. Many materials
look more dense along the edges
than in the center. Similarly, this
zooms housing is more dense
than its hollow interior, while in
X-rays, ironically, glass appears
the most opaque of almost all
materials.
Despite his many years of X-ray
imaging, Arky never tires of it.
Every time I learn something
new, and it always rekindles that
a-ha! feeling you experienced
when you processed your very
first roll of black-and-white film.
Laurence Chen
SUPPORT A LONG LENS BY THE LENS
THAT TRIPOD COLLAR on your big, heavy telephoto or tele-zoom lens isnt just for
affixing the lens to a tripod. It can also help save you from some very expensive grief.
If you carry a camera with a big lens via a strap mounted to the camera body, the weight
of the lens can bend or even break the cameras lensmount flanges. Its much better to
carry the rig on a strap with a tripod-mount fitting (such as a BlackRapid) attached to
the lens collar. (Some very large lenses have actual neckstrap lugs for the same reason.)
Another nice thing about the collar: its tripod platform can be positioned so as to rest on
the palm of your left hand when youre using the (correct) under-the-lens grip, for stable
handheld shooting. Is the tripod collar an extra-cost accessory for your lens? Buy it!
DID YOU KNOW?
D
A
V
I
D

A
R
K
Y

(
X
-
R
A
Y
)
;

B
R
Y
A
N
T

C
A
R
M
O
N
A

(
S
T
U
D
I
O
)

WANT AN amusing kick
for your selfies? Dom Reed, a
40-year old software designer
from Cambridge, England, has
made a career of making funny
photos, mostly of himself.
Better known to thousands
of flickr fans as the absurd
Mr. Flibble (www.flickr.com/
photos/flibble/), Reed has
produced hundreds of wacky
self-portraits that appear in his
improbably successful, crowd-
funded book, I Drink Lead Paint.
Flibbleer, Reedhas the
following suggestions for
making guffaw-full photos:
Dont be afraid to look stupid.
People like stupid.
Shoot with wide-angle lenses.
The wider the better. They can
make your nose look really big,
which viewers also tend to find
appealing in a funny/ugly way.
Get to know the Distort tools
in Adobe Photoshop. Reed used
Pinch here to distort his eyes a
bit. Just dont overdo it.
Dont take your camera too
seriously. Just because you paid
thousands for it doesnt mean
you shouldnt do outrageously
silly things with that DSLR.
Peter Kolonia
Laugh Line
Reed shot
with a Canon
EOS 5D
Mark II and
an 50mm
f/1.2L Canon
EF lens,
exposing for
1/200 sec at
f/11, ISO 50.
For more of
his zany self-
portraits, go
to idrinklead
paint.com.
D
O
M

R
E
E
D
QUICK TIP
30-SECOND SOFTWARE
HOW
*
TIPS & TRICKS
Light Blaster
What it is: A slide
or transparency
projector, the Light
Blaster (starting at
$99, direct; www.
light-blaster.com) uses
a shoe-mount flashs
output to cast images
or light patterns.
Whats included:
You supply a standard
SLR lens and the
flash, while the Light
Blaster provides a
slide/transparency
carriage, its housing,
and a lightstand post.
(The pistol grip shown
below is an optional
accessory.)
How it works:
As the cameras
shutter opens, the
flash fires either in
a wired or wireless
(e.g. via optical slave)
mode, projecting a
transparencys image
onto a scene. You
bring the image to
maximum sharpness
by focusing the lens.
Put some
humor in
your photos
FILM IN LIGHTROOM
Plug-ins for Adobe Photoshop Lightroom can be great, but they can also
be frustrating since LR has to make a TIFF, costing you RAW flexibility.
To avoid going to a plug-in when you want to apply a more basic effect
such as an analog film simulation, try VSCOs Film 05 in LR 4 or 5. Load
the presets onto your system and select your camera brand, then the
film type you need. Next go to VSCO Film Toolkit set to choose from
modification presets. You can use those to go easier on the grain, say,
or bring back detail in the shadows. Debbie Grossman
BEFORE AFTER

W
I
N
T
H
R
O
P
E

H
I
E
R
S
HOW
*
TRAVELING PHOTOGRAPHER
IN MAY, Savannahs city parks
are decked out in the brilliant
pink plumes of crepe myrtle and
showy white magnolia flowers,
says local photographer and
history teacher Winthrope Hiers.
And mixing scenic beauty with
history is a Savannah trademark.
Forsyth Park, first laid out in
the 1840s, is a favorite of Hiers.
The north end, its paths lined in
magnolia and live oak dripping
with Spanish moss, is particularly
pretty, he says. The moss
photographs nicely backlit in the
early morning or late day sun.
He recommends photographing
the parks historic fountain.
Installed in 1858, it appears in
photos that a Mathew Brady
associate took during Gen.
Shermans famous march. Best
vantage point: Where Bull Street
meets the park looking south.
Savannah has the largest
historic district in the country
perfect for walkers and history-
History blossoms in
Savannahs byways
GO
SOUTH
SAVORING
SAVANNAH
So much history, so little time!
Grab a mint julep and visit
some this citys most charming
points of interestincluding a
great photo exhibit.
O
BONAVENTURE CEMETERY www.
bonaventurehistorical.org Described
as part natural cathedral, part sculpture
garden, this cemetery is featured in the
book and movie Midnight in the Garden
of Good and Evil, and photographer
Jack Leigh, who shot the books famous
cover, is buried there. Nothing says
spooky like a 150-year-old cemetery
dripping with Spanish moss. Open to the
public daily from 8 a.m. to 5 p.m.
O
GEORGIA STATE RAILROAD MUSEUM
railga.com/oddend/roundhouse.html
Largest and oldest existing 19th-century
railroad complex in the countryit
dates from 1850, and 13 of its original
buildings still remain. On display: steam
and diesel locomotives, rail cars, and a
fully operational turntable.
O
JEPSON CENTER www.telfair.org
This downtown-Savannah museurm is
showing the work of legendary New York
street photographer Helen Levitt through
September 21.
O
SAVANNAH NATIONAL WILDLIFE
REFUGE www.fws.gov/savannah
On U.S. Highway 17, six miles north of
Savannah, the refuge offers more than
29,000 acres of freshwater marshes
and tidal rivers, with critters including
ducks, wading birds, shorebirds, and
endangered species like wood storks
and manatees. The refuge has alligators,
too, so watch your toes!
lovers, says Hiers. He suggests:
Bull Street. Starting at City Hall
on Bay Street, head south on
Bull to pass through picturesque
squares and admire historic
homes and Civil War-era sites.
Streets around Forsyth Park.
Classic ginger bread homes line
three of the parks four sides.
Factors Walk. Between Bay
Street and River Street, this
offers striking stone archways
for warehouses that have been
linked to slave auctions.
Talmadge Memorial Bridge.
It dominates the skyline. Go at
sunset and add a well-lit river-
boat as a fore ground focal point.
Jeff Wignall
Winthrope
Hiers shot
these
houses
along the
400 block of
Savannahs
East Hunting-
don Street
using a Sony
Cyber-shot
DSC-F828.
Exposure
unrecorded.

HOW
*
SOFTWARE WORKSHOP
SIMPLE COMPLEX
P
H
I
L
I
P

R
Y
A
N
IF YOU have Adobe Photoshop,
you already have a great RAW
converter on your hands in the
form of Adobe Camera Raw.
Because it maintains feature
parity with Lightroom, its new
tools keep piling up. But because
its interface hasnt had an
overhaul in a long time, you may
not know a lot of them are there,
SIX RAW TIPS
Creative
Clouds ACR
has all kinds
of cool
features;
we used the
interactive
histogram
to fix this
photoss
exposure.
and even if you do, you may have
some trouble locating them.
Getting familiar with the
intricacies of ACR can be esp-
ecially important if you dont like
the RAW software that came with
your camera (or if it didnt come
with any). And it can be even
more important if you dont use
an application like Lightroom,
Phase One Capture One Pro/
Express, or Apple Aperture to
organize and process your RAW
files. So follow along to make
sure youre getting the most out
of Photoshop CCs version of this
stalwart converter. Even if you
use it all the time, youll likely
pick up something helpful.
Debbie Grossman
How to use Adobe Camera
Raws best new features

1
2
3
Tip 1
If you double-click on a
RAW file in Bridge, the
program will, by default,
run ACR within Photoshop.
To avoid opening that app
if it isnt necessary (or tying
it up if you need to work
on another image), run
ACR through Bridge. Go to
Bridges Preferences, then
check the box for Double-
Click Edits Camera Raw
Settings in Bridge. Click
OK. If you prefer to open
RAW files in Bridge only on
demand, you can highlight
your file or files and then
type Ctrl (Command) + R.
Tip 2
In Creative Cloud, youll no longer find
resolution options under the Crop tool.
Insteadand even betteryou can create
custom presets for output. Directly below
your image youll see a summary of the
settings by which your image will be
processed when you open it or save it.
Click on these, your Workflow Options, to
adjust. To make a preset for web sharing,
for example, set your Color
Space to sRGB, and choose
an appropriately small Image
Size. You can adjust Output
Sharpening here, too. When back
in ACR, right-click or Ctrl+click
on the Workflow Options to
choose the preset you need.
Tip 3
One of ACRs fun (and useful) features in
CC is the interactive histogram. Instead
of guessing which slider represents which
range of tones, you can just click and drag
on the histogram itself. Grab the midtones
and drag them right to brighten your
image; its respective slider will move
accordingly. If necessary, do the same with
Shadows, Highlights, Whites, and Blacks.
Print Preview Now you can soft proof
via ACR. In Workflow Options, set a paper
profile and intent under Color Space.

Tip 4
Spot removal was never one of
Camera Raws strong suitsif you
had something long, like a telephone
wire, to remove, you had to keep
adding spots. But now you can paint
on spot removal. Type B to access the
tool, or just find it in the toolbar. Use
the left and right bracket keys to
shrink or expand your brush to
a size slightly larger than what
you want to remove, and paint
the offending area out. Note
that the tools options now
include Feather; use this slider
to fine-tune your brush edge.
Type B again to exit the tool.
Tip 5
To reduce color noise in a new way,
head to the Detail panel. Zoom
in to 100%. After you make your
adjustments for Luminance and Color
noise reduction, minimize the colored
patchiness that sometimes occurs in
areas where there should be smooth
tone. Move the new Color Smoothness
slider to the right. If it desaturates too
much, pull it back to the left until the
effect is just barely noticeable.
Tip 6
The Radial Filter is a quick way to
focus an adjustment on a specific
circular or oval-shaped area. This
can be useful when you want to add
a vignette but dont want it centered,
or as a shortcut when you dont need
to paint on your selective adjustment.
Get it by typing J. Use the crosshairs
to draw a circle around the area you
want to affect, and move the central
red dot to reposition if necessary.
Adjust your feathering (or make any
other adjustment youd like), and
choose whether you want the Effect
to happen inside or outside the circle.
HOW
*
SOFTWARE WORKSHOP
5
4
6
Adjust the Sample
After painting, youll still need to grab
the area, circled in green, and move it to
a sampling spot that works.

D
A
R
R
E
N

M
O
O
R
E
DREAM
SCENE
HOW
*
YOU CAN DO IT

Moore
shot with
a tripod-
mounted
Nikon
D7000 and
1770mm
f/2.84
Sigma lens
with 10-stop
ND filter; 79
sec at f/11,
ISO 100.
Step 1
Gather your gear. Start with a
camera that allows bulb
settings, a sturdy tripod, and
neutral-density flters (with or
without a holder) for your lens. A
telephoto lens will give you a deep
working distance that lets you
shoot far from the waters edge.
Also, a remote shutter release will
let you fre the camera without
jogging it.
Step 2
Find the right beach. You will
want a sheltered location with
a gentle surf and a minimum of
swimmers in your background to
clutter it up.
Step 3
Wait for the right conditions.
Moore went early in the morning
of an overcast day to take
advantage of its soft light, hazy
horizon, and lack of crowds.
Step 4
Make your (long) exposures.
After mounting your rig and
composing the scene, ask the
model to hold absolutely still for
the duration of the exposures,
which could be a minute or more.
The pose should be natural,
have some visual interest, and
be easy to hold. You may want
your model to turn away from the
camera to avoid a blurred face.
Final Step
Finesse the scene in software.
Moore wanted to exaggerate the
dreamlike quality of the scene by
getting rid of background detail.
This included the horizon line,
which he eliminated by selecting
it with Adobe Photoshop CS6s
Marquee tool and applying a
Gaussian blur to the selection.
SIMPLE COMPLEX
TO FLIP mundane seascapes
into something more magical,
the secret is simple: lengthen
your exposure times to a
full minute or more. Darren
Moore, a photographer
from Surrey, England, has
mastered this technique. As
you can see in his dozens of
hauntingly beautiful images
(www.darrenmoorephotography.
com), his seascapes are more
like dreamscapes, free of the
clutter, grime, and boring detail
of everyday scenes.
The cool thing here is that you
really can do this yourself. All it
takes is a camera that lets you
set long exposure times, a tripod
to hold your camera steady, and,
assuming you want to shoot in
daylightand not in the dead of
nighta neutral-density filter to
thread over your lens.
Neutral-density (ND) filters cut
the light reaching your cameras
image sensor or film without
affecting overall color balance.
They let you make accurate
daylight exposures that are
measured in minutes, not the
more usual fractions of seconds.
ND filters are calibrated
logarithmically, however, which
can lead to some confusion. An
ND filter that blocks 1 stop of
light, for example, is commonly
labeled 0.3; a filter that blocks 2
stops is labeled 0.6; and so on up
the line. The maximum-strength
3.0 filter will dim down a scene
by 10 full stops.
You can buy screw-in ND
filters of different densities to fit
each of your favorite lenses, or
get a kit with a standard holder
(such as the Cokin) that works
with a variety of lens sizes.
Variable ND filters, such as those
from Hoya and Tiffen, let you
dial in up to 9 stops of neutral
density. Peter Kolonia
Conjure up some
scenic magic
To capture his
model as sharply
as possible Moore
used a Pixel
TW-282 wireless
camera trigger
(A). His 10-stop
72mm B+W Neutral
Density filter (B)
and Vanguard
Auctus Plus 283AT
tripod (C) allowed
the long 79-sec
exposure that
blurred the motion
of the surf.
A
C
B

David Roman - RomanDA Photography
FOLLOW US ON
Mentor Series Ultimate Photo Adventure
David Roman - RomanDA Photography
Jason Barnette Bonnie J. Cameron

SCHEDULED TO APPEAR Limiicd io siudcnis pcr insirucior
Special thanks to our premier sponsor:
WORKSHOP COST: $1,425
Includcs in-ihc-icld insiruciion, cnirancc ccs, prcscniaiions, digiial rcicws,
and iransporiaiion io cach shooiing locaiion.
DAVID TEJADA DAVE BLACK
Ioundcd in :oo, Charlcsion, Souih Carolina is a bcauiiully
prcscrcd colonial ciiy wiih an imporiani placc in Amcrican hisiory.
Join ihc Mcnior Scrics and Nikon procssional phoiographcrs Nikon
Ambassador Dac Black, Iaul Icrcgrinc, and Daid 1c[ada in
Scpicmbcr :o:+, or an iniroduciion io ihc Nikon Spccdlighi sysicm
and an cxclusic lighiing-inicnsic workshop in hisioric Charlcsion.
Visii ihc prc-Rcoluiionary Var cra buildings, :sih ccniury homcs and
landmark churchcs o ihc anicbcllum Souih in Charlcsion`s downiown
disirici. Browsc ihc Old Ciiy Markci whcrc cndors pcddlc ihcir
warcs, and pcck ai priaic gardcns iuckcd scrcncly bchind iron gaics.
Siiuaicd in ihc hisioric hcari o Charlcsion, Gaicway Valk proidcs
a quici rcpricc rom ihc busy main sirccis, and a locly sciiing or
our Nikon Spccdlighi lighiing workshop. Vc will bc [oincd by modcls
drcsscd as iradiiional Souihcrn bcllcs or a phoio shooi sci amidsi ihc
moss-drapcd oaks, iimc-wcaihcrcd gracsioncs and sccludcd gardcns
o ihis hiddcn paih.
Known or iis bcauiiul icws and laid-back ibc, Iolly Bcach is a grcai
placc io play in ihc wacs, collcci scashclls, and waich a lazy sunsci
ocr ihc shorc. Vc hac sclccicd Iolly Bcach, wiih iis sccnic ishing
picr and lighihousc icws, or a workshop ocuscd on poriraiiurc and
lighiing icchniqucs.
1hc USS Yorkiown was ihc icnih aircrai carricr io scrc in ihc Uniicd
Siaics Nay, and carncd clccn baiilc siars or scricc in Vorld Var
II. Vc will phoiograph modcls drcsscd in aiaiion aiiirc on ihc dcck
o ihis imprcssic naal ship, all pari o our iniroduciion io ihc Nikon
Spccdlighi sysicm.
A hisioric ciiy wiih irrcsisiiblc Souihcrn charm, you will noi wani io
miss ihis lighiing-inicnsic workshop in bcauiiul Charlcsion, SC. Join
us or ihis csscniial Mcnior Scrics iniroduciion io ihc Nikon Spccdlighi
sysicm. Sign up today!
Come to Charleston and try out some of the
latest equipment that Nikon offers including
their high-performance HD-SLRs, NIKKOR lenses,
the Nikon 1 System, and a variety of COOLPIX
compact digital cameras.
COOLPIX A D610 D800
WITH ADDITIONAL SUPPORT FROM:
REGISTER AT MENTORSERIES.COM
Ior morc inormaiion, call ioll-rcc sss-oo-o+os
CHARLESTON, SC
Speedlight Workshop - September 19-21, 2014
PAUL PEREGRINE
Dave Allen


Mitch Dobrowner merges the artistry of
a monochrome master with the daring
of a weather chaser. Heres how does it.
Photos by Mitch Dobrowner; interview by Jon Blistein
Howd you get started?
As a teenager in the early 1970s,
I was mainly about fast cars,
motorcycles, women, and getting
in trouble. Hoping to get me on a
different path, my father gave me
an old Argus rangefnder cam-
era. It worked. I ended up with
a scholarship to Pratt Institute,
which I passed on because I didn't
want to drive from Long Island to
Brooklyn every day. My parents
said, Do something, so I went to
Manhattan and started assisting.
At one point I was working
for Hashi; Canon was one of his
clients. I showed someone from
the company my personal work
and they gave me some funding.
I used that to get the heck out of
New York. I had been exposed to
a lot of Ansel Adams, and, hav-
ing grown up in New York, those
landscapes just blew my mind.
They looked like another planet to
me, and I had to go see them.
I experimented with shooting
tungsten flm in daylight, using
infrared, taking Ektachrome and
developing it in C41, reversing
things and using different types
of fltersit was all so much fun.
I was taking red, green, and blue
flters and using triple-exposures
and coming out with things that
looked like they were exposed cor-
rectly but were multiple exposures
on a single frame. That taught me
about learning the fundamentals
but doing my own thing.
Then I met my wife and I
dropped photography for 20 years.
We had our own design company,
doing images for the TV networks.
What led you to storms?
I was shooting landscapes and
always found myself in the worst
weather because the light was the
most interesting. [Storm chaser]
Sean Casey lived behind me; he
recommended someone I could
go out with. I had this vision in
my mind of what I wanted to
shoot; Caseys friend recom-
mended I go to South Dakota.

