Popular Photography 2014 - 03.

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FEATURES
52 BEYOND THE
SELFIE Taking a truly
magnetic self-portrait is no
simple matter. Five creative
shooters tell you how they
do it. PLUS: The gear you
need to take self-portraits
to another level.
By Peter Kolonia
and Dan Richards
HOW TO MAKE GREAT PICTURES MARCH 2014 VOLUME 78, NO. 3
MARCH 2014 POPULAR PHOTOGRAPHY 5 POPPHOTO.COM
NEXT
13 WE WANT THIS Panasonics
Leica-branded, Micro Four Thirds portrait
lens will definitely find a place in our studio.
14 JUST OUT Sonys newest Alpha,
a party printer, 35mm f/1.8 DX Nikkor,
updated Samsung ILC flagship, and more.
16 ROUNDUP The latest generation
of wearable cameras may suit your style.
SHARE
19 PHOTO CHALLENGE
A gaggle of high-spirited five-year-olds takes
this months (birthday) cake.
20 MY PROJECT He explores what
it means to be a fashion animal.
22 I, PHOTOGRAPHER On the
street where you live: a Google shooter!
24 LETTERS Your thoughts on aspect
ratios, dusty camera sensors, and Nikons
awesome D5300.
26 YOUR BEST SHOT A tiny
sea creature, lovely bouquet, and fleet of
beached boats win Marchs top prizes.
HOW
33 CREATIVE THINKING
Put on your thinking cap if you want to
succeed in photo illustration.
34 FIX IT FAST Flip the format to
energize a lackluster composition.
36 TRAVELING
PHOTOGRAPHER Visit Floridas
Sanibel Island for some of the countrys
best seashell, surf, and bird photography.
38 LIGHTING Try stroboscopic lighting
to supercharge your party pictures.
40 SOFTWARE WORKSHOP
Use Lightroom to make creatively satisfying
and surprisingly inexpensive photo books.
44 YOU CAN DO IT Discover how
the right background and lens can help
with extreme sports action.
LAB
67 DSLR TEST Nikon Df This retro
beauty has classic looks and cutting-edge
performance, but wheres the video?
72 ILC TEST Fujifilm X-E2 With
better color and res, this X cam rocks.
76 LENS TEST Zeiss Otus APO
Distagon T* 55mm f/1.4 ZF An ab-
normally large normal lens with style.
78 LENS TEST Rokinon 16mm f/2
ED AS UMC CS This well-priced APS-C
ultrawide could wean you from autofocus.
DONT MISS . . .
8 EDITORS LETTER
10 SHOWCASE
90 TIME EXPOSURE
94 BACKSTORY
POPULAR PHOTOGRAPHY (ISSN 1542-0337) (USPS 504-890), March 2014, Volume 78, Issue 3, 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
have no further obligation unless we receive a corrected address within one year. Publications Mail Agreement No.
40052054. Return undeliverable Canadian addresses to: IMEX, P.O. Box 25542, London, ON N6C 6B2. SUBSCRIP-
TION SERVICES: Visit www.PopPhoto.com/cs to manage your account 24/7.
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EDITORS LETTER
Its Not About Nostalgia
On the surface, the two cameras we subjected
to lab and feld tests this month have little in
common. The Nikon Df has the workings of a
top-of-the-line full-frame DSLR in a body that
harkens back to the classic flm SLRs of the 1970s;
Fujiflms rangefnder-style X-E2, while drawn on
familiar lines, wears its retro look less famboy-
antly than other APS-C-format interchangeable-
lens compacts in Fujiflms X series. The much
larger Nikon far outweighs the Fujiflm. And the two carry price tags about
$1,300 apart. Theyre certainly not meant to compete with one another.
Yet these two cameras have more in common than their sensors 16 mil-
lion or so pixels. In the larger scheme, both the Df and the X-E2 reward more
advanced photographers not only with the sheer quality of their images (in
terms of resolution, low noise, and color accuracy) but in the control and
fexibility they provideparticularly in their adaptablity to older lenses.
Nikon quite self-consciously designed the Df for the kinds of photogra-
phers who prefer hard (as opposed to menu-based) control of all of a cam-
eras exposure settingsand who may have legacy Nikkor glass that they
havent been able to mount directly on a digital camera before. In his test
report on page 67, Philip Ryan explains the mechanics of the Dfs backward-
compatible lensmount and the simple steps youll need to take to match
vintage lenses to this high-end DSLRs exposure system. Its too bad that
Nikon doesnt make a split-screen optical viewfnder anymorethis tool,
long ago standard in SLRs, makes focusing manually a snap.
Fujiflm, on the other hand, did not create the X-E2, tested on page 72, to
cater to lens collectors. Yet with the right adaptor, rangefnder optics from
other camera systems work very well on this mid-level ILC. (The X-E2 is not
unique in this compatibilityRyan often uses old rangefnder lenses on
ILCs, but they dont work with DSLRs.) In addition, Fujiflm made manual
focusing much easier by improving its focus-peaking system and creating a
digital split-screen setting for its electronic viewfnders.
By the way, manual focus isnt just for decades-old glass. Even autofocus
lenses generally allow manual override for critical focus, and DSLR videog-
raphy has opened up a new market for manual-only optics. In fact, both of
the lenses we tested this month focus solely manually.
The whole point of interchangeable-lens cameras, DSLRs and ILCs alike, is
the opening up of your optical options. Take advantage any way you can!
NEWSSTAND The Nikon Df flaunts its
classic good looks in Satoshis photo, but
this photographic tool, tested on page
67, is made for heavy use.
SUBSCRIBER Richard Bernabe shot this
dead camel thorn tree in the clay pan of
Deadvlei in Namibias Namib-Naukluft
National Park. Plan your tour, page 46.
POPPHOTO.COM 8 POPULAR PHOTOGRAPHY MARCH 2014
FOR CUSTOMER SERVICE AND SUBSCRIPTION QUESTIONS,
such as Renewals, Address Changes, Email Preferences, Billing and Account Status,
go to: PopPhoto.com/cs. You can also call 800-876-6636, email us at
popularphotography@emailcustomerservice.com, or write to Popular Photography, P.O.
Box 420235, Palm Coast, FL 32142-0235
EDITOR-IN-CHIEF MIRIAM LEUCHTER
ART DIRECTOR Jason Beckstead
SENIOR EDITOR Peter Kolonia
SENIOR EDITOR Dan Richards
FEATURES EDITOR Debbie Grossman
TECHNICAL EDITOR Philip Ryan
TECHNOLOGY MANAGER Julia Silber
ASSOCIATE EDITOR Matthew Ismael Ruiz
GROUP PHOTO EDITOR Thomas Payne
ASSISTANT PHOTO EDITOR Linzee Lichtman
DESIGNER Wesley Fulghum
EDITORIAL COORDINATOR Jae Segarra
CONTRIBUTING EDITORS Laurence Chen, Tim Fitzharris,
Lori Fredrickson, Ian Plant, Jeff Wignall
POPPHOTO.COM EDITOR Stan Horaczek
ASSISTANT ONLINE EDITOR Dan Bracaglia
IN MEMORIAM Herbert Keppler
EXECUTIVE VICE PRESIDENT ERIC ZINCZENKO
PUBLISHER ANTHONY M. RUOTOLO Anthony.Ruotolo@bonniercorp.com
ASSOCIATE PUBLISHER, MARKETING Michael Gallic
FINANCIAL DIRECTOR Tara Bisciello
PHOTO AND TRAVEL MANAGER Sara Schiano Flynn
NORTHEAST ADVERTISING OFFICE
Shawn Lindeman, Frank McCaffrey, Chip Parham
AD ASSISTANT Amanda Smyth
MIDWEST MANAGERS Doug Leipprandt, Carl Benson
AD ASSISTANT Lindsay Kuhlmann
WEST COAST ACCOUNT MANAGER Bob Meth
AD ASSISTANT Sam Miller-Christiansen
DETROIT ADVERTISING DIRECTOR Jeff Roberge
MANAGER Edward A. Bartley
AD ASSISTANT Diane Pahl
DIGITAL SALES MANAGER Adam Miller
ADVERTISING COORDINATOR Irene Reyes Coles
DIRECTOR OF CUSTOM SOLUTIONS Noreen Myers
GENERAL MANAGER DIGITAL BUSINESS DEVELOPMENT Shannon Rudd
DIGITAL OPERATIONS DIRECTOR Rochelle Rodriguez
DIGITAL CAMPAIGN MANAGERS Amanda Alimo, Wilber Perez
DIGITAL SALES MANAGER Elizabeth Besada
DIGITAL SALES COORDINATOR Mojdeh Zarrinnal
GROUP SALES DEVELOPMENT DIRECTOR Alex Garcia
SALES DEVELOPMENT MANAGERS Kate Gregory, Kelly Martin
GROUP CREATIVE SERVICES DIRECTOR Ingrid M. Reslmaier
MARKETING DESIGN DIRECTORS Jonathan Berger, Gabe Ramirez
ASSOCIATE ART DIRECTOR Sarah Hughes
DIGITAL DESIGN MANAGER Steve Gianaca
GROUP EVENTS AND PROMOTIONS DIRECTOR Beth Hetrick
PROMOTIONS AND EVENTS DIRECTOR Michelle Cast
ASSISTANT EVENTS & PROMOTIONS MANAGER Vanessa Vazquez
EVENTS COORDINATOR Christine Detris
CONSUMER MARKETING DIRECTOR Bob Cohn
RETAIL SINGLE COPY SALES: PROCIRC RETAIL SOLUTIONS GROUP Tony DiBisceglie
HUMAN RESOURCES DIRECTOR Kim Putman
PRODUCTION MANAGER Betty Dong
CORPORATE PRODUCTION DIRECTOR Jeff Cassell
GROUP PRODUCTION DIRECTOR Laurel Kurnides
CHAIRMAN Jonas Bonnier
CHIEF EXECUTIVE OFFICER Dave Freygang
EXECUTIVE VICE PRESIDENT Eric Zinczenko
CHIEF CONTENT OFFICER David Ritchie
CHIEF FINANCIAL OFFICER Nancy Coalter
CHIEF OPERATING OFFICER Lisa Earlywine
CHIEF MARKETING OFFICER Elizabeth Burnham Murphy
CHIEF HUMAN RESOURCE OFFICER Leslie Glenn
CHIEF BRAND DEVELOPMENT OFFICER Sean Holzman
VICE PRESIDENT, CONSUMER MARKETING John Reese
VICE PRESIDENT, CORPORATE COMMUNICATIONS Dean Turcol
GENERAL COUNSEL Jeremy Thompson
THIS PRODUCT
IS FROM SUSTAINABLY
MANAGED FORESTS
AND CONTROLLED
SOURCES.
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10 POPULAR PHOTOGRAPHY MARCH 2014
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SHOWCASE
*
NIKON Df
POPPHOTO.COM POPULAR PHOTOGRAPHY 11
I WISH I HAD A RIVER
Popular Photographys technical
editor, Philip Ryan, happened upon
this holiday projection on the side
of the Saks Fifth Avenue building
in New York City. Shot handheld at
night, the slow shutter speed led
to a funky effect for some of the
virtual skaters. Leaning against
a utility pole, he used the Nikon
Df and a 50mm f/1.8G Special
Edition AF-S Nikkor lens. The
exposure was 1/30 sec at f/4.5,
ISO 6400. For our full test of the
Nikon Df, see page 67.
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THE HOTTEST NEW STUFF AND THE TECHNOLOGY TRENDS BEHIND IT
AN 85MM lens, with its medium-
telephoto length and face-
flattering compression, sits high
on many a portrait photographers
list of go-to glassespecially when
PANASONIC
LEICA
42.5MM
F/1.2
Micro Four
Thirds format
Nine-blade
aperture
14 elements
in 11 groups
Power O.I.S.
$1,600, est.
street
panasonic.net
two aspherical, one ED, and
one UHR element. Stabilized by
Panasonics Power O.I.S. system,
it sports a Nano coating to reduce
ghosting and flare. Minimum
focusing distance is just 1.64 feet
with a 29-degree angle of view.
Expected to street for $1,600,
this lens sure looks pricey. But if
it performs as well as its sibling,
Panasonics Leica 25mm f/1.4,
were sure to be pleased.
WE WANT THIS
TINY
TELE
Panasonics ultra-fast
Leica portrait lens
it also has a large maximum
aperture to help blur out the
background. This Leica-badged
42.5mm Micro Four Thirds lens
from Panasonic is equivalent to
a full-frame 85mm, and with the
aperture opening up to f/1.2, its
among the brightest optics for
Panasonic and Olympus ILCs.
The 3-inch long, 15-ounce,
all-metal barrel houses 14 lens
elements in 11 groups, including
POPPHOTO.COM MARCH 2014 POPULAR PHOTOGRAPHY 13
14
15
SONYS LIGHT LITTLE ALPHA ILC
A NIKON PRIME THATS FAST AND WIDE
TAKE YOUR FINGER OFF THE SHUTTER
16
ONE
LINE
SONYS FIRST hint at the
merging of the NEX and Alpha
lines may have been the Alpha
7 and 7R, but with the release of
the new Alpha 5000, its official.
A natural progression from
the NEX-5 line, this E-mount
interchangeable-lens compact
sports a 20.1MP APS-C sensor
powered by Sonys BIONZ X
processing engine. With no
viewfinder, composing is done
on a tilting (90 degrees up or
Sony retires the NEX name
for new budget Alpha ILC
Sony Alpha 5000
$598, street, w/ 1650mm f/3.55.6 lens
store.sony.com
NEXT
*
JUST OUT
PARTY PRINTS
An instant Wi-Fi printer for smartphones
WANT TO BE the most popular
person at the party? Bring an
instant camera. But what about
the millions of photos we take
with our phones? Fujifilms
Instax Share SP-1 is a battery-
powered wireless printer that
makes 2.4x1.8-inch prints from
your smartphone photos.
Take a picture with the Instax
Share app on your smartphone,
and the printer spits out 254-
dpi prints on Fujifilm Instax
Mini instant color film about 16
seconds later. It has all kinds of
cool features for personalizing
your prints, and it can connect
to eight different phones at the
same time. Now thats a party!
down), 3-inch LCD.
The a5000 uses Near Field
Communication (NFC) to
connect to smartphones and
tablets via Wi-Fi. A suite of
Sony claims
the Alpha
5000 is the
lightest ILC
with Wi-Fi.
Fujifilm Instax Share SP-1
$200, estimated street
www.fujifilmusa.com
Liquid Shutter
To expose images
received by Wi-Fi
onto instant film, the
Fujifilm Instax Share
SP-1 uses an RGB LED
exposure light with a
liquid crystal shutter.
Commonly used in
3D applications, this
shutter consists of a
single pixel that turns
on and off, allowing
light to pass through
and react with the
developing chemicals
in the film.
INSIDE TECH
>
If $200
for that new
Fujifilm Instax
Share printer
seems steep,
try Polamatic
4.0, a $1 iOS
app that lets
you watch your
iPhone photos
develop.
>
If you want
to photograph
at any of the
83 city parks
throughout
Kansas, youll
now have to
fork over $50
for a 5-day
permit.
custom Sony PlayMemories
apps can be downloaded to the
camera, including a remote to
control shutter and exposure
settings from an iOS or Android
device with the app installed.
The a5000s 4-frames-per-
second burst rate isnt ideal for
sports or other fast subjects, but
the cameras sensor is sensitive
up to ISO 16,000 and captures
video at up to 1920x1080i60/p24.
Conveniently, the battery can
be charged in the camera using
a USB cable.
full-frame equivalent boasts 11
elements in 8 groups, Nikons
Silent Wave autofocus motor,
and its Super Integrated coating
to reduce ghosting and flare. The
lens offers a 63-degree viewing
angle and focuses at 9.8 inches.
OVER THE past few years, Nikon
has steadily updated its lineup
of f/1.8G prime lenses. The most
recent, the 35mm f/1.8G ED, is
also the last, joining models at the
28-, 50-, and 85mm focal lengths.
Those lenses offer fast apertures
at reasonable price points, and
the 35mm is no differenta
comparable f/1.4 from Nikon
streets for $1,000 more.
Formatted for Nikons DX
(APS-C) DSLRs, this new 52.5mm
FAST AND WIDE
Nikon completes update of its f/1.8 primes
> GoPro is
getting its own
channel on
Microsofts
Xbox One
service this
spring, but will
eschew
user-generated
content in favor
of videos
commissioned
by the action
camera
company.
> AIMe is a
new camera
mount from
Jigabot that
uses a
beacon to
automatically
control the
positioning of a
mounted
camera.
> Adobes
Creative Cloud
has an update.
New features
include
Photoshops
new
Perspective
Warp, Linked
Smart Objects,
and
3D-printing
capabilities.
The update is
free for current
Creative Cloud
subscribers.
> Oh, the
places your
hidden camera
will go! A
falcon grabbed
an egg-shaped
camera, taking
an aerial video
of a penguin
colony. The
camera is
being used to
film BBC Ones
PenguinsSpy
in the Huddle.
THE NX STEP
Nikon 35mm f/1.8G ED
$597, street
nikonusa.com
MAKING SENSE OF NOISE
The European Union's Joint Research
Center recently won an award for a
research paper that explores the use
of sensor pattern noise to identify
the camera used to create an image.
Identifying a camera through noise
has been looked into in the past, but
the JRCs paper explores the ability of
law enforcement to use images shared
through social networks to identify the
owner of a specific camera.
THE LOWDOWN
THE NEW flagship of Samsungs
DSLR-styled line of ILCs, the
NX30 upgrades its predecessor,
the NX20, with a 20.3MP
sensor first seen in the
NX300. New features
include a pull-out,
tilting, 2,359K-dot
electronic viewfinder
paired with a swiveling,
tilting, 3-inch, 720x480-
pixel rear touchscreen.
Sensitivity ranges
from ISO 10025,600,
and its DRIMeIV processor
captures up to 9 frames per
second in continuous shooting
mode. Built-in Wi-Fi lets you use
your smartphone as a remote
viewfinder or transfer device,
and the latest Adobe Photoshop
Lightroom is included.
Shown here on the camera,
Samsungs new 1650mm f/2
2.8 S ($1,299, street, as a kit) is
even more interesting. Opening
up to f/2 at the wide end, its the
fastest ILC zoom lens available.
A new Samsung NX
body and speedy zoom
Samsung NX30
$999 with 1850mm f/3.55.6 OIS
www.samsung.com
All About Me
MeFinder app for iOS
Appealing to the
narcissist in all of us,
Kooboodles MeFinder
app automatically finds
photos of you on your
friends devices and
makes it easy to swap
them for your pictures
of your friendsor hunt
down pictures you want
deleted. The app has you
photograph yourself, then
invites your friends to join.
If they accept, it scans
their phones for pictures
of you (and vice versa).
After they are identified,
the app transfers the
photos between phones.
Visit mefinderapp.com to
sign up for early access.
POPPHOTO.COM
>Hasselblad
announced
its new
50-megapixel
H5D-50c
medium-
format
camera, the
first medium-
format model
to use a
CMOS sensor.
> A group of
Brigham Young
University
students are
aiming to
turn human
vanity into
charity with
SelfiePolice, a
movement that
encourages
people who
post selfies to
donate $1 to
the education
charity Vittana.
> Fujifilm
celebrated its
80th birthday
with a teaser
image of
its newest
X-mount ILC,
a DSLR-styled
model with
lots of physical
dials and
buttons. Be
sure to check
next months
Pop Photo for
more details.
> Nikon
recently
announced
that it has
produced more
than 85 million
lenses for its
full range of
interchange-
able lens
cameras.
FOR DSLRS that can capture
4K video (Canon EOS-1D C)
or massive RAW files (Nikon
D800), a fast, high-capacity
memory card is an essential
tool to get the job done.
Lexars newest CompactFlash
cards fit the bill, claiming
theoretical transfer speeds
of up to 160MBps (1066X) in
capacities up to 256GB ($970)
and up to 120MBps with the
800X 512GB ($1,500) cardsfast
enough for painless transfer
of a card full of 50MB RAW
files or 4K video. Lexar also
announced 3333X CFast 2.0
cards in capacities up to 256GB,
but youll have to wait a bit to
use onethere are currently no
camera models on the market
that utilize the brand-new
CFast 2.0 specification.
Lexars new CF cards bring
speed to high capacity
TOOLBOX
500MBps
SOURCE: Lexar
Looxcie 3
$
100 Connect this 1.8x1.8-inch square to the
Internet via Wi-Fi, and you can livestream video directly to Facebook. It
records up to 1.5 hours of HD video at 1920x1080p30 directly to its
internal memory, but also takes micro SD cards as large as 64GB.
Panasonic HX-A100D
$
224 The most action-cam-
like model of the bunch, the HX-A100D has a lens that connects
by cable to the rest of the unit, allowing for creative placement. It
provides a very wide 160-degree angle of view.
Narrative
$
279 This clip-on camera captures two geotagged
photos per minute, recording orientation data that allows for upright
viewing regardless of how it is arranged on your body. Photos are
stored in the cloud and viewed via an iOS or Android mobile app.
Vergence Labs Epiphany Eyewear
$
299
At first glance, the Epiphany appears to be a pair of spectacles.
But the frames hide a discreet camera, USB port for charging
and transfer, and a button to adjust the tint of the eyeglasses.
Autographer
$
399 Meant to be worn around the neck,
the Autographer has five sensors that are meant to detect when you
are doing something interesting, then automatically take a photo. It
connects to smartphones via Bluetooth and computers via Wi-Fi.
Google Glass
$
1,500 This augmented-reality device is
essentially a limited-edition prototype of a wearable smartphone. The
camera can be triggered by voice, capturing video or stills
while using a heads-up display for directions and controls.
WE LOVE action cameras for their versatility and durabilitythey
go places most cameras cannot. But they are rarely discreet,
and typically unsuitable for all-day use. Now, a new breed of
wearable cameras has come to market, designed to ensure you
never miss another shot. Here are a few of the latest models:
1.2
MBps
transfer rate of its 8X CompactFlash
cards, released in 1999
transfer rate of Lexars new
3333X CFast 2.0 cards
HIGH
SPEED
NEXT
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ROUNDUP
EYE WEAR
BACK-UP STORY
Photos taken with
the Narrative are
automatically stored
on company servers.
Access is free for the
first year.
www.tamron-usa.com
One step beyond
SP 150-600mm
F/5-6.3 Di VC USD
Capture clear, sharp images all the way to 600mm. With advanced optical
technology, Ultrasonic Silent Drive autofocusing and Vibration Compensation,
our stylish new zoom can take you closer to the extraordinary.
Model A011
For Canon, Nikon and Sony* mounts
*Sony mount without VC

