Photo Pro Mag

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Retro-Cool Nikon Df
See page 22
Art Streiber
Coaxing Performances
For The Still Frame
Lessons For Directing Talent &
Crafting Elaborate Ensembles
Use Instagram
Buzz To Boost
Your Biz
Location
Lighting!
Go-To Gear!
Leading Shooters
On Their Essential
Equipment Secrets
Inside
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Pros & Cons
Of Custom
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Mobile Monolights Compared

Quick Guide To Softboxes
Go BTS On A Corey Rich Shoot
The Photo Hit Man!

February 2014
Howard Huang Makes His Mark

From Here To China
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Trevor Hiatt airs it out in the Jackson

Hole, Wyoming backcountry showing off
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zero all day. Photo by Lucas Gilman.
I SHOOT THE WORLDS TOP ATHLETES, AND MY WORKFLOW

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Lucas Gilman, Adventure Photographer and Filmmaker
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JANUARY/FEBRUARY 2014
Vol. 12 No. 1 digitalphotopro.com
Contents
Features
PORTFOLIOS
42 THE PHOTO HIT MAN

Influenced by graphic novels and
science-fiction movies, Howard Huangs
vibrant urban fashion and celebrity work
is turning heads from here to China
By Mark Edward Harris
Photography By Howard Huang
50 TELL ME WHAT YOU

WANT ME TO DO
In his photography of Hollywoods
A-list, Art Streiber coaxes the artists
into performing for his camera
By Mark Edward Harris
Photography By Art Streiber
58 7TH ANNUAL EMERGING

PRO WINNER
Art Streiber
With an eye for creating austere

projects, Maria Burns shows that
you can make a tremendous impact
with the simplest of ideas
Editors Note
As we kick off
2014, things are
looking up. After some tumultuous years,
the U.S. economy is trending upward, and
Ive heard from several photographers who
are seeing significant increases in their business bottom lines. Its anecdotal research, to
be sure, but just a few years ago, everyone I
spoke with was either down or way down.
There are still plenty of challenges, but there
always will be at least some challenges. After
all, if it was easy to make a living as a photographer, everyone would do it.
The Great Recession has trained us all to
8 I Digital Photo Pro digitalphotopro.com
do more with less. As studio spaces have

been relinquished because of high costs,
more photographers are keeping their interests mobile. Instead of a room full of equipment, weve pared down to the essentials. In
lighting, there has been a shift to using
portable on-camera flashes instead of heavy,
bulky power packs, when possible. Sometimes, the small flash just doesnt have the
output you need, though, and between the
studio power pack and the small handheld
flash, monolights have risen as a sweet-spot
alternative. Today, manufacturers are making
these powerful lights even more useful
through the use of battery power. Freeing

you from the wall socket, these monolights
also let you use your full arsenal of studiostyle light modifiers. They dont have the
same output as a full-on strobe pack, but for
a lot of shoots, the combination of power,
mobility and control is hard to beat.
Of course, there always will be situations
when you just need power, pure and simple.
Art Streiber was in that position when he was
called upon to shoot a 100th Anniversary
photo for Paramount Pictures. The famous
photo is an impressive ensemble image. In
this issue, we have an excellent interview with
Streiber, where he talks about how he works

with some of the most talented and famous
actors and actresses as a photographer.
Streiber is one of my favorite photographers
because of his ability to draw a performance
out of a person and capture that in a still
frame. Take a look at the article Tell Me What
You Want Me To Do to see more of his work
and learn more about his approach.
I cant recall of any photo-related company that has been as divisive among professional photographers as Instagram. Between
the filters and the changes to the Terms Of
Use, many pros have been vocal and vehe-
ment about their overall disapproval of the

company. This has gone on even as usage by
the overall population has soared. For all of its
foibles, Instagram, like the rest of the socialmedia landscape, isnt the enemy anymore
than digital was the enemy in the film era or
35mm was the enemy in the large-format
era. People love photographs, and they want
to be able to take more pictures and do more
with them. Instagram is simply serving that
demand. As professional photographers, we
shouldnt be resentful of Instagram. In fact,
pros should embrace it as another vehicle for
helping your business. Think about it: This is
an enormously popular service with the sole

purpose of circulating images with attribution.
If youve been steadfastly opposed to participating in Instagram, check out Jim
Goldsteins article. Hell give you some new
things to think about and ideas on how you
can make use of Instagram on your terms.
As I gear up for the 2014 issues, I want
to hear from DPP readers about article topics that would be of interest. Let me know
whats on your mind. You can find me on
Twitter @DPPRobinson or send me an email
at crobinson@wernerpublishing.com.
Christopher Robinson, Editor
digitalphotopro.com January/February 2014 I 9
EDITORIAL
CHRISTOPHER ROBINSON
Editor
WESLEY G. PITTS
Managing Editor
MAGGIE DEVCICH
Associate Editor
DAVID WILLIS
Associate Editor
ASHLEY MYERS-TURNER
Associate Editor
Contents
MIKE STENSVOLD
Senior Editor
J. ANA FLORES, SAVA ALCANTARA
Copy Editors
Equipment
76 BATTERY-POWERED MONOLIGHTS
With a combination of portability, power, versatility and the
ability to be used away from an AC outlet, battery-powered
monolights are gaining an increasing following among
professional photographers
By The Editors
JOHN PAUL CAPONIGRO, ROBERT HAWK,

MICHAEL GUNCHEON, WILLIAM SAWALICH
Contributing Editors
JEFF SCHEWE, DOUG SPERLING, RYAN STEVENS
Professional Advisors
ART
KURT R. SMITH
Art Director
ERIC BECKETT
Assistant Art Director
CANDICE OTA
Graphic Designer
82 THE FUTURE OF C-PRINTS

Using a massive, new Polielettronica HD C-printer,
Duggal Visual Solutions is producing jumbo-sized
photographs with an apparent resolution of 6100 dpi
By David Schloss
WWW.DIGITALPHOTOPRO.COM
WESLEY G. PITTS
Online Director
MIKE DECKER
Web Art Director
DAMIAN GREENE
Web Developer
84 THE ESSENTIALS
Top pros share the gear they cant live without
LISETTE ROSE
Web Production Associate
PHOTO MEDIA GROUP

STEVEN D. WERNER
Publisher/Editor In Chief
TECH
62 DEFAULTS: A DOUBLE-EDGED SWORD

The pros and cons of using Develop defaults in Adobe
Lightroom and Camera Raw
Text And Photography By George Jardine
CHRISTOPHER ROBINSON
Photography Group Editorial Director
KURT R. SMITH
Executive Art Director
EDITORIAL OFFICES
Werner Publishing Corporation
12121 Wilshire Blvd., Suite 1200
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70 THE HERO IMAGE

The evolution of a shoot with Corey Rich
By David Willis
Photography By Corey Rich
Printed in the U.S.A.
PHOTO BUSINESS
66 MAKE USE OF INSTAGRAM

The service is frequently scoffed at by professional
photographers, but it can be a boon for your business
By Jim Goldstein
22
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Departments
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14 FIRST TAKES 22 DPP IN FOCUS 32 HI-TECH

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ON THE COVER: Emmy Rossum by Art Streiber

Digital Photo Pro (ISSN: 1545-8520)Vol. 12 No. 1is published bimonthly except monthly in November and December by Werner Publishing Corp. Executive, editorial and advertising offices: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Periodicals Postage Paid at
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12 I Digital Photo Pro
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FirstTakes
Art Streiber
For Paramount Pictures 100th Anniversary, Art Streiber was called on to take a single, epic photograph. In my experience, explains Streiber, the massively
successful celebrity portraitist, nobody really enjoys having their picture taken except for models. I liken it to dentistry. Its something you have to and
should do every year. I try and make it as easy as possible on my subjects. A shoot with the photographer is much like putting together a film. He
collaborates with a set designer and lights for mood rather than to show off his formidable technical skills. Streiber is also famously adept at working with
group portraits, as you can see in this shot of 116 very famous subjects captured for the studios historic anniversary. The set alone took three weeks to build,
and he and his team ultimately employed 56 Profoto heads. He explains in the portfolio article in this issue that he keeps from getting overwhelmed in shots
like this by dividing larger groups into smaller ones, which hes then able to piece together into a final cohesive composition.
FirstTakes
Howard Huang
Howard Huangs explosive color

palette, urban set design and gangster
sensibilities have made him a popular
portraitist for clients like VIBE,
Billboard, Maxim, Panasonic and
Nintendo. Hes a master composite
artist, and the photographer will often
shoot a background separately and
then set the studio lighting to match
the scene, which allows him to work
as quickly as possible during the
portrait aspect of the shoot. This
gives him a big leg up when working
around the limited time schedules of
celebrities like Nicki Minaj, with
whom he has collaborated on a
number of projects over the course of
several years. Find out more about the
Hasselblad/Leaf and Canon shooter in
the portfolio article in this issue.
drawing with his eyes, his nose and just a tear, explains Finlay of his Brock Baker portrait. But the process of creating the piece was more than just Finlays
vision. After a stint on the hit TV show Glee, Baker was ready to reinvent his image and eager to engage in Finlays process. Finlay explains, This is an
exchange between both of us. Something we both create. That communication. That bond that goes beyond just language. And it was a lot of improvisation.
Colin Finlay
FirstTakes
After years as a war and conflict photojournalist, Colin Finlay is exploring a new outlet for bringing his personal creative touch to photography through the
combination of original painting. I wanted to bring the uniqueness of creating a one-on-one piece. I envisioned [this image] to be more like a pencil outline
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conceptual images. They blend classic portraiture in a flavor along the lines of Irving Penn, with a theatrical over-the-top approach to costume, makeup and
performance, says Bradley. The project was shot over a few days in a 100-year-old vaudeville theater called The Palace in Los Angeles, which has been
boarded up and hidden from the public for decades, and is just now coming back to life with public performances. Bradley and the Lucent Dossier performance
group have been committed to working together for some time. When we first met, after having been inspired by them for years, they said my images have
been on their computer wallpapers for years. That made it easy to flow into creative collaborations, he adds. The project will be launched on a micro-website
followed by physical exhibitions in Los Angeles and New York. For updates, visit Bradleys website at www.augustbradley.com.
August Bradley
FirstTakes
Dramatic, cirque-inspired themes moved August Bradley to collaborate with the performance group Lucent Dossier on a new collection of short films and
DPPIn Focus
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New Tools Of The Trade
Cameras I Digital Equipment I Software I Printing I Storage I Lighting
Nikon Df
The highly anticipated full-frame Nikon Df utilizes current digital
technology, such as the 16.2-megapixel FX-format CMOS sensor and
EXPEED 3 processor used in the D4, within a classic body design
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AF-D lenses. Purists may appreciate that the camera doesnt
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LED Fresnels
Litepanels has added a 12-inch option to their Fresnel series. The Sola 12 (Daylight)
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shift or flicker, and focusing, with a 67-15 beam angle. List Price: $4,795. Contact:
Litepanels, www.litepanels.com.
Street Shooter
The Panasonic LUMIX DMC-GM1 is a mirrorless interchangeablelens camera squeezed down to a pocket-sized profile. With a
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metal-alloy frame, with aluminum dials and brushed metal, feels
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The GM1 also has integrated creative filters, as well as
time-lapse and stop-motion features. List Price: $749. Contact:
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check out www.digitalphotopro.com/gear/in-focus for more info
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Personalized Tripod
Cameras I Digital Equipment I Software I Printing I Storage I Lighting
Novoflexs modular tripod, the TrioPod, is available in five different sets. Additionally, each
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All-In-One Superzoom
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new BIONZ X processor, Sony continues to reduce
area-specific noise and increase detail. Three different
sizes can be selected for autofocus, allowing you to
Ultratelephoto Zoom
match the size to your subject for accurate focusing.
Tamron has announced the development of the SP 150-600mm F/5-6.3 Di VC USD ultratelephoto
Fast action can be captured at up to 10 fps with
zoom, compatible with both full-frame and APS-C formats. With a large focal-length-range
continuous AF. The RX10 continues to advance in video
expansion from the current 200-500mm lens offered, this lens is of particular interest for sports
capabilities, with 60p and 24p frame rates, HDMI out,
and wildlife photographers who need a little extra length without losing quality (from extenders) or
an adjustable audio level meter and headphone out for
time (by changing lenses). Including Vibration Compensation, a redesigned tripod mount and an
audio monitoring. Additionally, its compatible with the
Ultrasonic Silent Drive for accurate AF, the lens is set up to shoot sharp images at a long focal
XLR-K1M adapter for pro audio recording. List Price:
length both mounted and handheld. List Price: TBA. Contact: Tamron, www.tamron-usa.com.
$1,299. Contact: Sony, www.sony.com.
Perfect Photo Suite 8

onOne Software has added new
features to their photo-editing
software with the release of Perfect
Photo Suite 8. Both the Standard
version (a stand-alone application)
and the Premium version, which
also integrates with Photoshop,
Lightroom, Elements and Apple Aperture, use a unified interface of eight modules including
Effects, Enhance, B+W, Portrait, Mask, Layers, Resize and Browse. The new Enhance module
includes basic tools for brightness, contrast, sharpness, removing dust spots and vignettes. The
Perfect Eraser tool removes objects with content-fill technology. A re-engineered Effect module
provides custom filters and presets. The new Browse module makes it easy to scan through
images on your computer, external drive, network and cloud-based storage, and work on multiple
images at once. List Price: $299 (Premium); $149 (Premium upgrade); $79 (Standard). Contact:
onOne Software, www.ononesoftware.com.
Richard Walch
THE PROFOTO B1
WITH TTL
WITHOUT CORDS
The new Profoto B1 makes it easier than ever to use your
fash off camera.
TTL achieves your light in an instant. With battery-power/
without cords, the 500w/s B1 goes wherever you go. Combining
performance and the legendary Profoto light shaping system
the B1 makes great light easy.
To learn more go to www.profoto.com/us
Profoto US | 220 Park Avenue, Florham Park NJ 07932 | PHONE (973) 822-1300, profoto.com/us
DPPIn Focus
DPPInFocus

Sling Strap For Women
Designed specifically for the
female body by female designers,
the Kick strap by BlackRapid
makes slinging a camera more
comfortable for women. The short
shoulder pad includes a built-in
curve that kicks webbing
Pro Filter Line

Kenko Tokina USA, Inc. has designed a new line of Hoya PROND
filters for both still photo and HDSLR video use. The nine filters
range from two to 10 stops in light reduction. ACCU-ND metallic
technology coats the front and back of optical glass, creating
the neutral-density effect for a neutral color balance that
doesnt add any additional color cast. A one-piece, thin,
aluminum frame keeps the filter secure and parallel to the
sensor. Available in ND4X through ND1000X densities and sizes
49mm-82mm. Estimated Street Price: Varies by filter size.
toward the center of the chest,

making the sling placement well
fitting. The shoulder pad is also
thicker and wider than the
BlackRapid Elle, which also
makes it compatible with the
Brad underarm system for extra
stabilization. Estimated Street
Price: $61. Contact: BlackRapid,
www.blackrapid.com.
Contact: Kenko Tokina USA, Inc., www.kenkotokinausa.com.
Versatile Support
Weighing a featherlight four pounds, yet supporting a full
22-pound capacity, the versatile 3POD P5CRH 5-section Carbon
Fiber Compact Tripod with K3 Ballhead by Flashpoint is the
perfect travel companion. With wear-resistant lock guards that
provide against slippage due to wear and temperature
changes, the 5-section legs individually
fold and unfold with metal-jacketed twist
locks and have three position settings to
compensate for uneven surfaces. Each
foot has a spike for outdoor trail use with
a nonslip rubber cap. Quick moments and
tight spaces may call for the P5CRHs
monopod configuration, utilizing the
center columns reinforced twist-lock
technology. The included K3
Ballhead provides smooth 360
panning with two bubble
levels and a sliding
quick-release plate. List
Price: $124. Contact:
Flashpoint (Adorama),
www.adorama.com.
Sigma 35mm F/1.4 DG HSM Art

Photographers looking for a fast prime lens will take note of the Sigma 35mm /1.4
DG HSM Art lens. Designed for a full-frame sensor and compatible with an APS-C
sensor, the lens features a Hyper Sonic Motor for quick and quiet focusing, as well as
a floating internal focusing system, allowing high performance, even at close shooting
distances. SLD and FLD glass elements correct axial and chromatic aberrations. The
lens is compatible with the Sigma USB dock for firmware updates and adjusting focus
parameters. Estimated Street Price: $899. Contact: Sigma, www.sigmaphoto.com.
Ab Sesay
High Intensity, Low Heat

A continuous light for both still and video shoots, the LED-200WA High-Intensity Series by Fotodiox
produces 15,000 lux/m of luminance, two times the brightness of the previous model, while consuming only
200 watts of electricity. The 200WA runs on
constant power instead of alternating current
like many equivalent models, allowing it to
run twice as long. Though it provides high
intensity, it generates very little heat, making
studio sessions more comfortable. Available
in 5600K (Daylight) or 3200K (Tungsten), its
housed in a strobe-like package with a
Bowens S-type bayonet mount, making it
compatible with standard strobe accessories.
A built-in glass diffuser creates soft and
even light with a high color-rendering index
for proper color in all environments. List
Price: $424. Contact: Fotodiox,
www.fotodioxpro.com.
Manfrotto Shoulder 50
The Shoulder 50 is a comfortable and sturdy shoulder
bag thats part of the new Manfrotto Pro line. The
bag interior features a Camera Protection System
(CPS) with thickly layered core center dividers
that mold to cradle your equipment and provide
shock absorption for two DSLRs with lenses attached,
a strobe, a tablet, accessories and additional personal
gear. Featuring a rigid, multilayered Exo-Tough outer
construction with thermo-formed areas and reinforced
feet to protect against impact, the Shoulder 50 also
provides a back compartment for personal papers, a
top zipper for quick gear access and a removable rain
cover. Estimated Street Price: $189. Contact:
Manfrotto, www.manfrotto.us.
PROFOTO RFi
SOFTBOXES.
ITS MORE THAN A
SOFTBOX. ITS A
LIGHT SHAPING TOOL.
The Octa RFi is most commonly used for such
purposes as fashion, beauty and portrait
photography. One of the most important reasons
for this is that its unique shape creates a beautiful,
natural looking catch light in the subjects eye.
RFi softboxes come in all sizes and shapes, and are
compatible with all major ash brands. To ensure
full control for the photographer, they have a deeper
shape, a recessed front, double-layered diffusers and
a highly reective silver interior. Optional accessories
are available for even more precise light shaping.
In short, an RFi softbox is more than just a softbox
Glidecam VistaTrack
Add smooth, even movement to
your next video project with the
Glidecam VistaTrack 10-48. Use
the track on flat or uneven
surfaces alike or mounted to a
tripod to create vibration-free,
high-quality movement. When
using the integrated adjustable
legs or a single tripod, the Linear
Track and Dolly System supports
cameras weighing up to 10
pounds, or provide added stability and support with two tripods for use with cameras weighing up to 30
pounds. Two quick-release plates are included. One plate mounts the VistaTrack to a single tripod and the
other mounts the camera to the track. The system is available in 48-inch, 36-inch and 24-inch lengths.
List Price: $699 and up. Contact: Glidecam, www.glidecam.com.
Profoto US
220 Park Avenue, Florham Park NJ 07932
PHONE (973) 822-1300, profoto.com/us
DPPIn Focus
DPPInFocus
Precision Panhead
The Induro PHD3 panhead provides quick and precise camera
positioning from a wide range of angles using a single-lock
knob control. The one-lock knob gives full control over the 360
rotation of the panning base, while a separate knob controls
+90/-45 front-back tilt movement and +45/-45 side-to-side
tilt. A graduated scale and bubble level aid in accuracy. A
double-safety lock is incorporated on the Quick Release clamp of
the included Arca-Swiss-style top plate. Fits size 2- and 3-series
tripods. List Price: $385. Contact: Induro, www.indurogear.com.
Zeiss Otus 1.4/55