The next year I upgraded to a
Canon EOS 5D Mark II. I really
like live view for shooting storms
and landscapes. I come from a
view-camera and wet-darkroom
background, and composing in
live view looked like ground glass
to me. I dont understand why
people still use optical viewfnd-
ers for landscapes. Now I shoot
with two lenses: a 24105mm and
a 70200mm. You give up a bit of
sharpness with a zoom but you
can compose on the fyyou dont
have time to switch lenses or cam-
eras because it all changes so fast.
Do you use flters?
Yup. I have two 5D Mark IIsone
thats modifed for full spectrum
(the IR and anti-aliasing flters
have been removed) and another
that is not modifed. I think,
Whats the environment look like?
Whats the light look like? Then I
choose how to flter based on
what I see. In a lower-contrast or
overcast situation without a lot
of directional light, Ill use the
body without the sensor flters. It
gives me the opportunity to add
screw-on flters to the lens. I can
block parts of the spectrum based
How has your technique
evolved over the years?
Shooting storms is kind of a
hybrid of shooting a quiet land-
scape and a sports event: Compo-
sitions are constantly changing,
the lights changing, theres wind,
theres noise, theres a lot going
on and you have to stay focused.
I used a Sony Cyber-shot DSC-R1
when I started in 2009, which
wasnt the optimal camera for
storms. It was really limited to
landscapes, but I did get some of
my best shots that frst year, and
it was great for lightning strikes.
GALATIA,
KANSAS
Arm of God,
2009. Sony
Cyber-shot
DSC-R1, 1/4
sec at f/8,
ISO 160.
LAKE
POINSETT, SD
Previous
page: Storm
Over Field,
2010. Canon
EOS 5D Mark
II, 24105mm
f/4L Canon
lens; 1 sec at
f/8, ISO 100.

ground the pictures, but I think
everybody has to have their own
vision. Its OK to go and use the
rulesAnsel Adams has obviously
infuenced me a lot but thats a
foundation to deviate from.
Why monochrome mode?
I shoot in RAW but in mono-
chrome mode so I can see a pre-
view of what Im shooting. Unlike
with a flm camera, I dont have
to imagine what it will look like
in black-and-white, I can actually
on the way the situation looks. I
dont like the camera manufac-
turer telling me how I should see
or expose. I like the freedom to
pick and choose the way I want
to do things. I also use flters with
digital the way I did when shoot-
ing black-and-white flm. Red
(25), green, and blue flters are
still important components in my
arsenal. If I want to darken a sky
Ill use a red flter or a polarizer.
Do you adjust on the fy?
When I drop my tripod, Im usu-
ally set up at 50mm f/8 and half
a secondand focused at infnity.
Sometimes you drive 500 miles
and drop your tripod and the
perfect composition happens the
second you drop it, sometimes a
half an hour later. I dont shoot
much. In a 10-day trip I might
fll up two 16GB cards, but I only
shoot sequentially if Im trying to
capture a lightning strike.
I dont use rules of composition.
The main thing is just what looks
good to me. A lot of my shots have
a horizon in them, which helps
NO. DAKOTA
& NEW
MEXICO
From top:
Rope Out,
Regan, ND,
2011. Canon
5D Mark II,
24105mm;
1/6 sec at
f/8, ISO 100.
Shiprock
and Cloud,
Navajo
Nation, 2013.
Sony R1; 20
sec at f/6.3,
ISO 160.

see it. When I convert my RAW
fle, all I do is take saturation and
turn it to 0 and it looks very, very
close to what I originally shot. Part
two is prints: My fnal product
and vision is the print. I print on
Epson Stylus Pro 9900 printers
using Epsons ABW driver. After all
the experimenting Ive found that
the ABW driver gives me the most
neutral black-and-white prints.
How do you prepare
for a shoot?
When I hear music I see colors,
and when I do photography most
times I see the picture in my brain
before I go out. I do a self-check
and see where Im at, what Im
looking to do, think of what I want
to capturewhats my goal? Like
that tornado shot: Before I went
on that trip I knew I wanted to
capture an iconic tornado. The Wiz-
ard of Oz made a big impact on me
when I was a kid, and I just always
envisioned this iconic tornado
shot and then it was there. All of
a sudden I was standing in North
Dakota and theres this thing.
How do you deal with the
weather itself?
I found that a cotton washcloth
is the best way to keep rain off,
and Ive tried every kind of rain
gear. I have long hair and I wear a
beanie, which keeps the hair out
of my eyes, and when its pour-
ing rain I put the beanie over the
camera to keep it dry.
Also that thing of truly focus-
ing on my work, even though
there might be a lot going on
around me. Thats where storm
tour leader (and photographer)
Roger Hill, who I often go out with,
comes in. I have to stay focused
and enjoy the moment, not let it
pass with pressure to get a great
shot, but to really enjoy it. The
only human thing I listen for is
Roger saying, We gotta get the
hell out of here right now!
Mitch Dobrowners
book Storms (Aper-
ture) was published
in 2013; he also
photographs rural
and urban land-
scapes. Visit
mitchdobrowner.
com for more.
How close are
you to the storms?
Usually with a tornado, were
somewhere around a mile, mile-
and-a-half from it. Roger usually
thinks of an escape route. We
never get ourselves in a super
dangerous position, though we
have what he calls close encoun-
ters where we get right under
something, like a rotating cloud.
Its pretty safe though. I dont get
scared because its so amazing
what Im looking at. We can be
far, we can be close; every storm
is a little bit different. I see these
storms as living thingsIm tak-
ing a portrait of them.
NEAR
LAWNDALE,
MINNESOTA
Mushroom
Cloud, 2010.
Canon EOS
5D Mark II,
24105mm
f/4L Canon
EF lens; 5 sec
at f/5.6, ISO
160.

All merchandise is brand new and factory fresh. Prices Are For Mail Order Only. 10% deposit required for COD orders. No restocking fee will be charged if merchandise is returned in pristine condition (returns are only subject to a 10% restocking fee if package is opened). Exchange or refund less shipping
and handling within 15 days of receiving merchandise only if returned in original mint condition with original package and unfilled warranty cards. Please call 1-800-634-1811 Dial 2 for return authorization before returning product.Prices effective through end of monthly issue. Not Responsible for Typographical or
Human Errors. All credit cards gladly accepted without any additional charges. New Jersey Resident add 6% Sales Tax. Prices are subject to verifiable manufacturers price increases & decreases. Thank you for shopping with us. Fedex Saver shipping charges: minimum $9.95 under $100. Over $100 add $5.00
for every $500 increase. Caller or check website for further details. Ask for your shipping total. *Asterisk indicates price listed is after mfgs rebate. We appreciate your business every day! Prices Valid Thru Monthly Coverdate. Policy applies to all Beach Camera Advertisements. Shop on line 24 hours at our
website www.beachcamera.com. Thank you for shopping with Beach!
We Carry Digital Cameras, Lenses, Flashes & Accessories, Camcorders, Printers, Scanners, External Hard
Drives, Binoculars, Scopes, Television, Home Theater, DJ Equipment, Computers, Tablets, Car Electronics, Toys
& Games, Sporting Goods, Housewares & so much more.
Camcorders
The Flagship of the VIXIA Series
VIXIA HF G30 offers a Genuine Canon 20x HD Video Lens and 8-Blade Circular
Aperture for superb video quality and natural, beautiful background blur. The new
DIGIC DV 4 Image Processor enables recording in MP4 up to 35 Mbps and AVCHD
up to 28 Mbps and even simultaneously with Dual Recording thanks to two SDXC
memory card slots. A 3.5-inch OLED Touch Panel Display and Built-in Wi-Fi technol-
ogy including remote control functionality via web browser are included. An optional
accessory adds GPS location data to video files.
Share your talents with the World
The VIXIA mini is super slim and weighs approximately 5.6 ounces, so you can
capture beautiful, high-quality video and stills wherever you go. To match its out-
standing image quality, the VIXIA mini features a built-in microphone to liven
and enhance your video with superb stereo sound. Get creative with
a genuine Canon f/2.8 fisheye lens for ultra-wide scenes, then switch to
Close-up mode simply by touching the screen.
Powerfully Equipped
The VIXIA HF R52 with built-in Wi-Fi and 57X zoom is all the
camcorder you need to preserve and share special moments
both big and small. Record up to 12 hours of video on the 32GB
internal flash drive, and enjoy extra storage capacity by record-
ing directly to a removable SD card. Improved built-in Wi-Fi* with the new CameraAccess plus app makes it
easier than ever to share recorded video or live stream it on your Android or iOS device**, and even con-
trol the camcorder remotely.
A World of New Shooting Possibilities
Vixia HF G30
Vixia HF R500 Camcorder
Vixia HF R52
Vixia Mini
Cameras and Lenses
Camcorders
CALL OR LOG ON FOR CURRENT
INSTANT REBATES AND PROMOTIONS
Perfect for families, budding photo enthusiasts and first-time
SLR users alike, the 18MP EOS Rebel T5 features a
Canons DIGIC 4 Image Processor for easy recording of HD
video and high-resolution photos and has a huge 3.0-inch
LCD screen for Live View recording and review. A 63-zone,
Dual-layer metering system and an expanded ISO range
are also included.
The ILCE-5000 includes refined capabilities in a pocket-
able size that makes it is easy to get beautiful pictures
almost anywhere. Features include exceptional image
quality from the large APS-C image sensor, fast focus-
ing thanks to the BIONZ X processor and inter-
changeable lens capability. NFC enables single touch
image sharing with compatible mobile devices or direct
connection with Android and iOS devices via Wi-Fi.
Includes Nikon Inc. USA limited warranty. 2014 Nikon Inc
EOS Performance Made Simple
EOS Rebel T5
DSLR quality. Wi-Fi convenience.
a5000 Mirrorless
DSC Camera
The Longest Steadiest Lens on Earth
AF18-270mm F/3.5-6.3
Di II VC (Vibration Compensation)
LD Aspherical (IF) Macro
Big Power, Small Size
D3300
The D3300 makes it fun and easy to preserve lifes special
moments in the beauty they deserve: stunning 24.2-megapix-
el photos and 1080p Full HD videos with tack-sharp details,
vibrant colors and softly blurred backgrounds. Like sharing
photos? The D3300 photos can appear instantly on your
compatible smartphone or tablet for easy sharing with the
optional WU-1a Wireless Adapter.
The VIXIA HF R500 camcorder's giant 57x Advanced Zoom! Capture truly
impressive, amazingly realistic 1920 x 1080 Full HD video with the
Canon 3.28 Megapixel Full HD CMOS Image Sensor and DIGIC DV 4
Image Processor. Even the fastest moving subjects are rendered with
crisp detail thanks to 1080/60p recording in easy-to-share MP4 (35 Mbps)
and AVCHD Progressive (28 Mbps) formats, directly to a convenient, removable SD memory card. grounds.
The AF 18-270 covers an angle of view equivalent to that
of a 28mm wideangle to a 419mm ultra telephoto with
just one lens, letting the user capture once-in-the-lifetime
images of panoramic landscape images or close-up pic-
tures of children smiling, without having to get too close
to the subject and without having to change lenses.

5 SUPER
PROJECTS
There are some kinds of
photography everyone
should try once. Dont
waittheyre easier than
you think. By the Editors of
Popular Photography
HIGH-SPEED
TIME-LAPSE
PINHOLE
LIGHT PAINTING
PHOTO BOOTH

T
O
M

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

K
R
I
S

H
O
L
L
A
N
D
/
M
A
F
I
C

S
T
U
D
I
O
S
STOP-ACTION ON A TABLETOP A typical strategy for capturing a fruit splash involves a darkened
room and a tripod-mounted camera (A) with its shutter held open by a remote shutter release
(B). The photographer then drops the fruit into a tank, breaking an infrared beam (C) cast by an
infrared transmitter/receiving sensor (D). When the beam is broken, an electronic controller
(E) fires two hardwired flash units (F) after a user-set delay measured in milliseconds.
STEP
Pick a subject.
It could be a splash, like Tom
Smiths orange, a liquid droplet,
or a water balloon in mid-pop. And
once you get the lighting and trigger
technique down, you can apply it to
anything that moves fast.
STEP
Collect your gear.
For a shot like this, you will need a
camera that lets you manually set
long (or Bulb) shutter speeds, a
WULSRGZLUHOHVVUDGLRDVKWULJJHUV
a mid-range telephoto lens, remote
VKXWWHUUHOHDVHDFFHVVRU\DVK
XQLWVWZRZLWKIHHWDVKWDQN
black backdrop, and plenty of
towels. For more consistent and
predictable results, consider
DQHOHFWURQLFDVKWULJJHULQJNLW
like those from Cognisys (www.
cognisys-inc.com).
STEP
Fire away.
Turn off the room lights, open
your cameras shutter, and set
\RXUVXEMHFWLQPRWLRQ,IULQJ
WKHDVKHV\RXUVHOIZLWKUDGLR
triggers), perform test drops to
QHWXQHWKHWLPLQJ6PLWKZDV
rewarded with a handful of keepers
across hundreds of exposures.
:LWKDDVKWULJJHUVXFKDVWKH
IR-based StopShot, you can up your
success rateset it up according to
the manufacturers instructions. If
youre working with water, protect
\RXUDVKXQLWVZLWKSODVWLFZUDS
STEP
Build your set.
Work in a room that allows total
GDUNQHVV8VH\RXUDVKHVLQ
manual mode, at the lowest power
IRUWKHVKRUWHVWDVKGXUDWLRQ
usually 1/32 or 1/64 power. Place
WKHDVKHVDVFORVHWR\RXUVXEMHFW
as possible, arranged so they light
the subject evenly. Dial in a mid-
range aperture (Smith used f/11)
and the lowest ISO that you can.
STEP
Fix things later.
Smith applied a few basic adjust-
ments such as increasing Clarity
(for more midtone contrast), adding
Vibrance, sharpening, and cropping
to a tighter composition. His most
time-consuming task was cloning
out debris, out-of-focus bubbles,
and grit as he retouched in Adobe
Photoshop CS6.
THE SETUP
1
2
3
4
5
WHAT IT TAKES
Getting a high-speed action shot
may be simpler than you think;
this photographer did it without
a trigger. But with specialized
equipment, youll have more
patience for experimentation.
ACTION
STOPPERS
The Cognisys
StopShot
flash
controller
uses infrared
beams to let
you set to the
millisecond
exactly when
a flash fires.
A sturdy
tripod, like
Manfrottos
new MK190X
PRO3, is a
must.
D
D
E
C
F
B
A
F

Make a Time-Lapse
Sequence
60
Speed up the world
with loads of timed shots
A
N
D
R
E
W

S

G
E
R
A
C
I
/
D
I
S
T
R
I
C
T

7

M
E
D
I
A

(
5
)
PROJECT TWO

C
onsider time-lapse photography the anti-slow-motion video: With it, you can
watch morning turn to evening in a minute, see a structure being built to com-
pletion by superspeed workers, and be a spectator at a very fast snail race.
You probably already have everything, or most everything, you need to make a
time-lapse sequence. Really, all you need is a tripod, a DSLR, and an intervalome-
ter, says Andrew Geraci, who confesses to using a very cheap intervalometer with
his Canon EOS 5D Mark III and 15mm f/2.8 Carl Zeiss ZE lens to make this time-
lapse of the Manhattan skyline. (See the full video at PopPhoto.com/time-lapse.)
An increasing number of DSLRs and ILCs have built-in intervalometers that allow
you to set the frequency and number of frames to be taken. If your camera lacks
this feature, you can connect an accessory intervalometer to most any DSLR.
LONG-HAUL
SHOOTING
An accessory
battery grip
lets you
take longer
sequences.
Or power
the camera
with an AC
adapter from
a wall plug
or portable
AC supply.
And the new
Nikon D5300
has a built-in
intervalomer.
WHAT IT TAKES
You may already have everything you
need for a basic time-lapse shoot;
plenty of recent camerasincluding
numerous point-and-shootshave
built-in intervalometers.
STEP
Size it down!
You will likely play your time-
lapse sequence at standard
video speed, 30 frames per
second. This means that for
every second of video, you need
to take 30 still frames; for every
minute, you will need 1800
frames (30 X 60 seconds).
So dont take 12- or 16- or
24-megapixel images, but JPEGs
close to your largest playback
resolution640x480, 1280x720,
or 1920x1080.
P
STEP
OK, guesstimate it.
A simple guideline: For slow-
moving subjects, use longer inter-
vals, for faster moving subjects,
shorter intervals. For a time-lapse
of changes to a tree over a month,
you might want to use an interval
of a full day. For an hours worth
of that morning-blooming plant,
maybe 1 frame a second.
STEP
Set the camera.
For most subjects, keep the
lens on manual focus. Use
autoexposure, unless you want
to record the changing light over
several hours, in which case try
a manual exposure for noon
daylight. Andrew Geraci manu-
ally changed the aperture every
time the light changed +/ 1 EV.
STEP
Put em together.
You may already have the software
you need to assemble your frames
into a video. If you have a Mac, you
can do it in iPhoto. Many enthusias-
tic time-lapsers recommend Apple
Quick Time Pro ($30 direct, for Mac
or Windows). You can also do it in
a variety of other still- and video-
editing programs.
STEP
Time it out.
For a 1-minute (1,800-frame)
video of an event unfolding over
the course of 1 hour (60 minutes),
1,800 frames divided by 60 yields
30 frames in a minuteor one
every 2 seconds. So set your
timer to an interval of 2 seconds
and a duration of 60 minutes.
STEP
Power it up.
Your camera has a rated battery
life of 500 shots per charge,
and youre shooting a 3,000-
frame sequence. No go. If youre
shooting a sequence with long
intervals, you can simply swap
out batteries for fresh ones as
they drain. Accessory battery
grips can double or triple your
shot capacity. Shooting near an
AC outlet, your best bet is an AC
adapter for power supply.
1 4
2
5
3 6

Ditch the lens to get a
wildly different look
A
N
D
R
E
W

W
A
T
S
O
N

(
C
H
A
I
R
S
)
PROJECT THREE
Take Pinhole
Photos

A
pinhole camera is as minimalist as photography gets: All you need
is a light-tight box with a tiny hole on the front, and something
light-sensitive fastened onto the inside rear of the box, and you can
take a picture. In the process, you will get weirdly beautiful results, including
innite focus from near to far (or, often more accurately, equal slight fuzziness
from near to far). Once you realize that there are no knobs, no ashing
lights, no buttons, dials, or digital displays to distract you, making pictures
becomes fun again rather than a technical chore, says Andrew Watson, who
made this photo of the beach in Brighton, England on Kodak Ektar 100.
You can make your own pinhole camera (out of practically anything), build a kit
camera, buy a ready-made camera, or, simplest of all, use the camera you already
have, whether lm or digital, SLR or ILC, with a pinhole body cap in place of a lens.
TINY LENSES
Toy
cameras
such as the
Lomo Diana
Multi-Pinhole
Operator are
inexpensive
options.
A pinhole
cap like the
Lenox Laser
transforms
a film or
digital SLR
into a pinhole
camera.
Andrew
Watson used
a wood-and-
brass camera
from Zero
Image.
WHAT IT TAKES
Once you procure a pinhole cam-
era (whether you buy one, build
one, or make an accessory for
your DSLR), shooting pinhole is
just a matter of nding the right
subject and guring exposure.
1 4
2
5
3
6
STEP
Learn the basics.
The focal length of a pinhole
camera is determined by the
distance of the pinhole to the
OPRUVHQVRUDQGWKHUHDUH
optimal pinhole sizes for adequate
sharpness. Optimum pinhole size
for 50mm would be no bigger
than 0.3mm, for example; the
f-number would be about f/160.
So youll need a tripod, or at least
a solid perch for the camera.
STEP
Figure exposure.
Your DSLR or ILC metering
system will go blind at f/160,
although you will be able to com-
pose the picture with live view
on a digital camera body. Starting
exposure in bright sunlight for
ISO 100 would be about 1 sec-
ond, or sec for ISO 400.
STEP
Make your pinhole.
You can turn a cameras body cap
into a pinhole with a little fuss. Drill
a small (1/8-inch) hole in the center
of the cap. For the pinhole itself,
use soda-can aluminum. Cut an
inch-square piece of the can with a
snips, and pierce the center using
the smallest needle that will go
through. Then tape the pinhole over
the hole you drilled in the body cap.
STEP
Exploit the look.
Place objects or subjects very
close to the camera to have
them loom against the back-
ground (wider focal lengths work
best for this effect). Photograph
bodies of water in lower light to
smooth the water out to glassno
QHXWUDOGHQVLW\OWHUVQHHGHG
STEP
Do it with flm.
Many like the look of pinhole
SKRWRJUDSK\ZLWKOPEXW\RXZRQW
be able to review your exposure
LQWKHHOG$%ODFN&DW([SRVXUH
Guide (blackcatphotoproducts.
com) can be very useful here: it has
f-stops to f/1024. Wed recommend
FRORUQHJDWLYHOPXVHGE\$QGUHZ
Watson for this beach scene) as it
has great latitude and can tolerate
a lot of overexposure. He uses a
variation of the sunny-f/16 rule for
exposure times; read how at
PopPhoto.com/pinhole.
STEP
Or buy a pinhole.
Commercially made pinhole body
caps have the advantage of being
properly sized and well machined.
Companies such as Rising, Holga,
Wanderlust, and Lenox Laser make
them, available through camera
retailers or direct. Most body-cap
pinholes give you a focal length of
about 45mm on DSLRs.