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Focal Length: 600mm; 1/100 sec.; F/9; ISO 800
The Sony Imaging Edge Food and Photography
workshop held from November 15-17, 2013 in
Charleston, South Carolina, was denitely an
experience you could sink your teeth into. Popular
Photography and Saveur magazine created a 3-day
food and photography event that combined the joys
of ne and casual dining, one-of-a-kind Chefs Table
cooking demonstrations, and personalized hands-on
photography instruction.
The event began with presentations by Sony Artisan
of Imagery photographer Andy Katz and noted Saveur
food photographer Ariana Lindquist. The workshop
commenced with a photographic walking tour using
the Sony NEX-3N to capture Charlestons famed Historic
District. A meet and greet followed and dinner was
held at the acclaimed High Cotton Restaurant where
everyone took mouth-watering shots of the exquisitely
presented food before enjoying it.
The next day, the group headed for Charleston
Farmers Market to select and photograph fresh
ingredients to create their Snapper Crudo Salad.
Local Chef Robert Berry provided hands-on
instruction at Le Creuset Kitchen. After lunch there
was a review session with workshop photographers
who gave feedback on images. Later that evening,
a Low Country inuenced dinner was prepared
with Chef Craig Deihl, executive chef of Cypress
Restaurant. After preparing the meal everyone used
their Sony NEX-3N to capture the perfect shot of
the dinner.
The last day of the workshop included a visit to
the historic Magnolia Plantation to photograph the
impeccably landscaped gardens and plantation.
The workshop concluded with a delicious brunch
at The Grocery Restaurant before everyone said
goodbye to this unique and delectable city.
A LOOK BACK AT A DELICIOUS PHOTO EXCURSION
In partnership with
- April Taylor, Philadelphia, PA or, P or, P
I have been on a number of
photography tours and work-
shops and I would rank
this one as one of the very best.
The weekend exceeded all of
my expectations gourmet food,
one of a kind Chefs Table
cooking demonstrations, and
personalized photography
instruction! The culinary
experiences, photography
excursions, and all
arrangements were expertly
arranged and trouble-free.
MJ Green

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To see more photos please visit
www.imagingedge.com/workshops
CHARLESTON, SOUTH CAROLINA
PROMOTION
20
26
22
BESTIAL HUMAN PORTRAITS
GOOGLES STREET VIEW WIZARD
YOUR BEST NATURE SHOTS
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CONVERSATION, INSPIRATION, CONTESTS, AND YOUR QUESTIONS ANSWERED
ALL
SMILES
An uncle captures his familys
winning expressions
PHOTO CHALLENGE
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JUN ROJAS wanted a group portrait
of his nieces and nephews but was
looking for a new angle. I didnt
want to photograph them in a stu-
dio where they would look posed,
he says. It should look natural. So
the 46-year-old operations man-
ager from Iloilo City, Philippines,
took a different perspective.
Rojas made
minor
adjustments
to his scanned
original
in Adobe
Photoshop
CS5 and
Lightroom 3.
away, he attached a Speedlite
380EX II to his Canon EOS Elan II
to fll in the afternoon shadows.
He called out, the kids looked up,
and the exposure (1/125 sec at
f/5.6 on Fujiflm Superia 100 flm)
met our challenge for great group
portraits. Matthew Ismael Ruiz
Rojas set the children up on
the lawn at his sisters house,
plying them with burgers and
spaghetti as he took his camera
up to the veranda for a birds
eye vantage point. Zooming his
2880mm f/3.55.6 II Canon EF
lens wide as the kids munched
In You Can Do It (Tree Topper page 44), Scott Markewitz captures a mountain biker
against an elegant background. Show us your action shots with beautiful backgrounds
by March 31you could win $100, and your photo here. Rules: PopPhoto.com/contests.
Animal Instinct
Miguel Vallinas
is based in
Medina del
Campo, Spain.
See more
work at www.
miguelvallinas.
com.
AFTER COMPLETING Skins, a
portrait series of people in their
work attire, advertising and
industrial photographer Miguel
Vallinas pondered ways to
capture the different sides of
human nature. One day, hanging
out with his dog Leo, Vallinas
had the idea to capture his pets
human side by compositing it
with a self-portrait, giving birth to
his next series, Second Skins.
The idea is, If you were a
rabbit, what would you wear?
How would you pose? posits
Vallinas. Forty or so composites
later, he had created personalities
ranging from the average pigeon
to exotic beasts.
The Spanish photographers
initial subjects included both
live animals, scouted and
photographed from farms
in the local countryside, and
taxidermied animal heads
belonging to private owners or
Cross-species dressing
in composite images
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MY PROJECT
the University of Vallodalids
collection. After photographing
these on location, Vallinas would
go back to the studio and choose
a suitable outfit for each animal.
He photographed either his wife
Leticia or a friend wearing the
clothes, then composited the two
images together.
To get an accurate composite,
all of the technical details of the
two photos had to match, which
took a lot of trial-and-error. He
photographed both the animals
and the humans with a Canon
EOS 5D and 24105mm f/4L
Canon EF lens. He used sunlight
on farms and a single side light
and reflector to soften shadows
when shooting taxidermied
subjects indoors.
Vallinas also kept the lighting
simple in the studio, using only
a single strobe and reflector.
Positioning these and his tripod-
mounted camera proved trickier,
and he always had to refer to the
initial animal photo. Finding the
angle and distance is the hardest
part, he says. First hed set the
correct tripod height, then adjust
placement of the equipment. The
models pose also needed to suit
the angle of the animals head.
The photographer also did a lot
of finessing in Adobe Photoshop
CS6, mainly to line up the animal
and the neckline. Reproducing
the shadows between the clothing
and the animal skin is the most
delicate part, Vallinas says.
He is happy with the results: It
shows possible personalities not
available to us humans.
Lori Fredrickson
Vallinas
created the
more than
40 images
that make up
Second Skins
between the
summer of
2012 and
spring of 2013.
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its all ingested. The computer
uses machine learning to
automatically detect what needs
to be blurred for privacy. We help
it along by doing some image
enhancements like HDR and
noise reduction. Whats difficult
is compensating for differences in
exposure between the cameras.
How do you stitch all the
images together? We have
the luxury of a fairly fixed
configuration. The lenses are
fixed focus, adjusted individually,
and locked in place. We make
sure to orient the lenses precisely
so we only have one step of
calibration. We measure the
precise angle of all the cameras
in relation to each other. The
full rosette is then calibrated for
camera-to-camera positioning,
camera image space overlap,
and color, so you can take your
resulting rectangular image
and paste the pixels from the
different cameras into the right
spot. And that's very simple.
Right, simple. How do you add
navigation to the images? We
have petabytes of dataevery
block or so equates to around 10
megabytes after compression. We
complete 3D from laser data and
sometimes, from the imagery,
add the arrows and other things
youll see around the image. We
run optimizers for the GPS data
as well as all the sensors, such as
the accelerometer data and the
speed of the car.
Is there room for human
photographers in Street View?
We train trusted photographers
for a project called Google
Business Photos. They market
their services and shoot Street
View-like pictures inside small
businesses, which get published
in Google Maps, Street View-style.
Interview by Elbert Chu
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I, PHOTOGRAPHER
How did you get involved in the
Google Street View project?
I was originally part of Googles
optical character recognition
efforts because of my machine
learning and computer vision
background. I joined an early-
stage project to capture large
amounts of street-level imagery.
We launched Street View in 2007,
and now Im an engineering
director in charge of the project.
What are your cameras like,
and who operates them? Our
camera captures 75 megapixels
actually shot by 15 cameras that
are 5MP each, equipped with
5.1mm lenses with fixed f/2
apertures. Thats roughly 65MP
after we remove overlap regions.
We secure the camera rig on small
cars by racks usually used for
bicycles or skis, outfitted with a
custom baseplate. We source local
drivers who know the streets well.
There are simple instructions
you know, avoid drive-throughs.
We lost a few cameras like that.
How do you obscure the
addresses and faces? The
drivers ship the hard drives of
images to data centers where
Luc Vincent
is an
engineering
director
at Google,
based in its
Mountain
View, CA,
office. You
see the
result of his
teams work
whenever
you use the
Street View
function of
Google Maps
at maps.
google.com.
Googles Eye
Luc Vincent leads the Street View team,
with its robot and human photographers
Extra Wide
The Right Ratio (Tech Talk, February 2014)
and Did You Know [in Februarys HOW
section] covered a lot of ground on aspect
ratios. One Ive used, the cinematic aspect
ratio of 2.39:1, can do some interesting things
for a landscape photo. Give it a try!
Wayne Woodruff
Chalfont, PA
IT IS ALWAYS interesting to see
new and unusual ways to create
images. However, Light Show
(You Can Do It, February) presents
one significant issue: even though
you did say to keep the body cap
in place when not shooting, I still
question leaving a sensor exposed
to the dust in the air when making
exposures that can be more than
10 seconds long. I have spent
enough time and money keeping
my sensors clean, and the thought
of leaving it unprotected for more
than a few seconds gives me
nightmares. William Ruting
Lyons, IL
I JUST RECEIVED my February
issue in the mailgreat stuff,
as always.The Showcase image
of the upper stages of the
Saturn V rocket caught my eye
immediately. I was impressed
with the clarity and depth of field
that the Nikon D5300 captured in
such a relatively low-light setting,
and the exposure data1/250 sec
at f/13, ISO 6400seemed about
right for a spot-lit subject in an
otherwise darkened museum
space. I was interested to see the
D5300 review later in the issue.
Imagine my surprise when I got
to the test results and saw that
the cameras noise rating at ISO
6400 was Unacceptable. Im left
to conclude that either the rocket
shot was subjected to a lot of noise
reduction in postprocessing or
that theres a serious disconnect
between the lab test results criteria
and the real world. Still, its a really
nice picture. Mike McKeller
Fircrest, WA
EDITORS NOTE: For our print edition,
we convert images to CMYK and run
them at lower res than you would see
at the full image size. This reduces
the appearance of noise. Also, our
Unacceptable rating is tough, and the
D5300 barely exceeded it at ISO 6400.
www.photonovelty.com
1-800-844-5616
ext. 714
PLUS! Superior Quality Personalized
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LETTERS
WRITE TO US!
POPPHOTO
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POPPHOTO.COM
HOW TO CONTACT US
Address your questions or
comments on editorial
content to Popular
Photography, 2 Park Avenue,
New York, NY 10016; e-mail,
PopPhoto@bonniercorp.com.
Published letters may be
edited for length and clarity.
We regret that we cannot
answer all letters. Editorial
contributions sent by mail
must include return postage
and will be handled with
reasonable care; however, we
assume no responsibility for
return or safety of
photographs, disks, or
manuscripts.
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REPRINTS AND
EPRINTS
For Reprints email reprints@
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s u n p a k . c o m
The Sunpak DigiFlash 3000...
A brighter idea for
your DSLRcamera.
The very capable Sunpak DigiFlash for DSLR cameras ofers all the power you need, with the features professional
photographers demand. With complete TTL compatibility for your Canon or Nikon DSLR camera, the DigiFlash
3000 is perfect for portraits, groups, sporting events and stage productions. And it packs more ash power than
your DSLRs built-in ash, so you can capture perfect moments using longer zooms, for stunning results. And no
more running out of ash power when you need it.
The DigiFlash 3000 is loaded with professional features, such as a bounce and swivel head for the ultimate in
lighting control and creativity. To customize ash coverage, its built-in manual zoom head matches any 18 mm
to 70 mm DSLR lens. And with a low light autofocus assist, you wont miss another shot when light is poor.
Big on power and high on features, the DigiFlash 3000 delivers what you need, at a fraction of the price of a
comparable camera-brand ash.
For more info on the Sunpak DigiFlash 3000, go to: sunpak.com/DF3000.
Available at:
All product names shown are trademarked by their respective holders.
Taken with built-in as
Taken wit
Sunpak DigiFlash 3000
Natural World
Want to
enter? Get
the official
rules and
upload your
images at
PopPhoto.
com/
contests.
SHARE
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YOUR BEST SHOT
3rd Place
$100 Prize MARK
NAKAMURA, TEACHER, SAN LUIS OBISPO,
CA Inspired by a Popular Photography article
about using a lightbox for a backdrop, I
dusted off an old one I used to sort slides
with and photographed these flowers
in my living room. To make sure the
backlight did not overpower the picture,
I used eTTL on the flash to balance the
exposure. TECH INFO: Canon EOS 5D Mark II,
2470mm f/2.8L II Canon EF lens, and Canon
Speedlite 580EX II; 1/100 sec at f/4.5, ISO 80.
RAW conversion in Adobe Photoshop Lightroom
5; color correction in Photoshop CS6.
2nd Place
$200 Prize
JEFFREY DE GUZMAN, 44, EXECUTIVE,
MANILA, PHILIPPINES I took this photo
while diving at Nudi Falls in Lembeh,
Indonesia. My dive guide pointed out tiny
bubbles on a whip coral at 20 meters. He
insisted I look closer, and when I did, I was
shocked to see tiny eggs with eyes looking
back at me. TECH INFO: Nikon D800E with
105mm f/2.8G VR Nikkor lens; 1/320 sec at
f/32, ISO 50. Nauticam Super Macro Converter
(+13 Diopter) and housing, I-torch Carbonic II
focus light, and two Sea & Sea YS-250 strobes.
This months winners fnd natures beauty in disparate settings
Choose your focus and well focus on you.
Online education with a professional mentor.
One to one training that makes you a better photographer.
CALL OR GO ONLINE TO GET STARTED TODAY
WWW.NYIP.EDU/POP | 1.800.445.7279
SHARE
*
YOUR BEST SHOT
1st Place
$300 Prize
SURYO ONGKOWIDJAJA, 38, DESIGNER,
SURYABA, EAST JAVA, INDONESIA
Kenjeran Beach is a famous spot for local
photographers to take photos of the sunrise.
During the day, local people visit for picnics
with family or rent fishermenswooden
boats for sailing along the beach. Early one
morning, I went out with a few friends,
hoping for high tide and a perfect mirror-
reflection shot. But we cant change the laws
of nature, and it was low tide. Disappointed,
I walked to the end of the docking bay until
I saw this dramatic scene of fishermens
ships parking along the beach, seemingly
stranded. TECH INFO: Sony Cyber-shot RX1 on
Cambophoto tripod; 1/2 sec at f/11, ISO 50. RAW
conversion in Adobe Camera Raw 8.3; bi-color
preset from Nik Color Efex 4 in Photoshop CS6.
REGISTER ONLINE AT MENTORSERIES.COM - For more information, call toll-free 888-676-6468

