Popular Photography

AF TE R YO U SH OO T
GET THE
LOOK
P.61
FULL TESTS
NIKON
80-400mm
f/4.5-5.6
P.90
SIGMA
120-300mm
f/2.8
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CANON EOS
REBEL SL1
With great image
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noise, the smallest
DSLR ever gives ILCs
a run for the money
P.73
FULL TEST
FUJIFILM X-M1
No viewfinder?
No problem!
Why youll love the
littlest X-cam... P.82
FULL
LAB
& FIELD
TEST
Prize-Winning Shot P.19 Richmond Riches P.42 Lighting Outdoors P.44 Fall Photo Classics P.48 Hot Food Technique P.54
You stake out a vantage point 800 feet high.

Contort up an antenna not made for climbing.
Defy the downward pull of 60 pounds of gear.
Fight your nerves, trust your equipment,
then lean back as far as you dare.
Just to get one shot.
Finish strong.
i-RH0F1DOO\
Concept submitted by Finish Strong Contest winner Josh Lohmeyer.

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All other trademarks are the property of their respective owners. SanDisk Corporation. All rights reserved.
HOW TO MAKE GREAT PICTURES
FEATURES
61 GETTING
THAT LOOK
Secrets from pro
photographers
and retouchers for
making pictures
that stand out.
By Debbie Grossman
68
SOFTWARE
SOLVER
Follow our handy
chart to help
find the imaging
program for you.
By Debbie
Grossman
54 THOUGHT
FOR FOOD
The revolutionary Modernist

Cuisine cookbooks have
shown us new ways of
looking at food. Now you
can see just how they get
the shots. By Peter Kolonia
48 NEW YORK,
FOREVER WILD
A six-million acre home to

some of the best fall foliage
shooting anywhere, the
Adirondacks are heaven on
earth for landscape lovers.
By Chris Tennant
POPPHOTO.COM
OCTOBER 2013
IMAGE-EDITING REPORT
VOLUME 77, NO. 10
11
PROFESSIONAL
Durable, Affordable
30
NEXT
40 TIPS & TRICKS Add life to your

child portraits with a little leaping.
newest Lumix flips us out with its

generously tiltable electronic finder.
42 TRAVELING
PHOTOGRAPHER Shoot in
12 JUST OUT A Hasselblad compact
and around Richmond, VA, for an

embarrassment of historic riches.
11 WE WANT THIS Panasonics
and new glass from Fujifilm and Nikon.
16 ROUNDUP Shoe-mount flashes

get smaller, smarter, and cheaper.
SHARE
46 YOU CAN DO IT Discover how

airplanes in motion can produce intricate,
after-dark line drawings.
20 MY PROJECT Documenting
73 DSLR TEST
19 PHOTO CHALLENGE
This
months winner: focus-blur fireworks.
the decline of an American hallmark.
24 I, PHOTOGRAPHER Think zoo

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Canon EOS Rebel

SL1 This DSLR is smaller than some ILCs,
but does its petite profile come at a cost?
82 ILC TEST
26 LETTERS You weigh in on the
Fujifilm dropped the finder and the price to

make a perfect entry-level X-cam. Or did it?
magic of lens apertures, the world of photoediting software, and more.
28 TECH TALK We correct a handful

of common photo misunderstandings.
months toppers capture natures color.
HOW
37 CREATIVE THINKING Use

older technologies for futuristic photos.
38 FIX IT FAST Try judicious

cropping to tame a dangerously out-ofcontrol background.
Fujifilm X-M1
88 LENS TEST Sigma 120300mm

f/2.8 DG OS HSM Our report includes a
hands-on test of Sigmas unique lens dock.
90 LENS TEST Nikon 80400mm

f/4.55.6G ED VR One of Nikons mostloved tele zooms shows its true mettle.
DONT MISS . . .
6 EDITORS LETTER
8 SHOWCASE
102 TIME EXPOSURE
108 BACKSTORY
POPULAR PHOTOGRAPHY (ISSN 1542-0337) (USPS 504-890), October 2013, Volume 77, Issue 10, is published
monthly by Bonnier Corporation, 2 Park Ave., New York, NY 10016. Periodicals postage paid at New York, NY and
additional mailing offices. Authorized periodicals postage by the Post Office Department, Ottawa, Canada, and
for payment in cash. POSTMASTER: Send address changes to Popular Photography, P.O. Box 420235, Palm Coast,
FL 32142-0235; www.PopPhoto.com/cs. If the postal service alerts us that your magazine is undeliverable, we
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Visit our website

for more information at
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LAB
photography is only about zoos? No way.
30 YOUR BEST SHOT This
SLIK PRO series tripods use Super

A.M.T. (Aluminum, Magnesium, Titanium)
alloy to make them stronger and lighter
than standard metal tripods.
44 LIGHTING Learn the lingo that

pros use for describing lighting ratios.
4 POPULAR PHOTOGRAPHY OCTOBER 2013
NEWSSTAND COVER: BRIAN KLUTCH (CANON); JEROME BRUNET (B.B. KING); LEWIS HALL (FIREWORKS); JOHN HENLEY (THEATER); IAN SPANIER (JAMIE LITTLE); CHRIS TENNANT (LANDSCAPE); RYAN MATTHEW
SMITH/MODERNIST CUISINE LLC (WOK). SUBSCRIBER COVER: JEROME BRUNET (B.B. KING); BRIAN KLUTCH (CANON). THIS PAGE: AARON MEYERS (LAVA); IAN SPANIER (JAMIE LITTLE). PREVIOUS PAGE:
TRAVIS DUNCAN (FAIR); VANCE JACOBS (SWIMMER); KEVIN TWOMEY (DANDELION); TRENT BELL (BUILDING); RYAN MATTHEW SMITH/MODERNIST CUISINE LLC (BROCCOLI); CHRIS TENNANT (LANDSCAPE).
44
POPPHOTO.COM
EDITORS LETTER
Youve Got That Look

One piece of advice that photographers often hear
is that they need to develop a distinctive look to
stand out from the crowd. Ive said that myself
in the course of portfolio reviews, particularly to
people who want to turn pro (whether as commercial shooters or as artists), as well as to professionals who want to reshape their careers.
But what does having a look really mean? At
its most basic level, it simply means having an
identifiable visual style that ties a body of work together into a cohesive whole.
This can become shorthand for a photographic style. The Avedon look, for
instance, evokes a crisp full-body portrait against a white seamless background, even though Richard Avedon produced a great variety of photographs,
of course, with many different looks.
Photographers usually tailor the look of their images to the subject at hand.
For instance, you might choose a wide angle of view with no visible lens
distortion under the raking light of early morning or late afternoon to capture
a landscape. The sense of vastness and the detailed texture inherent in this
approach means it probably wont be your first choice for shooting an intimate
portrait. But interesting things can happen when you defy conventional expectations, and great images can come even from subtle shifts in the look.
Our feature stories this month showcase photography across this spectrum. In New York, Forever Wild (page 48), physicist and photographer Chris
Tennant depicts the natural beauty of the Adirondacks with a classic style
in keeping with this timeless landscape. Nathan Myhrvold takes us behind
the scenes of a photo shoot for his Modernist Cuisine cookbook series, with its
radical approach to food imagery, in Thought for Food (page 54). And Debbie
Grossman interviews a slew of pros to learn how they use software to set their
work apart in Getting That Look (page 61).
How do you define your own look? A good way to start is to pull together a
large selection of your photosjust your favorites, the ones youre most proud
of. Limit yourself to 50 shots (any more than that and youll get overwhelmed)
and stick to the past three years. If you have prints, spread them all out on the
floor; if youre using a computer, youll need a good image organizer.
Then consider the whole group, purely in visual terms. What do you see,
aside from the subject? Look for commonalities in tone, contrast, point of view,
depth of field, sharpness and blur. Rearrange your photos to bring the similarities and differences into greater reliefthen set the outliers to one side.
Whats left should make the look of your own photography clear. Where you
take it from there is up to you.
NEWSSTAND With its EOS Rebel SL1,

Canon shrank the DSLR. Brian Klutch shot
it fitted with the 50mm f/1.4 Canon EF
lens we used in our lab testing (page 73).
SUBSCRIBER Learn how Jerome Brunet
got B.B. King to look so sharp, and other
imaging secrets of pros (p. 61). Then find
the software that suits your style (p. 68).
EDITOR-IN-CHIEF MIRIAM LEUCHTER

ART DIRECTOR Jason Beckstead
SENIOR EDITOR Peter Kolonia
SENIOR EDITOR Dan Richards
FEATURES EDITOR Debbie Grossman
TECHNICAL EDITOR Philip Ryan
TECHNOLOGY MANAGER Julia Silber
ASSOCIATE EDITOR Matthew Ismael Ruiz
ASSISTANT PHOTO EDITOR Linzee Lichtman
EDITORIAL COORDINATOR Jae Segarra
CONTRIBUTING EDITORS Laurence Chen, Tim Fitzharris,
Lori Fredrickson, Ian Plant, Jeff Wignall
POPPHOTO.COM EDITOR Stan Horaczek
ASSISTANT ONLINE EDITOR Dan Bracaglia
INTERNS Ashley Durkin, Adam Griffith, Justin Lai
IN MEMORIAM Herbert Keppler
EXECUTIVE VICE PRESIDENT ERIC ZINCZENKO

BONNIER TECHNOLOGY GROUP
CREATIVE DIRECTOR Sam Syed
ART DIRECTOR Todd Detwiler
PHOTO EDITOR Thomas Payne
MANAGING EDITOR Jill C. Shomer
ASSOCIATE PUBLISHER ANTHONY M. RUOTOLO (212-779-5481)

CHIEF MARKETING OFFICER Elizabeth Burnham Murphy
VP, INTEGRATED CORPORATE SALES & MARKETING John Driscoll
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POPPHOTO.COM
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SHOWCASE
* FUJIFILM X-M1
RED HOOK, BROOKLYN
PHILIP RYAN
Technical Editor Philip Ryan captured

these old street cars on a cloudy day
with the Fujifilm X-M1 at ISO 200,
1/150 sec, f/11, using the 27mm
f/2.8 Fujinon XF lens. Numerous
adjustments were made during
RAW conversion, and the
image is shown cropped to
about 87% of the frame.
See our lab and field
test of the Fujifilm
X-M1 on page 82.
POPPHOTO.COM POPULAR PHOTOGRAPHY 9
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Come try out the new line of Sigma lenses

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NIKONS NEW DX WIDE-RANGE TELE ZOOM
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HOT NEW FLASHES FOR YOUR HOT-SHOE
16
WE WANT THIS
TILT VIEW
Panasonics newest Micro Four Thirds ILC has a flexible finder

AT THIS POINT, enough retrostyled interchangeable-lens
compacts have been released
for the category to have evolved
with plenty of variations. And
on paper, Panasonics new 16MP
Lumix DMC-GX7 holds its own
against the Olympus Pen E-P5
and Sony Alpha NEX-6.
POPPHOTO.COM
One thing the others dont

have, however, is the GX7s
90-degree tiltable electronic
viewfinder, which lets you shoot
at otherwise impossible angles
while remaining immersed in
the finder. More conventional
features include two dials for
on-the-fly exposure adjustments,
focus peaking, 1920x1080p60

video, and a top ISO of 25,600.
Like the E-P5, the GX7 uses
sensor-shift image stabilization
when paired with lenses that lack
stabilization, such as the new
20mm f/1.7 II, shown above. With
a spec sheet like this, we cant
wait to get it in our Test Lab.
16MP Live MOS

Tilting 3-in. LCD
touch screen
Sensor-shift
stabilization
NFC and Wi-Fi
connectivity
$999, body
only, $1,099
with 1442mm
f/3.55.6, street
panasonic.net
OCTOBER 2013 POPULAR PHOTOGRAPHY 11
NEXT * JUST OUT
BABY
ZOOM
This Nikon packs a long
range in a small package
TIRED OF hauling a lot of heavy

lenses for your APS-C-format
Nikon DSLR? With the new
18140mm f/3.55.6G AF-S DX
Nikkor ED VR ($597, street)
mounted on your DX camera
body, you may not need to. This
light, compact zoom (equivalent
to a full-frame 27210mm) is
wide enough for landscapes but
has more than enough reach to
zoom tight on kids at ball games,
if not a lion on the Serengeti.
Built with one ED element and
one aspherical element to help
control chromatic aberration
and distortion, this lens sports
Nikons Vibration Reduction
system, purported to offer a
4-stop advantage in handholding
throughout its long focal range.
SHINE
ON
Hasselblads luxury
compact oozes class
Sure, this glass

doesnt break new
ground for the Nikkor
lens lineup: The DX
18200mm f/3.5-5.6G ED
VR II ($847, street) and the
DX 18300mm f/3.5-5.6G ED
VR II ($997, street) both cover a
wider focal range. But while its
size is fairly close to that of the
18200mmboth are 3.8 inches
longthis new 18140mm will
save you nearly an inch in length
and nearly a pound in weight
from the 18300mm. And it will
save you several hundred dollars.
So while the range may
be lacking on the long end
compared with these other
lenses, zoom fans on a budget
just may fall in love. And were
Hasselblad Stellar
$1,995, street
hasselblad-stellar.com
HAVE A spare two grand hiding in

the sofa cushions? Hasselblads
Stellar may be for you. Essentially
a redesigned and rebadged Sony
Cyber-shot RX100,
the Stellar ($1,995,
street) maintains
its impressive
stats, including
a 1-inch, 20.2MP
sensor, 28100mm
(equivalent) f/1.8
4.9 Carl Zeiss lens
The barrel
on Nikons
18140mm
f/3.55.6G is
dominated
by rubberized zoom
and focus
rings.
Nikon 18140mm f/3.55.6G DX ED VR

$597, street
nikonusa.com
more than a little curious to

see how this cropped-sensor
all-in-one stacks up on the
optical bench in the Popular
Photography Test Lab.
with image stabilization, and

1920x1080p60 video capture.
Much like it did with the
Lunar (a twist on the Alpha
NEX-7), Hasselblad gussied up
Sonys award-winning compact
with a new chrome finish
and an ornamental wooden
grip. This striking bolt-on
handhugger is available in such
exotic materials as zebra wood,
padouk wood, and mahogany.
Sure, the RX100, with identical imaging cred, streets for
$1,300 less. But for a well-heeled
photographer, the Stellar makes
quite a style statement.
> Using
drones, robots,
and infrared
lights, NatGeo
photographer
Michael
Nichols and
cinematographer
Nathan Williams
shot close-up
video and stills
of the lions in
the Serengeti
without harming
the wildlifeor
themselves.
POPPHOTO.COM
The shot thats hardest to get

is the shot you want.
If youre like professional photographers Floto+Warner, you do whatever

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prints worthy of your efforts. With a Canon PIXMA PRO-1 professional
inkjet printer, you can expect a level of quality and accuracy that keeps
each print true to your unique vision. All backed by Canons commitment
to provide professionals with fast, high quality service you can depend on.
Exactly As You Envisioned.
Learn more about Floto+Warners shoot at usa.canon.com/pro-1
Simulated images. 2013 Canon U.S.A., Inc. Canon and PIXMA are registered trademarks of Canon Inc. in the United States and may be trademarks or registered trademarks in other countries.
NEXT * JUST OUT
FLY-BY WI-FI
> A cardboard
printer?
Maybe.
Samsungs
new concept:
build-it-yourself
printers with
cheaper,
sustainable
materials like
corrugated
cardboard and
polyethelene.
A budget all-in-one
that prints from anywhere
READY TO PRINT without wires?
Canons new Pixma MG3520 allin-one printer makes it easy to
print from mobile devices. With
Apple AirPrint and Google Cloud
Print functionality, this wireless
printer/scanner/copier combo
unit ($80, street) can print photos
and documents straight from
your iOS device or any mobile
platform that supports Gmail
and Google Docs.
An Auto Power function
automatically turns the machine
on when you send a new file to

the printer and off when the job
is done. It can print at 4800 dpi,
scan at up to 1200x2400 dpi and,
for the decor-conscious, comes in
your choice of red, black, or white.
If youre not yet ready to
embrace wireless printing,
Canons new Pixma MG2420
all-in-one printer ($70, retail)
offers similar performance specs
at a lower price, but it lacks the
MG3520s Wi-Fi capabilities.
Canon Pixma MG3520
$80, street
usa.canon.com
X-TRA LONG
Fujifilms newest supertele zoom
ONLY THE second lens in Fujifilms budgetconscious XC line of glass for its X-series ILCs,
the new 50230mm f/4.56.7 OIS offers a
75345mm full-frame equivalent focal range in
a compact package. This casual-shooters zoom
dovetails nicely with Fujifilms smaller, lessexpensive X-M1, tested in this issue (page 82).
With such a big focal range, it should serve
for everything from portraits to birding. Its
reach comes at a cost, thoughthe maximum
aperture at the telephoto end doesnt allow for
shallow depth of field, and you'll need a fair
amount of light or a high ISO there, too.
Fujifilm 50230mm f/5.66.7 XC Not yet available fujifilmusa.com
> New
updates to
Google Glass,
the augmentedreality specs
from Google:
Resolution for
still capture is
up to 5MP, and
video maxes
out at 720p.
> Gesture
Control, a
new feature
in Nikons
Coolpix S6600
compact, lets
you use hand
gestures in selfportrait mode
to zoom and
record.
> Sunday
Night Football
will now have
360degree
replays, thanks
to Replay
Technologies
new 12-camera
system.
> Metro
Imagings
Metroprint
app lets you
make 5x5-inch
prints of your
Instagram
images on
either glossy or
matte Fujifilm
Archive paper.
Corel
PaintShop
Pro X6
Now Turbo-Charged
Corel PaintShop
Pro has long been a
powerful alternative
for PC-users who
didnt want Adobe
Photoshop. Now,
in version X6 ($99,
full; $79, upgrade),
the software is even
better. In 64-bit
mode, processing is
noticeably speedier,
and its redesigned
interface is a pleasure
to use. Given the mixed
reviews of Adobes
Creative Cloud, now
may be Corels chance
to lure users to switch.
THE LOWDOWN
SONYS RX: MORE COMPACTS
Sony recently announced its quarterly
results for the quarter that ended on
June 30and in doing so, hinted at
moving to grow the high-end compact
camera market. In the report, the
company said it aims to enhance its
profitability through initiatives such
as adding new models to the DSC-RX
series. A logical plan, no doubt, since
Sony provides the sensors for most of
the markets large-sensor compacts.
POPPHOTO.COM
Available now for just US$149. Learn more at adobe.com/go/lrphoto

2013 Adobe Systems Incorporated. All rights reserved. Adobe, the Adobe logo, Lightroom, and Photoshop are either registered trademarks or trademarks
of Adobe Systems Incorporated in the United States and/or other countries. All other trademarks are the property of their respective owners.
NEXT * ROUNDUP
TOOLBOX
GO MANUAL
LumoPros LP180
can keep up
with hot-shoe
flashes that cost
hundreds more,
but you give up
TTL metering.
HOT
FLASHES
HOT-SHOE flash units pack a lot of light into compact packages.

While they will never replace studio strobes, they can fill
shadows in bright sunlight, provide portable solutions for offcamera lighting needs, or even just help you get that must-have
shot when there isnt enough light. The late-model units shown
here can help illuminate your scene.
Sony HVL-F43M $398

This dust- and moisture-resistant TTL Multi-Interface Shoe flash is
compatible with Sonys A-mount, E-mount, and Cyber-shot systems, and it
has an additional constant-source LED for video shooting. A unique design
allows for easy rotation between landscape and portrait orientation.
Metz Mecablitz 52 AF-1 $300

This German company says its new TTL flash has the first touch-screen
display on any camera-mounted unit. Sold bundled with a slave stand, it
sports a USB interface for installing updates, and comes in Canon, Nikon,
Olympus, Panasonic, Pentax, and Sony flavors.
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SHARE
CONVERSATION, INSPIRATION, CONTESTS, AND YOUR QUESTIONS ANSWERED
THE DEATH OF A NEWSPAPER
20
AT THE ZOO WITH JULIE MAHER
24
YOUR PHOTOS, NATURES COLORS
30
PHOTO CHALLENGE
FIRE
FLOWER
Beautiful blur and bokeh

wins our fireworks challenge
LEWIS HALL
EQUIPPED WITH a Canon EOS 60D,

a tripod, a lawn chair with two
cupholders, and a cooler filled
with drinks and snacks, Lewis Hall,
68, was ready to watch the Friday
fireworks in Kemah, TX. This tourist town hosts weekly fireworks
shows over the Galveston Bay in
the summer, and the Texan from
POPPHOTO.COM
League City was feeling creative.