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

R
O
S
S

(
T
R
E
E
)
PROJECT FOUR
Paint with
Light
Apply light in broad strokes
to showcase your subjects

K
R
I
S

H
O
L
L
A
N
D
/
M
A
F
I
C

S
T
U
D
I
O
S
LIGHT
IT UP
A battery-
powered LED
like Interfits
Matinee
LED 1000,
or the Dorcy
spotlight
make good
painters. A
Bosch digital
IR distance
measuring
tool can help
find focusing
distance in
the dark.
NIGHT LIGHTS Harold Ross used multiple exposures for his finished image, but you can
make successful paintings in long single exposures. In twilight, Ross made ambient-light
exposures for the water and background with a CamboWide RS body with Phase One P45+
digital back (A). In full darkness, he opened the shutter and painted with two attached 10x10-
inch LED panels (B), making separate exposures for each element. Later, he merged the
exposures in Adobe Photoshop CC.
Shop your closet.
Use a camera that lets you manu-
ally set long exposures, a tripod,
and a remote release. For painting
big scenes, use a large, soft light
and a portable battery to power it.
And wear black!
Scout locations.
Assuming youre going to paint your
scene with light (rather than make
WKHOLJKWLWVHOI\RXUVXEMHFWQG
an isolated subject that you can
approach and apply light from all
sides to bring out its dimension-
ality. Select locations with minimal
ambient light contamination.
Practice the moves.
Perform a dry run, without opening
the shutter, to determine how long
it will take to apply the light, then
set an ISO and mid-range aperture
that will allow you to set that length
of time as your shutter speed.
Set up your gear.
For subjects like trees and water,
wait for a windless night, prefer-
ably one with a full moon to light
up your backgrounds. Go at least
an hour before nightfall so that
you can compose the scene and
set up your gear while you can
still see. Since histograms are
of limited use in night shooting,
consider tethering the camera to a
laptop; this can help you evaluate
and adjust the scenes exposure
as you paint. To add some extra
color to your composition, use
acetate gels over your light source.
Shoot your scene.
.
Open the shutter with a remote
release or self-timer, step into
the scene and start painting.
Move quickly and continu-
ously. If for some reason you
need to pause, turn off your
light source. Dont aim the light
straight at the subject, especially
from the cameras position.
Instead, angle or feather the
way the light strikes your subject
to bring out shape, texture, and
dimension. Painting the back-
ground around your subject can
KHOSGHQHLWVRXWHUFRQWRXUV
:KHQQLVKHGTXHQFKWKHOLJKW
and close the shutter.
THE SETUP
WHAT IT TAKES
A monumental light-painted
photograph like this one takes
plenty of preparation and mul-
tiple exposures. But you can try it
on a smaller scale as long as you
have a dark subject.
A
B

S
T
A
N

H
O
R
A
C
Z
E
K

(
3
)
PROJECT FIVE

Help party animals
shoot themselves
S
ure, you could have a company haul in a boxy little photo booth for your
next party. Or, for about the same amount of money (or less), you can get
everything you need to set up a full-on portrait station worthy of your guests
fancy duds. As an added bonus, most of it is gear that will be useful in other types
of photographyand you may have all or most of it already. Our web editor, Stan
Horaczek, who set up these festive photo shoots, told us how.
A photo booth is a basic studio setup using a clean backdrop, a large light
source, and as many props as you allow. It gives your guests room for bigger group
shots and produces far better results than those charming-but-crummy photo strips.
TRAVELING
STUDIO
A Westcott
7-foot
parabolic
umbrella with
a Bowens
Gemini 400Rx
monolight
makes a
good setup
for a photo
booth. Youll
also need
a seamless
backdrop
holder like
the Impact
Background
Support
System.
Use a studio unit.
$VKRHPRXQWDVKZLWKD
sync cable can typically dish
out enough light to pull this
off, but a dedicated studio
strobe is ideal. Because it doesnt
use batteries, it will recycle more
reliably throughout the night. And
its modeling light will help out the
cameras AF system.
Pick a camera.
An old APS-C DSLR with a
kit lens is a great choice for a shoot
like this. The 18mm focal length
(28mm full-frame equivalent)
should be wide enough to cover
the entire backdrop from a few feet
away, and youll be at or around
f/11 to keep everyone in focus, so
no need for a fast lens.
Pour on the light.
<RXQHHGDOLJKWPRGLHUWKDWZLOO
cover the entire backdrop and
make everyone look good, even
in a big group shot. A 7-foot para-
EROLFXPEUHOODLQUHHFWLYHZKLWH
placed about seven feet from the
background and slightly behind the
FDPHUDWRWKHULJKWZLOODWWHU
Go auto.
The portrait station can run on auto-
pilot if you set-up a wireless trigger
like a Pocket Wizard and let guests
UHWKHVKXWWHUWKHPVHOYHV$YRLGD
wired remote releasea cord is an
accident waiting to happen. It may
also help to have someone oversee-
ing operationsand interactions.
Pick a background.
Cloth backdrops are easier to
transport, but paper seamless, like
the 107-inch model from Savage
($45, street) is cheap, never needs
ironing, and when someone spills
a cocktail on it, you can cut the
stained piece off and keep shoot-
ing. Fashion gray is a good color.
Display in real time.
So that guests can see what they
look like in the photos, use an Eye-
Fi card or similar device to beam
photos to a tablet, or just use a
cable (keep it short!) to tether to a
laptop. The latter option also lets
you make small prints on site using
a portable printer.
WHAT IT TAKES
Shooting plenty of great
photo-booth pictures
requires great light; youll
need a studio strobe for
best results. But the rest
could be done with an old
DSLR and a kit lens, and if
you lack a backdrop, you
could even use a wall.
Build a Photo
Booth

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

Youve seen fashion photos
in print and online, but have
you ever wondered what
and whomit takes to make
them? We went behind the
scenes at a shoot for fashion
website Refnery29 to fnd out.
By Matthew Ismael Ruiz
FASHION PHOTOGRAPHY is no
longer the sole province of glossy
magazines, as blogs and retail-
ers produce and publish highly
stylized work. Even for a relatively
small operation such as the web-
site Refnery29, which combines
lifestyle content with a designer
clothing store, producing a shoot
can require as many as eight
pairs of hands. The company
recently moved into new digs in
Manhattans fnancial district,
outftting an in-house studio for
the editorials and advertorials
that it regularly commissions.
Invited to shadow their crew
for a day, we watched how each
team member contributed to
produce the fnal images for the
story, which you can fnd at www.
refnery29.com/fashion-fears.
P
E
T
E
R

K
O
L
O
N
I
A

(
S
T
U
D
I
O
)
;

B
E
N

R
I
T
T
E
R

(
M
O
D
E
L
)
For video interviews with the
whole crew, plus a time-lapse
of the shoot in progress, check
out our iPad app or go to
PopPhoto.com/FashionShoot.

A
F
B
E
C
G
D
Ben Ritter
z
What he does:
A freelance
photographer, he
takes responsibil-
ity for the energy
on the set: Were
just trying to have a good time and
we want that to translate.
z
Potential challenge: This time,
Ritter worked sans assistant. But
he shoots for Refinery29 often
enough that he knows what he
needs to do, and enjoys the chance
to handle lighting on his own.
z
Favorite part of the job: Work-
ing with great people with great
attitudes, and turning that energy
into fun pictures.
Clarissa
Luna
z
What she does:
A freelancer,
Luna arrives early
to unpack and
prepare. She
focuses on making the contouring
of her makeup work with the light-
ing the photographer has set up.
z
Potential challenge: The tough-
est part is making sure everybody
is happy. You have to remember to
let go of what you want and work
as a team, says Luna.
z
Favorite part of the job: She likes
the unusual intimacy of the situa-
tion and getting to know the model
as she does the makeup.
Rachel
Besser
z
What she does:
She tracks every
article of clothing
the model wears,
and makes sure
the brands are correct for credits.
z
Potential challenge: The
fashion assistant also handles
the fashion closetthe repository
of the samples designers send to
be photographed. Getting all the
samples back to the designers on
time requires tons of organization
(she has her own intern).
z
Favorite part of the job:
Seeing the latest looks as they
come in and out.
Adam
Maclay
z
What he does:
As a freelance
hairstylist, Maclay
comes to the
set ready to
collaborate with the art director,
makeup artist, stylist, and photogra-
pher to reflect the shoots concept
in the models hair.
z
Potential challenge: Keeping the
model calm and confident.
z
Favorite part of the job: Maclay
says he enjoys having the opportu-
nity to create, change peoples lives,
and give them a new feeling about
themselves. And, he adds, all that
happens through hair itself.
Julia Finch
z
What she does:
She begins col-
laborating with
Wang three weeks
before a shoot.
She hires the pho-
tographer, stylist, hair, and makeup,
and works with the fashion depart-
ment to get the looks right. On set,
shes at the monitor, seeing that it
all comes together in the images.
z
Potential challenge: Hiring.
Because the models in this story
are real people, she needed a crew
who made them feel comfortable.
z
Finch loves seeing our creative
direction come to life.
Connie
Wang
z
What she does:
Wang produces
Refinery29s
personal style
content. The con-
cept of the shoot is hers, and she
is here to translate it into pictures.
z
Potential challenge: Keeping
fashion grounded in realityread-
ers visit the site for what she calls
the service element, and she
ensures that whats shown doesnt
get too aspirational or out there.
z
Im usually in front of my
computer all day, so I like how col-
laborative photo shoots are."
PHOTOGRAPHER
HAIR STYLIST
FASHION ASSISTANT
STYLE DIRECTOR
MAKEUP ARTIST
PHOTO EDITOR
Jen Steele
z
What she does:
The stylist (shes
freelance) picks
clothes to fit a
concept; this one
is about fashion
fears. The models are real Refin-
ery29 editors shown two ways: first,
in what they usually wear, then in a
look theyd be shy about trying.
z
Potential challenge: Finding
sizes when the models are real
peoplethis shoot had a range,
and Steele worked her connections
to find togs that would fit.
z
Favorite part of the job: Pulling
pieces that the models like to wear
and feel confident in.
STYLIST (NOT PICTURED) A
D
B
E
C
F
Kelly
Bourdet
z
What she
does: Her job at
Refinery29 is as
its health and
wellness editor,
but today shes a model. She notes
that on this website, its important
to have models that represent
women and their experiences.
z
Potential challenge: Posing
naturally when shes not a pro.
z
Being on set with the other editors
form Refinery, and of course, my
hair and makeup does not usually
look like this, so I get to look and
feel really beautiful.
MODEL
G
P
E
T
E
R

K
O
L
O
N
I
A

(
8
)
ON SET
The photog-
rapher (A)
composes, the
fashion
assistant (B)
preps clothes,
makeup (C)
and hair (D) do
touch-ups, the
style director
(E) checks her
notes, and the
photo editor
(F) reviews
shots while the
model (G)
poses. The
stylist? Shes
off-set pulling
clothes for the
next model.

20.3MP
APS-C-sized
CMOS sensor
Articulating,
3.0-inch,
1,037,000-dot
AMOLED touch
screen
2,360,000-dot
LCD EVF
$999, street,
with 1855mm
f/3.55.6 lens
SAMSUNG
NX30
DSLR TEST: NIKON D3300
LENS TEST: TAMRON 150600MM F/56.3 DI VC USD
80
83
SAMSUNG CONTINUES to make
impressive progress with its
interchangeable-lens compact
An updated ILC
with a viewfinder gets
some nice new stuff
ILC TEST
WI-FI
WINNER
dot LCD electronic viewfinder
that can be pulled out away
from the finder hump and tilted
upward. Plus, as is now the
case for all of Samsungs ILCs,
the NX30 ($999, street, with
1855mm f/3.55.5 OIS lens)
comes with a full version of
Adobe Photoshop Lightroom 5.
All told, the package looked
like an attractive option in a
mirrorless camera with built-in
EVF, so we decided to find out if
it lives up to its promise.
camera system, with bodies
made in both the rangefinder
and DSLR styles. The newest in
the latter category, the NX30,
makes steep improvements in
both performance and handling
compared with its predecessor,
the NX20.
In addition to a new sensor,
Samsung graced the NX30
with a more secure-feeling
grip, an articulating, 3-inch,
1.037-million-dot OLED
touchscreen, and a 2.36-million-

P
H
I
L
I
P

R
Y
A
N

(
L
C
D

I
M
A
G
E
)
Video record
button
OK/AF point
selection
button
WHATS HOT
SAMSUNG NX30
Great Wi-Fi; Excellent image quality
Oddly placed rear command wheel
Shooters looking for a powerful ILC
WHATS NOT
WHO ITS FOR
with a wonderful wireless connectivity
AMATEUR PRO
SAMSUNG NX30
LAB
*
ILC TEST
In the Test Lab
Though the NX30s 20.3MP CMOS
sensor carries the same number of
pixels as its predecessors (as well
as that of Samsungs current top
rangefinder model, the NX300),
this new sensor has shallower
pixel wells intended to let more
light reach the photodiodes. As we
did with our tests of the Samsung
NX300 and Leica M, both of which
ship with Adobe Lightroom, we
processed the test results with
varying amounts of luminance
noise reduction applied and
found the best balance of noise
reduction and resolution for each
of the cameras ISOs in whole-stop
increments. This worked out to
25% noise reduction at ISO 100 and
ISO 200, 50% reduction at ISO 800,
and 75% reduction at ISO 1600 and
above. Some photographers may
feel that 75% noise reduction is too
much, so this shouldnt be seen
so much as a recommendation as
a starting pointyou can always
adjust it to your liking when you
process your own images.
With these noise-reduction
settings applied, the NX30 earned
an Excellent overall image quality
rating from ISO 100 through 400.
Thats the same result that the
NX300 got when we tested it for
the August 2013 issue, and one
full ISO step better than the NX20
tested in October 2012.
In our resolution test, the
Samsung NX30 captured 2560
lines per picture height at ISO
100, which is high enough for an
Excellent rating and a virtual tie
with the NX20s result. At ISO 400,
it dropped to 2530 lines. After that
point the new camera dropped

below the 2500-line cutoff
for our top rating. Still, it
managed to turn in 2430
lines at ISO 6400. Resolution
drops more precipitously as
sensitivity increases from
there, though, finally landing at
2030 lines at the cameras top
sensitivity of ISO 25,600.
In our noise test, with the
stated settings, the NX30
held noise to a Low or better
rating up to ISO 3200. Thats
impressive enough, but
remember that its obtained
with 75% noise reduction.
With 50% noise reduction at
ISO 3200, the test result would
still be in the acceptable range
with a score of 2.9, just below
our cutoff for an Unacceptable
rating. These results leave the
NX20 in the dustits noise was
Unacceptable by ISO 1600.
We were also impressed at
how low noise stayed at ISO
100 through 400 with only 25%
noise reduction applied. Given
Lightrooms particularly good
noise reduction, there is minimal
loss of resolution at the 25%
setting. With no noise reduction
at all, the NX30 would have
gotten a Low rating at ISO 100
and an Unacceptable by ISO 800.
Nearly matching the results
of Samsungs NX300, the NX30
earned an Excellent rating for
color accuracy with an average
Delta E of 5.6remarkable,
and significantly better than
the NX20s Excellent-level
7.4. As always in our tests, we
click a neutral gray patch for
white balance during RAW
conversion. You should always
use a gray card when shooting
for critically accurate color.
In the Field
While the NX30 generally
looks a lot like the NX20, it
For info
on how we
test our
cameras,
visit our
website at
PopPhoto.
com/
reviews.
If you want
an EVF, the
NX30 is the
best camera
Samsung
offers.
TEST RESULTS
IMAGE QUALITY ISO 100400
POOR EXCELLENT
EXCELLENT
RESOLUTION ISO 200
POOR EXCELLENT
1500 2000 2500 3000 3500 4000
EXCELLENT 2560
COLOR ACCURACY
HIGH EXCELLENT
EXCELLENT 5.6
HIGHLIGHT/SHADOW DETAIL
LOW EXTREMELY HIGH
HIGH
CONTRAST
LOW EXTREMELY HIGH
HIGH
UNACCEPTABLE EXTREMELY LOW
3.0 2.5 2.0 1.5 1.0 0.5
NOISE AT ISO
EXTREMELY LOW 1.0
VERY LOW 1.2
VERY LOW 1.2
LOW 1.6
LOW 1.6
1600
3200
eUNACCEPTABLE 4.6
eUNACCEPTABLE 6.9
6400
12,800
12,800
100
200
400
800
LOW 1.6
benefits from some obvious
improvements. The grip is
considerably more ergonomically
shaped. Youll find a divot for
your middle finger that gives a
more secure feel when angling
the camera body; on the camera
back there is a wonderful angled
ridge for your thumb to press
against for a better hold.
The controls arent quite as
sophisticated as weve been
seeing lately in some cameras,
but they get the job done. Plus,
MODERATELY LOW 2.3
SAMSUNG NX30
LAB
*
ILC TEST

Scan for your
home theater
options here
Start the action sooner
with same day
shipping by 8PM
create
great
theater at
Your headquarters for free creative education.
Daily original videos
Workshops
Online tutorials
Product reviews
Gear guides
Scan and go
straight to
video here
develop your
creative skills
at the
learning
center

Fans of
plastic
cameras
should take
note that
you can
get a Holga
29mm f/8
lens in the
NX mount.
We tried one
during our
field test
and found
all the same
lo-fi charm
weve come
to expect
from Holga
images.
if youre a fan of Samsungs
i-Function lens-based controls,
then you may give the NX30
a few extra points here. There
are three assignable buttons,
though the functions you can
assign are pretty limited. One of
those buttons defaults to Wi-Fi
activation, and we left it at the
default for the entire field test
to have that direct access to
wireless.
There are two command
wheels, but one of them
surrounds the pad used for
menu navigation. We prefer a
second command wheel toward
the top of the camera back,
where your thumb can more
easily reach it.
The EVF is quite nice, with a
fast refresh rate. We didnt find
ourselves angling it upward
much during our field-testing,
but if you like shooting while
looking down, this feature
could set the NX30 apart from
some other cameras. Weve
heard from some landscape
and portrait photographers who
really like to shoot that way,
and some portraitists say that
the disconnect created when
the subject cant look them in
the eye helps their subject gaze
into the lens more intensely. We
ended up getting more use out
of the articulated touchscreen,
whether to frame images at
awkward angles or just to fight
glare during playback by tilting
the screen.
Autofocusing is quite fast
for an ILC, but not the fastest
weve seen. The AF did a fine
job of keeping up with the
cameras burst speed of 9
frames per seconda noticeable
improvement over the NX20.
And with 28 JPEGs per burst, or
11 RAW, burst fans should have
an adequate number of shots
for most purposes. Also, unlike
the NX20, this camera will let
you access menus and controls
while it's clearing the buffer.
Samsung continues to do a
great job at implementing Wi-Fi
and NFC into its ILCs. The NX30
can push images to your phone
as you shoot, let you manage
all the most important camera
controls from your phone, and
give you a live view of what
your camera is seeing. Olympus
lets you control more esoteric
camera settings, but we were
pleased with what Samsung
offers, since it is particularly
easy to control the camera
remotely and share pictures
on the go. Plus, the NX30 uses
dual-band Wi-Fi, so it should
be able to deal with situations
in which you face a lot of radio
interference. For instance,
we saw the NX30 seamlessly
operated by a cellphone in
a demo at a trade showan
environment where Wi-Fi
connections usually fail.
Video shooters should be
pleased with the footage
from the NX30, which shows
relatively few artifacts, plenty
of detail, and nice-looking
colors. Theres an HDMI output
that allows a clean output
for recording to or streaming
through an external device.
The Bottom Line
The Samsung NX30 is a
meaningful improvement over
its predecessor, the NX20. For
shooters who want a built-in
EVF, this camera is the best
option that Samsung offers.
Sonys upcoming Alpha 6000
will, we predict, provide stiff
competition for the NX30. In
demos of preproduction units,
that 24MP APS-C Sony has
wowed many with its fast AF
speed and OLED EVF. Fans of the
DSLR-style body design, though,
will note that that Sony doesnt
have the same form factor as
IMAGING: 20.3MP effective, APS-C-
sized CMOS sensor captures images at
5472x3648 pixels with 12 bits/color in
RAW mode
STORAGE: SD, SDHC, SDXC slot stores
JPEG, SRW RAW, RAW + JPEG files
BURST RATE: Full-sized JPEGs (Fine
mode): 9 fps up to 28 shots; RAW:
9 fps up to 11 shots; RAW + JPEG: 9 fps
up to 11 shots when using a Class 10 or
higher UHS-I memory card
AF: TTL contrast and phase detection
with 105 phase and 247 contrast AF
points; single-shot and continuous AF
with face detection and subject tracking
VIEWFINDER: Tilting eye-level
2.359-million-dot LCD with 0.96X
magnification and 100% accuracy
SHUTTER SPEEDS: 1/8000 to 30 sec,
plus B (in 1/3-EV increments); shutter
life not rated
METERING: TTL metering with 221-zone
Multi (evaluative), centerweighted, spot
(spot size not specified)
ISO RANGE: ISO 10025,600
(in 1- or 1/3-EV increments)
VIDEO: Records at up to
1920x1080p60 in H.264 format; built-
in stereo microphone; stereo mic input;
maximum clip length 29 minutes 59
seconds at 1920x1080p
FLASH: Built-in pop-up flash with A-TTL
autoflash; GN 37 (feet, ISO 100); flash
sync to 1/200 sec
MONITOR: Articulating 3-inch
Super AMOLED touchscreen with
1.037-million-dot resolution; five-step
brightness adjustment
BATTERY: Rechargeable BP1410 Li-ion,
CIPA rating 360 shots
SIZE/WEIGHT: 5.0x3.8x1.6 in., 1.0 lb
with a card and battery
STREET PRICE: $999 with 1855mm
f/3.55.6 OIS i-Function lens
INFO: www.samsung.com
SPECIFICATIONS
the NX30. Olympus's OM-D E-M5
does though, and fans of Four
Thirds can get it for about the
same price as the NX30.
Samsung continues to fill out
an already impressive line of
lenses: We were able to use such
gems as the 60mm f/2.8 macro
and 85mm f/1.4 during our field
testing, and very much enjoyed
the experience. Were confident
that if you do the same, you'll
have fun too. Philip Ryan
SAMSUNG NX30
LAB
*
ILC TEST

