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Pro Tips
For Brilliant
Photos
Discover The Positives
Of Negative Space
Night Shots!
How To Get Awe-Inspiring
Images After Sundown
Tools & Techniques For
Studio Quality Anywhere
Explore The Portable
Power Of Monolights
IS 4K FOR U?
RETRO REVOLUTION
Why Classic Camera
Design Is Making
A Big Comeback
VOL. 18 NO. 2
28
The Positives
34 Of Negative Space
Workflow, Start To
40 Finish, Part 3
Art of iPhoneography::
43 Layers Of Emotion
34
40
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MARCH/APRIL 2014
VOL. 18 NO. 2
44 Retro Revolution
24
26
dpmag.com
BY J. DENNIS THOMAS
EDITORIAL
48 Pop-Up Studio
52 Toolbox: 4K
43
44
BY DAVID WILLIS
WWW.DPMAG.COM
Wes Pitts
Online Director
Mike Decker
Web Art Director
Damian Greene
Web Developer
Lisette Rose
Web Production Associate
56 High-Power Monolights
For versatility in and out of
the studio, these high-output
strobes are ideal
BY WILLIAM SAWALICH
onOne Software:
60 Perfect Photo Suite 8
47
48
Discovering Magic
52
56
BY TRACEY CLARK OF
SHUTTER SISTERS
64 Quick Fix
10 Ed-Mail
16 Next
12 View
66 Exit
Digital Photo (ISSN: 1948-5557)Vol. 18 No. 2is published bimonthly except 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 Los Angeles, Calif., and at additional
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26 Point Of Focus
Wes Pitts
Editor
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Senior Editor
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Senior Contributing Editor
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ART
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OMNI-BOUNCE
Used by Professionals around
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popular brand flash units. Ideal
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Edmail
ne of my favorite parts of the
job as the editor of this magazine is my involvement with
our photo contests. I love reviewing the
submissionsbeing exposed to thousands of unique images, many of them
quite stunning. Its difcult, though, to
select only a handful of nalists and
even more challenging to choose a
winner among those. There are often
images that resonate for me personally that, for a variety of reasons, dont
make the cut.
In this issue, we feature the winners of our 7th Annual Your Best Shot
Photo Contest. Congratulations to
those winners, who were selected from
more than 3,000 entries. I encourage
you to check out the Finalists gallery at
www.dpmag.com/photo-contests/7thannual-your-best-shot/nalists to see
some really beautiful images.
Were often asked why international
contestants arent eligible to win. Unfortunately, the complexities of international law, particularly when a prize is
involved, make it impractical for us to
award prizes internationally. However,
dont let that dissuade you from participating in our contests. The image on this
issues cover is a case in point: Though
the Ireland-based photographer was
ineligible to win the contest, theres no
restriction on negotiating editorial use.
In fact, we often nd new talent in our
contests and galleries.
Also in this issue are many excellent how-to articles to get you thinking about your own contest-winning
photos. The winner of our Destinations
Photo Contest was featured on our
December 2013 cover, a striking photograph taken under Delicate Arch with a
brilliant night sky in the background.
Night photography has its own unique
challenges, and Tom Bol offers a complete primer to get you on your way to
creating nighttime magic in Shot In
The Dark.
Night photography is a genre where
paying attention to negative spacethe
areas of a frame not lled by the subjectis particularly important. Actually,
negative space is an important consid-
10
ON THE COVER
A finalist in our 7th Annual Your Best
Shot Photo Contest, Megan by photographer Vladimir Morozov was taken
in Morozovs studio in Wexford, Ireland.
The model, Megan OMalley, is a model
like no other, says Morozov. She has a
very unique combination of fiery red hair
and porcelain white skin, lovely blue-steel
eyesand loads of hair.