Donnie Sexton
Donnie Sexton
Donnie Sexton Donnie Sexton
Special thanks to our premier sponsor:
Come to Montana and try out some of the
latest equipment that Nikon offers including
their high-performance HD-SLRs, NIKKOR lenses,
the Nikon 1 System, and a variety of COOLPIX
compact digital cameras.
COOLPIX A D610 D800
The Mentor Series is headed back to one of our most popular
destinations, Glacier National Park, Montana. Often referred to as
the Crown of the Continent, the park will be dressed in its summer
best, with carpets of multi-colored wildowers set against the
backdrop of rugged peaks. Join Mentor Series and Nikon professional
photographers Reed Hoffmann, Tom Bol, and Bob Smith to learn the
ultimate photo tips and techniques for capturing all the beauty that
Montana and Glacier National Park have to offer.
Master the art of sunrise photography when you experience the rst
colors of the day reected in the waters of Two Medicine Lake. Add
to this a journey across the Going-to-the-Sun Road, an engineering
marvel completed in 1932 that affords sweeping views of Glaciers
iconic peaks. One of the stops will be at the summit of Logan Pass, a
popular hangout for marmots, mountain goats, and bighorn sheep.
An easy hike will take us to the Hidden Lake overlook.
One day is devoted to the Many Glacier valley, and includes boat
rides across Swiftcurrent and Josephine Lakes to the trailhead for
Grinnell Glacier. A healthy hike will get us off the beaten path and
into Glaciers backcountry. Watch for moose and bear that frequent
the area. The historic and massive Many Glacier Hotel offers up the
chance to focus on architectural photography at days end.
Adding to the amazing photos ops in Glacier will be a visit to the
Triple D Game Farm to shoot some big critters in their native
environment.
Another highlight of this trek will be a day devoted to the North
American Indian Days. Taking place on the Blackfeet Indian
Reservation, this native celebration offers up endless chances to
capture vibrant dance competitions and drumming, as well as
parade action. Drawing Native Americans from the United States
and Canada, this festive powwow provides a glimpse into the culture
of Native peoples. Adding to this day is the opportunity to shoot
traditional rodeo and Indian relay action, taking place adjacent to
the powwow grounds.
This action-packed workshop, with so much diversity for photography,
is not to be missed. Sign up today!
JULY
9-13
2014
With additional support from:
SCHEDULED TO APPEAR Limited to 15 Students per Mentor
REED HOFFMANN
USA Today
Associated Press
BOB SMITH
National Geographic
Conservation Society
TOM BOL
National Geographic Adventure
Alaska
Workshop Fee: $1,525
Includes snacks and water on the bus, transportation to each shooting location, park
permit and entrance fees, in-field instruction, presentations, and digital review sessions.
Donnie Sexton Donnie Sexton Donnie Sexton
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EXPERT TIPS AND TECHNIQUES FOR BETTER PHOTOS
MAKE YOUR OWN PHOTO BOOKS
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EXPLORE SANIBEL ISLAND; FIND A BACKGROUND FOR ACTION
44
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TRY STROBOSCOPIC LIGHTING
For more of
Johanssons
magical
composites,
visit
erik johansson
photo.com.
CUT & FOLD is how Berlin-
based commercial photographer
Erik Johansson titled this
humorous image of one cyclists
road hazard from hell. Long
before he sat down to his
computer, the work to produce
the image began with a lengthy
process of observation and
imagination. He visited and
revisited ideas and concepts in
order to refine and strengthen
the images visual potential.
The process included asking
questions about how he might
mix up or flip around physical
relationships and viewers
expectations.
Inspiration is everywhere, he
says. Its more about being in a
receptive mood, trying to think
CLIPPING PATH
Before picking up a camera, put on your thinking cap
PARFOCAL VS. VARIFOCAL ZOOMS
IN THIS months test report of Nikons retro-style Df (page 67), Philip Ryan extols the
DSLR for the ease with which it accepts older Nikon lenses. One reason photographers
might want to explore the option? The parfocal zoom. Older zooms often had parfocal
designs that let users zoom in and out while maintaining sharp focus. Perhaps the
main advantage this offers is the ability to zoom in on a subject, check focus, and
then zoom out for a wider view with confidence that the subject will remain sharp.
Conversely, almost all current zooms are varifocals. With these zooms, as the focal
length of the lens changes, so does the focus point. In a lens manual focus mode
especially, users must remember to refocus whenever the zoom setting changes.
DID YOU KNOW?
HOW
*
CREATIVE THINKING
about ideas all the time, and
trying to see differently than
you do in your day-to-day life.
The inspiration for this
image struck during a visit to
the photographers parents in
Gtene, Sweden. It was there
that he encountered the idyllic
scene that would form the
base image for Cut & Fold.
Upon viewing the image, he
wondered how he might morph
this flat landscape into hills,
and that led him to ask how
he might render the scene to
resemble something other than
a conventional landscape.
I thought that transforming
it to appear paper-like would
allow me to open up the
scene somehow, Johansson
remembers.
He sketched ideas in his
notebook, but it wasnt
until later when he noticed
cut here dotted lines in a
magazine advertisement that
the aha! moment happened.
Suddenly, the whole concept
came together, along with
a cyclist to help viewers put
themselves in the scene.
In a fascinating time-
lapse video (posted at
youtu.be/TiCLMePjK-Y),
Johansson compressed 15
hours of postprocessing into
approximately five minutes.
Viewing it, one is struck by
his meticulous zooming in
and out to achieve just the
right look for the grass, rocks,
and roots. The photographer
says he really doesnt use any
advanced editing techniques,
just an sharply focused eye for
detail and realism.
Like a fine wine, Johanssons
work takes time. For images
like this, you really have to
have a lot of patience, he says.
I can only produce about eight
or ten of them each year.
Laurence Chen
MID-
TROT
STOP
We fip the format
FIX IT FAST
Swensons
exposure:
1/1400 sec
at f/2.4 on
an Apple
iPhone 5.
She made
minor
adjustments
in Adobe
Camera
Raw.
THE GREAT advantage of cell-
phone cameras, of course, is
that you can grab a shot almost
anywhere, as Sarah Swenson did
astride her horse on Antelope
Island in the Great Salt Lake. And
as usual, the Fix It Fast Team
wanted to tweak the tonality and
composition.
Using the photographers
original JPEG in Adobe Photoshop
CCs Adobe Camera Raw, we
reduced the overall exposure
and decreased the highlights for
a more saturated effect. Then
we increased shadow detail to
see a bit more of the bison, and
added clarity in the horses hair
for a bit more detail. For a bluer
color balance, we took down the
yellow a little bit overall.
The shot looked somewhat
off-kilter to us, so we rotated
it slightly counter clockwise to
level the line of the background
clouds. We tried it as a square
composition, which reduced
extraneous space and added to
the slightly humorous effect.
So we decided to take it a notch
further to a 4:3 vertical, which
we think intensifies the images
focus. Total fix time: 15 minutes.
Dan Richards
and Debbie Grossman
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HOW
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TRAVELING PHOTOGRAPHER
DONT MISS the opportunities
to photograph birds as you cross
the causeway onto Floridas Gulf
Coast islands of Sanibel and
Captiva, says Florida nature pro
Sara Lopez. There are pelicans,
royal terns, least terns, and
ospreys fishing in the waters next
to the three-mile road.
More than two-thirds of these
adjoined islands are wildlife
sanctuary and are home (or a
migration stopover) to nearly 300
bird species, according to Lopez
shooting (and life) partner Dick
Fortune. You wont find fast-
food restaurants, stop lights, or
any buildings higher than a palm
tree, he says. But there is a lot
to photograph, including the
endangered Florida woodstork,
manatees, dolphins, butterflies,
flowers, and crocodiles.
Among their favorite stops:
the 6,300-acre J. N. Ding Darling
National Wildlife Refuge. There
are more than four miles of
wildlife drives where you can
stop to photograph, says Lopez.
She suggests grabbing a map and
tide chart at the visitors center.
Low tide is best for wading birds
and when this happens in the
golden hours it is magical. The
refuge is open from 7 a.m. to 6
p.m. in March (closed Fridays). A
particular highlight: the roseate
spoonbill roost. They preen there
in morning and then return again
at the end of the day, she says.
Two other productive venues:
The Sanibel lighthouse and the
fishing pier. Beaches at the
lighthouse provide access to
wading birds and the dolphins
when theyre around, says Lopez.
Jeff Wignall
Nature makes a splash
on Sanibel Island
GULF GAME
SEEING MORE SANIBEL
Because much of Sanibel and Captiva is either
inaccessible by land or best explored with
guides, here are four popular tour operators
who can show you the hidden sights:
O
ADVENTURES IN PARADISE CRUISES www.adventurein-
paradiseinc.com. It specializes in narrated morning, afternoon,
and sunset dolphin cruises, sea life and shelling excursions, as
well as holiday and fishing charters. You can also take a two-hour
history-related trolley tour of Sanibel.
O
CAPTIVA CRUISES capitvacruises.com. It offers a variety of
nature cruises, including dolphin- and wildlife-watching rides
on nearby Pine Island Sound, plus sunset, beach, and shelling
cruises to secluded Cayo Costa State Park and other inaccessible
out-island sites.
O
JENSENS TWIN PALMS RESORT + MARINA 15107 Captiva
Dr., Captiva. Visit here for boat rentals (from 16-foot skiffs to
24-foot pontoon boats), private boat excursions, fishing guides
and excursions, water taxi service to out islands including Cayo
Costa State Park, historic Boca Grande, and Pine Island, home to
the historic Calusa Indian Shell Mound.
O
TARPON BAY EXPLORERS tarponbayexplorers.com. This
is the officially licensed concessionaire within the Ding Darling
National Wildlife Refuge and offers a variety of guided kayak and
canoe tours, as well as rental kayaks, canoes (including electric-
motor canoes), standup paddleboards, and bikes. It also rents
20-foot pontoon boats that hold up to eight people. You can start
your own photo workshop!
Sara Lopez captured a great egret
foraging in Sanibels Ding Darling
wildlife refuge. She shot with a Canon
EOS-1D Mark III and 300mm f/2.8L
Canon EF lens with teleconverter.
Exposure: 1/800 sec at f/7, ISO 200.
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can perform another useful
function. The club owners who
hire me want the venues to look
busy and crowded. To do that,
I have to minimize any empty
space between people, he says.
Because each stroboscopic pop
produces a separate exposure,
For more
of Joyces
club photos,
visit www.luke
joycephoto
graphy.com.
STROBOSCOPIC FLASH lighting
has lots of great uses, not the
least of which is stoking your
creative juices. Its most often
used to capture movement, as in
the classic multi-pop renderings
of golf swings or pirouetting
dancers. As Luke Joyce, a music
performance shooter from
Belfast, Ireland, knows, when
shooting events that draw
crowds, stroboscopic lighting L
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J
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When it comes to crowds, think stroboscopic
*
LIGHTING HOW
RAVE LIGHTING
Using the
clubs
strobes as
a main light
source, Joyce
handheld this
exposure for
0.8 sec at ISO
500 (aperture
unrecorded).
individuals can appear two or
three times in a single image, if
only as a blur. These multiple
images can fill any empty space,
exaggerating both the size and
energy of a crowd.
Joyce will sometimes produce
his stroboscopic lighting with an
on-camera flash. For this shot,
though, that wasn't necessary.
Being a regular at this club, I
know the lighting technician
well. These guys can really help
you if youre struggling with the
lighting, says Joyce. At this event,
the technician indicated whenever
the rooms numerous strobe lights
would fire. It gave Joyce time to
position himself, open the shutter,
and wait for the strobe blasts.
Using the clubs strobes made
for a larger and more even light
source than my on-camera flash
could have produced, says Joyce.
Other tips for stroboscopic flash:
Move your camera. If you

dont move the camera during
the strobe bursts, each exposure
overlays the last, warns Joyce.
Use small apertures. Its easy to

overexpose images when using
stroboscopic lighting, so I set small
apertures and slow ISOs to prevent
it, says Joyce.
Up your chances. Joyce usually

opens the shutter at least three
times per strobe burst and then
selects the best from the set.
Peter Kolonia
SIMPLE COMPLEX
STROBOSCOPIC LIGHTING TIPS
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A
B
C
C
C
To light the jubilant crowd at Belfasts Stiff Kitten night club, photographer
Luke Joyce mounted a Canon Speedlite 430EX II (B) on a Canon EOS 40D
(A), a camera since replaced by the EOS 60D. Joyce used the on-camera
flash at power to add front fill light. His main lights were three of the
clubs ceiling-mounted strobe lights (C). Joyce set the cameras shutter
speed, aperture, and ISO to correctly expose the scene in a process of
trial-and-error. The clubs strobes were firing at about five pops per second,
which didnt work. I asked the lighting technician to dial the frequency
back and after a series of tests that took about five minutes, I settled on
three pops at 0.8 sec, says the photographer. The hardest thing about
shooting night club crowds, he says, isnt the lighting. Its capturing
flattering facial expressions among the ecstatic patrons. Thank goodness
there arent too many strange ones in this shot! says Joyce.
Canon EF-S
1785mm
f/45.6 IS
($599,
street)
Canon
Speedlite
430EX II
($299,
street)
Canon
EOS 60D
($699,
street)
HOW
*
SOFTWARE WORKSHOP
SIMPLE COMPLEX
D
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B
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)
Theres
nothing like
seeing your
photographs
in a book,
and
Lightroom
makes it
simple.
ALL TOO OFTEN, our pictures
languish on our hard drives or fall
out of view soon after we share
them. Books are a great venue
for prints, but trying out different
book-making services, uploading
your files as JPEGs, and negotiating
often-cumbersome layout
software can be frustrating.
It is far easier to make a book
via your primary editor/organizer
(whether Adobe Photoshop
Lightroom or other software with
a book-making engine, such as
Apples Aperture), where you can
access and edit all of your photos.
Lightrooms book module
was added in version 4 and is
necessarily limited, though the
one in version 5 offers slightly
more flexibility, including the
ability to modify built-in page
templates. Let the limitations
work for youits easy to avoid
silly themes, and fewer options
make the design process faster.
Output to PDF, as a JPEG file, or, as
in this tutorial, upload for printing
Book It
Publish your pictures easily with
Adobe Photoshop Lightroom
to Blurb. In LR5, you can now
choose Blurbs least expensive
paper, which is useful for book
drafts or giveaways.
The smallest books printed
via Blurb can be surprisingly
inexpensive; search for a
coupon code before you order
to save extra. But give it a try
if you keep your focus narrow,
building a book wont take long.
And it will be such a pleasure
to see your pictures published.
Debbie Grossman
AFTER
1
2
3
Step 1
Start by gathering your
images. If you have been
fastidious with your folder-
or collection-making, and
you already have a group
of favorites ready to add
to a book, just click to
highlight your group and
head right to the Book
module. If you need to
collect the pictures, do
so while in the Library.
Since the book were
making here will sum up
a year, create a collection
set for the year, then
make collections for
each month. Drag your
favorites from each month
into their respective folders.
Step 2
Click on your Collection set, then click
on the Book module. Unless you have
turned the option off in Preferences, LR will
automatically populate your book with the
images in your set. Since it lays the pictures
out according to the current selected
preset, you may run out of room.
Step 3
The default, single-shot, automatic-
population option works well when
you want a simple layout. But if
you are making a book with
multiple images per page and some
full-page shots, youll need more
layout variety for a good design.
Click Clear Book, in the top-right
corner of the screen, to start
from scratch. Then fill in your Book
Settings. With an empty book, youll be
able to see the base prices. They start
anywhere from a small square (7x7
inches) on standard paper for $12.99
to a large landscape (13x11 inches) on
ProLine Pearl Photo paper for $79.49.
Choose your output
Pick whether youll use Blurb, save a PDF, or
create a JPEG. With the latter two, you can
adjust resolution and sharpening amount.
Step 4
The fastest way to get all your
pictures into the book with a varied
design is to make an Auto Layout
preset out of your favorite templates.
To pick them, click the down-
pointing arrow in the Page panel.
For consistency, choose favorites from
a single themed category, such as
Clean. Then click the radio buttons to
favorite the ones you want to use (in
LR4, right-click to add faves).
Step 5
Next go to the Auto Layout panel,
use the Preset pulldown menu to
choose Edit Auto Layout Preset,
and fill in your preferences for
your new preset. Then use the
Preset pulldown menu to select
Save Current Setting as New
Preset, name it, click Create, then click
Done. Be sure your main collection
is selected, then click Auto Layout to
fill your pages. When youre finished,
youll have a basic book which contains
all your images and is ready to be
modified and customized.
Final Step
Before you go any further, click the
Create Saved Book button in the top-
right of the screen to preserve your
work. Then double-click on any spread
to view it larger and customize. If you
want to switch two photos, drag one
on top of the other. Fill in any text
boxes that you wantdont worry,
the dummy text wont print. Use the
Type panel to change size, typeface,
and color. To change a pages layout,
click the down arrow under a page,
and choose a different layout. Stick to
picking from your list of favorites for
design consistency. When youre done,
click Send Book to Blurb to order it.
HOW
*
SOFTWARE WORKSHOP
5
4
6
Edit your Auto Layout
Use the pulldown menu to choose Random
From Favorites, and pick the number of
photos for each side of your spread.
For fast service,
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Your pro
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S
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IMAGES OF skiing, mountain
biking, and other active outdoor
pursuits need more than sharply
frozen athletes and eye-grabbing
kinetic energy. Action shots need
great backgrounds, too. I always
pay attention to whats happening
behind my subjects, says outdoor
specialist Scott Markewitz of Salt
Lake City. I use backgrounds to
make the subject stand out, or to
unify or pull together the overall
composition. I like clean, fairly
uniform locations, and I avoid
scenes that are busy or cluttered.
For this image of pro rider Eric
Porter, Markewitz was drawn
to a grove of aspens. The nice
thing about aspens is they have a
clean, linear look, especially when
you shoot straight up at them.
Bushier trees like some firs or
maples hide their trunks behind
layers of foliage and wouldnt
work for a shot like this. Aspens
point straight up like arrows, says
the photographer. If you position
yourself with a little care and have
the right lens, those arrows can
point straight to your subject.
To immerse
yourself
in Scott
Markewitzs
killer action
photos, go
to scott-
markewitz.
com.
TREE
TOPPED
HOW
*
YOU CAN DO IT
Give action subjects
great backgrounds
To take a photo like this,
Markewitz suggests that you:
Pick the right tricks. When the
rider performs complicated tricks
with flips or spins, it can look great
in video but confusing in stills.
Keep the tricks simple, with poses
the rider can hold for a second,
says Markewitz.
Shoot in continuous mode. You
need to be able to pop off between
Markewitz
will teach a
Pop Photo
workshop,
sponsored
by Sony, in
Palm
Springs,
CA, this
month. Visit
imaging-
edge.com/
workshops.
Step 1
Line up a subject. You cant ask
just anyone to get on a bike, fy off a
ramp, strike a pose, and land safely,
says Markewitz. Only experienced
riders need apply.
Step 2
Find a location. Look for dense,
evenly wooded stands of aspens,
red pines, or other tall trees with
bare trunks and thinly foliated
canopies.
Step 3
Get the right gear. Markewitz
opted for a fisheye lens for the
depth and drama it created.
Athough the biker appears to fly
high, he was only five feet above the
photographer, who laid flat on the
ground and shot up on his subject.
The fisheyes 180-degree angle of
view also captured the entire length
of the tree trunks, creating strong
converging lines that all lead to the
subject. Your camera should offer a
fast burst speed, to at least 5 fps.
Step 4
Wait for the right light. Overcast
skies will produce more even
lighting with highlight and shadow
levels relatively close. If you
must shoot under direct sunlight,
go when the sun is low on the
horizon as Markewitz did here.
This shot might also work with sun
immediately behind the subject.
Final Step
Compose with care and fire
away. For this shot, centering
the subject was important for the
overall composition, but I also
needed him close to the center
because I was shooting with that
fisheye lens, said Markewitz. With
fisheyes, the image center shows
much less distortion than its edges.
SIMPLE COMPLEX
5 and 10 frames per second
in order to capture a perfect
moment.
Start with practice runs. Have
your subject go through a set of
trial runs so you will know where
to position yourself.
Use manual focus. Prefocus
in manual at a point where you
know the athlete will soon be.
Peter Kolonia
Markewitz shot
with a Nikon D3S
(since replaced
by the D4, A), and
the 16mm f/2.8 AF
Nikkor fisheye (B).
His exposure was
1/1000 sec at f/2.8,
ISO 400.
A
B
Namibia
Epic
Right between the Namib and Kalahari
deserts, and getting less rain than any
other country in sub-Saharan Africa,
Namibia is a land of contrasts and
extremes. It is also a photographers
dream, packed with stunning scenery,
surprising wildlife, and surreal views.
Photos & text by Richard Bernabe & Ian Plant
SAND DUNE,
SOSSUSVLEI,
NAMIB-
NAUKLUFT
NATIONAL PARK
Richard Bernabe
climbed an
adjacent dune
for this view,
captured with
a 100400mm
f/4.55.6L Canon
EF IS lens on a
Canon EOS 5D
Mark III, 1/80 sec
at f/11, ISO 100.
WATERand its absencedefnes
life in this southwestern African
country. Namibias Coastal Desert
is one of the planets oldest, with
powerful winds sculpting the
highest sand dunes in the world.
While the country is hot and arid
in the interior, the coast is cool
and moist. As for the rest
of Namibia, you fnd life only
where it fnds water.
How to Get Around
A safe place to visit, Namibias
tourism industry is quite well-
developed. Start your trip by fying
into Hosea Kutako International
Airport. U.S. tourists wont need to
secure a visa ahead of time.
Rent a carthere are plenty
of optionsand remember to
drive on the left! Namibias roads
tend to be in good condition,
and paved highways take you to
most of the popular destinations.
Secondary routes consist of well-
graded gravel. You probably wont
need a four-wheel-drive vehicle,
although its useful in a few areas
(including Deadvlei, next page).
Bring cash, since many service
stations dont take credit cards.
English is the offcial language
and is widely spoken (although
many older Namibians speak
it poorly). Namibians also
commonly speak Afrikaans and
German as well as a number of
indigenous languages.
The local currency is the
Namibian Dollar (NAD). Withdraw
NADs from the ATM machines
available in most towns, cities,
and tourist destinations. In
general, you can choose from a
range of quality lodging wherever
you visit (including hotels and
comfortable campsites).
Places to See & Shoot
ETOSHA NATIONAL PARK