NIKON D3300
LAB
*
DSLR TEST
AMATEUR PRO
D
A
N

B
R
A
C
A
G
L
I
A

(
L
C
D

I
M
A
G
E
)
WHATS HOT
NIKON D3300
Excellent image quality up to ISO 400
No headphone out for video monitoring
Budget-minded DSLR shooters
WHATS NOT
WHO ITS FOR
DESPITE THE growing popularity
of interchangeable-lens compacts,
Nikon continues to offer compel-
ling entry-level DSLRs. Its latest,
the D3300, succeeds the D3200 we
tested in our August 2012 issue.
The pixel count of this new $647
(street, with 1855mm f/3.55.6G
Nikkor VR II lens) APS-C-sensor
camera holds at 24.2MP and the
metering and AF systems stay the
same as the D3200. But bursts
have increased to 5 frames per
second, the buffer can hold more
JPEGs before flling, and the top ISO
reaches 1 stop higher, to ISO 25,600.
In the Test Lab
Nikon used a new sensor in the
D3300, and we saw it hit higher
levels of noise than the D3200 at all
sensitivities over ISO 100, earning it
an Excellent rating in overall image
quality from ISO 100 through 400
(the D3200 reached ISO 800).
This could refect the difference
in hardware, but it may also be due
to changes in the latest version
of Nikons View NX software that
ships with the camera, which we
use to convert RAW fles to TIFFs
in our tests. DxOMark.com, which
tests unprocessed RAW image fles,
rates the D3300s higher ISO perfor-
mance above the D3200s.
In our resolution test, the D3300
NIKONS BUDGET
DSLR DELIVERS
Dollar
Sense

essentially matched the D3200,
with 2725 lines per picture height
at ISO 100 versus the D3200s 2710
lines. At ISO 400 the D3300 served
up 2540 linesstill well over the
2500 lines that is the cutoff for
Excellent in this test. By ISO 1600
it dropped below that mark, with
2440 lines, but it held its resolv-
ing power up to ISO 6400, with
2420 lines. Thereafter, resolution
dropped more sharply, ending up
at 2240 lines at ISO 25,600.
Thats still impressive for an
entry-level DSLR, though.To com-
pare, Canons 18MP EOS Rebel
T5i ($850, street, with 1855mm
f/3.55.6 Canon EF IS STM lens)
resolved 2500 lines at its best and
2100 lines at ISO 6400; it produced
1860 lines at ISO 25,600.
The Canon T5i wins, though,
when comparing noise. In our
noise test, the D3300 garnered a
Low or better rating up to ISO 400,
after which the noise increased
rapidly. While the T5i achieved a
Low or better rating up to ISO 800,
and didnt reach Unacceptable
noise levels until ISO 12,800, the
D3300 landed in Unacceptable
range by ISO 3200.
This may have more to do with
Nikons defaults for automatic
noise reduction in RAW conver-
sion than the actual RAW sensor
output. But we regard the manu-
facturers default as its standard
for the camera and always use
the provided softwares defaults
for our tests. That said, one would
expect more noise here, since the
Nikon has signifcantly more pixels
packed into nearly the same APS-
C-sized sensor area.
When shopping for cameras in
The D3300
can make
some very
nice video,
but there
isnt any
headphone
output, so
you cant
monitor the
audio while
shooting
video.
TEST RESULTS
IMAGE QUALITY ISO 100400
POOR EXCELLENT
EXCELLENT
RESOLUTION ISO 100
POOR EXCELLENT
1500 2000 2500 3000 3500 4000
EXCELLENT 2725
COLOR ACCURACY
HIGH EXCELLENT
EXCELLENT 6.4
HIGHLIGHT/SHADOW DETAIL
LOW EXTREMELY HIGH
EXTREMELY HIGH
CONTRAST
LOW EXTREMELY HIGH
VERY HIGH
UNACCEPTABLE EXTREMELY LOW
3.0 2.5 2.0 1.5 1.0 0.5
NOISE AT ISO
400
800
1600
25,600
MODERATE 2.7
100
6400
200
12,800
EXTREMELY LOW 1.1
3200
VERY LOW 1.4
LOW 1.9
eUNACCEPTABLE 6.4
eUNACCEPTABLE 4.4
eUNACCEPTABLE 3.6
UNACCEPTABLE 10.6
MODERATE 2.9
BRIGHT (LIGHT LEVEL) DIM
AF SPEED
12
0.2
0.4
0.6
0.8
1.0
1.2
1.4
1.6
9 6 3 0 3
0.91
1.16
E
X
T
.

S
L
O
W

T
I
M
E

(
S
E
C
O
N
D
S
)

E
X
T
.

F
A
S
T
0.48 0.48
0.54
0.57
0.59
0.72
0.84

In addition
to its lone
command
wheel, the
D3300 has
only one
memory card
slot. If you
want fancier
controls and
a second
card slot
youll have
to move up
to a pricier
DSLR body.
IMAGING: 24.2MP effective, DX format
APS-C-sized CMOS sensor captures images
at 6000x4000 pixels with 12 bits/color in
RAW mode.
STORAGE: SD, SDHC, SDXC. Stores JPEG,
NEF RAW, RAW + JPEG.
VIDEO: Up to 1920x1080p60 H.264/
MPEG-4; built-in mono mic, stereo minijack
mic input; continuous AF; maximum clip
length 10 min. at 1920x1080p60 and high
quality, 20 min. at 1920x1080p30 and
high quality.
BURST RATE: Full-sized JPEGs
(Fine mode): 5 fps up to 100 shots; RAW
(12-bit): 5 fps up to 11 shots when using a
UHS-I memory card
AF SYSTEM: TTL phase detection with 11
illuminated focus points (one cross-type
point in center); single-shot, continuous, 3D
focus tracking; tested sensitivity down to EV
1 (at ISO 100, f/1.4).
LIVE VIEW: Full-time contrast detection
or single-shot phase-detection AF with
mirror interrupting view momentarily; face
detection and subject tracking available.
SHUTTER SPEEDS: 1/4000 to 30 sec
(1/3-EV increments); shutter life not rated.
METERING: TTL metering using
420-pixel RGB sensor; Matrix (evaluative),
centerweighted, and spot (approx. 2.5% of
finder at center) metering; range, 020 EV
(at ISO 100).
ISO RANGE: ISO 10012,800 (in 1-EV
increments), expandable to ISO 25,600.
FLASH: Built-in pop-up flash; GN 39 (feet,
ISO 100); flash sync to 1/200 sec.
VIEWFINDER: Fixed eye-level pentamirror.
LCD: Fixed 3-in. TFT with approx.
921,000-dot resolution; 11-step
brightness adjustment
OUTPUT: Hi-Speed USB 2.0, mini-HDMI
video, composite video
BATTERY: Rechargeable EN-EL14a Li-ion,
CIPA rating 700 shots
SIZE/WEIGHT: 4.9x3.9x3.0 in., 1.0 lb with
card and battery
STREET PRICE: $647, with AF-S DX Nikkor
1855mm f/3.55.6G VR II lens.
FOR INFO: www.nikonusa.com
SPECIFICATIONS
this market segment, you have to
think about how much resolution
you really need. If you crop often
and severely, the D3300s extra pix-
els make a lot of sense. If you dont
usually crop much, then you might
get more out of the Canon.
In autofocus, the D3300s results
were very similar to its predeces-
sors. At the brightest light level in
our test, the D3300 focused in less
than a half-second and remained
under 0.6 sec down to the bright-
ness of a typical living room. At EV
0, the level of an average nighttime
scene, the D3300 still focused in
less than a second. At EV 1, the
lowest light for which the cameras
AF is rated effective, the speed
became more erratic but averaged
out to 1.16 sec. Canons T5i was
able to focus faster in bright and
medium light, but in dim lighting
the two cameras tied. Since the
D3300 is aimed at amateurs, we
think its AF results are plenty good
for the kind of use itll likely see.
With an average Delta E of 6.4,
the D3300 easily earned an Excel-
lent rating in color accuracy, a test
that most current DSLRs ace.
In the Field
Though the D3300 is a bit smaller
than the D3200, the overall feel
and button layout is very similar.
The camera still feels quite stable
in the hand. Theres only one com-
mand wheel, so you must hold
down the exposure-compensation
button when in manual. Nikon
clearly assumes that most D3300
owners will use full auto or one of
the priority shooting modes. While
this may well be true, we still
prefer a camera that has two com-
mand dials, especially when you
can assign exposure comp to one
of them when in a priority mode.
Movie recording got an upgrade
to 1920x1080p at 60 frames per
second, from the D3200s 30 fps.
We expect that non-pros will be
plenty happy with the footage
from the D3300, which showed
lots of detail and no more artifacts
than one would expect from an
inexpensive DSLR.
Burst speed now meets our
criterion of at least 5 fps for ama-
teur sports shooting. With JPEGs,
you can get upwards of 100 shots
before the buffer flls, likely the
result of D3300s newer Expeed 4
processor; with RAW you get 11
shots per burst. Thats down from
the D3200s 18, but by no means
shabby for a camera of this class.
If Nikon did one thing wrong, it
was omitting built-in Wi-Fi (same
with the Canon T5i). You can add
its optional WU-1a wireless mobile
adapter ($60, street) to transfer
images straight to your smart-
phone and control the D3300 from
the phone. The new camera costs
about $50 less than the D3200 did
when we tested it, taking some
monetary bite out of the equation.
The Bottom Line
Nikons D3300 doesnt change too
much compared with the D3200
and thats mostly a good thing.
It captures tons of detail in still
images, serves up extremely accu-
rate colors, and has enough power
to get great shots of any familys
high-school sports star.
Plus, Nikon put out a relatively
inexpensive 35mm f/2.8G lens at
the same time as the D3300. This
rounds out a series of inexpensive
primes that Nikon has offered in
recent years. It also signals a true
commitment to amateur shooters
and bolsters an already extensive
array of glass and accessories that
few ILC makers can match.
If youre torn between Nikon and
Canon and not invested in either
system yet, youll have to decide
whether Canons twisting, tilting
LCD trumps the D3300s fxed one,
and whether Nikons choice of
more noise for more pixels makes
a difference to you. From where we
sit, its a tossup. Philip Ryan
NIKON D3300
LAB
*
DSLR TEST
VIEWFINDER TEST: Accuracy, 95%
(Excellent); magnification, 0.85X (Very Good).

TAMRONS 150600MM f/56.3
Di VC USD zoom sports one of
the classs broadest focal-length
ranges (4X) as well as the longest
reach in the tele-zoom category,
to 600mm. It also packs Vibration
Compensation (VC), an Ultrasonic
Silent autofocus drive, three
low-dispersion elements for
suppressing color fringing, a new
eBAND lens coating the company
claims will improve anti-reflection
performance, and a lets-get-
covetous street price of just over a
grand ($1,069, street).
A full-frame lens that reaches
the equivalent of 960mm on
Big Deal
SPECIFICATIONS
150 600MM (149.96mmn.a. tested*),
f/5 6.3 (f/4.32n.a. tested*), 20 ele ments
in 13 groups. Focus ring turns 130 degrees.
Zoom ring turns 150 degrees. Focal lengths
marked at 150-, 200-, 250-, 300-, 350-,
400-, 450-, 500-, and 600mm.
DIAGONAL VIEW ANGLE: 16--4 degrees
WEIGHT: 4.5 lbs FILTER SIZE: 95mm
MOUNTS: Canon AF, Nikon AF, Sony AF
INCLUDED: Lenshood, removable tripod
collar, Silkypix Developer Studio software
STREET PRICE: $1,069
WEBSITE: tamron-usa.com
TEST RESULTS
DISTORTION: At 150mm, 0.21% (Slight)
pincushion; at 300mm, 0.20% (Slight)
pincushion; at 600mm, 0.20% (Slight) pincushion.
LIGHT FALLOFF: At 150mm, gone by f/5.6;
at 300mm, none; at 600mm, gone by f/8
CLOSE-FOCUSING
DISTANCE: 94.75 inches
MAXIMUM MAGNIFICATION RATIO:
At 150mm, 1:14.46; at 300mm, 1:7.6;
at 600mm, 1:4.03
IMAGE STABILIZATION: 2.33 stops
*
T
E
S
T
E
D

M
E
A
S
U
R
E
M
E
N
T

N
O
T

A
V
A
I
L
A
B
L
E

D
U
E

T
O

I
N
S
T
R
U
M
E
N
T

L
I
M
I
T
A
T
I
O
N
.
D
A
N

B
R
A
C
A
G
L
I
A
THE WORLDS
LONGEST TELE-ZOOM
WHATS HOT
TAMRON 150600MM F/56.3 DI VC USD
Nice zoom range, great price
Like most lenses reaching 600mm,
requires a monopod; no lens case
WHATS NOT
WHO ITS FOR
All landscape, nature, sports, and
wildlife photographers
1
3
.
6
8

i
n
.
1
0
.
2
4

i
n
.
4.15 in.
LAB
*
LENS TEST
AMATEUR PRO
2.19 in.
0.88 in.

Canon APS-C bodies (900mm on
Nikon and Sony), the lens has a
removable tripod collar, lenshood,
and rubber cowl around its mount
to fend off the elements.
Among lenses with this much
telephoto reach, this Tamron is by
far the most compact and, at least
for short periods, hand-holdable.
At 4.5 pounds, it weighs about
half as much as Canons 600mm
f/4L, for example, and fully racked
out it measures about four inches
shorter. Its removable tripod collar
has finger notches that improve
the grip when handholding. That
said, it still requires at least a
monopod for extended use.
In the field, we liked the large,
ribbed zoom ring for its convenient
placement and easy, albeit
slightly uneven, turn. The zoom
lock, which confines the lens to
its contracted 150mm position,
prevented the zoom creep that can
occur when walking with the rig
on a neck strap (always support a
lens this size when carrying it on
the camerasee page 38). We really
appreciated the focus-limiter switch,
which has full and non-closeup
ranges. The latter, going from about
50 feet to infinity, worked well for
wildlife and sports.
On the Popular Photography optical
bench, the lens delivered Excellent-
range SQF numbers at 150 and
200mm. At 300mm, the longest
setting our bench allowed, tested
performance dropped only one
notch into Very Good numbers.
Most other tele-zooms weve tested
have dropped a rating notch further,
into the Good range, at their 300mm
focal lengths. (These include the
Tamron 70300mm f/45.6 Di VC
USD and the Sigma 70300mm
f/45.6 DG OS.)
Our DxO Analyzer Version 5.3
tests found pincushion distortion
in the mid-Slight range at all focal
lengths, a significant improvement
over the uniform Visible-range
pincushioning of Tamrons
200500mm lens. Light falloff was
gone from the corners by f/5.6
at 150mm and f/8 at 600mm. At
300mm, we found no detectable
vignetting, a performance that
tops all of the earlier tested
tele-zooms at this focal length.
Tamrons VC mechanism helped
three testers to an average of 2.33
extra stops of handheld sharpness
versus without VC engaged.
The appeal of this lens for focal-
reach-hungry photographers is
ob vious. Relative to others that
reach 600mm, its handling could
hardly be more user-friendly. And
that price! (The Canon 600mm
f/4L streets for nearly $13,000.)
Performance outstrips the closest
comparable tele-zooms. Plus, it
comes with Tamrons customized
version of the Silkypixs RAW
converter, which automatically
corrects for distortion, chromatic
aberration, and edge falloff in this
and every other Tamron SP-series
lens. Nice! Julia Silber
KEY
150
MM
200
MM
300
MM
The full-
frame
Tamron
150600mm
comes in
Canon,
Nikon,
and Sony
mounts, but
the latter
version
lacks
Vibration
Compensa-
tion, since
image
stabilization
is built into
Sony DSLR
bodies.
LAB
*
LENS TEST

The Professionals Source
800-947-9980
212-444-6666
Fax: 212-239-7770
420 Ninth Avenue
Corner of 34th Street
New York, N.Y 10001
Store & Mail Order Hours: Sunday 10-5 | Mon-Thurs 9-7 | Friday 9-1 EST/9-2 DST | Closed Saturday
Over 300,000 products, at your leisure
www.BandH.com
Prices, specifcations, 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.
NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer General Lic. #0907906
When in New York,
Visit our SuperStore
- Over 70,000 square feet of the latest gear
- The most knowledgeable Sales Professionals
- Hands-on demos
- Convenient free parking available
B&H Online
- Search Capabilities
Find products fast
- Podcasts
B&H experts provide essential
product information in video interviews
- Product Demos
View products from every angle,
right on your computer screen
- Customer Reviews
Useful feedback from other
customers to help you decide
- Live Help
Chat online with support staff
We Buy, Sell, and Trade
888-520-3010
Speak to a Sales Associate
www.BandH.com/used
Shop conveniently online
Upcoming Holiday Schedule
April 14 - April 22 ................ Closed

Page 2
When in New York,
420 Ninth Ave.
New York, N.Y. 10001
Over 70,000 square feet
of the latest gear
The most knowledgeable
Sales Professionals
Hands-on demos
Convenient free parking
available
BandH.com/catalog
212-444-6633
www.BandH.com
CyberShot DSC-RX100 II
8.0" T||||| /||a |||e |CO Bu|||-|| w||e|e
8.G/ 0p||:a| Zccr /.2/ O|||a| Zccr
10.1-8/.4rr |/1.8-4.9 (8brr e(u|..
28-100rr, Ca|| Ze| Va||c-Sc||a| T |e|
|S P|c Ouc/P|c H-Ouc, SOHC/SO/C
Ca|d S|c| |u|| HO 1080|/p V|dec a| G0 & 24 |p
#SODSCRX100M2 20
Mega
Pixels
Lumix DMC-FZ70
8.0" |CO SO/SOHC/SO/C Ca|d S|c|
|u|| HO 1080| AVCHO V|dec a| G0 |p
G0/ 0p||:a| Zccr b/ O|||a| Zccr
8.b8-21brr |/2.8-b.9 (8brr e(u|..
20-1200rr, OC Va||c |e|
C|ea||.e Cc|||c|, Pa|c|ara, a|d Re|cu:|
#PADMCFZ70B* 16
Mega
Pixels
Coolpix P520
42/ 0p||:a| Zccr 2/ O|||a| Zccr
8.2" Va||-A||e |CO 4.8-180rr
|/8-b.9 (8brr e(u|.. 24-1000rr,
|u|| HO 1080/G0| V|dec W||| S|e|ec
Scu|d SO/SOHC/SO/C Ca|d S|c|
Black, Dark Grey or Red
#NICPP520* ...........................379.95 18
Mega
Pixels
MEMORY CARDS
Powershot G16
8.0" |CO |u|| HO 1080/G0p V|dec
b/ 0p||:a| Zccr 4/ O|||a| Zccr
G.1-80.brr |/1.8-2.8 (8brr e(u|..
28-140rr, SO/SOHC/SO/C Ca|d S|c|
E||a|:ed w|-|| Capao|||||e
Cc||||ucu S|cc||| a| 9.8 |p
#CAPSG16 .................... 549.99 12
Mega
Pixels
Powershot S120
b/ 0p||:a| Zccr 4/ O|||a| Zccr
b.2-2Grr |/1.8-b./ (8brr e(u|..
24-120rr, 8.0" Tcu:|:|ee| |CO
SO/SOHC/SO/C Ca|d S|c|
|u|| HO 1080/G0p V|dec |S0 12800
E||a|:ed w|-|| Capao|||||e
#CAPSS120B* .............. 449.99 12
Mega
Pixels
Stylus XZ-2 iHS
8.0" SW|.e||| Tcu:|:|ee| |CO
4/ 0p||:a| Zccr 2/ O|||a| Zccr
G-24rr |/1.8-2.b (8brr e(u|..
2/-108rr, |e| 11 A|| ||||e|
|u|| HO 1080p V|dec Re:c|d||
#OLXZ2B 12
Mega
Pixels
You' re On Steady Ground
Tri pods wi th Bal l Head
UelachabIeLegandCoIumnFormMonopod
NonHolalngTwslLockLegs
CroovedcenlercoIumn BubbIeLeveIs
HubberFeelHelraclabIeMelaISpkes
IncIudedpaddedcarrybag
Model Bal l Head
Load
Capaci ty
Max.
Hei ght Fol ded Wei ght SKU # Pri ce
Anodized Aluminum Tripods
AT-3421 BIDST S.SIb 5S" IS.S E.7Ib DBTS4EIIDST $159.95
AT-3431 BIDST S.SIb SI.S I7.S E.SIb DBTS4SIIDST $199.95
AT-3441 BIIIT IIIb SS.4 I7.5 S.5Ib DBTS44IIIIT $249.95
AT-3451 BIIST IS.EIb S5.5 IS.I S.SIb DBTS45IIIST $289.95
AT-3461 BII7T I7.SIb S7.I ISS 4.5Ib DBTS4SIII7T $299.95
6x Carbon Fiber Tripods
CT-3431 BIDST S.SIb 5S.5 I7 E.5Ib DBCTS4SIIDST $399.95
CT-3451 BIIST IS.EIb SI.S I7.I E.5Ib DBCTS45IIIST $479.95
CT-3461 BII7T I7.SIb S4.5 I7.4 S.IIb DBCTS4SIII7T $479.95
CT-3481 BIEST ES.4Ib SS IS.S S.SIb DBCTS4SIIEST $499.95
CT-3521 BIDST S.SIb 5S.4 I4.S E.4Ib DBCTS5EIIDST $379.95
CT-3531 BIDST S.SIb SD.S I5.5 E.5Ib DBCTS5SIIDST $399.95
CT-3551 BIIST IS.EIb SE.4 IS E.SIb DBCTS55IIIST $469.95
CT-3561 BII7T I7.SIb S4.S IS.S S.IIb DBCTS5SIII7T $349.95
CT-3581 BIEST ES.4Ib S7.S IS.S S.SIb DBCTS5SIIEST $369.95
AT-3421
CT-3481
CT-3561
SDHC Secure Digital High Capacity
Delkin Kingston Sandisk
Pro Micro Std Micro
Class
10
Class 4
Mobility
Class
4
Class
4
4GB 7.95 5.95 7.49
8GB 9.95 6.95 6.95 7.95
16GB 13.95 11.94 11.95 11.95
32GB 24.95 21.95 19.95 21.95
CF Compact Flash
Delkin Kingston Lexar Sandisk
500x 700x 1000x 1050x
Ultimate
266x
Ultimate
600x
800x 1066x
Ultra
50MBs
Extreme
120MBs
Extreme Pro
90MBs 160MBs
16GB 29.95 39.95 59.95 18.95 35.69 43.95 77.95 49.95 50.95 69.99 74.95
32GB 48.95 63.50 99.99 109.95 36.50 59.99 68.95 139.95 94.99 84.95 129.95 134.95
64GB 89.95 124.00 229.95 234.95 59.74 119.00 269.95 149.99 289.95 282.99
128GB 229.95 349.95 494.48 229.00 539.95 289.95 599.99
256GB 1,281.20 989.95
XQD High-Speed for Nikon D4
Sony
N Series
125MBs
S Series
168MBs 180MBs
32GB 99.95 199.95 199.95
64GB 189.95 307.95
SDXC-UHS1 Extended Capacity -UHS2
Delkin Kingston Lexar Sandisk Sony Sandisk
600x 633x
Class 10 Class 10 Class 10 Micro
45MBs
Class 10 Class 4 Extreme Pro
233x Elite 200x 400x 600x 30MBs 80MBs 95MBs 40MBs 94MBs Micro Backup 280MBs
64GB 79.95 89.95 59.95 52.95 41.87 59.95 89.95 62.95 79.95 98.95 86.95 39.95 69.95 39.95 59.99 244.95
128GB 179.95 124.95 179.95 124.99 149.99
256GB 399.95 Note: Not all devices support SDXC cards
SDHC-UHS1 Ultra High Speed -UHS2
Delkin Kingston Lexar Sandisk Sony Sandisk
600x 633x
Class 10 Class 10 Ultra
30MBs
Extreme
80MBs
Extrm Pro
95MBs
Micro
45MBs
Class 10 Class 4 Extreme Pro
233x Elite 200x 400x 600x 40MBs 94MBs Micro Backup 280MBs
8GB 18.95 22.95 8.95 12.95 9.95 18.38 21.95 7.99 12.95 9.95
16GB 22.95 34.95 17.95 14.95 15.95 17.95 28.95 15.95 27.95 37.95 24.95 12.95 22.95 12.89 19.50 7495
32GB 38.95 66.95 29.95 25.95 28.50 29.00 47.95 39.95 49.95 41.95 19.95 36.95 20.95 34.95 129.95
Extreme Pro
CFast 2.0 memory card
|ee| ||e dera|d c|
o|cad:a|, :||era,
a|d p|c|c|ap|]
U|p|e:ede||ed ||a||e|
peed c| up |c 4b0|B/
60GB .......$649.95 120GB .. $1,199.95
NEW
!