To create the lighting, OMalley was
in a horizontal position atop a white
studio background, her hair carefully
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7TH ANNUAL
YOUR BEST
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WINNERS
FIRST PLACE
Congratulations to MICHAEL
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for taking the winning photograph in our 7th Annual Your Best
Shot Photo Contest. Captured on
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The light for this remarkable
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NICHOLAI GO
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SECOND PLACE
14
DENNIS RAMOS
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THIRD PLACE
Check out all of the finalists in the 7th Annual Your Best Shot Photo Contest at
dpmag.com/photo-contests/7th-annual-your-best-shot/finalists.
dpmag.com | March/April 2014
15
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O LY M P U S O M - D E - M 1 0
T H E S M A L L C A M E R A T H AT C A N G E T T H E B I G P I C T U R E
The first time I picked up an OM-D and shot with it, I knew I was holding
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HOW-TO
24
For 30 years, photographer BRUCE DALE worked for National Geographic Magazine,
which published more than 2,000 of his pictures. An early convert to digital photography,
Dale has become an expert on the subject and teaches throughout the country on a regular basis. See more of his work at www.brucedale.com.
dpmag.com | March/April 2014
25
HOW-TO
Point of Focus
Discovering Magic
HOW A HAPPY ACCIDENT CAN UNLOCK NEW PHOTO TECHNIQUES
BY TRACEY CLARK OF SHUTTER SISTERS
26
command was hit or miss. I would focus on something close by and then
hastily move the camera, framing my
desired subject and shooting as quickly
as possible, in hopes to beat the autofocus that always wants to focus on the
subject for you. That is its job, after all.
As for tricking the camera to shoot out
of focus, sometimes the results were just
what I was hoping for, while other times
I would just hit delete.
Then, one day, while using my herkyjerky method, I focused on something
close and pressed my nger to the
screen for just a second longer than normal whento my surprisethe focus
locked! And when I pointed the camera toward my intended subject, it was
magically and majestically out of focus
and it stayed that way until I touched the
screen to focus again. Eureka! Discovery
made and mind blown in a single second. The world of dreamy iPhone images was now open!
I realize that something as simple
and seemingly obvious as my phones
focus controls might not blow everyones mind like it did mine. (I honestly
thought I might be the only iPhone user
on the planet who didnt know about
it.) But thats not really the point. The
point is recognizing and being open
to whats possible with every click of
your shutter. As we keep exploring, experimenting, expressing ourselves in
our work, we continue to learn, grow
and evolve as photographers. No matter how long weve been shooting, how
well we know our equipment or how
many times weve read the manuals (or
not), theres always going to be more
magic to discover.
DP
27
ShotDark
IN THE
28
BASIC SETTINGS
Before you venture out into the night,
gure out your camera settings in a nice,
bright room. Shooting at night requires
a sturdy tripod, cable release and fresh
batteries. Since exposures are long, the
tripod and cable release (or another
means of remotely triggering the shutter) are both critical to ensure sharp images. Also, batteries drain fast with long
exposures in cold weather; make sure to
bring spares.
I shoot all my night images in manual mode, which allows me to easily
adjust exposure. Automatic modes like
aperture and shutter priority often miscalculate the exposure, attempting to
lighten a scene that should be dark.
I normally shoot wide open around
/2.8 or /4. Why? Because you need
FOCUSING
This is the crux of night photography,
especially star trails without foreground.
I always bring an inexpensive rechargeable ashlight with me on night shoots.
Sometimes I use this for light painting,
but other times I use this to shine on
foreground subject matter to help me
focus in the dark.
The rst step with focusing at night
is turning off your autofocus. Your camera autofocus wont work, and if your
shutter is linked to focus priority, your
camera wont shoot. I start by setting my
focus to the innity mark (the gure
8 symbol located in the distance scale
on your lens barrel). Line it up with the
focus mark on your lens, and youve
focused at innity. But this may not be
perfect focus. Innity focus is a reference, but will slightly vary on the lens. I
often focus to innity, then back off just a
tiny amount and take a shot. Ill review
my image after capture on my LCD
screen to check critical focus. If Im off
just a little, Ill slightly adjust the focus
and try again.
If this sounds tedious, just think of
it this way: Once you know where the
accurate innity focus is on your lens,
memorize it. The next time you shoot
at night, set your focus to that mark. Ill
even attach a piece of gaffers tape on my
lens to hold the focus in place.