Renowned for its spectacular
and abundant wildlife, this park
is the most important wildlife
sanctuary in Namibia, as well
as one of the largest savannah
conservation areas in all of
Africa. Elephants, zebras, black
ZEBRAS,
ETOSHA N.P.
Bernabe
used a 5D
Mark III,
500mm f/4L
lens, and
1.4X tele con-
verter; 1/640
sec at f/11,
ISO 640.
DEAD CAMEL
THORN TREE,
DEADVLEI
Bernabe shot
with the 5D
Mark III and
1635mm
f/2.8L Canon
EF lens, 1/13
sec at f/16,
ISO 160.
GIRAFFE,
ETOSHA N.P.
Plant used
a 1.4X tele-
converter
on a 500mm
lens; 1/1000
sec at f/5.6,
ISO 400.
and white rhinos, leopards, lions,
cheetahs, springbok, giraffe, and
wildebeest all call Etosha home in
plentiful numbers.
In the dry months (approx-
imately May through November),
head to the water holes to fnd the
highest concentration of animals,
especially early and late in the day.
Stay at one of the three walled
rest camps inside the park; they
range from deluxe to campsites.
Each camp has an adjacent water
hole with a viewing area and
foodlights that light up the night.
There, get your camera ready to
catch amazing photographs in
sunrise, sunset, and twilight. Sure,
you can stay at lodges outside of
the park, but youll need to drive
farther to reach wildlife-rich areas.
During the day, a two-wheel-
drive vehicle will do the trick for
park exploration. You are not
allowed to exit your car. Since you
wont be able to get closer on foot,
pack a telephoto zoom.
NAMIB-NAUKLUFT NATIONAL PARK

Encompassing much of Namibias
southern coast and the Namib,
this park combines some of the
countrys most surreal natural
landscapes with a surprising
amount of wildlife.
Sossusvlei is an area in the
southern Namib characterized by
enormous red sand dunes. Look
for patterns, lines, and shapes
combined with low-angled side
lighting for best results. Use a
longer lens when zooming in on
patterns of dunes from down
below; if you have the legs for
climbing, bring a wide-angle for
sweeping scenes that include a
foreground of rippled sand.
Deadvlei is another clay pan
near Sossusvlei thats entirely
surrounded by gigantic red sand
dunes. Photograph the dozens of
stark-looking camel thorn trees
that have been dead for centuries
but are saved from decomposition
by the arid climate. Early morning
and late evening light is best,
when the warm, low-angled
sunlight intensifes the dunes
bright orange and red hues. Bring
both wide-angle and telephoto
lenses: get in close to the trees
with a wide-angle and include
plenty of sky, or step back and
zoom in with a telephoto, pinning
the dead trees against the red
dunes in the background.
Features and Creatures
QUIVER TREE FOREST Near the

southern town of Keetmanshoop
lies a unique forest of quiver
trees. These are not actual trees,
but rather species of aloe large
enough to be called trees by the
locals, who once used them to
make quivers for their arrows.
The plants candelabra-like shape
creates ideal silhouettes against
a sunrise or sunset. The forest
is also perfect for starscapes or
star trails, and streaking clouds
through a moonlit sky.
GHOST
TOWN,
KOLMAN-
SKOP
Ian Plant set
his Canon
EOS 5D
Mark III with
2470mm
f/2.8 Tamron
SP VC lens
on a tripod
to make the
exposure of
8 seconds
at f/14, ISO
400.
NAMIB DESERT HORSES On

the eastern edge of the Namib
Desert near the town of Aus
is a population of feral desert
horses. This group of about 100
has captured the imagination
of photographers for years, as
they survive in some of the
harshest desert conditions.
The best place to see them
is at the Garub waterhole,
located off of National Road
B4, which connects Lderitz
and Keetmanshoop.
KOLMANSKOP Once a thriving

settlement built around a
diamond mine, Kolmanskop
has been a ghost town since
production ceased in 1954. With
colorful walls and sand dunes
engulfng entire rooms, the ghost
town should be on everyones
list when touring Namibia. The
juxtaposition of the manmade
and the forces of nature make for
compelling photography.
The town is part of a restricted
area, so you will need a permit
to get in to take photos, which
you can get in the tourism
offce in Lderitz. The best time
to photograph Kolmanskop is
in the early morning or late
afternoon, when light from
outside is refected within the
buildings, giving the rooms a
colorful glow. Footprints can be
a challenge, so be careful where
you step to avoid leaving tracks
in a great composition.
CAPE CROSS SEAL RESERVE

Cape Cross Seal Reserve
lies about 80 miles north of
Swakopmund along Namibias
Skeleton Coast, and is home to
the largest colony of cape fur
seals in the world. If youre not
too distracted by the cacophony
and the putrid aroma that
permeates the shore, Cape
Cross offers some of the best
wildlife photography in Africa.
Take the elevated boardwalk to
get face to face with many of
the colonys members. Although
your impulse might be to grab
a tele, try a wide angle for
creative compositions.
DOROB NATIONAL PARK

This coastal park is a great
place to photograph many
different bird species, especially
in the lagoon near the town of
Walvis Bay. Some 75 species
fock to this coast, often in
massive numbers. Walvis Bay
plays host to thousands of
famingos and white pelicans,
along with numerous others.
Finally, the most important
advice we can offer on visiting
this country: Make sure to give
yourself plenty of time to see all
that Namibia has to offer!
Richard Bernabe and Ian Plant are
nature photography pros. See more
of their images in their free e-book,
Namibia: Two Photographers,
One Vision, available on both
richardbernabe.com and ianplant.com.
SPRINGBOK,
ETOSHA
NATIONAL
PARK
A 500mm
f/4L Canon
EF IS tele
let Richard
Bernabe
capture this
portrait at
1/500 sec
at f/6.3, ISO
160 with a
Canon EOS
7D body.
CAPE
FUR SEAL
COLONY,
CAPE CROSS
Ian Plant
shot with a
500mm f/4L
Canon EF
IS lens on
his EOS 5D
Mark III for
this group
portrait at
1/125 sec
and f/22, ISO
800.
QUIVER
TREES,
KEETMAN-
SHOOP
Ian Plant
used a
flashlight to
paint light
on the near
tree during
a 30-second
exposure at
f/11 and ISO
1600 with a
Canon EOS
5D Mark III
and adapted
1424mm
f/2.8 AF
Nikkor on a
tripod.
FERAL
HORSES
NEAR AUS
Plant used
the EOS 5D
Mark III and
70200mm
f/2.8 Tamron
SP VC zoom
for his
exposure of
1/1250 sec
at f/5, ISO
400.
L
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U

B
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,

C
O
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S
Y

O
F

K
L
E
I
N

S
U
N

G
A
L
L
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Y
,

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Y
O
R
K
BEYOND
We can all point a
camera at ourselves.
But to make a truly
thought-provoking,
beautiful, and
magnetic self-
portrait is another
matter. Read on to
see how some top
photographers are
lifting self-portraiture
to new heights, and
let their stunning
work inspire you to
make your own.
By Peter Kolonia
THE CURRENT rage for selfes
among shooters of all ages and
backgrounds comes as no surprise.
Self-portraiture has exerted an
irresistible appeal to photographers
from the mediums earliest years,
and, with smartphones, its easier
than ever to shoot one. And today
talented photographers continue to
focus on themselves with amazing
results that far surpass most of
what slides through your Instagram
feed. The fve interviewed here have
collectively spent decades using
themselves as models. Heres how
they do it, and why they are their
own best subjects.
Why Self-Portraits?
Liu Bolin of Beijing, China, whom
you can (just barely) make out in
the image at right, uses the self-
portrait for unusually elevated ends:
as a political tool in the struggle
PARISIAN
GRAFFITI
For a video
of Liu Bolin
creating
one of his
chameleon-
like self-
portraits, go
to PopPhoto.
com/Liu_
Bolin.
THE SELFIE
M
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)
AMERICAN
DREAM
Michael
Lewiss faintly
dreamlike
self-portraits
feature
backgrounds
that are
iconic cross
sections of
contemporary
America.
rapher, is typical. For me, self-
portraits were a form of therapy,
she explains. I started taking
[them] as a way to fnd out things
about myself. I wasnt the most
confdent girl growing up, and [I
for human rights. In 2005, Liu
explains, Beijing city manage-
ment forcibly demolished Suo
Jia Cun, at the time Asias largest
artist community. As one of the
creative people who resided
there, Liu started Hiding in the
City, a series of photographic self-
portraits meant to spotlight the
effort to make Liu and his fellow
artists disappear.
Lius Hiding in the City portraits
are no ordinary photographs;
they require a team of painters
and photo assistants who spend
upwards of four hours for a typi-
cal portrait, applying paint to his
body and clothing. Each project
takes weeks of research, includ-
ing background scouting, paint
matching, and preliminary test
shoots. (See more of his work at
kleinsungallery.com.)
In our group, though, hes
atypical. For most of the pho-
tographers described here, self-
portraits make a personalnot
politicalstatement. Many got
their starts in self-portraiture
as insecure art students who
were curious about how they
looked to the outside world. Sara
Lando (saralando.com), an Italian
fashion and advertising photog-
SHOOTING
ON SET
While
producing
stills for a
major motion
picture,
Quantrell
Colbert
found his
reflection in
a mirror used
to reflect
light on the
sound stage.
The scene
is typical of
his self-
portraits
both
cluttered and
structured.
Q
U
A
N
T
R
E
L
L

C
O
L
B
E
R
T
was fascinated by] how I could trick
the camera into making me appear
beautiful.
Ironically, she ultimately dis-
covered that fattering pictures of
herself didnt capture her authentic
self. Learning the difference
between images made to gratify her
vanity and those that expressed her
inner life, she says, was a catalyst
that helped her become a better
photographer of herself and others.
Now, multifaceted images of herself,
like that on the next page, reveal an
emotionally complex persona that
she feels is truer.
Quantrell Colbert (quantrellcol-
bert.com) is a well-known Atlanta-
based celebrity photographer. His
mirrored refection, shown above,
is like many of his self-portraits:
it presents his refection within
a larger, graphically charged
background. Similarly, he often
photographs his shadow, setting it
within a variety of unusual fram-
ing elements.
Like Lando, Colbert credits
self-portraiture with refning
his eye. It has taught him about
composition, portraiture, and, he
claims, photography in general.
Self-portraits constantly pres-
ent themselves to me. I dont
necessarily look for them, he
says. When I see an interesting
background or refection, I start
shooting and keep going until I
get it right, he says. I never let a
good background go to waste.
Zev Hoover, a 14-year-old phe-
nom from Natick, MA (fddleoak.
com), has produced a series of
what he calls littlefolk self-
portraits that have earned him,
among other national publicity,
a segment on ABCs Good Morning
America. He says hes drawn to
self-portraits for the total control
they offer over every aspect of the
image. I think that is one of their
best attributes. Artists can express
themselves completely.
His littlefolk pictures (shown
on the next spread) present him
shrunk to fairy-like proportions
in a world that dwarfs him in its
overblown, threateningly outsized
proportions. His portraits convey a
sense of isolation, and in them he
often poses himself dangling pre-
cariously, in mid-quest, struggling,
or deeply contemplative. The
[littlefolk] world can be barely rec-
ognizable, and that is fascinating
to me, says Hoover.
Imagining Your Results
The conceptual process of
imagining and then executing
self-portraits intrigues all these
photographers. For Hoover, the
fnal image, but, she says, thats
rarely what she ends up with.
Lando works hard to introduce
variety in her self-portraits.
Always using the same lighting,
for example, "is like never chang-
ing your tone when you speak.
Search for Inspiration
Toying with the idea of photo-
graphing yourself? Photo sharing
websites like fickr.com, photo.net,
photobucket.com, and smugmug.
com let you search for inspiration
and stimulation among thou-
sands of self-portraits uploaded
by site members. Almost all these
sites have formal or informal
groups that participate in daily
and weekly self-portrait projects.
Flickr alone hosts dozens of
groups dedicated to the genre
with names like Self-Portrait
Tuesday, Self Refection, and
Funny Self-Portrait.
Michael Lewis, a Los Angeles-
THE RING IS
THE THING
Sara Lando
challenged
herself to do
a series of
self-portraits,
each based
on a single,
randomly
selected
word. For this
one, the word
was ring.
She produced
her rings
by holding
lit incense
sticks and
twirling in
the darkened
studio with
the cameras
shutter open.
S
A
R
A

L
A
N
D
O
process starts with scouting
backgrounds. He selects them by
imagining the view from the little-
folks perspective. It involves a lot
of bending over and putting my
eye near the ground, he explains.
The backgrounds often dictate
the mood, content, and message
of the fnal picture.
Once Hoover has found his
backgrounds, he experiments
with posing and lighting his
modelusually himself. I try
to match the lighting as closely
as possible between the person
and the background. Soft lighting
seems to work best. He then
takes both pictures into Photo-
shop and extracts his fgure from
the studio background, draws
appropriate shadows around it,
and syncs the color balance of
subject and background before
merging them. The whole process
typically takes about four hours.
Backgrounds are clearly
central to Lius self-portraits. In
China, I choose backgrounds that
record the changing mindsets
of the Chinese people, [and the
implied] problems that arise from
[subsequent] changes in society,
he explains. While he found
the background on our opening
spread in Paris, most of his earli-
est portraits are made against
iconic Chinese scenes.
For Lando, the process starts
far outside of photography or
concern for backgrounds. I start
obsessing over something. It
might be something I dreamt, a
bit of conversation I overheard,
or a found object, she says.
She then imagines how to turn
this haunted something into a
self-portrait. I scribble notes
in my notebook and replay my
thoughts over and over until
a concept becomes clear, she
explains. Once in the studio, she
has a vague notion about the
ADVENTURES
OF THE
LITTLEFOLK
Zev Hoover
may soon
produce a
pictorial
story book
based on his
littlefolk
self-portraits.
Lewis highly recommends
that all photographers give self-
portraiture a try. If only because
it keeps you in touch with how
it feels to have a camera pointed
at you. It [can result in] a level of
empathy for your subjects that
portrait photographers should
never lose sight of.
Lando agrees. Being behind
a camera is a safe place, she
says, and we tend to forget how
scary the other side can be. Self-
portraits are fun, she continues.
You dont need anyones permis-
sion. And theyre a great way to
experiment without having to
deal with the expectations of oth-
ers. If the photos dont work, you
can delete them and start from
scratch without having to give
anyone an explanation.
based celebrity portrait photogra-
pher (michaellewisphotography.
com) whose self-portraits you
see on page 54, has regularly
turned his camera on himself
sometimes staged with his more
famous subjects for more than
15 years. Like the shots here,
his pictures typically present a
pensive fgure in a location that
reveals a bit of his everyday life.
Z
E
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4
)
BEYOND
THE SELF-TIMER
Control Capture
wi-li-enabledoamerasareaboon
tophotographerslookingtodomore
Whan jusW tre remoWely. 1he Panasonic
Lumix GX7sPanasoniolmageapp,
forexample,offersnear-totaloontrolof
IoFus, exposure, and menu seWWings.
Otherwi-li-enabledoamsofferless
exWensive, Whough useIul, FonWrol. 1he
Canon EOS 6DanditsLOSRemoteapp,
forexample,allowsforexposureoontrol,
live view and review, and shuWWer release.
3ome Fameras allow you Wo add wi-li
FonneFWiviWy via add-on modules, suFh as
theWU-1b Wireless Mobile Adapterfor
some Nikon U3LRs. 1his gives you live
viewandreviewofimages,andshutter
release, EuW no oWher Famera FonWrols.
Lven Fameras wiWhouW FonneFWiviWy
oanbeusedforimagereviewvia
smarWphones. 1he Eye-Fi Mobi,anSD
memory Fard wiWh emEedded wi-li, Fan
push images Wo your smarWphone as you
shooW. BuW you will sWill need a way Wo Wrip
Whe shuWWer, and you'll have Wo adjusW Whe
seWWings on Whe Famera.
Review Remotely
1o EeWWer see whaW needs adjusWmenW,
review your resulWs on a Eigger sFreen.
Shootingtetheredtoaoomputerallows
forimagereviewathighresolutionwith
more aFFuraWe Folor. And mosW U3LRs
Fan Ee WeWhered via u3B FaEle using
soIWware WhaW Fomes wiWh Whe Famera. (A
long Ford keeps Whe FompuWer near you.)
0r use your iPad as a preview sFreen.
0ne seWup Irom 1eWher 1ools FomEines
Whe Fompany's Wallee iPad casewithits
Rock Solid ProClampandArticulating
Max Arm. 1hese leW you mounW Whe WaEleW
Wo praFWiFally anyWhing, Wripod inFluded.
1o use Whe iPad seWup, you oI Fourse
needtheoameratooommunioate
wiWh iW, iI your Fam FonneFWs Wo an i03
phone, you're Where already. 0Wherwise,
you'll need a deviFe Wo FonneFW Wo Whe
Famera's u3B porW Ior Wransmission
Wo Whe iPad. TetherTools CamRanger
workswithanumberofCanonand
Nikonmodels,another,theHyperDrive
iUSBportCAMERA,willdothesameto
FonneFW wiWh Android and i03 deviFes.
Adjust the Light
3ure you Fan adjusW IoFus and exposure
remoWely, EuW whaW aEouW lighWing? wiWh
any Famera WhaW has wireless 11L tash
FapaEiliWy, dediFaWed tash uniWs work
wiWh Whe Famera's exposure sysWem Wo
FonWrol one or more aFFessory tashes,
whiohoanbemountedinsoftboxes,
on umErellas, and so on. Change Whe
aperWure or ,30 via your app, and Whe
tash sysWem will adjusW aFFordingly.
Repositioninglightingaooessorieswill
Wake IooWwork, and Fhanging tash raWios
involves adjusWing Whe masWer tash
uniW or FonWroller. BuW aFFessories like
PocketWizards FlexTT5 transceiver
improve on manuIaFWurers' tash
FonWrollers. lor Canon and Nikon, Whe
115 provides radio-slave 11L auWomaWion
Ior radio-FonWrol tash uniWs and inIrared-
FonWrol tashes. Radio slaves have longer
range, and Fan WransmiW Whrough walls.
An inWriguing reFenW developmenW is
Profotos Air Remote TTL-C adapterfor
iWs B1 sWudio monolighW, whiFh allows you
Wo seW tash power via a smarWphone app.
Wireless infrared shutter triggers
and electronic self-timers were once
the self-portrait state-of-the-art. Now
a host of gadgets and apps make
them easier to shoot. Plus, they let
you experiment, all without breaking
your pose. By Dan Richards
Cool Capture Tools
Panasonic Lumix GX7 body
$
899
Canon EOS 6D body $1,899
Nikon WU-1b Wireless Adapter $54
Eye-Fi Mobi 16GB SDHC card $67
Olympus Pen E-P5 body $999
Great Review Options
Belkin 11-foot USB cable
$
10
TetherTools Wallee iPad case,
ProClamp, and Max Arm kit $246
TetherTools CamRanger $300
HyperDrive iUSBportCAMERA $200
Top Ways to Adjust
PocketWizard FlexTT5
$
219
Profoto B1 500 monolight and Air
Remote TTL-C adapter
$
2,390
ikan ID-500v2 studio LED light with
radio remote controller
$
430
Scan the
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RANGEFINDERS
RESTORED
Ilott Vintages
beautifully
rehabilitated
cameras, with
their handsome
wood veneers,
are each utterly
unique.
C
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The handmade, labor-of-love trend isnt just for artisanal
pickles and custom-sewn shirts from Etsy. A cadre of small
companies are hand-building cameras to buyers specs,
crafting lenses youd never see from an assembly line, building
gorgeous wooden shutter release buttons, and more. Here are
a few little brands making amazing things and the story of
what it takes to create them. By Theano Nikitas
TO ORDER
MADE
GEAR
HAVE YOU EVER wished for photo-
graphic equipment youve never
seen in a store, or longed to give
your out-of-the-factory camera a
personal touch? Or just wanted to
make a picture but you couldnt
fnd the gear to do it? These dedi-
cated photographers did. Each of
their stories is different but, inevi-
tably, a certain sparkpersonal or
practicalstarted these artisans
on the path to creating their own
products and bringing them to
market on a small scale.
For Andrew Bellamy, who
restores vintage rangefnder
cameras (ilottvintage.com), it all
began with a Minolta Hi-Matic 7
that he found sitting in pieces after
his fathers death. Bellamys father
was a camera technician in the
1960s and had been refurbishing
cameras after he retired. Using his
fathers tools, Bellamy restored the
camera, successfully shot a roll of
flm with it, and, he says, got the
bug from there.
Initially, Bellamy launched the
Ilott Vintage website with images
and information about restored
cameras to encourage the use of
flm and to [champion] the quality
of this generation of cameras, but
he was inundated with requests
to buy the cameras. In 2012, he
made them available for purchase
online. For a unique and gorgeous
modern touch, he replaces the
worn leather fronts and backs
with real wood veneers, turning
them into cameras unlike any you
have ever seen.
Keith Canham (canham
cameras.com) fell in love with
large-format photography after
shooting with a 4x5 camera while
at university; by 1983, he had built
his own 4x5 camera. Six years
later, he launched his company at
the advice of Jack Deardorff (the
last Deardorff family member
to own L.F. Deardorff and Sons).
He now designs and builds
large-format cameras for other
photographers, in incredible sizes
such as 12x20 and 14x17.
But Canham is not the only
one building cameras from
scratch. About three years ago,
shortly before he decided to pur-
sue photography full-time, James
Guerin built his frst panoramic
pinhole camera simply because
he wanted to shoot images in
that format. Around the same
time, he was intrigued by a slit-
scan photograph on Flickr, so he
designed and built a slit-scan
camera as well. Now he builds
and sells both types of cameras
(aupremierplan.fr).
Other photographic gear has
gone custom, too. For body-
boarder Sean LaBrie (splwater-
housings.com), a fnancial incen-
tive was the mother of invention.
He made his frst underwater
housing in 1995 when someone
told him he could earn money
shooting and selling surfng
imagery. After posting a hous-
ing he had made for himself
on Craigslist, LaBrie got his
frst customer: renowned surf
photographer Dave Nelson, who
has been buying housings from
LaBrie ever since. In 2001 this
evolved into a part-time business
crafting housings for some of
the industrys top surf photogra-
phers and quickly developed into
a full-time venture a year later.
Some of these custom photo
products are available to all,
but others are more diffcult to
come by. According to Bellamy
Hunt (www.japancamerahunter.
com), MS Opticalknown for
hand-built lenses and lens
conversionsstarted as more of
a hobby for its creator Miyazaki
Sadayasu, after retiring from
his previous job designing tele-
scopes for a famous Japanese
toymaker in 2006. Miyazaki-
sans lenses are sought after by
photographers and collectors
HAND-BUILT
CAMERAS
James
Guerins
panoramic
pinhole
cameras
take pictures
that no other
machines can
make.
J
A
M
E
S