Page 3
800-947-9980
212-444-6666
Fax:
212-239-7770
Store & Mail Order Hours:
Sunday 10-5 t Mon.-Thurs.9-7
Friday 9-1 EST/9-2 DST
Saturday Closed
052014
Over 300,000 products,
at your leisure
www.BandH.com
We Buy, Sell and Trade
When in New York,
420 Ninth Ave.
April 14 - April 22 .... Closed
50mm f/2 Macro ED Zuiko
D||ta||e|
t %FTJHOFE FYDMVTJWFMZ GPS %JHJUBM 4-3T
|dea| |c| ra:|c p|c|c|ap|]
a|d a|c a a pc|||a|| |e|
|a|||:a||c| 1.2
EO |a e|ere||
|||. |c:u. 9.4b"
b2rr |||e|
d|are|e|
we|||. 10.O c/
HVL-F58AM
S|ce-|cu|| O|||a| ||a|
Zccr Head (24-10brr,
Bcu|:e & SW|.e| Head
u|de \c. 190'
TT| Oed|:a||c|
Va||-PcWe|
H||-Speed S]|:
Au|c wB Ad(u|re||
w||e|e
Ra||c Cc|||c|
we|||. 1b.O c/
16-80mm f/3.5-4.5
Carl Zeiss T* DTD||ta||e|
|dea| |c| |ap|c|,
pc|||a||, |||e||c|,
c| cu|dcc| :e|e|]
8brr e(u|..
24-120rr
|||. |c:u. 18.8"
O2rr |||e|
d|are|e|
we|||. 1b.b c/
18-135mm f/3.5-5.6 ED AL (IF)
DC WR D||ta||e|
SP Cca||| Repe| Ou|,
wa|e|, & |eae
wea||e| |e||a||
0u|:L-S||||
|c:u S]|er
|||. |c:u. 1.8'
O2rr |||e| d|are|e|
we|||. 14.8 c/
Flash System
||-800R ||a| ...................................................... 169.95
||-O00R ||a| ...................................................... 299.95
||-b0R ||a| ........................................................ 499.95
R|-11 R|| ||a| .................................................. 249.95
SR|-11 R|| ||a| Se| .......................................... 559.95
T|-22 TW|| ||a| .................................................. 449.95
ST|-22 TW|| ||a| Se|........................................... 739.95
Zuiko 4/3 System Digital Lenses
8/8.b |||-e]e EO ................................................. 799.99
8b/8.b |a:|c EO (b2c, ......................................... 229.95
b0/2.0 |a:|c EO (//c, ......................................... 499.95
1b0/2.0 EO (82c, ............................................... 2,499.95
800/2.8 EO ....................................................... 6,999.95
/-14/4.0 EO (/2c, ............................................. 1,799.95
11-22/2.8-8.b EO (/2c, ........................................ 799.95
12-O0/2.8-4 EO SwO (/2c, ................................... 999.95
14-42/8.b-b.O EO (b8c, ........................................ 249.95
18-180/8.b-O.8 EO (O2c, ...................................... 499.95
8b-100/2.0 EO (//c, ......................................... 2,499.99
40-1b0/4-b.O EO (b8c, ......................................... 279.95
b0-200/2.8-8.2 EO SwO (O/c, ........................... 1,199.95
90-2b0/2.8 EO (10bc, ....................................... 5,999.95
EC-14 1.4/ Te|e:c|.e||e| ...................................... 439.95
EC-20 2/ Te|e:c|.e||e| ......................................... 479.95
||-1 0| |e| Adap|e| ........................................... 83.95
AF Flash System
A|-8O0|Z .....................................................................
A|-b40|Z .....................................................................
DA Digital AF Lenses
14/2.8 EO || (//c, ...........................................................
1b/4.0 EO A| HO ||r||ed (49c, .........................................
8b/2.8 |a:. HO ||r||ed (49c, ..........................................
bb/1.4 ||r||ed (b8c, ........................................................
21/8.2 A| ||r||ed iPa|:aLe' (49c, ...................................
40/2.8 ||r||ed iPa|:aLe' (49c, ........................................
/0/2.4 HO ||r||ed (49c, ...................................................
200/2.8 EO || ..................................................................
800/4.0 EO || SO| (//c, .................................................
10-1//8.b-4.b EO || (//c, ...............................................
12-24/4 EO A| || (//c, ....................................................
1O-b0/2.8 EO A| || SO| (//c, .........................................
1/-/0/4.0 A| || SO| (O/c, ..............................................
b0-18b/2.8 EO || SO| (O/c, ............................................
b0-200/4-b.O EO wR (b2c, ..............................................
bb-800/4-b.8 EO (b8c, ....................................................
O0-2b0/4.0 EO || SO| (O/c, ............................................
AF Lenses for 35mm & Digital SLRs
81/1.8 ||r||ed (b8c, ........................................................
b0/1.4 (49c, ....................................................................
48/1.9 ||r||ed iPa|:aLe' (49c, ........................................
b0/2.8 |a:|c (b2c, W||| Cae ..........................................
///1.8 ||r||ed (49c, ........................................................
100/2.8 O |A Aw |a:|c (49c, ..........................................
Compatible with Maxxum DSLRs
Flash System
HV|-|20| ............................................................ 149.99
HV|-|20S............................................................. 149.99
HV|-|48| ............................................................ 398.00
HV|-|O0| ............................................................ 548.00
Digital Lenses
1O/2.8 |||-e]e .................................................... 999.99
20/2.8 (/2c, ......................................................... 749.99
24/2 Ca|| Ze| (/2c, ......................................... 1,399.99
8b/1.4 (bbc,................................................... 1,499.99
b0/1.4 (bbc, ......................................................... 449.99
b0/2.8 |a:|c (bbc,............................................... 599.99
8b/1.4 Ca|| Ze| (/2c, ...................................... 1,699.99
100/2.8 |a:|c (bbc,............................................. 799.99
18b/1.8 Ca|| Ze| (//c, .................................... 1,799.99
18b/2.8 ST| (/2c, ............................................. 1,399.99
800/2.8 AP0 || ............................................... 7,498.99
11-18/4.b-b.O OT (//c, ........................................ 799.99
1O-8b/2.8 ZA SS| Ca|| Ze| (//c, .................... 1,999.99
1O-80/8.b-4.b OT Ca|| Ze| (O2c, ........................ 999.99
1O-10b/8.b-b.O OT (O2c, ...................................... 699.99
18-2b0/8.b-O.8 OT (O2c, ...................................... 649.99
24-/0/2.8 Ca|| Ze| (//c, ................................. 1,999.99
/0-200/2.8 AP0 (//c, .................................... 1,999.99
/0-800/4.b-b.O (O2c, ........................................ 999.99
/b-800/4.b-b.O (bbc, ........................................... 249.99
1.4/ Te|e:c|.e||e| ................................................. 549.99
2/ Te|e:c|.e||e| .................................................... 549.99
Alpha NEX-6 ||||c||e S]|er Care|a
|a| H]o||d A| W|||
P|ae-Oe|e:||c| A|
8.0" |CO
Ue Sc|] E-rcu|| |e|e
/A 0|EO T|u-|||de| EV|
Cap|u|e 1080 HO V|dec
SO/SOHC/SO/C & |S P|c Ouc/
P|c H-Ouc Ca|d S|c|
w|-|| Capao|e
|a| 10|p Bu|| S|cc|||
P|a]|erc||e Care|a App
with 16-50mm Lens .............................#SONEX6L* 16
Mega
Pixels
Lumix DMC-GH3 ||||c||e S]|er Care|a
|a|e|ur A||c],
wea||e|-Sea|ed Bcd]
|u|| HO 1080p V|dec a| O0|p
8.0" ||ee-A||e |CO
||:|c |cu| T|||d S]|er
||.e V|eW |||de|
20|p Cc||||ucu S|cc|||
|u||-A|ea Au|c |c:u S]|er, P||pc||| A|
Bu|||-|| w|-|| |c |||L |c Sra|| Oe.|:e
Body Only........................................... #PADMCGH3B 16
Mega
Pixels
Alpha A7 DS|R
|u|| ||are E/rc| C|0S Se|c|
SO/SOHC/SO/C, |S P|c Ouc/
P|c H-Ouc Ca|d S|c|
O||e:| Ccrpa||o||||]
W||| E-rcu|| |e|e
8.0" T|||ao|e T|T |CO
Bu|||-|| w|-|| a|d \|C
O||e:| A::e |||e||a:e
|u|| 1080/O0p W|||
U|:crp|eed 0u|pu|
Bcd] 0||] #SOA7B
||| W||| 28-/0rr |e| #SOA7KB 24
Mega
Pixels
OM-D E-M1 ||||c||e S]|er Care|a
8.0" T||||| |CO Tcu:|:|ee|
T|ueP|: V|| |rae P|c:ec|
||:|c |cu| T|||d S]|er
|u|| HO 1080p V|dec
|AST Oua| P|ae- &
Cc|||a|-Oe|e:||c| A|
Bu|||-|| w||e|e Cc||e:||.||]
10 |p a|d 1/8000 e:. Tcp S|u||e| Speed
Ou|/Sp|a|/||ee/ep|cc| |a|e|ur A||c] Bcd]
#OLEM1* 16
Mega
Pixels
Alpha A5000 ||||c||e S]|er Care|a
8.0" T||||| |CO
Ue Sc|] E-rcu|| |e|e
|S P|c Ouc/H-Ouc//C-H Ouc
Ha|d-|e|d TW||||| |cde
|S0 100-1O000
|u|| HO 1080p V|dec a| O0 |p
P|c|c C|ea||.||] a|d P|:|u|e E||e:|
Bu|||-|| w|-|| Cc||e:||.||] W||| \|C
A.a||ao|e || B|a:L, S||.e| c| w|||e
Kit with 16-50mm OSS Lens ................ #SOA5000* 20
Mega
Pixels
Lumix DMC-GX7 ||||c||e S]|er Care|a
|u|| HO 1080p AVCHO
V|dec a| O0 |p
8.0" T||||| Tcu:|:|ee| |CO
||:|c |cu| T|||d S]|er
90 T||||| EV|
|c:u PeaL|| a|d
|a||||:a||c| w||dcW
Bu|||-|| w||e|e a|d \|C Cc||e:||.||]
A.a||ao|e || B|a:L c| S||.e|/B|a:L
with 14-42mm I ILens ........................ #PADMCGX7K* 16
Mega
Pixels

Page 4
When in New York,
420 Ninth Ave.
of the latest gear
Sales Professionals
Hands-on demos
available
BandH.com/catalog
212-444-6633
www.BandH.com
EOS Flash System
270EXII............................................................................ 169.99
320EX..........................................................................................
430EXII............................................................................ 299.99
600EX-RT.......................................................................... 549.99
MR-14EXR||||ht........................................................................
MT-24EXTw||F|ah........................................................... 829.99
EF-S Digital Lenses
(Nct:crpat|o|ew|th|u||||are:are|a)
60/2.8USMMa:|c(52c).................................................... 469.99
10-22/3.5-4.5USM(77c).................................................. 649.99
15-85/3.5-5.6ISUSM(72c).............................................. 799.99
17-55/2.8ISUSM(67c)..................................................... 879.99
17-85/4-5.6ISUSM(67c)............................................................
18-55/3.5-5.6IS(58c)...................................................... 199.99
18-135/3.5-5.6IS(67c).................................................... 499.99
18-200/3.5-5.6IS(72c).................................................... 699.99
55-250/4-5.6ISUSM(58c)............................................... 299.99
55-250/4-5.6ISSTM(58c)................................................ 349.00
EF Lenses
20/2.8USM(72c).............................................................. 539.99
24/2.8ISUSM(58c).......................................................... 599.99
28/1.8USM(58c).............................................................. 509.99
28/2.8ISUSM(58c).......................................................... 549.99
35/2ISUSM(67c)............................................................. 599.99
40/2.8STMPa|:a|e(52c)................................................. 199.99
50/1.8II(52c)................................................................... 125.99
50/2.5Ma:|c(52c)............................................................ 299.99
50/1.4USM(58c).............................................................. 399.99
MP-E65/2.81/-5/Ma:|c(58c)....................................... 1049.00
85/1.8USM(58c).............................................................. 419.99
100/2USM(58c)............................................................... 499.00
100/2.8USMMa:|c(58c).................................................. 599.99
28-135/3.5-5.6ISUSM(72c)............................................ 479.99
70-300/4-5.6ISUSM(58c)............................................... 649.99
70-300/4.5-5.6DOISUSM(58c)..................................................
75-300/4.0-5.6III(58c)..................................................... 199.99
75-300/4.0-5.6IIIUSM(58c)........................................................
TS-E "L" MF Lenses
17/4.0|.......................................................................... 2499.00
24/3.5|II....................................................................... 2199.00
45/2.8............................................................................ 1399.00
90/2.8............................................................................ 1399.00
Mail-in Final
EF "L" Lenses MAP Rebate Price
14/2.8USMII.................................... 2359.00...... $150....2209.00
24/1.4II(77c)................................... 1749.00...... $150....1599.00
35/1.4USM(72c).............................. 1479.00...... $100....1379.00
50/1.2USM(72c).............................. 1619.00...... $150....1469.00
85/1.2USMII(72c)........................... 2199.00...... $150....2049.00
100/2.8ISUSMMa:|c(67c).............. 1049.00...... $100...... 949.00
135/2.0USM(72c)............................ 1089.00...... $100...... 989.00
180/3.5USMMa:|c(72c).................. 1579.00.............. ..................
200/2.8USMII(72c)........................... 819.99........ $50...... 769.00
200/2.0ISUSM(52c).................................... .............. ..................
300/4.0ISUSM(77c)........................ 1449.00...... $100....1349.00
300/2.8ISUSMII(52c|ea|)........................... .............. ..................
400/5.6USM(77c)............................ 1339.00...... $100....1239.00
400/2.8ISII(52c|ea|)................................... .............. ..................
500/4ISUSMII(52c|ea|).............................. .............. ..................
600/4.0ISII(52c|ea|)................................... .............. ..................
8-15/4.0F|h-e]eUSM...................... 1499.00.............. ..................
16-35/2.8USMII(82c)...................... 1699.00...... $150....1549.00
17-40/4.0USM(77c).......................... 839.99...... $100...... 739.99
24-70/4.0ISUSM(77c)..................... 1499.00...... $200....1299.00
24-70/2.8IIUSM(82c)...................... 2299.00...... $200....2099.00
24-105/4ISUSM(77c)...................... 1149.00.............. ..................
28-300/3.5-5.6ISUSM(77c)........................ .............. ..................
70-200/4.0USM(67c)........................ 709.99........ $80...... 629.99
70-200/4.0ISUSM(77c)................... 1349.00...... $150....1199.00
70-200/2.8USM(77c)...................... 1449.00...... $100....1349.00
70-200/2.8ISIIUSM(77c)................ 2499.00...... $200....2299.00
70-300/4.0-5.6ISUSM(67c)............ 1599.00...... $200....1399.00
100-400/4.5-5.6ISUSM(77c).......... 1699.00...... $200....1499.00
EF "L" Teleconverters
1.4/III............................................................................... 499.99
2/III.................................................................................. 499.99
EOS-6D DS|R
|u||-||are C|0S Se|c| 8.0" |CO
O||C b+ |rae P|c:ec|
Ue Ca|c| E| |e|e
Bu|||-|| w|-|| a|d PS Cc||e:||.||]
|u|| HO 1080p W||| |a|ua| Cc|||c|
E/|e|ded |S0 Ra|e c| b0-102400
Up |c 4.b |u|| Rec|u||c| |PS
Bu|||-|| HOR & |u|||p|e E/pcu|e |cde
Bcd] 0||] #CAE6D .................................................1899.00
K|tw|th24-105rr|/4| #CAE6D24105 .................2499.00
20
Mega
Pixels
EOS-5D Mark III DS|R
8.2" C|ea| V|eW H|| Rec|u||c| |CO
O1-Pc||| H|| Oe|||] A|
Ue Ca|c| E| |e|e
Oua| C|, SO Ca|d S|c|
|u|| HO 1080/80p a|d
720/60pFc|rat
E/|e|ded |S0 Ra|e (b0-102400,
Bu|||-|| HOR & |u|||p|e E/pcu|e |cde
Bcd] 0||] #CAE5D3* ..............................................3399.00
K|tw|th24-105rr|IS #CAE5D324105 ................ 3999.00
22
Mega
Pixels
Digital Rebel T5i DS|R
8.0" Va||-A||e Tcu:|:|ee| |CO
Ue Ca|c| E| |e|e (1.O/ |a:|c|,
ST| |e| Suppc|| |c|
0u|e| A| || |c.|e
|u|| HO 1080 V|dec W||| Cc||||ucu A|
|S0 100-12800, E/pa|dao|e |c 2bO00
Rebates Expire 3-29-14 Price Rebate Final Cost
Bcd] 0||] #CAEDRT5I............................ 699.99......$50......... 649.99
K|tw|th18-55rrISSTM #CAEDRT5IK. 849.99......$50......... 799.99
T3 Kit w|th18-55rrIS #CAEDRT3K.... 449.99.........................
T3i Kit w|th18-55rrIS #CAEDRT3IK.. 599.99.........................
EOS-1Dx DS|R
Oua| O||C b+ |rae P|c:ec|
|a|e|ur A||c] Bcd]
E]e-|e.e| Pe||ap||r V|eW|||de|
8.2" |CO |c|||c|
Ue Ca|c| E| |e|e
Oua| C| :a|d |c|
1920 / 1080 HO V|dec Cap|u|e
||.e V|eW S|||| a|d V|dec Re:c|d||
O1-Pc||| H|| Oe|||] Au|c |c:u
Body Only #CAE1DX* ..........................................................6799.00 18
Mega
Pixels
SLR Lenses and Flashes
EOS-70D DS|R
Oua| P|/e| C|0S A| W||| ||.e V|eW
Ue Ca|c| E| & E|-S |e|e
8.0" Va||-A||e Tcu:|:|ee|
/ |p Cc||||ucu S|cc|||
Bu|||-|| w||e|e Cc||e:||.||]
|u|| HO 1080p V|dec
Bcd] 0||] #CAE70D ................................................ 1199.00..........................
K|tw|th18-55rrSTM #CAE70D1855 ................... 1349.00..........................
EOS 60D Bcd] 0||] #CAE60D ..................................899.99 ........$200 ....... 699.99
EOS 60D Kit w|th18-135rrIS #CAE60D18135 .... 1199.00 ........$200 .......999.00
20
Mega
Pixels
Rebates Expire 3-29-14 Call for Current Rebates & Promotions
18
Mega
Pixels
$50
REBATE!
EOS-7D DS|R
Re:c|d HO V|dec 8" |CO
Ue Ca|c| E| |e|e
Ou| a|d wea||e| Re||a||
C| Ca|d S|c| Se|e:|ao|e V|dec
E/pcu|e a|d ||are Ra|e
|S0 100-O400 (e/pa|dao|e |c
12800, 8 |p Bu|| |cde
19-Pc|||, A|| C|c-T]pe A| S]|er
Bcd] 0||] #CAE7D ..................................................1499.00
K|tw|th18-135rrIS #CAE7D18135 ......................1799.00
K|tw|th28-135rrIS #CAE7D28135 ......................1699.00 18
Mega
Pixels