A new tool that many photographers like for focusing at night is the
CamRanger. This device allows you to
set your focus using an iPad (or iPhone).
dpmag.com | March/April 2014
29
Viewing the larger screen is nice and dramatically helps with focus. You can tap
anywhere on your iPad screen, and the
camera will focus on this point. The
CamRanger goes a lot further than just
being a focus aid. It also allows you to adjust settings and remotely trigger your camera. Just imagine shooting that star-trail
shot from the warm interior of your car!
SHOOTING TECHNIQUES
The quickest method for immediate
star images is using the high-ISO meth30
31
ADDING FOREGROUND
Once youve mastered star-trail
shooting, you might decide to add some
interesting foreground elements. Adding foreground elements will make your
composition more dynamic and add
perspective to the image. Ill often look
for an interesting tree or rock formation to use as a foreground element. Ill
use my ashlight to illuminate the foreground and help me focus. Sometimes
Ill put a colored gel like red or blue over
my ashlight to add creative colors to
the foreground subject.
I also use Litepanels LED lights for
foreground illumination. These lights
are small and run on AA batteries. I can
place them in various parts of my scene
to illuminate rocks and trees while I
take the shot. This is a great technique
when youre by yourself and dont want
to run around trying to light-paint a variety of elements.
32
POSTPROCESSING
There are a few things to consider
when processing your star images to help
them reach full potential. First, adjust the
white balance to your liking. I generally
prefer to use Incandescent for my skies
since I like the deep blue color it produces. But what happens to the foreground
tree when you use Incandescent? It turns
a pasty bluenot good. To remedy
this problem, I choose the Adjustment
brush (in Photoshop or Lightroom)
and brush over the tree. Then I pull the
Temperature slider toward the right and
warm up what Ive brushed over. This
will restore the color close to neutral.
Next up is noise reduction. The new
noise-reduction tools in Lightroom
and Photoshop are fantastic. Pull the
Luminance and Color sliders to the right
to reduce noise. For best results, enlarge
your image to 100% so you can see the
effects. I also use Noiseware to reduce
noise in my images. This plug-in has
preset actions that reduce noise. Try the
Night Scene action for star-trail images.
P
e
Th
34
f
O
s
e
v
ti
NEGATIVE SPACE
CONSIDER THE SPACE SURROUNDING YOUR SUBJECT FOR MORE
DYNAMIC COMPOSITIONS | TEXT & PHOTOGRAPHY BY J. DENNIS THOMAS
DEFINING THE
NEGATIVE SPACE
Obviously, the positive space is the
primary dening factor of the negative
space, but the negative space is also
dened by something that may not be
quite so obvious to the casual observer:
the edges or borders of the frame. In
retrospect, this may seem evident, but
when actively composing, its easy to xate on the subject and dismiss the edges
of the frame as irrelevant. This is typical
of the way a normal human brain functions and is why casual snapshooters
often place the subject smack-dab in the
middle of the photographthey arent
conscious of the edges of the composition because the brain simply doesnt let
them see it. As a photographer, you must
train yourself to see and use the borders
of your image to frame and contain the
negative space, thus further dening it
and giving it shape within the connes
of the composition.
As previously mentioned, there are
times when the subject surrounds and
denes the negative space and the same
guidelines apply.
Negative space isnt always a solid,
featureless area surrounding the subject.
It can be divided and segmented by other elements of the composition such as
leading lines, tonal variations and color
differentials. Furthermore, the positive
space of an image contains the subject,
but also can contain other elements that
arent part of the subject, but elements
dpmag.com | March/April 2014
35
that support the subject, and these supporting elements are also used to subdivide negative space.
Using a neutral background like gray,
white or black can easily dene the sub36
COMPOSING FOR
NEGATIVE SPACE
37
Using negative space in a product photo allows graphic designers to add text and graphics to
the photo without impinging on
the actual subject. Most often,
these backgrounds are black or
white so the negative space can
easily be expanded, if needed.
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FIELD BACKUP
Backup rst starts in the eld. After
a few days of shooting on vacation or
working on assignment, ash cards start
lling up. Wouldnt it be a disaster if you
lost your European family vacation pictures? Or, my worst-case scenario, losing
40
HyperDrive, which allows you to download your ash card directly without the
need of a computer, or use a friends
computer to download images to your
external hard drives.