Zeiss has introduced the 55mm /1.4 as the first lens in the Otus lens line. Named
after an owl known for night vision, the Otus line is designed specifically for highresolution-sensor DSLRs, prioritizing sharpness and high image contrast and reducing
chromatic aberrations. The internal 12-element optical design creates images without
color fringe or distortion, while the external metal barrel allows for smooth manual
focusing and comfortable operation. Available in F-bayonet and EF-bayonet mounts,
the Otus line will be growing with additional lens lengths. List Price: $3,990. Contact:
Zeiss, lenses.zeiss.com.
G-Tech Evolution
G-Technology has developed a dual-bay storage system
particularly useful for downloading files in the field, then
quickly backing up once you return to your studio
workspace. The G-DOCK ev with Thunderbolt hub ships
with two portable stand-alone G-DRIVE ev USB 3.0 drives
with 1 TB capacity each. The hub allows additional drives
to be swapped in and out for flexible and expandable
backup. Estimated Street Price: $749 ($199 for each
additional 1 TB G-DRIVE ev portable USB 3.0 drive).
Contact: G-Technology, www.g-technology.com.
Klara G. for Anna Ekre
Canon Sensor Upgrade

The Canon EOS 70D DSLR uses new Dual Pixel CMOS
AF technology, which reads phase-detection data
from every pixel for smoother autofocus when shooting
quick-moving subjects such as sports, wildlife and
events. Knowing the benefit of this technology for
filmmakers, Canon is offering a $500 Dual Pixel CMOS
AF upgrade for the EOS C100 Cinema camera that was released in November 2012. After purchasing the
C100, owners will be able to ship their cameras to the Canon Service Center to have the sensor upgraded.
Upgrades will start in February. Contact: Canon, www.usa.canon.com.
Mobile Apps For Professionals

Formerly known as the app Trip Cubby, Mileage Log+ by Contrast
has received an upgrade, becoming a much-needed convenience
for photographers tracking mileage for reimbursement or tax
deduction purposes. The app features auto-entry and autocalculation and saves frequent trips to reduce filing time, as well
as quickly sorts and filters with customizable categories and
reimbursement rates. Created keeping IRS compliance in mind,
Mileage Log+ also compiles Excel-compatible email reports
with PDF and CSV attachments. List Price: $9.99. Contact:
Contrast, contrast.co.
In photography, between
scouting, setting up
equipment and working
with natural light, timing is incredibly important. When youre
traveling in a new city, even more factors play into timing. The
free Embark app for iPhone helps manage city navigation with
step-by-step instructions so you can get to your location smoothly.
Using real-time information about late trains, closures and
advisories, Embark gives you the best estimate as to when your
train will arrive and what your schedule will look like. And Embark
continues to work without an Internet or cellular connection while
youre underground in a metro system. Currently available for 10
transit systems, including Boston, Chicago, NYC, San Francisco
PROFOTO
UMBRELLAS
12 MODELS.
2 SHAPES.
INFINITE
POSSIBILITIES.
Available in 12 unique models and made with
high-quality fabrics and surface-treated metallic
elements, Profoto Umbrellas will provide a superior
light for years to come.
Available in a deeper shape for photo-graphers
who want a broader range of possibilities, and in
shallower shape for those who value portability and
ease-to-use.
For further information go to
www.profoto.com/us/umbrellas
and Washington D.C., Embark is continuing to expand. Contact:

Embark, letsembark.com.
Instead of single-image pseudo-HDR, bring true multi-image
HDR photography to your smartphone. The Pro HDR app by
eyeApps LLC expands your dynamic range with multiple image
merging from the palm of your hand. Compatible with front and
rear phone cameras, you can use auto-capture or manual mode
for exposure, digital zoom, self-timer and flash. Edit the images
by adjusting brightness, contrast and saturation, then save
GPS and EXIF data. Compatible with iOS and Android devices.
List Price: $1.99. Contact: eyeApps LLC, www.eyeapps.com.
Profoto US
Akira Seo And The Fine Art Of Surfing
By Baldev Duggal
Photos courtesy of Duggal Visual Solutions
VisioneersGallery
VisioneersGallery
The Wave
Sliding Club
Utter weightlessness, flying through the air,

transcendental, mystical, magical, thrilling,
enlighteningthese are some of the ways
those who seek their balance atop ocean
waves express the euphoria of surfing in
words. Surfing is more than a sport. It
has come to define a subculture thats
synonymous with the spirit of soaring
freedom. Born in Polynesia, within a
century of its introduction in California,
surfing has been embraced as a way of
life by people around the world. The
surf culture is much more than wave
riding. It has had tremendous influence
in shaping global fashion, language,
lifestyle and music trends. Surfing
has its beginnings in spiritual practices
of the ancient Polynesiansa form
of prayer through which they asked
for protection from the ocean. The
Hawaiians refer to surfing as hee nalu,
which translates to wave sliding.
For non-surfers, this culture is both
mysterious and awe-inspiring. The
fearless and graceful glide of a surfer
into the ocean, no matter how cold or
populated with sharks, and their

thrilling ride on the perfect wave at
speeds as high as 60 kilometers per
hour, followed by the paddle back out,
is a sight that epitomizes human freedom and union with one of the most
untameable forces on our planet.
Surfing is a sport thats played, or rather
performed, by artists. Its not simply a
technical process, it requires a state of
mind that sees different possibilities in
every wave; it requires a faith in uncertainty and limitlessness, the skill and
deftness of dancing, and the confidence
of beautifully painted brushstrokes.
Photographer Akira Seo, who
moved to the U.S. from Japan 15 years
ago, recently opened his exhibition
Fish Out of Water in New York
with stunning portraits of surfers. As a
surfer himself, Seos familiarity and
intimacy with the surfing community
enabled him to create portraits that
allow people on the outside a
glimpse into the otherworld of surfing. At this exhibition, I wanted to
ABOVE: Akira Seos Fish Out Of Water photos printed with Duggals new HD printer.
express what is going on when the

surfers are on the land. The ocean
usually serves as the background for
surfers. I chose the unrelated subject
for the background intentionally, so
the surfers expressions could tell what
they feel, says Seo. Choosing to print
his dramatic black-and-white images
on Duggals latest digital HD printer
for its unprecedented image and tonal
resolution, the images of surfers were
mounted on gallery plexi boxes for
installation at the Onishi Gallery.
Seo grew up in a small town by
the seaside in Japan, so going to the
beach and hanging out there with
friends was a part of his lifestyle, and
this is what made him into a surfer for
life. In this exhibition, Seo presents
images of surfers as they head toward
the oceans infinite horizon and as they
proudly stand on the shore embracing
their ocean riding vehicles. The monochromatic images are both severe and
gentle. The crisp lines and tangible textures of the natural settings contrast
Frederico Martins
starkly with the tender human forms

and curved shapes of the surfboards.
Some models pose with their boards in
loyal partnership, and others stand
united as if one being. Seo notes that
these surfers love the water, love to surf
and love the lifestyle it enables. They
feel strong in their mastery of both land
and sea, relating like fish to the water.
He presents beautiful portraits of these
surfers to communicate what the
surfers say theyd like others to see
strong, self-possessed, determined individuals who ride, with grace, the line
between solid and fluid, restrained and
free, powerful and vulnerable. On the
nomenal art of personal expression for

those who have embraced it. Although
the East Coast has a very long tradition
of surfing, the weather makes it a more
seasonal sport here than on the West
Coast. Perhaps theres a relationship
after all between the experimental, radical nature of West Coast-born ideas to
the culture of freedom and adventure
that year-round surfing represents. For
me, the most heartening part of Seos
exhibition is the love for raw nature
thats communicated through each portrait. Each one of the surfers isnt simply
a sportsman; hes at heart the guardian
of the ocean. Kelly Slater, one of the
SHAPE SUNLIGHT
WITH PROFOTOS
COLLAPSIBLE
REFLECTORS
The latest addition to our assortment of Light
Shaping Tools is a powerful and cordless continuous
light source the sun.
Shape its light with one of ten collapsible reectors,
each equipped with two ergonomically shaped
handles, to make them easy to hold and fold.
Available in two sizes and six surfaces for any
lighting challenge.
For more information go to www.profoto.com/us
relationship between art and surfing,

Seo states, I think surfing on the wave
is like painting on the canvas. Each
surfer draws their own line by using
their surfboard. They draw all different
lines. Being a part of the wave and flowing with itsurfing is not only just a
sport, but an artistic work. The models
I shot were all very good artists, so I
carefully chose the location for each
one of them.
To exhibit portraits of surfers heading out into the ocean for countless
hours of joy and bliss is a gift to the people of New York City, a place that truly
never sleeps. I learned how to express
myself from surfing, Seo told me.
Surfing is truly an ideology and a phe-
most famous surfers of all time, states,

I think when a surfer becomes a surfer,
its almost like an obligation to be an
environmentalist at the same time.
If the ancient Hawaiians surfed
through the waves as a prayer for protection from the ocean, its encouraging to know that with the growing
popularity of surfing and the growth
of its culture around the world, we
may now be surfing for the protection
DPP
of the oceans instead.
For more information on Duggal, visit
www.duggal.com or check out the blog at
www.duggal.com/connect and see their
newest articles on the printing, photography and fine-art industries.
Profoto US
Hi-TechStudio
Hi-TechStudio
The Softbox
The essential light modifier for all

genres of professional photography
By Ashley Myers-Turner
Softboxes create directional, diffuse, naturallooking light. The light quality might be
compared to that of an overcast day,
but using a softbox, you have control
over the size, shape and direction of
the light. Incredibly versatile, you can
use a softbox as a key light, fill light or
backlight. Their adaptability make
them a favorite among professional
photographers, from photojournalists
who use small ones on a handheld
flash to fashion and beauty shooters
working on location to studio photographers shooting a perfume ad. A
softbox should be in every photographers grip kit.
The basics of the design are simple.
The softbox attaches to a strobe or continuous light source. With four opaque
sides made of fabric, the light bounces
around the reflective inner lining, and
its shaped and released out the oppo-
site side where a translucent piece of

fabric spans the corners of the frame,
creating the soft, even, diffuse light.
Most are roughly rectangular in shape,
but several manufacturers also make
octagonal models, which will create a
more round catchlight.
The translucent fabric can be
layered or traded out for various thicknesses, allowing the
light to be customized for the
space and subject. Accessories, such as
grids, which limit light scatter, also add
customized control, and you can use
large gel sheets to color the light.
Size is one of the most important
TOP: LumiQuest SoftBox. ABOVE: Glow Hexapop R-series; Interfit Strip Pro Softbox.
factors in your softbox decision.

Ultimately, its the size of the light
source (combined with its distance
from the subject) that determines the
hardness or softness of the light. For
photographers shooting primarily
headshots, detail fashion shots, small
objects or children, softboxes around
24 inches or under usually will get the
job done. Larger softboxes spread
more light and can be moved farther
away from the subject, giving you and
the subject more room to work and
move or for softer shadow transitions.
Large softboxes work well for fulllength portraits, as well as shots with
many subjects.
Another important aspect to look
for is the interior lining. Many softboxes have a standard white lining, while
some are available with gold or silver
interiors, or have the ability to swap
between colors. Metallic interiors generally boost contrast and amplify your
light output.
You also need to choose a diffuser
that will match your light source.
Several factors may come into play. If
youre shooting video, youll need a
THE FIRST PELICAN

CASE YOU CAN WEAR
NEW 2013 CAMERA BACKPACK LINE
Coming Soon to a Photo Retailer Near You

Learn More at www.Pelican.com/photopacks
Q S115 LAPTOP/CAMERA PRO PACK

Watertight, crushproof laptop case ts
up to 17 MacBook Pro. Pro-size camera
storage with moveable dividers.
Q U160 HALF CASE CAMERA PACK

Watertight, crushproof camera
case with dividers. Extra gear storage
in upper section, tripod strap system.
Q S130 LAPTOP/REMOVABLE CAMERA
Watertight, crushproof laptop case ts up

to 17 MacBook Pro. Divider set removes
in seconds for general storage use.
www.pelican.com/photopacks
Pelican Products, Inc.
23215 Early Avenue, Torrance, CA 90505Tel 310-326-4700
&AX sToll Free 800-473-5422
All trademarks are registered and/or unregistered trademarks of Pelican Products, Inc., its afliates or subsidiaries. iPad and iPhone are registered trademarks of Apple, Inc. Ultrabook is a trademark of Intel.
continuous light source opposed to a

strobe. But if you primarily shoot stills,
you have more flexibility and your
decision may be based on portability,
cost of power output or the equipment
you already have in your arsenal.
Heres a sampling of whats available.
The Chimera Mini Lightbank softbox measures 12x16 inches and can be
used with your on-camera strobe
while mounted to a light stand. With
white or silver interiors and a sewn-in
front screen, it comes with a carry sack

for complete portability. On the opposite end of the spectrum, the Overhead
Modular F2X Lightbank with a silver
interior uses bare-tube strobes for
lighting large spaces and objects, such
as cars. Designed with no-tool quick
assembly in mind, the F2X comes
with 60-inch duffle cases for mobility.
For a mid-range softbox, the unique
OctaPlus 57 Lightbank provides
variable sizes as it can convert from
Light Once. Shoot Twice.

Jokers deliver ficker-free daylight to capture both stills and video on the same set,
at the same time. They work just like a fash head. Their light shapers are incredible,
and Jokers adapt to most of the refectors youre using today.
Jokers are in rental across North America:
Brooklyn Brooklyn Studios CSi Fast

Ashley Highline Locations Lightspace
Milk Root TREC
Calgary The Camera Store
Chicago Dodd Camera ProGear
Magnanimous Media
Cincinnati Dodd Camera
Cleveland Dodd Camera
Dallas Bolt Productions
Los Angeles Castex Jaman Milk
PIX Quixote Samys Siren
Miami OneSource MAPS Splashlight

Mpls Flashlight Lyn-Lake Orbit Shelter
New York ARC CSi Drive In Go
Headlight Hello World Jack K&M
Metromotion Milk Pier 59 Root
Scheimpfug Splashlight TREC
Orlando Central Florida Strobe Rental
San Francisco DTC Berkeley Samys
Seattle Voda Studios
Toronto Album Studios S1 Group
Vancouver Beau Photo Flashpoint
JOKERS
1600 800 400 200
See the full listing at K5600.com/crossover Where to Rent or call 540.937.2291
5 to 7 feet. With a silver interior, its

compatible with most strobes and
continuous lights up to 1200W.
www.chimeralighting.com
The Glow R-series provides a variety of standard softbox sizes for both
studio and location work, ranging from
the 20-inch Hexapop to the 24x36inch Rectangle to the 71-inch Grand
Softbox. All modifiers are heat-resistant
and designed from durable gridded
fabric lining. www.adorama.com
For the mobile photographer
who needs a very small softbox,
LumiQuest has created softbox accessories for your on-camera strobe. The
LumiQuest SoftBox (5x7 inches),
LumiQuest SoftBox III (8x9 inches)
and LumiQuest Mini SoftBox
(3.25x4.5 inches) fold down to fit
inside the laptop/tablet pocket of your
bag, but quickly unfold and attach
to your strobe with Velcro or the
optional UltraStrap. An extra diffuser
section in the center reduces the flash
hot spot to produce even, soft light.
The LumiQuest SoftBox has a bottom
notch so that it doesnt interfere with
the AF or triggering functionality of
the strobe. www.lumiquest.com
Just as important as size is the shape
of the softbox, which dictates the shape
of the light. Square and rectangular
softboxes are often used for product
shots and fashion photography.
Compared to octaboxes, rectangles
have a shorter depth and can be positioned into tight spaces more easily.
Interfit provides a wide range of rectangular sizes, from a 24x24-inch
square to a 55x79-inch rectangle. With
flexible aluminum rods and specially

treated heat-resistant fabrics, the boxes
are made for durable, wide-range use.
www.interfitphotographic.com
Octaboxes are most often used for
fashion photography, as they provide a
large, full-length coverage area, as
well as a circular catchlight in the eyes.
Along with rectangular softbox
options, Fotodiox provides the
Fotodiox Pro 36-, 48-, 60- and 70-inch
Octagon. The interior dome features
pro-grade omni-bounce silver fabric
and includes a white baffle for softer
lighting. The rotating speed ring can
be used with other shaped softboxes,

as well. www.fotodioxpro.com
Along with traditional softbox
shapes, Dynalite offers the unique 16sided Grand Softbox. Made from
Rimelite grid fabric, its UV-coated
and waterproof, providing color consistency, fade resistance and easy
clean-up. The parabolic shape of the
softbox sculpts the light all the way
around the subject and provides a natural round catchlight for the eye. The
Grand Softbox comes in sizes from 35

to 91 inches and can be used with
lights up to 650W. www.dynalite.com
The strip softbox has a narrow rectangular shape, allowing light to carve
out edges and provide contrast to highlight a particular area of the frame.
Bowens offers the Lumiair Strip 100
(29.5x15 inches) and Lumiair Strip 140
(55x15 inches). The reflective interior is
color-calibrated and the box design
(Contd on page 95)
Giottos: Aegis LCD Pro Screen Protectors.

Schott German optical glass. 0.5mm
thick 0.05mm.Light transmission: 98%.
Resists 4KG pressure per square CM. 12 layer
multicoating protects against scratches. Nano
coatings repel moisture, dust, fingerprints.
Giottos: MH621 Quick Release. 2
bubble levels. Sliding plate w/safety lock
button. Adjustable locking lever. Dual
rubber pads. 1/4 & 3/8" slotted camera
screws w/lift-up handle for
easy mounting. Video pin.
1/4 & 3/8" threaded
mounting holes. Side
of base has threaded
mounting holes to
store extra screws.
Mounting plate
3.54 x 1.96 x 0.59",
weight 3.52 oz.
Linhof: Techno Digital/RollFilm field camera system.