Page 5
800-947-9980
212-444-6666
Fax:
212-239-7770
Sunday 10-5 t Mon.-Thurs.9-7
Saturday Closed
052014
at your leisure
www.BandH.com
When in New York,
420 Ninth Ave.
SLR Lenses and Flashes
D4s DS|R
|/-|c|ra| (|u||-||are, C|0S Se|c|
14-B|| RAw |||e & 12-B|| RAw S
|c|ra| 8.2" |CO
|u|| HO 1080p V|dec a| O0 |p
E/PEEO 4 |rae P|c:ec|
Ccrpa||o|e W||| |c| \|LLc| 0p||:
11 |p S|cc||| |c| 200 S|c|
W||| AE/A| |S0 b0-409O00
C| T]pe 1 & /0O Ccrpa||o|e
1000 Bae-T |ao|| w||ed |A\ Suppc||
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
Body Only #NID4S .....................................6496.95 16
Mega
Pixels
Instant Savings on Lenses
AF Flashes
SB-800 ......................... 146.95
SB-/00 ......................... 326.95
SB-910 ......................... 546.95
R1 w||e|e TW|| ||a| ..............
R1C1 w||e|e TW|| ||a| S]|er ..........................................................
DX ED-IF Lenses for Digital Only Price Rebate Final
10.b/2.8 |||-E]e .................................................. ..............................
8b/1.8 A|-S (b2c, .................................19O.9b.. ..............................
40/2.8 A|-S ||:|c (b2c, ........................2/O.9b.. $30 .............246.95
8b/8.b EO VR ||:|c ...............................b2O.9b.. $100 ...........426.95
10-24/8.b-4.b A|-S (//c, ......................899.9b.. $150 ...........749.95
12-24/4 A|-S (//c, ............................................ ..............................
1O-8b/8.b-b.O A|-S VR (O/c, .................O99.9b.. $100 ...........599.95
1/-bb/2.8 A|-S (//c, ......................................... ..............................
18-bb/8.b-b.O A|-S || (b2c, ................................ ..............................
18-bb/8.b-b.O A|-S VR (b2c, .................19O.9b.. ..............................
18-bb/8.b-b.O A|-S VR || (b2c, ..............24O.9b.. ..............................
18-10b/8.b-b.O A|-S VR * .....................89O.9b.. $250 * ........149.95
18-140/8.b-b.O A|-S VR ** ...................b9O.9b.. $300 ** ......296.95
18-200/8.b-b.O A|-S VR || .....................84O.9b.. $250 ...........596.95
18-800/8.b-b.O A|-S EO VR (//c, ..........99O.9b.. ..............................
bb-200/4-b.O A|-S (b2c, .................................... ..............................
bb-200/4-b.O A|-S VR

........................24O.9b.. $100
........146.95
bb-800/4.b-b.O A|-S VR

.....................89O.9b.. $150
........246.95
D-Type AF Lenses Price Rebate Final
14/2.8 O EO .......................................................... ..............................
1O/2.8 O (89c, W||| Hccd ....................................... ..............................
20/2.8 O (O2c,....................................................... ..............................
24/2.8 O (b2c,....................................................... ..............................
24/1.4 A|-S EO (//c, ......................................... ..............................
24/8.b O EO PC-E (//c, ......................................... ..............................
28/1.8 A|-S (O/c, .................................O9O.9b.. $100 ...........596.95
28/2.8 O (b2c,....................................................... ..............................
8b/2.0 O (b2c,....................................................... ..............................
8b/1.4 A|-S EO (O/c, ......................................... ..............................
8b/1.8 A|-S EO (b8c, ......................................... ..............................
4b/2.8 O EO PC-E ||:|c (//c, ................................ ..............................
b0/1.8 O (b2c,....................................................... ..............................
b0/1.8 A|-S (b8c, .................................21O.9b.. $20 .............196.95
b0/1.4 O (b2c,....................................................... ..............................
b0/1.4 A|-S (b8c, .................................484.9b.. $100 ...........384.95
b8/1.4 A|-S (/2c, ...............................1O9O.9b.. ..............................
O0/2.8 O ||:|c (O2c, (1.1, ..................................... ..............................
D-Type AF Lenses Price Rebate Final
O0/2.8 A|-S EO ||:|c (O2c, ................................ ..............................
8b/1.8 O (O2c, W||| Hccd ....................................... ..............................
8b/1.8 A|-S (O/c, .................................49O.9b.. $100 ...........396.95
8b/1.4 O || (//c, ................................................... ..............................
8b/1.4 A|-S (//c, .............................................. ..............................
8b/2.8 PC-E ||:|c (//c, ........................................ ..............................
10b/2.8 A|-S EO-|| VR ||:|c (O2c, ........984.9b.. $185 ...........799.95
10b/2.0 OC O W||| Hccd (/2c, ............................... ..............................
180/2.8 O EO-|| (/2c,............................................ ..............................
200/4 O EO-|| ||:|c W||| Cae (O2c, ...................... ..............................
200/2 A|-S EO-|| VR || (b2c, ............................... ..............................
800/4.0 O A|-S EO-|| (//c, ................................... ..............................
800/2.8 A|-S VR (b2c-R, .................................... ..............................
400/2.8 A|-S VR EO (b2c,................................... ..............................
b00/4.0 A|-S VR EO (b2c,................................... ..............................
14-24/2.8 A|-S EO-|| ..........................199O.9b.. ..............................
1O-8b/4.0 A|-S EO VR (//c, ................12bO.9b.. $300 ...........956.95
1/-8b/2.8 O A|-S EO-|| (//c, ................................ ..............................
18-8b/8.b-4.b A|-S EO (//c, ................./4O.9b.. ..............................
24-/0/2.8 A|-S EO-|| (//c, .................188O.9b.. ..............................
24-8b/2.8-4.0 O || (/2c, ....................................... ..............................
24-8b/8.b-4.b A|-S EO VR *** ..............b9O.9b.. $100 *** .....496.95
24-120/4.0 A|-S EO VR (//c, ..............129O.9b.. $300 ...........996.95
28-800/8.b-b.O A|-S EO VR ................104O.9b.. $150 ...........896.95
/0-200/4.0 A|-S EO VR (O/c, ..............189O.9b.. ..............................
/0-200/2.8 A|-S EO-|| VR || (//c, ........289O.9b.. ..............................
/0-800/4.0-b.O (O2c, ......................................... ..............................
/0-800/4.b-b.O -A|S VR

......................b8O.9b.. $200
........386.95
80-200/2.8 O W||| Cc||a| (//c, ............................... ..............................
80-400/4.b-b.O O VR (//c, .................................... ..............................
80-400/4.b-b.O A|-S EO VR (//c, ........2O9O.9b.. $400 .........2296.95
200-400/4 A|-S EO VR || (b2c, ............................ ..............................
TC-14E || (1.4/, Te|e:c|.e||e| ................................. ..............................
TC-1/E || (1.//, Te|e:c|.e||e| ................................. ..............................
TC-20E ||| (2/, Te|e:c|.e||e| ................................... ..............................
* Instant Savings ONLY when purchased with a D7100 body
** When purchased with a D3100/3200/5200/5300 body and
receive an additional $150 when purchased with a D7100 body
*** Special! Receive an additional $200 in savings when
purchased with a D610
Instant Savings with purchase of Any DSLR

Rebates Expire 3-29-14 Call for Current Rebates & Promotions
D610 DS|R
|/-|c|ra| (|u||-||are, C|0S Se|c|
Ue \|Lc| A| |e|e 8.2" |CO
O |p Cc||||ucu S|cc|||
E/pa|dao|e Se||||.||] |c |S0 2bO00
|u|| HO 1080p V|dec Re:c|d|| a| 80 |p
|u|||-CA| 4800 A| Se|c| W||| 89 Pc|||
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
Bcd] 0||] #NID610 .................................................... 199O.9b .... $100 ..... 1896.95
||| W||| 24-8brr VR |e| #NID6102485 .................2b9O.9b .... $300 .....2296.95
24
Mega
Pixels
Up to $300
REBATE!
D800 DS|R
8b.9/24rr C|0S |/ |c|ra| Se|c|
8.2" |CO |c|||c|
0p||:a| |cW-Pa ||||e|
C| & SO Oua| Ca|d S|c|
\|Lc| | |cu|| |e| |cu||
E]e-|e.e| Pe||ap||r V|eW|||de|
1920 / 1080/80/2b/24p HO V|dec
|a|||//Ce||e|-we|||ed/Spc| |e|e|||
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
Bcd] 0||] #NID800 ...................................................299O.9b .... $200 .....2796.95
D800E Bcd] 0||] #NID800E ...................................829O.9b ....... ................
36
Mega
Pixels
$200
REBATE!
D7100 DS|R
|a|e|ur A||c] Bcd]
|c||u|e Re||a||
1080p |u|| HO V|dec Cap|u|e
A::ep| \|Lc| A| |e|e
(1.b/ |a:|c|, 8.2" |CO
Oua| SO/SOHC/SO/C Ca|d S|c|
Bu|||-|| ||a| W||| Ccrra|de| |u|:||c|
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
Price Rebate Final Cost
Bcd] 0||] #NID7100 ............................................... 1199.9b ..... $50 ......... 1149.95
||| W||| 18-10brr VR #NID710018105 .................. 1b99.9b .... $300 ........ 1299.95
D7000 Bcd] 0||] #NID7000 B&H SPECIAL! ......... 899.00 .... $200 .......... 699.00
Valid Through 3-29-14
24
Mega
Pixels
Up to $300
REBATE!
D5300 DS|R
|u|| HO 1080p V|dec a| O0 |p
8.2" Va||-A||e |CO |S0 100-2bO00
Ue \|Lc| A| |e|e (1.b/ |a:|c|,
Bu|||-|| w|-|| a|d PS Cc||e:||.||]
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
Rebates Expire 3-29-14
D5300 18-55 Kit is available in Black, Grey or Red Price Rebate Final Cost
||| W||| 18-bbrr VR || (B, , R, #NID53001855* ........89O.9b ....... ................
||| W||| 18-140rr VR (B|a:L, #NID530018140 ......... 189O.9b .... $300 ..... 1096.95
D5200 ||| W||| 18-bbrr VR #NID52001855* .......... 89O.9b .... $150 ....... 746.95
24
Mega
Pixels
$300
REBATE!
D3300 DS|R
|u|| HO 1080p V|dec Re:c|d||
8.0" |CO b |p S|cc|||
Ue \|Lc| A| |e|e (1.b/ |a:|c|,
E/pa|dao|e |S0 2bO00
Ea] Pa|c|ara |cde a|d u|de |cde
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
D3300 is available in Black, Grey or Red Price Rebate Final Cost
||| W||| 18-bbrr VR || #NID33001855* ......................O4O.9b ....... ................
D3200 ||| B|a:L W/18-bbrr VR #NID32001855* .... b99.9b .... $100 ....... 499.95
D3100 ||| W||| 18-bbrr VR #NID31001855 ............ 429.9b ....... ................
24
Mega
Pixels
Rebates Expire 3-29-14

Page 6
When in New York,
420 Ninth Ave.
of the latest gear
Sales Professionals
Hands-on demos
available
BandH.com/catalog
212-444-6633
www.BandH.com
AF LENSES
Di |c| oc|| d|||a| a|d ||r S|R :are|a Di-II |c| O|||a| S|R 0||] Di III|c|r|||c|-|e:are|aO||]
C = Canon N = Nikon P = Pentax SM = Sony/Minolta SE = Sony E Mount ** Price After Rebate Expires 3-31-14
SKU # Available for Rebate Price
Di-II 60rr|/2.0|DIFMa:|c(55c) #TA602DI* C,N,SM 524.00
Di 90rr|/2.8Ma:|c(55c) #TA9028M* C,N,P,SM 499.00
Di 90rr|/2.8SPMa:|cVCUSD(58c) #TA9028VC* C,N,SM 749.00
Di 180rr|/3.5|DIFMa:|c(72c) #TA18035* C,N,SM 739.00
Di-II 10-24rr|/3.5-4.5(77c) #TA102435* C,N,P,SM 499.00
Di-II 17-50rr|/2.8XR|DIFAphe||:a|(67c) #TA175028* C,N,P,SM 499.00
Di-II 17-50rr|/2.8XRVC|DIFAph.(67c) #TA175028*Q C,N 649.00
Di-II 18-200rr|/3.5-6.3(62c) #TA1820035* C,N,P,SM $20 179.00**
Di-III 18-200rr|/3.5-6.3VC(62c)B|a:|c|S||.e| #TA1820035S* SE 739.00
Di-II 18-270rr|/3.5-6.3VCPZD(62c) #TA18270* C,N,SM $50 399.00**
Di 24-70rr|/2.8VCUSD(82c) #TA247028* C,N,SM $100 1199.00**
Di 28-75rr|/2.8XR(67c) #TA287528* C,N,P,SM 499.00
Di 28-300rr|/3.5-6.3XR|D(62c) #TA2830035XD* C,P,SM 419.00
Di 28-300rr|/3.5-6.3XRVC(62c) #TA2830035* C,N 629.00
Di 70-200rr|/2.8SPVCUSD(77c) #TA7020028* C,N,SM $100 1399.00**
Di 70-300rr|/4.0-5.6VCUSD(62c) #TA70300* C,N,SM $100 349.00**
Di 200-500rr|/5-6.3|DIF(86Cc) #TA2005005* C,N,SM 949.00
1.4/SPAFP|cTe|e:c|.e|te| #TA14XP* C,N 224.00
2/SPAFP|cTe|e:c|.e|te| #TA2XP* C,N 254.00
AF LENSES & FLASHES
DC o |c| O|||a| S|R 0||] DGOpt|r|/ed|c|D||ta|S|R
H HSM Model with Canon, Nikon, Sigma
R Rear Slip-in Gelatin Filter Slot
Canon Nikon Pentax Sigma Sony Rebate Price
DC 4.5rr|/2.8EXC||:u|a|F|he]eHSM
R
#SI4528EXDCC #SI4528EXDCN #SI4528EXDCP #SI4528EXDCSI #SI4528EXDSO 899.00
DG 8rr|/3.5EXC||:u|a|F|he]e
R
#SI835CA #SI835NA #SI835SI #SI835SO 899.00
DC 10rr|/2.8EXF|he]eHSM
R
#SI1028EXDCC #SI1028EXDCN #SI1028EXDCP #SI1028EXDCSI #SI1028EXDCSO 649.00
DG 15rr|/2.8EXD|ac|a|F|he]e
R
#SI1528DGCAF #SI1528DGNAF #SI1528DGPAF #SI1528DGSA #SI1528DGMAF 609.00
DG 20rr|/1.8EXDFRFAphe||:a|(82c) #SI2018CAF #SI2018NAF #SI2018PAF #SI2018SA #SI2018MAF 629.00
DG 24rr|/1.8EXDFAphe||:a|Ma:|c(77c) #SI2418MCAF #SI2418MNAF #SI2418MPAF #SI2418MSA #SI2418MMAF 549.00
DG 28rr|/1.8EXDFAphe||:a|Ma:|c(77c) #SI2818MCAF #SI2818MNAF #SI2818MPAF #SI2818MSA #SI2818MMAF 449.00
DC 30rr|/1.4HSM(62c) #SI3014DCHSMC #SI3014DCHSMN #SI3014DCHSMS 499.00
DG 35rr|/1.4HSM(67c) #SI3514C #SI3514N #SI3514P #SI3514SI #SI3514S 899.00
DG 50rr|/1.4EX(77c)
H
#SI5014C #SI5014N #SI5014PE #SI5014SI #SI5014SOM $100 399.00**
DG 50rr|/2.8EXMa:|c(55c) #SI5028MDGCAF #SI5028MDGNAF #SI5028MDGPAF #SI5028MDGSA #SI5028MDGMAF 369.00
DG 70rr|/2.8EXMa:|c(62c) #SI7028MDGCA #SI7028MDGNA #SI7028MDGPA #SI7028MDGSA #SI7028MDGSAQ 499.00
DG 85rr|/1.4EXHSM(77c) #SI8514C #SI8514N #SI8514P #SI8514SI #SI8514S $75 894.00**
DG 105rr|/2.8EXMa:|cOSHSM(62c) #SI10528MDGCE #SI10528MDGNQ #SI10528MDGS #SI10528MDGSM $300 669.00**
DG 150rr|/2.8EXAPOMa:|cOSHSM(72c) #SI15028AMOC #SI15028AMON #SI15028AMOSI #SI15028AMOS 1,099.00
DG 180rr|/2.8EXAPOMa:|cOSHSM(86c) #SI18028AMEOC #SI18028AMEON #SI18028AMEOQ #SI18028AMEOS $150 1549.00**
DG 300rr|/2.8APOEXHSM(46cRea|) #SI30028DGCAF #SI30028DGNAF #SI30028DGPAF #SI30028DGSA #SI30028DGMAF 3,399.00
DG 500rr|/4.5APOEXHSM(46cRea|) #SI50045DGCAF #SI50045DGNAF #SI50045DGPAF #SI50045DGSA 4,999.00
DC 8-16rr|/4.5-5.6HSM #SI8164556CA #SI8164556NI #SI8164556PE #SI8164556SI #SI8164556SO 699.00
DC 10-20rr|/4-5.6EXHSM(77c) #SI102045DCAF #SI102045DNAF #SI102045DPAF #SI102045DSA #SI102045DMAF $50 429.00**
DC 10-20rr|/3.5EXHSM(82c) #SI102035C #SI102035SN #SI102035P #SI102035SG #SI102035S 649.00
DG 12-24rr|/4.5-5.6EXAphe||:a|HSMII #SI122445C #SI122445N #SI122445SI #SI122445S 949.00
DC 17-50rr|/2.8EXOSHSM(77c) #SI175028CA #SI175028NI #SI175028PE #SI175028SI #SI175028SO $100 569.00**
DC 17-70rr|/2.8-4.0OSMa:|cHSMTSC(72c) #SI1770284DCC #SI1770284DCN #SI1770284DCP #SI1770284SI #SI1770284DCS $50 449.00**
DC 18-35rr|/1.8HSM(72c) #SI183518DCC #SI183518DCN #SI183518DCP #SI183518DCS #SI183518DCSO 799.00
DC 18-200rr|/3.5-6.3OSIIHSM(72c) #SI1820035CQ #SI1820035NQ #SI1820035P #SI1820035SAQ #SI1820035SQ 499.00
DC 18-250rr|/3.5-6.3OSMa:|cHSM(62c) #SI1825035MC #SI1825035MN #SI1825035MP #SI1825035MS #SI1825035MSO $200 349.00**
DG 24-70rr|/2.8EXIFHSM(82c) #SI247028C #SI247028NF #SI247028PS #SI247028S #SI247028SM 899.00
DG 24-105rr|/4.0OSHSM(82c) #SI24105C #SI24105N #SI24105SI #SI24105SO 899.00
DC 50-150rr|/2.8EXAPOOSHSM(77c) #SI5015028CA #SI5015028NA #SI5015028SAF $150 949.00**
DG 50-500rr|/4.5-6.3APOOSHSM(95c) #SI505004563C #SI505004563N #SI505004563P #SI505004563 #SI505004563S $150 1509.00**
DG 70-200rr|/2.8EXAPOOSHSM(77c) #SI7020028CQ #SI7020028NI SI7020028SIQ #SI7020028SOQ $150 1249.00**
DG 70-300rr|/4-5.6Ma:|c(58c) #SI703004SCAF #SI70300456N #SI703004PAF #SI703004SA #SI703004MAF $25 144.00**
DG 70-300rr|/4-5.6APOMa:|c(58c) #SI703004DGCA #SI70300456AN #SI703004DGPA #SI703004DGSA #SI703004DGMA 189.00
DG 70-300rr|/4-5.6OS(62c) #SI7030045C #SI7030045N 359.00
DG 120-300rr|/2.8OSHSM(105c) #SI120300C #SI120300N #SI120300SIQ 3599.00
DG 120-400rr|/4.5-5.6APOOSHSM(77cRea|) #SI120400C #SI120400N #SI120400P #SI120400S #SI120400SQ 999.00
DG 150-500rr|/5-6.3APOOSHSM(86c) #SI150500C #SI150500N #SI150500P #SI150500S #SI150500M $170 899.00**
DG 1.4/EXAPOTe|e-Cc|.e|te| #SI1.4XDGCAF #SI1.4XDGNAF #SI1.4XDGSA 249.00
DG 2/EXAPOTe|e-Cc|.e|te| #SI2XDGCAF #SI2XDGNAF #SI2XDGSA #SI2XDGMAF $50 249.00**
DG EF-610ST #SIEF610STC #SIEF610STN #SIEF610STP #SIEF610STSI $30 135.00**
DG EF-610Supe|F|ah #SIEF610C #SIEF610N #SIEF610P #SIEF610S $30 225.00**
DG EM-140TT|R||||ht #SIEM140DGC #SIEM140DGN #SIEM140DGP #SIEM140DGS #SIEM140DGM 379.00
28CS-2D||ta|S|a.eShceMcu|tF|ah................ 139.99
36AF-5D||ta|..................................................... 129.99
44AF-1D||ta|ShceMcu|tF|ah.......................... 199.99
52AF-1TT|Tcu:h:|ee|...................................... 300.00
58AF-2TT|D||ta|ShceMcu|tF|ah................... 399.99
45C|-4TT|D||ta|Ha|d|eMcu|tF|ah................ 519.99
45C|-4TT|D||ta|Ha|d|eMcu|tF|ahK|t............ 699.99
76MZ-5TT|D||ta|Ha|d|eMcu|tF|ah.............. 1039.99
Q-1ahTRIO......................................................... 875.00
Q-1ahT5D-R...................................................... 706.00
Q-1ahT5D-Rw|thTu|ocSCBatte|]&Cha|e|.... 1172.00
Q-1ahT5D-Rw|thTu|oc3Batte|]K|t................. 1330.00
Batteries
Batte|]1............... 224.00
Tu|ocSC............... 466.00
Tu|ocB|ade........... 466.00
Tu|oc3................. 624.00
E-F|ahF|atPa|e|K|t#SUFP38............................... 58.95
PF20XDD||ta|S|a.eShceMcu|tF|ah................... 44.95
RD-2000ShceMcu|tF|ah.................................... 64.95
DF3000D||ta||c|Ca|c|,N||c|,Sc|]..................... 69.95
PZ-4000AFTT|ShceMcu|t.................................. 84.95
PZ-40/IIAFTT|ShceMcu|t|/N||c|(S||.e|)............ 69.95
PZ-42/AFTT|ShceMcu|t|c|Ca|c|,N||c|......... 139.00
622Supe|P|cTT|Ha|d|eMcu|tF|ah................. 179.95
285HVP|c|e|c|a|Autc......................................... 79.95
Pea|tc|eSB-4ACAdapte||c|285HV#PESB4........ 14.95
FLASHES
18-200mm f/3.5-6.3 DC II
OS HSM D||ta||e|
t %FTJHOFE FYDMVTJWFMZ
GPS %JHJUBM 4-3T
|c:u 1.b'
tcI||||t]
|a. |a||c.
1.8.8
/2rr |||e|
d|arete|
we|||. 1/.8 c/
70-200mm f/2.8 EX APO
OS HSM DG |e|
t %FTJSBCMF GPS
%JHJUBM 4-3T
||||rur
|c:u. 4.b9'
84-12.8
a||ec|.|ew
//rr |||e|
d|arete|
T||pcd :c||a|
we|||. b0.4 c/
17-50mm f/2.8 XR VC
LD-IF Di II D||ta||e|
GPS %JHJUBM 4-3T
|c:u 11.4"
tcI||||t]
|a. |a||c.
1.4.8
/2rr |||e|
d|arete|
we|||. 1.2b |o
11-16mm f/2.8 Pro DX AT-X II
Wide-Angle D||ta||e|
GPS %JHJUBM 4-3T
wR (wa|e|
Repe||e|t)
:cat||
||||rur
|c:u 1'
|a|||:a||c|
|a||c 1.11.G
we||| 1.2 |o
Expires 3-31-14
** Price After Rebate
$150
REBATE!
Six-Year Warranty
Manual Focus Lenses
In Stock Call for Prices
AF LENSES
DX |c|D||ta|S|RO||] FX De||ed|c||u||||areDS|R
Canon EOS Nikon AF Price
FX 100rr|/2.8P|cDMa:|c(52c) #TO10028PCAF #TO10028PNAF 489.00
DX 10-17rr|/3.5-4.5ATXF|he]e #TO101735CAF #TO101735NAF 669.00
DX 11-16rr|/2.8P|cII(77c) #TO111628PCII #TO111628PNII 599.00
DX 12-24rr|/4.0P|cII(77c) #TO12244DXC 399.00
DX 12-28rr|/4.0P|c(77c) #TO12284DXC #TO12284DXN 549.00
FX 16-28rr|/2.8P|c #TO1628FXC #TO1628FXN 699.00
FX 17-35rr|/4P|c(82c) #TO1735F4FXC #TO1735F4FXN 549.00