A friend found a focus blur technique, he says, and I thought it
was very interesting.
Experimenting with various
shutter speeds on the Bulb setting, Hall zoomed his 18200mm
f/3.55.6 Canon EF-S IS lens in
Hall adjusted
levels in
Adobe
Photoshop
CS5 to
eliminate
remnant
smoke.
and out, and manually transformed the fireworks streaks

into dotted blades. His nearly
3-second exposure, at f/9 and ISO
200, answered our call for your
best shots of fireworks. His biggest
challenge? The Texas mosquitoes.
Matthew Ismael Ruiz
In Thought for Food (page 54), Nathan Myrhvold gives his tips for food photography.
Show us your best culinary shot (you dont have to cut a pot in half) by October 31, and
you could win $100 and your photo here. The rules are at PopPhoto.com/contests.
SHARE * MY PROJECT
The Storytellers
WILL STEACY
An intimate look at
life in the Philidelphia
Inquirers newsroom
FOR WILL STEACY, telling stories
runs in the blood. Steacy, 33
(willsteacy.com), is a fine-art
photographer who grew up in
Philadelphia and comes from
five generations of newspaper

men. So after years of relying
on newsprint to inform work
documenting socioeconomic
issueslike decrepit living
conditions in New Orleans
post-KatrinaSteacy turned
his camera on his hometown
newspaper, the Philadelphia
Inquirer, and Deadline was born.
Steacy got access with help

from his dad Thomas, the papers
national/foreign editor. Starting
in 2009, he spent four years
visiting the newsroom where
the staff put stories together and
the printing house where they
were put to paper. He exposed
thousands of large-format Kodak
Portra negatives with his tripod-
The Inquirers
public health
reporter Don
Sapatkin
in the
newsroom
at the
Elverson
building.
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WILL STEACY (6)
SHARE * MY PROJECT
Clockwise,
from top
left: editorial
cartoonist
Tony Auth;
printing
press; rolls
of paper;
empty newsroom at the
Elverson;
skeleton
crew on
moving
day; the
circulation
department.
mounted K.B. Canham 4X5 field

camera. Wanting to witness every
step of the process, Steacy often
worked 16-hour days, and in the
process, grew close with the staff.
I spent a lot of time having really
long in-depth conversations with
reporters, editors, mail room
guys, you know, just talking with
people, he says.
Steacy watched the paper
struggle to cope with falling
revenues, lay off many of its
writers and editors (including his
father), and get priced out of its
historic home in Philadelphias

iconic Elverson Building. The
departure from the Elverson
was a particularly bitter loss,
Steacy says, and for many
observers came to embody the
industrys great decay. Many of
his photographs portray the slow
disintegration of the newsroom as
the staff moved to the third floor
of a renovated department store.
At the Inquirer, years of staff
cuts have taken their toll on the
paper. While its writers collected
an astonishing 17 Pulitzer Prizes
in the two decades before 1990,

the two decades since thena
time marked by regular rounds
of lay-offshave seen only one.
Steacy, who hopes to publish
Deadline as a book by early 2014,
hopes to draw attention to
newspapers human element.
But above all, Steacy is grateful
for the opportunity to experience
the world from his fathers point
of view. This project is a love
song to my father. It honors him
and what he devoted his life to.
Adam Griffith
POPPHOTO.COM
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SHARE * I, PHOTOGRAPHER
Julie LarsonMahers job
as a staff
photographer for
the Wildlife
Conservation
Society
takes her
far beyond
the animals
at the Bronx
Zoo and
other New
York City
zoos to
capturing
conservation
efforts all
over the
globe. See
more of
her photos
at www.
julielarson
maher.com.
Zoo Keeper
Shooting in the Bronx & beyond
How did you get this cool job?
DAN BRACAGLIA
Ive been with the Wildlife Conservation Society for 20 years.

I started as the art and design
director and worked with the staff
photographer. When he retired, I
got his job. There have been only
six people in this position in 116
years, and Im the first woman.
Whats your typical day? No two

days are alike, but typically Im
at the Bronx Zoo, photographing
the animalsespecially if there
are newborns. That can be a
quick shoot, or a lot of sitting and
waiting for the right opportunity.
Then I might have shoots that
involve people, either visitors
or events, and in the evening a
fundraiser at the Central Park Zoo.
And in the field? I travel to
pretty remote locations with a
field conservationist. I document

every aspect of how we are
working towards conservation
of either a wild place or wildlife.
For example, in Zambia, where
people were killing elephants to
make money from the ivory, the
WCS worked with them on an
alternative livelihood program
that involved bee-keeping and
farming, and they turned over
their guns and snares.
Whats easier, the zoo or the

wild? The zoo is easier in that
the animals are right there; the
problems are the parts of the
enclosures, like glass or fencing,
that you have to get out of the
photo. In the field, sometimes it
takes a long time just to find the
animal. In Ecuador, the area was
so heavily poached that we went
several days without seeing any.
Any tips for the zoo? Treat it like

any photo assignment and plan
in advance. Spend more than one
day therepick one area to spend
the whole day in and one subject
to photographbut be prepared
to change your plan according
to where the best light is. Pay
attention to feeding times, which
are often posted online, because
the animals are alert and wait for
the staff to come. Shooting through
glass is a big challengestand at an
angle to reduce both the reflection
and the appearance of the glass. If
the animal is back about 10 feet,
use a wide-open aperture to shoot
though a fence so it disappears.
How you like to portray animals?
Often the assignment will include
what type of shot the WCS is
looking for. If its a new or newborn
animal, Im usually assigned to
just get what I can, but sometimes
I go back a second or third time
to watch their behavior, because
each time something different will
happen. There are a lot of moments
I have to be prepared to get, like
mother and baby interaction.
What gear do you use most? A

Nikon D3. I have 2470mm and
70200mm f/2.8G Nikkors, and an
80400mm f/4.55.6 in my everyday
kit, and I use Vibration Reduction,
which helps when Im riding in
bumpy vehicles or when an animal
is in motion. I use a monopod in the
zoos since tripods arent allowed. I
have a Nikon Close-up Speedlight
Commander Kit R1C1 that works
well for insects and frogsits like
a mini studio and allows me to get
really close with a 50mm macro.
Whats your favorite subject to
shoot? I havent met an animal I
didnt like, and I try not to have a
favorite. Whether its a snake or a
baby monkey, there is something
unique about each animal.
Interview by Kathleen Davis
POPPHOTO.COM
New York Institute of Photography
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SHARE * LETTERS
WRITE TO US!
POPPHOTO@BONNIERCORP.COM
F/ing Great
I appreciate your article F-stop It (Tech Talk, August
2013). I didnt know how the numbers are calculated,
and I learned why some lenses dont have a fixed
maximum aperture (although my wallet already knew
this). In any case, you successfully managed to take a
complicated subject and put it into simple terms that
any novice could understand. A job well done.
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Katonah, NY
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SINCE SUBSCRIBING to Popular
I AM very suspicious of your
Photography, I noticed an excessive

emphasis on Adobe Photoshop,
not only in Software Workshop,
but in other photos as well.While
Photoshops Shake Reduction
feature is interesting, it is not
very useful to those that cant
afford Adobes new subscription
service.Why not mention
techniques using other software?
While you mention other
commercial photo software in your
news section, Popular Photography
seems to have left out software
interests for amateur and serious
hobbyist photographers, focusing
only on Adobe Photoshop. Its a
shame, because there is so much
more out there.
Ron Yorko
Tampa, FL
photo of the climber supposedly

taken by Jimmy Chin Constant
Companion (August 2013). It is
definitely clear to my aging eyes
that it was taken by a tall, longhaired young lady with upturned
nose sitting on a rock focusing
her older box camera. Her pop-up
flash is also ready to go. Not
convinced yet? Check out the
shadow on the right hand side of
the page. Nice try, Miriam.
Dave Mitchell
Marietta, GA
EDITORS NOTE: This is your

month. In Getting That Look
(page 61), Debbie Grossman talks
to postproduction pros who use
software such as Photomatix Pro,
Phase One Capture One Pro, and the
Nik software suite. On page 68, youll
find a chart designed to help you pick
which of 12 programs is right for you,
from ultra-simple to truly complex.
As for the photos we run, we dont
care what software was usedwe
just want the best images.
HOW TO CONTACT US
Address your questions or
comments on editorial
content to Popular
Photography, 2 Park Avenue,
New York, NY 10016; e-mail,
PopPhoto@bonniercorp.
com. Published letters may
be edited for length and
clarity. We regret that we
cannot answer all letters.
Editorial contributions sent
by mail must include return
postage and will be handled
with reasonable care;
however, we assume no
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SHARE * TECH TALK
IAN PLANT
MAXIM: For best polarization of
GET IT RIGHT
The straight scoop on some misconceptions
about photography bouncing around the Web
blue skies, photograph at right

angles to the sun.
FACT: This maxim has been around
since there have been polarizing
filters, but what does it mean? A
great many people think it means
to shoot 90 degrees off-axis in the
two-dimensional planein other
words, to shoot with one of your
shoulders aimed roughly at the sun
as you face your subject.
Yes, you can get polarization
there, but thats not what the
guideline actually means. Consider
the right angle here in three
dimensions. Think of the suns
rays as an arrow, and picture it
striking an imaginary bullseye
target at a right angle. The band of
maximum polarization will extend
in an arc around the targets edge.
The diagram on the opposite
page illustrates this. (With the
sun directly overhead, the band
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MAXIM: For acceptable sharpness in handheld shots, use a

shutter speed the reciprocal of
the focal length of the lens or
faster (e.g., at least 1/200 sec
with a 200mm lens).
FACT: Oh, the bandwidth
thats been chewed up on how
this rule applies to sensor
formats other than full-frame!
Here it is, folks: This (entirely
coincidental) rule of thumb
works only with the full-frame
35mm format. Period.
Its all about magnification:
The greater the magnification,
the more hand shake can show
up as image blur. Cameras
with APS-C-sized sensors have
a magnification factor 1.5 or
1.6 times full-frame cameras.
For the reciprocal "rule" to
work with them, you would
need to use the full-frame
equivalent focal length. So for
a 200mm lens on an APS-C
sensor, youd need to shoot at
1/320 sec or faster.
This is only a guideline, and
a loose one at that; all sorts of
other factors come into play.
For instance, magnification
also increases as you get closer
to the subject. So if you are
handholding a 100mm macro
lens at 1:1 magnification, it
is unlikely that you will get a
sharp shot at 1/100 sec.
Magnification can also occur
after the shot. If you blow up
Contributing
Editor Ian
Plant forgot
that he had
a polarizer
on his
24105mm
f/4L Canon
EF lens for
the scene
at Olympic
National
Park, on
the facing
page. The
wide field
of view, and
the angle
to the sun,
produced
a blotch of
polarization
down the
middle of the
frame.
that photo you took with a 20mm

lens at 1/20 sec to, say, 20x24
inches, youre likely to see blur
that wasnt apparent at a smaller
print size.
MAXIM: The Four Thirds in the

Four Thirds System refers to the
aspect ratio of the sensor format.
FACT: At 17.3x13mm, the Four
Thirds sensor is indeed nearly
POLARIZED
AREA
exactly a 4:3 aspect ratio. But thats

not where the name of the system
comes from. Its a reference to
4/3-inch, a standard size for nowobsolete video camera tubes that
had about the same imaging area
as the Four Thirds sensor.
This factoid may not help your
picture-taking, but it will let you
be the smarty-pants in your next
gathering of geeks. Dan Richards
90
WESLEY FULGHUM
will appear circling along the

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The deepest
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angle of
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SHARE * YOUR BEST SHOT
Natural Hues
This months winners all draw on the colors of nature
Want to
enter? Get
the official
rules and
upload your
images at
PopPhoto.
com/
contests.
3rd Place $100 Prize
JITINDAR CHADHA, 58, RETIRED

BANKER, NEW DELHI, INDIA Early one spring morning on the course of the Delhi
Golf Club, I came across a family of spotted owls I had found near the fifth hole
the day before. They were up on a tree, so I had to back off a littleI wanted the
tree to frame the owls. The wide-eyed young owl had been peering out of the
hole for some time, and a number of people had gathered to see it. After some
time, the two elder owls appeared, seemingly disapproving of the attention.
TECH INFO: Canon EOS 7D with 70200mm f/2.8 Canon EF IS lens; exposure, 1/60 sec at
f/4, ISO 100. Cropping and minor edits in Adobe Photoshop CS6.
2nd Place $200 Prize
MARCO CRUPI, 43,

PHOTOGRAPHER, WESTWOOD, NJ (MARCOCRUPI.COM) Driving in New Jersey late
one autumn afternoon, I noticed this scene out of the corner of my eye. Having
gone past it, after about five minutes I made a U-turn. The location gave me a
sense of peace and solitude; there were not many people around this body of
water. The fading sunlight illuminated the leafless treetops, making them appear covered in fall leaves.
TECH INFO: Canon EOS 5D Mark III with 35300mm f/3.55.6L Canon EF lens (at 75mm) with circular polarizer, mounted on a Vanguard
tripod with Manfrotto ballhead; 1/80 sec at f/6.3, ISO 200. Saturation, vibrance, and sharpening adjusted in Adobe Photoshop CC.
POPPHOTO.COM
NOW EVERY PHOTOGRAPHER

CAN ALSO BE A VIDEOGRAPHER
GH3
GX7
Photography by Lumix Luminary Rick Gerrity
Hybrid is changing photography

These days, its all about the creative blending of photos and video. Thats the excitement of
hybrid photography. Now, with three Lumix G-Series DSLMs to choose from, everyone can get into
it. Enthusiasts will like the built-in effects and autofocus controls of the compact G6 for smooth
full-HD videos with simultaneous photo capture. Professionals will like how the acclaimed GH3
expands their portfolios by integrating high-end photos with the 1080/24p-Cini standard full-HD
video and Dolby Digital Sound they need to meet demand for multimedia content and eProducts.
And everyone will like the new GX7 for its ability to discreetly change viewing perspective with a
tiltable, color-accurate live viewfinder. All G-Series cameras come with easy touch-LCD controls
for creating and editing great content on the fly. With more G-Series DSLMs to go around, every
photographer can get into hybrid for fun or profit.
Lumix G. The ultimate in hybrid photography. Learn more at panasonic.com/hybrid.
G6
SHARE * YOUR BEST SHOT
1st Place
$300 Prize
AARON MEYERS, 30, ELECTRICAL
ENGINEER, MENLO PARK, CA
Inspired by photos from the
likes of CJ Kale and Nick Selway,
I took a group tour to Hawaii
Volcanoes National Park on the
Big Island. We hiked two miles
across hardened lava to get to
the current flow. I had to wait
until the wind picked up to blow
some of the steam away from
the lava so I could get a view of it
coming down the rocks.
TECH INFO: Nikon D800 with
80200mm f/2.8D ED AF Nikkor (at
145mm) on Feisol tripod and Acratech
GP-ss ballhead; Lava: 0.4 sec at f/6.3,
ISO 800. Water: 1/160 sec at f/2.8,
ISO 6400. Crop, white balance, and
curves adjusted in Adobe Photoshop
Lightroom 5; compositing, dodging,
and burning in Photoshop CC.
BRAZIL & ARGENTINA
March 14-22, 2014
Javier Etcheverry
Luciana Whitaker
REGISTER AT WWW.MENTORSERIES.COM
For more information, call toll-free 888-676-6468.
Luciana Whitaker
FOLLOW US ON
Mentor Series Worldwide Treks
In March 2014, Mentor Series and Nikon professional photographers

Layne Kennedy and Wolfgang Kaehler travel to South America to
experience the resonant beauty of Buenos Aires and Rio de Janeiro
and the natural wonders of Iguassu National Park.
A destination rich in history, politics, and the avant garde, Buenos
Aires is home to the tango and one of the largest cities in the world.
A tour of the city will take us to the Plaza de Mayo, with its views of
the Presidential Palace, and the neighborhood of San Telmo, where
the colonial architecture, narrow streets, and low buildings reect the
citys European heritage.
Also in Buenos Aires, well visit the neighborhoods of La Boca, an
Italian working-class neighborhood characterized by its colorfullypainted metal houses, and Palermo, known for its grand open spaces
and beautifully-maintained botanical gardens. In Recoleta, one of the
most fashionable districts in Buenos Aires, well visit the Cemetario de
la Recoleta, the burial place of Eva Pern.
We depart Buenos Aires with our mentors for Iguassu National
Park, home to Iguassu Falls, one of the largest and most impressive
waterfalls in the world. Situated on the border between Argentina
and Brazil, the semicircular waterfall stretches up to 269 feet tall and
1.7 miles wide. Well follow the trails of Iguassu National Park to nd
the best vantage point for photographing Devils Throat, the highest
and deepest of the falls.
Continuing on, we arrive in Brazil and the vibrant city of Rio de Janeiro,
known for its breathtaking landscape, relaxed culture, and annual
Carnival celebration. The harbor of Rio de Janeiro is surrounded by
Sugarloaf Mountain, Corcovado Peak, and the hills of Tijuca, which
create a spectacular conuence of city and sea.
Diego Giudice
A two-stage cable car ascent to the top of Sugarloaf Mountain will

provide excellent opportunities to photograph the dramatic panorama
and the emblematic statute of Cristo Redentor (Christ the Redeemer),
which stands high atop Corcovado Peak.
On a private tour of Rio, well visit the Sambodromo, where the
elite Samba schools of Brazil compete in a spectacular performance
of rhythm and dance each Carnival season, and the Metropolitan
Cathedral of Saint Sebastian, a landmark structure that has standingroom capacity of 20,000 people.
Sign up today and set your sights on Argentina and Brazil!
SCHEDULED TO APPEAR
Limited to 20 Students per Instructor
Special thanks to our premier sponsor:
LAYNE KENNEDY
WOLFGANG KAEHLER
National Geographic Traveler

Smithsonian
Smithsonian
National Geographic
Land Only Workshop Cost: $4,875

includes photo workshop fee, 4-5 star hotel accommodations (based on double occupancy),
domestic air Buenos Aires (AEP) Iguassu (IGR) and Iguassu (IGU) to Rio de Janeiro (GIG),
breakfast daily, 1 group dinner, Iguassu Falls Park fees/entrance fees and train on Argentine side
for Upper Trail with Devils Gorge, all entrance fees, english speaking tour guide, transportation
to all shooting locations, daily lecture series, presentations and group review sessions.
D7100
COOLPIX A
D800
Come to Brazil and Argentina and try out

some of the latest equipment that Nikon offers
including their high-performance HD-SLRs,
NIKKOR lenses, the Nikon 1 System, and a variety
of COOLPIX compact digital cameras.
With additional support from:
READERS
2013PHOTO
20th Annual
CONTEST
The 20th Annual Popular Photography Photo Contest

gives photographers the opportunity to win prizes and
have their work recognized in the January 2014 issue of
Popular Photography, the largest photo magazine in the
world, as well as on our website, PopPhoto.com.
Categories
ACTION/SPORTS
ANIMALS
CITIES/ARCHITECTURE
LANDSCAPE/NATURE
OBJECTS/STILL LIFE
PEOPLE
PEOPLES CHOICE - PopPhoto readers will vote for their

favorite image! All entrants will automatically be entered
in this category.
Submissions
The competition is open to work produced from June
2012 October 2013. All submitted artwork should be of
reproduction quality.
ENTRY FEE:
DEADLINE:
$10
October 20, 2013
Credits (clockwise): MB Birdy, Ben Goode, Jacom Stephens, Jasmina007, Kent Weakley
For a complete set of contest rules, prizes or to enter,

please visit: www.PopPhoto.com/readerscontest2013
The Readers Contest, sponsored by Popular Photography magazine, a publication of Bonnier Corporation, is open only to individuals who are sixteen
(16) years or older at time of entry, excluding residents of Cuba, Iran, North Korea, the province of Quebec, Sudan, Syria, and any other jurisdiction
where this contest is prohibited by law. To enter and for complete Ofcial Rules, visit http://www.popphoto.com/readerscontest2013 between May 13,
2013 and October 20, 2013.
HOW
LEARN NEW TRICKS FOR BETTER LOCATION PORTRAITS
40 44
SHOOT RICHMOND FOR CULTURE
42
MAKE LINE DRAWINGS AT NIGHT
46
EXPERT TIPS AND TECHNIQUES FOR BETTER PHOTOS
CREATIVE THINKING
DARK
SIDE
JORGE SATO
Try yesterdays technology to depict tomorrow

FOR HIS highly successful series
of futuristic cityscapes, So Paulo
Neo Noir, Brazilian photographer
Jorge Sato (www.jorgesato.com)
took his inspiration from classic
science fiction films such as Blade
Runner, Alien, and 2001: A Space
POPPHOTO.COM
Odyssey. They were my North,

he says. I really admire their
somber, deep, and mysterious
atmosphere, and didnt want
to document the city using
the traditional photographic
aesthetics. Instead, my idea was
For more of
Satos So
Paulo Neo
Noir essay,
go to www.
jorgesato.
com.
to present dark, futuristic So