Made in Germany.
Gepe: Pro
Lightstands.
Anodized
black
aluminum.
5/8" top stud
with 1/4"
thread. Models
have various
leg spreads,
min/max
heights,
capacities,
weights.
Rodenstock: Vario ND
Filters. Calibrated in actual
F stops 1.5 to 5. 12 layer
multicoated. Extremely
smooth rotation. Anodized
aluminum mount.
Great
Gear,#5.
Giottos: MH1300-657
ballhead with QR. Arca
compatible. 2 levels.
Supports 20 lbs.
LEFT: Fotodiox Pro Softbox, 36-inch Octagon;

TOP: Westcott Pro 18x42-inch Bruce Dorn
Asymmetrical Stripbank; ABOVE: Profoto Softbox
RFi 3-inch Octa (90cm).
Bringing you great brands.

800/735-4373 hpmarketingcorp.com
(R)evolution
(R)evolution
Photoshop Blur Filters, Part 2
How to use Smart Filters, Blur Tools and Blur Effects to control blur in your images
1)
This is the second of a two-part column about

creative blur techniques. Inducing blur in a
sharp photo seems counterintuitive,
but its incredibly useful for guiding the viewer and eliminating
distractions. There are several powerful digital tools that help you
manage blur with precision. In this column, we
>> More On The Web
explore Photoshops Smart
John Paul Caponigros
Filters, Blur Tools and
in-depth instructionals
on image-processing and
Blur Effects.
Smart Filters
printing techniques are

available as an extensive
archive online at
digitalphotopro.com/
technique/revolution.
Smart Filters allow you

to change the settings of filter effects in Photoshop at anytime,
providing a significantly more flexible
nondestructive file structure. Smart
Filters can only be applied to Smart
Objects. Convert a rasterized layer or
group of layers to a Smart Object by
highlighting it/them and going to
Layer > Smart Objects > Convert To
Smart Object.
1) Radial Blur 2) Surface Blur 3) Lens Blur
You can do many things with

Smart Filtersswitch them on or off,
change their Opacity or Blend mode,
mask them or combine multiple filter
effects (you only get one mask for all
By John Paul Caponigro
2)
3)
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(R)EVOLUTION
of the Smart Filters applied to one
Smart Object); using Layer Blend If
sliders isnt one of them.
Use Smart Filters sparingly, as the price youll
pay for this flexibility is a
significant increase in file
size, as much as four
times, which slows processing and saving time
but dont write them off
because of this.
Blur Tools filters
Tilt-Shift, Field Blur, Iris
Bluroffer simplified interfaces, easier filter setting selectivity (though limited to hexagonal iris
shapes), stronger intensity and faster
performance than the Lens Blur filter. Not only can these filters be easily applied as Smart Filters, but
theyre best applied as Smart Filters;
apply one filter, and two new
palettes will appear, Blur
Tools and Blur Effects,
which can be further
adjusted in the future if
the effects are applied as
Smart Filters.
The Blur Tools palette
allows you to activate one,
two or all three of these
filters and adjust the sliders that control each
effect. The Blur Effects
palette offers three sliders: Light
Bokeh (this slider brightens bokeh
effects), Bokeh Color (this slider
increases the saturation of affected
areas) and Light Range (this slider
adjusts the range of levels affected,
allowing you to target effects into
shadows, midtones or
highlightsmore effectively than Lens Blurs
Threshold sliderand
it intensifies the tonal
range between the sliders, producing a more
realistic effect).
Sooner or later, youll
wonder how applying a
filter selectively through
4) Field Blur 5) Iris Blur 6) Tilt-Shift
4)
5)
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(R)EVOLUTION
its controls is different than applying
a filter to a duplicate layer uniformly
and then adding a mask. Sliders that
provide selective application of an
effect offer variable intensity, blurring
an area more or less, while a layer
mask selectively reduces the opacity
of a uniform effect revealing the
focused image below. The effect produced by these two methods can be
significantly different.
Its the type of selectivity, not the
quality of the blur, that differentiates
the Blur Tools filters from one
another. Field Blur produces an
overall effect. Iris Blur adds selectivity through a radial gradient. TiltShift adds selectivity through a
reflected gradient.
Each filter has a blur ring. The
central point controls the position of
the effect; the outer ring dynamically
adjusts the Blur slider. Pins can be
used to place additional blur rings
with overlapping fields of influence
that will feather into one another
gradually, making it easy to apply different filter settings to different
image areas.
Radial Blur surrounds each blur
ring with a second larger double ring.
The outer line can be used to adjust
the size of the blur field, and it has
one square radius roundness knob
that makes the field rounder or squarer, and four outer ellipse points to
adjust the shape and angle of the
radius field. Between the outer line
and the center double ring are four
inner ellipse points that control the
gradient effect between the center and
the outer ring; dragging one point
will move them all equally unless you
hold the Shift and Option/Alt keys to
control a single point.
Tilt-Shift adds a reflected gradient
with two solid center lines that define
a region of clarity between them (the
center points on them control rotation)
and two dotted outer lines that control
the gradation of that region of clarity
into blurred areas.
You can easily combine Iris and
(Contd on page 93)
Influenced by graphic novels and science-fiction

movies, Howard Huangs vibrant urban fashion and
celebrity work is turning heads from here to China
By Mark Edward Harris Photography By Howard Huang
Portfolio
(T
aiwan-born, Hawaiian-raised,
New York-based Howard
Huang considers himself
an urban fashion/celebrity
photographer. Comics and
Japanese anime are building blocks
for the fantasy sets he creates for musicians, models and actors, from Lil
Wayne and Jacki-O to Ice-T and
Nicki Minaj. Huang often composites
photographs to achieve his inner vision
or an art directors storyboard idea.
Huang creates color-bursting magazine features for publications ranging
from VIBE and Billboard to Maxim
and The New Yorker. His corporate

clients include Panasonic, Nintendo
and Verizon. His book Urban Girls,
published by Taschen, shows off his
work in the niche market of AfricanAmerican and Latina bikini models,
collectively known as urban girls.
DPP: Where do the ideas come from
for your vibrant, high-energy setups?
Howard Huang: I grew up in
Taiwan and was fascinated with
comic books and anime, so a lot of the
ideas come from that. As I got older,
sci-fi films like Star Wars, Blade
Runner and such also had an influence
on me. While most little boys wanted

to be a fireman or an astronaut when
they grew up, I wanted to be a graphic novel artist or a hit man.
DPP: A hit man?
Huang: Action films and comic
books portrayed hit men in black suits
or trench coats with sunglasses and
guns. I think I was more into becoming an Armani hit man with a flair for
fashion. Maybe I should say that I
wanted to look cool and feel like a
superhero. I was never a bad boy. I
grew up in a very normal middle-class
Chinese family. If anything, I was the
bad ass among nerds. I never thought

I would be a photographer.
DPP: How did your evolution into
photography develop?
Huang: I actually wanted to be a
fine artist when I was in high school,
you know, the kind that smokes and
drinks at a caf all day, has an attic studio in Paris and paints beautiful
women for a living. That was, of
course, an unrealistic fantasy to my
Chinese parents at that time. So the
middle ground of what my parents
thought was good for megoing to
school and majoring in business versus
my fantasy of being a fine artistwas
that I learn graphic design as a real job

skill to prevent me from ending up on
the streets. My design courses led me
to discover photography. Once I did, I
was hooked.
DPP: What was it about photography that attracted you?
Huang: In my first basic photography classes at the Academy of Art
University in San Francisco, I discovered that the actual process of photography amazed me. Its like magic
when you first see your image coming
up in the developer in the darkroom.
Though Ive gone over to digital, that
feeling of magic has never left me.
Words like gritty, graphic,

action-packed, moody, sexy and
mesmerizing can all be used to
describe Howard Huangs style.
OPENING SPREAD: Huang has worked
extensively with hip-hop diva Nicki
Minaj, and their collaboration has
contributed to her extraordinary talent
for inventing multiple identities.
ABOVE: Busta Rhymes on Wall Street.
RIGHT: One of the images from Huangs
2012 Leila Shams Lookbook shoot.
Digital imaging technology has

evolved to the point where we can
now do it all better and faster, exerting
much more control over each individual aspect of the finished work than
we could in a traditional darkroom. I
like to be able to produce the entire
process from start to finish. I use digital manipulation and composite work
to enhance my inner vision, but I
rework an image in Photoshop in a
way that the treatment isnt obvious.
DPP: How did your style evolve?
Huang: Since I came from a traditional darkroom background, this
whole new computer graphic thing
opened up brand-new possibilities for
me. Even in the traditional wet darkroom, where I would spend hours
developing and printing, I was drawn
to alternative processes like crossprocessing, cyanotypes and Polaroid
transfers. While in college, I would
experiment with different backgrounds and combine them with
the model I photographed using
Photoshop. I created mostly alien fantasy types of images. After college, I
kept on experimenting while I was a
digital assistant for photographer
Michel Tcherevkoff in New York.
DPP: When you went out on your
own, you became known as a master
of photographing urban girls. Why
the fascination?
Huang: I didnt choose to be in this
niche market. It kind of just happened
for me. I wanted to do fantasy-themed
shoots with agency models for fashion,
but it turned out the urban fans love
my vibrant color and style. I started to
shoot for XXL Magazine, and one
magazine feature led to another. I was
Born in Taipei, raised in Hawaii and now based in New

York, Huang worked with commercial photography
legend Michel Tcherevkoff. His digital skills are honed
to a fine edge, but Huang cut his teeth in a film
darkroom. Regardless of the process, Huang creates
a narrative in his mind when hes conceptualizing
a shot, and hes always striving to make work with an
emotional impact. ABOVE: Part of a recent fashion
shoot in Shanghai, China. NEXT PAGE: Rapper Flo Rida
photographed in a meat locker.
soon doing photo shoots with urban

girls on a regular basis. Years later,
Taschen saw my work and decided to
publish my body of work in a coffeetable book called Urban Girls, featuring African-American and Latina
women with nice curves. I had the
pleasure of working with hundreds of
sexy women, most of the time getting
to execute my vision. Hey, I cant complain about that.
DPP: How would you describe
your style?
Huang: I have a taste for the dramatic, and I often see photography as
a still frame of a movie. I love action
and a single frozen moment of time
that engages you.
DPP: Tell us about your experiences
working with rapper, singer, songwriter and actress Nicki Minaj. Do
you suggest ideas to her, or does she
come in with her own ideas, or is it
always collaboration? Your photographs are able to capture and cultivate her multiple identities.
Huang: I started working with
Nicki a few years ago before she was
internationally known. From the first
time I met her, I felt that she was
going to be a big star. Shes not only
talented, but she has a big presence
and a very exhilarating attitude on set.
We hit it off right away. I presented
my ideas to her and she loved them
and totally went into character. Nicki
is still the same creative eccentric artist
even after her album Pink Friday
dropped and she made a big name for
herself. The difference is, now the sets
have become more elaborate and she
has more ideas of her own. But we just
play like we always do. We have a
great collaboration. To me, photography is to create a fantasy in a still
frame, and her multiple identities fit
perfectly into this approach. Both
Nicki and I believe that photographs
with a story behind them are the most
>> More On The Web
interesting kind of image.
Visit the Profiles tab of our
website at www.digital
DPP: What equipment do you
photopro.com for more
exciting imagery from
work with?
world-famous celebrity and
Huang: The Hasselblad H2 with
fashion photographers.
the Leaf Aptus back or a Canon EOS
5D Mark III, depending on the job.
I have a bunch of cameras like any

photographer, and the camera I use
the most is my iPhone. We had a
beautiful girl last year, and Ive been
trigger-happy with my phones
camera. She has her own Facebook
page, and I Instagram almost daily.
Someone said the best camera is the
one you have on you at the time. Its
so true.
DPP: Between the medium-format
and the 35mm, when do you go with
one system over the other?
Huang: Whenever Im in the studio,
I try to use my medium-format camera with the Leaf back. But when I
missed the moment with a 100megapixel back, you might own an

amazing piece of equipment, but you
still missed the shot.
DPP: Whats your typical lighting setup?
Huang: I try to match my background light when I do the compositing work, so I usually shoot it first and
then match the lighting in-studio
with the model. I often use grids to
control the light and create contrast.
Sometimes I use a ringlight flash set to
a low power setting to catch a little
shine on the skin, especially with
darker-skinned models. I often have a
near Fast Ashleys Studio, so I often

rent there. And there are a lot of other
studios in my neighborhood, too. If
the client wants to be in Manhattan,
then there are, of course, even more
options. I recently shot in China, and
its all Broncolor there. I liked using
them, too.
DPP: How are you able to get such
vibrant colors in your work?
Huang: Im using some gels, and
Im doing some post work to add
some colors to my liking.
DPP: Do you still retouch and composite all your own photos?
Huang: Yes, mostly. But now I have
need fast focus or Im shooting in low

light on location, I use my Canon. The
thing is, I shoot fast. Thats one trick
when photographing celebrities. They
dont have much time. The faster you
do a great job, the better. Thats why I
originally chose the Leaf over the
Phase One because of the capture rate.
But Ive yet to test the new Phase One
IQ2 and the Leaf Credo side by side. I
usually will choose the fastest capture
rate over the largest sensor. If you
top light and backlight. I own a bunch

of Dynalites, which Ive been using
since school. Theyre small and easy to
transport. I also have some Profoto
7Bs that I use on location. I usually
rent all Profotos when I shoot on location or in other studios, especially
when I need fast recycle times and
short flash durations. I have a
live/work loft in Williamsburg,
Brooklyn. Its not too big, but good
enough to do the small shoots. Im
assistants to do some of the cleanup

work, and I do all the compositing and
finishing touches on them. Its hard to
tell people how I want a certain contrastdarker here, a little lighter
thereas well as positioning and
blending composites just right. Its a
long process, but its like painting, so I
do enjoy it.
DPP
See more of Howard Huangs photography at www.howardhuang.com.
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In his photography of Hollywoods

A-list, Art Streiber coaxes the artists
into performing for his camera
By Mark Edward Harris LL Photography By Art Streiber
50 | Digital Photo Pro digitalphotopro.com
F)
or the past two decades, Los

Angeles-based photographer
Art Streiber has been documenting the whos who of
Hollywood and beyond, with
his portrait and entertainment photography gracing the covers and inside
pages of magazines from Vanity Fair,

Esquire and Entertainment Weekly,
to Wired, Fortune and Rolling Stone.
He has also put his camera to work
for many of the major television networks and flm studios. Streibers clean
graphic aesthetic, technical prowess,
Portfolio
professional demeanor and mental
acuity bring a sense of calmness and
confdence to the often frenetic handler-handheld world of Hollywood.
The son of a banker might well have
inherited the traits that have given
his career such a solid foundation.
The trust built upon years of successful pressure-packed assignments helps

Streiber push through barriers that can
impede a creative shoot.
DPP: You often work with groups
of celebrities such as the stars of
Last VegasRobert DeNiro, Michael
Douglas, Morgan Freeman and Kevin

Klinefor AARP Magazine. How did
you approach putting these megastars
into a single frame?
Art Streiber: There are a number of
technological and aesthetic hurdles to
overcome when photographing any
digitalphotopro.com January/February 2014 | 51
Tell
Me
What
You
Want
Me
To Do
group and certainly when youre photographing a group of celebrities. The cast
of Last Vegas shoot was in New York,
and we had very limited time with our
subjects because theyre all very well
known and overscheduled. The hurdles
start with coming up with an idea and
a setting in which were going to place
these people. So I brainstorm with the
client and my set designer and come up
with a look, a feeling and an aesthetic.
With the cast of Last Vegas, we opted for
classic tuxedos in terms of wardrobe and
fnally landed on the idea of photographing them in a bar. We were inspired by
the Slim Aarons photo of Clark Gable,
Van Hefin, Gary Cooper and Jimmy
Stewart. The idea was to really get these
guys to hang out. My set designer had
to fnd, build and stock a bar in the Pier
tional sets, one with a white background

and the other with a blue background.
With the four A-list actors shooting on
three sets, our total time with them was
an hour. We got into the studio at 8 a.m.
to build and light the sets so everything
was nailed down and we could move
from one set to another when the actors
were ready at 6 p.m. If we have a limited
budget, that might mean moving power
packs between sets.
DPP: How do you make the shot dynamic with the group in front of you?
Streiber: Its my job not only to coordinate every one of the subjects in front
of me, but to make sure that it comes together cohesivelyto make sure that it
feels like an organic group. I dont want
my group photos to feel like Im photographing a football or soccer team,
Im looking for the group to have a dynamic, for the group to rise and
fall and have depth so that your eye keeps traveling through the frame.
59 Studio in Manhattan, and then my
crew and I had to light the bar to make
it look as legitimate as possible. Im always interested in a lighting look thats
appropriate and natural-looking unless
Im going for something very aggressive. In addition to the bar set, we had
to do a cover, so we created two addi52 | Digital Photo Pro digitalphotopro.com
lining them up shoulder to shoulder.

Im looking for the group to have a dynamic, for the group to rise and fall and
have depth so that your eye keeps traveling through the frame. Im charged
with following the performance of
every single person in the group and
looking at everybody individually, as
Opening spread: art

streibers extraordinary
ensemble photography is
on full display in this photo
of the cast of Arrested
Development. streiber
is meticulous in his
construction and
execution of these photos.
He frequently creates
groups within the group to
focus the viewer, as well
as the subjects themselves.
abOve: streiber also likes
to create photos that evoke
a particular era as in this
photo of bryan Cranston.
rigHt: streibers ability
to make particularly
whimsical images is on
display in this photo of
seth rogan re-creating
the famous scene in
the Hitchcock flm North
by Northwest.
well as the group in its entirety. Thats

a specialty that Ive developed over
the years by studying what works and
doesnt work in my pictures and the
pictures of othersfguring out that in
order to make a group really work, you
have to break it up into smaller groups.
DPP: So, lets say you had 11 people....
Streiber: Im going to probably break
that group up into a 3-5-3, 2-4-5 or
2-4-3-2 combination, turning peoples
shoulders into each other or away from
each other so that there appears to be

smaller groups within the group.
DPP: How much are you directing
your subjects?
Streiber: I came from photojournalism. The premise in photojournalism is that youre a fy on the wall.
You dont engage with your subjects.
Youre a witness. Youre not affecting
the outcome of the event in front of
you. Youre just there to document. As
I got more and more into portraiture,
especially celebrity portraiture, I had

to grapple with the fact that I was directing people. Once your subject gets
in front of you, theyre expecting your
help and your direction. In my experience, nobody really enjoys having
their picture taken except for models. I
liken it to dentistry. Its something you
have to and should do every year. I try
and make it as easy as possible.
Ive really come to appreciate that actors want direction. I hear a lot, Tell
me what you want me to do. When

theyre on stage or in front of the motion-picture camera, theyre being directed. Theyre inhabiting a role, they
have lines to project, they have blocking, they have an emotion to convey.
In the absence of that in front of the
still camera, oftentimes theyre lost or
insecure. So its my job to take them
through a role, give them motivation,
give them something to do, give them
something to think about in order to
elicit a great performance, even if its in
front of the still camera.
DPP: How did you create your wellknown Paramount anniversary photo?
Did you feel the pressure of having so
many major names in a single shot?
Streiber: The Paramount 100th anniversary photo was an incredible high

point in my career, and it was absolutely daunting. In order to tackle a shoot
that big, I break it down into bite-sized
pieces. Where are we going to shoot?
Whats the set going to look like? How
are we going to light it? How are we
going to arrange all these people? I
rely on an incredible team of professionalsmy photo assistants, my set
designer, my producer, my digital tech.
With this particular shoot, we also had
the set builders, gaffers and electricians
at Paramount at our disposal. So we
were able to come up with an outrageous lighting scheme.
The grip department and the light-
ing department at Paramount built

us trusses onto which we could hang
our lights. We were on Stage 18 at
Paramount, and that shot is lit with 56
Profoto heads, all with P50 Magnum
dishes with grids aimed at specifc sections of the set instead of trying to go
very, very big and soft. The idea was that
we were going to build ourselves a stage
and we were going to light it like a stage.
The stage itself was built over the course
of three weeks. We shot on a Friday, got
in on Monday and lit for 2 days, then
we dressed-rehearsed with stand-ins, all
the while, my set designer Rick Floyd
working side by side with Paramount
executives, including the chairman of
the studio Brad Grey, trying to fgure
Tell
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This spread, Top: The stars of Last Vegas were photographed on a compressed schedule.
streiber had about one hour with the actors, and he had to work with them on three
different sets. The concept for this photo came from a slim aarons photo of Clark Gable,
Van hefin, Gary Cooper and Jimmy stewart. LefT: streibers sense of humor can be seen in
this photo of the Monty python ensemble. aboVe: Justin bieber in a photo that exemplifes
the immortality of fame. NexT paGe: beyond work for major L.a. and New York
entertainment studios, streiber has a special appreciation for doing magazine editorial
work like this image of Zynga founder Mark pincus, which was shot for Fast Company.
out where everybody was going to go.