G
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R
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W
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W
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SHUTTER
PERFECTION
What do two photo-obsessed Denver-
based wedding shooters do when they
decide that they need wooden shutter
release buttons for their retro-style
Fujifilm cameras? They make them
happen. In March of 2013, Preston Utley
and Steve Stanton officially launched
Artisan Obscura and distributed their
first batch of buttons to photographers
at the WPPI trade show. Our marketing
strategy was terrible, Utley recalls.
But it worked. They received a call
from Leica Miami wanting to sell the
buttons, they established a relationship
with Fujifilm, and their company quickly
grew. We didnt seek out to create a
business. A business just sort of found
us, says Stanton.
Working with local artisans
(including a jewelry manufacturer that
they met at a wedding) and operating
out of Utleys garage, Artisan Obscura
now has customers from all over
the world and a strong social media
community where people post photos
of their cameras with the buttons. In
fact, Stanton quips, Weve had people
buy buttons literally before they had
a [compatible] camera. The buttons,
each of which is unique thanks to wood
grain, are available for most cameras
that have a cable release thread.
In a year or two, Utley and Stanton
want to have their own facility. Rather
than simply hire people, Preston
explains that they hope to establish a
mentorship program to train those in
need from the local community in skills
like woodworking. Thats what Im
really excited aboutto see where this
[mentorship plan] will go.
VERY LARGE
FORMAT
Keith Canham
designs and
builds custom
large-format
cameras, and
can help you
get specially
sized Kodak
film to go with
them.
alike. If you want one, youll
need to move quicklythe
lenses are produced in limited
numbers and often sell out at
record speed. Lenses can be
ordered from Japan Camera
Hunter, where Hunt also sup-
plies his customers with classic
cameras and other products
including specially designed
soft shutter releases.
Making it Work
Its one thing to have a good or
even great idea, but executing it
is a whole other issue. Not sur-
prisingly, many of the people
we spoke with have specifc
skills that enable them to bring
their concepts to life. Combined
with a background in photog-
raphyand a little bit of luck
their skills helped them get to
where they are today and keep
them working at improving
their craftsmanship.
James Guerins prior 15-year-
long career as a mechanical
engineer is a perfect example of
how his experience feeds right
into his pursuit of designing and
building his panoramic pinhole
and slit-scan cameras. Skills
such as mechanical drawing,
knowledge of machines and
processes, materials and project
management have been a big
help, Guerin notes.
SPL Waterhousings LaBrie
brings together his experience
with watersports, photography,
and more than two decades of
welding to create his camera
housings. I worked on cars
and bicycles when I was
younger, so fguring out how to
build a box [waterproof hous-
ing] came naturally, he says.
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Although not an engineer,
Keith Canham has a strong
background in photography and
degrees in math and physics, and
he apprenticed as a piano techni-
cian for three years during high
school while teaching himself
how to build acoustic guitars.
When I decided I wanted a 4x5
camera, I already had woodwork-
ing skills from the piano restora-
tion work and guitar building,
explains Canham, so I taught
myself to be a machinist and
built the frst camera.
Getting the Word Out
Marketing can be a challenge;
sellers must reach target mar-
kets and potential customers
must fnd the goods. But there
are more ways than ever for sell-
ers and buyers to connect; the
Internet helps. For example, one
might fnd LaBrie while browsing
through surf forums to see what
underwater housings watersport
photographers used.
In the beginning, LaBrie
reports, we did not advertise. It
was 100-percent word of mouth.
Now we do trades [of equip-
ment] with certain magazines
for ad space, so LaBrie reaps the
benefts both of advertising and
of having top photographers and
editors use his equipment.
When Canham isnt making
cameras, he can often be found
at trade shows like PhotoPlus
Expo at the Kodak booth (he sells
specialty flms from Kodak to his
large-format customers). This
provides a direct connection to
potential customers, who range
from landscape to fne-art, still-
life, and portrait photographers.
But Guerin is just starting out.
The biggest challenge for me is
exposure, he says. Commercial
camera-making is a new thing
for me, and Im still an unknown
quantity in the photo com-
munity. Thats slowly changing
as Ive been featured on various
blogs and I keep fairly active on
social media. He posts photos
of his cameras as well as his
pinhole and slit-scan images on
Flickr so he can connect with
Flickr members interested in
alternative photography.
READY FOR
THE SURF
Sean LaBrie
builds custom
camera
housings for
shooters who
have to get
wet to get the
picture.
Of course, editorial
coverage also helps
spread the word. Ilott
Vintage has been
featured in magazines
ranging from photo-specifc pubs
to luxury lifestyle media.
But sometimes, getting the
product in the hands of infuen-
tial photographers is one of the
best and most direct routes to
building a customer base. That
seems to be true in LaBries case,
and also worked extremely well
for Artisan Obscura (see sidebar).
With so much of our day-to-
day communications centered
on the Internetsocial media,
special-interest forums, blogs,
etc.as well as fundraising
sites like Kickstarter, you dont
need a huge marketing budget.
All you need is a high-quality
product that addresses a need,
some Internet savvy, and the
willingness to invest time to get
the word out. And that, we think,
will help talented artisans join
the ranks of the ones featured
here to continue to bring unique
products to photographers. Z
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check our website or call for up-to-the-minute prices & information! email your order or inquiry to us at: sales@beachcamera.com
Toll-free Customer Service 800-634-1811 Dial 2
or email us at CS@beachcamera.com
Retail Showroom:732-968-6400
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Now Shipping Internationally
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Where the Customer Always Comes First

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We Carry Digital Cameras, Lenses, Flashes & Accessories, Camcorders, Printers, Scanners, External Hard
Drives, Binoculars, Scopes, Television, Home Theater, DJ Equipment, Computers, Tablets, Car Electronics, Toys
& Games, Sporting Goods, Housewares & so much more.
Camcorders
The Flagship of the VIXIA Series
VIXIA HF G30 offers a Genuine Canon 20x HD Video Lens and 8-Blade Circular
Aperture for superb video quality and natural, beautiful background blur. The new
DIGIC DV 4 Image Processor enables recording in MP4 up to 35 Mbps and AVCHD
up to 28 Mbps and even simultaneously with Dual Recording thanks to two SDXC
memory card slots. A 3.5-inch OLED Touch Panel Display and Built-in Wi-Fi technol-
ogy including remote control functionality via web browser are included. An optional
accessory adds GPS location data to video files.
Share your talents with the World
The VIXIA mini is super slim and weighs approximately 5.6 ounces, so you can
capture beautiful, high-quality video and stills wherever you go. To match its out-
standing image quality, the VIXIA mini features a built-in microphone to liven
and enhance your video with superb stereo sound. Get creative with
a genuine Canon f/2.8 fisheye lens for ultra-wide scenes, then switch to
Close-up mode simply by touching the screen.
Headline Quality and Easy Sharing
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 Video Lens with 53x Advanced Zoom. SuperRange Optical
Image Stabilization keeps your video smooth and steady
throughout the entire zoom length, while improved Dynamic IS helps keep your video sharp and blur-free
when you shoot while walking. Dual Recordingallows you to record in AVCHD to the flash drive and MP4 to
the SD card simultaneously, creating archival and easy-to-send video at the same time.
The On-the-go Videographers Dream
This feature-rich, professional model records Full HD 1080p to either its
64GB internal flash drive or 2 SDXC-compatible card slots. Including the
ability to record simultaneously to both cards for instant backup. It
includes a detachable handle for low-angle shooting and portability. A
Genuine Canon 10x HD Video Lens delivers a wide, flexible zoom range
(35mm equivalent range 30.4mm-304mm) and smooth, pleasing back-
Vixia HF G30
XA10 Pro HD
Vixia HF R40
Vixia Mini
Cameras and Lenses
Camcorders
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INSTANT REBATES AND PROMOTIONS
Canons EOS 70D is a trailblazing powerhouse featuring a
revolutionary autofocus technology that unlocks the poten-
tial of Live View: Dual Pixel CMOS AF. This allows the EOS
70D to capture video in Live View with smooth and precise
autofocus similar to that of a camcorder, complete with the
superb image quality that is a hallmark of EOS cameras.
The 16.1MP Exmor APS-C sensor Alpha NEX-3N
delivers high-resolution photos and exquisite Full HD
movies and features a large APS-C size sensor, a built-
in pop-up flash, 4 fps continuous shooting and much
more. Also included are a motor zoom lever, 180 tilt-
able LCD, AVCHD 1080/60i/24p HD movies, built-in
flash, up to ISO 16000 sensitivity, advanced noise
reduction and Intelligent AF.
The AF 18-270 covers an angle of view equivalent to that
of a 28mm wideangle to a 419mm ultra telephoto with
just one lens, letting the user capture once-in-the-lifetime
images of panoramic landscape images or close-up pic-
tures of children smiling, without having to get too close
to the subject and without having to change lenses.
Meet the New Game-Changer
EOS 70D
Every Detail of Life, Beautifully
Revealed.
Alpha NEX-3N
The Longest Steadiest Lens on Earth
AF18-270mm F/3.5-6.3
Di II VC (Vibration Compensation)
LD Aspherical (IF) Macro
Optimized for creativity. Streamlined
for flexibility.
D5200
An HD-SLR designed to awaken your creative passion. Find
exciting new perspectives with an ultra-high resolution Vari-
angle display that swivels to nearly any position. Capture
your vision in lifelike brilliance with an exceptional 24.1 MP
DX-format CMOS sensor, then share it instantly with the
optional WU-1a Wireless Adapter. Unleash the artist within.
Includes Nikon Inc. USA limited warranty. 2013 Nikon Inc
TESTS: FUJIFILM X-E2 AND ROKINONS 16MM F/2 FOR APS-C AND MFT
TEST: ZEISS OTUS 55MM F/1.4 LENS
72
78 76
UP UNTIL NOW, the retro camera trend has been
limited to compacts (fixed- or interchangeable-lens).
With the new Df, Nikon brings classic styling to a
DSLR. The two-toned, black-and-silver (or all-black)
body is fairly bristling with physical dials, evoking
yesteryear with aplomb, yet the imaging engine
is the same as that found in Nikons full-frame
Classic looks married
to cutting-edge performance
DSLR TEST
16.2MP
full-frame
CMOS sensor
Classic-style
controls
3.2-inch,
921,000-dot
LCD screen
Captures still
images only,
no video
$2,747, body
only
NIKON
DF
TIME
MACHINE
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Shutter
speed dial
Front
command
wheel
flagship D4. But unlike the D4, the
$2,747 (street) Df wont capture
video. Hows that for retro?
In the Test Lab
While the Dfs 16.2MP sensor
captured barely enough resolution
to earn an Excellent rating in
our test, it held onto its resolving
power quite steadily up to ISO 800.
This, combined with stellar noise
performance and very accurate
color reproduction, made for an
overall image quality rating of
Excellent from ISO 50 through 800.
In our resolution test, the Df
turned in 2510 lines per picture
height at ISO 50just edging over
our threshold of 2500 lines for
an Excellent rating. At ISO 800,
it delivered exactly 2500 lines.
Resolution drops off gradually from
there: to 2460 lines at ISO 1600; to
2410 lines at ISO 6400; then to 2360
lines at the cameras top numbered
sensitivity of ISO 12,800.
Above that, Nikon labels sensitivity
H1 through H4, corresponding to ISO
25,600 through ISO 204,800. With
these, Nikon indicates that image
quality will decline past standards
the company has set for itself. And
indeed, resolution drops off more
sharply here: from 2275 lines at ISO
25,600 through 1700 lines at the top
sensitivity of ISO 204,800. Quite a
decline; yet very few cameras can
even capture at such high ISOs.
Noise suppression proved to be
a big strong point for the Df. The
camera earned our top rating of
Extremely Low from ISO 50 through
ISO 800, and it didnt reach an
Unacceptable level until ISO 12,800
and even then, just by a hair. We
captured many images during our
WHATS HOT
NIKON D5300
Excellent image quality to ISO 800
No built-in Wi-Fi; no video capture
Nikon shooters who want to use classic
WHATS NOT
WHO ITS FOR
lenses on a digital camera body
AMATEUR PRO
NIKON DF
LAB
*
DSLR TEST
field testing at ISO 12,800 that
could be turned into pleasing
prints and would be great for
sharing online. Even at ISO 51,200
or 102,400, youll be likely to get
images usable for sharing through
social networks, depending on the
content of the scene.
While the Dfs imaging closely
matches that of the D4with
even less noise at ISO 1600 and
underautofocus is more in line
with the D600, Nikons consumer
full-framer, now replaced by the
D610. (No surprise, since the two
both use Nikons Multi-CAM 4800
system.) At the brightest point
in our test, the Df locked focus
and captured an image in 0.46
second. There are certainly faster-
focusing DSLRs, but this is still
pretty quick and didnt pose a big
problem during field testing. AF
didnt slow very much until the
light became dimmer than EV 6
roughly the equivalent of a well-lit
room. The Df was able to focus and
capture in under a second until the
moonlight-like dimness of EV 0.
Nikon rates the Dfs AF as effective
For info
on how we
test DSLRs,
visit our
website at
PopPhoto.
com/
reviews.
This still imaging
machine has all
the flair and prowess
you could want.
only down to EV 1, and this
proved to be true in our test.
In the Field
Often during our field testing,
strangers and friends asked if
the Df was a film camera. We
reinforced this impression by
shooting with an old non-AI
50mm f/1.4 Nikkor, but the Nikon
Df does evoke the film SLRs of the
70s. People most often compare
the look of the Df to that of the
Nikon FM. (Of course, the FM
didnt have a front-mounted
command wheel, since youd
adjust aperture with that thing on
the lens called an aperture ring.)
Also unlike the FM, the Df has a
nice little half-grip for your fourth
finger and pinky. This lets you use
a front-mounted dial with your
middle finger while keeping your
TEST RESULTS
IMAGE QUALITY ISO 50800
POOR EXCELLENT
EXCELLENT
RESOLUTION ISO 100
POOR EXCELLENT
1500 2000 2500 3000 3500 4000
EXCELLENT 2510
COLOR ACCURACY
HIGH EXCELLENT
EXCELLENT 6.8
HIGHLIGHT/SHADOW DETAIL
LOW EXTREMELY HIGH
EXTREMELY HIGH
CONTRAST
LOW EXTREMELY HIGH
VERY HIGH
UNACCEPTABLE EXTREMELY LOW
3.0 2.5 2.0 1.5 1.0 0.5
NOISE AT ISO
400
800
1600
25,600
VERY LOW 1.3
LOW 1.6
100
6400
102,400
200
12,800
204,800
EXTREMELY LOW 0.5
EXTREMELY LOW 0.6
50
3200
51,200
EXTREMELY LOW 0.8
EXTREMELY LOW 0.8
eUNACCEPTABLE 8.9
eUNACCEPTABLE 3.0
eUNACCEPTABLE 3.9
eUNACCEPTABLE 18.6
EXTREMELY LOW 1.0
eUNACCEPTABLE 5.4
BRIGHT (LIGHT LEVEL) DIM
AF SPEED
12
0.2
0.4
0.6
0.8
1.0
1.2
1.4
1.6
9 6 3 0 3
0.98
1.32
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0.46 0.47
0.50 0.52
0.63
0.79
0.93
MODERATELY LOW 2.2
forefinger on the shutter release
at all times, unless you screw a
mechanical cable release (really!)
into the button to trip it remotely.
We applaud the grip design
but, as usual, we suggest an
improvement on the next version:
a slight recess for the fingertips to
hold it more securely.
When we first held the camera,
we tried to adjust the front-
mounted wheel with our index
finger, but quickly found that
its much better to turn it with
the middle finger and dedicate
the index finger to the shutter
release. After so many years of
using buttons, command wheels,
little joysticks, and dashboard-
style displays on LCD screens to
While we
applaud
the 100%
accurate
pentaprism,
we kind of
wish that the
Df included a
pop-up flash.
(But where
would it go?)
IMAGING: 16.2MP effective,
full-frame CMOS sensor captures
images at 4928x3280 pixels with
12 or 14 bits/color in RAW mode
STORAGE: SD, SDHC, SDXC. Stores
JPEG, NEF RAW, RAW + JPEG, TIFF
BURST RATE: Full-sized JPEGs
(Fine mode): 5.5 fps over 100 shots;
RAW (14-bit): 5.5 fps up to 29 shots;
TIFF: 5.5 fps up to 21 shots when using
a UHS-I memory card
AF SYSTEM: TTL phase detection using
Multi-CAM 4800 AF module with 39
focus points (9 cross-type); single-shot
and continuous with 3D predictive focus
tracking; 1 to 19 EV (at ISO 100)
SHUTTER SPEEDS: 1/4000 to 4 sec
(in 1-EV increments using shutter-speed
dial); 1/4000 to 30 sec (in 1/3-EV
increments using main command
wheel); shutter life rated to
150,000 cycles
METERING: TTL metering using
2016-pixel RGB sensor with 3D Color
Matrix (evaluative), centerweighted,
and spot (approx. 1.5% of frame)
metering; 020 EV (at ISO 100)
ISO RANGE: ISO 10012,800
(in 1/3--EV increments);
expandable to ISO 50204,800
FLASH: No built-in flash; hot shoe
with i-TTL works with Nikon Creative
Lighting System; flash sync to 1/200 sec
VIEWFINDER: Fixed eye-level
pentaprism
LCD: Fixed 3.2-in. LCD
with 921,000-dot resolution;
11-step brightness adjustment
OUTPUT: Hi-Speed USB 2.0,
mini HDMI video
BATTERY: Rechargeable
EN-EL14a Li-ion, CIPA rating 1400 shots
SIZE/WEIGHT: 5.6x4.3x2.6 in.,
1.7 lb with card and battery
STREET PRICE: $2,747, body only;
$2,997, with AF-S Nikkor 50mm f/1.8G
Special Edition lens
FOR INFO: www.nikonusa.com
SPECIFICATIONS
VIEWFINDER TEST: Accuracy, 100%
(Excellent); Magnification, 0.70X (Good).
No power? No problem!
ION Portable Power for Studio Lights