Paulo scenes, while intimating a
dream-like, neo-noir narrative.
To convey his vision of a
dystopian future, Sato rejected
precise exposures, sharp focus,
bright light, or clearly rendered
HOW * CREATIVE THINKING
Saiful Islam
came across
this monkey
in a forest in
Sylhet, in his
homeland of
Bangladesh.
He used
a Nikon
D3100 and
55200mm
f/4.55.6G
AF-S DX
Nikkor lens.
Exposure:
1/200 sec at
f/5, ISO 400.
SAIFUL ISLAM
detail. Instead, he chose photographic tools that left much of

the imaging to chance. He shot
with the low-fidelity Lomography
LC-A+ 35mm film camera,
with its edge-vignetting 32mm
f/2.8 lens, zone focusing, and
plastic housing. It allowed this
photographer minimal control of
focusing and none over shutter
speed or aperture selection. His
only way to influence exposure
was in changing the ISO setting
for the film he was shooting, in
this case, Kodak Colorplus 200.
To further convey his vision
of a murky, enigmatic future,
Sato created this image from two
in-camera multiple exposures.
One subject is a fountain and the
other is a monument, both in
So Paulo. The result is a strange
foreshortened effect that creates
its own feeling of unreality.
The image is also an example
of the classic day-for-night
shooting technique. Sato underexposed (via ISO settings) the
daylight scenes by about a stop
each to imitate night. He also
used a special Lomo masking
filter over his lens. Called the
Lomo Splitzer, the filter has
two adjustable blades that let
Sato darken some areas while
maintaining detail in others. The
darker image edges here were
also the result of the Lomos
famous edge vignetting.
Few of the photographs effects
resulted from digital processing.
All the blends and multiple
exposures were created straight
on film, says Sato. What I did
in Adobe Photoshop was adjust
contrast and color a bit.
All of the images in the series
carry evocative titleshe called
this one Ascension. Sato explains, I saw this monumental
fountain rising like a spaceship
taking off for outer space. I
consider it definitely more a sci-fi
image than noir. Peter Kolonia
FIX IT FAST
Square Deal
Doing battle
with a background
WHILE WE are firm advocates of

off-center compositions and outof-focus backgrounds, those two
fight the subject in Saiful Islams
portrait of a pensive monkey. Too
much and too brightly colored a
background is the culprit.
As the monkey is already going
off the edge of the frame, we
cropped to a square for better
DID YOU KNOW?
balance. In a Shadow/Highlight
layer in Adobe Photoshop CS6,
we brought up shadow detail in
the monkeys eyes. Using masks
and Adjustment Layers, we both
darkened and desaturated the
background with Curves and Hue/
Saturation; we slightly desaturated
the fur, on another layer as well.
Finally, we sharpened detail on the
monkey using Smart Sharpen.
Total time fixing: 20 minutes.
Dan Richards and Debbie Grossman
DECIMAL F-NUMBERS
MOST HIGH-END exposure meters (such as the Sekonic L-758DR Digital Master
seen in this months Lighting, page 44) show decimal f-number readouts, dividing the
intervals between f-stops into 1/10-stop gradations. This allows pros to make very
fine adjustments to the lighting ratios in multi-light setups, but to the uninitiated, the
numbers can look very weird. For example: f/2.8.7, or f/16.3. The former is 7/10 stop
(about 2/3 stop) up from f/2.8; in conventional f-number lingo, it would be f/3.5. The
latter is 3/10 stop (about 1/3 stop) up from f/16, and would be f/18 in conventional
notation. Of course, the traditional f-number sequence is also pretty weird, but those
are the numbers that come up on our camera exposure settings. By the way, to avoid
confusion in Lighting, we converted decimal f-numbers to their traditional equivalents.
POPPHOTO.COM
The moment a passion

becomes the love of your life.
This is the moment we work for.
// FASCINATION
MADE BY ZEISS
Touit 2.8/12 and Touit 1.8/32

Introducing the new ZEISS Touit lensesfor photographers who are passionate about their image
making. Designed for the Sony NEX and Fujilm X Series cameras, these luxurious autofocus lenses
deliver the legendary precision and performance of ZEISS optics, for stunning images that go straight
to the heart.
www.zeiss.com/touitfascination
HOW * TIPS & TRICKS
Luxi Light Meter
QUICK TIP
JUMP SHOT
LAUREN ROSENBAUM
Make your child

portraits take flight
HAVING A subject jump is
one way to break tension in
a photo shoot and produce
an unconventional portrait.
Philippe Halsman, one of the
20th centurys top portraitists,
posed dozens of his celebrity
subjects in mid-air.
Lauren Rosenbaum likes
jump shots, too. Living in the
San Francisco Bay area, shes
an avid photographer with
three kids whom she values as
a nonstop supply of models
to practice on. Jump shots,
MEDIA MANAGEMENT
she says, are great for the

expressions they produce,
especially with kids. Here are
some tips for jumping juniors:
Have the child count to three
and then jump. Try to capture
the expression as the child
forms the word three.
Keep shooting. The moments
after the child lands often
produce the best smiles.
Look for contrasting
backgrounds. You want the
jumping figure to pop off the
background. That wont happen
if the child and the background
have the same tonalities.
Peter Kolonia
Lauren
Rosenbaum
shot with
a Nikon D3
and 85mm
f/1.4G AF-S
Nikkor lens,
exposing for
1/6400 sec
at f/1.4, ISO
100. That
fast shutter
speed helped
her capture
the child
sharply.
PUT IT ALL IN THE CLOUD
While our devices, apps, and social media networks make it simple to share images, bringing them all
together for easy viewing is a chore. Enter Everpix, an intuitive-to-use service that pulls your pictures from all
your devices and apps into a simple, cloud-based location for effortless sorting and viewing. Upon signup, tell
Everpix where it should pull your photos from. It can grab them from places like Facebook, Instagram, Gmail,
Aperture, your phones camera roll, your computers hard drive, and more. Version 2.0 offers a mobile user
interface (iOS only, for now) to show off all of your images wherever you are. The free version will archive your
pictures going back up to one year from the current date, or you can pay $49 a year (or $4.99 a month) for a
premium account that will archive everything ad infinitum.
Dan Bracaglia
What it is: A domeshaped diffuser from

Extrasensory Devices
($30, direct; www.
esdevices.com), it
works with an iPhones
built-in camera and the
Luxi iOS app to convert
the smartphone into
an incident lightmeter
for setting exposure
on any camera that
allows manual control.
How it works: The
Luxi snaps over an
iPhones front-facing
lens, where it diffuses
light falling on a
scene to produce an
exposure reading you
use to set your camera
in manual mode.
Why use it: By
measuring the incident
light, rather than
light reflected from
your subject, you
can produce a more
accurate exposure,
especially with light- or
dark-toned subjects.
POPPHOTO.COM
HOW * TRAVELING PHOTOGRAPHER
Rich Richmond
JOHN HENLEY
Nature, culture, and architecture in Virginia
THE WONDERFUL thing about

photographing Richmond is
the opportunity to capture
the James River and the city
in juxtaposition, says pro
photographer John Henley who
calls Richmond, VA, home. And
then, not far from there, you can
photograph a river that looks wild
and remote. And autumn, when
ground fog often clings to the
river at sunrise, he adds, proves
an optimum time to explore.
Henleys picks for premium
river and city views: Belle Isle,
a 54-acre island (accessed via
footbridge from Tredegar Street)
and the Pony Pastureboth
parts of the James River Park
System. Belle Isle offers views
of the river and the skyline and
the Pony Pasture offers a wilder,
more natural view of the rapids.
Also cool: the 3.2-mile
Floodwall Walk, a levee that
follows the rivers edge and
provides panoramic city views
and wildlife photo opportunities.
For a close-up look at the
citys past, check out the Fan
districtan 85-block area of
late 19th and early 20th century

neighborhoods that brims
with history. Henley suggests
exploring along Monument
Avenue. Start at Stuart Circle
where Confederate General J.E.B.
Stuarts monument stands in
front of a beautiful old church,
he advises.
From there, stroll west along
the grassy median to view
the Robert E. Lee, Jefferson
Davis, and Stonewall Jackson
monuments. Head south and
west from here crossing N.
Boulevard into the museum
district: the Virginia Historical
Society and the Virginia Museum
of Fine Arts den) are highlights.
Dont miss the citys most
historic stop: St. Johns Church.
Patrick Henry delivered his
famous liberty-or-death speech
there (with George Washington
and Thomas Jefferson looking
on). It is a charming old
building surrounded by very old
gravestones located in Church
Hill, a lovely neighborhood
and the oldest in the city, says
Henley.
Jeff Wignall
Richmond
Centerstage,
with its
Victorian-era
architecture
both inside
and out, is
the cultural
hub of
downtown.
This photo by
John Henley
shows one
of its several
stages, the
famous
Carpenter
theater,
which boasts
big mosaic
murals and
twinkling
ceiling lights
that mimic
the night
sky.
HISTORY CITY
The entire city of Richmond is like
a reality theme park of colonial,
revolutionary, and Civil War
history. Here are some top stops:
O
RICHMOND SLAVE TRAIL
Begins at Manchester Docks in Richmond
Between 1830 and 1860, Richmond

was the largest source of slaves
on the East Coast, and this trail
offers many reminders of that grim
era: Manchester Docks, where up
to 10,000 slaves a month were
processed; Lumpkins Slave Jail;
auction houses; and the Negro Burial
Ground. www.visitrichmondva.com;
www.richmondgov.com
OPAMPLIN HISTORIC PARK
AND NATIONAL MUSEUM OF
THE CIVIL WAR SOLDIER
Near Petersburg in Dinwiddie County
This 424-acre compound includes

museums, antebellum homes, and
recreated encampments with costumed
interpreters. (Photography permitted
outdoors only.) pamplinpark.org
OLEWIS GINTER BOTANICAL
GARDEN 1800 Lakeside Avenue
Sprawling across 50 acres once owned
by Patrick Henry, the gardens feature
more than a dozen themed areas,
including Asian, rose, Victorian, sunken,
healing, and childrens gardens. A
domed conservatory provides shelter
on rainy days. www.lewisginter.org
O
MAYMOUNT 2201 Shields Lake Drive

This rambling 100-acre Victorian estate
remains just as its Gilded-Age residents
left it in 1925. Photograph the original
mansion, a Japanese garden, an
arboretum, outbuildings and garden
features. maymount.org
POPPHOTO.COM
INTRODUCING!
PopPhoto Poses with Lindsay Adler is the essential posing guide for photographers
looking to add creative and unique posing options for their clients.
Each photo includes the tips and techniques to easily direct and shoot the bridal
couple on their special day.
NOW E
LABL E
I
A
V
A
PHON
i
R
O
!
F
iPAD
D
N
A
Lindsay Adler is a portrait and fashion photographer based in NY. Her images have appeared
in dozens of publications internationally. Lindsay has authored two photography books and
teaches thousands of photographers annually how to improve their vision and craft.
PopPhoto Poses with Lindsay Adler
IAN SPANIER
HOW * LIGHTING
Lingo
Lesson
NEWCOMERS to advanced lighting can be confounded by the
way pros often describe strobe
power settings. For instance, Ian
Spanier, the New York-based
portrait, advertising, and editorial
photographer who shot this eyecatching portrait, says he set the
key light to f/10, the highlight to
f/11, and the fill to f/5.6.
Hmm. The outputs on his
lighting gear arent calibrated
in apertures, nor did he set any
of these three apertures on his
lens. And why is he talking about
f-stops when strobe output is
rated in watt-seconds?
Answer: Hes using a form of
shorthand for communicating
lighting ratios thats based on
readings from a handheld flash
meter. This is necessary for
building multi-light setups like
the classic three-point lighting
scenario that he used here.
Spanier started this portrait
of Jamie Little, ESPNs NASCAR
reporter, by deciding on a base
exposure for the dramatic sky.
After averaging a few spot meter
readings at ISO 100, he landed on
1/160 sec at f/10.
Before setting up his front
lights, Spanier went to work
on the accent or rim light
that strafes Littles arms and
jawlinehe likes to set up his
lighting from back to front
because it lets me start with a
foundation and build on it.
For that accent he positioned
the backlight out of view of the
camera and then determined
Spanier shot
this location
portrait with
a Canon
EOS-1Ds
Mark II and
24105mm
f/4L Canon
EF IS USM
zoom. He
fired the
strobes using
PocketWizard Plus
II wireless
transceivers.
His exposure
was 1/160
sec at f/8,
ISO 100.
SIMPLE
COMPLEX
A
B
KRIS HOLLAND/MAFIC STUDIOS (ILLUSTRATION)
Learn the language

pros use for exposure
BUILDING LOCATION LIGHTING
For his portrait of ESPN reporter Jamie Little at the Las Vegas Motor
Speedway for Muscle & Fitness HERS magazine, Ian Spanier used a classic
three-point light setup: back, main and fill lights. His backlightused to
separate and define Littles figure from slightly darker backgroundwas a
Profoto Grid reflector and Pro 7 strobe head (A) powered by a Profoto 7B
power pack (B), which he hung from the light stand as ballast to prevent the
light from toppling over on an unusually windy afternoon. The grid added a
focused hardness and brightness to the light rimming her figure. In contrast
to this hard light was the softer main light. For this, Spanier used the same
Profoto configuration as for the backlight, except the grid reflector was
replaced by a much more diffuse Photoflex Medium OctoDome (C) with two
baffles that evened out the light. Finally, the fill light (the same Profoto pack
and head) was also softenedthis time by a Photoflex Large Softbox (D).
its output. He wanted bright

highlights, and knew that flash
output would have to meter
1/3-stop brighter than the
background; 1/3-stop over f/10
is f/11. (The higher the flash
readings aperture, the brighter
the strobe output.) He held his
flash meter beside Little, and
aimed its dome back toward
the backlight, while an assistant
adjusted the strobe output until
the flash meter read f/11.
Next, he placed the main (or

key) light and powered it to an
exposure of f/10, equal to the
background. In order to pop the
subject off the background and
fill in shadow detail, he decided
at this point to set f/8 as his
actual working aperture.
Finally, his front fill needed
to be considerably dimmer to
throw just a touch of light into
the shadows, enough for a meter
reading of f/5.6. Peter Kolonia
HOW * YOU CAN DO IT
FLY ZONE
GARRET SUHRIE
Capture moving
lights as intricate
line drawings
FOR THE brilliant nocturnal
landscape specialist Garret Suhrie,
a fascination with helicopter and
jet trails was a direct result of
where he lives. Im in Los Angeles,
and used to live in a seedy section,
For more
nightscapes
like Suhries
view of
the San
Francisco
airport
above,
visit www.
garretsuhrie.
com.
where police helicopters circled

overhead almost nightly. I shot
them, intrigued by their circular
trails, says Suhrie. He soon moved
on to airports, and now his website
thrills the eye with delicate line
drawings etched into night skies.
San Francisco is his favorite
airport. It has numerous workable
vantage points that let him perch
his rig on nearby hillsides and

parking garages. As in his shot
of that airports north/south
runways here, Suhrie likes to
include the bay and far off clouds.
Other shots show distant hills.
Want to try jet trails? Suhrie
says your chances are best if you
live near an airport with elevated
vantage points. Other tips:
SIMPLE
COMPLEX
Step 1
A
Gather your gear. A sturdy

tripod, a standard to supertele
prime or zoom lens with a hood,
and a cable release are musts.
Step 2
Scout for vantage points
by day. In daylight, you can see
the paths the planes will take,

and find the best vantage points
with the best backgrounds, says
Suhrie. Youll want more than one
camera position, so figure out how
to quickly get from one location
to next. You dont want to be
punching around in the middle of
the night in neighborhoods that are
unfamiliar to you. Backgrounds
that are dark and free of street or
building lights will show off the
trails more dramatically.
Step 3
Make your images. In
Suhrie used a Nikon

D200, since replaced
by the D300s (A), the
Nikon 70200mm
f/2.8 VR II (B), and
Nikon TC20E III
teleconverter (C). He
exposed for 25 sec at
f/6.3, ISO 160.
Combine multiple exposures.

Each trail in this image is a single
exposure. With film, Suhrie
creates the exposures by locking
his shutter open and removing
and replacing the lens cap as
aircraft land or take off. With a
digital camera, he composites
multiple frames in software from
stacked layers.
Shooting
airports
can mean
periods of
inactivity. In
downtime,
Suhrie sets
up multiple
cameras
and listens
to recorded
books.
Watch out for wind. A high

perch, windy night, large lens, and
slow shutter speed can result in
blur. Use a heavy-duty tripod.
Expect to deal with airport
security. Suhrie presents them
with a brochure showing his fine
art jet trails. Hes still asked to
leave, but at least he hasnt been
arrested!
Peter Kolonia
summer you can typically have

a little more than two hours of
darkness before airport activity
drops off. In winter the dark
can give you five or six hours of
shooting, says Suhrie. Exposures
typically run about a minute at
ISO 160, with apertures ranging
from f/2.8 to f/16, depending on the
amount of ambient light pollution.
Final Step
Combine and polish your
images. Sharpening, contrast,
color, and exposure adjustments
are often required. For digital
composites, Suhrie recommends
finessing a base image and
applying the fixes to the remaining
layers, reducing their exposures
by about stop. Stack your layers
and set their blending modes to
Lighten: The jet trails should
pop thru to the front, without
relatively darker elements such as
clouds appearing in the image.
New York,
Text and photos by Chris Tennant
Forever Wild
Fall color is peaking in a vast park larger

than Yellowstone, Yosemite, Grand
Canyon, Glacier, and Great Smoky
Mountains National Parks combined
Adirondack State Park in, yes, New York.
SO, WHERE are you from?
New York.
At this response, my new neighbors in Virginia would inevitably
pepper me with questions about
New York City. They seemed
genuinely surprised to learn that
I grew up in a rural, one-stoplight
town surrounded by rolling
hills. And they were even more
surprised to find out that north of
my former central New York State
hometown lies more than 6 mil48
50 POPULAR
POPULARPHOTOGRAPHY
PHOTOGRAPHY OCTOBER
MAY 20132013
lion acres of wildernessan area

about that of the entire state of
Vermont, in the largest park in the
U.S. outside of Alaska.
Despite the wildness of the
Adirondack State Park, it remains
remarkably accessible. Its system
of 2,000 miles of hiking, biking,
and skiing trails is the largest in
the nation. The Adirondacks also
contain more than 3,000 lakes
and ponds, many of which are
accessible by canoe and kayak. Its
CASCADE
WATERFALLS, N.
ELBA, NY
Tennant used
a Canon
EOS 5D
Mark II and
24105mm
f/4L EF IS
lens and
polarizer; 4
sec at f/18,
ISO 100.
ROUND
POND, ST.
HUBERTS, NY
5D Mark II,
100400mm
f/4.55.6L
EF IS lens
and polarizer; 1/60
sec at f/11,
ISO 400.
diverse landscapes include bogs

and wetlands, boreal and hardwood forests, cascading streams
and waterfalls, and grand vistas
from exposed mountain summits.
You can stand on a summit and
capture an image with no discernible human element in the scene.
Though used by Algonquian
and Mohawk peoples for hunting
and travel, the Adirondacks were
largely ignored by early European
settlers. Serious exploration of
the region began in 1870, and in
1892 the park was established.
Today the 6.1 million acres of the
Adirondack State Park include a
constitutionally protected Forest
Preserve of some 2.6 million acres
(colloquially referred to as forever
wild). The remaining land is
CONNERY POND,
LAKE PLACID, NY
The iconic mist
of the region
rises in Chris
Tennants shot
made with a
Canon EOS 5D
Mark II and
24105mm f/4L
Canon EF IS lens
with circular
polarizer.
Exposure: 1/15
sec at f/10, ISO
640. A Feisol
tripod was used
for all photos in
this feature.
privately owned and regulated by

the Adirondack Park Agency. In
addition to the unique combination
of public and private land, the park
is home to more than 100 communities that support 130,000 yearround residents and an additional
70,000 seasonal residents.
Shooting the Seasons

Autumn, with its impressive fall
colors and cool, comfortable days
(and occasional snow shower),
is arguably the best time to visit.
Color generally begins to peak in
the higher elevations around Lake
Placid the last week in September
and surrounding lower elevations
following in the first week of October; color continues until the third
week of the month in lower-lying
areas such as the Champlain Valley.
Take advantage of weekly foliage
reports from sources such as foliagenetwork.com. To fully appreciate
the spectrum of fall colors, take a
short hike to the summit of Mt. Van
Hoevenberg and shoot panoramic
images. Though a tripod helps, the
stitching features in some cameras
and software let you handhold for
panoramas.
An Adirondack adage sums
up the weather rather bleakly as
nine months of winter with three
months of poor sledding. While
winters can be harsh, outdoor
activities such as cross-country and
downhill skiing, snowshoeing, and
snowboarding allow hardy souls
to experience the sublime beauty
of this season. Shoot at dawn and
dusk to capture the warm tones in
the sky contrasting with the cool
tones of snow-capped mountain
peaks. (When photographing snow
youll often have to add at least a
stop of exposure over the meter
reading.) Marcy Field in Keene Valley provides terrific winter views
and requires no hiking.
Spring ushers in mud and bug
season. The notorious black flies
are most intense from mid-May
MT. VAN
HOEVENBERG, LAKE
PLACID, NY
From the
mountains
summit, the
forever
wild aspect
of the park
is evident.
Tennant
made the
image with a
Canon EOS
5D Mark II,
24105mm
f/4L Canon
EF IS lens,
and polarizer
at 1/40 sec
and f/13,
ISO 320.
NEW YORK, FOREVER WILD
to late June, though they can be

managed with proper attire (longsleeved shirt and pants tied off at
the wrists and ankles) and insect
repellent. The weather can be
unpredictable: Last Memorial Day
weekend, 36 inches of snow fell on
Whiteface Mountain!
Spring is perfect for shooting
cascades. A 10-mile hike along the
East Branch of the Ausable River,
accessed through the Adirondack
Mountain Reserve, offers one of
the most waterfall-dense regions
in the park. Bring a tripod for long
exposures and a polarizing filter to
reduce reflections.
Summer brings warm temperatures with pleasantly cool
evenings, plus ideal conditions
for capturing the quintessential
Adirondack sunrise, with mountain summits peeking through
layers of mist rising from a pond,

lake, or river. Besides creating
mood, these layers serve as clear
delineations between foreground,
middle-ground, and background,
creating depth and visual interest
in your images.
What to Bring
For scenes such as waterfalls and
grand vistas, youll need a wideangle lens. A mid-range zoom is
my real workhorse, letting me
photograph intimate landscapes
and wide scenics, while still providing enough reach for isolating
subjects. My typical kit includes
a Canon EOS 5D Mark II and
1635mm f/2.8L and 24105mm
f/4L Canon EF lenses. Though
I have used the 100400mm
f/4.55.6L EF IS lens on occasion,
its extra bulk and weight rarely
ELK LAKE,
NORTH
HUDSON, NY
Tennant
made four
overlapping
exposures
of 1/80 sec
at f/14, ISO
320 with a
Canon EOS
5D Mark II
and 24
105mm f/4L
EF IS lens
fitted with
a polarizer.
He later
stitched the
exposures
into a panorama in
Adobe
Photoshop.
FOREST
FLOOR,
HIGH PEAKS
REGION
The same
gear as
above was
used to
make this
study in
autumn
colors; a
polarizer
helped
intensify
the hues.
Exposure:
1 sec at
f/16, ISO
320.
justifies bringing it on longer

backcountry excursions.
Whenever possible, I use a tripod. Getting images sharp from
near to far requires stopping
down the aperture, with a commensurate increase in exposure
time that makes handholding
a challenge. And when I shoot
scenes with a wide dynamic
range early or late in the day, I
bracket exposures to manually
blend in later (to recover detail
in highlight areas, for instance),
which also requires a tripod.
The single most important
lens accessory? A polarizing filter. Besides reducing reflections
from water and wet rocks, it can
cut specular reflection from foliage to produce deeper and richer
colors and to add more drama to
blue skies by increasing contrast.
Youll also need a comfortable
backpack with ample room for
non-photographic necessities:
water, map, compass, flashlight,
first-aid kit, pocket knife, and
extra clothing. A built-in hip-belt
will help redistribute the load
and increase comfort on the
trail; look also for a space to
strap a tripod to the pack.
Be vigilant when hiking to
exposed summits, where the
wind can be harsh. Rain showers
can develop quicklycreating
terrific atmospheric conditions
for photographsso pack rain
gear to ensure you stay warm,
The immense size of the park can be gleaned from the inset map showing it in relationship to adjoining
states and the Great Lakes. U.S. Interstates 81, 87, and 90 provide motoring access to numerous
secondary roads into the park, which is traversed by 14 Scenic Byways. Lake Placid, in the northeast
area of the park region, provides an ideal base of operations for photographers visiting the High Peaks.
dry, and comfortable. Bring a rain

cover for your camera (such as
Optekas Rainsleeve) or use a lightweight travel umbrella, which you
can clamp to your tripod to shield
both you and your gear.
Getting Around
No major airports serve the Adirondacks, but the Burlington (VT) and
Albany (NY) International Airports
are each within a two-hour drive of
the park. Its 14 designated Scenic
Byways are among the best ways
to cover large portions of the park
while also soaking up its diverse
beauty. If time is short or you cannot negotiate trails, drive to the top
of 4,867-foot Whiteface Mountain
ROUND POND, ST. HUBERTS, NY
A polarizer helped bring out both the
blue-gray of the rock face and the reds
and golds of the foliage. Tenant used a
5D Mark II and 100400mm f/4.55.6L
lens; 1/8 sec at f/11, ISO 320.
Chris Tennant is a physicist with a

passion for photography. To see more
of his award-winning work, visit
www.christennantphotography.com.
ISTOCKPHOTO.COM/CROSSROADSCREATIVE (MAP)
THE ADIRONDACK STATE PARK AND ENVIRONS
on the Whiteface Veterans