When it fnally came down to the big
day itself, it took about 25 minutes to
load all of these A-list actors, actresses
and directors into the set, but we only
shot for 5 minutes and 50 seconds. Once
Rick had gotten everybody into position, we photographed the stage in three
sections. I panned my Hasselblad H3
with the IQ160 back and a 150mm lens
left, middle, right, left, middle, right.
When we had test-driven this, we realized that asking someone to sit still or
stand still for much more than fve minutes was asking a lot. We really didnt
need to shoot in excess of 20 frames per
each section with tiny adjustments of
body positions on a couple of people.
DPP: How did you feel behind the
camera, with 116 of the whos who of
Hollywood in front of your lens?
Streiber: I was nervous approaching the shoot, but I really wasnt overwhelmed. By the time we got to the
day of the shoot, everything was nailed
down. We had done our job. I realized

that it was of staggering historical importance assembling this many actors,
actresses and directors in one place, but
it really wasnt until they walked in the
door that it really hit me. They came
in without their managers, publicists,
agents and assistants, so everywhere
you looked there was a famous face.
That was kind of intimidating. But it
turns out after talking with a number
of them before and after the shoot that
they were more nervous than I was.
Individually, for the most part, these
people are fans of the other people in
the image just like we are. A number
of them were starstruck by their contemporaries or older actors or directors
and couldnt believe they were there.
Charlize Theron said to me, Oh, my
God, I got to put my hand on Harrison
Fords shoulder. We assume all these
people know each other and live together in a gated community at the top
of the Hollywood Hills, but the reality
is, most of them dont know each other.

I remember right before the shoot
started, I was making my way up to
where my tripod was and Leonardo
DiCaprio was just standing, staring at
the stage with his arms crossed. I said,
Hey, Leo, Im Art, Im the photographer. We worked together a couple of
weeks ago for The Hollywood Reporter.
He kept staring at the stage and said,
This is monumental. When DiCaprio
said that about the project we were
about to undertake, that really hit home.
DPP: Whats your approach to working with celebrities and entertainment
people who can be very ego-driven?
Streiber: For the most part, the way
I deal with people who the public
feels have big egos or that get fawned
over all the time is that I treat them as
equals or I act like the director. I never
say, Oh, my God, its an honor to meet
you. I love your work. Maybe at the
end of the shoot, Ill say something
(Contd on page 92)
With an eye for creating austere projects, Maria Burns shows that
you can make a tremendous impact with the simplest of ideas
Thanks to generous prizes from RED, Zeiss and
Adobe, our 7th Annual Emerging Pro Contest was a
huge success. The contest was groundbreaking. It was the first time weve run
the Emerging Pro with our sister publication HDVideoPro magazine, and it was
the first time weve invited participants
to submit either a series of still photographs or a short film. As more DPP
readers experiment with motion capture,
we were particularly excited to see such a
strong group of motion submissions.
The contest was conducted in two

phases. First, we had an open call for submissions. From that group, we selected
the top projects, both still and motion, to
create our group of 10 Finalists. Each of
them received a RED camera outfit with
which they were tasked with shooting a
new project. The timeline was very tight,
so the Finalists had to be efficient and
work under an inflexible deadline. From
the 10 Finalists projects, Maria Burns
film, Onus, was chosen as the winner.
Burns submission to the contests first

phase was Tendance Brute, a stark short
film that explores a human transformation
as the subject evolves into a determined,
elegant woman. Onus is an examination of
the female psyche and the inner contradictions the protagonist confronts. Both are
austere films, featuring dynamic movement, jarring jump cuts and a wellmatched soundtrack. Burns distinctive
style and use of the simplest of sets let the
performances come through in both films.
FILMMAKER: Maria Burns
PROJECT: Tendance Brute
FILMMAKER: Maria Burns
PROJECT: Onus
Simplicity seems to be the guiding principle behind Maria Burns conceptual filmmaking style. Simple doesnt mean plain or dull. She uses the full
frame to create tension where its warranted, and the occasional superimposition of two images is the most elaborate her VFX work seems to be. New
filmmakers should take note of the way Burns crafted her compelling two films, Tendance Brute and Onus, each of which was just a few minutes in
length and that took place on single sets.
Maria Burns
PROJECT: Onus
Maria Burns
Maria Burns
PROJECT: Onus
Maria Burns
Maria Burns
PROJECT: Onus
Maria Burns
Maria Burns style is easily identifiable in these side-by-side frame grabs from Tendance Brute and Onus. Burns uses the human form, both static and
in motion, to convey emotion and transformation. The films are confined in scope, and the sets themselves are reminiscent of experimental dance
productions. Nothing is extraneous, and everything in the frame, from wardrobe to props, has been meticulously selected.
Fig. 1
DEFAULTS:
A Double-Edg
The pros and cons of using Develop defaults in Adobe Lightroom and Camera Raw
Whenever you import new photos into Lightroom,
they always come in with the same basic set of
settings. Every control is generally set
to zero, with a few notable exceptions,
such as the controls in the Detail panel.
And these default settings seem to be
the same for every camera. But did you
ever wish that you could change that?
At their most basic level, customizing your Lightroom and Camera Raw
defaults is childs play. For instance, if
you want your photos to come in with a
bit more Contrast or Vibrance, setting
that up as a Develop default is easy.
Here are the steps to create a simple

Develop default in Lightroom. (Note
that Lightroom and Camera Raw
share Develop defaults, so they can be
set up with either processor. Well use
Lightroom in these examples.)
>> Start with one photo selected
in Develop from the camera that you
want to create a new default for. Each
camera model that you use will have its
own defaults, so this is important.
>> Fig. 1. Click the Reset button
to make sure youre starting with
the defaults. Or, better yet, shift-click
Text & Photography By George Jardine
the Reset button to start with the

Adobe defaults.
>> Fig. 2. In the Develop panels,
set any new defaults you want for
that camera, for example, +10 on the
Vibrance control.
>> Fig. 3. Choose Set Default Settings from the Develop menu. Notice
in the Set Default Develop Settings
dialog that it clearly shows you the
camera model youre about to create a
default for.
>> Fig. 4. Click Update to Current
Settings, and youre done.
Fig. 1
Fig. 2
Fig. 3
Fig. 4
ed Sword
So the process is very straightforward, and you now have new default
Develop settings for that camera. But
when you dig into it just a little deeper,
you start to nd out that Lightroom
and Camera Raw defaults can be a lot
more powerfuland complicated
than they appear on the surface. This is
because of two preferences that govern
how defaults behave. One will make
defaults specic to a given camera serial number, and the other will make
defaults specic to the ISO setting.
These two preferences make De-
same computer, such as at a newspaper

or in a school computer lab. In these
cases, there are almost always photographers with more than one of each of
the popular camera models. By turning on the preference to make defaults
The Pros
specic to the camera serial number,
First, Develop defaults are user- and
each photographer with a Nikon D3,
machine-specic, which means they
for instance, will have his or her own
will apply to any Lightroom catalog
Develop defaults (Fig. 5).
thats opened, or any RAW photo thats
opened using Camera Raw, under one
Second, the option to make defaults
user account, on any given computer.
specic to the camera ISO setting is
This can be useful for any facility
particularly useful for photographers
where several photographers share the
who do a lot of shooting at high ISO
velop defaults a lot more powerful,

but with power comes responsibility,
right? So, in each case, there are pros
and cons to using the preferences.
Fig. 5
Fig. 6a
Fig. 6b
Fig. 7
settings. By default, Lightroom applies

the same amount of sharpening and
noise reduction to every photo imported. Many photographers may want to
customize that default noise reduction
for one or more ISOs, and this preference gives you that capability.
When you turn on these two preferences and start with a RAW fle, the Set
Default Develop Settings dialog adds
that very specifc information, telling
you precisely what default youre about
to create.
Figs. 6a & 6b: Here, Lightroom
is about to create a default for RAW
fles coming from just one Canon EOS
5D Mark III serial number and only
at ISO 1600. Photos from any other
5D Mark III or shot at any other ISO
wont be affected. (Note: JPEGs get
their own default.)
This means you can make as many
Develop defaults as you want and
clearly gives you a great degree of control over very specifc camera settings.
But as you may be starting to guess, it
also has its drawbacks.
The Cons
Were back to that thing about

how Develop defaults are user- and
machine-specifc. This means they

dont travel with your catalog. These
days, more and more photographers
are taking their entire catalog with
them on an external hard drive when
they go on location, especially now that
we have the new Smart Previews feature in Lightroom 5. So if you move
your catalog around from machine to
machine, youre either going to have to
manage without your defaults or fgure
out a way to take them with you.
With the ISO-specifc default preference, its either all or none. So once you
turn on this preference, each ISO can
have its own specifc preference, which
is great, if you want to do something like
set different amounts of noise reduction
for a few specifc ISOs. But what happens when you want to have your cake
and eat it, too? Once you turn on this
preference, if you then want to make
every photo you shoot with your 5D
Mark III have slightly more Vibrance
or any other setting for that matter, you
have to build that into a new default for
every single ISO that you use!
Theres no user interface for the

defaults mechanism! This essentially
means that you have no visibility into
what defaults might currently exist
on your system, or what settings they
might be applying to any given import!
Any default that you create is simply
stored as an XMP fle in the Defaults
folder for the current user (Fig. 7).
The path to the Defaults folder on
the Macintosh is: Users/<user name>/
Library/Application Support/Adobe/
Camera Raw/Defaults/.
The Windows path is: C:\Users\<user
name>\AppData\Roaming\Adobe\
Camera Raw\Defaults\ .
Its for this reason that I always recommend using the shift-click Reset
routine before you create any new Develop default. Doing so will ensure that
youre always starting from the true
Adobe defaults and not a default that
may have been set up previously by you
or anyone else using your computer. DPP
Go to mulita.com to fnd George Jardines
tutorials on Lightroom and his blog.
Shoot More.
Work Less.
Photo: Ashley DuChene
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The service is frequently scoffed at

by professional photographers, but
it can be a boon for your business
By Jim Goldstein
Make
Among professional photographers, Instagram

may be one of the most reviled photography
websites today, but its success is a reminder
that we need to remain open-minded to succeed
in our quickly evolving market. Looking past
the novelty of photo flters and a square
format, Instagram has flled a large
holeeasy publishing and distribution of images via the mobile web. Five
years ago, it would have been tough to
imagine that mobile photography publishing would be as hot as it is today, but
Kevin Systrom and Mike Krieger, who
Insta
founded the company in 2010, saw the

opportunity. Its launch was perfectly
timed to ride the wave of interest in
mobile digital photography and mobile
applications. Now sharing mobile and
DSLR images via smartphones and
tablets has become the norm, raising the
question, How can pro photographers
get the most out of this new medium?
Expanded Opportunity
Instagrams meteoric rise has helped
expand and rejuvenate interest in pho-
tography with new and experienced

photographers alike. Now with a camera in most mobile devices, the opportunity exists for everyone to take and
share imagery. This population of new
photographers is hungry to learn and
follow the inspiring work of others.
Even amongst existing photographers,
mobile photography has created a
new space for experimentation and
discussion. The core of Instagram,
which has helped it become one of
the most successful apps of all time,
Use Of
gram
is that it makes communication between fans and followers incredibly
easy and accessible.
Mobile Trends
To get a feel for how drastically the
winds are changing when it comes to
web-browsing behavior online, lets
take a step back to expand our view.
As of November 5, 2013, Walker
Sands, a public-relations frm, released
a report showing that 28% of all their
clients traffc now comes from smart-
phones and tablets. In a parallel fashion, my photography website and blog,

JMG-Galleries.com, also received 28%
of its traffc from mobile users in 2013.
Each year for the past fve years, the
percentage of my website visitors coming from mobile devices has doubled.
Mobile activity is trending higher at
an incredibly fast rate, and you can bet
that where trends go with social media/
photo-sharing sites like Instagram,
your site will be sure to follow. As it
stands, every day Instagram is adding
Without debating the ways one can apply

flters or HDR effects with Instagram, the
service provides professional photographers
with an excellent tool for self-promotion. Pros
like Jimmy Chin, David Sanger, Clark Little
and Jim Goldstein, who wrote this article,
have attracted thousands of followers.
Their names and images are constantly in
circulation. With so many photographers
clamoring for attention, using Instagram
effectively can lead directly to your
bottom line.
6 Instagram
Pro Tips
Follow us on Twitter
and stay updated
on the latest trends in
digital photography
and technology.
Consistent User Name. Make

sure your user name is consistent
with that of your other social-media
accounts. This will make it easier
for people to recognize you as they
join Instagram.
Use Hashtags. Employ both generic

hashtags as you might with
keywords, but also take advantage of
unique self-branded terms that make
it easy for people to see a set of
images, especially if theyre added over
extended lengths of time.
Utilize Geolocation. This is a
fast way to introduce your work
to others who enjoy similar subjects
or events.
Engage With Fans. Dont just reply

to comments on your photos, but
engage with your fans and followers to
build rapport.
4
twitter.com/digitalphotopro
STATEMENT OF OWNERSHIP
Statement of Ownership, Management and Circulation

(Required by 39 U.S.C. 3685)
1. Title of Publication: DIGITAL PHOTO PRO; 2. Publication No. 1545-8520
3. Filing Date: September 17, 2013; 4. Issue Frequency: Bi-Monthly Except
Monthly in Nov & Dec; 5. No. of issues published annually: 7; 6. Annual
Subscription Price: $24.97; 7. Complete Mailing Address of Known Office of
Publication: 12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 900251176 Contact: Liz Engel, Telephone: (310) 820-1500; 8. Complete Mailing
Address of Headquarters or General Business Office of Publisher: 12121
Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176; 9. Full Names
and Complete Mailing Addresses of Publisher, Editor and Managing Editor:
Publisher, Steven D. Werner, 12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176; Editor, Christopher Robinson, 12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176; Managing Editor: Wesley Pitts,
12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176; 10.
Owner: Werner Publishing Corporation, 12121 Wilshire Boulevard, 12th
Floor, Los Angeles, CA 90025-1176; Steven D. Werner, 12121 Wilshire Boulevard, 12th Floor, Los Angeles, CA 90025-1176; Lynne D. Irvine, 12121 Wilshire
Boulevard, 12th Floor, Los Angeles, CA 90025-1176; 11. Known Bondholders, Mortgagees and Other Security Holders Owning or Holding 1 Percent or
More of Total Amount of Bonds, Mortgages or Other Securities: None; 12.
Does not apply; 13. Publication Name: DIGITAL PHOTO PRO; 14. Issue
Date For Circulation Data Below: Sept/Oct 2013; 15. Extent and Nature of
Circulation:; A. Total no. copies (net press run): Average no. copies each issue
during preceding 12 months: 75,368; Actual No. Copies Single Issue published
nearest to filing date: 77,737; B. Paid and/or Requested Circulation: 1. Paid/requested outside-county mail subscriptions stated on form 3541: Average no.
copies each issue during preceding 12 months: 26,058; Actual no. copies single issue published nearest to filing date: 25,629 2. Paid in-county subscriptions: Average no. copies each issue during preceding 12 months: 0; Actual no.
copies single issue published nearest to filing date: 0 3. Sales through dealers
and carriers, street vendors and counter sales: Average no. copies each issue
during preceding 12 months: 10,506; Actual no. copies single issue published
nearest to filing date: 11,950 4. Other classes mailed through the USPS: Average no. copies each issue during preceding 12 months: 0; Actual no. copies single issue published nearest to filing date: 0; C. Total Paid and/or Requested
Circulation: Average no. copies each issue during preceding 12 months: 36,564;
Actual no. copies single issue published nearest to filing date: 37,579; D. Free
distribution by mail: 1. Outside-county as stated on form 3541: Average no.
copies each issue during preceding 12 months: 1,389; Actual no. copies single
issue published nearest to filing date: 752 2. In-county as stated on form 3541:
Average no. copies each issue during preceding 12 months: 0; Actual no. copies
single issue published nearest to filing date: 0 3. Other classes mailed through
the USPS: Average no. copies each issue during preceding 12 months: 0; Actual
no. copies single issue published nearest to filing date: 0; E. Free Distribution
Outside the Mail: Average no. copies each issue during preceding 12 months:
75; Actual no. copies single issue published nearest to filing date: 75; F. Total
Free Distribution: Average no. copies each issue during preceding 12 months:
1,464; Actual no. copies single issue published nearest to filing date: 827; G.
Total Distribution: Average no. copies each issue during preceding 12 months:
38,028; Actual no. copies single issue published nearest to filing date: 38,406;
H. Copies not distributed: Average no. copies each issue during preceding 12
months: 37,340; Actual no. copies single issue published nearest to filing date:
39,331.; I. Total: Average no. copies each issue during preceding 12 months:
75,368; Actual no. copies each issue published nearest to filing date: 77,737; J.
Percent Paid and/or Requested Circulation: Average no. copies each issue during preceding 12 months: 96.15%; Actual no. copies single issue published
nearest to filing date: 97.85%.; 16. This Statement of Ownership will be printed
in the Jan/Feb 2014 issue of this publication.; 17. I certify that all information
furnished on this form is true and complete. I understand that anyone who
furnishes false or misleading information on this form or who omits material
or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including multiple
damages and civil penalties). (signed) Dan Regan, Consumer Marketing Director, September 17, 2013.