When Im on commercial shoots, we
bring two laptops. Im not recommending everyone go out and buy a second
laptop! But when Im on big-budget
shoots, its expected that I have redundancy in everything to ensure a awless
shoot, including cameras, lenses, lighting, etc. If one computer goes down,
we have a working clone already on-site
and ready to go. On normal photo excursions, I carry one laptop, two external 500 GB hard drives and lots of ash
cards for eld backup.
Smart traveling habits also ensure
solid eld backup. I always put my laptop out of sight when I leave my hotel
room and put my external hard drives in
my room safe. My ash cards stay with
me in my photo pack. By putting your
backup devices in different areas, youre
helping to ensure one will survive any
catastrophe. Ive been known to carry my
external hard drive with me at all times.
Theres just something warm and fuzzy
knowing my entire shoot is with me.
HOME BACKUP
Once I get back from a shoot, its time
to download the images onto my primary computer. This is the location where
your images live and where you access
41
Apple AirPort
Time Capsule
G-Technology
G-SPEED Q RAID
PEACE OF MIND
Backup is a critical part of your
workow. All the work youve done in
the early stages of workow is saved
OTHER OPTIONS
So far weve looked at how I back up
my computer and image les, but there
are other options to consider in conjunction with the methods mentioned
earlier for even more secure backup.
One popular way photographers
back up is by using online services like
CrashPlan or Carbonite. These services
charge you a fee for storing images and
backing up data on their industrialgrade servers, offering secure backup
and encryption of your les. Whats
really nice is that these services can automatically back up your data on your
42
computer, similar to Time Machine. Another benet of these services is that you
can access your les anywhere in the
world as long as you have an Internet
connection, and you can back up in the
eld, as well. If you combine using your
own RAID system with online services,
youre a role model of backup!
Another off-site data-storage option
is Dropbox. Dropbox offers secure data
storage for all your les and documents.
Once your les are downloaded to
Dropbox, theyre automatically backed
up at regular intervals. Dropbox doesnt
automatically restore your hard drive if
HOW-TO
Art of iPhoneography
Layers Of Emotion
BLENDING SCENES FROM THE PAST TO PORTRAY A FEELING IN THE PRESENT
TEXT & PHOTOGRAPHY BY STEPHANIE CALABRESE
ach year, I choose one word to
guide me through the year. Its
a self-reective practice I began
ve years ago, inspired by Ali Edwards
and her One Little Word blog posts
(aliedwards.com/2013/12/one-littleword-2014.html). Unlike a resolution,
my one-word intention cant be broken. Much like a compass, it guides
me, particularly when Im feeling stuck
or uncertain. I dont put any expectations around the word or what it might
bring, but I do nd that experiences
throughout the year tend to unfold in
accord with it.
The selection of my word has typically been a mind-bending process. It
starts as a collection of words in midDecember. Then I squeeze it down to
a handful. I roll the words around,
hold each one up to the light, extro-
43
Retro
REVOLUTION
CLASSIC CAMERA STYLING IS MAKING A COMEBACK
BY J. DENNIS THOMAS
on. Some dismiss this as hipster formover-function aesthetic snobbery, but the
truth is, these iconic designs are coming
back because they actually function very
well. Theyre compact, yet comfortable.
Lets take a look at some of the options available, and the strengths and
weaknesses of each.
RANGEFINDERS
The real rangender digital camera is about as close to the experience
of shooting a lm camera as you can
get. This realm is dominated by one
Leica M
HYBRID RANGEFINDERS
The hybrid rangender camera is an
invention of Fujilm, rst introduced
with the revolutionary X100 camera. The styling of the camera is 100%
vintage, but these cameras represent
cutting-edge technology. Its a brilliant
fusion of optical and electronic viewnder (EVF). The cameras feature an
optical viewnder that has electronic
shooting information overlaid on it,
including traditional-looking bright
lines that outline how much of the
frame is captured. A ip of a switch
turns on the EVF, allowing you to see
exactly what the sensor sees with the addition of the shooting info.