Memorial Highway for breathtaking 360-degree views.
Lodging in the park ranges
from conventional hotels
and motels to quaint bedand-breakfasts, from luxury
resorts to primitive camping.
Besides state campgrounds
(dec-campgrounds.com), there
are hundreds of designated
backcountry campsites. But
to experience something akin
to the storied Great Camps of
the Adirondacks, you can do
no better than Elk Lake Lodge
(elklakelodge.com), where you
can capture gorgeous images
literally from the comfort of an
Adirondack chair.
The village of Lake Placid,
home to the 1932 and 1980
winter Olympics, provides an
ideal base for exploring the
High Peaks region. Home to 46
mountain summits of 4,000 feet
or greater, this area offers some
of the most rugged, wild beauty
in the park, including the Ausable River, Mt. Van Hoevenberg,
and Connery Pond. Visit www.
adkbook.com for my e-book
guide to High Peaks.
Planning a trip to a park of
this size can be overwhelming.
For first-time and returning visitors alike, visitadirondacks.com
is a valuable resource.
From the intrepid backcountry explorer on a multi-day
trek to the young family on a
day hike, the Adirondacks have
something for everyone. Though
often overshadowed by our
national parks, the pristine and
rugged grandeur of the Adirondack State Park stands as one
the countrys greatest treasures
for lovers of the outdoors.
Thought
RYAN MATTHEW SMITH/MODERNIST CUISINE LLC
FOR FOOD
AS IT COOKS
For this
cutaway of
steaming
broccoli,
Nathan
Myhrvold
and his team
cut the pot,
steamer, and
lid each in
half using
an abrasive
waterjet.
He held
the florets
together with
toothpicks,
and later,
in software,
added multiple
side-on shots
of boiling
water below.
Great food photography whets appetites, sells

magazines, and inspires people to cook. But
the imagery of the Modernist Cuisine cookbooks
does more: It teaches, with plenty of aesthetic
impact, too. Now find out how they do it.
Photos by The Cooking Lab; text by Peter Kolonia
CHRIS HOOVER/MODERNIST CUISINE LLC (BOOK COVER); NATHAN MYHRVOLD/MODERNIST CUISINE LLC (RAMBUTAN)
athan Myhrvold
had a problem.
In 2011, this
true renaissance
man and his co-workers at The
Cooking Lab in Bellevue, WA,
were preparing to publish their
groundbreaking 2,400-page, sixvolume, $600 Modernist Cuisine:
The Art and Science of Cooking. The
books futuristic recipes included
revolutionary cooking techniques
such as spherification and sousvidenot what you would find in
Fannie Farmer. In fact, both the
recipes and their preparations
can be downright daunting.
His problem? How to draw
the casual reader into the books
and not scare them off. To solve
this, he created a new kind of
food photography that piques
curiosity at first glance, and then
educates at the second. If you
represent a subject so that people
cant quite place it, he explains,
that automatically draws them
into the photo, and, we hope, will
hook them into wanting to learn
more about the science of food
and new cooking techniques.
Before Modernist Cuisine, the
primary purpose of food photography was to make food look
mouth-watering or otherwise
inviting to eat: a steaming,
perfectly browned and seasoned
turkey on a Thanksgiving table,
or a classic cherry pie on a
checkered-cloth picnic table, with
THE PHOTOGRAPHY OF
MODERNIST CUISINE
Published by The Cooking Lab, this
new book includes over 400 photos.
the sun-dappled cherry orchard

beyond. These images, Myhrvold
says, are more about nostalgia
and romance than cooking.
So what distinguishes Modernist Cuisine photography from
conventional food and cooking
imagery? For starters, very few
of the images showcase cooked
food or finished dishes. The focus
is always on cooking technique
and ingredients, with backgrounds either pure white or
black and totally context-free.
You dont need a cookbook
to tell you that food can be
delicious, Myhrvold maintains.
Thats a given; we know that. The
Modernist approach to cooking
and food photography is strictly
about how to cook, not why.
This new, admittedly clinical
style of food photography has
been exhibited in museums
from France to Hong Kong to
the Smithsonian Institution in
Washington, DC. It has drawn
enough admirers that The Cooking Lab has published a new
book specifically about its imagery: The Photography of Modernist
Cuisine. Due in stores as you read
this, its billed as the first coffeetable-scaled art book about food
and cooking. Myhrvold is its chief
photographer and author.
The 13-pound, $120 tome has two

purposes: To inspire with unique
and unusual fine-art food photography, and to explain to interested
readers how the images were made.
The explanations appear in the
form of studio set-up shots and
detailed captions found in the back
of the book.
Myhrvold and his crew refuse to
focus on the obvious, conventional,
or clichd. The books cover, for
example, is a tight close-up of a
tomato that explores with a sharply
focused eye the red fruits skin and
the graphically intriguing design of
its stem and calyx. A more unsettling example: A photo in a section
on the cooking of pork doesnt show
a beautiful browned and sweating
pork chop. Instead, we see colorful, but squirmy photomicrographs
of the parasitic worm that causes
trichinosis. Thats what Myhrvold
means by the science of cooking and what distinguishes his
FOCUS STACKING
This super-macro image of a rambutan, a tropical fruit
approximately two inches in diameter, is a digital
composite of about 30 images that were focus-stacked
to assure sharpness from front to back. Focus stacking
is one of several advanced photographic techniques
Myhrvold employed for Modernist Cuisine, and one
rarely, if ever, used in conventional cookbooks. Each of
the 30 frames captured a different slice of the fruit in
sharp focus. They were then combined in software, which
automatically eliminated the out-of-focus areas of each
slice. One of the books stacks comprised 1,700 slices.
LEVITATING FOOD
Taking his inspiration from
exploded diagrams typically seen in
mechanical drawings, Myhrvold and
crew produced a number of levitating
food shots for the cookbooks. The
challenge in producing composites
like this grilled cheese sandwich
comes in having to shoot each layer
from a slightly different angle, with
only the central image (here the
melting cheese) shot straight on. The
image was the cover art for Modernist
Cuisine at Home.
aesthetic from that of Martha

Stewart or Ina Garten.
After poring over hundreds of
examples, we discovered something funny about food books,
says Myhrvold. The cookbooks
with beautiful images never
reveal how their images were
made, and the how-to photography books explain ways of shooting food, but their pictures are
rarely beautiful or inspiring.
The Photography of Modernist
Cuisine tries to fix this with a
satisfying mix of compelling food
images and informative how-to.
And it succeeds. Its by far the

most edifying and inspiring howto book on food photography
weve seen.
Just as the Modernist cooking
techniques are cutting edge,
so are the photo techniques
employed by Myhrvold and his
co-photographers. Modernist Cuisine photographers, for example,
shoot food at drastically different
scales than do typical cookbooks.
They shoot the usual studio
photographs, with standard
lenses and lighting, but they go
deeper, too, using macro, super-
RYAN MATTHEW SMITH/MODERNIST CUISINE LLC (WOK); MELISSA LEHUTA/MODERNIST CUISINE (SANDWICH)
THROWN FOOD
This cutaway of stir-fried pad
thai illustrates the technique of
dynamically varying cooking time and
temperature by controlling the height
at which ingredients are tossed or
stirred. For stop-action food, Myhrvold
and crew typically use high shutter
speeds, short flash-duration strobes,
and sometimes even shoe-mount
flashes. The composite of multiple
tosses above included one toss that
resulted in a kitchen fire caused by oil
spilling out of the cutaway wok.
CHRIS HOOVER/MODERNIST CUISINE LLC (2)
macro, and even microscopic

views. Their super close-ups are
presented usually with absolute
sharpness thanks to focus stacking during postproduction
again, not something you will
find in most food books.
Other advanced photographic
techniques include stitched panoramics of food. Their high-speed
photography is made possible by
both high-frame-rate video cameras such as Visual Researchs
Phantom, as well as short-flashduration studio strobes. Such
layered foods as sandwiches
are carefully photographed to
simulate exploded diagrams, with
each ingredient its own layer, shot
from slightly different angles.
Nathan Myhrvold is the
conceptual force and financial
backer for both The Cooking Lab
and Modernist Cuisine. Interested
in both photography and cooking
from his young teens, he was
sidetracked professionally but
never let go of his culinary passion in the intervening years: He
was Microsofts chief technology
officer and founder of Microsoft
Researcha 14-year relationshipfrom which he took an
extended sabbatical in order to
acquire a cooking diploma from
the well-known French culinary
institute in Paris, La Varenne.
Asked for suggestions he
might offer novice food photographers, Myhrvold says: Start by
finding available-light situations that speak to you. Several
pictures in the book, in fact, were
taken at open-air farmers markets with very simple equipment.
Shoot in open shade or filtered
light, perhaps using a simple
reflector or slight application of
flash to open up shadows.
What about gear? A serious
1:1 macro lens is nice, but not
essential, he continues. The
most-used lens for this book was
the Canon 24105mm f/4L [which
magnifies only to 1:4.3], because

1:1-type magnification can be too
much. It puts your camera close
enough to the subject that youre
often blocking your lights.
As for skills, develop the ability
to compose and light ingredients
so you accurately capture their
shape, color, and texture, he
advises. Next, move on to small,
off-camera shoe-mount flashes
and then graduate to studio
strobes. The most important
thing to learn about lighting
food is not to shine your lights
directly at your subjects. Instead,
place your lighting so it reflects
obliquely off the foods surfaces.
Best part of food photography?
When youre finished shooting,
you can eat your subjects.
D
B
ENZYME PEEL
To photograph the tender flesh of a grapefruit slice,
Myhrvold and his crew had to remove the tough outer
membrane that encapsulates each grapefruit section
without disturbing the succulent inner sacs of grapefruit
juice. To do it, they soaked the segments in a mixture of
commercially available natural enzymes and then gently
peeled away the outer membrane. As you learn in the
book, it sloughs away like old skin off a snake.
Shooting on Black
ONE OF THE STUDIO SETUPS SHOWN IN
MYHRVOLDS BOOK, THIS ONE IS FOR
SUBJECTS ON BLACK BACKGROUNDS.
A BACKGROUND
A yard or two of black velvet from a fabric

store makes a fantastic black background
that reflects almost no light, says
Myhrvold. Just make sure you keep your
light sources output from spilling onto it.
B TABLETOP
For sexy reflections on a black foreground,
use a sheet of black Plexiglas as shown
here. For more mirror-like effects, Myhrvold
recommends a sheet of glass whose reverse
side youve spray-painted black.
C LIGHTS
When shooting translucent food like this
grapefruit, its fun to light it from behind,
says Myhrvold. In microscopy, they call this
dark field shooting, and for translucent
subjects, the light should be hard [no
softbox or diffuser] and typically come from
the back and at an angle. This technique is
frequently used for glass subjects.
D COMPUTER STATION
Myhrvold recommends shooting tethered to

a nearby computer. We love the immediacy
of it. You can tweak your lighting in real
time, and know when youve got the shot.
The way you look through a viewfinder is
fundamentally different than the way you
see with a computer screen. And in the end,
there will be far fewer unpleasant surprises.
13
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ABSTRACT
WEDDING
PORTRAIT
ARCHITECTURE
Getting That
Look
To stand out, todays top photographers can

spend almost as much time polishing their
pictures in software as they do behind the
camera. Here are some of their secrets.
By Debbie Grossman
JEROME BRUNET
GUITAR
HERO
Jerome
Brunets
photograph
of B.B. King
shines for
its dramatic
crop and
the addition
of a series
of filters
in Adobe
Photoshop
Lightroom.
61
MAGES ARE everywhere.

And in an era when it
seems like anyone with
a DSLR can claim to be a
part-time pro, photographers who have devoted their
lives to the medium must work
harder than ever to distinguish
their pictures. One way they do
this: By tapping into the incredible range of image-editing tools
available today, from RAW conversion software to plug-ins to,
of course, the mother of them
all, Adobe Photoshop.
So how do they do it? We
talked to five professional
shooters (and one professional
retoucher) to find out how they
created these beautiful, unique
looks, and we got their tips on
how you can do it, too.
JEROME BRUNET (2)
RAW Material
For shooters who are serious
about postproduction,
shooting in RAW is a given.
ROGER
WATERS
Brunet tailors
his editing to
the subject.
For this
image, Nik
Silver Efex
Pro and its
Antique Plate
filter were
essential,
as were
black and
white Levels
adjustments
in Photoshop
CS5.
RAW files offer the widest

possible dynamic range in an
individual file, plus the most
leeway when manipulating
tone and white balance.
And for studio shooters,
photographing while tethered
to a computer is often crucial.
Vance Jacobs, who shot the
swimmer on the opposite page,
brings his retoucher Daryn
LaBier onto the set as a tech.
While Jacobs is shooting, LaBier
applies color filters and adjust-
ments to help the photographer

visualize the final result.
Even untethered, these photographers shoot with retouching in mind. Architecture specialist Trent Bell, who began as
an architect and only later transitioned to photography, at first
knew buildings better than he
knew lighting. But that became
an advantage as he developed
software techniques for making images that could never be
done with lights alone. As he
shoots, he brackets obsessively,
making sure to capture the
entire range of tones in a scene
and paving the way for the serious compositing work that gets
done back at his studio.
Whether its in Phase One
Capture One Pro, Adobe
Photoshop Lightroom, or
another RAW converter, the
first step after capture is RAW
conversion. Sometimes, the
process can even begin and
end in Lightroom. Music

photographer Jerome Brunet,
whose images open this story,
uses Lightroom extensively
to choose his best images
and process them quickly.
He happened to find a preset
that was perfect for him and
worked particularly well on
darker skintones, such as in
the photograph of B.B. King on
page 61. That preset, with its
reddish hue, ushered in what
he now half-jokingly refers to
as his red period. He notes,
though, that you have to be
careful with presets, because
they can easily lead you into
an aesthetic rut.
SERIOUS
SWIMMER
Photographer
Vance
Jacobs
worked
closely with
retoucher
Daryn
LaBier,
who used
Phase Ones
Capture One,
Photoshop,
and a series
of Nik plugins to get
this look.
Despite the prevalence of RAW

conversion in the postproduction process, most pros still
rely on Photoshop to do their
intricate retouching of images.
Curves, whether used as an
Adjustment Layer or directly
on a pixel layer, is one of the
most versatile tools in the
image editing arsenal (and
its not restricted to Photoshopyou can access Curves
in may RAW converters and
image editors). The tool
allows you to add or remove
contrast, brighten or dim
midtones, choose the density
of shadows and highlights, or
color-correct by adjusting the
red, green, and blue channels
separately. No wonder photographer Travis Duncan says:
It doesnt matter what Im
shooting, Curves is almost
always the first adjustment I
make. Often I will have layers
and layers of Curves and not
much more. To retouch like a
pro, mastering Curves is one
of your first steps.
Time and again, the pros we
interviewed brought the conversation to Blend Modes. A
tool that, like Curves, is available in some other editors

besides Photoshop, Blend
Modes change the way a
layer interacts with the layer
or layers below. Manipulating
this tool can add or subtract
contrast or density, or restrict
a layers effects to a certain
range of tones.
Kevin Twomey relied
on them for his edit of the
dandelion on page 66.
After stitching together three
photos, shot from left to
right in a panorama, he
begin his retouching by
duplicating the background
POPPHOTO.COM
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POPULAR
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VANCE JACOBS (2), RETUCHED BY DARYN LABIER
Photoshop Tricks
TRENT BELL (2)
layer, trying out a Blend Mode,

and then masking out the
areas where he didnt need
the look. From there, he added
subsequent layer copies and
subsequent Blend Modes at
varying opacities, zeroing in on
the Hard Light mode and using
masks to restrict the effect.
Duncan uses a similar
technique, but gravitates
toward the Multiply Blend
Mode. He also often applies
Blend Modes to filters such as
the 81 Warming Filter, added as
an Adjustment Layer.
Skill with masking, after
Curves, is probably the next
most important tool to learn.
There wasnt a photographer we
talked with who didnt mention
using Masks to paint in and out
the effects of their adjustments.
And its often in those little
decisionswhere a highlight
should be brighter or a shadow
a slightly different tonethat
the real look of the image begins
to take shape.
Extras: HDR and Plug-ins

Its no surprise that pros avail
themselves of software
beyond RAW converters and
image editors, but what is surprising is how they use these.
HDR merging tools like HDRsoft
Photomatix and plug-ins such
as Nik Silver Efex Pro become
components of a larger process.
For instance, when there are
areas in one of Bells architecture shots that require a real
range of tones within a small
area, and where blending
exposures manually wouldnt
make sense, he will use some
BRIGHT
NIGHT
Architectural
specialist
Trent Bell
uses a whole
host of postproduction
techniques
to make
otherwise
impossible
images. This
one required
multiple
exposures,
not to
mention a
new sky.
of his bracketed exposures to

create an HDR file. Then he and
his retouchers will use the result
sparingly, in only the areas where
the image demands it.
Similarly, when Duncan was
planning his State Fair series
(page 66), he knew he wanted
HDRs style to play a role in the
photos unique look. But, because
hed be shooting portraits, he
wouldnt be able to bracket
exposures during the shoot
(people move between frames).
So he began by outputting from
Lightroom five versions of the file
as TIFFs, each processed differently for exposure. He brought
those into Photomatix, where he
merged them to HDR, and finally
brought the file into Photoshop
where he worked his magic with
Layers, Masks, Photo Filters, and
Blend Modes.
These pros use plug-ins in
similar ways. Sure, as in Brunets
case, a single filter sometimes
does the trick, but most often
the layers output by plug-ins are
POPPHOTO.COM
imaging
&
PRESENT
edge
Andy Katz, Sony Artisan of Imagery
Fresh Perspectives on Digital Imaging

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photos and video taken by innovative photographers, videographers, and our readers using a variety of mirrorless and compact
cameras, DSLRs, camcorders, as well as lenses and accessories.
Dedicated to providing photo enthusiasts of all skill levels unprecedented access to information on state-of-the-art imaging
products and the advanced technologies that are reshaping the imaging landscape, Imaging Edge will change the way you
see, capture and share your view with the world.
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STRANGE
FLOWER
Kevin
Twomey
shot this
dandelion as
a horizontal
panorama,
then stitched
it in Photoshop. From
there, he
used Layers
and Blend
Modes to get
this highcontrast look.
as masked and manipulated

as layers made in Photoshop.
LaBier relied on Color Efex Pro
for Johnsons Old Goats series
(page 63). But, he says, You
really want to stay away from
creating an image that has a
look that anyone could immediately add. Then it becomes
like Instagram.
Instead, he recommends getting to know the filter sets and
learning which are great with
skin and which, say, with rocks

or sky. Then you can apply them
and use Masks to make sure
you see the effect only on the
layers you need.
Pulling It All Together

Perhaps the greatest problem
with retouching is knowing
when to stop working and hit
Save and Quit. Brunet cautions
that photographers should
keep an eye on their History
panel, going back every so
often to make sure they are
still making the image better.
Adds this music photographer, Everybody can start with
a Stratocaster, but it doesnt
mean theyre going to sound
like Hendrix. Postproduction is
like an instrument that can be
played poorly or perfectly.
So whatever your process,
get to know your tools. Its the
first step toward creating your
signature style.
KEVIN TWOMEY (DANDELION); TRAVIS DUNCAN (FAIR)
FAMILY AT THE FAIR