Reliable, durable and compact

Compatible with most monolights

Standard USB port

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Dual 3-prong AC outlet

Produces over 1000* ashes
and recharges quickly
(800) 682.7668
photogenic.com
PHOTOGENIC
CHECK OUT
LATEST
REBATES
* Based on performance of 320 WS Monolight per charge
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Make remote shots as convenient as
studio work with the new Photogenic ION...
Lithium ION Pure Sine Wave Inverter
NIKON DF
LAB
*
DSLR TEST
price point, with these capabilities,
two slots would make more sense.
The Bottom Line
If you have a stash of older Nikon
glass, especially non-AI lenses,
the Df is pretty much your only
DSLR option without having your
lenses modified. If you dont have
old glass, you may be better served
by the D610, which will save you
enough money for another lens. Of
course, that means youll miss out
on the Dfs unique stylebut only
you can decide how much that
matters to you. Suffice it to say
that this still imaging machine
has all the flair and prowess
most advanced enthusiasts could
ever want. Philip Ryan
Don't like
compressed
JPEGs but
don't want
to mess
with RAW
conversion?
The Df
lets you
shoot TIFFs
instead.
change DSLR settings, it took a little
practice before using the Dfs many
dials became second nature. Then
we recalled what we love about
dials: You can adjust them without
having to turn the camera on, and
check all your settings when the
camera is off. Dials also make it
easier to change settings without
lookinga few click-stops around
will get you any setting you want.
Its pretty easy to use older lenses
on the Df. Nikons Automatic
Maximum Aperture Indexing (AI)
system, introduced in 1977, uses a
ridge on the rear of the lens barrel
to engage a coupling lever on an
AI camera. On early AI bodies, this
lever was retractable, but not on
later ones, causing damage with
non-AI lenses. But on the Df the
coupling lever retracts, letting us
use our non-AI 50mm f/1.4.
For a correct meter reading
with such a lens, you set your
aperture using the front command
dial and turn the aperture ring
on the lens. This adds a step in
shooting, but it opens up lots
of fun lens options for the Df.
Indeed, with any lens without
electronics (a.k.a. non-CPU lenses),
youll also have to give the Df
some information so the meter
functions properly: In the setup
menu, select Non-CPU Lens
Data and input the focal length,
maximum aperture, and whether
its an AI or non-AI lens. It stores
info on up to nine such lenses.
After focusing manually with
our old lens, we yearned for a split-
image focusing screenalas, there
is no such option for the Df.
Switching back to a current lens,
we enjoyed the Dfs 3D tracking
autofocus, which kept up well
with the cameras 5.5-fps burst
speed. You can shoot up to 25
uncompressed 14-bit RAW frames,
21 full-size TIFFs, or more than 100
JPEGs per burst before the buffer
fills. Too bad the Df has only one
SD card slot. For a camera at this
FULJIFILM X-E2
LAB
*
ILC TEST
AMATEUR PRO
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WHATS HOT
FUJIFILM X-E2
Extremely High image quality
No remote camera control with Wi-Fi
Mid-level mirrorless shooters.
WHATS NOT
WHO ITS FOR
IF ANY CAMERA maker can be
credited with making the retro
rangefnder style so popular in
recent years, its Fujiflm. Ever
since the company created the
X100, the frst model in the X sys-
tem, the company has been at the
center of this style revolution.
The latest such camera, the
X-E2, is an update to the X-E1. It
has the same pixel count, 16.3MP,
but uses the X-Trans CMOS II sen-
sor found in the X100s in place of
the frst-generation X-Trans chip
of its predecessor. Fujiflm also
made some subtle but helpful
changes to the cameras controls
and added Wi-Fi image sharing.
We subjected the X-E2 ($999,
street, body only; $1,399 with
1855mm f/2.84 Fujinon XF R LM
OIS lens) to our rigorous analysis
in the Popular Photography Test
Lab and hands-on feld use to see
how the camera stacks up.
In the Test Lab
With more accurate color repro-
duction than its predecessor and
slightly more resolving power,
the X-E2 earned an overall image
quality rating of Extremely High
from its lowest sensitivity of ISO
100 through ISO 400, missing an
Excellent rating due to resolution
numbers just shy of 2500 lines.
As was the case in both the X-E1
and X100s, the X-E2 wont let you
shoot RAW images at ISO 100,
12,800, or 25,600. At those settings,
its JPEG or nothing. We therefore
conducted our tests on JPEGs
FUJIFILM KEEPS THE
LOOKS AND BOOSTS
THE IMAGING
X Upgrade
SHOWN WITHOUT LENS
TEST RESULTS
IMAGE QUALITY ISO 100400
POOR EXCELLENT
EXTREMELY HIGH
RESOLUTION ISO 200
POOR EXCELLENT
1500 2000 2500 3000 3500 4000
EXTREMELY HIGH 2475
COLOR ACCURACY
HIGH EXCELLENT
EXCELLENT 6.2
HIGHLIGHT/SHADOW DETAIL
LOW EXTREMELY HIGH
VERY HIGH
CONTRAST
LOW EXTREMELY HIGH
HIGH
UNACCEPTABLE EXTREMELY LOW
3.0 2.5 2.0 1.5 1.0 0.5
NOISE AT ISO
EXTREMELY LOW 0.7
VERY LOW 1.3
LOW 1.9
1600
3200
eUNACCEPTABLE 6.4
eUNACCEPTABLE 4.9
eUNACCEPTABLE 3.6
eUNACCEPTABLE 3.5
eUNACCEPTABLE 4.3
6400
12,800*
25,600*
100*
200
400
800
for those settings, and used our
normal method of testing RAW
images converted (in the supplied
software) to uncompressed TIFFs
for ISO 200 through ISO 6400.
Despite their equal number of
pixels, the X-E2 beat the X-E1 in
our resolution test, providing 2475
lines per picture height at ISO
200, about 100 lines more than its
predecessor. So the X-E2 gets an
Extremely High rating here and
remained in this ratings band
through ISO 6400, where it turned
in 2300 lines. At ISO 12,800, JPEGs
yielded 2175 lines, while JPEGs at
ISO 25,600 turned in 2075.
In our noise test, the X-E2 kept
to a Low or better rating up to
ISO 400. From there, noise rose
quickly to a Moderate rating at
ISO 800 and then Unacceptable
at ISO 160025,600. This is very
similar to what we saw in our test
of the X-E1, though that camera
fared a little better at ISO 1600
and a little worse at ISO 400.
From the test results, it seems
the X-E2 applies more noise
reduction to the JPEGs than the
RAW converters default noise-
reduction settings apply to the
RAW images. To Fujiflms credit,
though, its programmers varied
the defaults, notching up the
noise reduction on images at ISO
16006400. Of course, you can
decide how much NR to apply to
your fles during RAW conversion.
Mimicking the X100s, the X-E2
reproduced color very accurately.
It earned an Excellent rating with
an average Delta E of 6.2.
In the Field
The X-E2 retains its predecessors
solid-feeling metal body and,
while some buttons functions
have changed, the layout has not.
The camera still has a nice,
understated, rubberized grip on
the front. It wont give you as
secure of a hold as a big DSLR,
but this is not meant to be a big
DSLR, and it never felt as if it
would fall out of our hands dur-
ing feld testing. The indentation
on the front of the grip and the
plastic ridge on the back for your
thumb provide all the leverage
you need to angle the camera
when using any of the X-series
lenses or most wide or normal
primes you might mount using
an adapter. Large teles would
likely feel ungainly.
Of the relocated controls,
we were happiest with the
autofocus button moving to the
right side of the camera back,
just below the Menu/OK but-
ton; you no longer have to take
your left hand away from the
lens when changing AF points.
Since the standard manual-focus
assist zooms in on the currently
selected AF point, this came in
very handy when we mounted a
Canon 50mm f/1.2 Leica screw-
mount lens via an adapter: We
kept one hand on the lens, did
everything else we needed with
the right hand, and got a shot
quickly, painlessly, and in focus.
X-series cameras arent actu-
ally rangefnders, though the
newer ones, including the X-E2,
include a nifty digital split-image
manual-focusing aid. This func-
tioned just as well as it did in the
X100s, proving very helpful. Focus
peaking is also on hand, and can
be set to High or Low sensitivity.
(High-contrast lenses might work
best at the Low setting; older
glass from other systems, like our
50mm Canon, might need High.)
Fujiflm replaced the X-E1s
View Mode button with the quick
menu button and flled the lat-
ters space with the autoexposure
lock buttonnow separate from
the autofocus lock button, which
is helpful for anyone who doesnt
want to have to choose between
the two. ISO still doesnt techni-
cally have a dedicated button, but
the default for the assignable Fn
button next to the shutter release
is ISO, and we left it that way for
the majority of our feld testing.
Video from the X-E2 was pleas-
ing but exhibited more moir
than weve seen from some other
cameras that similarly lack anti-
aliasing flters. But we still think
casual video shooters will be
pleased with the footage.
Burst shooting tops out at 3
The X-E2 can
capture
high-
definition
video, but
access to
the movie
mode is
hidden away
in the Drive
Mode menu.
*BASED ON JPEG OUTPUT FROM THE CAMERA
MODERATE 2.7
a 56mm f/1.2 lens with a feld of
view roughly equivalent to an
85mm lens on full frameideal
for portraits. Meanwhile, Zeiss
has also announced a 50mm f/2.8
macro for the X mount to accom-
pany its other Touit lenses.
For shooters looking for a
rangefnder-like experience
without shelling out the GDP of
a small island nation for a Leica,
the Fujiflm X-E2 is a great place
to start. Philip Ryan
Because the
flange back
distance of
the Fujifilm
X system is
so short,
many
rangefinder
lenses that
can't be
adapted for
SLRs can be
adapted for
use on the
X-E2.
IMAGING: 16.3MP effective, APS-C-sized
X-Trans CMOS II sensor captures images
at 4896x3264 pixels with 14 bits/color in
RAW mode
STORAGE: SD, SDHC, SDXC slot stores
JPEG, RAF RAW, RAW + JPEG files
BURST RATE: Full-sized JPEGs (Fine
mode): 3 fps up to card capacity; RAW:
3 fps up to 8 shots; RAW + JPEG: 3 fps
up to 8 shots when using a Class 10 or
higher memory card
AF: TTL contrast and phase detection
with 49 selectable focus areas; single-
shot and continuous AF with face
detection and subject tracking
VIEWFINDER: Eye-level 2,360,000-dot
0.5-inch OLED
SHUTTER SPEEDS: 1/4000 to 30 sec,
plus B (in 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: ISO 2006400
(in 1/3-EV increments); ISO 100, ISO
12,800, and ISO 25,600 JPEG only
VIDEO: Records at up to 1920x1080p60
in H.264 format; built-in stereo
microphone; 2.5mm stereo mic input;
maximum clip length 14 minutes at
1920x1080 or 27 minutes at 1280x720
FLASH: Built-in pop-up; GN 23 (feet, ISO
200); flash sync to 1/180 sec; wireless
flash control with Fujifilm external flashes
MONITOR: Fixed 3-inch TFT LCD with
1,040,000-dot resolution; 11-step
brightness adjustment
BATTERY: Rechargeable NP-W126 Li-ion,
CIPA rating 350 shots
SIZE/WEIGHT: 5.1x2.9x1.5 in., 0.8 lb
with a card and battery
STREET PRICE: $999, body only; $1,399
with 1855mm f/2.84 R LM OIS lens
INFO: www.fujifilmusa.com
SPECIFICATIONS
frames per second with full AF
and metering between each shot.
Thats not super fast, but given
that rangefnder-style cameras
generally arent designed for
action, we werent expecting very
fast bursts. Plus, you can amp
that up to a speedy 7 fps if you
ditch AF between shots.
The X-E2 improved on the
X-E1s focusing speed, thanks
perhaps to the embedded phase-
detection points on the new
sensor. Still, its about average for
a mirrorless camera. We never
felt particularly hampered by
this, but we also werent trying to
shoot action-packed sports. Fuji-
flms own lenses provided faster
AF than the Zeiss Touit primes we
also used on the camera.
We found the X-E2s Wi-Fi
capability limited, though simple
to use. You can very easily and
quickly transfer an image from
the camera to your phone, but
you cant control the camera
remotely. Given how prevalent
this capability has become in
Wi-Fi-capable cameras, we think
Fujiflm should add remote
control. (Its likely something that
can be added with an update to
the app, and possibly a frmware
update to the camera.)
The Bottom Line
We defnitely appreciate the
improvements Fujiflm made over
the X-E1, but depending on your
style of shooting, they might not
compel X-E1 owners to run out
and replace their cameras. Shoot-
ers looking for a new alternative
to a DSLR should be pleased,
though. Fujiflm continues to add
appealing lenses to its cadre of
glass. Most recently, it unveiled
FULJIFILM X-E2
LAB
*
ILC TEST
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THE ZEISS Otus APO Distagon T*
55mm f/1.4 ZF (Nikon) and ZE
(Canon) large-aperture, full-frame
normal lenses are the largest
and among the most expensive
lenses in its class. While the
$3,999 street price induces sticker
shock, it calmed us to recall that
it still costs several hundred
dollars less than the comparable
(but much smaller) Leica 50mm
f/1.4 Summilux-M. Justifying
its expense, the Zeiss offers
an aspheric element for edge
sharpness and expensive low-
dispersion glass used to control
color fringing.
In the hands, this all-metal,
manual-focus lens is positively
massive. It weighs more than
twice the average for a full-frame
50mm f/1.4, heavier even than
some tele primes. Whereas most
50mm f/1.4s take 58mm filters, its
threading is for 77mm filters. The
finish is a silky matte black.
In field tests, we liked the very
long manual-focus turning radius
for its precise (if not speedy)
focusing. Like all f/1.4 glass,
because its depth of field is so
shallow, it can be difficult to get
(and keep illuminated) a cameras
focus-confirmation alert. Its
smooth, rubberized manual-focus
ring turns easily and evenly, and
its subject distance scales are
bright yellow and large enough to
read from across the room.
On our optical bench, the Otus
offered the highest SQF numbers
of any of the six recently tested
Zeiss manual-focus primes.
Similarly, it outdid all comparable
recently tested autofocus lens
except the Sigma 50mm f/1.4 EX
DG, which edged its way past the
Otus to the top of the sharpness
hill for normal lenses. The
manual-focus Leica 50mm f/0.95
Noctilux-M similarly edged the
Otus slightly in SQF, but youll pay
$10,000 for one of those puppies.
In DxO Anaylzer 5.0 tests of
distortion control, however,
this Zeiss reigned supreme.
It topped the Canon, Nikon,
Noctilux-M, Sigma, Sony, and
other Zeiss 50mm f/1.4s by a level
of magnitude. The Otuss barrel
distortion numbers fell in our top
Imperceptible range; all the others
produced Slight-range distortion.
Vignetting to f/2.5, the lens also
outperformed all other (tested)
50mm f/1.4s in edge falloff, with
the exception of the Zeiss Planar
T* 50mm f/1.4, which showed
vignetting only to f/2.
Obviously designed for superior
sharpness and contrast, without
regard to size, weight, or price, this
lens is among the most impressive
glass ever mounted on Popular
Photographys optical bench. The
Zeiss Otus 55mm f/1.4 is a rare
bird; one that even without
autofocuscould attract and
then faithfully serve any Canon or
Nikon photographer. Julia Silber
With its
Otus 55mm
f/1.4, Zeiss
continues
its recent
practice of
giving its
lenses avian
appelations.
The APS-C
Touits are
named for
a parrot,
and otus is
a genus of
owls.
Big Bird
SPECIFICATIONS
55MM (54.48mm tested), f/1.4 (1.47
tested), 12 elements in 10 groups. Focus
ring turns 240 degrees
DIAGONAL VIEW ANGLE: 43 degrees
WEIGHT: 2.32 lbs FILTER SIZE: 77mm
MOUNTS: Canon AF, Nikon AF
INCLUDED: Lenshood
STREET PRICE: $3,999
WEBSITE: zeiss.com
TEST RESULTS
DISTORTION: 0.09% (Imperceptible) barrel
LIGHT FALLOFF: Gone by f/2.5
CLOSE-FOCUSING
DISTANCE: 19.5 inches
MAXIMUM MAGNIFICATION
RATIO: 1:6.34
Size 5x7 8x10 11x14 16x20 20x24
1.4 97.2 96.4 94.3 89.9 84.3
2.0 97.3 96.5 94.5 90.3 85.0
2.8 97.7 97.0 95.3 91.8 87.5
4.0 98.0 97.4 96.0 93.2 89.7
5.6 98.1 97.5 96.1 93.4 90.2
8.0 97.9 97.2 95.7 92.7 88.9
11.0 97.4 96.6 94.7 90.9 86.2
16.0 96.7 95.7 93.3 88.3 81.9
A+ A B+ B C+ C D F
KEY
55
MM
NEW ZEISS NORMAL
IS ABNORMALLY LARGE
WHATS HOT
ZEISS OTUS APO DISTAGON T* 55MM F/1.4 ZF
Optically exceptional
Heavy, expensive
WHATS NOT
WHO ITS FOR
Canon & Nikon shooters who value
optical excellence above all else.
4
.
7
3