Currently, the hybrid market consists
dpmag.com | March/April 2014
45
MIRRORLESS CAMERAS
Sony recently broke new ground by
adding full-frame sensors to relatively
small mirrorless cameras. The newest
cameras to Sonys arsenal are the a7 and
a7R. On the outside, the a7 and a7R
have the same retro look, but on the inside the differences lie. The a7R features
a 36-megapixel sensor, no low-pass lter and contrast-detect autofocus; the
a7 sports a 24-megapixel sensor with a
low-pass lter.
Fujilms newest camera, the X-E2, is
an update to the highly regarded X-E1,
which is basically the X-Pro1 without
the hybrid nder. The X-E2 takes the
form factor of the X-Pro1 and adds some
of the X100 technological advances such
as on-sensor phase-detection AF for faster, more accurate focusing. The X-E2 also
takes Fujilms line of X-mount lenses,
as well as just about any other type of
lenses with adapters. The little sister to
the X-E2 is the X-M1, which omits the
viewnder and adds a tilt-screen LCD
for composition.
Sony a7
Fujifilm X-Pro1
DSLRS
So far the only company to jump on the
retro-style
bandwagon
with a DSLR is Nikon with
the Df, which combines the guts of
their full-frame D4 inside a smaller,
lm-camera-style body. The premise
46
EQUIPMENT
Cameras
NIKON D3300
INTRO
DUCE
1/2014
SAMSUNG NX30
STANDOUT FEATURE: The 20.3 MP APS-C DSLR-style mirrorless camera makes it easy to capture and share images.
INTRO
DUCE
1/2014
47
udio
The Interfit Photographic Strobies Modi-Lite Kit offers 18 different modifier combinations to achieve a wide variety of lighting effects. The kit includes the
Uni-Mount universal adapter that will fit any ash unit.
FLASH MODIFIERS
Achieving perfect light on location
is one of the primary challenges versus
the controlled environment of a studio.
For the ultimate in on-location lighting,
monolights are relatively portable, affordable and easy to use. (See our coverage of high-powered models suitable
for outdoor use in this issue. Also check
out the article featuring battery-powered
monolights in our sister publication,
Digital Photo Pro: tinyurl.com/photopro-monolights.)
If youre working with ash, modiers are extremely helpful for ne-tuning
ash output. Modiers help you control
48
REFLECTORS, SCRIMS
AND FLAGS
In addition to modifying your ash
output, its good to have tools to redirect
or restrict ambient light, too. Reectors
are one of the most important accessories
for on-location photography. Theyre easy
to use, require no power and are ideal for
redirecting available light to ll shadows
for more even light on your subject.
Conversely, there may be situations
where you want to reduce or block
POWER SOLUTIONS
Bringing a laptop or tablet along
gives you options for remote camera
control, image review on a big screen,
and even editing and backup in the eld.
You might be able to get by with a single
PORTABLE BACKDROP
Sometimes youll nd the perfect setting on location, and sometimes you
wont. A portable backdrop, muslin or
charge, but there are portable solar-powered options for recharging your gear
on location. While an extension cord
is always smart to carry with you, if you
wont be near an outlet, the solar power
option can power up all of your devices,
plus recharge camera and ash batteries.
LOUPE
Camera LCDs are incredibly convenient and continue to improve, but they
remain difcult to use in bright sunlight.
An LCD loupe is critical for checking fo-
ambient light (overhead sunlight, for example). Scrims soften and reduce ambient light, similar to a ash diffuser, while
ags can be used to completely block a
light source.
All-in-one products are available that
combine reectors, scrims and ags in a
convenient, unied design.
The F.J. Westcott X-Drop is an extremely portable 5x7-foot backdrop system that assembles
in about a minute, weighs less than three pounds
and comes with its own travel case. Multiple
backdrop patterns are available for variety.
49
FILTERS
Optical lters still have their place in
the photographers toolbox despite the
proliferation of special-effects software.
One lter you must have in your kit is a
polarizer. Theres no magic software bullet to handle unwanted reections, and
you cant re-create detail in the computer when glare blows out the highlights
of your exposure. A polarizer handles
this instantly. Another practical lter
for outdoor use is a graduated neutraldensity lter, which can help you rein
in extreme contrast for better exposures
and less postprocessing.