Eeriness doesnt come easy. Travis
Duncan used a combination of
Lightroom, Photomatix for HDR, and
Photoshops Warming filters and Blend
Modes to make it happen.
POPPHOTO.COM
Software Solver
Which image-editing programs match the way you shoot?
Our almost-definitive, semi-scientific flowchart will help you
figure out which of our favorite editing programs best
meets your needs. You might need more than one. By Debbie Grossman
Do you want to edit using easy

tools that take no time to learn?
JPEGs all the way.
No. I need
more control.
Do you
shoot
RAW?
Once in a while, and I only

work on my best images.
I use layers and masks

extensively for compositing and
image correction.
I prefer to do almost
all my image editing
in RAW.
Do you want to organize

your images, and do a
little retouching, too?
For more on each of these programs,

turn the page. There, youll find profiles,
standout specs, and prices.
Do you do any
retouching?
No, I make my own folders on

my computer. I just need a
RAW converter to help me
achieve technical perfection.
Yes
What do you
want to do
with your RAW
workflow
software?
Apple iPhoto
Google Picasa
Mac
Mac or PC?
PC
Yes. Id rather
be shooting.
Windows Photo
Gallery
Mac
Adobe Photoshop
Elements 11
Mac or PC?
PC
I remove the
occasional
blemish or add
drama to cloudy
skiesnothing
major. But I want
to learn more.
How much do you

color-manage your
workflow?
I just need
the basics.
I profile monthly and

use a variety of color
spaces. I sometimes
need to work in
CMYK.
When you do
shoot RAW, do
you need a
deep set of
controls?
Do you have a lot of patience

and programming
knowledge? Are you up for
finding and installing add-ons
to get the functions you need?
No
Corel PaintShop
Pro X6
Yes
Adobe Photoshop
CC
No
The GIMP
Yes
DxO Optics Pro 8
I want to make good quality edits and easily

organize my photos. I don't need my
software to do anything else, and I wouldn't
mind saving some money.
Corel AfterShot Pro
PC
I want to make books, see my photos on a

map, organize videos, and use major
plug-ins to edit images
Mac or PC?
Mac
Apple Aperture 3
I often shoot tethered and also want

wireless camera control via mobile devices.
I need to determine quickly when an image
is focused correctly.
Is it important to you that

Photoshops RAW converter
recognizes the changes you
made in your RAW software?
No
Adobe Photoshop
Lightroom 5
Yes
Phase One
Capture One Pro 7
Meet Your Editor

Now that you have found the software thats right for you, check out
the profiles below to confirm your choice and get more details. You
might need more than one to get all the features you want.
Apple
iPhoto
Google
Picasa
Windows
Photo
Gallery
Adobe
Photoshop
Elements 11
Corel
PaintShop
Pro X6
Adobe
Photoshop
CC
Apples stalwart
organizer/editor
exports to social
media and even
opens videos and
RAW files.
STANDOUT
SPEC: Syncs with
iCloud and your
iOS devices.
PRICE:
Free with a Mac;
$15 iLife 11
upgrade, direct
The simple, free

editor for Mac and
PC has plenty of
sliders for fixing
and includes 1GB
of online storage.
It lets you share
easily to Google+.
STANDOUT
SPEC: All of your
edits and effects
are reversible.
PRICE:
Free
The built-in Photo

app for Windows
has plenty of
functionality in
Windows 7; in
Windows 8 its
more like a basic
browser.
STANDOUT
SPEC: It makes a
good starting
point for sorting
and viewing.
PRICE: Free
This editor and

organizer is like a
mini Photoshop,
but it has limited
RAW and color
management.
STANDOUT
SPEC: Includes
Curves, Adjustment Layers,
Masks, and Blend
Modes.
PRICE: $100,
full; $80, upgrade
Besides tools
such as layers,
masks, HDR, and
basic RAW conversion, it has an
organizer and
tools for learning.
STANDOUT
SPEC: Now in
64-bit, its ready
to handle your
biggest files.
PRICE: $100,
full; $80, upgrade
The ultimate
retouching app is
now subscriptionbased; new
features are
added regularly.
STANDOUT
SPEC: It does
almost everything.
PRICE: $30 per
month; $20 per
month with
a yearly
subscription
The GIMP
DxO Optics
Pro 8
Corel
AfterShot
Pro
Apple
Aperture 3
Adobe
Photoshop
Lightroom 5
Phase One
Capture One
Pro
Short for the GNU

Image Manipulation Program,
this open-source
app has cloning,
healing, and
layers. Requires
add-ons for some
features.
STANDOUT
SPEC: Users who
can write code
can customize it.
PRICE: Free
This RAW
converter corrects
distortion,
chromatic
aberration, and
other lens flaws.
STANDOUT
SPEC:
Unparalleled
precision, tailored
to your exact
equipment.
PRICE: Standard,
$150; Elite, $300
Formerly known
as Bibble, this
RAW conversion
editor/organizer
does the basics
and wont break
the bank.
STANDOUT
SPEC: Also runs
on Linux!
PRICE:
$100, but
frequently
rebated to $50
This Mac-only
RAW converter is
great for cataloging (it even has
face detection),
editing, and
output.
STANDOUT
SPEC: Creates
some of the most
beautiful books
and projects
available.
PRICE: $80
This RAW
specialist handles
everything from
organizing to
conversion to light
retouching.
STANDOUT
SPEC: Excellent
shadow/highlight
recovery and
noise reduction.
PRICE:
$150, full; $80,
upgrade
Originally
developed for
Phase Ones
digital camera
backs, this
powerful RAW
editor excels at
tethered capture.
STANDOUT
SPEC: Mobile
viewing of shoots
in progress.
PRICE: $300;
$100, upgrade
POPPHOTO.COM
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Ignite your imagination
The new EOS Rebel SL1 is small in size but enormous in

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delivers images of extraordinary quality - ideal for those
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impressive ISO range of 100-12800 for stills and 100-640)
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camera the go-to for any photo opportunity.
SMART CAMERA NX300 Alpha NEX-3N AF18-270mm F/3.5-6.3
High performance made portable
The on-the-go photographer never had it this good. The

Samsung SMART CAMERA NX300 features a new, ultra-sensitive 20.3MP APS-C CMOS sensor and an advanced hybrid
autofocus system for delivering detailed images that obliterate the line between professional and enthusiast. And thanks
to 1/6000 shutter speed, you can keep up with the action
any actionand precisely capture a fast-paced moment you
would otherwise miss.
Every Detail of Life, Beautifully

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Camcorders
Vixia HF G30
Di II VC (Vibration Compensation)
LD Aspherical (IF) Macro
The Longest Steadiest Lens on Earth
The AF 18-270 covers an angle of view equivalent to that

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The Flagship of the VIXIA Series
Headline Quality and Easy Sharing
VIXIA HF G30 offers a Genuine Canon 20x HD Video Lens and 8-Blade Circular
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up to 28 Mbps and even simultaneously with Dual Recording thanks to two SDXC
memory card slots. A 3.5-inch OLED Touch Panel Display and Built-in Wi-Fi technology including remote control functionality via web browser are included. An optional
accessory adds GPS location data to video files.
With the compact, easy-to-use VIXIA HF R40, you'll see and capture the world in a whole new way through a Genuine Canon HD
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Stabilization keeps your video smooth and steady throughout the
entire zoom length, while improved Dynamic IS helps keep your
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XA10 Pro HD
The On-the-go Videographers Dream

This feature-rich, professional model records Full HD 1080p to either its
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Camcorders
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Vixia HF R400
Record Special Moments in Stunning HD Power
Compact and easy-to-use, the VIXIA HF R400 is equipped with a Genuine
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that makes operation feel familiar right away.
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TESTS: FUJIFILM X-M1 AND SIGMA 120300MM F/2.8 DG OS HSM
82
88
TEST: NIKON 80400MM F/4.55.6G ED VR
90
CANON
SL1
EOS REBEL
DSLR TEST
SMALL,
LIGHT, #1
Canons latest Rebel is
the smallest DSLR ever
THE WHOLE POINT of the cameras we

call interchangeable-lens compacts
(ILCs) was supposed to be their
small size. By removing the mirror,
manufacturers could shrink camera
bodies to heretofore impossible
POPPHOTO.COM
levels of tininess. Now, five years

after we gave Panasonics Lumix G1
our Camera of the Year award for
pioneering that concept, Canon has
delivered the EOS Rebel SL1, an 18MP
DSLR that is smaller than Panasonics
18MP
APS-C-sized
CMOS sensor
4-fps bursts
1920x1080p30
video capture
3-inch, 1.04million-dot LCD
touch screen
$799 with EF-S
1855mm
f/3.55.6 IS
STM lens
current flagship ILC, the Lumix GH3.

Sure, its a bit unfair to compare
the two, as the Lumix is weathersealed and decked out with high-end
featuresand costs about twice as
much as this new Rebel. The SL1,
LAB * DSLR TEST
AMATEUR
CANON EOS REBEL SL1
PRO
clearly an entry-level model, streets

for $799 (with 1855mm f/3.55.6
EF-S IS STM lens); body-only, it sells
for $649. But, it goes to show that
there is still plenty of room in this
world for DSLRs. And this one takes
up much less room than most.
To see how big a splash the
worlds smallest DSLR could make,
we subjected it to the rigors of the
Popular Photography Test Lab and
extensive field tests.
In the Test Lab
AF point
selection
button
CANON EOS REBEL SL1

WHATS HOT
Tiny body that makes great images
WHATS NOT
No built-in Wi-Fi; burst tops out at 4 fps
WHO ITS FOR
People who want a small, affordable
camera with all the power of a DSLR
POPPHOTO.COM
PHILIP RYAN (LCD IMAGE)
Shooting
mode dial
Canon has made its take on the

SL1 clear in its television ads: This
is the family camera. As such, it
should deliver high-quality images
with little fuss. And in this sense,
we can say that the camera lives
up to its promise.
The SL1 earned an Extremely
High rating in overall image quality
from its lowest sensitivity of ISO
100 through ISO 1600impressive
for such an inexpensive camera,
and covering a wide enough range
for most family shooting scenarios.
While resolution could be higher,
given its 18MP APS-C-sized CMOS
sensor, the camera delivered a
maximum of 2440 lines per picture
height in our testvery close to an
Excellent score. It holds onto a lot
of that resolving power as the ISO
increases: at ISO 1600, 2330 lines;
at ISO 6400, 2200 lines. Past that
point resolution drops sharply,
landing at 1800 lines at the SL1s
top sensitivity of ISO 25,600 (Canon
calls it H). The recently released
Rebel T5i eked out just slightly
more resolution, despite having a
similar, if not identical, sensor.
In our color accuracy test, it
easily earned an Excellent rating
SE E L O C AT I O N S
IN A BETTER LIGHT
TRAVELING LIGHT.
LIGHT IS WEIGHTLESSUNTIL YOU HAVE TO LUG IT THROUGH THE AIRPORT.
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LAB * DSLR TEST
CANON EOS REBEL SL1
with an average Delta E of 7.1.

As is often the case lately,
Canon has kept noise well under
control. The noise-reduction
presets in the Digital Photo
Professional RAW conversion
software that ships with the
camera make control simple.
Noise is kept to Low or better
from ISO 100 through ISO 1600.
It doesnt reach an Unacceptable
level until ISO 12,800, and even at
ISO 25,600 it remains lower than
that of a lot of cameras.
The SL1s main phase-detection
autofocus system proved very
fast and maintained plenty of
speed as we dimmed the lights.
At the brightest level of our test,

it was able to focus and capture
an image in a mere 0.38 seconds.
It remained under a half-second
until the living-room light level of
EV 6, where it took 0.52 seconds
to lock and fire. The camera was
able to focus in less than a second
throughout the range of light
levels in which Canon states AF
will function.
The company rates only the
center AF point as effective down
to EV 0.5, but in our tests the
SL1 managed to focus and shoot
in 0.99 seconds at EV 1. We also
found that it eventually would
focus at EV 2, as well, though
For info
on how we
test DSLRs,
visit our
website at
PopPhoto.
com/
reviews.
The SL1 is
a truly
portable
camera that
can tackle
most of the
situations
a casual
shooter will
encounter.
the speed varied from just over a

second to nearly two, averaging
about 1.35 seconds. Given that
variability, we didnt include EV
2 in our official test results.
In the Field
The Rebel SL1 is positively tiny.
It measures just 4.6 inches on
the longest side, and the height
is only 3.6 inches, pentamirror
housing notwithstanding. Even
Canons modestly sized 50mm
f/1.4 lens (the one we use for lab
testing) looks large on this body.
The kit lens is a revamped
version of the 1855mm f/3.55.6
IS zoom that is now compatible
with Canon's STM system for
quiet, fast focusing during live
view or video shooting. For those
occasions, the SL1 boasts an
increased area of coverage80
percent of both the horizontal
and vertical framecompared
with the previous bodies with
Canons Hybrid AF system.
We spent a big portion of our
field-test shooting the SL1 with
Canons 40mm f/2.8 pancake
STM lens. This made for a cute,
lightweight rig that was easy to
bring just about anywhere. And
since that lens can close-focus to
less than a foot, there were few
photographic opportunities we
couldnt tackle.
Despite the cameras small
size, the SL1 doesnt suffer as
much as youd expect when it
comes to controls. Sure, there
arent that many physical
controls, but there are dedicated
buttons for live view, ISO,
exposure compensation, AF point
selection, and more. Plus, the
quick menuwith its dashboard
style presentationlets you
check or change any of the most
important shooting parameters.
The cameras grip is so small
that wed challenge any adult (or
even a big kid) to keep a pinky on
the thing while shooting. Most
POPPHOTO.COM
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I WANT BOTH!
TM
PROFESSIONAL PRINTS
LA B CO RR EC TE
PANORAMIX
Lab corrected, true photographic prints,

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ON LY
LA B CO RR EC TE
LA B CO RR EC TE
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$89.99
PH OTOG RA PH IC
PR IN T
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ON LY
3 seperate images shot handheld 1/250 at f6.3;

Oly EPL1 micro 4/3 with 14-42 kit lens. Composited
in photoshop CS5 (file> automate> photomerge).
LA B CO RR EC TE
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1:3 ASPECT RATIO PRINTS
New compositing techniques, plus

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Prints up to 48 inches are shipped flat
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CANON EOS REBEL SL1
Continuous AF during video

shooting was on par with most
ILCs, though our brief hands-on
time with a preproduction EOS
70D, which includes Canons
new Dual Pixel CMOS AF, made
us think that this soon-to-bereleased DSLR will become
the new gold standard for AF
while shooting video, at least
for amateur shooters. As far as
video quality goes, the footage we
shot was quite nice. Persnickety
videographers might notice some
compression artifacts, but for
the average family, the SL1 will
produce very pleasing footage.
Theres even a stereo microphone
input in case the built-in mono
mic isnt enough for you.
Astute
Canon
shooters
might note
that the new
kit lens has
a real rubber focusing
ring, though
it operates
to trigger
motors
rather than
moving helicals, while
the old
version just
had a textured plastic
ridge.
TEST RESULTS
IMAGE QUALITY
POOR
EXCELLENT
RESOLUTION
ISO 100
2440 EXCELLENT
1500
2000
2500
3000
3500
POOR
4000
EXCELLENT
COLOR ACCURACY
EXCELLENT 7.1
HIGH
EXCELLENT
NOISE
AT ISO
EXTREMELY LOW 1.1
100
VERY LOW 1.3
200
VERY LOW 1.3
400
The Bottom Line
VERY LOW 1.5
800
LOW 1.8
1600
MODERATELY LOW 2.1
3200
MODERATE 2.7
6400
eUNACCEPTABLE 3.1
12800
eUNACCEPTABLE 3.9
25600
3.0
2.5
2.0
1.5
1.0
UNACCEPTABLE
0.5
EXTREMELY LOW
HIGHLIGHT/SHADOW DETAIL
VERY HIGH
LOW
EXTREMELY HIGH
CONTRAST
HIGH
EXT. FAST
Its not easy to compare

the EOS Rebel SL1 to other
cameras. While the Lumix GH3
is ever so slightly larger, most
ILCsespecially those that
seek to mimic the rangefinder
styleare actually smaller.
Furthermore, their native
lenses are often also smaller.
In ads for ILCs and DSLRs,
youll most likely be told about
video shooting these days, but
were not convinced that people
are shooting more videos than
stills with these kinds of cameras.
Whatever you capture, if you plan
to hold the camera above your
head, or shoot at low angles, its
not as flexible a body as Canons
own T5i (tested in our August
issue) or the Fujifilm X-M1 (tested
on page 82 of this issue). And if
you want built-in Wi-Fi, youll
need to look elsewhere, or else opt
for an Eye-Fi card to go with the
littlest EOS.
But the SL1s optical finder
still beats any of the electronic
viewfinders available in the
SLR-style ILCs. Photographers
who dont love the blocky shape
of rangefinder-style ILCs will
ISO 100-1600
EXTREMELY HIGH
LOW
EXTREMELY HIGH
AF SPEED
0.2
0.38
0.46 0.48
0.52 0.54 0.54
0.4
TIME (SECONDS)
of the time, we had both pinky

and fourth finger tucked up
underneath the bodythough
theres room for the fourth finger,
it felt most comfortable under
the camera. We liked that the top
of the grip essentially connects to
the side of the finder hump. This
provides a good level of leverage
for angling or pivoting the body.
A nicely rubberized area on the
camera back provides a scooped
out area for your thumb, making
the camera about as comfortable
as you can expect from a body
this size; it also keeps your
thumb separated from the two
control buttons on the upper
right of the back, preventing
accidental presses.
If youre hoping to use the SL1
for sports shooting, you may find
the burst rate of 4 frames per
second a little on the slow side.
The AF does a reasonably good
job of keeping up with moving
subjects, though you can expect
a few more soft shots than with
the tracking systems in one of
Canons more expensive bodies,
such as the EOS 60D. For most
parents shooting their kids
field hockey or lacrosse games,
though, the SL1 should do fine. If
your child turns out to be a track
and field star in high school, you
might want to step up to a faster
burst and fancier AF tracking.
Other features seemed on
course for a consumer-level
DSLR. But given the strong
competion at this level, as
well as Canons demonstrated
capabilities, we found a few
things lacking. Built-in Wi-Fi,
for instancethe drive toward
connectivity is unstoppable at
this end of the market, and we
feel the SL1 should have met
that demand. An articulated, or
at least tilting, LCD monitor is
another feature we missed here
(in its defense, the fixed touch
screen probably saves space).
0.63
0.6
0.78
0.8
1.0
0.99
1.2
EXT. SLOW
LAB * DSLR TEST
1.4
1.6
12
BRIGHT
(LIGHT LEVEL)
DIM
POPPHOTO.COM
LAB * DSLR TEST
CANON EOS REBEL SL1
find in the SL1 a truly portable

camera that can tackle most of
the situations a casual shooter
will encounter.
Add to that the vast number
of lenses available for the Canon
mount (some of which will look
silly and may not balance well
when attached to the SL1s tiny
body), plus all the accessories
available for the Canon system,

and the SL1 makes a very
compelling option right now.
And, the images we got from the
APS-C-sized sensor look great.
For most family shooters and
anyone looking for an easy-tocarry vacation camera, Canons
EOS Rebel SL1 is an excellent
option.
Philip Ryan
The SL1s
battery is
tiny, but it
still provides
enough
energy for
up to 380
shots per
charge.
SPECIFICATIONS
IMAGING: 18MP effective, APS-Csized CMOS sensor captures images at
5184x3456 pixels with 14 bits/color in
RAW mode
STORAGE: SD, SDHC, SDXC.
Stores JPEG, CR2 RAW, RAW + JPEG
VIDEO: Up to 1920x1080p30
MPEG-4/H.264 MOV; built-in mono mic,
stereo minijack mic input; hybrid contrast/
phase detection AF with continuous AF
in video mode; maximum clip length
approximately 29 min 59 sec
BURST RATE: Full-sized JPEGs
(Fine mode): 4 fps up to 1140 shots;
RAW (14-bit): 4 fps up to 8 shots when
using a UHS-I memory card
AF SYSTEM: TTL phase detection with 9
focus points (center cross-type at f/5.6,
vertical line sensitive at f/2.8). Singleshot and continuous with predictive focus
tracking, and face detection
SHUTTER SPEEDS: 1/4000 to 30 sec
(1/3-EV increments); shutter life not rated
METERING: TTL metering using
63-zone sensor with evaluative,
centerweighted, partial (approx. 9% of
finder), and spot (approx. 4% of finder)
metering; 120 EV (at ISO 100, f/1.8)
ISO RANGE: ISO 10012,800
(in 1/3- or 1-EV increments);
expandable to ISO 10025,600
FLASH: Built-in pop-up with TTL autoflash,
GN 31 (ISO 100, feet), covers 18mm angle
of view; flash sync to 1/200 sec
VIEWFINDER: Fixed eye-level pentamirror
LCD: Fixed 3-in. LCD touch screen
with 1,040,000-dot resolution;
7-step brightness adjustment
OUTPUT: Hi-Speed USB 2.0, mini HDMI
video, composite video
BATTERY: Rechargeable LP-E12 Li-ion,
CIPA rating 380 shots
SIZE/WEIGHT: 4.6x3.6x2.7 in., 0.9 lb
with card and battery
STREET PRICE: $649, body only; $799,
with EF-S 1855mm f/3.55.6 IS STM lens
FOR INFO: www.canoneos.com
VIEWFINDER TEST: Accuracy, 95%