Page 7
800-947-9980
212-444-6666
Fax:
212-239-7770
Sunday 10-5 t Mon.-Thurs. 9-7
Saturday Closed
052014
at your leisure
www.BandH.com
When in New York,
420 Ninth Ave.
55mm 58mm 62mm 67mm 72mm 77mm
UV Haze SC 18.50 24.95 28.99 31.95 34.00 39.99
UV Haze MRC 010M 35.50 31.50 36.30 42.90 49.89 71.75
Circular Polarizer SC 83.95 85.95 83.50 80.00 73.95 99.00
Circular Polarizer MRC 78.00 87.53 82.50 109.99 89.99 119.99
Circular Polarizer Slim 56.95 49.99 68.00 69.99 59.99 80.00
Skylight KR1.5 (1A) 24.50 25.95 31.95 38.95 42.00 53.95
Digital Pro UV MC 41.95 41.95 44.00
Graduated (N.D. & Colors) 99.95 106.95 99.50 109.50 142.50 152.95
Neutral Density 106 56.00 60.95 97.95 105.95 121.95 137.95
Close-Up Lenses 1, 2, 3, 4, 5 25.95 25.95 31.95 38.95 45.95 53.95
52mm 58mm 67mm 72mm 77mm
UV, Skylight (1B) HMC 16.50 21.50 27.50 29.95 36.20
UV, Skylight (1B) Super HMC 27.89 26.49 33.00 52.95 44.99
Linear Polarizer 16.99 25.00 38.85 36.85 44.90
Circular Polarizer 23.95 29.95 34.95 42.95 38.90
Circular Polarizer HMC 39.95 49.00 55.90 69.00 104.90
Moose Warm Circular Polarizer 35.75 39.55 53.90 55.65 91.50
K2 Yel, X0 Yel/Grn, Grn X1, Or G, Red 25A HMC 23.95 28.35 41.95 46.35 60.90
Close Up Set (+1, +2, +4) 39.99 47.35 53.00 63.00 68.00
Close-Up Set HMC (+1, +2, +4) 52.68 64.88 73.00 100.68 145.35
Intensifer Blue, Green Field, Enhancement (Red) 34.68 39.95 55.08 60.00 71.50
Neutral Density 2x, 4x, 8x HMC 23.88 19.95 36.95 30.99 34.80
Star 6, Star 8 16.89 22.50 43.35 49.90 46.68
Made exclusively with glass from Schott (Zeiss)
the worlds fnest optical glass supplier.
Skylight (1B), UV 39.99 41.99 62.99 77.99 89.99
Skylight (1B), UV SH-PMC 72.99 78.99 103.99 131.99 157.99
Circular Polarizer, Slim Circular Polarizer 115.99 121.99 151.99 180.99 195.99
Circular Polarizer SH-PMC, Slim Circ. Pol. SH-PMC 161.99 171.99 214.99 242.99 275.99
#5, #8, #11, #13, #15, #22, 81A, 81B, 81C 49.99 51.99 78.99 96.99 108.99
Digital Filter 176.99 180.99 222.99 261.99 301.99
FILTERS
B&H SPECIAL! Buy 3 or more Hoya Filters & Get 10% Off.
B&H SPECIAL! Buy 3 or more
B+W Filters & Get 5% Off.
in stock
PHOTOGRAPHY ACCESSORIES
Accepts 2 lltblum-lon batterles
to ehectlvely oouble tbe
camera's battery ll|e
(8atterles not lncluoeo)
Tbe lncluoeo AA battery
boloer allows you to use
6 AA batterles |or aooeo
convenlence (ecept 8G-N3)
Alternate sbutter release
button, maln ano sub
commano olals, ano an
AL-L/AF-L button are
provloeo to |acllltate
sbootlng ln a vertlcal
orlentatlon
8ATTLPY
GP|PS
LiteTrek 4.0 (LT) Series
Whether it's fashion, wedding or portrait
photography, the best way to achieve
professional-looking results in the feld
is by adding fash to the ambient light.
The Impact Mini LiteTrek Battery Pack
provides DC juice to your Impact
LiteTrek 4.0 portable fash or select
Nikon & Canon fashes with optional
power cords as well as Quantum
fashes without adaptation.
LiteTrek 4.0 DC Monolight
Flash Head #IMLTFH ..$499.95
LiteTrek 4.0 DC Monolight Kits
with Mini LiteTrek Battery Pack
1-Light Kit #IMMLTBK ................... $799.95 Instant Rebate -$150 $649.95
2-Light Kit #IMMLTBK2 ............. $1199.90 Instant Rebate -$150 $1049.90
Mini LiteTrek (LT) Battery #IMMLTB ...................................................................... $199.95
Mini LiteTrek (LT) Battery Pack #IMMLTPBP ....................................................... $549.95
Mini LiteTrek (LT) Pack & Charger Kit with CKE Nikon Cable #IMMLTPBPK1 ... $573.95
Mini LiteTrek (LT) Pack & Charger Kit with CZ Canon Cable #IMMLTPBPK2 ..... $577.95
LiteTrek Accessories
Charger for Mini LiteTrek #IMCBP ...$49.95
IM-CZ Canon Flash Cable #IMCZ.....$39.95
IM-CKE Nikon Flash Cable #IMCKE .$39.95
LiteTrek 4.0 Flash Tube #IMFTFH .....$79.95
Refector Adapter (Bowens Adapter) #IMBAFH ........................................................... $24.95
lighting equipment and accessories
Instant Savings on LiteTrek 4.0
Monolight Kits (Expires 3-31-14)
|or Canon 5D Mark ||| .................. 8G-C9 ;vL8GC9 ........ $99.95
|or Canon 5D Mark || ................... 8G-C2 ;vL8GC22 ..... $69.95
|or Canon 7D .................................. 8G-C4 ;vL8GC4 ........ $64.95
|or Canon 60D ............................... 8G-C6 ;vL8GC6 ........ $69.95
|or Canon 70D .............................8G-C10 ;vL8GC10 ..... $84.95
|or Canon T5l, T4l, T3l, T2l .....8G-C5.2 ;vL8GC52 ..... $72.00
|or Nlkon D7100 ......................... 8G-N11 ;vL8GN11 ..... $89.95
|or Nlkon D5200, D5100 .............8G-N6 ;vL8GN6 ....... $59.95
|or Nlkon D3100, D3200 .............8G-N9 ;vL8GN9 ....... $64.95
|or Nlkon D600, D610 ................. 8G-N10 ;vL8GN10 $79.95
|or Nlkon D800, D800L ..................8G-N7 ;vL8GN7 . $89.95
Digital Essentials Kits
In Stock
DIGITAL HT FILTERS
812 Warming 48.95 74.95 99.95 109.95 129.95
Grad ND 0.6 74.95 63.95 82.90 119.95 139.95
Circular Polarizer 74.10 89.95 119.90 129.95 199.99
Ultra Clear 34.95 38.95 45.95 54.95 54.95
Haze 86 38.95 47.95 56.90 64.95 99.95
ND 1.2 41.50 56.95 74.90 109.95 129.95
ND 0.6 48.95 50.95 69.95 99.95 119.95
Soft FX3 56.95 63.95 82.90 119.95 139.95
Star 4 pt 2 64.95 56.95 74.90 109.95 129.95
Ten -Year Warranty
Made in USA
Multicoated Filter
Technology
FILM B&W AND COLOR
COLOR PRINT
Superia
CA 200 135-24 ..........1.99
CA 200 135-36 ..........3.50
CH 400 135-24 ..........2.25
CH 400 135-36 ..........3.99
CZ 800 135-24 ..........3.49
Pro
400H 135-36 .............8.99
400H 120 Roll ............7.95
Gold Max
GC 400 135-24 ..........2.09
GC 400 135-36 ..........2.99
Ektar
100 135-36 ...............5.50
100 120 Roll ..............4.70
Portra
160 135-36 ...............6.99
160 120 Roll ..............5.19
160 220 Roll ............14.70
160 220 PP (5) .........73.50
400 135-36 ...............7.35
400 120 Roll ..............5.85
400 220 Roll ............15.19
400 220 PP (5) .........75.95
800 135-36 ...............9.99
800 120 Roll ..............8.98
COLOR SLIDE
Provia
RDP 100F 135-36 ...10.51
135-36PP (5) .......52.55
RDP 100F 120 Roll ....7.19
135-36PP (5) .......35.95
Velvia RVP
Pro 50 135-36 .........11.59
Pro 50 120 Roll ..........8.55
100 135-36 .............10.64
100 120 Roll ..............7.69
PROCESSING MAILERS
Slide
36 Exposures
(35mm) ....................9.99
Print C41 35mm ......13.49
Print C41 120 Roll ...15.49
Print C41 220 Roll ...30.95
BLACK & WHITE PRINT
Pan F+ 50 135-36 .....6.50
Pan F+ 50 120 Roll ....4.99
FP4+ 125 135-36 ......6.99
FP4+ 125 120 Roll .....4.39
HP5+ 400 135-36 .....4.75
HP5+ 400 120 Roll ....4.09
Delta Pro
100 135-36 ...............6.25
100 120 Roll ..............4.50
400 135-36 ...............6.29
400 120 Roll ..............4.95
3200 135-36 .............7.99
3200 120 Roll ............5.99
XP-2 Super
400 135-36 ...............6.49
400 120 Roll ..............4.75
Infrared
SFX 200 135-36 ........7.99
SFX 200 120 Roll .......7.50
Acros 100 135-36 .....6.25
Acros 100 120 Roll ....4.62
Neopan 400 135-36 ..5.79
Tri-X 400 135-36 ......4.49
Tri-X 400 120 Roll .....4.95
TMX 100 135-36 .......4.95
TMX 100 120 Roll ......4.49
TMY 400 135-36 .......4.95
TMY 400 120 Roll ......4.59
BW 400CN 135-36 ....6.50

The leader of tripod head
design for over 45 years
creates a new revolutionary
Knobless ballhead.
Its called Knobless because
the traditional locking knobs
have been removed.
Equipped with our patented
(planetary) p-system,
ARCA-SWISS p is a unique
tripod head design that
combines precision, ease
of use, and a powerful,
concentric, uniform locking
force. Featuring our patented
gravitational force compen-
sation, sudden camera
movements altering camera
position are prevented. The
ARCA-SWISS p is stylish,
precise and strong, yet
weighs under 10 ounces.
A hand of steel in a velvet
glove!
ARCA-SWISS monoball p series
A R C A
S W I S S
ARCA-SWISS INC
Phone: 480 755-3364
E-mail: support@arca-swiss.com
www.photographersedge.com
800-550-9254
TURN YOUR PHOTOS INTO
GREETING CARDS!
Step 1:
SimWSy WeeS adOesive
SiUer aUd WSace WOVtV
beOiUd wiUdVw.
Step 3:
YVu've just made a
beautifuS matted WOVtV
greetiUg card!
Step 2:
FVSd tV cVUceaS
back Vf WOVtV.
For personal use or as a business
opportunity. Professional, quick and
affordable in over 500 designs.
Contact us for a free cata|og and samp|e.
10% off for rst t|me customers.
OMNI-BOUNCE OMNI-BOUNCE
Used by Professionals around
the world, to achieve soft natural
lighting with most of the popular
brand flash units. Ideal for wide
angle shots, macro work, por-
traits and news coverage. Cus tom
mounting with no Velcro required.
Specify your strobe when ordering.
Only $19.95 + $2.50 shipping,
Visa, MasterCard & AMEX
STO-FEN PRODUCTS
800-538-0730
P.O. Box 7609, Santa Cruz, CA 95061, USA
www.stofen.com
PHOTO
WORKSHOPS
Maine
Join Photographer/authors Frank Van Riper and Judith
Goodman for low-key small class, photo workshops in down
east Lubec, Maine. July and August. No entrance
requirements. Come join us in photo paradise.
Go to www.SummerKeys.com or www.GVRphoto.com
Shoot life on the Bold Coast with the authors of
Serenissima: Venice in Winter (www.veniceinwinter.com)
PLEASE NOTE: It is impossible for
us to verify all the claims of adver-
tisers, including product availability
and existence of warranties. To con-
firm that an advertiser is authorized
to sell a product, we suggest you
contact the manufacturer directly.