The LensCoat RainCoat 2 Pro shields your camera and lens from rain, snow, salty air and sand
while allowing easy access to controls, even your
lens zoom. The lightweight waterproof material
is available in several colors, including four camouage options.
LENS CLEANING
OPTIONS
Outside the controlled environment
of a studio, youre practically guaranteed
to get dust on your lens. That can be a
relatively minor problem (more time
spent retouching photos) or a major
bummer (scratched lens). Youve invested in precision optics, so make the extra
BAGS FOR
TRIPODS & STANDS
If youll be bringing more than one
tripod, or a tripod and stands for reectors, backdrops and the like, an additional bag to keep organized is a wise
GAFFERS TAPE
Every pro we talked to agrees: Gaffers
tape is awesome, and you need to carry
51
Toolbox
The 4K Resolution
Revolutio
O
ffering four times the image information of high-definition video, this
holiday season saw a big push for
consumer-level 4K televisions from companies like Panasonic and Sony. While
content is still in short supply, its likely
this year will see an even bigger explosion
of new projects, as the means with which
to capture and play back 4K are starting to
come down to affordable levels.
Popular movie rental and streaming service Netix, for example, has been testing
4K video streams, and many of their original
content shows, like House of Cards, are being shot in 4K. Amazon has also announced
several new 4K productions, while Google
and YouTube have been showing off a new
video-compression format called VP9,
making high-quality compression a reality
for streaming 4K video over the Internet
much faster and with better reliability.
Huge new 4K television sets from LG,
Panasonic, Samsung, Sharp, Sony and others are capable of playing back this content, as well as upscaling high-definition
content, and there are also a few new 4K
projectors, like the Sony 4K Ultra Short
Throw Projector, which will turn a blank
wall into a 147-inch 4K display. Several Bluray sets and 3D systems will upscale highdefinition content for playback on these
new sets, as well.
So while you may not feel youre ready
for 4K, if you have any interest in futureproofing your video content, you should
consider a look. Current offerings actually
make 4K productions a possibility, thanks
to new and affordable camcorders and
monitors. Up until 2013, there were a number of 4K-capable cinema cameras from
RED and Sony available for 4K movie productions, but these solutions were priced
for professional filmmaking, and they require a dedicated digital workow to manage the massive amounts of data created
52
CAMERAS, SOFTWARE
AND HARDWARE
AVAILABLE NOW
FOR CAPTURING
AND PRODUCING
ULTRA HD VIDEO
BY DAVID WILLIS
4K CAMCORDERS
Canon EOS-1D C
TABLETS AND
COMPUTER DISPLAYS
53
Toolbox
very close to a display to notice the heightened resolution and sharpness. People sit
very close to computer displays and tablets, however, and with affordable options
finally available on the market, theyre
quickly becoming some of the most exciting ways to enjoy 4K material. Currently,
the only options for full 4K resolution are
professional editing monitors available
Panasonic Toughpad 4K UT-MA6 20-inch tablet
HIGH-POWER
MONOL TS
FOR VERSATILITY IN AND
OUT OF THE STUDIO,
THESE HIGH-OUTPUT
STROBES ARE IDEAL
BY WILLIAM SAWALICH
MONOLIGHT BENEFITS
AND DRAWBACKS
Monolights are inexpensive and
modular because, unlike pack and head
56
Profoto D1
Air 1000
Interfit Stellar X
high-output
monolight
outdoors, short ash durations for freezing motion
are extremely helpful.
Another useful ash feature is called auto-dumping.
With it, strobes automatically
discharge excess power from
the capacitors when the output level is dialed down. Without this feature, the photographer has to
manually discharge (i.e., re the strobe)
when decreasing power in order to empty the capacitor of the excess power.
Fan cooling in monolights is helpful
for dissipating heat from model lamps
and high-strobe wattages, as well as
when using light modiers that retain heatlike snoots, softboxes
and grids.
While its increasingly rare to
nd a ash head that requires
factory service to replace model
lamps and ash tubes, keep an
eye out when shopping for monolights (or any kind of strobe),
as youd hate to have to pay for a
repair for something as simple as
changing a light bulb.