(Excellent); Magnification, 0.87X (Very Good).
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LAB * ILC TEST
AMATEUR
FUJIFILM X-M1
PRO
Shrinking the X
FUJIFILMS NEWEST
ILC DROPS THE FINDER
AND THE PRICE
Rear command
wheel
FUJIFILM X-M1
WHATS HOT
Low cost X-series body; great images
WHATS NOT
No option for a viewfinder
WHO ITS FOR
Shooters seeking an entry into the
X-series and who wont miss a finder
TOP VIEW SHOWN WITH 27MM LENS
POPPHOTO.COM
PHILIP RYAN (LCD IMAGE)
Pop-up flash
IN THE SPAN of just a few years,

Fujifilm has built an impressive
series of interchangeable-lens
compact (ILC) cameras. The pricey
X-Pro1 followed on the success
of the X100 and would have been
enough to make a lot of people
happy, if somewhat less wealthy.
Then came the X-E1, which translated much of what people loved
about the X-Pro1 into a more
affordable body.
Now comes the X-M1. Ditching
the electronic viewfinders found
in the prior two X-series ILCs, the
X-M1 breaks even more ground in
price-cutting, streeting for $699,
body only, or $799 with 1650mm
f/3.55.6 O.I.S. kit lens. At the
same time, by relying on the same
16.3MP X-Trans imaging sensor as
the X-E1, the new camera offers
the same high level of imaging
and lets photographers use the
same great X-mount lenses that
helped establish Fujifilms system
as a major force (Not to mention
third-party lenses, such as the
fabulous Touit lenses Carl Zeiss
recently introduced).
But will all that great glass help
you get great images? We gave the
X-M1 the once over in the Popular
Photography Test Lab and out in
the field to find out.
3i - 1 8 1 3 5 S N S C
FUJIFILM X-M1
In the Test Lab

At the heart of the Fujifilm X-M1
is the same X-Trans sensor found
in the X-E1. While based on the
same CMOS technology used to
capture images in almost all DSLRs
and ILCs, the X-Trans sensor does
its imaging in a different way
than the Bayer-array sensors in
most cameras. The X-Trans uses a
more complex array of red, green,
and blue filters than the Bayer to
generate color information while
purporting to minimize aliasing.
Hence, this sensor does not have
an anti-aliasing filter to prevent
artifacts, such as moir patterns.
Our tests show that, for the most
part, this approach works. Our
resolution test images still showed
some aliasing, but shots from field
testing didnt show any prominent
artifacts that could be attributed to
a lack of the aliasing filter.
As did the X-E1 before it, the
Fujifilm X-M1 earned an Extremely
High rating in overall image quality
at ISO 100 and 200. Color accuracy
measured an average Delta E of
6.8, for an Excellent rating. So,
even though the new filter array
doesnt benefit from the many
years of refinement that the Bayer
array has had, you can still expect
remarkably accurate colors. (As
always, we recommend setting
white balance from a gray card to
ensure the most accurate color.)
In our resolution test, the X-M1
turned in 2370 lines per picture
height at ISO 200. (Though the
camera offers ISO 100, you can
capture at this sensitivity only
when shooting JPEGs. Since our
standard procedure is to test RAW
images converted to TIFF, were
reporting resolution at the lowest sensitivity at which you can
capture RAW. Furthermore, the ISO
100 JPEG we captured for this test
ended up with about 100 fewer
lines per picture height.)
Resolution remained quite solid
up to ISO 800, where the camera
achieved 2350 lines. By ISO 1600

it fell to 2280 lines, while at ISO
6400 (the highest sensitivity that
allows RAW capture) it was down
to 2190 lines. At the X-M1s top
sensitivity of ISO 25,600, the JPEG
we captured showed 2060 lines.
Like most manufacturers
that ship a version of Silkypix
software for RAW conversion,
Fujifilm doesnt apply much noise
reduction in the default settings.
No change is made to the basic
noise-reduction settings until
ISO 1600. From there through
ISO 6400 a modest 20 points of
noise reduction is applied. This
makes for test results that look
noisier than expected. We suspect
that Fujifilm does this to eke
out as much resolving power as
possiblea noble goal, but we
also wish the company could see
fit to include a better RAW conversion option, such as Adobes
Photoshop Lightroom.
That said, the camera kept
noise to a Low or better rating
at it ISO 100 and 200 and didnt
reach an Unacceptable rating
until ISO 3200. Beyond that, noise
never reached a very extreme
level, so if youre not picky, you
may not have a big problem with
the X-M1s noise. We expect that,
with some moderate fiddling with
noise reduction during RAW conversion, you can achieve a very
pleasing balance of high detail
and well-controlled noise.
In the Field
With a design that suggests the
style of a rangefinder, and a size
small enough to stuff into nearly
any bag larger than a clutch
purse, the X-M1 wont give you an
excuse to leave it at home.
That small size, though, does
present some design challenges.
The grip is of the barely-there
variety, consisting of a slight
protrusion from the front of
the right-hand side of the body.
TEST RESULTS
Despite its
goal to make
the smallest
X-series
camera body
to date,
Fujifilm kept
the same
battery as
the X-E1, so
you can
expect
enough
power for
about 350
shots before
needing a
recharge.
IMAGE QUALITY
ISO 100200
EXTREMELY HIGH
POOR
EXCELLENT
RESOLUTION
ISO 200
2370 EXTREMELY HIGH
1500
2000
2500
3000
3500
POOR
4000
EXCELLENT
COLOR ACCURACY
EXCELLENT 6.8
HIGH
EXCELLENT
NOISE
AT ISO
EXTREMELY LOW 0.9
100*
LOW 1.9
200
MODERATELY LOW 2.1
400
MODERATE 2.9
800
MODERATE 2.8
1600
eUNACCEPTABLE 3.8
3200
eUNACCEPTABLE 4.6
6400
eUNACCEPTABLE 3.6
12,800*
eUNACCEPTABLE 4.2
25,600*
3.0
2.5
2.0
UNACCEPTABLE
1.5
1.0
0.5
EXTREMELY LOW
HIGHLIGHT/SHADOW DETAIL
VERY HIGH
LOW
*BASED ON JPEG
LAB * ILC TEST
EXTREMELY HIGH
CONTRAST
HIGH
LOW
EXTREMELY HIGH
If you want a beefier protrusion,

Fujifilm offers the HG-XM1 accessory grip ($90, street), which screws
into the cameras tripod socket.
Not only does this give you a much
better handle, it also has its own
tripod socket that ends up more
centered under the lens than the
built-in tripod threads.
Despite limited real estate, the
X-M1 still has a fair number of
buttons for dedicated access to
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LAB * ILC TEST
FUJIFILM X-M1
certain essential camera functions. The direction buttons

that let you navigate the menus
double as access to settings for
autofocus, white balance, macro
mode, and drive mode. A pair
of command wheelsone on
the top of the camera and the
other mounted upwards on the
camera backmake it easier to
set aperture and shutter speed
in manual shooting.
Among the charms of this
Fujifilm system are the lenses
that have a ring to set aperture.
With these, you can use your left
hand to set the f-stop, freeing
your right hand to set shutter
speed; in aperture-priority auto
mode, you can just take care
of the shutter release and any
incidental setting changes.
A tiny assignable function
button to the right of the shutter
release can provide access to
any of 15 different functions.
Since theres no other button
dedicated to ISO, we assigned
that function to this control for
nearly all of our field testing.
A small pop-up flash tucks
away into the left side of the top
of the camera and is useful in a
pinch if you need a little bit of
fill for harshly lit subjects. If you
need more light, the X-M1 sports
a hot shoe that will accept one
of Fujifilms accessory flashes
or any manual flash that fits a
standard ISO shoe.
Burst shooting is relatively fast
at 5.6 frames per second, though
if you shoot RAW youll be limited
to 10 frames before the buffer
fills up. Thats not too shabby for
a camera of this size and price.
If you shoot JPEGs, you can grab
up to 30 frames before the buffer
slows you down.
Video shooters will appreciate
the X-M1s ability to capture at
up to 1920x1080 pixels at 30 fps,
although youll be limited to a
maximum clip length of 14 min86 POPULAR PHOTOGRAPHY OCTOBER 2013
utes. Stepping down to 1280x720

at 30 fps, you can capture up to
27 minutes before the camera
cuts you off. The footage we shot
looked nice, with minimal artifacts, well-saturated colors, and
plenty of detail. There is no microphone input, though, so youll
have to accept the sound from
the built-in stereo mics or use a
separate audio rig like a big-time
movie director.
We wont lie: We did miss having a viewfinder while shooting
with the X-M1. Theres something about shooting with this
style of a body that makes us
want to hold the camera at eye
level and pretend were Henri
Cartier-Bresson or Garry Winogrand. Once we gave the camera
a chance and began to use the
tilting, 3-inch, 920,000-dot LCD
to frame our shots, however,
some of our ingrained misgivings melted away. Unlike some
monitors, the X-M1s tilts a full
90 degrees downward or upward,
which made holding the camera
overhead (as some short-statured photographers often like
to) much more comfortable.
Waist-level shooting was just as
convenient.
The best measure of a field
test is the assortment of images
that you can capture. By this
measure the X-M1 deserves
a lot of respect. Autofocusing
was speedy with the 1650mm
f/3.55.6 kit lens and other
Fujifilm glass. Zeisss Touit lenses
proved a tad slower and louder,
but didnt pose a problem when
outdoors. They might tip off a
subject, though, if youre trying
to capture candid shots in a
quiet environment.
The Bottom Line

The Fujifilm X-M1 captures
images with a lot of detail and
very pleasing colors, and it does
so with a body that is signifi-
In addition
to the black
body we
show here,
the X-M1 is
available in
silver-andblack, and
silver-andbrown
versions.
SPECIFICATIONS
IMAGING: 16.3MP effective,
APS-C-sized X-Trans CMOS sensor
captures images at 4896x3264 pixels
with 12 bits/color in RAW mode
STORAGE: SD, SDHC, SDXC slot stores
JPEG, RAF RAW, RAW + JPEG files
BURST RATE: Full-sized JPEGs (Fine
mode), up to 30 shots at 5.6 fps; RAW
(12-bit), up to 10 shots at 5 fps
AF SYSTEM: TTL contrast detection
with 49 selectable focus areas; singleshot and continuous AF with face
detection and subject tracking
SHUTTER SPEEDS: 1/4000 to 30 sec,
plus B (1/3-EV increments); shutter life
not rated
METERING: TTL metering with 256-zone
Multi (evaluative), centerweighted, spot
(approximately 2% of the frame at center)
ISO RANGE: Standard: ISO 2006,400
(in 1/3-EV increments); Expanded (JPEG
only): ISO 10025,600
VIDEO: Records at up to 1920x1080p30
in H.264 format; built-in stereo microphone; no mic input. Maximum clip length
14 min. in highest quality mode.
FLASH: Built-in pop-up; GN 22 (feet, ISO
200); flash sync to 1/180 sec.; wireless
flash control with Fujifilm external flashes;
hot shoe for accessory flash units.
MONITOR: Tilting 3-inch LCD with
921,000-dot resolution; 11-step
brightness adjustment
OUTPUT: USB 2.0, mini HDMI video,
Wi-Fi 802.11b/g/n
BATTERY: Rechargeable NP-W126 Li-ion,
CIPA rating 350 shots
SIZE/WEIGHT: 4.6x2.6x1.5 inches,
0.7 lb with a card and battery
STREET PRICE: $699, body only; $799,
with 1650mm f/3.55.6 O.I.S. lens
INFO: www.fujifilmusa.com
cantly smaller than a DSLR. While

it might not deliver the most
resolution that you can get in an
interchangeable-lens camera, its
enough for the needs of the vast
majority of shooters. Though this
camera does have its quirks (again,
no RAW at ISO 100, 12,800, or
25,600), they wont pose problems
for most shooters, especially if
youre primarily capturing JPEGs.
If youre looking for an affordable
way to enter Fujifilms system, the
X-M1 is a great way to get in.
Philip Ryan
POPPHOTO.COM
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LAB * LENS TEST
4.77 in.
SIGMA 120300MM F/2.8 DG OS HSM

PRO
Big Daddy
THIS FULL-FRAME, imagestabilized 120300mm f/2.8
DG OS HSM ($3,599, street) is
the first in Sigmas Sports line
of telephoto glass. Its also the
fourth 120300mm f/2.8 Sigma
has introduced since 2002; the
company stands alone in offering
such long f/2.8 zooms.
This new version is the first
of its type with focus-limiter
and custom program switches,
compatibility with Sigmas new
USB dock for customization,
and a neck strap. It comes with
a rugged, foam-walled case and
a tripod collar for its stationary
barrel, and it promises superior
resistance to moisture and dust.
It almost equals the size and
weight of Sigmas previous
120300mm f/2.8 OSat 7.8
pounds, its just on the right side
of handholdable. For about a
minute. Then your arms start
to shake and you reach for a
pod. While the redesigned collar
performed well, we miss the
notched, finger-friendly grip of
the earlier version. But getting a
shoulder strap with a bazookasize lens seems apt, and this one
balances the full rig better than a
conventional camera strap.
SIGMA 120300MM F/2.8 DG OS HSM
WHATS HOT
Well-made, minimal distortion, sharp

WHATS NOT
Heavy, expensive
WHO ITS FOR
Canon, Nikon, & Sigma shooters who

want the ultimate in fast tele zooms
Cosmetically attractive, the

lens is well-markedthe year of
manufacture is stamped on the
barrel!with large, ribbed, and
rubberized focus and zoom rings.
The former turns smoothly and
easily, but the latter resists more
than wed like. Both the lens and
hood have large rubberized outer
rims that serve as mini shock
absorbers (a nice touch, but on a
hot July afternoon, it left smudge
marks on a shirt). Autofocus is
fast, quiet, and accurate.
This test gave us our first chance
to use Sigmas unique docking
2.18 in.
1.25 in.
SPECIFICATIONS
120300MM (119.98299.92mm
tested), f/2.8 (not tested*), 23 elements
in 18 groups. Focus ring turns 120
degrees. Zoom ring turns 90 degrees.
Focal length marked at 120-, 150-, 180-,
200-, 250-, and 300mm.
DIAGONAL VIEW
ANGLE: 208 degrees
WEIGHT: 7.80 lbs FILTER SIZE: 105mm
MOUNTS: Canon AF, Nikon AF, Sigma AF
INCLUDED: Lenshood, hard case, tripod
collar, lens strap
STREET PRICE: $3,599
WEBSITE: sigmaphoto.com
TEST RESULTS
DISTORTION: At 120mm, 0.03%

(Imperceptible) pincushion; at 200mm,
0.15% (Slight) pincushion; at 300mm,
0.19% (Slight) pincushion
LIGHT FALLOFF: At 120mm, gone by
f/3.5; at 200mm, gone by f/3.5; at
300mm, gone by f/4
CLOSE-FOCUSING
DISTANCE: 50.62 inches at 120mm
and 200mm; 89.75 inches at 300mm
MAXIMUM MAGNIFICATION RATIO:
At 120mm, 1:8.92; at 200mm, 1:7.15;
at 300mm, 1:8.82
IMAGE STABILIZATION: 2.7 stops
*NOT TESTED DUE TO INSTRUMENT LIMITIATIONS.
A HIGH-SPEED
LONG TELE ZOOM
GETS A MAKEOVER
11.46 in.
AMATEUR
This test
afforded
our first
chance to
assess the
performance
of Sigmas
unique
accessory
USB dock
($60, street,
not shown),
which allows
you to
customize
settings and
make fine
adjustments
to focus.
station that customizes lens

functions and installs firmware
updates. Settings, assigned to the
lenss new three-way Custom
switch, include speed-priority,
accuracy-priority, and standard
autofocus modes. You can also
use the dock to make micro
adjustments to focus and define
focus-limiter ranges.
We tested the micro focus
adjustments using Datacolors
Spyder LensCal focus calibration
target. While Sigmas Optimization
Pro software adjustments arent
calibrated, each adjustment
increment appeared to shift focus
forward or backward by about a

millimeter. The system was easy
and intuitive, and functioned
as advertised. Happily, neither
the Sigma lens nor our Canon
EOS-1D X test camera required
adjustments, focusing dead-on
without fine-tuning at this stage
in their working lives.
The priority modes also did
well. We shot 10 frames each
in speed- and accuracy-priority
AF, going from far to near focus.
Focusing times took about 0.8
sec in speed-priority and about
1.1 sec in accuracy-priority; all
frames looked equally sharp.
Compatible with many of
Sigmas new lenses, the $60 dock
seems especially useful with this
lenswed buy them together.
On our optical bench in the
Popular Photography Test Lab,
the lens produced sharpness
and contrast numbers similar
to those of Sigmas previous

120300mm f/2.8 OS lens, tested
in October 2011. At the long end,
SQF numbers dipped from the
Excellent range into Very Good
common with long tele zooms.
It wrestled distortion to the
ground, never letting it rise
out of the Slight range and
even suppressing pincushion
distortion to an Imperceptible
0.03% at 120mm in our DxO
Analyzer 5.0 tests. Its stabilizer
gained an average of 2.7 stops of
extra handholdability.
This lens is very impressive
in almost every way. Sure, it
requires a lot of upper body
strength, but thats something
most pro sports shooters have
developed thanks to the highspeed superteles they lug
around. The previous version
remains in stores for $2,499 (yes,
$1,100 less). Pentax and Sony
Because
we saw no
difference
in focus
accuracy
between
the speedpriority and
accuracypriority
modes, we
did much
of our field
testing in
accuracypriority.
shooters should grab it, because

Sigma isnt making the new lens in
their mounts.
Julia Silber
120
MM
200
MM
300
MM
KEY
Ask about
our new
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LAB * LENS TEST
NIKON 80400MM F/4.55.6G ED VR
AMATEUR
3.61 in.
PRO
Less Shake
BRIAN KLUTCH
original Vibration Reduction zoom,

the 80400mm f/4.55.6G ED VR
Nikkor, introduced last spring,
includes such improvements as an
additional autofocus mode, flareand ghost-busting Nano Crystal
Coating, and a quiet SWM AF
motor. This full-framer scales up
to a 120600mm on a DX body and
streets for $2,697.
More than an inch longer
and half a pound heavier than
Standout
features
include a
removable
tripod
collar, zoom
lock (at
80mm), a
nonrotating
barrel,
and four
elements of
ED and one
of Super ED
glass.
1.93 in.
8.11 in.
THIS SECOND version of Nikons
Nikons first 80400mm VR,

the new lens nevertheless feels
almost handholdable, though
not for extented periods. Its
cosmetically attractive, with
generously sized, smoothturning zoom and focusing
rings. To access the latter while
shooting handheld, we had to
rotate the tripod collar (included)
to get it out of our way.
Scale focusers will have issues.
About 1/4-inch tall and with tiny
numerals, the subject distance
window is unusually small for
a lens this large. And while the
bright white metric scale is
relatively legible, feet are marked
10.39 in.
A MAJOR UPGRADE
FOR NIKONS LONG
STABILIZED ZOOM
1.05 in.
in a dim, hard-to-read dark yellow

noting only four distances: 75, 25,
15, and 7 feet. (The metric scale
offers nine distance settings.)
Our field tests found this a lens
of broad utility, especially given
the improvements to AF. In our
2001 test of Nikons previous
80400mm, we described its AF
action as somewhat slow and
noisy. But thanks to VR II and
the addition of the Silent Wave
focusing motor, AF is now both
rapid and nearly silent. New to
this version of the lens, though
found on other Nikkors, is the
pairing of M/A (manual-focus
priority) and A/M (autofocus
priority) focusing modes. Both
CONTINUES ON PAGE 101

WHATS HOT
Well-controlled distortion, sharp

WHATS NOT
Heavy, expensive
WHO ITS FOR
Nikon shooters who want long tele

reach and zoom convenience
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CyberShot DSC-RX100
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New York, N.Y. 10001
MEMORY CARDS
CF Compact Flash
Delkin
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32GB 45.95 74.95 32.99
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Kingston
Lexar
Sandisk
Sony
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400x 600x 633x
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399.00
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199.95
312.38
Travel Tripods
Over 70,000 square feet

of the latest gear
The most knowledgeable
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You're On Steady Ground
Hands-on demos

Convenient free parking

available
Folded for Travel
Sturdy yet superbly lightweight tripods with legs that fold upward 180 to
create an extremely compact package for transport with the included head
attached. For further versatility for travelers, one of the legs unscrews from
the chassis and attaches to the head & carbon-ber center column to form a
working-height monopod. These full-sized tripods with head ensure a stable
base for any DSLR body/lens combination with multiple accessories, or for a
compact HD video camera.
(!)&/'(),' )()*)')0&
),!&/'#(/'"--#-(#&.)(.,)&.,.&*#%-#(.