Web And Press Mentions. Always

link to or mention your Instagram
account on your website and in press
announcements to facilitate faster
growth in followers.
Prole Information. Always include

your website URL in your
Instagram prole to point people to
the rest of your work and your
business information.
55 million new photos with 1.2 billion

Likes being received, a clear indicator
of how fast photographers and photography viewers are relying on mobile
publishing and sharing.
Varied Approaches
Pro photographers use Instagram in
myriad ways, including highlighting
work thats part of long-term projects,
providing location and behind-thescenes footage, displaying portfolios,
sharing experimental work to gauge interest, and sharing news and accolades,
etc. These varied approaches provide
ample room for photographers to experiment and succeed. Unsurprisingly,
one common goal that runs across all
these approaches is to increase ones following. Surprisingly, though, there isnt
always a clear path to commoditize that
following. Take, for example, the following professional photographers:
@DavidSanger (72K followers), travel

stock photographer
@Jimmy_Chin (113K followers), action photographer and lmmaker
@ClarkLittle (588K followers), surf
and ne-art photographer
@thephotosociety (165K followers),
collective of National Geographic magazine photographers
We can surmise how these photographers are beneting from increased
exposure, but theres no guarantee large
followings translate to sales in any consistent fashion. In fact, the larger benets
may include general brand awareness,
fan engagement, feedback and creative
inspiration. Says David Sanger, regarding his large following, It certainly
helps and doesnt hurt. Instagram acts as
a portfolio for me, opening doors to contacts I might not have otherwise had.
Pro photographers vary in their approach when it comes to sharing their
work, and looking closely at how they
use Instagram, there are a lot of lessons to be learned. Instagram itself
is seldom used as the capture device,
with most photos being taken by native
camera applications. The pressure to
post often is managed by infusing new
work with past work thats sourced
from either mobile devices or DSLRs.
Not all images shared are intended for
publication and include conceptual/
draft images to create variation and solicit feedback. Increasingly common is
the tactic of sharing behind-the-scenes
footage to energize fans and followers.
Behind-the-scenes footage also acts as a
great way to create a travel log or even
a workow lesson.
No matter what your photographic
focus or which strategies you adopt,
one universal best practice should always rule the day, and thats to always
post your best and have fun.
DPP
Jim Goldstein is a professional outdoor

and travel photographer, as well as the
VP of Marketing at BorrowLenses.
com. Follow him on his blog, www.
jmg-galleries.com/blog, Twitter (@jim
goldstein), Facebook (www.facebook.com/
jmggalleries), Google+ (www.gplus.to/jim
goldstein) and Instagram (www.instagram.
com/jimgoldstein).
Digital Editions
Everything you love about Digital Photo Pro,

on your favorite mobile device or computer.
www.digitalphotopro.com/
Illustrating the dramatic impact that even a subtle change can bring to a photograph,
commercial lifestyle photographer Corey Rich spent a day working out
with cross-trainer Del Lafountain to capture a series of high-impact shots
of the towering athlete as he muscled through several hundred kettlebell
repetitions. Ultimately, despite an extended sequence of well-executed, meticulously composed shots, only one fnal image stood head and shoulders
above the rest. Interestingly, while Richs original concept was to capture the
athlete at peak form using high-powered Profoto strobes in the controlled
environment of the gymnasium, the fnal most successful shot is composed
of natural lighting with a bit of fll from a Litepanels 1x1 Bi-Color LED
panel. Rich says that, as a photographer, its important to stay adaptable at
all times, even if it goes against your original concept.
I went into this shoot feeling like, Oh, this is going to be a great opportunity to use strobes, to use Profotos, laughs Rich, and you can see
in the frst experimental shots that the Profotos look pretty fat and pretty
boring. First, I was trying to do this with bare strobes, and it looks like I
tried softbox strips on each side, then I moved the strips to 45 angles to fatten the light, and fnally I ended up eliminating one strip to see if I could
create more directional light. Then I had that epiphany, which is, Wait a
The
Hero
Image
The evolution of a shoot with Corey Rich

By David Willis LL Photography By Corey Rich
Final Image
second, whats so appealing about this location is all of this natural light pouring in from the windows, the daylight! And thats
when I took that step back, and I said, Okay, hang on, the biggest
attributes to this photograph are the big fag in the background,
the natural light thats pouring in through the window and then
this very appropriate subject for this setting, the CrossFit athlete.
Sometimes, thats what it really requiresto distill it down to
whats working and whats not working, and then eliminate
the elements that arent working and capitalize on the elements
that are.
Rich says that they had two Profoto 7b power packs with six
or seven accompanying Profoto strobe heads. The daylight coming out of Profotos and the quality of light to come out of the
Litepanels, theyre both best in class in my opinion, he says.
Beautiful daylight and an incredibly fne shape to the light. We
have a variety of light modifers for Profotos, and we have another set of modifers for our Litepanels kit. I fnd that they actually work quite well in tandem. For me, its a scaling situation;
there are plenty of jobs where a set of four Nikon Speedlights
Despite beginning the set of images with the intention of

using multiple Profoto strobe heads, the fnal image (left)
is almost all natural light with a bit of fll added through a
Litepanels 1x1 Bi-Color LED panel at right-front of camera.
Rich also employed a commonly available smoke machine
to add ambience to the cold gym and to enhance the natural
beams of light coming in from the back window. I dont want
the viewer to think about how I was lighting it, says Rich.
In fact, my goal is that people shouldnt even think that
I added fll. It should feel like this was natural window light
pouring in and wrapping around the body. As photographers,
we know thats not possible. Theres not enough light
bouncing off that black foor to actually fll his body.
Rich shoots the majority of his work on manual settings, and here you can see how even the slightest change in composition and exposure can have
a profound effect on the fnal image. This is a classic controlled environment, right? asks Rich. Im setting up the lights, theres window light
pouring in, but nothing is changing. The idea of being in an automated mode sure doesnt make senseyoure setting yourself up because the
camera will get fooled every time I make a subtle adjustment.
will do the job. I mean theyre actually

perfecttheres less output, theyre
very mobile, and its very easy to work
with Speedlights. I can put them in my
rolling bag and take them on the plane.
We have a variety of Litepanels
in our kit, from little Cromas to big
1x1s and video lights, Rich continues.
But the instant we start bringing
Litepanels, were committing to traveling with a lot of luggage. When
you step up to Profotos, you have a
lot of cases going on the plane with
you. Case in point is this series of images. I shot these in South Lake Tahoe,
California. Theres no rental house for
Profotos within a 150-mile radius of
this town. Most of my shoots are even
more remote than Lake Tahoe, so Ill
bring them if I need more power and
more control. The continuous lights,
of course, they come out when shooting video or I know I need to bring the
ambient room light up.
Rich says that after he had honed in
on the available light pouring in through
the gymnasium window as his base
for exposure, he decided he wanted to
supplement the beams of light through
use of a commonly available smoke machine, which he had picked up on a lark
during Halloween. An assistant fanned
the smoke as he shot, and for several
similar-looking exposures, the position
of the smoke in the frame became the
deciding factor between a good shot

and an excellent shot. He also added fll
since he abandoned the strobes in favor
of the natural light in the gym.
I realized, okay, lets supplement the
fll light with a continuous light source,
the Litepanels 1x1 LED light, explains
Rich. While I do a lot of work with
strobes, the beauty of continuous lighting for still photographers is that you can
see it in real time. Youre not guessing
how much power you want to output
through your strobe, then you fre the
strobe, then you look at the back of the
camera.... The feedback is immediate
because you can see it with your eye in
real time when using continuous lights.
And in a big space like a CrossFit
gym, he continues, sometimes continuous lighting works really well for
flling in background illumination by
actually bringing up the entire rooms
exposure. I really brought the 1x1s,
and actually a whole kit of Litepanels,
so that I could shape the light in the
background. For example, I was lighting the subject most commonly with
Profotos, and oftentimes, I was working with relatively low exposures and
slower shutter speeds so that I could
bring in the ambient light of the window. Lighting the background with
continuous allowed me to bring the
entire environment up into a matching
daylight exposure versus when youre
in a gymnasium and its just a lot of

hanging halogen lights or fuorescent
tubes, and it just doesnt look very
good. So the reason they were on set
was to make my Litepanels the house
lights. But, then, having them there
gave me the ability to switch gears and
start working with them as my main
light source, as well.
For the composition, the idea was
to showcase the build and strength of
the CrossFit athlete. Generally, shooting from below is a good way to give
your subject a towering presence for an
overall feeling of power and strength
in a composition. Rich tried this approach, as you can see in a couple of
the frst outtakes where Lafountain occupies the majority of the foreground
of the frame. While still successful,
the framing of the American fag as
Lafountains backdrop ended up accomplishing the same concept in a
much less hackneyed fashion. Rich says
that he tried several focal lengths and
a number of compositions before deciding on the versatility of a 24-70mm
zoom lens. The fnal shot was captured
close to the 70mm focal distance.
I really like the capability of a zoom,
he says. Zooms today, both telephoto
zooms and wide-angle zooms, theyre
just so razor-sharp. And to have that
fexibility, to shoot at 83mm or 76mm
versus locked into those prime lenses,
its quite nice in a situation like this,

where Im making subtle adjustments,
really paying attention to the edges and
trying to make sure that Im cleaning
up the background relative to where
Im positioning the subject. The bottom
line is that a zoom gives you an incredible amount of fexibility, and youre not
compromising sharpness or speed. Certainly, theres a difference between an
/1.4 lens and an /2.8 lens, but that /2.8
lens is still pretty darn fast, and its remarkable that theyre sharp wide open.
Rich almost always shoots manually, and the subtle variations in expo-
Im not much of a tripod guy, in fact,

I almost never use a tripod unless Im
shooting something that absolutely
mandates or necessitates keeping the
camera still for more than 18th of a second. I feel like right up to about 18th of
a second I can handhold if I do a burst
of images, even on a relatively long lens.
In this situation, my subject isnt
moving; hes relatively stationary, at least
in my fnal composition. Hes standing
there relaxed, waiting for his next kettlebell swing, so Im doing bursts of images
so that I can make certain in a burst of
12 frames, for example, that one of those
turing a number of very usable exposures. Never be satisfed with taking a

few images and feeling like you got it,
he emphasizes. You have to slow down
and methodically look at your situation and try to block out all of the other
pressure. All youre really focused on is
whats happening in that rectangle: How
am I going to make the most compelling
image from the light, from the composition and from a moment in perspective?
Most sports photography is about
capturing action, he continues,
whether thats freezing action or
whether thats motion or creating a
In order to capture the decisive moment, Rich would machine-gun sequences using the rapid-fre
capabilities of his Nikon D800 and D4 full-frame DSLRs while Lafountain powered through repetitions.
Im doing bursts of images, Rich says, and Im doing that for the simple reason that Im handholding.
In a controlled environment, its all about shooting enough, explains Rich. In this situation,
theres no vreason why I couldnt continue to evolve the shot by making lots of exposures
because, oftentimes, Im surprised that an image I thought was the best while shooting turns
out to be not as good as the evolutionary set of images youve been capturing.
sure that you can see between similar

frames are the result of small changes
hed make to camera settings while
he shotand he shot plenty. In order
to capture the decisive moment, Rich
would machine-gun sequences using
the rapid-fre capabilities of his Nikon
D800 and D4 full-frame DSLRs while
Lafountain powered through repetitions. Im doing bursts of images,
Rich says, and Im doing that for the
simple reason that Im handholding.
frames is going to be razor-sharp even

though Im handholding at relatively
low shutter speeds. The low-light capabilities in the D4 combined with the
burst capabilities are pretty remarkable.
That camera has changed the world in
the way we see low light. We never before could shoot at such high ISOs and
have it look so great.
But perhaps Richs most signifcant
talent is that he continues to push himself even after he has succeeded in cap-
feel for what the athlete is doing. Some

of thats action photography, some of
thats the before and afterthe jubilation, the defeat, the contemplation
in advance. I think this image really
fts into the broader category of sports
photography in that this is an action
moment. Here, we have this amazing
athlete, poised in his venue, which is
the gym, and the shot implies that he
just did all of these kettlebell swings.
And you can see that at the beginning
of the shoot, I was trying to shoot him
swinging the kettlebell, where the kettlebell would be over his head, and it
just didnt look that good. It was creating awkward body movements. It
put his body in a weird position, and
it just wasnt working for me. So then
I stepped away from actually shooting
action, from trying to freeze the moment with the kettlebell over his head,
or midway up, and then I switched
him into a more contemplative thinking about the workout pose. And that
was more effective to me.
Thats open-mindedness, Rich concludes. Its being open-minded about
going in with a preconceived idea, but
then you need to be adaptable in terms
of whats actually going to generate the
best, most compelling, most engaging
and interesting photograph.
DPP
See more of Corey Richs photography at
www.coreyrich.com.
AMERICAN
THE
Photo by Michael Sherman

The 2013 American Landscape Photo Contest Winner
Presented By
2014 THIRD ANNUAL PHOTO CONTEST
LANDSCAPE
OPs premier contest is open

for entries! The 2014 American
Landscape Photo Contest
is your opportunity to get
published in the magazine and
win thousands of dollars in
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and enter today!
Photo by Jeff Stasney

Second Place Winner
Photo by
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Third Place Winner
ENTER TODAY! outdoorphotographer.com/tal2014
With a combination of portability, power,

versatility and the ability to be used away from
an AC outlet, battery-powered monolights are
gaining an increasing following among
professional photographers
By The Editors
Battery-Powered
Monolights
Monolights are self-contained pro fash units that

plug into standard AC wall sockets, no separate
power pack needed. All the controls are on
the fash headno need to move to a
power pack to adjust power and other
settings (although many newer monolights feature standard or optional remote controls). Some monolights can
also operate from battery packs, making them suitable for use in the feld
just about anywhere. Theres even one
monolight that incorporates the battery so you dont need a separate battery pack.
The main features to look for in a
battery-powered monolight are output,
recycling time, output range, number

of pops per charge, modeling light
power, types and sizes of modifers,
size and weight, and price. Monolights
tend to be less powerful than studio
strobe power packs and heads, but the
improved ISO capabilities of modern
DSLRs are mitigating that power differential. At the same time, monolights
give you access to all of the sophisticated modifers of a studio strobe outft.
Output. More powerful units give you
more options for depth of feld (you
can shoot at smaller apertures), light
placement (you can place lights farther away if you have to, as for outdoor
sports action) and use of light modifers

like umbrellas, which reduce intensity.
Some units are rated in watt-seconds
(W-s), others in joules; one joule equals
one watt-second. Note that joules and
watt-seconds are measures of generator
power, not necessarily light output; output also depends on the fash head and
any light modifers used.
Guide numbers arent really useful

for pro fash because theyre based on
point-like light sources that follow the
inverse-square law (double the fash-tosubject distance and quarter the light,
triple the distance and get one-ninth the
light, etc.), like shoe-mount fash units.
Pro units are generally used at close
range and/or with umbrellas or other

light modifers that increase the size of
the light source relative to the size of
the subject, where the inverse-square
law isnt a useful measuring stick. Some
pro-gear manufacturers include the
tested -stop for a fash head (or head
with specifc light modifer) at a specifc
distance, which can be a useful comparison measure if another manufacturer
provides the same data for its units.
Output Range. Monolights can also be
operated at a range of power settings.
This is helpful not only when you want
to control light output, but to control
fash duration (lower power generally
means shorter duration), battery life
(full-power bursts take more out of
the battery than lower-powered fash)
and recycle times (the fash will recycle
more quickly at lower power settings).
Because theyre self-contained, you can
adjust the power of each unit separately in a multiple-light setup for easy
control of lighting ratios. Color temperature can change with power setting, although with todays units, this
generally isnt a big problem.
Pops Per Charge. Battery power is a
critical limiting factor. When comparing potential purchases, note how many
full-power fashes the unit can produce
on a full battery charge. Also check into
the cost of extra batteries and how long
it takes to charge them fully.
Recycling Time. Recycling time depends mainly on the power output
used, and the size and state of the battery. You want to look for recycling
time to full power after a full-power
burst. Note that recycle times will increase as the battery charge runs down,
and that recycling times on battery
power are generally slower than on
AC power for units that can use both
power sources.
Modeling Light Power. Modeling
lights give you a good idea of how
Location Lighting
Masters
Crafting the light for a photo is
an art, and its also an exercise in
puzzle-solving. Two photographers
you should follow to learn both the
art and the puzzle-solving sides
are David Hobby and Joe McNally.
Hobby is the founder of the popular
Strobist blog, and McNally is
widely known as one of the most
innovative location lighting masters
in the world. As much as we focus
on the light head in this article,
its knowing how to manipulate the
light that really creates the style,
look, mood and emotion in the
photo. David Hobbys Strobist blog
is at www.strobist.blogspot.com,
and Joe McNallys website is at
www.joemcnally.com.
the light will fall on your subject. A

lot of photographers have come to
rely on modeling lights because they
make the process of lighting close to
WYSIWYG. With AC-powered fash
units, modeling lights arent a big
problem. But with battery-powered
units, they add signifcantly to the
power drain. Therefore, one needs to
be more judicious with the modeling
light and be aware that, in some cases,
battery-powered monolights dont call
for modeling light usage at all.
Light Modifers. One of the big advantages of studio-type fash is the
range of excellent light modifers availableparabolic refectors, umbrellas,
light boxes, snoots, grids, beauty dishes, barn doors and more. Many units
accept standard S modifers. This is
one of the most important advantages
monolights have over smaller, hotshoe-type fashes. Although the overall power output is less than a studio
strobe pack and head outft, you can use most, if
not all, of the same modifers. Check to

see whats offered for each unit youre
considering to make sure what you
need is available.
Size. Portable means youre going
to be carrying it so consider dimensions and weight. Battery-powered
monolights are more portable than
studio strobe packs and heads, and

theyre more bulky than shoe-mount
fash units. Everything in life is a
trade-off, and when it comes to portablility, monolights arent perfect, but
the trade-off is attractive for many
location photographers, in particular.
Price. Higher-end monolights gen-
erally cost more than shoe-mount fash

units, low-end monolights less than
high-end shoe-mount units. You have
to weigh the benefts versus the cost,
as with everything in photography.
Monolights can do things shoe-mount
fash cant; if you need those features,
you need a monolight.
Battery-Powered Monolight Sampler