i
n
.
3.63 in.
ZEISS OTUS APO DISTAGON T* 55MM F/1.4 ZF
LAB
*
LENS TEST
AMATEUR PRO
1.26 in.
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THE ROKINON 16mm f/2 ED AS
UMC CS for APS-C bodiesthe CS
stands for cropped sensoris
made by the South Korean firm
Samyang, which manufactures
lenses under several different
brand names. This high-speed
ultrawide is available in 10 (!)
different mounts, with street
pricing that ranges from $449 to
$499, depending on the mount.
It joins a growing line of nearly
a dozen Rokinon high-speed,
manual-focus primes that
include additional ultrawides,
fisheyes, standard-range teles,
tilt/shift, and cine lenses.
Although it has no autofocus
motor, the Nikon-mount
Rokinon 16mm f/2 we tested
is by far the largest lens of
tested digital-only ultrawides,
including the Fujifilm 14mm
f/2.8, Pentax 14mm f/2.8, and
Zeiss Touit 12mm f/2.8, all
autofocus lenses. At about 3.4
inches, the Rokinon is about an
inch longer than the Fujifilm
and Zeiss, and a full pound
heavier. Instead of the 58mm or
67mm filters of the Fujifilm and
Zeiss lenses (respectively), the
larger and faster Rokinon 16mm
f/2 takes 77mm filters, more like
a full-frame ultrawide. As you
would guess, the Rokinon is
big enough to cast a shadow at
closer focusing distances when
used with an on-board flash.
Cosmetically, the lens boasts
a nice, matte-black, stippled
surface. It handles well, with
a perfectly damped turning
action for the large manual-
focus collar of ribbed rubber.
The collars long turning
radius allows for precise, if not
rapid, focusing, and its body
markings, including an unusually
complete (f/4 to f/22) depth-of-field
scale, are bold and easy to read.
For our test lens, we would have
liked a minimum-aperture lock on
its aperture ring and a moisture-
resistant O-ring on the metal
lensmount.
In the Popular Photography Test
Lab, the lens produced Excellent
SQF numbers in the low-90th
percentile. The performance
is similar to the other lenses
mentioned here. In DxO Anaylzer
version 5.0 tests, we found
Visible barrel distortion (0.34%)
similar to the Pentax, but not in
the same league with the Fujifilm
or Zeiss Touit, which showed
0.02% and 0.04% Imperceptible
pincushion, respectively.
A clearly well-made lens
that provides a useful wide
angle of view and high speed,
this ultrawide is sure to
please anyone willing to forgo
autofocus. While it lacks the
stellar distortion control of
lenses like the Fujifilm 14mm
f/2.8 or Zeiss Touit 12mm
f/2.8, its also nearly $400 less
expensive than either of those
superstars. Julia Silber
An aperture
ring lock on
the Nikon
version of
this lens was
especailly
missed
because our
test camera,
the Nikon
D5300,
required
the lens
minimum
aperture be
set for all
exposure
modes,
including
manual.
Wide Win
SPECIFICATIONS
16MM (16.61mm tested), f/2 (2.04 tested),
13 elements in 11 groups. Focus ring turns
170 degrees.
DIAGONAL VIEW ANGLE: 83 degrees
WEIGHT: 1.45 lbs FILTER SIZE: 77mm
MOUNTS: Canon, Canon M, Four Thirds,
Fujifilm X, Micro Four Thirds, Nikon, Pentax,
Samsung NX, Sony Alpha, Sony E
INCLUDED: Lenshood, pouch
STREET PRICE: $499 (as tested)
WEBSITE: rokinon.com
TEST RESULTS
DISTORTION: 0.34% (Visible) barrel
LIGHT FALLOFF: Gone by f/4
CLOSE-FOCUSING
DISTANCE: 7.62 inches
MAXIMUM MAGNIFICATION
RATIO: 1:5.16
KEY
16
MM
ROKINONS NEWEST
MANUAL-FOCUS
ULTRAWIDE
WHATS HOT
ROKINON 16MM F/2 ED AS UMC CS
Fast, sharp, and favorably priced
Manual focus only
WHATS NOT
WHO ITS FOR
APS-C and ILC shooters who need a
wide view and high speed
3
.
4
1