*(2.(
Model
Included
Head
Load
Capacity
Max.
Height
Folded
Anodized Aluminum Series with Head
6.6 lb
6.6 lb
11 lb

BandH.com/catalog
212-444-6633

,))-#.#)(
Page 2
4GB
8GB
16GB
32GB
XQD High-Speed for Nikon D4
Delkin
128GB 149.95 194.95
Sony
Mark II
SD HC Secure Digital High Capacity
Lexar
Sandisk
Sony
Class 10
Class 10
Ultra Extreme Extrm Pro Micro
200x 400x 600x 30MBs 80MBs 95MBs 80MBs 40MBs 94MBs Micro
13.95
17.95 20.95
9.95 17.50 9.95
16GB 28.95 44.95 18.50
MSDUO
Memory Stick Pro Duo
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Extreme
60MBs 90MBs 100MBs
28.95
47.00
69.99
79.99
127.95
145.95 289.99
641.95
6x Carbon Fiber Series with Head

&
BB-0T
16.8 lb
BB-0T
&
BB-1T
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BB-0T
16.8 lb
BB-0T
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BB-1T
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SKU #
Price
$149.95
$224.95
& $259.95
&
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&
&
&
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$349.95
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$469.95
E-P5 PEN .JSSPSMFTT4ZTUFN$BNFSB
Lumix DMC-GH3 .JSSPSMFTT4ZTUFN$BNFSB
t5JMU5PVDITDSFFO-$%
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16
#OLEP5*
Mega
Pixels
Alpha NEX-5R .JSSPSMFTT4ZTUFN$BNFSB
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Alpha SLT-A58 DSLR
Alpha NEX-6 .JSSPSMFTT4ZTUFN$BNFSB

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t'BTU)ZCSJE"VUPGPDVT
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t"WBJMBCMFJO#MBDLPS4JMWFS
with 16-50mm Lens .......................... #SONEX5RL*
with 18-55mm Lens ..........................#SONEX5RK*
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at your leisure
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with 16-50mm Lens .............................#SONEX6L*
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24
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Alpha SLT-A99 DSLR

t4 POZ%VBM"'4ZTUFN5SBOTMVDFOU.JSSPS
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Kit with 18-55mm SAM II Lens........... #SOSLTA58K
Flash System
'-3'MBTI 169.95
'-3'MBTI 299.95
'-3'MBTI 499.95
3'3JOH'MBTI 249.95
43'3JOH'MBTI4FU 559.95
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45'5XJO'MBTI4FU 739.95
Zuiko 4/3 System Digital Lenses
'JTIFZF&% 799.99
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2,499.99
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279.95
&%48%
1,199.95
&%
5,999.95
&$Y5FMFDPOWFSUFS 439.95
&$Y5FMFDPOWFSUFS 479.95
.'0.-FOT"EBQUFS 83.95
20
Mega
Pixels
Body Only.........................................#SOSLTA99V*
AF Flash System
"''(;
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SMCP-DA Digital AF Lenses
&%*'

&%"-

.BD-JNJUFE

-JNJUFE

"--JNJUFEi1BODBLFw

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$BSM;FJTT
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45'
1,399.99
("10 6,999.99
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799.99
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549.99
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1,999.99
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249.99
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50mm f/2 Macro ED Zuiko

Digital Lens
18-135mm f/3.5-5.6 ED AL (IF)

DC WR Digital Lens
HVL-F58AM
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16-80mm f/3.5-4.5
Carl Zeiss T* DT Digital Lens
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800-947-9980
212-444-6666
Fax:
212-239-7770
Store & Mail Order Hours:
Sunday 10-5 t Mon.-Thurs. 9-7

Friday 9-1 EST/9-2 DST
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September 13 ........... Closed
September 19-27 ..... Closed
When in New York,

420 Ninth Ave.


We Buy, Sell and Trade
Page 3
102013
Digital Rebel T5i DSLR
EOS-6D DSLR
$50
REBATE!
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Kit with 24-105mm f/4 L ...... #CAE6D24105 .................................
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Kit with 24-105mm L IS .......................#CAE5D324105 ......................
5D Mark II Kit w/24-105mm L IS ..#CAE5D224105 ......................
EOS-1Dx DSLR
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Body Only............................ #CAE7D ...........................................

Kit with 18-135mm IS .......... #CAE7D18135 ..................................
Kit with 28-135mm IS .......... #CAE7D28135..................................
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Body Only............................ #CAE1DX* ........................................
SLR Lenses and Flashes

EOS Flash System (USA)
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EF-S Lenses for Digital Only (USA)

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64..BDSP

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212-444-6633
Page 4
TS-E MF Lenses (USA)

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*464.

64.

*464.

*464.

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.BDSP

64.

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64.

64.

64..BDSP

*464.

*464.

%0*464.

***

***64.

EF L Lenses (USA)
64.**
**

64.

64.

64.**

600 EX-RT
4IPF.PVOU'MBTI
10-22mm f/3.5-4.5
EF-S USM %JHJUBM-FOT
24-70mm f/2.8
EF L II USM ;PPN-FOT
t%VTUBOEXBUFSSFTJTUBODF
t(VJEF/Ph
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t#MBEF%JBQISBHN
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tG4UPQ3BOHF
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tNNMUFSEJBNFUFS
t8FJHIUMC
EF L Lenses (USA)
*464..BDSP

64.

64..BDSP

64.**

*464.

*464.

*464.** SFBS

64.

*4** SFBS

*464.** SFBS

*4** SFBS

'JTIFZF64.
64.**

64.

*464.

**64.

*464.

*464.

64.

*464.

64.

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*464.

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Y***5FMFDPOWFSUFS
Y***5FMFDPOWFSUFS
70-200mm f/2.8
EF L IS II USM
5FMFQIPUP;PPN-FOT
t*NQSPWFE0QUJDBM
*NBHF4UBCJMJ[BUJPO
QSPWJEFTVQUP
TUPQTDPSSFDUJPO
t.JO'PDVTh
t%VTUNPJTUVSFSFTJTUBOU
tNNMUFSEJBNFUFS
t8FJHIUP[
t&91&&%"*NBHF1SPDFTTPS t-$%
t*OUFSDIBOHFBCMF/*,,03-FOT4ZTUFN
t.PUJPO4OBQTIPUBOE-JWF*NBHF$POUSPM
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t'VMM)%YJ7JEFP
t4JNVMUBOFPVT)%.PWJFBOE4UJMM$BQUVSF
tGQT$POUJOVPVT4IPPUJOHXJUI"VUPGPDVT
t/JLPO*ODMJNJUFEXBSSBOUZJODMVEFE
Valid Through
8-31-13
Available in Black, Beige, Red or White
Price
Rebate
14
Mega
Pixels
Final Cost
,JUXJUINN73 #NI1J31030* .................................. $50 ........546.95

,JUXJUINN73 #NI1J32LK* .................... $150 .......696.95
,JUXJUINN73 #NI1J310100* ....................... .... $200 .......846.95
24
D5200 is available in Black, Bronze or Red
Price
Rebate
Mega
Pixels
Final Cost
D5200 ,JUXJUINN73 #NID52001855* .............. $100 .......796.95

D3200 ,JU#MBDLXNN73 #NID32001855* ........ $150 .......546.95
D3100 ,JUXJUINN73 #NID31001855 ................ $100 .......446.95
Price
n!
tio
mo
Pro
24
Price
Rebate
Mega
Pixels
Final Cost
#PEZ0OMZ #NID7100 .............................................. ....... ...................

,JUXJUINN73 #NID710018105 ................. .... $100 .......1,499.95
D7000 ,JUXJUINN73 #NID700018105 .. .... $200 .......1,099.95
Savings

$30 [A]
$50 [B]

DX ED-IF Lenses for Digital Only

'JTI&ZF
("'4
196.95
("'4.JDSP
276.95
(&%73.JDSP
526.95 $100 [C]
("'4

("'4

("'473

("'4

("'4**

("'473
196.95
("'473
396.95 $100 [D]
("'473**
846.95 $250 [E]
("'4&%73
996.95
("'4

("'473
246.95 $100 [F]
("'473
396.95 $150 [G]
D800 DSLR
Price
Instant
Savings
on
Combo
Kits
(Expire 8-31-13)
Buy Lens <$ & ' PS(>with % %

% % % % % %T
% % %& %YPS%DSLR
Buy Lens <%>with%DSLR

Buy Lens <) *PS+>with % % %
% % % % %T
% % %& %YPS%DSLR
www.BandH.com
Rebate
Final Cost
36
Mega
Pixels
16
Mega
Pixels
D4 DSLR
t3"8 5*'' +1&( 3"8+1&('JMFT
t'9GPSNBU GVMMGSBNF
$.044FOTPS
tQ)%#SPBEDBTU2VBMJUZ7JEFP
t&91&&%*NBHF1SPDFTTPS
t-$%4DSFFOXJUI-JWF7JFX
t$PNQBUJCMFXJUI.PTU/JLLPS0QUJDT
t.BUSJY $FOUFS8FJHIUFE
4QPU.FUFSJOH t*40
t$'5ZQF92%$PNQBUJCMF
Body Only...................... #NID4 ..................5,996.95
Instant Savings!
Savings

Expire 8-31-13
Price
D-Type AF Lenses
%&%*'.JDSPXJUI$BTF

("'4&%*'73**

%"'4&%*'

("'473 3

("'473&%

("'473&%

("'4&%*'1,996.95
("'4&%73
1,256.95
%"'4&%*'

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746.95
("'4&%*'
1,886.95
%*'

("'4&%73
596.95
("'4&%73
1,296.95
("'4&%73
1,046.95
("'4&%73
1,396.95
("'4&%*'73**
2,396.95
(

("'473
586.95
%XJUI$PMMBS

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("'4&%73**

5$&** Y
5FMFDPOWFSUFS
5$&** Y
5FMFDPOWFSUFS
5$&*** Y
5FMFDPOWFSUFS
Flash/Lens
% % % % %T

% % %& %YPS% DSLR

at your leisure
#PEZ0OMZ #NID800 ......... ..... $200 .... $2,796.95
Price
D-Type AF Lenses
%&%
%
XJUI)PPE
%

%

("'4&%

%&%1$&

("'4
696.95
%

%

("'4&%

%&%1$&.JDSP

%

("'4
216.95
%

("'4

%.JDSP

("'4&%.JDSP

%
XJUI)PPE
("'4
496.95
%*'

("'4

1$&.JDSP

("'4&%*'73.JDSP

%$%XJUI)PPE

%&%*'

Buy Flash <"PS#>with % % %
Final Cost
Valid Through 8-31-13
tYNN$.04'9'PSNBU4FOTPS
t-$%.POJUPS
t/JLPO'.PVOU-FOT.PVOU
t$'4%%VBM$BSE4MPUT
t0QUJDBM-PX1BTT'JMUFS
t&ZF-FWFM1FOUBQSJTN7JFXGJOEFS
tYQ)%
7JEFP$BQUVSF t.BUSJY$FOUFS
8FJHIUFE4QPU.FUFSJOH
SLR Lenses and Flashes

Price
AF Flashes
4#
4#326.95
4#546.95
38JSFMFTT5XJO'MBTI
3$8JSFMFTT5XJO'MBTI4ZTUFN
Rebate
Mega
Pixels
#PEZ0OMZ #NID600 .................................................. .... $100 ....1,996.95

,JUXJUINN73-FOT #NID6002485 ................ .... $300 ....2,396.95
D7100 DSLR
t.BHOFTJVN"MMPZ#PEZ
t.PJTUVSF3FTJTUBOU
t&91&&%*NBHF1SPDFTTPS
tQ'VMM)%7JEFP$BQUVSF
t"DDFQUT/JLPO"'-FOTFT
YGBDUPS
t-$%
t%VBM4%4%)$4%9$$BSE4MPUT
t#VJMU*O'MBTIXJUI$PNNBOEFS'VODUJPO
24
n!
tio
mo
Pro
t&91&&%****NBHF1SPDFTTPS
t'VMM)%7JEFPXJUI'VMM5JNF4FSWP"'
t7BSJ"OHMF-$% t-JWF7JFX
t6TFT/JLPO"'-FOTFT YGBDUPS
t4%4%)$4%9$$BSE4MPU
t1PJOU"'4ZTUFNXJUI$SPTT5ZQF
tGQT$POUJOVPVT4IPPUJOH3BUF
t'9'PSNBU 'VMM'SBNF
$.044FOTPS
t6TFT/JLPO"'-FOTFT
t-$% t&91&&%1SPDFTTPS
t4%4%)$4%9$$BSE4MPU
tQ)%7JEFP$BQUVSF
t8JEF"SFB"''PDVT1PJOUT
t*40 &YQBOEBCMFUP
n!
tio
mo
Pro
D5200 DSLR
D600 DSLR
n!
tio
mo
Pro
n!
tio
mo
Pro
1 J3 .JSSPSMFTT%JHJUBM$BNFSB
Price
Savings
Savings
Fax:

$100 [H]

$150 [I]

$200 [J]

Final

$30
$296.95
[B] 4#

$50
$496.95
[C]
[E]
[F]
[G]

$100
$250
$100
$150
$426.95
$596.95
$146.95
$246.95
[D] DX("'473

$100
$296.95
[H] ("'4&%73*
[I] ("'4&%73
[J] ("'473

$100
$150
$200
$496.95
$896.95
$386.95
* Special! Receive an additional $100 in savings when purchased with a D600 body.
212-239-7770

Saturday Closed
[A] 4#
DX(&%73.JDSP
DX("'473**
DX("'473
DX("'473
800-947-9980
212-444-6666

When in New York,

420 Ninth Ave.


Page 5
102013
AF LENSES
Six-Year Warranty
Manual Focus Lenses
FLASHES
In Stock Call for Prices
DiGPSCPUIEJHJUBMBOEMN4-3DBNFSBT t Di-IIGPS%JHJUBM4-3T0OMZ t Di III for mirror-less cameras Only

C = Canon
Di-II
Di
Di
Di
Di-II
Di-II
Di-II
Di-II
Di-III
Di-II
Di
Di
Di
Di
Di
Di
Di
Di
www.BandH.com
N = Nikon
P = Pentax
SM = Sony/Minolta
60mm f/2.0 LD IF Macro (55)

90mm f/2.8 Macro (55)
90mm f/2.8 SP Macro USD (58)
180mm f/3.5 LD IF Macro (72)
10-24mm f/3.5-4.5 (77)
17-50mm f/2.8 XR LD IF Aspherical (67)
17-50mm f/2.8 XR VC LD IF Asph. (67)
18-200mm f/3.5-6.3 (62)
18-200mm f/3.5-6.3 VC (62) Black or Silver
18-270mm f/3.5-6.3 VC PZD (62)
24-70mm f/2.8 VC USD (82)
28-75mm f/2.8 XR (67)
28-300mm f/3.5-6.3 XR LD (62)
28-300mm f/3.5-6.3 XR VC (62)
70-200mm f/2.8 SP VC USD (77)
70-300mm f/4.0-5.6 VC USD (62)
75-300mm f/4.0-5.6 LD (62)
200-500mm f/5-6.3 LD IF (86C)
1.4x SP AF Pro Teleconverter
2x SP AF Pro Teleconverter
SE = Sony E Mount
SKU #
#TA602DI*
#TA9028M*
#TA9028VC*
#TA18035*
#TA102435*
#TA175028*
#TA175028*Q
#TA1820035*
#TA1820035S*
#TA18270*
#TA247028*
#TA287528*
#TA2830035XD*
#TA2830035*
#TA7020028*
#TA70300*
#TA753004*
#TA2005005*
#TA14XP*
#TA2XP*
** Price After Rebate
Available for
C, N, SM
C, N, P, SM
C, N, SM
C, N, SM
C, N, P, SM
C, N, P, SM
C, N
C, N, P, SM
SE
C, N, SM
C, N, SM
C, N, P, SM
C, P, SM
C, N
C, N, SM
C, N, SM
C, N, SM
C, N, SM
C, N
C, N
Rebate
$100
$50
$50
$20
$30
$100
$100
$100
Expires 9-30-13
28 CS-2 Digital Slave Shoe Mount Flash ................ 139.99

36 AF-5 Digital ..................................................... 129.99
44 AF-1 Digital Shoe Mount Flash .......................... 199.99
52 AF-1 TTL Touchscreen ...................................... 300.00
58 AF-2 TTL Digital Shoe Mount Flash ................... 399.99
45 CL-4 TTL Digital Handle Mount Flash ................ 519.99
45 CL-4 TTL Digital Handle Mount Flash Kit............ 699.99
76 MZ-5 TTL Digital Handle Mount Flash............. 1,039.99
Price
524.00
499.00
649.00**
739.00
449.00**
499.00
599.00**
179.00**
739.00
419.00**
1,199.00**
499.00
419.00
629.00
1,399.00**
349.00**
164.00
949.00
224.00
254.00
Q-flash TRIO ......................................................... 875.00

Q-flash T5D-R ...................................................... 706.00
Q-flash T5D-R with Turbo SC Battery & Charger ... 1,172.00
Q-flash T5D-R with Turbo 3 Battery Kit ................ 1,330.00
Batteries
Battery 1 ............... 224.00
Turbo Blade ........... 466.00
Turbo SC ............... 466.00
Turbo 3 ................. 624.00
E-Flash Flat Panel Kit #SUFP38 ............................... 58.95
PF20XD Digital Slave Shoe Mount Flash ................... 44.95
RD-2000 Shoe Mount Flash .................................... 64.95
DF3000 Digital for Canon, Nikon, Sony ..................... 69.95
PZ-4000 AF TTL Shoe Mount .................................. 69.95
PZ-40x II AF TTL Shoe Mount f/Nikon (Silver) ............ 69.95
PZ-42x AF TTL Shoe Mount for Canon, Nikon ......... 139.00
622 Super Pro TTL Handle Mount Flash ................. 179.95
AF LENSES
DX for Digital SLRs Only
When in New York,

420 Ninth Ave.

FX
DX
DX
DX
DX
FX
FX
FX Designed for full frame DSLRs
100mm f/2.8 Pro D Macro (52)

10-17mm f/3.5-4.5 ATX Fisheye
11-16mm f/2.8 Pro II (77)
12-24mm f/4.0 Pro II (77)
12-28mm f/4.0 Pro (77)
16-28mm f/2.8 Pro
17-35mm f/4 Pro (82)
Canon EOS
#TO10028PCAF
#TO101735CAF
#TO111628PCII
#TO12244DXC
#TO12284DXC
#TO1628FXC
#TO1735F4FXC
Nikon AF
#TO10028PNAF
#TO101735NAF
#TO111628PNII
#TO12244DXN
#TO12284DXN
#TO1628FXN
#TO1735F4FXN
Rebate
$30
$40
$40
$50
$40
Expires 8-31-13
Price
459.00**
629.00**
659.00**
449.00
599.00
699.00**
559.00**
285HV Professional Auto ......................................... 85.00

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

AF LENSES & FLASHES
Expires 9-25-13
DCoGPS%JHJUBM4-3T0OMZ t DG Optimized for Digital SLRs

H HSM Model with Canon, Nikon, Sigma
R Rear Slip-in Gelatin Filter Slot

of the latest gear
Sales Professionals
Hands-on demos
available
BandH.com/catalog
212-444-6633
Page 6
DC
DG
DC
DG
DG
DG
DG
DC
DG
DG
DG
DG
DG
DG
DG
DG
DG
DG
DC
DC
DC
DG
DC
DC
DC
DC
DC
DG
DC
DG
DG
DG
DG
DG
DG
DG
DG
DG
DG
DG
DG
DG
DG
4.5mm f/2.8 EX Circular Fisheye HSM R

8mm f/3.5 EX Circular Fisheye R
10mm f/2.8 EX Fisheye HSM R
15mm f/2.8 EX Diagonal Fisheye R
20mm f/1.8 EX DF RF Aspherical (82)
24mm f/1.8 EX DF Aspherical Macro (77)
28mm f/1.8 EX DF Aspherical Macro (77)
30mm f/1.4 HSM (62)
35mm f/1.4 HSM (67)
50mm f/1.4 EX (77) H
50mm f/2.8 EX Macro (55)
70mm f/2.8 EX Macro (62)
85mm f/1.4 EX HSM (77)
105mm f/2.8 EX Macro OS HSM (62)
150mm f/2.8 EX APO Macro OS HSM (72)
180mm f/2.8 EX APO Macro OS HSM (86)
300mm f/2.8 APO EX HSM (46 Rear)
500mm f/4.5 APO EX HSM (46 Rear)
8-16mm f/4.5-5.6 HSM
10-20mm f/4-5.6 EX HSM (77)
10-20mm f/3.5 EX HSM (82)
12-24mm f/4.5-5.6 EX Aspherical HSM II
17-50mm f/2.8 EX OS HSM (77)
17-70mm f/2.8-4.0 OS Macro HSM TSC (72)
18-35mm f/1.8 HSM (72)
18-200mm f/3.5-6.3 OS II HSM (72)
18-250mm f/3.5-6.3 OS Macro HSM (62)
24-70mm f/2.8 EX IF HSM (82)
50-150mm f/2.8 EX APO OS HSM (77)
50-500mm f/4.5-6.3 APO OS HSM (95)
70-200mm f/2.8 EX APO OS HSM (77)
70-300mm f/4-5.6 Macro (58)
70-300mm f/4-5.6 APO Macro (58)
70-300mm f/4-5.6 OS (62)
120-300mm f/2.8 EX APO OS HSM (105)
120-300mm f/2.8 OS HSM (105)
120-400mm f/4.5-5.6 APO OS HSM (77 Rear)
150-500mm f/5-6.3 APO OS HSM (86)
1.4x EX APO Tele-Converter
2x EX APO Tele-Converter
EF-610 ST
EF-610 Super Flash
EM-140 TTL Ringlight
Canon
#SI4528EXDCC
#SI835CA
#SI1028EXDCC
#SI1528DGCAF
#SI2018CAF
#SI2418MCAF
#SI2818MCAF
#SI3014DCHSMC
#SI3514C
#SI5014C
#SI5028MDGCAF
#SI7028MDGCA
#SI8514C
#SI10528MDGCE
#SI15028AMOC
#SI18028AMEOC
#SI30028DGCAF
#SI50045DGCAF
#SI8164556CA
#SI102045DCAF
#SI102035C
#SI122445C
#SI175028CA
#SI1770284DCC
#SI183518DCC
#SI1820035CQ
#SI1825035MC
#SI247028C
#SI5015028CA
#SI505004563C
#SI7020028CQ
#SI703004SCAF
#SI703004DGCA
#SI7030045C
#SI12030028C
#SI120300C
#SI120400C
#SI150500C
#SI1.4XDGCAF
#SI2XDGCAF
#SIEF610STC
#SIEF610C
#SIEM140DGC
18-200mm f/3.5-6.3 DC II
OS HSM Digital Lens
70-200mm f/2.8 EX APO