Output
Adj.
Range
Model.
Light
Max.
Recycle
Pops per to Full
Charge
Power
Shortest
Duration
(sec.) ##
Modifers
Weight
Street
Price
400 W-s
500 W-s
500 W-s
750 W-s
1000 W-s
5 stops
5 stops
5 stops
5 stops
7 stops
250W
250W
250W
250W
500W
370#
300#
300#
220#
150#
4 sec.#
5 sec.#
5 sec.#
7.5 sec.#
10 sec.#
1/1000
1/900
1/2900
1/2300
1/2100
Bowens
Bowens
S-type
S-type
S-type
5.9 lbs.
7.5 lbs.
7.7 lbs.
8.8 lbs.
9.9 lbs.
11.8 lbs.
13.8 lbs.
$399
$649
$899
$1,049
$1,249
$620
$757
BRONCOLOR
Minicom 40
Minicom 80
Minicom 160
*Power Box 900/W
300 W-s
600 W-s
1200 W-s
5 stops
5 stops
5 stops
300W
300W
300W
240
120
60
1.5 sec.
3.0 sec.
7.5 sec.
1/2500
1/1500
1/1100
Bron
Bron
Bron
6.6 lbs.
7.2 lbs.
9.5 lbs.
14.3 lbs.
$1,338
$1,630
$2,245
$518
DYNALITE
Uni400JRg
*Jackrabbit II Pack
320 W-s
4 stops
100W
150
4 sec.
1/675
Dynalite
3.6 lbs.
2.3 lbs.
$599
$459
FLASHPOINT
Flashpoint 180
Flashpoint 320M
Flashpoint 620M
Flashpoint 1220M
Flashpoint DG400
Flashpoint DG600
*Flashpoint M D/C Power Pack
180 W-s
150 W-s
300 W-s
600 W-s
200 W-s
300 W-s
5 stops
5 stops
5 stops
4 stops
5 stops
5 stops
LED
100W
150W
250W
7W LED
7W LED
700
180
100
100
N/S
N/S
N/S
1.5 sec.
1.5 sec.
4.5 sec.
3 sec.
3 sec.
N/S
1/1000
1/1000
1/1000
1/800
1/800
Bowens
Flashpoint
Flashpoint
Flashpoint
Flashpoint
Flashpoint
2.1 lbs.**
3.0 lbs.
4.5 lbs.
5.3 lbs.
4.0 lbs.
4.4 lbs.
2.7 lbs.
$199
$99
$189
$299
$179
$199
$124
HENSEL
Expert D 500
Expert D 1000
Integra 250 Plus
Integra 500 Plus
Integra 1000 Plus
Integra Mini 300
Integra Mini 600
Speed Max
*Power Max L
500 W-s
1000 W-s
250 W-s
500 W-s
1000 W-s
300 W-s
600 W-s
400 W-s
8 stops
8 stops
6 stops
6 stops
6 stops
6 stops
6 stops
8 stops
300W
300W
300W
300W
300W
300W
300W
300W
440
220
880
440
220
440+
350
600
1 sec.
2 sec.
2.6 sec.
2.5 sec.
4.2 sec.
2.4 sec.
3.4 sec.
1.6 sec.
1/5600
1/3250
1/2380
1/1390
1/1680
1/1900
1/1000
1/2000
EH 10cm
EH 10cm
EH 10cm
EH 10cm
EH 10cm
EH 10cm
EH 10cm
EH 10cm
7.5 lbs.
8.6 lbs.
6.1 lbs.
6.3 lbs.
8.6 lbs.
5.0 lbs.
5.1 lbs.
13.7 lbs.
10.1 lbs.
$1,020
$1,435
$710
$615
$1,107
$485
$625
$4,980
$1,995
Unit
BOWENS
Gemini 400Rx
Gemini 500R
Gemini 500Pro
Gemini 750Pro
Gemini 1000Pro
*Small Travelpak
*Large Travelpak
* Battery pack for the monolights

** Weight for head with battery
# With Large Travelpak
## Shortest duration at full power; shorter durations are possible at

reduced power (as short as 1/66,600 sec. with the Hensel Speed Max)
^ ^ Price for kit, including battery pack
Profoto
Profotos battery-powered monolight
is the B1 500 AirTTL, a self-contained
cordless model with an onboard, exchangeable, integrated, lithium-ion
battery, so you dont have two pieces
to deal with. The unit also offers TTL
exposure control with Canon DSLRs
0.1 to 1.9 seconds (the unit can fre up

to 20 bursts per second at lower power
settings), and durations can be as brief
as 1/19,000 in Freeze mode.
(Nikon compatibility is expected in

2014). Just plug the Air Remote TTL
unit to your cameras hot-shoe, and the
off-camera B1 unit will automatically
adjust its output for correct exposure.
Power can be adjusted from 2 to 500
W-s in 1/10-stop increments (a ninestop range), recycling times range from
10
Paul C. Buff
Paul C. Buff offers a number of
monolights that can be plugged
11
Battery-Powered Monolight Sampler

Output
Adj.
Range
Model.
Light
Max.
Recycle
Pops per to Full
Charge
Power
Shortest
Duration
(sec.) ##
Modifiers
Weight
Street
Price
150 W-s
300 W-s
5 stops
5 stops
150W
150W
200
100
10 sec.
10 sec.
N/S
N/S
S-type
S-type
N/S
N/S
1.8 lbs.
$229
$255
$109
600 W-s
200 W-s
300 W-s
400 W-s
600 W-s
4 stops
3 stops
3 stops
4 stops
4 stops
10W
150W
150W
10W LED
150W
N/S
150
100
N/S
N/S
N/S
4 sec.
4 sec.
9 sec.
6 sec.
1/800
1/600
N/S
N/S
N/S
JTL
JTL
JTL
JTL
JTL
5.5 lbs.
3.3 lbs.
3.8 lbs.
10 lbs.
4.5 lbs.
$419
$269^^
$299^^
$449^^
$649^^
640 W-s
160 W-s
320 W-s
640 W-s
320 W-s
330 W-s
660 W-s
1320 W-s
9 stops
6 stops
6 stops
6 stops
6 stops
6 stops
6 stops
6 stops
250W
150W
150W
150W
8 10W
250W
250W
250W
500
500+
500+
500
500+
500+
500
250
3 sec.
0.75 sec.
1.5 sec.
3 sec.
1.5 sec.
1.5 sec.
3 sec.
7 sec.
1/2000
1/6000
1/3300
1/1800
1/2000
1/3300
1/1800
1/900
Buff
Buff
Buff
Buff
Buff
Buff
Buff
Buff
4.3 lbs.
2.5 lbs.
2.9 lbs.
3.7 lbs.
2.5 lbs.
4.1 lbs.
4.9 lbs.
7.1 lbs.
3.5 lbs.
$499
$224
$279
$359
$399
$389
$439
$549
$239
PRIOLITE
MB500
MBX500
MBX1000
500 W-s
500 W-s
1000 W-s
5 stops
6 stops
7 stops
LED
LED
100W
400
220
160
3 sec.
2.5 sec.
2.5 sec.
1/4500
1/4500
1/4500
S-type
S-type
S-type
9.3 lbs.**
7.0 lbs.**
9.9 lbs.**
$1,479^^
$1,709^^
PROFOTO
B1 500 AirTTL
500 W-s
9 stops
20W LED 220
1.9 sec.
1/1000
Profoto
6.6 lbs.
$1,995
300 W-s
600 W-s
130 W-s
300 W-s
600 W-s
4 stops
4 stops
3 stops
3 stops
3 stops
150W
150W
150W
150W
150W
1.5 sec.
3.0 sec.
1.3 sec.
1.4 sec.
1.9 sec.
1/800
1/600
1/1200
1/800
1/600
Visatec
Visatec
Visatec
Visatec
Visatec
5.7 lbs.
3.1 lbs.
5.0 lbs.
5.4 lbs.
6.8 lbs.
14.3 lbs.
$992
$1,249
$484
$644
$807
$518
Unit
INTERFIT
Stellar Xtreme 150
Stellar Xtreme 300
*Stellar Xtreme Battery Pack
JTL
Mobilight DC-600
Mobilight 201
Mobilight 301
Mobilight 401
Mobilight 601
PAUL C. BUFF
Einstein E640
AlienBees B400
AlienBees B800
AlienBees B1600
AlienBees ABR Ringflash
White Lightning X800
*Vagabond Mini Battery Pack
VISATEC
Logos 800
Logos 1600
Solo 400 B
Solo 800 B
Solo 1600 B
*Bron Power Box 900/W
Notes:
Recycling times with battery power; will be quicker on AC
Number of pops is unlimited on AC
Pops per charge and recycling times are to full power after a full-power pop
240
120
500
240
120
into AC or used with the Vagabond

Mini Lithium, a third-generation,
true sine wave current-limited portable power system. The all-digital
Einstein E640 has a built-in fan and
microSD slot for frmware upgrades.
Four AlienBees units (160, 320 and
640 W-s, and a 320 W-s ringfash) offer
power settings from full to 1/32. Three
White Lightning units (330, 660 and
1,320 W-s) offer dual power, high adjustable from full to 1/32 and low from
1/4 to 1/128. All offer quick recycling and built-in slave triggers. The
Vagabond pack weighs just 3.5 pounds,
but can operate up to four Paul C. Buff
monolights (there are two outlets, but
you can use a power strip to connect
up to four heads). The quick-connect,
rechargeable lithium battery provides
200 to 250 full-power fashes with
1,280 W-s of heads connected, 800 to
900 fashes per charge with 320 W-s.
The Vagabond Mini can power all the
above-mentioned monolights.
Interft
Interfts Stellar Xtreme AC/DC
Monolights are 300 W-s units. They
have built-in slave sensors for fash and
IR, modeling lamps and user-change-
here in an article about battery-powered monolights because

the company also offers a batterypowered inverter that works with
the mobile Broncolor monolights.
Broncolor offers six AC-powered
Minicom monolights (300, 600 and
1200 J, with or without RFS radio
control from a computer with eightchannel RFS interface). All can also
be powered (up to 900 W-s worth) by
the Power Box 900/W Battery Power
Supply, which is a stand-alone inverter power supply. The Power Box
can also handle modeling lamps
up to 450 watts. With a single
300 W-s monolight, it can
provide 240 full-power
fashes. The Minicom
monolights are available from 300 to
1,200 joules, with built-in photocell,
IR receiver, and in RFS 2 units, radio
remote control. The monolights can
also be powered (up to 900 W-s worth)
by the Power Box 900/W Charger, a
stand-alone inverter power supply.
12
Visatec
Visatec makes several AC-powered
monolights that can be plugged into
the Broncolor Power Box 900/W. The
Powerpack & Lighthead Options

While this article has focused on the benefts of monolights that can use a
battery pack or plug into the wall, there are also battery-powered studio strobetype units available. These tend to be very powerful and give you maximum
fexibility/control and all of the advantages of a large studio system. On the
downside, these systems are heavy, bulky and costly. If you need maximum
power and you need it without being connected to an AC outlet or a portable
generator, a battery-powered studio strobe pack and heads is the answer. In this
category are such systems as the Broncolor Move 1200, Elinchrom Ranger RX,
RX Speed AS and Quadra RX, Hensel Porty L and Premium Plus, Paul C. Buff
Zeus, and Profoto Acute B2, Pro-B3 AirS and Pro-B4.
able fash tubes. Recycling time on AC

is 2 seconds to full power, on battery
power, 3 to 10 seconds. Power is adjustable from full to 1/16 in 1/10-stop
increments. The units include cooling fans. A full battery charge with
the Mark II battery provides about 200
full-power fashes.
Broncolor
Broncolor makes AC-powered
monolights. Weve included them
Power Box 900/W is an inverter

with a lead battery that converts
its DC battery power to AC. Three of
Visatecs four Solo monolights (400 B,
800 B and 1600 B) and all fve Visatec
Logos monolights (800, 800 BC, 800
RFS, 1600 and 1600 RFS) are compatible with the Power Box 900/W. The
RFS units feature RFS radio control.
Priolite
Featuring exchangeable lithiumion batteries built into the back of the
lights, Priolites MBX500
and MBX1000 provide studio control
and power without cords or external battery packs.
With the power of 10 to 20 speedlights
packed into one unit, the MBX have
suffcient output for use on location on
sunny days. Both units feature a quick
duration of 1/4500 at full power, modeling lights, optical slaves and bidirectional radio controls.
Hensel
Hensel offers monolights that can
be operated with AC or battery power.
The Expert D (500 and 1,000 W-s) features built-in radio receivers (Hensel
Freemask Wizard or Hensel Strobe
Wizard, both 3-channel, or Profoto Air
receiver, 16-channel). The Integra Plus
FM units (250, 500 and 1,000 W-s) incorporate a Freemask Strobe Wizard
radio transmitter and Freemask (part
of the Hensel hardware), which allows
the photographer to take two shots on
a white seamless and drop in any background. The frst shot is a normally lit
Continuous Lights
The dramatic rise in the number of photographers who are also engaged in motion
capture has created a lot of interest in continuous lights for still and motion.
Continuous units let you see the actual lighting (electronic fash units modeling
lamps just give an approximation), but they dont have the action-stopping
ability of a fash or strobe. Most reasonable portable continuous lights are less
powerful than strobe monolights, and incandescent continuous lights are hot
(LED and fuorescent lights are much cooler and more energy-effcient). Some
photographers prefer continuous lights for their ability to create a feeling of
warmth in an image. This is highly subjective, but strobes have always been
characterized as creating a sterile look, and as continuous lights have become
more portable, powerful and cost-effective, theyre certainly worth a look.
13
foreground image and the other is a silhouetted background image that allows
for easy masking in Photoshop. This
eliminates the need for bluescreens or
greenscreens and the problems they
cause. The compact Integra Mini units
come in 300 and 500 W-s versions; the
Speed Max can deliver ash durations
as brief as 1/66,660 seconds and up to
31 ashes per second. All can be powered (up to 2,000 W-s max) by the companys two-socket Power Max L mobile
power supply, which can deliver up to
880 ashes at 250 W-s, 440 ashes at
500 W-s. The Power Max L can also be
used to power the companys continuous lights.
Bowens
Bowens offers six Gemini monolights, from 400 to 1,500 W-s, which
can be powered by AC or the Bowens
Travelpak. The Gemini 400Rx has a
built-in Pulsar radio receiver; the others have a slot for a Pulsar receiver card.
The units are ruggedly built, and have
either a 5- or 7-stop range and bright
modeling lights starting at 250 watts.
The 500R features a digital readout
with two dials for quick independent
control over full stops and tenths of a
stop. The Pro models also incorporate
a cooling fan, and faster recycle and
ash duration. The Travelpak comes in
Small and Large versions. Both provide
400 to 1,500 W-s output and recycling
in 4 to 15 seconds; the Small provides 50
to 185 full-power pops per charge; the
Large, 100 to 370. Each can power up
to two Gemini heads.
Dynalite
Dynalites Uni400JRg monolight can
be powered by AC or with the compact
Dynalite Jackrabbit II battery. With the
Jackrabbit II battery, the Uni400JRg
can deliver up to 150 full-power (320
W-s) ashes with a 4-second recycling
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(Contd on page 95)

Using a massive, new Polielettronica

HD C-printer, Duggal Visual Solutions is
producing jumbo-sized photographs
with an apparent resolution of 6100 dpi
By David Schloss
Since the beginning of the medium, photographers

have sought to make the largest possible sharp
prints of their images. The image le size is
often a limiting factor for print size. You
can up-res a le with excellent results,
but at a certain point the apparent resolution does break down. Todays highres cameras and, in particular, very
high-resolution medium-format DSLR
backs, are shifting that limiting factor to
the output technology. If your les are

big enough and your photos are sharp
enough, a new Polielettronica printer at
Duggal Visual Solutions in New York
gives you an attractive option.
Duggal Visual Solutions is a cornerstone of the photographic business that
has dened photographic processing
since founder Baldev Duggal arrived
in the United States from India in the
late 50s and then launched his photoprocessing business in the 1960s.
The massive 30,000-square-foot facility on 23rd Street in New York City is
a sprawling and frenetic hub of activity. My father, a commercial photographer in Manhattan in the 1970s, used
Duggal for large output prints; I used
Duggal in the 1990s when I attended
the School of Visual Arts and needed a
shop to process my rolls of Velvia and

make Photo CDs.
Entering the front door of the complex feels the same as it did decades ago
(albeit, at a different location), when
I was a regular. Technicians in white
lab coats calmly take orders, answer
phones and dispatch packages across
the boroughs. Only now the front desk
is the proverbial tip of the iceberg,
masking the enormous processing and
corporate headquarters behind it. Its
also the gateway to services at the companys seven buildings at the Brooklyn
Navy Yard, each between 30,000 and
40,000 square feet.
With such a powerful command of
the photographic output business in
New York City and beyond, its no
wonder that Duggal gets some exclusive toys to play with. One such toy is
the reason Im at the companys headquarters: a massive digital HD C-print
machine by Italian frm Polielettronica.
C-prints hearken back to the days
of Kodacolor and refer to the use of
chemicals and photo-sensitive papers
to create output versus technologies
like lithography or inkjet printing.
Digital C-prints keep the color saturation, vibrancy and feeling of flm
output without needing to reproduce
an image via a camera. Feed a digital
image to a digital C-printer and out
comes an image with the look of flm,
but its a digital creation.
Digital C-printers work by exposing
the photographic paper with a trio of
laser beams and then developing that
exposed flm in traditional chemicals.
While theres a variety of digital Cprinters on the market, the Lambda is
the most popular (and is also available
at Duggal), with an output resolution
maxing out at 400 dpian apparent
resolution of 4000 dpi.
The Polielettronica printer has a 610
dpi maximum resolution and 48-bit color, and provides an apparent resolution
of 6100 dpi. Duggal isnt the only company to use the HD C-printer, but its
the only one to have the newest, largest
model, which produces output up to
100x50 inches.
With 48-bit color depth, the machine
creates images with excellent continu-
ous tone and both highlight and shadow detail.