REPAIR SERVICE!
TOP QUALITY EXPERIENCED
AT DISCOUNT PRICES! Send your equipment for a
FREE repair estimate to: Cambridge World
60-18 Fresh Poind Rd., Mespeth, New York 11378
Nothing is too Small or too Large Anything Photographic !!!!!
Estate Sales Welcome!!! You can mail your gear or we can pick your gear up.
You can trade-in your gear or we will pay you with a check or with Paypal.
CALL 1-800-221-2253 and ask for Simon Or Email us at
sales@cambridgeworld.com. Send your equipment for a FREE evaluation to:
Cambridge World 60-18 Fresh Pond Rd, Maspeth, NY 11378
TOP DOLLAR$$$
WE PAY FOR YOUR RETIRED GEAR!
A S K
IF YOU DO NOT SEE
IT, IT DOESNT MEAN
WE DO NOT HAVE IT,
1-800-221-2253
LARGE SELECTION
OF PROJECTION
BULBS...CALL ALEX
1-800-221-2253
CALL
B+W, HELIOPAN, CANON, CAMBRON, COKIN,
HOYA, KENKO, LECIA, NIKON,
SINGH-RAY,TIFFEN, ZEISS, ETC
WE HAVE MORE THAN 10,000 FILTERS
IN STOCK. CALL ADAM 1-800-221-2253
Top Quality screw in optical Glass Filters
19-37mm19.95 67-82mm..19.95
40-49mm..9.95 86-95mm..59.95
52-62mm.14.95 105-122mm129.95
Sun Shade Lens Hoods
19-37mm...9.95 67-82mm..19.95
40-49mm...6.95 86-95mm..69.95
52-62mm...9.95 105-122mm..99.95
3 Lens Close-up Macro Lens Sets
19-37mm..29.95 52-62mm.29.95
40-49mm..19.95 67-82mm.39.95
SIGMA
4.5mm F2.8..........838.95
8mm F3.5.............828.95
10mm F2.8...........598.95
15mm F2.8...........568.95
20mm F1.8...........588.95
24mm F1.8...........498.95
28mm F1.8...........308.95
30mm F1.4...........278.95
800mm F5.6.......6698.95
10-20mm F4-5.6....478.95
12-24mm F4.5-5.6..748.95
17-70mm F2.8-4.5...458.95
18-200mmF3.5-5.6..238.95
24-70mm F2.8.....798.95
28-70mm F2.8-4....88.95
28-200mmF3.5-5.6...174.95
28-300mmF3.5-6.3...234.95
35-135mm F4-5.6...99.95
50-150mm F2.8....698.95
50-500mm F4-6.3...948.95
55-200mm F4-5.6...124.95
70-300 F4-5.6......138.95
70-300 F4-5.6APO...188.95
100-300mm F4-5.6...99.95
100-300mm F4....1098.95
120-300mm F2.8...2698.95
120-400 F4.5-5.6...938.95
150-500mmF5-6.3...948.95
200-500mm F2.8 APO EX DG...................25998.95
300-800mm F5.6 EX BE HSM.....................7698.95
1.4X APO............218.95 2X APO...............278.95
8-16mmF4.5-5.6 DC...618.95
17-50mm F2.8
EX DCOS HSM..548.95
60mm F2.8...........278.95
10-20mm F3.5........548.95
18-250mm F3.5-5.6.358.95
70-300mmDGOS.248.95
70-200mm F2.8....888.95
50-200mm F4-5.6.148.95
85mm F1.4...........848.95
400mm F5.6.299.95
19mm F2.8...........178.95
30 mm F2.8174.95
35mm F1.4.848.95
500mm F4.5.......4598.95
50-150mm F2.8968.95
70-200/2.8OS..1148.95
105mm F2.8........458.95
150mm F2.8.......688.95
180mm F2.8.......1488.95
300mm F2.8.......2998.95
70mm F2.8..........468.95
50mm F2.8..........234.95
50mm F1.4..........358.95
28-70mm F2.8.....318.95
10-20mm F4.398.95
18-35mm F1.8.748.95
18-50mmF2.8-4........188.95
18-50mmF2.8............375.95
TOKINA
10-17mm F3.5-4.5...444.95
28-200mm F3.5-5.6....99.95 11-16mm F2.8......564.95
12-24mm F4.........424.95
16-50mm F2.8......594.95 80-400mmF4.5-5.6....638.95
50-135mm F2.8....674.95
100mm F2.8.........384.95
16-28mm F2.8 .....748.00
17-35mm F4........719.00
300mm F6.3.299.95
12-28mm F4598.95
TAMRON
14mm F2.8...........989.99 90mm F2.8..........348.95
28mm F2.5.............99.99 180mm F3.5........628.95
24mm F2.5.............79.95 500mm F8...........198.95
11-18mm F4.5-5.6...434.95
17-50mm F2.8.....334.94
18-200mmF3.5-6.3...158.95
18-250mmF3.5-6.3...414.95
18-270mm............398.95
19-35mmF3.5=4.5...159.95
20-40mm F2.7-3.5...298.95
24-135mmF3.5-5.6...398.95
28-105mm F2.8....298.95
28-200mmF3.8-5.6...118.95
24-70mm F3.3-5.6...89.95
28-75mm F2.8.......348.95
28-80mm F3.5-5.6...68.95
28-300mmF3.8-5.6...294.95
28-300mmF3.8-5.6VC....584.95
200-400mmF5.6......298.95
55-200mm F4-5.6...128.95
70-200mm F2.8...664.95
60mmF2 Macro........399.95
1.4X Converter....124.95 2X Tele Converter.....138.95
1.4X SP Converter...178.95 2X SP Converter...208.95
24-70mm F2.8......1195.00
75-300mm F4-5.6...128.95
200-500mm F5-6.3..758.95
10-24mmF3.5-4.5....458.99
10-24mm F3.5-4.5...429.95
70-300mm F4-5.6 329.95
50/2.8 HM Super Angulon.........................................3498.99
90/4.0 HM Makro-Symmar.......................................3198.99
120/5.6 HM Aspheric Apo-Digitar...........................4698.99
NEW SCHNEIDER PC TS LENSES
KENKO TELECONVERTER
1.4x..99.95 1.5x..84.95 2X..129.95 3X..219.95
LENSES FOR MOST MANUAL
& AUTOFOCUS AF CAMERAS
24mm F2.8.............79.95 135mm F3.5..........29.95
28mm F2.8.............49.95 135mm F2.8..........49.95
35mm F2.8.............39.95 200mm F3.5..........79.95
50mm F1.8.............69.95 300mm F5.6..........99.95
50mm F1.4...........189.95 400mm F6.3..........99.95
100mm F3.5.........119.95
500mm F8.............99.95
500mm 1000mm combination.........................129.95
19-35mmF3.5-4.5....149.95 28-80mm F3.5-5.6...79.95
28-105mm Zoom...99.95 28-210mmF3.5-5.6...99.95
28-300mm F4-6.3..169.95 35-105mmZoom.....119.95
70-210mm Zoom...79.95 75-150mm F3.5.......49.95
100-300mmF5.6-6.7....99.95 100-500mmF5.6-8...395.95
1000-4000mm zoom.........................................349.95
1.4X Teleconverter..............................................99.95
2X Teleconverter......29.95 3X Converter...69.95
1.5X Teleconverter...69.95 1.7X.Converter..99.95
75-300mm F4.5 Macro Zoom Lens..................89.95
8mm F3.5.............279.95 14mm F2.5..........398.95
85mm F1.4...........308.95
500mm F6.3........124.95
800mm F8............219.95 1000mm F11.......799.95
650-1300mm F8 Long Zoom Lens...................249.95
0.42X Fisheye Lens............................................39.95
0.45X Wide Angle Lens.....................................39.95
We Offer MORE THAN 1,000 DIFFERENT
LENSES at LOW DISCOUNT PRICES!!!
Canon, Cosi na, Ni kon, Pent ax, Ol ympus, Lei ca, Sony, Mi nol t a,
Vi vi t ar, Schnei der, Mami ya, Hassel bl ad, Rodenst ock, Zei ss, et c.
LENSES
SAMYANG/ROKINON/BOWER
500mm F8...99.99
7.5mm F3.5...299.00
85mm F1.4299.00 35mm F1.4499.00
14mm F2.8399.00 8mm F3.5299.00
500mm mirror..119.99 500mm F6.3..159.99 800mm F8...219.99
650-1300mm f8-16 Zoom Lens....279.99
24mm F1.4...$699.00 24mm F3.5 Tilt and Shift..999.00
FILTERS
CINE LENSES
8mm T3.8...329.00 14mm...T3.1...449.00 24mm T1.5 749.00
3.5mm T1.5...549.00 85mm...T1.5...349.00
* Large selsctions of new
and used Rollei and Rolleiflex
cameras,lenses and accessories
at discount prices!!!!!
CALL William 1-800-221-2253
Rollei & Rolleiflex
Headquaters
Special Prices on
Rollei 6000 Series
New IPro 3 Lens Set for
Apple iPhone 4, 4s, 5 & 5S
All for $229
2X Telephoto Lens
Macro Lens
Wide Angle Lens
High Resolution
Top Quality Lenese
NEW POLAROID INSTANT
DIGITAL CAMERA
Print your pictures 148.99
Large selections of NEW &
USED LEICA cameras, lenses,
filters and accessories at low discount
prices ASK for Joseph
LEICA HEADQUARTERS!!!
VIVITAR
NEW SERIES 1 LENSES
7mm F3. 5. . 324. 95 13mm F2. 8409. 95
35mm F1. 4499. 95 85mm F1. 4199. 99
500mm F8. 99. 99 500mm F6. 3. . 124. 99
650-1300mm F8-16
Zoom Lens...239.99
800mm F8...189.00
NEW FLASHES
16M19. 95 DF 183 AF. 44. 95
DF 283 AF89. 95 285HV. . . 87. 00
DF 293 AF89. 95 DF 383 AF124. 95
385 HV. . . . . . . . . 149. 95 DF 483 AF159. 95
8mm F3.8....189.00
LARGE SELECTIONS OF NEW AND USED
CLASSIC CAMERAS
LENSES AND ACCESSORIES IN STOCK AT LOW DISCOUNT PRICES!
Agfa, Alpa, Ansco, Arca-Swiss, Bolex, Bronica, Canon, Contax, Contarex, Edixa,
Exa, Exakta, Fuji, Fujica, Gami, Hasselblad, Kodak, Konica, Kowa, Leica, Leitz, Linhof,
Mamiya, Mercury, Minolta, Minox, Miranda, Nikon, Nikonos, Olympus, Pentacon, Pentax,
Petri, Plaubel, Polaroid, Praktica, Praktina, Retina, Revere, Ricoh, Robot, Rollei, Rolleiflex,
Sea & Sea, Stereo Realist, Tessina, Topcon, Toyo, Voigtlander, Wollensak, Yashica, Zeiss, Etc.
EXPOSURE LIGHT METERS
Cambron, Gossen, Kenko, Sekonic, Minolta, Pentax,
Polaris, Shepard, Soligor, Spectra, Wein, Etc. - CALL
FLASHES
Ansmann, BRNO, Canon, Cambron, Elinchrome, Gary Fong,
Novatron, Olympus, Pentax, Photogenic, Quantum,
Sunpak, Sony, Vivitar, Etc. CALL
Sigma, Stroboframe,Stratos, Smithvictor,
Metz, Minolta, Multiblitz, Nikon, Novacon, Norman,
PROJECTORS & VIEWERS
Braun, Canon, Epson, GEPE, Kodak Carousel and
Ektagraphic,Kaiser, Panasonic, Optoma, Sanyo, Sharp, Telex,
Da-Lite Screens, Slide Mounts,Vue-all Etc.
CALL
DARKROOM / ENLARGERS
Beseler, Durst, Fujimoto, KAISER, LPL, Omega, Etc.
Enlarging Lenses & Darkroom Accessories.
Large selection of papers available
(Kodak, Ilford, Fuji, Forte, Etc.) - CALL
LARGE & MEDIUM FORMAT
Alpa, Arca Swiss, Bronica, Contax, Fuji, Cambron, Hasselblad,
Linhof, Kiev, Mamiya, Pentax 645D Digital Camera,
Rollei, Rolleiflex, Toyo, Wista,
Yashica, Etc. CALL
TRIPODS
Arca Swiss, Bogen, Cambron, Cullman, Berlebach, Giottos,
Davis & Sanford, Gitzo, Impact, Linhof,
Manfrotto, Slik, Sunpak, Tiltall, Vanguard, Velbon, Etc. -
CALL
FILM (ALL SIZES)
Kodak, Ilford, Fuji, Polaroid, AGFA, Etc. CALL
PANORAMA
Fuji, Hasselblad XPAN, Horizon, Horseman,
Linhof, Noblex, Silvestri, Widelux, Etc. CALL
CASES & GADGET BAGS
Billingham, BobLBee, Domke, Lowepro, Pelican, Rimowa,
Tamrac, Tenba, Zero Halliburton
CALL
NOVOFLEX
Adapters Lenses
Accessories..................CALL
NEW DIGITAL & FILM CAMERAS
LENSES, FLASHES, SCREENS
PAPER AND ACCESSORIES
Canon, Casio, Fuji, Hasselblad, Kodak, Leica, Mamiya, Nikon, Olympus,
Panasonic, Pentax, Polaroid, Samsung, Sanyo, Sigma, Sony, Vivitar, Etc -
Delkin, Kington, Lexar, SanDisk, Nikon
Fuji, Olympus, Sony, Panasonic, Etc............CALL
Memory Cards
Large selection of BATTERIES available at discount prices....CALL
Canon rebel 2000......89.99
Canon rebel XT.....299.99
Kodak Retina IIIc...99.95
Maxxum 7000.........49.95
Maxxum 9000.........69.95
Nikon N90..............99.99
Nikonos V.............179.99
Topcon super RE249.99
Voigtlander Bessa...599.99
Voigtlander Bessamatic...129.99
Yashica FX3............69.99
Exakta VX..............99.99
Hasselblad 500C..149.99
Bronica S2A, EC...... Call
Bronica ETR...........99.95
Minolta XTi............59.95
Maxxum 5D..........199.95
Canon F1...............119.99
Contax G2.............699.99
Contax RTS III........699.99
Mamiya RB67.......199.99
Leica IF.................499.99
Nikon F3...............129.99
Nikon F5...............349.99
Nikon D200..........499.99
Olympus OM1........99.99
Pentax K1000..........99.99
Pentax 645.............249.99
Rolleicord V..........149.99
Zeiss Contarex.........299.99
Fuji S5 digital.......599.95
Canon A2E .............79.99
Canon Elan.....49.99
Leica IIIF...............299.99
Leica R3................199.99
Nikkormat FTN.......99.95
Nikon F...................99.99
Nikon FA..............169.99
Canon 5D.....999.00
Canon 40D.299.00
Contax Aria299.95
Exakta 66....999.99
Leica M6.....999.99
Minolta SRT 101..69.95
Bronica GSI...............399.50
Bronica SQ camera.....199.99
Canon VT....................299.99
Contax N1...........349.99
Exakta RTL................149.99
Exakta VX 1000......129.50
Hasselblad 503CW.....499.95
Leica M3.....................499.99
Minolta X700................99.99
Maxxum HTsi...........69.99
Maxxum 7D................299.99
Nikon FM10...............129.99
Nikon D40..................199.99
Nikon N55....................66.99
Olympus OM4............179.99
Pentax LX...................299.99
Rollei 35M..................119.99
Rolleiflex F3.5............499.99
Zeiss Icarex................149.99
Canon Elan....................69.99
Maxxum 5000...............39.95
Maxxum 700I.............119.95
Nikon N8008................79.95
Nikonos II.....................79.95
Topcon UNI..................79.95
Vitomatic II..................99.95
Yashica FR1..................69.95
Vittesa......................99.95
Canon XTi .................399.99
Retina Reflex ................99.99
Canon 1V....................499.99
Canon 1X......................69.99
Fuji Digital S3....299.95
Leica IIIG....................699.99
Nikkormat FT2...........119.94
Leica R8......................749.99
Nikon F2.....................119.99
Nikon F100.................199.99
Nikon 35TI.....369.50
Nikon FM 3A.399.00
Nikon F4.299.00
Nikon D300........699.00
Nikon D200....499.00
Olympus E-520..249.00
Mamiya 110mm RZ lens...229.99
Pentax 120mm 645macro..399.99
Pentax 80-160mm645zoom.229.99
We have more than 30,000 Used items. Email us your Wish Listat
sales@cambridgeworld.com or CALL 1-800-221-2253 and we will
assist you and SAVE you $$$$$$. No item is too small or large.
Listing is very partial.
USED DEPARTMENT
OlympusXA........79.99
Minolta160.......69.99
Minolta70........49.99
Canon120.........79.99
Canon105.........49.99
Leicaminilux.....199.99
ContaxT2.........199.99
YashicaT4.........99.99
Nikonlitetouch...49.99
Konica120.........49.99
NikonosII.........99.99
Olympus140........49.99
Pentax115.........59.99
MinoxGT...........199.99
Rollei 35..........129.99
Canonrebel X.......49.99
Minota7000.........39.99
Petri V.............79.99
Exa.................69.99
PrakticaTL.........69.99
RicohXRP...........99.99
Canoncanonet.......49.99
Canondial..........49.99
CanonP............239.99
Hasselbladx-pan...999.99
Mamiya500DTL......79.99
Leicac-lux.........299.99
LeicaC1........... 199.99
Mamiya7............699.99
Mamiya645E.........199.99
MamiyaC220..........99.99
Yashicamat..........129.99
Minolta70...........59.99
Minolta9Xi..........149.99
KodakC800............49.99
Samsung170...........69.99
Pentaxauto110.......69.99
NikonF100............169.99
OlympusIS.............79.99
MirandaFV.............99.99
PentaxPZ1.............109.99
ContaxIIa.............139.99
Contarex...............249.99
Nikon35Ti.............299.50
Nikon28Ti.............349.95
Canon 24mm F1.4 ........989.00
Canon 50mm F1.4 ..........79.50
Canon 85mm F1.2 .....1,299.00
Canon 300mm F2.8 ...2,199.00
Canon 16-35mm F2.8 ...889.00
Canon 24-105mm F4 ....789.00
Canon 28-300mm F3.5 ...1,299
Canon 70-200mm F2.8 ...1,199
Canon 100-400mmF4.5 ....1,199
Canon 430EX ...............129.00
Canon 580EX................269.00
Canon 24-70mm F2.8 ...899.95
50mm F1.4 Zeiss Planar...209.00
80-200mm F4 sonnar.....199.00
Hasselblad 150mm F4 ..299.00
Leica35mmF2SummicronM...899
Leica50mmF2SummicronM...399
Leica135mmF4.5Hektor Screw..129
Leica50mmF2SummicronR..349.50
Mamiya 55mm F2.8 ........99.00
Mamiya 180mm F4.5....149.00
Minolta 50mm F1.7.........19.00
Minolta 80-200mm F4.5..69.00
Minolta 5400HS...............79.00
Maxxum 50mm F1.7 .......69.95
Nikon 50mm F1.4............69.00
Nikon 18-200mm F3.5..349.00
Nikon 80-200mm F2.8 ......399
Nikon SB600 ................269.00
Nikon SB900 ................349.00
Olympus50mmF1.8Zuiko...39.00
Olympus70-210mmF4.5.......99.00
Olympus 50mm F1.4.......99.95
Panasonic14-50mmF2.8....479.00
Pentax 28-80mm F3.5.....39.00
Pentax 35-80mm F4........44.00
Sigma 70mm F2.8.........379.00
Sony 16-80mm F3.5......499.00
Sony 55-200mm F4.........99.00
Vivitar 500mm F8 ..........69.00
Vivitar 283Flash..................29.95
2XTeleconverter ExtendedLens..29.95
3XTeleconverter ExtendedLens..39.95
New Latest
85mm F1.8
$124.99
vivitar series 1 lens
with lens
case and sun shade for
OF THE MONTH
SPECIALS
INSTRUCTION MANUALS
WE DO HAVE MORE THAN
5000 INSTRUCTION BOOKS
IN STOCK CALL US AT
1-800-221-2253 AND ASK
FOR PAUL OR EMAIL US AT
SALES@CAMBRIDGEWORLD.COM
TELESCOPES, RIFLESCOPES,
CALL
We offer one of the Largest selections of BINOCULARS,
TELESCOPES, RANGEFINDERS AND RIFLESCOPES
at LOW DISCOUNT PRICES!!! We also offer you more
than 500 DIFFERENT BINOCULARS!!!!!!!
BUSHNELL, BAUSCH&LOMB,
CAMBRON, CANON, CARSON,
CELESTRON, DOCTER, FUJI, FUJINON,
JASON, KOWA, LEITZ, LEICA, LEOPOLD, MEOPTA,
MINOLTA, MINOX, OLYMPUS, PENTAX, SAMSUNG,
SPALDING, STEINER, SWIFT, TASCO, VANGUARD,
VIVITAR, VIXEN, VORTEX, WEENS & PLATH, ZEISS,
FOR YOUR SPECIAL PRICE
BINOCULARS
RANGEFINDERS
WE WILL BEAT AND MEET DISCOUNT PRICES!
CALL OR EMAIL US AND WE WILL SAVE YOU $$$$$$$$$$$$$$$$$
ew, 0sed, 8efurbished, Freewned 0eIIectabIes At 0isceunted Frices
we 8uy, rade, xpert, Impert Anything Fhetegraphic, 0nIine 8aIes 8 wheIesaIe
5
0
5
0
Y
e
a
r
s
o
f

E
x
p
e
r
ie
n
c
e
TESTIMONIAL OF THE MONTH
See more testimonials on our website.
PRODUCT
ARRIVED ON TIME!
JOHN S.,
VIRGINIA BEACH, VA
emaiI. 8aIes@0ambridgewerId.cem

TIME EXPOSURE
*
MAY 1954
60
YEARS
AGO
We featured
the wide-
angle Panon
camera, with
its 140-degree
angle of view.
Two-Faced Woman
Peter Gowland, noted for his
pin-up photos of young ladies
in bathing suits, altered his
approach to create this black-
and-white harlequin effect.
He used a black background
and theatrical makeup on
model Barbara Osterman for
this unusual portrait. Gowland
shot with a 5x7-inch Marvel
view camera and a 14-inch
Commercial Ektar f/6.3 lens,
exposing Daylight Ektachrome
film at f/11. Lighting: two Heiland
Strobonar IV electronic flash units
placed 3 feet from the subject.
Flying Through the Air
This months major feature was a
review of action photography by
Peter Martin, covering both indoor
and outdoor
subjects using a
range of shutter
speeds. An
outstanding example of action-
stopping with a high-speed shutter
is this photo of a woman at the
beach flying through the air, frozen
at 1/500 sec.
Our Gifted
Readers
Professionals
were not the only
photographers
featured in our
pages. Much like
today, we also used
appealing pictures
from our readers,
such as this Dutch
village scene
recorded by New Yorker Eugenia
Redka, an art teacher. She made
an exposure of 1/50 sec at f/6.5 on
daylight Kodachrome with a Kodak
35. Our editors admired the way
Redka handled the pattern and
various colors in this charming and
unpretentious shot.
Outdoor Silhouette
Readers were encouraged to try
different approaches to their
personal photography, evidenced
by this short feature on taking
outdoor silhouettes. The key is to
expose for the sky for an extreme
underexposure of your subject.
Contrast can be enhanced by
printing the picture on high-
contrast (Grade 4 or 5) paper.
Harold Martin

Start your workow
sooner with same day
shipping until 8PM
build your
professional
image at
Your pro
workow starts by
scanning here.
Increase your speed
with same day shipping
until 8PM
Scan to
upgrade your
technology here
boost your
computing
power at

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

S
I
L
K
BACKSTORY
New
Folk City
Morgan Silk captures a
steampunk Morris dancer

The moment when your lens opens your eyes.
This is the moment we work for.
The Touit lens family for Sony Alpha NEX Cameras.
Take your photography up a level, with high-performance optics specically designed to expand
your cameras capabilities. Compact yet robust, Touit lenses render images with exceptional
detail even in difcult lighting conditions, so that you can step bravely into new situations
knowing you have the right tool in hand. Be warned, once you try one, you may never go back.
www.zeiss.com/touitforsony
// PERFECTION
MADE BY ZEISS

Popular Photography - May 2014

Загружено:

Сведения о документе

Авторское право

Доступные форматы

Поделиться этим документом

Поделиться или встроить документ

Параметры публикации

Этот документ был вам полезен?

Это неприемлемый материал?

Авторское право:

Доступные форматы

Popular Photography - May 2014

Загружено:

Авторское право:

Доступные форматы

PERFECT

and more. For extreme high end

connection, for on set

7R Compact Full Frame Interchangeable Lens Camera

Mini the smallest portable Bluetooth speaker ever

speaker III is the best-

Instant Savings with purchase of Any DSLR

Вам также может понравиться