OS HSM DG Lens
t%FTJHOFEFYDMVTJWFMZ
GPS%JHJUBM4-3T
t'PDVTh
to Infinity
t.BHSBUJP

tNNMUFS
diameter
t8FJHIUP[
t%FTJSBCMFGPS
%JHJUBM4-3T
t.JOJNVN
GPDVTh
t
angle of view
tNNMUFS
diameter
t5SJQPEDPMMBS
t8FJHIUP[
$150
REBATE!
$150
REBATE!
Nikon
#SI4528EXDCN
#SI835NA
#SI1028EXDCN
#SI1528DGNAF
#SI2018NAF
#SI2418MNAF
#SI2818MNAF
#SI3014DCHSMN
#SI3514N
#SI5014N
#SI5028MDGNAF
#SI7028MDGNA
#SI8514N
#SI10528MDGNQ
#SI15028AMON
#SI18028AMEON
#SI30028DGNAF
#SI50045DGNAF
#SI8164556NI
#SI102045DNAF
#SI102035SN
#SI122445N
#SI175028NI
#SI1770284DCN
#SI183518DCN
#SI1820035NQ
#SI1825035MN
#SI247028NF
#SI5015028NA
#SI505004563N
#SI7020028NI
#SI70300456N
#SI70300456AN
#SI7030045N
#SI12030028N
#SI120300N
#SI120400N
#SI150500N
#SI1.4XDGNAF
#SI2XDGNAF
#SIEF610STN
#SIEF610N
#SIEM140DGN
Pentax
#SI4528EXDCP
#SI1028EXDCP
#SI1528DGPAF
#SI2018PAF
#SI2418MPAF
#SI2818MPAF
#SI3514P
#SI5014PE
#SI5028MDGPAF
#SI7028MDGPA
#SI8514P
#SI30028DGPAF
#SI50045DGPAF
#SI8164556PE
#SI102045DPAF
#SI102035P
#SI175028PE
#SI1770284DCP
#SI183518DCP
#SI1820035P
#SI1825035MP
#SI247028PS
#SI505004563P
#SI7020028P
#SI703004PAF
#SI703004DGPA
#SI7030045P
#SI120400P
#SI150500P
#SIEF610STP
#SIEF610P
#SIEM140DGP
Sigma
#SI4528EXDCSI
#SI835SI
#SI1028EXDCSI
#SI1528DGSA
#SI2018SA
#SI2418MSA
#SI2818MSA
#SI3014DCHSMS
#SI3514SI
#SI5014SI
#SI5028MDGSA
#SI7028MDGSA
#SI8514SI
#SI10528MDGS
#SI15028AMOSI
#SI18028AMEOQ
#SI30028DGSA
#SI50045DGSA
#SI8164556SI
#SI102045DSA
#SI102035SG
#SI122445SI
#SI175028SI
#SI1770284SI
#SI183518DCS
#SI1820035SAQ
#SI1825035MS
#SI247028S
#SI5015028SAF
#SI505004563
SI7020028SIQ
#SI703004SA
#SI703004DGSA
#SI7030045S
#SI120300SIQ
#SI120400S
#SI150500S
#SI1.4XDGSA
#SI2XDGSA
#SIEF610STSI
#SIEF610SI
#SIEM140DGS
17-50mm f/2.8 XR VC
LD-IF Di II Digital Lens
GPS%JHJUBM4-3T
t'PDVT
to Infinity
t.BHSBUJP

tNNMUFS
diameter
t8FJHIUMC
$50
REBATE!
Sony
#SI4528EXDSO
#SI835SO
#SI1028EXDCSO
#SI1528DGMAF
#SI2018MAF
#SI2418MMAF
#SI2818MMAF
#SI3514S
#SI5014SOM
#SI5028MDGMAF
#SI7028MDGSAQ
#SI8514S
#SI10528MDGSM
#SI15028AMOS
#SI18028AMEOS
#SI30028DGMAF
#SI8164556SO
#SI102045DMAF
#SI102035S
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Rebate
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899.00
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799.00**
649.00
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349.00**
11-16mm f/2.8 Pro DX AT-X II

Wide-Angle Digital Lens
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GPS$BOPO%.BSL*** #($
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lighting equipment and accessories
LiteTrek 4.0 (LT) Series
Whether it's fashion, wedding or portrait

photography, the best way to achieve
professional-looking results in the field
is by adding flash to the ambient light.
The Impact Mini LiteTrek Battery Pack
provides DC juice to your Impact
LiteTrek 4.0 portable flash or select
Nikon & Canon flashes with optional
power cords as well as Quantum
flashes without adaptation.
7&#($
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LiteTrek 4.0 DC Monolight

Flash Head #IMLTFH..$499.95

at your leisure
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Instant Savings on LiteTre

k 4.0
Monolight Kits (Expires 8-31-13)
LiteTrek 4.0 DC Monolight Kits

with Mini LiteTrek Battery Pack
1-Light Kit #IMMLTBK ...................$799.95
2-Light Kit #IMMLTBK2 ..............$1,049.90
Instant Rebate -$150

Instant Rebate -$150
$649.95
$899.90
Mini LiteTrek (LT) Battery #IMMLTB ......................................................................$199.95

Mini LiteTrek (LT) Battery Pack #IMMLTPBP .......................................................$399.95
Mini LiteTrek (LT) Pack & Charger Kit with CKE Nikon Cable #IMMLTPBPK1 ...$439.95
Mini LiteTrek (LT) Pack & Charger Kit with CZ Canon Cable #IMMLTPBPK2 .....$439.95
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LiteTrek Accessories
Charger for Mini LiteTrek #IMCBP ...$49.95
IM-CKE Nikon Flash Cable #IMCKE .$42.95
IM-CZ Canon Flash Cable #IMCZ.....$42.95
LiteTrek 4.0 Flash Tube #IMFTFH .....$79.95
Reflector Adapter (Bowens Adapter) #IMBAFH ...........................................................$24.95
PHOTOGRAPHY ACCESSORIES
FILTERS
in stock
B&H SPECIAL! Buy 3 or more
B+W Filters & Get 5% Off.
B&H SPECIAL! Buy 3 or more Hoya Filters & Get 10% Off.
UV, Skylight (1B) HMC
UV, Skylight (1B) Super HMC
Linear Polarizer
Circular Polarizer
Circular Polarizer HMC
Moose Warm Circular Polarizer
K2 Yel, X0 Yel/Grn, Grn X1, Or G, Red 25A HMC
Close Up Set (+1, +2, +4)
Close-Up Set HMC (+1, +2, +4)
Intensifier Blue, Green Field, Enhancement (Red)
Neutral Density 2x, 4x, 8x HMC
Star 6, Star 8
52mm
16.50
27.89
16.99
23.95
39.95
35.75
23.95
39.99
52.68
34.68
23.88
16.89
58mm
21.50
26.49
25.00
29.95
49.00
39.55
28.35
47.35
64.88
39.95
19.95
22.50
67mm
27.50
33.00
38.85
34.95
55.90
53.90
41.95
53.00
73.00
55.08
36.95
43.35
72mm
29.95
52.95
36.85
42.95
69.00
55.65
46.35
63.00
100.68
60.00
30.99
49.90
77mm
36.20
44.99
44.90
38.90
104.90
91.50
60.90
68.00
145.35
71.50
34.80
46.68
Made exclusively with glass from Schott (Zeiss)

the worlds finest optical glass supplier.
55mm 58mm 67mm 72mm 77mm
Skylight (1B), UV
39.99
41.99
62.99
77.99
89.99
Skylight (1B), UV SH-PMC
72.99
78.99 103.99 131.99 157.99
Circular Polarizer, Slim Circular Polarizer
115.99 121.99 151.99 180.99 195.99
Circular Polarizer SH-PMC, Slim Circ. Pol. SH-PMC 161.99 171.99 214.99 242.99 275.99
#5, #8, #11, #13, #15, #22, 81A, 81B, 81C
49.99
51.99
78.99
96.99 108.99
Digital Filter
176.99 180.99 222.99 261.99 301.99
UV Haze SC
UV Haze MRC 010M
Circular Polarizer SC
Circular Polarizer MRC
Circular Polarizer Slim
Skylight KR1.5 (1A)
Digital Pro UV MC
Graduated (N.D. & Colors)
Neutral Density 106
Close-Up Lenses 1, 2, 3, 4, 5
55mm 58mm 62mm 67mm 72mm 77mm

18.50 24.95 28.99 31.95 34.00 39.99
35.50 31.50 36.30 42.90 49.89 71.75
83.95 85.95 83.50 80.00 73.95 99.00
78.00 87.53 82.50 109.99 89.99 119.99
56.95 49.99 68.00 69.99 59.99 80.00
24.50 25.95 31.95 38.95 42.00 53.95
41.95 41.95 44.00
99.95 106.95 99.50 109.50 142.50 152.95

56.00 60.95 97.95 105.95 121.95 137.95
25.95 25.95 31.95 38.95 45.95 53.95
Ten -Year Warranty

Made in USA
Digital Essentials Kits
In Stock
812 Warming
Grad ND 0.6
Circular Polarizer
Ultra Clear
Haze 86
ND 1.2
ND 0.6
Soft FX3
Star 4 pt 2
52mm
48.95
74.95
74.10
34.95
38.95
41.50
48.95
56.95
64.95
Superia
CA 200 135-24 ..........2.49
CA 200 135-36 ..........2.99
CH 400 135-24..........2.49
CZ 800 135-24 ..........3.49
Pro
400H 135-36 .............9.19
400H 120 Roll ............6.72
Gold Max
GC 400 135-24..........2.49
GC 400 135-36..........2.99
Ektar
100 135-36 ...............5.50
100 120 Roll ..............4.50
COLOR SLIDE
Portra
160 135-36 ...............6.99
160 120 Roll ..............5.19
160 220 Roll ............14.70
160 220 PP (5) .........73.50
400 135-36 ...............7.99
400 120 Roll ..............5.85
400 220 Roll ............15.19
Provia
RDP 100F 135-36 .....9.89
RDP 100F 120 Roll ....7.19
RXP III 400X 135-36 .. 16.09
RXP III 400X 120 Roll 11.95
Tungsten 64T
RTP II 135-36............9.99
800 120 Roll ..............8.98
Ektachrome E Series
100 VS 120 Roll .........7.99
PROCESSING MAILERS
Slide 36 Exp. (35mm) .8.99
400 220 PP (5) .........75.95

800 135-36 ...............9.99
Velvia RVP
Pro 50 135-36.........11.69
Pro 50 120 Roll..........8.55
100 135-36 .............10.64
100 120 Roll ..............7.69
77mm
129.95
139.95
199.99
54.95
99.95
129.95
119.95
139.95
129.95
B&W 35mm .............16.75

B&W 120 Roll ..........16.75
Print C41 35mm ......13.49

Print C41 120 Roll ...15.49
Print C41 220 Roll ...30.95
BLACK & WHITE PRINT

Pan F+ 50 135-36.....6.29
Pan F+ 50 120 Roll....4.49
FP4+ 125 135-36......5.99
FP4+ 125 120 Roll.....4.25
HP5+ 400 135-36 .....4.75
HP5+ 400 120 Roll ....4.09
Delta Pro
100 135-36 ...............6.25
100 120 Roll ..............4.50
400 135-36 ...............6.19
400 120 Roll ..............4.74
3200 135-36 .............7.99
3200 120 Roll ............5.59
XP-2 Super
400 135-36 ...............5.95
400 120 Roll ..............4.75
Fax:
212-239-7770

Saturday Closed
Multicoated Filter
Technology
DIGITAL HT FILTERS
58mm 62mm 72mm
74.95
99.95 109.95
63.95
82.90 119.95
89.95 119.90 129.95
38.95
45.95
54.95
47.95
56.90
64.95
56.95
74.90 109.95
50.95
69.95
99.95
63.95
82.90 119.95
56.95
74.90 109.95
FILM B&W AND COLOR

COLOR PRINT
800-947-9980
212-444-6666
Infrared
SFX 200 135-36 ........7.99
SFX 200 120 Roll .......7.50
Acros 100 135-36 .....6.59
Acros 100 120 Roll ....4.62
Neopan 400 135-36..6.59
Tri-X 400 135-36 ......4.49
Tri-X 400 120 Roll .....4.95
TMX 100 135-36 .......4.95
TMX 100 120 Roll ......4.90
TMY 400 135-36 .......6.95
TMY 400 120 Roll ......4.59
TMZ 3200 135-36 .....7.99
BW 400CN 135-36 ....5.95

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Page 7
102013
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16M19.95
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SIGMA
50mm F1.4..........358.95
4.5mm F2.8..........838.95
8mm F3.5.............828.95
10mm F2.8...........598.95
15mm F2.8...........568.95
19mm F2.8...........178.95
20mm F1.8...........588.95
24mm F1.8...........498.95
28mm F1.8...........308.95
30mm F1.4...........278.95
30 mm F2.8174.95
35mm F1.4.848.95
60mm F2.8...........278.95
400mm F5.6.299.95
85mm F1.4...........848.95
800mm F5.6.......6698.95
12-24mm F4.5-5.6..748.95
18-50mm F2.8-4........188.95
18-50mm F2.8............375.95
50mm F2.8..........234.95
70mm F2.8..........468.95
105mm F2.8........458.95
150mm F2.8.......688.95
180mm F2.8.......1488.95
300mm F2.8.......2998.95
500mm F4.5.......4598.95
10-20mm F4-5.6....478.95
10-20mm F3.5........548.95
10-20mm F4.398.95
17-70mm F2.8-4.5...458.95
18-35mm F1.8.748.95
18-200mm F3.5-5.6..238.95
18-250mm F3.5-5.6.358.95
24-70mm F2.8.....798.95
17-50mm F2.8
DCOS HSM..548.95
8-16mm F4.5-5.6 DC...618.95 EX
28-70mm F2.8.....318.95
28-70mm F2.8-4....88.95 28-300mm F3.5-6.3...234.95
28-200mm F3.5-5.6...174.95 50-150mm F2.8....698.95
35-135mm F4-5.6...99.95
55-200mm F4-5.6...124.95
50-150mm F2.8968.95
50-200mm F4-5.6.148.95 70-300 F4-5.6......138.95
50-500mm F4-6.3...948.95 70-300mmDGOS.248.95
70-200mm F2.8....888.95 100-300mm F4-5.6...99.95
70-300 F4-5.6 APO...188.95 120-300mm F2.8...2698.95
70-200/2.8OS..1148.95 150-500mm F5-6.3...948.95
100-300mm F4....1098.95 120-400 F4.5-5.6...938.95
200-500mm F2.8 APO EX DG...................25998.95
300-800mm F5.6 EX BE HSM.....................7698.95
1.4X APO............218.95 2X APO...............278.95
LENSES FOR MOST MANUAL

& AUTOFOCUS AF CAMERAS
8mm F3.5.............279.95 14mm F2.5..........398.95
24mm F2.8.............79.95 135mm F3.5..........29.95
28mm F2.8.............49.95 135mm F2.8..........49.95
35mm F2.8.............39.95 200mm F3.5..........79.95
50mm F1.8.............69.95 300mm F5.6..........99.95
50mm F1.4...........189.95 400mm F6.3..........99.95
85mm F1.4...........308.95 500mm F8.............99.95
100mm F3.5.........119.95 500mm F6.3........124.95
800mm F8............219.95 1000mm F11.......799.95
500mm 1000mm combination.........................129.95
19-35mm F3.5-4.5....149.95 28-80mm F3.5-5.6...79.95
28-105mm Zoom...99.95 28-210mm F3.5-5.6...99.95
28-300mm F4-6.3..169.95 35-105mm Zoom.....119.95
70-210mm Zoom...79.95 75-150mm F3.5.......49.95
75-300mm F4.5 Macro Zoom Lens..................89.95
100-300mm F5.6-6.7....99.95 100-500mm F5.6-8...395.95

650-1300mm F8 Long Zoom Lens...................249.95
1000-4000mm zoom.........................................349.95
1.4X Teleconverter..............................................99.95
2X Teleconverter......29.95
3X Converter...69.95
1.5X Teleconverter...69.95
1.7X.Converter..99.95
0.42X Fisheye Lens............................................39.95
0.45X Wide Angle Lens.....................................39.95
TAMRON
14mm F2.8...........989.99 90mm F2.8..........348.95

28mm F2.5.............99.99 180mm F3.5........628.95
24mm F2.5.............79.95 500mm F8...........198.95
11-18mm F4.5-5.6...434.95 10-24mm F3.5-4.5...429.95
18-200mm F3.5-6.3...158.95 17-50mm F2.8.....334.94
18-270mm............398.95 18-250mm F3.5-6.3...414.95
20-40mm F2.7-3.5...298.95 19-35mm F3.5=4.5...159.95
TOKINA
24-135mm F3.5-5.6...398.95
16-28mm F2.8 .....748.00 12-28mm F4598.95
28-105mm F2.8....298.95
28-200mm F3.8-5.6...118.95
300mm F6.3.299.95 17-35mm F4........719.00
24-70mm F3.3-5.6...89.95
28-75mm F2.8.......348.95
10-17mm F3.5-4.5...444.95 100mm F2.8.........384.95
24-70mm F2.8......1195.00 28-300mm F3.8-5.6...294.95
11-16mm F2.8......564.95 28-200mm F3.5-5.6....99.95
28-80mm F3.5-5.6...68.95 70-300mm F4-5.6 329.95
12-24mm F4.........424.95 50-135mm F2.8....674.95
28-300mm F3.8-5.6 VC....584.95 200-400mm F5.6......298.95
16-50mm F2.8......594.95 80-400mm F4.5-5.6....638.95
55-200mm F4-5.6...128.95 75-300mm F4-5.6...128.95
KENKO TELECONVERTER
70-200mm F2.8...664.95 200-500mm F5-6.3..758.95
1.4x..99.95 1.5x..84.95 2X..129.95 3X..219.95
60mm F2 Macro........399.95 10-24mm F3.5-4.5....458.99
SAMYANG/ROKINON/BOWER
7.5mm F3.5...299.00
8mm F3.5299.00 14mm F2.8399.00 1.4X Converter....124.95 2X Tele Converter.....138.95
35mm F1.4499.00 85mm F1.4299.00 500mm F8...99.99
500mm mirror..119.99 500mm F6.3..159.99 800mm F8...219.99 1.4X SP Converter...178.95 2X SP Converter...208.95
24mm F1.4...$699.00 24mm F3.5 Tilt and Shift..999.00
650-1300mm f8-16 Zoom Lens....279.99
CINE LENSES
8mm T3.8...329.00 14mm...T3.1...449.00 24mm T1.5 749.00

3.5mm T1.5...549.00 85mm...T1.5...349.00
NEW SCHNEIDER PC TS LENSES
50/2.8 HM Super Angulon.........................................3498.99

90/4.0 HM Makro-Symmar.......................................3198.99
120/5.6 HM Aspheric Apo-Digitar...........................4698.99
TOP DOLLAR$$$
Nothing is too Small or too Large Anything Photographic !!!!!

Estate Sales Welcome!!! You can mail your gear or we can pick your gear up.
NEW POLAROID INSTANT You can trade-in your gear or we will pay you with a check or with Paypal.
CALL 1-800-221-2253 and ask for Simon Or Email us at
DIGITAL CAMERA
Print your pictures 148.99 sales@cambridgeworld.com. Send your equipment for a FREE evaluation to:
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Wide Angle Lens
I HAVE ORDERED FORM OTHER
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WE PAY FOR YOUR RETIRED GEAR!
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Tokina and Sigma 80400mms).
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CONTINUED FROM PAGE 90
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allow for manual focus touchups

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*TESTED MEASUREMENTS NOT AVAILABLE DUE TO INSTRUMENT LIMITIATIONS.
SPECIFICATIONS
80400MM (78.75399.97mm tested),
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(Slight) pincushion; at 400mm, 0.17%
(Slight) pincushion
LIGHT FALLOFF: At 80mm, gone by f/5;
at 135mm, gone by f/5.6; at 200mm, gone
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CLOSE-FOCUSING
DISTANCE: 59.43 inches
MAXIMUM MAGNIFICATION RATIO:
At 80mm, 1:16.8; at 135mm, 1:10.6;
at 200mm, 1:7.58; at 400mm, 1:4.91
IMAGE STABILIZATION: 2.5 stops
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TIME EXPOSURE * OCTOBER 1953

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Game Face
As part of this issues special
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Dynamic Duo
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Put Your Camera

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One of the more
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session, this is an excellent
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BACKSTORY
B-Boy Fantasy
MATEJ PELJHAN
Matej Peljhan helps

a disabled kid dance
I WORK AS a clinical psychologist in

an education and rehabilitation center,
and Luka is a patient of mine with
muscular dystrophy whom I talk with
often. He told me about his desire to
see himself walking and doing things
he cant do, and this started my series
The Little Prince, which I photographed
over a month this past spring.
The basic ideas came from him, and

I would plan those into images. The
shoots were short and took place with
help from a physiotherapist, but we
had quite a bit of fun with it, particularly on this one. Luka is a big fan of
music and wanted one photo to show
him dancing. I tried to show the effects
of gravity by fixing his hair and arrang-
ing his clothes to make that look real.

This photo was the hardest to make
with his disability, which involves low
flexibility of joint motion. Looking
through them later, it was the one Luka
liked best. The series has received an
enormous responseit has also been
very important to Luka and his develAs told to Lori Fredrickson
opment.
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