Installed in March 2013, the
Polielettronica has been used by everyone from fashion photographers to
cartographers, thanks to the incredibly
high resolution of the output. One of
the prints that Duggal shows off is a
map with type so small, a loupe is needed to see the textyet under the loupe,
the letters are clear and crisp.
Cartographers arent the only fans of
the new printers: Canon, Nikon and
Sony all ordered massively large output from the device for the PhotoPlus
Expo trade show in New York City in
October 2013.
The process of taking a digital fle
and creating an oversized digital
print is pretty complex, so the Duggal
tech pulled the side off of the printer
and showed me how a photograph is
turned into a gigantic print.
First, a fle is run through a RIP, or
Raster Image Processor, the device that
photo paper, which is fed into a washing-machine-sized lighttight chamber around four feet wide. A circular
drum holds the paper via suction, and
the device slowly moves a laser to expose the paper.
The HD C-printer needs to perform
calibration when the paper is changed,
but when it has been completed, the
device will stay in register, unlike inkjet or other printers that tend to come
out of alignment over time.
Evaluating the images, I found them
to be excellent, although not necessarily the best choice for all photographers. For casual output and even for
some gallery work, weve seen inkjet
devices produce highly detailed work
with good longevity.
But the HD C-printer has two things
going for it, most importantly, the
C-print look. Theres a different
lookalbeit, sometimes subtlebetween something produced on an
inkjet and work thats produced on
The new Polielettronica
HD C-printer that Duggal Visual
Solutions installed in mid-2013
is capable of rendering fne
details with stunning sharpness
and clarity. Examining the
resolution in a printout of a
map reveals the precision.
separates the images into the RGB data

needed to fow from the lasers, and
then gets queued for print. Despite the
huge amount of technology inside the
box, the printer needs to be fed paper
in gigantic lighttight cassettes.
The cassettes are flled the old-school
way, in a large darkroom near the
printer. Its a bit like loading shells into
a deck-mounted gun on a Navy ship,
with a loading card used to align the
cartridges. Some of the papers need to
sit in the canister at least three weeks
after rolling before use, so job estimation is important.
The HD C-prints can be output on
transparency, metallic, matte or glossy
photographic paper using photographic chemical processing, and its a look

that photographers and designers often
seek out.
The other great thing about this
printer is the super-large output size.
At 100 inches, it bests the widest inkjets
by a considerable margin and produces
best-in-class images.
For the next year, Duggal will be the
exclusive user of the 100-inch version of
the Polielettronica HD C-printer, explaining the popularity of the unit during the leadup to PhotoPlus Expo. DPP
Visit duggal.com/hdc.aspx or call Duggal
Visual Solutions at (646) 638-7316.
EE
The Essentials
Top pros share the gear they cant live without

We reached out to several professional photographers with a simple question: Whats the gear you
cant live without? We asked them to think about DSLRs, certainly, but also about
things in their bag that are less obvious. The range of responses was pretty interesting.
From cameras to software, to apps and good-luck charms, manicures and insurance
policies, check out the things that the best in the business rely on to get the job done.
August Bradley
www.augustbradley.com
Hasselblad H4D. I shoot all of my commercial and exhibition work
on this camera because of its resolution, color depth, smooth tonal gradients, skin tones and versatility in post. I also love the feel of this camera; it becomes an extension of my hand and eye.
Datacolor Spyder4. Consistent, accurate tonal gradients and colors
are hugely important to me, and this keeps my color management tight.
Adobe Photoshop Lightroom. Enables extraordinary control along
with very fast postproduction workow. Essential for getting jobs done
on time, and for achieving the looks Im after.
Peter Read Miller
www.peterreadmiller.com
Hoodman HoodLoupe. The HoodLoupe is always around my neck on a shoot.
Not only is it great for viewing my cameras LCD on a bright sunny day, but the
adjustable diopter allows me to see the screen clearly and check critical focus without having to put on my glasses.
Canon Angle Finder C. I love to shoot from a low angle,
often with my camera on the ground, and especially while
shooting football. As time and photography have taken their
toll on my neck and the rest of my body, its not easy for me
to look straight through the camera when its that low. The
Angle Finder allows me to kneel over the camera and look
straight down to see the image.
Gumby And Pokey. These small replicas of the claymation
gures have been my good-luck charms for the past 20 years.
They have been in my pocket on 99.9% of my shoots in the
last 20 years. Although original Pokey is missing his leg and
has been retired, and original Gumby was lost in a bicycle
path mishap during the London Olympics, Ive replaced
them both, and their magic lives on.
Tyler Stableford
www.tylerstableford.com
Think Tank Photo Speed Racer Bag. The thing I use all the time is the
Think Tank Speed Racer hipbelt bag. I take out all the divider compartments
and all the padding, and I just shove as many lenses and camera bodies as I can in
there. I use them for skiing, climbingany type of eld shooting. Theyre super-versatile. If
I need to carry a lot of gear on a quick shoot, I can carry it along with an avalanche pack for
skiing in the backcountry. It just works well in all situations. I really use it for everything
climbs, coal mines, oil rigs. Theres rarely a time when a Speed Racer isnt on my body.
Canon EOS-1D C. One camera thats with me now is the Canon EOS-1D C. Its essentially
with us on every shoot for the main reason that we can shoot 1080p video at 60 fps, shoot 4K,
and shoot full-frame stills, full res. So its the most versatile camera out there for me.
Its our go-to second camera. Thats for both stills and video, since probably over
half of my work is video now.
Peanut Butter CLIF Bars. I take them all over the world. Just food for
surviving long days.
Sun Scout. A favorite app on my phone, Sun Scout tells you when and
where the sun is going to rise and set, and how it tracks in the sky. On a
scout day, I can stand in
a position and gure out
whats going to happen
tomorrow, where the sun
is going to go. Essentially, I can set up my shot
in advance. So, on motion shoots, its a big thing
because of all the setup with
equipment like cranes. Its great
to know what the sun is going to do.
EE
Ketch Rossi
www.ketchrossitreeoife.com
RED EPIC DRAGON. Its my
GO2 camera. In life, weve learned
to always compromise; choosing a
camera is no different. However,
when it comes to choose what to me
is such an important tool, I carefully
consider all reasoning for the purchasewhat am I using the camera
for, what are the most important aspects that such camera must deliver
on, etc. In the past 30 years, Ive used
just about every camera ever made
in the still photography world, and
in recent years, Ive ventured into
what was always my nal goal
lmmakingand in this I needed a
motion camera.
Now the new dilemma is that
when thinking of only ONE camera to become my absolute GO2
camera, I dont want to lose the capacity to shoot still images because,
after all, it was through still photography that Ive become who Ive become in the acquisition of imagery.
Yet now, what has priority is no longer still imagery, but motion imagery acquisition, and it needs
to be of the highest quality, as to not only be as good as 35mm lm, but surpass it, and be comparable to 65mm lm.
That camera is the RED EPIC DRAGON, busting a 19-megapixel sensor, capable of shooting
up to 100 frames per second in 6K. Not only can I shoot slow motion for narrative work, but I can
use this incredible power to lm a motion stream of 1 to 100 frames per second, and from there
pull out my best still grabs to print, something that no other camera in the world can do, still or
motion. It proves to be an invaluable tool when shooting fast-moving subjects of any kind, from
natural events in nature, FX, sports, and allowing for capturing that perfect moment in a models hair or dress movement, etc. The applications are innite, really, with this kind of power.
Additionally, it offers a high dynamic range of 16.5+ stops, high ISO sensitivity being
as good as low ISO sensitivity, with extremely well-controlled noise and giving you those
beautiful super blacks, with a crisp contrast, yet very gentle and subtle to skin tones. It offers user-interchangeable lens mounts for PL, Canon, Nikon, Leica M, and add to that the
new RED MOTION MOUNT, which allows for controlling electronically up to 8 stops of
NDs, with included linear polarization and IR ltering, in a global shutter, including
a completely new Soft Shutter mode, to allow for more control and creative possibilities than ever before in both elds of motion and still image capture.
This camera has an incredible array of accessories to change congurations as needed
in order to cover just about anything you can think of. At last, I now have a camera that
allows me to capture the highest-quality motion images than ever before possible with
any camera, lm or digital, yet still also allowing to extract still images of 19 megapixels, and while
not wanting to compare in image size to some of the new medium-format digital backs with up to
80 megapixels, I give up the extra pixels for the overall capacities that the RED EPIC DRAGON
brings in both worlds of motion and still image capture together with a freedom of congurations
like none that has existed before. Its a camera that could go from Hollywoods big-budget blockbusters for a 4K or IMAX printout, to a fashion photographers set, to print magazine spreads and
large prints, with no problem at all.
Caesar Lima
www.caesarlima.com
Phocus. I have my iPad out and use the
Phocus app to preview the images wirelessly. This
app works with my Hasselblad. While the clients
hair and makeup and wardrobe team stay in front
of the monitor, I have my own screen, and I can show
the model the images as feedback.
Sony RX-1. I use the RX-1 for shooting the behind the scenes. Its a quality camera, with a full-frame, 24-megapixel
sensor, and sometimes the client actually uses the images in their campaign. I always shoot at /2. It gives great depth of eld, and it also helps
to keep the cast and crew engaged when were not shooting.
iPod. Music is so important. We have many different playlists to
capture the specic mood for the type of shoot were doingfast and
slow, different genres, etc. It helps
to get the models in the right mood.
If youre shooting something that
needs action or attitude or romance
or sensuality, music is very important. I have a wireless system at the
studio so anyone can play music from
their iPhone or iPad.
Sarah Silver
www.sarahsilver.com
Julliard Box. I got the JULLIARD box a million years ago from
a dancer attending the Julliard School. Its a 16x18x17-inch, squareish wooden box with JULLIARD stenciled on the side, and it was
part of a dance that he was doing. He left it for me at the studio,
and the box turned into the everything box. We do castings on
it. We stand on it to get height instead of apple boxes. We use it
for seated beauty. Basically, anytime we need to do anything that
requires a box, we use the JULLIARD box. Years later, we even
repainted the box black, but made sure not to cover the stencils.
One time we had the creative directors of Julliard at the studio,
and they asked, Did you steal our box? It was a funny moment.
A Fresh Manicure. Everybody loves nails. Okay, well, maybe
not, but everybody loves nails that are extravagantits hard not to comment on ashy nails, and its a great conversation starter. I dont know how it began for me, but somewhere along the way, I became obsessed with nails.
(Im an obsessive ex-nail biter and have been in nail rehab for seven years now.) Ive never missed a manicure
every two weeks without failand Ive gotten really into bright colors and a long, long pointy shape. Theyre 100%
my nails, and people always say, Wow, your nails are so... You would be surprised how many people love nails.
Screen Square. We used to have this problem where we would run out of room tacking up pictures of selects
onto my shoot monitor to help with making a layout while on set. We would have 4x6 printed images taped to
images taped to other images running the entire perimeter of the screen. A very special person made a foamcore
frame that ts around the monitor like a collar that we can use like a pincushion to put our favorite images on.
That way, we can keep track of what we like and where were going. Its the only way I can map out a shoot, and
I literally cant work without it.
EE
Martin Wonnacott
wonnacott.com
Fresh Pair Of Paul Smith Socks. The socks

are important to me, and like a lucky charm,
in some ways. I always work without shoes
on set and have done for years. It makes me
feel at home, rst of all. It also serves a
practical purpose by allowing me to
feel the stands as I move around in the
dark. I also only wear Paul Smith socks
because theyre whimsical.
Fresh Flowers In The Studio. Flowers
are important to me because I believe in
rst impressions. I truly want clients to be
as comfortable as possible when working
with me. I think fresh owers are calming
and soften a space. Theyre one of those details I always pick up on when I enter places.
Fresh Coffee. Coffee has to be good and on
tap. I have a great espresso machine in my
N.Y. studio, which helps start the day.
Nobody likes bad coffee.
Alison Wright
www.alisonwright.com
Because I photograph in remote locations around
the world, Ill always have these three things.
My Medevac Insurance Card. When my bus
crashed on a remote jungle road in Laos and I nearly died of my injuries, I didnt have Medevac insurance. It was $25,000 out of pocket to be airlifted to a
hospital in the U.S. I now have it.
A Buddha Amulet. I received this amulet in
Thailand, and it has been blessed by numerous
monks and lamas during my Himalayan travels. I
carry it in the hope that it will protect me from ever
having to actually use my Medevac insurance.
Nikon AF-S 50mm F/1.4G. This lens is just so
deliciously sharp. Its ideal for portraits, and its
fast enough for low-light use. I never know when
I might come across a great face that just begs to
be photographed, but Im ready with the 50mm. DPP
DPPSolutions
Jibbing
Get a cool move in motion
shots and a new perspective
in still shots with these
versatile camera supports
Weve written a fair amount about sliders in DPP.

A slider is a simple rail with a camera
mount that allows you to get a smooth
dolly effect in your motion shots. This
small device creates a sophisticated
effect and immediately gives your
project an added level of visual interest. Even a relatively short rail of three
or four feet can create a fantastic shot.
You can change the angle of the rail for
diagonal moves and even close to vertical, but theyre best suited for more
horizontal motion. To properly work
in the vertical axis, what you need is a
jib or a crane. The only problem with
jibs has been that theyre usually large,
heavy, difficult to transport and
require an assistantuntil now.
Seeing the opportunity presented
by the DSLR filmmaking revolution,
manufacturers have started to make
smaller and lighter jibs that are
designed specifically for these lightweight cameras. If youve seen any
kind of behind-the-scenes footage
from a film production, youve probably seen a jib or a crane of some kind.
Looking like a long boom mounted
asymmetrically on a big tripod, the
unit has a camera on one end and a
counterbalance system on the other.
Essentially, its a simple lever with the
tripod acting as the fulcrum. The
longer the lever and the heavier the
camera, the more counterbalance
weight you need. For Hollywood

movies that are shot with big, traditional movie cameras, the whole system has to be huge and extremely
heavy. For us as DSLR filmmakers,
things can come way down in scale.
For all of its apparent simplicity,
theres one especially critical aspect to a
jib that makes it less suitable for DIYers
who might want to try building one
with parts from the local Home Depot.

The camera has to pivot to keep the
framing consistent as you move the jib
up and down. For example, lets say
youre a wedding shooter and youre
doing a little video segment for the
client. You want to start the shot framed
up from eye level as the couple kisses,
and with the camera mounted on the
jib, youll raise the camera to get more
of an overhead perspective. As the camera moves up, it also moves back a little,
so youll also be backing off slightly,
which shows more of the surroundings.
Its not a big move. The camera will
move up about three feet. If the camera
doesnt pivot, instead of keeping the
bride and groom in the frame, youll
end up with the camera pointed skyward. That pivot mechanism is critical,
and its best left to the manufacturers.
We mentioned that the bigger the
camera, the bigger the jib system has
to be. For the smaller jibs we address
in this article, a DSLR with a moderately sized lens is the sweet spot. If
youre using a big telephoto (like a
300mm /4 or larger), that large, heavy
lens, even on the relatively small
DSLR, may require a bigger, more
heavy-duty jib system.
As with most equipment, theres a
lot of variety in available jib sizes.
Were focusing on jibs that are suitable
for DSLR users and are relatively
lightweight and portable. By portable,
we mean a range from airline travelready up to fitting in the trunk of a car
or small SUV.
Jibs are pretty simple tools, and with
a little practice, a novice can quickly
become good at using one smoothly.
Some jibs can be motorized, which
is a particularly nice feature for
doing smooth and repeatable
moves. Also, if youre going
to do any time-lapse work, a
motor is a necessity.
Here are a few selected examples of
whats available.
THIS SPREAD, CLOCKWISE FROM TOP: Libec Swift Jib50, DitoGear MiniJib, Carbon XL 10, Kessler Pocket Jib Traveler. NEXT PAGE: Cinevate Axis Jib.
DitoGear MiniJib
Kessler Pocket Jib Traveler

Kessler is well known as an innovator in gear for DSLR filmmakers. The
company makes several jibs in different
sizes. The Pocket Jib Traveler is the
companys newest and most portable jib.
It collapses down to 27 inches in length
and weighs 5.5 pounds. Kessler
designed the jib to be ultralight and
packable for any shooting endeavor. It
has drag control and locks, and because
of its unique folding mechanism, the
Pocket Jib Traveler doesnt need to be
taken apart for travel. You can attach a
camera rig that weighs up to 10 pounds
to the jib. For a DSLR shooter, thats
sufficient for most situations. As with
any jib, the Pocket Jib Traveler needs a
weight for counterbalance. The unit has
a sliding, extending rail for the counterbalance, which helps minimize the actual amount of weight you need to use.
The jib has 38-16 and 14-20 mounting
options, allowing attachment to any
tripod. www.kesslercrane.com
DitoGears MiniJib is great for working in small spaces. Its available with
arm lengths of 1.0 and 1.5 meters, and
can handle up to 7.5 kg for motorized
operation and 15.4 kg for manual operation. You can use it three ways: motorized with the OmniHead; manually
with the MiniJib Manual Operation
add-on; or manually mounted on sliders, dollies and other supports. The
MiniJib can be used with any of
DitoGears Motion controllers, from the
battlefield-tested OmniController to
the state-of-the-art multiaxis wireless
Evolution. www.ditogear.com
Libec Swift Jib50

Libecs Swift Jib50 features a telescopic arm that can extend 35.5 inches
or slide back 12 inches toward the rear.
This allows higher angles than other
Libec jib arms. Maximum payloads
are 22 pounds at full extension (75
inches), 33 pounds at 57-inch extension and 44 pounds at minimum
extension (39.5 inches). The unit itself
weighs 36.1 pounds. Its available
alone or in a kit with a tripod and
dolly. Ideal for budget-limited, smallcrew projects, the Swift Jib50 is easy
to operate from the rear or for delicate camera work from the front.
www.libecsales.com
(Contd on page 92)
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TELL ME WHAT YOU WANT ME TO DO
(Contd from page 91)
Carbon XL 10
The light and versatile Carbon XL
10 can become a camera crane, camera jib, dolly with track, motorized
time-lapse track, car mount, zerogravity head, remote-control camera
and motorized rotating platform, all
from a single kit of components. All
Angle Balance requires less counterweight, while Aim and Shoot
Controls make it easy to adjust the
pan and tilt of the camera when its
located remotely at the end of the
crane arm. Designed specifically for
airline travel and difficult-to-access
locations requiring hand-carrying,
the carbon-fiber system weighs just 50
pounds (100 pounds including cases).
www.Carbon-XL.com
Cinevate Axis Jib