HIGH-POWER
MONOLIGHT MODELS
The Flashpoint 1820A is an inexpensive 900ws fan-cooled monolight. It features stepless power down
to 1/8 outputapproximately 112ws
and low sync voltage to make the strobe
safe for digital cameras via a regular PC
connection without requiring an inline Safesync voltage regulator. Flash
dpmag.com | March/April 2014
57
Tamron
Macro
(roughly 30ws), with a three-second recycle time at full power. The fan-cooled
unit is 20x10x6 inches and weighs just
six pounds. Estimated Street Price: $479.
The Einstein E640 from Paul C.
Buff offers 640ws of power adjustable
in tenth-stop increments over a ninestop rangedown to 1/256 power, or
a miniscule 2.5ws (useful for balancing with low-level ambience). The short
1.7-second recycle time at full power
is complemented by a superfast 113,000
sec. ash duration for efcient actionstopping power. Color Consistency
mode lengthens that ash
duration, but ensures color
precision, making the unit
customizable for a given
shots needs. With alldigital controls and an
LCD display, the fancooled Einstein E640
has low-voltage safe
sync and automatically
senses input voltage to
work worldwide (from
95 to 265 volts). Remote-control capability
is optional via Cybersync,
and the units Easy Set button makes returning to default
settings a snap. A Micro SD card
slot readies the unit for rmware
updates in the future. This feature-lled light is also compact and light, weighing
just 4.3 pounds
59
SOFTWARE
onOne Software
EIGHT MODULES
BROWSER: The Browser Module
is where you get access to your les,
with tools to search and sort. It also
displays basic metadata for a selected
le. Browser also integrates with cloud
storage services like Dropbox, Google
Drive and iCloud Photo Stream for direct access to those lesvery handy if
you use those services.
LAYERS: This Module lets you
work with multiple layers, either copies
of the same photo or for compositing
multiple images. The Layers workspace
has tools to crop, mask and retouch,
along with layer blending controls.
60
LEFT SIDEBAR
detects faces in the scene, and specic facial features to enhance (you can manually add faces it doesnt detect). Tools are
available to retouch skin, whiten eyes
and teeth, and correct color tones.
EFFECTS: Here, youll nd lots
of additional effects you can apply to
a photo: vignettes, borders and more
wild visual effects to achieve a particular
MODULE SELECTOR
Heres where you select the task at hand. Choosing a Module displays tools specific to that activity so
you can focus on just those adjustments. Its a somewhat guided approach as opposed to Photoshop, where
youre left to search among menus for the tool you need.
RIGHT SIDEBAR
61
16
EOS-6D DSLR
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10-22/3.5-4.5
EF-S USM %JHJUBM -FOT
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ED AL (IF) DC WR %JHJUBM -FOT
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SB-910 Speedlight
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Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2014 B & H Foto & Electronics Corp.
Alpha A7 DSLR
24
Mega
Pixels
D5200 DSLR
24
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36
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16
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AF LENSES
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Muse
Selective Focus SLR Camera Lens
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XR LD-IF Di II Digital Lens
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Ringlight Flash
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Auto Shoe Mount Flash
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HOW-TO
Quick Fix
TURN A SNAPSHOT INTO A COOL SHOT WITH SIMPLE, CREATIVE LIGHTING | BY RICK SAMMON
heres an old adage about portraiture: If you want an interesting portrait, dont light the entire
subject. In other words, you can create
interesting lighting by creating interesting shadows. And when it comes
to shadows, keep this adage in mind:
Shadows are the soul of the picture.
Heres something else important to
keep in mind when it comes to light
and shadows. A photograph isnt a picture of an object. Its a picture of light
on a subject. Creative lighting is often
the quick x for a boring portrait.
Hey, one of the reasons why youre reading Digital Photo magazine is because you like how digital effects can enhance a photograph. Im with you.
As much as I may like an image, any image, I usually experiment with plugins to see how they can make it even more creative. For this photo, I applied
the Duplex filter in Nik Color Efex Pro and then added a digital frame using
Image Borders. Explore plug-insthey can help to awaken the artist within.
So, play with light for a quick fix for boring portraits, and remember,
shadows are your friend!
DP
Our friend RICK SAMMON has been writing for this magazine for more than 10 years. Visit with Rick at ricksammon.com to learn more about digital imaging.
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