Featuring a single-tube design,
Cinevates Axis Jib sets up quickly and
provides strong, solid support for up
to 50 poundsanything from a
Canon EOS 5D Mark III to a fully
loaded ARRI ALEXA. The four-foot
arm produces a seven-foot vertical arc.
Dry-erase marker rings and a removable magnetic marker provide good
repeatability of movements. The Jibs
100mm bowl indexes at 90, has
pan and tilt locks, and supports
underslung vertical- and horizontalmounted heads. The fully enclosed
structure provides maintenance-free
DPP
operation. www.cinevate.com
staff photographer. At the time, they

also had a mens magazine called M. As
the staff photographer, I had to shoot
acknowledging their latest project. I
everything, from fashion and portraits
establish that Im in charge and I want
to still lifes, interiors, travel stories and
to make them look great. At the same
special events. After a couple of years in
time, I want to be very collaborative
L.A., where I met my now wife, they
with my subjects. This is what were
transferred us to Milan where we were
planning to do today. What do you
from 1989 to 1993. My love of all genres
think of this? I acknowledge their
of photography comes from perhaps my
time limits and respect that they have
being at the very beginning of my cashown up to do a job. Ive been really
reer a photographic jack-of-all-trades.
fortunate that Ive never had an actor
We ended up back in L.A. in 1993.
walk off the set and Ive never had a
Ive always loved magazine photogshoot completely break down, though
raphy. My great-grandfather started
there was one time in Las Vegas when
the rst wholesale magazine distribuJerry Lewis kicked me out of his ofce
tion company in Los Angeles, and my
after I asked him to sit on the couch.
grandfather worked there, my uncle
DPP: Why was he so uptight about the
and father worked there a little bit.
couch? Did it belong to Dean Martin?
On Saturdays, I would go down to the
Streiber: Im really not sure why he
Sunset News Company warehouse. It
got bent out of shape. We had already
was wall-to-wall magazines, everyphotographed him at his desk. I think
thing from TIME and LIFE to Sports
he was just over being photographed.
Illustrated to Richie Rich, Archie and
DPP: What initially sparked your inPlayboy. I still get that same kind of
terest in photography?
visceral response to the glossy magaStreiber: It started in fth or sixth
zine covers I had when I was a kid. I
grade. My grandfather was a very adlove contributing to magazines.
vanced amateur. He had his own darkroom and processed black-and-white
DPP: What changes do you make
lm and C-41 color negatives and made
when you shoot in more of a reportprints. When I was in eighth grade,
age mode backstage at the Academy
he sold my brother and me his Canon
Awards for magazine assignments?
AE-1 for $5 and threw in a
Streiber: Im shooting with
lens for $2. I started taking >> More On The Web
the Canon EOS 5D Mark III
more classic imagery
black-and-white candids at For
and I have an assistant holding
from iconic photographers,
school, and developing and see the Proles section of
an off-camera Quantum Qash
on the web at
proong the negatives in DPP
so I can give the light a little bit
www.digitalphotopro.com.
his darkroom and making
of shape. To get into that mode,
prints with him. Eventually, I became
its quite natural for me to put on black
the photography editor of the newspajeans and a black eece, and try and hide
per and yearbook in high school. When
in the shadows and capture these moI went to college, I joined the staff of the
ments that occur right in front of you at
school paper. After college, I did an inthe Academy Awards. I love this kind
ternship at the Riverside Press-Enterprise,
of documentary work, and Ive always
then a traineeship at the L.A. Times. I
loved the Oscars, ever since I was a kid.
thought I was going to be a photojourIts a real honor and privilege to be backnalist traveling the world looking for
stage in the days leading up to and the
photo stories and places of conict.
night of the Oscars. I used to be the only
guy back there. There are now ve or six
DPP: How did your career evolve
of us, so its a little more crowded and the
into focusing on celebrity portraiture?
elbows are sharper, but there are amazStreiber: I fell into rst lifestyle phoing moments that you just dont have the
tography, fashion photography and
opportunity to capture anywhere else. DPP
portraiture, and eventually celebrity
portraiture. I started freelancing for
Womens Wear Daily and W in Los
You can see more of Art Streibers work
Angeles. In about 1987, they needed a
at artstreiber.com.
(R)EVOLUTION
Tilt-Shift blur effects, as the pins

interact with each other using the
same Blend mode (similar to Multiply)
that adds the blur radius fields from
each effect, as well as the areas of clarity. Where theres an overlap, the clarity is preserved.
To customize blur effects even further, you can apply filters multiple
times at different settings and in different combinations. This field is rich
with possibilities.
All blurring can cause posterization. Guard against this by checking at 100% screen magnification.
Often, posterization can be cured
by adding small amounts of noise.
(See my column on adding noise on
the Digital Photo Pro website at
www.digitalphotopro.com/technique/
revolution.html.)
Want to make image areas look
even softer? Sharpen the areas that
surround them. The opposite is equally true. Blurring techniques can make
sharpening techniques look even more
effective. Consider blurring techniques the complement to sharpening
techniques; theyre just as important.
Combine blurring and sharpening
techniques for extraordinary effects,
which can be as subtle or as dramatic
as you like.
Never before have photographers
had so many ways to control the quality of detail in their images. Knowing
what you can do, how far you can go
and when to do it will help you enrich
your understanding of photography,
refine your eye and deepen your personal vision. Explore your options to
find the tools and looks that will help
strengthen your unique voice. Its time
DPP
well spent.
John Paul Caponigro, author of Adobe
Photoshop Master Class and the DVD
series R/Evolution, is an internationally
renowned fine artist, an authority on
digital printing, and a respected lecturer
and workshop leader. Get access to a
wealth of online resources with his free
enews Insights on his website at
www.johnpaulcaponigro.com.
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time. It can also be plugged directly into

AC power, with 1.4-second recycling
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power from full to 1/8 in 1/3-stop increments. Dynalite also offers the XP800
pure sine wave inverter with three AC
power outlets for ash heads and three
USB ports for electronic devices.
keeps light efficiency in mind. Each

softbox includes a main canopy, rear
cowell, front diffuser, internal diffuser,
support rods and zip-up carrying case.
www.bowensusa.com
Broncolors new line of nine softboxes shows a range of shapes and
sizes, from the 2x2-foot The Universal
square box to various rectangles,
1x3.9-foot The Strip softbox and 4.9foot The Ultimate octabox. With colored markings on the tension rods and
support rings, assembly is quick and
easy. Three different diffusers and
grid accessories provide added light
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softboxes can be used with flash
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hasselbladbron.com
Photoflexs line of softboxes
includes rectangular and octagonal
shapes for both strobes and continuous
lights. The MultiDome is specifically
designed to work with strobes and
provides some of the most diverse
lighting options from a single diffuser
due to the softbox interior. With a
white interior lining, the softbox features removable gold/silver panels for
switching between warm or contrasting light between frames with only
one light. The MultiDome also comes
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www.photoflex.com
Photogenic
Photogenics compact Studiomax III

AKC-160B (160 W-s), AKC-320B (320
W-s) and AKC-320BR (320 W-s, with
built-in radio remote receiver) can operate on AC or battery with the optional AKB-1 battery pack, which provides
up to 150 full-power ashes per charge.
Flashpoint
The Flashpoint 180 Battery Powered

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(180 W-s) ashes per charge. The under-$200 kit includes the monolight,
reector, small umbrella, two batteries
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The Flashpoint M-series monolights
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modeling lights, built-in slaves and
fan cooling. The DG400 (200 W-s) and
DG600 (300 W-s) have cool LED modeling lights and digital readouts.
JTL
Profoto has two distinct lines of

softboxes. With a variety of sizes and
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speed-ring adapter to make the box
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The HR (Heat Resistant) line can be
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light sources. Also available in an
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Both lines feature soft grids, flat
front diffuser and stripmask accessories. profoto.com
With a double layer of heat-shield
fabric and tent-style heat release
vents, Westcott softboxes are
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rectangular, octagonal, Stripbank
and Asymmetrical Stripbank. Each
comes standard with a 5- or 7-year
warranty. www. fjwestcott.com
An economical full-kit option
thats easy to set up, the CL-SPSBSFT1 Cool Lights 24x24-inch Speed
Softbox & Grid is designed specifically for the Cool Lights CL-SFT1
fluorescent continuous light fixture.
The softbox reduces setup time by
quickly popping open and attaching to the speed ring with tension. Carrying cases, diffusion silk
and egg crate are all included.
DPP
www.coollights.biz
JTLs Mobilight DC-600 (600 W-s)

and DC-1000 (1000 W-s) monolights
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12) Intert Stellar Xtreme Kit 13) Broncolor
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EOS Flash System (USA)

270EX II .....169.99
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600 EX-RT..549.99
MR-14EX Ringlight....................................
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EF-S Lenses for Digital Only (USA)
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17-85/4-5.6 IS USM (67) ........................
18-135/3.5-5.6 IS (67) ................ 499.99
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EF Lenses (USA)
20/2.8 USM (72) .......................... 539.99
24/2.8 IS USM (58) ...................... 599.99
28/2.8 IS USM (58) ...................... 549.99
35/2 (52) ................................................
35/2 IS USM (67) ......................... 599.99
50/1.8 II (52) ............................... 125.99
50/1.4 USM (58) .......................... 399.99
50/2.5 Macro (52)........................ 299.99
85/1.8 USM (58) ............................ 419.99
100/2 USM (58) ........................... 499.99
100/2.8 USM Macro (58).............. 599.99
28-135/3.5-5.6 IS USM (72) ........ 479.99
70-300/4-5.6 IS USM (58) ........... 649.99
70-300/4.5-5.6 DO IS USM (58) ....................
75-300/4.0-5.6 III (58) ................. 199.99
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to Smart Devices
TS-E MF Lenses (USA)

17/4.0 L...2499.00
24/3.5 L II ..2199.00
45/2.8 .....1399.00
90/2.8 .....1399.00
EF L Lenses (USA)
14/2.8 USM II .............................. 2359.00
24/1.4 II (77) ............................. 1749.00
35/1.4 USM (72) ........................ 1479.00
50/1.2 USM (72) ........................ 1619.00
85/1.2 USM II (72) ..................... 2199.00
100/2.8 IS USM Macro (67) ........ 1049.00
135/2.0 USM (72) ...................... 1089.00
180/3.5 USM Macro (72)............ 1579.00
200/2.0 IS USM (52) ...............................
300/4.0 IS USM (77) .................. 1449.00
300/2.8 IS USM II (52 rear)......................
400/5.6 USM (77) ...................... 1339.00
'JTIFZF64................. 1499.00
16-35/2.8 USM II (82) ................ 1699.00
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24-70/2.8 USM II (82) ................ 2299.00
24-105/4 IS USM (77)................ 1149.00
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70-200/4.0 IS USM (77)............. 1349.00
70-200/2.8 USM (77) ................ 1449.00
70-200/2.8 IS II USM (77) .......... 2499.00
70-300/4.0-5.6 IS USM (67) ...... 1599.00
100-400/4.5-5.6 IS USM (77) .... 1699.00
1.4x III Tele ..499.99
2x III Tele ....499.99
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DX ED-IF Lenses for Digital Only
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35/1.8 G AF-S (52) ....................... 196.95
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10-24/3.5-4.5 G AF-S (77).......................
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18-300/3.5-5.6 G AF-S ED VR (77) ....... 996.95
55-200/4-5.6 G AF-S (52)........................
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55-300/4.5-5.6 G AF-S VR (58) ..... 396.95
D-Type AF Lenses
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24/2.8 D (52).......
%
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50/1.8 D (52).......
50/1.4 D (52).......
50/1.8 G AF-S (58) ....................... 216.95
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14-24/2.8 G AF-S ED-IF................ 1996.95
16-35/4.0 G AF-S ED VR (77) ...... 1256.95
17-35/2.8 D AF-S ED-IF (77) ....................
18-35/3.5-4.5 G ED (77)............... 746.95
24-70/2.8 G AF-S ED-IF (77) ....... 1886.95
24-85/2.8-4.0 D IF (72) ...........................
24-120/4.0 G AF-S ED VR (77) .......... 1296.95
28-300/3.5-5.6 G AF-S ED VR (77) ..... 1046.95
70-200/2.8 G AF-S ED-IF VR II (77)....... 2396.95
70-300/4.5-5.6 G-AFS VR (67)...... 586.95
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...................
80-400/4.5-5.6 D VR (77) ........................
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Flash System
FL-300R Flash ......... 169.95 FL-600R Flash ...... 299.00
FL-50R Flash ........... 499.95 RF-11 Ring Flash .. 249.95
Zuiko 4/3 System Digital Lenses
35/3.5 Macro ED (52) ......................................... 229.95
50/2.0 Macro ED (77) ......................................... 499.95
7-14/4.0 ED (72) .............................................. 1799.95
11-22/2.8-3.5 ED (72) ........................................ 799.95
12-60/2.8-4 ED SWD (72)................................... 999.95
14-42/3.5-5.6 ED (58) ........................................ 249.95
18-180/3.5-6.3 ED (62) ...................................... 499.95
EC-14 1.4x Teleconverter ...................................... 439.95
AF Flash System
AF-360FGZ ........................
AF-540FGZ .....................
SMCP-DA Digital AF Lenses
21/3.2 AL Limited Pancake (49) ...................................
40/2.8 Limited Pancake (49) ........................................
70/2.4 Limited Pancake (49) ........................................
10-17/3.5-4.5 ED IF (77) ...............................................
16-50/2.8 ED AL IF SDM (77) .........................................
50-135/2.8 ED IF SDM (67)............................................
50-200/4-5.6 ED WR (52) ..............................................
55-300/4-5.8 ED (58).....................................................
Flash System
HVL-F20M............... 149.99 HVL-F20S ............. 149.99
HVL-F43M............... 398.99 HVL-F60M ............ 548.00
Digital Lenses
24/2 Carl Zeiss (72) .......................................... 1399.99
50/1.4 (55) ............ 449.99 100/2.8 Mac (55) .. 799.99
16-80/3.5-4.5 DT Carl Zeiss (62) ........................ 999.99
11-18/4.5-5.6 DT (77) ........................................ 799.99
18-250/3.5-6.3 DT (62) ...................................... 649.99
70-200/2.8 G APO (77) ..................................... 1999.99
75-300/4.5-5.6 (55) ........................................... 249.99
10-22/3.5-4.5
EF-S USM Digital Lens
18-135mm f/3.5-5.6
ED AL (IF) DC WR Digital Lens
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AF-S ED-IF VR II Digital Lens
SB-910 Speedlight
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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.
Alpha A7 DSLR
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30/1.4 HSM (62)
35/1.4 HSM (67)
50/1.4 EX (77)
50/2.8 EX Macro (55)
70/2.8 EX Macro (62)
85/1.4 EX HSM (77)
105/2.8 EX OS Macro (62)
150/2.8 EX APO Macro OS HSM (72)
300/2.8 APO EX HSM
8-16/4.5-5.6 HSM
10-20/4-5.6 EX HSM (77)
12-24/4.5-5.6 EX Asph. HSM R
17-50/2.8 EX OS HSM (77)
17-70/2.8-4.0 OS Macro HSM (72)
18-200/3.5-6.3 OS II HSM (72)
18-250/3.5-6.3 OS Macro HSM (62)
24-70/2.8 EX IF HSM (82)
50-150/2.8 EX APO OS HSM (77)
50-500/4.5-6.3 APO OS HSM (95)
70-200/2.8 EX OS HSM (77)
70-300/4-5.6 Macro (58)
70-300/4-5.6 OS (62)
Mega
Pixels
tYNN$.04'9'PSNBU4FOTPS
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t$'4%%VBM$BSE4MPUT t0QUJDBM-PX1BTT'JMUFS
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tYQ)%7JEFP$BQUVSF
t.BUSJY$FOUFS8FJHIUFE4QPU.FUFSJOH
t#VJMU*O'MBTIJ55-'MBTI$POUSPM
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t#VJMU*O'MBTIXJUI$PNNBOEFS'VODUJPO
DG
DG
DG
DC
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with 16-50mm Lens .......................#SONEX6L*
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C, N, P, S, SM
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609.00
629.00
449.00
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969.00
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169.00
359.00
AF LENSES
C llll fo
Cal
for
or Av
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Ava
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DX for Digital SLRs Only FX o%FTJHOFEGPSGVMMGSBNF%4-3T
"MTP"WBJMBCMFGPS4POZ"MQIB%4-3
FX
DX
DX
DX
FX
FX
100/2.8 Pro D Macro (52)

10-17/3.5-4.5 ATX Fisheye
11-16/2.8 Pro II (77)
12-24/4.0 Pro II (77)
16-28/2.8 Pro (77)
17-35/4 Pro (82)
Canon EOS
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Di-II
Di
Di-II
Di-II
Di-II
Di-II
Di-III
Di-II
Di
Di
Di
Di
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60/2.0 LD IF Macro (55)

90/2.8 Macro (55)
10-24/3.5-4.5 (77)
17-50/2.8 XR LD IF Asph. (67)
17-50/2.8 XR VC LD IF Asph. (67)
18-200/3.5-6.3 (62)
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$100
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f/4.0 AT-X Pro II DX Digital Lens
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for Canon, Leica, Nikon, Olympus,

Pentax, Sony #LEMU* .............149.95
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EX HSM DC Digital Lens
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Price
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#VI285HV .....................................85.00
012014
Misinformation
Moving Targets
The many facets of photography today
Its clich to say that professional photography
has been in the midst of tremendous upheaval,
but were going to say it anyway. Were
restating the obvious because the
upheaval has been so unprecedented.
Over the past decade, weve seen fundamental shifts in the stock business, a
massive influx of undervalued images
from amateur photographers who are
happy to see their photos used in
exchange for little or, more often, no
money, as well as a steady erosion of
job pricing. Tough times, indeed. But
amidst all of the chaos, there are some
lights burning bright.
Since 2008, a sea change has
Myth:
occurred in image capture. In the fall
of 2008, Nikon introduced the D90,
and almost simultaneously, Canon
introduced the EOS 5D Mark II.
These DSLRs had one critical similarity. They both could shoot video. In
camera or maybe one of the
one of the greatest occurrences of synprosumer models that were betergy to hit the photography industry, a
ter, but also large and complex.
Pulitzer Prize-winning photojournalThe new class of HD-videoist got an early 5D Mark II and procapable DSLRs put incredibly high
duced a short, captivating movie.
image quality into the hands of still
Vincent Laforets short film Reverie
photographers in the form of a camera
was an Internet smash. It went viral to
that was familiar combined with an
the point where servers were crashing
arsenal of lenses they already owned.
because of the traffic. At that moment,
Going from still shooting to motion
everything changed.
was a matter of flipping a switch,
DSLRs that can shoot such highrather than changing to a camera with
quality video were a revelation. Many
diminished low-light capacity and
filmmakers might have paused to ask
lesser overall image quality. And, of
what the big deal was
course, there was the gloriafter all, they were used to
ous cinematic look that
>> More On The Web
Go to www.digitalphotopro.com was now accessible. Laforet
using high-res movie camto learn more about cuttingeras, but for still shooters,
and Reverie didnt destroy
edge technology and how its
changing photography.
a whole new door was
depth of field, but it pointed
opening. Up to 2008, the
the way to a motion look
video camera a still photographer was
that hadnt been achievable to most of
likely to use was a dedicated motion
us up to that point.
camera with its own interface and
So amidst all of the chaos of the
controls. Also, it was likely to produce
past decade, motion capture has
mediocre image quality. Still shooters
emerged as an area where still photogwho carried a video camera in their
raphers again have a chance to differbag for occasional motion shooting
entiate themselves and their skills
probably had a high-end consumer
from the throngs of amateurs who
nt
You Do Shoot
o
Need T tion
Mo
have unwittingly flooded the

market with cheap images. And this
opportunity is golden. Motion is in
demand, and its highly valued. To any
still photographer who says that he or
she has no experience with motion, we
say hogwash. Whats a still photographer if not a director? In this issue of
DPP, Art Streiber describes how he
works as a director constantly, and
Streiber has a lot of company.
If youve lamented the erosion of
rates and the diminished demand for
day jobs, flip the switch on your DSLR
to motion and start immersing yourself in it. Its not a matter of becoming
a narrative filmmaker. Sure, you could
do that, but clients want all sorts of
other motion. From the condensation
dripping down the side of a cold glass
to the hair flip of a model on the runway, motion is a way for you to boost
your worth and your rates. The glory
days of the photo business probably
never will come back, but dont curse
the darkness; instead, light a candle.
The future is brighter than you may
DPP
have thought.
The moment when you no longer

take pictures, you make them.
This is the moment we work for.
// FREEDOM
MADE BY ZEISS
Carl Zeiss SLR lenses

Set yourself free. Free of the performance limitations of other lens systems. Free of trade-offs
between sharpness and harmonious bokeh. Free of inconsistent build quality, unnecessary flare
and mechanisms that focus precisely enough. Get to know the outstanding uniform characteristics
of the manual focus ZE and ZF.2 lenses and get back to making images that matter.
www.zeiss.com/photo/freedom

Photo Pro Mag

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14 FIRST TAKES 22 DPP IN FOCUS 32 HI-TECH

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