i
n
.
3.25 in.
ROKINON 16MM F/2 ED AS UMC CS
LAB
*
LENS TEST
AMATEUR PRO
1.13 in.
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CyberShot DSC-RX100 II
8.0" T||||| /||a |||e |CO Bu|||-|| w||e|e
8.G/ 0p||:a| Zccr /.2/ O|||a| Zccr
10.1-8/.4rr |/1.8-4.9 (8brr e(u|..
28-100rr, Ca|| Ze| Va||c-Sc||a| T |e|
|S P|c Ouc/P|c H-Ouc, SOHC/SO/C
Ca|d S|c| |u|| HO 1080|/p V|dec a| G0 & 24 |p
#SODSCRX100M2 20
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Lumix DMC-FZ70
8.0" |CO SO/SOHC/SO/C Ca|d S|c|
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8.b8-21brr |/2.8-b.9 (8brr e(u|..
20-1200rr, OC Va||c |e|
C|ea||.e Cc|||c|, Pa|c|ara, a|d Re|cu:|
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Coolpix P520
42/ 0p||:a| Zccr 2/ O|||a| Zccr
8.2" Va||-A||e |CO 4.8-180rr
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|u|| HO 1080/G0| V|dec W||| S|e|ec
Scu|d SO/SOHC/SO/C Ca|d S|c|
Black, Dark Grey or Red
#NICPP520* ...........................379.95 18
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You' re On Steady Ground
AC Seri es Al umi num Tri pods
The AC Series of aluminum legs and ball heads combines light weight,
impressive load capacity, and precision adjustability. All have angled rub-
ber feet, padding on two legs, three-position leg spread, ve bubble levels,
counterweight hook, and a center column that separates into two sections for
short-column macro work. The AC 1300 series has three-leg sections, maxi-
mum heights from 57.5 to 67.7", bearing loads from 8.8 to 17.6 lb. The compact
four-section AC 1400s range from 57.6 to 69" and handle 6.6 to 17.6 lb. The
matching ball heads have a single-action adjustment knob and quick release.
All of the tripods come with a padded case.
Model
I ncl uded
Head
Load
Capaci ty
Max.
Hei ght Fol ded Wei ght SKU # Pri ce
Anodized Aluminum Series with Head
AC-1321 BA-106 6.6 lb 57.5" 23.4" 2.9 lb # OBAC1321106 $99.95
AC-1331 BA-108 8.8 lb 59.6" 24.5" 3.3 lb # OBAC1331108 $119.95
AC-1341 BA-111 11 lb 61.8" 24.8" 3.3 lb # OBAC1341111 $139.95
AC-1351 BA-113 13.2 lb 65.3" 27" 4.1 lb # OBAC1351113 $159.95
AC-1361 BA-117 17.6 lb 67.5" 27.3" 4.35 lb # OBAC1361117 $169.95
AC-1421 BA-106 6.6 lb 57.6" 20.6" 2.9 lb # OBAC1421106 $99.95
AC-1431 BA-108 8.8 lb 59.5" 21" 3.25 lb # OBAC1431108 $119.95
AC-1441 BA-111 11 lb 61.6" 21.3" 3.3 lb # OBAC1441111 $139.95
AC-1451 BA-113 13.2 lb 65.9" 23.1" 4.1 lb # OBAC1451113 $169.95
AC-1461 BA-117 17.6 lb 69" 23.8" 4.35 lb # OBAC1461117 $189.95
AC-1321
3-Section
AC-1461
4-Section
MEMORY CARDS
Coolpix S6500
Bu|||-|| w|-|| |u|| HO 1080p V|dec
8.0" HVA |CO 12/ 0p||:a| Zccr
4.b-b4rr |/8.1-G.b (8brr e(u|..
2b-800rr, SO/SOHC/SO/C Ca|d S|c|
V|o|a||c| Redu:||c| |rae S|ao|||/a||c|
Black, Orange, Red or Silver
#NICPS6500* .........................169.95 16
Mega
Pixels
Powershot Elph 530HS
12/ 0p||:a| Zccr 4/ O|||a| Zccr
4-48rr |/8.4-b.G (8brr e(u|..
28-88Grr, 8.2" Tcu:| S:|ee| |CO
r|:|cSO, r|:|cSOHC Ca|d S|c|
|u|| 1080p HO V|dec W||| S|e|ec Scu|d
Bu|||-|| w|-|| G O|||e|e|| |S |cde
Black or Silver #CAPSE530* 10
Mega
Pixels
Powershot G16
8.0" |CO |u|| HO 1080/G0p V|dec
b/ 0p||:a| Zccr 4/ O|||a| Zccr
G.1-80.brr |/1.8-2.8 (8brr e(u|..
28-140rr, SO/SOHC/SO/C Ca|d S|c|
E||a|:ed w|-|| Capao|||||e
Cc||||ucu S|cc||| a| 9.8 |p
#CAPSG16 .................... 549.99 12
Mega
Pixels
SD HC Secure Digital High Capacity
Delkin Kingston Sandisk
Pro Std Micro Std Micro
Class
10
Class
4
Class 4
Mobility
Class
4
Class
4
4GB 8.40 5.95 6.95
8GB 10.08 6.54 8.69 7.95 7.95
16GB 14.95 12.95 10.95 13.95
32GB 26.00 19.95 22.95 18.95 21.95
CF Compact Flash
Delkin Kingston Lexar Sandisk
500x 700x 1000x 1050x Std
Ultimate
266x
Ultimate
600x
800x 1000x
Ultra
50MBs
Extreme
60MBs
Extreme Pro
120MBs 160MBs
8GB 18.40 12.95 26.95 29.95 28.95
16GB 29.95 37.95 59.95 22.50 35.69 47.00 79.95 49.95 50.95 74.95
32GB 48.95 63.50 104.99 114.95 36.50 59.95 82.95 147.95 94.99 84.95 130.95
64GB 89.95 124.00 229.95 234.95 66.74 148.95 357.95 159.95 299.95
128GB 229.95 349.95 499.95 283.50 726.50 289.95 643.50
XQD High-Speed for Nikon D4
Lexar Sony
1100X
155MBs
N Series
125MBs
S Series
180MBs
32GB 228.50 99.95 199.95
64GB 388.00 199.95 319.00
SDXC-UHS-1 Extended Capacity
Delkin Kingston Lexar Sandisk Sony
400x 600x 633x
Class 10 Class 10 Class 10 Micro
80MBs
Class 10 Class 4
233x Elite 200x 400x 600x 30MBs 80MBs 95MBs 40MBs 94MBs Micro Backup
64GB 65.95 79.95 104.95 59.50 48.19 59.50 84.50 124.95 62.95 98.95 119.95 89.95 53.95 79.95 54.95 59.99
128GB 149.95 179.95 179.95 237.95 199.95
256GB 594.80 Note: Not all devices support SDXC cards
SDHC-UHS-1 Ultra High Speed
Delkin Kingston Lexar Sandisk Sony
600x 633x
Class 10 Class 10 Ultra
30MBs
Extreme
80MBs
Extrm Pro
95MBs
Micro
80MBs
Class 10 Class 4
233x Elite 200x 400x 600x 40MBs 94MBs Micro Backup
8GB 18.95 20.35 10.19 13.89 19.89 24.99 9.95 16.95 9.95
16GB 22.95 39.99 17.95 15.95 17.00 22.50 34.95 27.95 37.97 27.50 15.95 27.50 15.95 19.95
32GB 38.95 66.95 30.69 28.95 29.95 39.95 61.95 37.95 49.95 60.95 45.95 26.50 44.95 26.50 34.99
256GB
Extreme Pro CF Card
0p||r|/ed |c| 4| V|dec Re:c|d||
Up |c 1G0|B/
Read Speed
Up |c 1b0|B/
w|||e Speed
#SAEPCF256GB .............. $999.95
Page 3
800-947-9980
212-444-6666
Fax:
212-239-7770
Store & Mail Order Hours:
Sunday 10-5 t Mon.-Thurs.9-7
Friday 9-1 EST/9-2 DST
Saturday Closed
032014
Over 300,000 products,
at your leisure
www.BandH.com
We Buy, Sell and Trade
When in New York,
420 Ninth Ave.
March 16 ................... Closed
50mm f/2 Macro ED Zuiko
D||ta||e|
t %FTJHOFE FYDMVTJWFMZ GPS %JHJUBM 4-3T
|dea| |c| ra:|c p|c|c|ap|]
a|d a|c a a pc|||a|| |e|
|a|||:a||c| 1.2
EO |a e|ere||
|||. |c:u. 9.4b"
b2rr |||e|
d|are|e|
we|||. 10.O c/
HVL-F58AM
S|ce-|cu|| O|||a| ||a|
Zccr Head (24-10brr,
Bcu|:e & SW|.e| Head
u|de \c. 190'
TT| Oed|:a||c|
Va||-PcWe|
H||-Speed S]|:
Au|c wB Ad(u|re||
w||e|e
Ra||c Cc|||c|
we|||. 1b.O c/
16-80mm f/3.5-4.5
Carl Zeiss T* DTD||ta||e|
|dea| |c| |ap|c|,
pc|||a||, |||e||c|,
c| cu|dcc| :e|e|]
8brr e(u|..
24-120rr
|||. |c:u. 18.8"
O2rr |||e|
d|are|e|
we|||. 1b.b c/
18-135mm f/3.5-5.6 ED AL (IF)
DC WR D||ta||e|
SP Cca||| Repe| Ou|,
wa|e|, & |eae
wea||e| |e||a||
0u|:L-S||||
|c:u S]|er
|||. |c:u. 1.8'
O2rr |||e| d|are|e|
we|||. 14.8 c/
Flash System
||-800R ||a| ...................................................... 169.95
||-O00R ||a| ...................................................... 299.95
||-b0R ||a| ........................................................ 499.95
R|-11 R|| ||a| .................................................. 249.95
SR|-11 R|| ||a| Se| .......................................... 559.95
T|-22 TW|| ||a| .................................................. 449.95
ST|-22 TW|| ||a| Se|........................................... 739.95
Zuiko 4/3 System Digital Lenses
8/8.b |||-e]e EO ................................................. 799.99
8b/8.b |a:|c EO (b2c, ......................................... 229.95
b0/2.0 |a:|c EO (//c, ......................................... 499.95
1b0/2.0 EO (82c, ................................................ 2499.95
800/2.8 EO ........................................................ 6999.95
/-14/4.0 EO (/2c, .............................................. 1799.95
11-22/2.8-8.b EO (/2c, ........................................ 799.95
12-O0/2.8-4 EO SwO (/2c, ................................... 999.95
14-42/8.b-b.O EO (b8c, ........................................ 249.95
18-180/8.b-O.8 EO (O2c, ...................................... 499.95
8b-100/2.0 EO (//c, .......................................... 2499.99
40-1b0/4-b.O EO (b8c, ......................................... 279.95
b0-200/2.8-8.2 EO SwO (O/c, ............................ 1199.95
90-2b0/2.8 EO (10bc, ........................................ 5999.95
EC-14 1.4/ Te|e:c|.e||e| ...................................... 439.95
EC-20 2/ Te|e:c|.e||e| ......................................... 479.95
||-1 0| |e| Adap|e| ........................................... 83.95
AF Flash System
A|-8O0|Z .....................................................................
A|-b40|Z .....................................................................
DA Digital AF Lenses
14/2.8 EO || (//c, ...........................................................
1b/4.0 EO A| HO ||r||ed (49c, .........................................
8b/2.8 |a:. HO ||r||ed (49c, ..........................................
bb/1.4 ||r||ed (b8c, ........................................................
21/8.2 A| ||r||ed iPa|:aLe' (49c, ...................................
40/2.8 ||r||ed iPa|:aLe' (49c, ........................................
/0/2.4 HO ||r||ed (49c, ...................................................
200/2.8 EO || ..................................................................
800/4.0 EO || SO| (//c, .................................................
10-1//8.b-4.b EO || (//c, ...............................................
12-24/4 EO A| || (//c, ....................................................
1O-b0/2.8 EO A| || SO| (//c, .........................................
1/-/0/4.0 A| || SO| (O/c, ..............................................
b0-18b/2.8 EO || SO| (O/c, ............................................
b0-200/4-b.O EO wR (b2c, ..............................................
bb-800/4-b.8 EO (b8c, ....................................................
O0-2b0/4.0 EO || SO| (O/c, ............................................
AF Lenses for 35mm & Digital SLRs
81/1.8 ||r||ed (b8c, ........................................................
b0/1.4 (49c, ....................................................................
48/1.9 ||r||ed iPa|:aLe' (49c, ........................................
b0/2.8 |a:|c (b2c, W||| Cae ..........................................
///1.8 ||r||ed (49c, ........................................................
100/2.8 O |A Aw |a:|c (49c, ..........................................
Compatible with Maxxum DSLRs
Flash System
HV|-|20| ............................................................ 149.99
HV|-|20S............................................................. 149.99
HV|-|48| ............................................................ 398.00
HV|-|O0| ............................................................ 548.00
Digital Lenses
1O/2.8 |||-e]e .................................................... 999.99
20/2.8 (/2c, ......................................................... 749.99
24/2 Ca|| Ze| (/2c, .......................................... 1399.99
8b/1.4 (bbc,.................................................... 1499.99
b0/1.4 (bbc, ......................................................... 449.99
b0/2.8 |a:|c (bbc,............................................... 599.99
8b/1.4 Ca|| Ze| (/2c, ....................................... 1699.99
100/2.8 |a:|c (bbc,............................................. 799.99
18b/1.8 Ca|| Ze| (//c, ..................................... 1799.99
18b/2.8 ST| (/2c, .............................................. 1399.99
800/2.8 AP0 || ................................................ 7498.99
11-18/4.b-b.O OT (//c, ........................................ 799.99
1O-8b/2.8 ZA SS| Ca|| Ze| (//c, ..................... 1999.99
1O-80/8.b-4.b OT Ca|| Ze| (O2c, ........................ 999.99
1O-10b/8.b-b.O OT (O2c, ...................................... 699.99
18-2b0/8.b-O.8 OT (O2c, ...................................... 649.99
24-/0/2.8 Ca|| Ze| (//c, .................................. 1999.99
/0-200/2.8 AP0 (//c, ..................................... 1999.99
/0-800/4.b-b.O (O2c, ........................................ 999.99
/b-800/4.b-b.O (bbc, ........................................... 249.99
1.4/ Te|e:c|.e||e| ................................................. 549.99
2/ Te|e:c|.e||e| .................................................... 549.99
Alpha SLT-A58 DS|R
T|a||u:e|| ||||c| Te:||c|c]
2./" T||||| |CO |c|||c|
Sc|] A-rcu|| |e|
|cu|| (1.b/ |a:|c|,
|S P|c Ouc, |S PR0 H-Ouc,
SO, SOHC, SO/C Ca|d S|c|
|u|| HO 1080|/p V|dec
a| O0 c| 24|p
S|ead]S|c| |\S|OE
|rae S|ao|||/a||c|
Kit with 18-55mm SAM II Lens ........... #SOSLTA58K 20
Mega
Pixels
Alpha NEX-6 ||||c||e S]|er Care|a
|a| H]o||d A| W|||
P|ae-Oe|e:||c| A|
8.0" |CO
Ue Sc|] E-rcu|| |e|e
/A 0|EO T|u-|||de| EV|
Cap|u|e 1080 HO V|dec
SO/SOHC/SO/C & |S P|c Ouc/
P|c H-Ouc Ca|d S|c|
w|-|| Capao|e
|a| 10|p Bu|| S|cc|||
P|a]|erc||e Care|a App
with 16-50mm Lens .............................#SONEX6L* 16
Mega
Pixels
Alpha A7 DS|R
|u|| ||are E/rc| C|0S Se|c|
SO/SOHC/SO/C, |S P|c Ouc/
P|c H-Ouc Ca|d S|c|
O||e:| Ccrpa||o||||]
W||| E-rcu|| |e|e
8.0" T|||ao|e T|T |CO
Bu|||-|| w|-|| a|d \|C
O||e:| A::e |||e||a:e
|u|| 1080/O0p W|||
U|:crp|eed 0u|pu|
Bcd] 0||] #SOA7B
||| W||| 28-/0rr |e| #SOA7KB 24
Mega
Pixels
Lumix DMC-GH3 ||||c||e S]|er Care|a
|a|e|ur A||c],
wea||e|-Sea|ed Bcd]
|u|| HO 1080p V|dec a| O0|p
8.0" ||ee-A||e |CO
||:|c |cu| T|||d S]|er
SO/SOHC/SO/C Ca|d S|c|
||.e V|eW |||de|
20|p Cc||||ucu S|cc|||
|u||-A|ea Au|c |c:u S]|er, P||pc||| A|
Bu|||-|| w|-|| |c |||L |c Sra|| Oe.|:e
Body Only........................................... #PADMCGH3B 16
Mega
Pixels
OM-D E-M1 ||||c||e S]|er Care|a
8.0" T||||| |CO Tcu:|:|ee|
T|ueP|: V|| |rae P|c:ec|
||:|c |cu| T|||d S]|er
|u|| HO 1080p V|dec
|AST Oua| P|ae- &
Cc|||a|-Oe|e:||c| A|
Bu|||-|| w||e|e Cc||e:||.||]
10 |p a|d 1/8000 e:. Tcp S|u||e| Speed
Ou|/Sp|a|/||ee/ep|cc| |a|e|ur A||c] Bcd]
#OLEM1* 16
Mega
Pixels
Alpha NEX-3N ||||c||e S]|er Care|a
8.0" 180 T||||| |CO
Ue Sc|] E-rcu|| |e|e
|S P|c Ouc, |S PR0 H-Ouc,
|S0 100-1O000
|||e|||e|| A| S]|er
|u|| HO 1080|/p V|dec a| O0 |p
Au|c 0o(e:| ||ar||
P|c|c C|ea||.||] |ea|u|e |c| E||e:|
A.a||ao|e || B|a:L c| S||.e|
Kit with 16-50mm PZ Lens................. #SONEX3NL* 16
Mega
Pixels
Page 4
When in New York,
420 Ninth Ave.
of the latest gear
Sales Professionals
Hands-on demos
available
BandH.com/catalog
212-444-6633
www.BandH.com
EOS Flash System
270EXII............................................................................ 169.99
320EX..........................................................................................
430EXII............................................................................ 299.99
600EX-RT.......................................................................... 549.99
MR-14EXR||||ht........................................................................
MT-24EXTw||F|ah........................................................... 829.99
EF-S Digital Lenses
(Nct:crpat|o|ew|th|u||||are:are|a)
60/2.8USMMa:|c(52c).................................................... 469.99
10-22/3.5-4.5USM(77c).................................................. 649.99
15-85/3.5-5.6ISUSM(72c).............................................. 799.99
17-55/2.8ISUSM(67c)..................................................... 879.99
17-85/4-5.6ISUSM(67c)............................................................
18-55/3.5-5.6IS(58c)...................................................... 199.99
18-135/3.5-5.6IS(67c).................................................... 499.99
18-200/3.5-5.6IS(72c).................................................... 699.99
55-250/4-5.6ISUSM(58c)............................................... 299.99
55-250/4-5.6ISSTM(58c)................................................ 349.00
EF Lenses
20/2.8USM(72c).............................................................. 539.99
24/2.8ISUSM(58c).......................................................... 599.99
28/1.8USM(58c).............................................................. 509.99
28/2.8ISUSM(58c).......................................................... 549.99
35/2(52c)....................................................................................
35/2ISUSM(67c)............................................................. 599.99
40/2.8STMPa|:a|e(52c)................................................. 199.99
50/1.8II(52c)................................................................... 125.99
50/2.5Ma:|c(52c)............................................................ 299.99
50/1.4USM(58c).............................................................. 399.99
MP-E65/2.81/-5/Ma:|c(58c)....................................... 1049.00
85/1.8USM(58c).............................................................. 419.99
100/2USM(58c)............................................................... 499.00
100/2.8USMMa:|c(58c).................................................. 599.99
28-135/3.5-5.6ISUSM(72c)............................................ 479.99
70-300/4-5.6ISUSM(58c)............................................... 649.99
70-300/4.5-5.6DOISUSM(58c)..................................................
75-300/4.0-5.6III(58c)..................................................... 199.99
75-300/4.0-5.6IIIUSM(58c)........................................................
TS-E "L" MF Lenses
17/4.0|.......................................................................... 2499.00
24/3.5|II....................................................................... 2199.00
45/2.8............................................................................ 1399.00
90/2.8............................................................................ 1399.00
EF "L" Lenses
14/2.8USMII.................................................................. 2359.00
24/1.4II(77c)................................................................. 1749.00
35/1.4USM(72c)............................................................ 1479.00
50/1.2USM(72c)............................................................ 1619.00
85/1.2USMII(72c)......................................................... 2199.00
100/2.8ISUSMMa:|c(67c)............................................ 1049.00
135/2.0USM(72c).......................................................... 1089.00
180/3.5USMMa:|c(72c)................................................ 1579.00
200/2.8USMII(72c)......................................................... 819.99
200/2.0ISUSM(52c)...................................................................
300/4.0ISUSM(77c)...................................................... 1449.00
300/2.8ISUSMII(52c|ea|)..........................................................
400/5.6USM(77c).......................................................... 1339.00
400/2.8ISII(52c|ea|)..................................................................
500/4ISUSMII(52c|ea|).............................................................
600/4.0ISII(52c|ea|)..................................................................
8-15/4.0F|h-e]eUSM.................................................... 1499.00
16-35/2.8USMII(82c).................................................... 1699.00
17-40/4.0USM(77c)........................................................ 839.99
24-70/4.0ISUSM(77c)................................................... 1499.00
24-70/2.8IIUSM(82c).................................................... 2299.00
24-105/4ISUSM(77c).................................................... 1149.00
28-300/3.5-5.6ISUSM(77c).......................................................
70-200/4.0USM(67c)...................................................... 709.99
70-200/4.0ISUSM(77c)................................................. 1349.00
70-200/2.8USM(77c).................................................... 1449.00
70-200/2.8ISIIUSM(77c).............................................. 2499.00
70-300/4.0-5.6ISUSM(67c).......................................... 1599.00
100-400/4.5-5.6ISUSM(77c)........................................ 1699.00
EF "L" Teleconverters
1.4/III............................................................................... 499.99
2/III.................................................................................. 499.99
EOS-6D DS|R
|u||-||are C|0S Se|c| 8.0" |CO
O||C b+ |rae P|c:ec|
Ue Ca|c| E| |e|e
Bu|||-|| w|-|| a|d PS Cc||e:||.||]
|u|| HO 1080p W||| |a|ua| Cc|||c|
E/|e|ded |S0 Ra|e c| b0-102400
Up |c 4.b |u|| Rec|u||c| |PS
Bu|||-|| HOR & |u|||p|e E/pcu|e |cde
Bcd] 0||] #CAE6D .................................................1899.00
K|tw|th24-105rr|/4| #CAE6D24105 .................2499.00
20
Mega
Pixels
EOS-5D Mark III DS|R
8.2" C|ea| V|eW H|| Rec|u||c| |CO
O1-Pc||| H|| Oe|||] A|
Ue Ca|c| E| |e|e
Oua| C|, SO Ca|d S|c|
|u|| HO 1080/80p a|d
720/60pFc|rat
E/|e|ded |S0 Ra|e (b0-102400,
Bu|||-|| HOR & |u|||p|e E/pcu|e |cde
Bcd] 0||] #CAE5D3* ..............................................3399.00
K|tw|th24-105rr|IS #CAE5D324105 ................ 3999.00
22
Mega
Pixels
Digital Rebel T5i DS|R
8.0" Va||-A||e Tcu:|:|ee| |CO
Ue Ca|c| E| |e|e (1.O/ |a:|c|,
ST| |e| Suppc|| |c|
0u|e| A| || |c.|e
|u|| HO 1080 V|dec W||| Cc||||ucu A|
|S0 100-12800, E/pa|dao|e |c 2bO00
Rebates Expire 2-1-14 Price Rebate Final Cost
Bcd] 0||] #CAEDRT5I............................ 699.99......$50......... 649.99
K|tw|th18-55rrISSTM #CAEDRT5IK. 849.99......$50......... 799.99
T3 Kit w|th18-55rrIS #CAEDRT3K.... 449.99.........................
T3i Kit w|th18-55rrIS #CAEDRT3IK.. 599.99.........................
EOS-1Dx DS|R
Oua| O||C b+ |rae P|c:ec|
|a|e|ur A||c] Bcd]
E]e-|e.e| Pe||ap||r V|eW|||de|
8.2" |CO |c|||c|
Ue Ca|c| E| |e|e
Oua| C| :a|d |c|
1920 / 1080 HO V|dec Cap|u|e
||.e V|eW S|||| a|d V|dec Re:c|d||
O1-Pc||| H|| Oe|||] Au|c |c:u
Body Only #CAE1DX* ..........................................................6799.00 18
Mega
Pixels
SLR Lenses and Flashes
EOS-70D DS|R
Oua| P|/e| C|0S A| W||| ||.e V|eW
Ue Ca|c| E| & E|-S |e|e
8.0" Va||-A||e Tcu:|:|ee|
/ |p Cc||||ucu S|cc|||
Bu|||-|| w||e|e Cc||e:||.||]
|u|| HO 1080p V|dec
Bcd] 0||] #CAE70D ................................................ 1199.00..........................
K|tw|th18-55rrSTM #CAE70D1855 ................... 1349.00..........................
EOS 60D Bcd] 0||] #CAE60D ..................................899.99 ........$200 ....... 699.99
EOS 60D Kit w|th18-135rrIS #CAE60D18135 .... 1199.00 ........$200 .......999.00
20
Mega
Pixels
Call for Available Rebates & Promotions
18
Mega
Pixels
$50
REBATE!
EOS-7D DS|R
Re:c|d HO V|dec 8" |CO
Ue Ca|c| E| |e|e
Ou| a|d wea||e| Re||a||
C| Ca|d S|c| Se|e:|ao|e V|dec
E/pcu|e a|d ||are Ra|e
|S0 100-O400 (e/pa|dao|e |c
12800, 8 |p Bu|| |cde
19-Pc|||, A|| C|c-T]pe A| S]|er
Bcd] 0||] #CAE7D ..................................................1499.00
K|tw|th18-135rrIS #CAE7D18135 ......................1799.00
K|tw|th28-135rrIS #CAE7D28135 ......................1699.00 18
Mega
Pixels
Page 5
800-947-9980
212-444-6666
Fax:
212-239-7770
Sunday 10-5 t Mon.-Thurs.9-7
Saturday Closed
032014
at your leisure
www.BandH.com
When in New York,
420 Ninth Ave.
March 16 ................... Closed
SLR Lenses and Flashes
D4 DS|R
RAw, T|||, JPE, RAw+JPE |||e
|/-|c|ra| (|u||-||are, C|0S Se|c|
1080p HO B|cad:a| 0ua|||] V|dec
E/PEEO8 |rae P|c:ec|
8.2" |CO S:|ee| W||| ||.e V|eW
Ccrpa||o|e W||| |c| \|LLc| 0p||:
|a|||/, Ce||e|-we|||ed,
Spc| |e|e||| 100-12800 |S0
C| T]pe 1 & /0O Ccrpa||o|e
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
Body Only #NID4 .......................................5996.95 16
Mega
Pixels
Instant Savings on Lenses & Speedlites with purchase of any Nikon DSLR
AF Flashes Price Rebate Final
SB-800 ....................................................14O.9b.. ..............................
SB-/00 ....................................................82O.9b.. $30
..........296.95
SB-910 ....................................................b4O.9b.. $50
..........496.95
R1 w||e|e TW|| ||a| ........................................... ..............................
R1C1 w||e|e TW|| ||a| S]|er ........................... ..............................
DX ED-IF Lenses for Digital Only Price Rebate Final
10.b/2.8 |||-E]e .................................................. ..............................
8b/1.8 A|-S (b2c, .................................19O.9b.. ..............................
40/2.8 A|-S ||:|c (b2c, ........................2/O.9b.. ..............................
8b/8.b EO VR ||:|c ...............................b2O.9b.. $100
........426.95
10-24/8.b-4.b A|-S (//c, ................................... ..............................
12-24/4 A|-S (//c, ............................................ ..............................
1O-8b/8.b-b.O A|-S VR (O/c, .............................. ..............................
1/-bb/2.8 A|-S (//c, ......................................... ..............................
18-bb/8.b-b.O A|-S || (b2c, ................................ ..............................
18-bb/8.b-b.O A|-S VR (b2c, .................19O.9b.. ..............................
18-10b/8.b-b.O A|-S VR * .....................89O.9b.. $200
...... 196.95*
18-140/8.b-b.O A|-S VR ** ...................b9O.9b.. $300
.... 296.95**
18-200/8.b-b.O A|-S VR || .....................84O.9b.. $250
........596.95
18-800/8.b-b.O A|-S EO VR (//c, ..........99O.9b.. ..............................
bb-200/4-b.O A|-S (b2c, .................................... ..............................
bb-200/4-b.O A|-S VR ..........................24O.9b.. $100
........146.95
bb-800/4.b-b.O A|-S VR .......................89O.9b.. $150
........246.95
D-Type AF Lenses Price Rebate Final
14/2.8 O EO .......................................................... ..............................
1O/2.8 O (89c, W||| Hccd ....................................... ..............................
20/2.8 O (O2c,....................................................... ..............................
24/2.8 O (b2c,....................................................... ..............................
24/1.4 A|-S EO (//c, ......................................... ..............................
24/8.b O EO PC-E (//c, ......................................... ..............................
28/1.8 A|-S (O/c, .................................O9O.9b.. ..............................
28/2.8 O (b2c,....................................................... ..............................
8b/2.0 O (b2c,....................................................... ..............................
8b/1.4 A|-S EO (O/c, ......................................... ..............................
4b/2.8 O EO PC-E ||:|c (//c, ................................ ..............................
b0/1.8 O (b2c,....................................................... ..............................
b0/1.8 A|-S (b8c, .................................21O.9b.. ..............................
b0/1.4 O (b2c,....................................................... ..............................
D-Type AF Lenses Price Rebate Final
b0/1.4 A|-S (b8c, .............................................. ..............................
b8/1.4 A|-S (/2c, ...............................1O9O.9b.. ..............................
O0/2.8 O ||:|c (O2c, (1.1, ..................................... ..............................
O0/2.8 A|-S EO ||:|c (O2c, ................................ ..............................
8b/1.8 O (O2c, W||| Hccd ....................................... ..............................
8b/1.8 A|-S (O/c, .................................49O.9b.. ..............................
8b/1.4 O || (//c, ................................................... ..............................
8b/1.4 A|-S (//c, .............................................. ..............................
8b/2.8 PC-E ||:|c (//c, ........................................ ..............................
10b/2.8 A|-S EO-|| VR ||:|c (O2c, ..................... ..............................
10b/2.0 OC O W||| Hccd (/2c, ............................... ..............................
180/2.8 O EO-|| (/2c,............................................ ..............................
200/4 O EO-|| ||:|c W||| Cae (O2c, ...................... ..............................
200/2 A|-S EO-|| VR || (b2c, ............................... ..............................
800/4.0 O A|-S EO-|| (//c, ................................... ..............................
800/2.8 A|-S VR (b2c-R, .................................... ..............................
400/2.8 A|-S VR EO (b2c,................................... ..............................
b00/4.0 A|-S VR EO (b2c,................................... ..............................
14-24/2.8 A|-S EO-|| ..........................199O.9b.. ..............................
1O-8b/4.0 A|-S EO VR (//c, ................12bO.9b.. ..............................
1/-8b/2.8 O A|-S EO-|| (//c, ................................ ..............................
18-8b/8.b-4.b A|-S EO (//c, ................./4O.9b.. ..............................
24-/0/2.8 A|-S EO-|| (//c, .................188O.9b.. ..............................
24-8b/2.8-4.0 O || (/2c, ....................................... ..............................
24-8b/8.b-4.b A|-S EO VR *** ..............b9O.9b.. $100
.......496.95
24-120/4.0 A|-S EO VR (//c, ..............129O.9b.. ..............................
28-800/8.b-b.O A|-S EO VR ................104O.9b.. $150
........896.95
/0-200/4.0 A|-S EO VR (O/c, ..............189O.9b.. ..............................
/0-200/2.8 A|-S EO-|| VR || (//c, ........289O.9b.. ..............................
/0-800/4.0-b.O (O2c, ......................................... ..............................
/0-800/4.b-b.O -A|S VR ........................b8O.9b.. $200
........386.95
80-200/2.8 O W||| Cc||a| (//c, ............................... ..............................
80-400/4.b-b.O O VR (//c, .................................... ..............................
80-400/4.b-b.O A|-S EO VR (//c, ........2O9O.9b.. ..............................
200-400/4 A|-S EO VR || (b2c, ............................ ..............................
TC-14E || (1.4/, Te|e:c|.e||e| ................................. ..............................
TC-1/E || (1.//, Te|e:c|.e||e| ................................. ..............................
TC-20E ||| (2/, Te|e:c|.e||e| ................................... ..............................
* Instant Savings ONLY when purchased with a D7100 body.
** When purchased with a D3100/3200/5200/5300/7100 body.
Instant Savings Expire 2-1-14
1 J3 ||||c||e O|||a| Care|a
E/PEEO 8A |rae P|c:ec| 8.0" |CO
|||e|:|a|eao|e 1 \|||0R |e| S]|er
|c||c| S|ap|c| a|d ||.e |rae Cc|||c|
|u|| HO 1920 / 1080/O0| V|dec
S|ru||a|ecu HO |c.|e a|d S|||| Cap|u|e
1b|p Cc||||ucu S|cc||| W||| Au|c|c:u
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
A.a||ao|e || B|a:L, Be|e, Red c| w|||e
||| W||| 10-80rr VR #NI1J31030* .............................399.95
||| W||| 10-80 & 80-110rr VR #NI1J32LK* ................649.95
||| W||| 10-100rr VR #NI1J310100* ..........................849.95 14
Mega
Pixels
D610 DS|R
|/-|c|ra| (|u||-||are, C|0S Se|c|
Ue \|Lc| A| |e|e 8.2" |CO
E/PEEO 8 |rae P|c:ec|
O |p Cc||||ucu S|cc|||
E/pa|dao|e Se||||.||] |c |S0 2bO00
|u|| HO 1080p V|dec Re:c|d|| a| 80 |p
|u|||-CA| 4800 A| Se|c| W||| 89 Pc|||
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
Bcd] 0||] #NID610 .................................................... 199O.9b ....... ................
||| W||| 24-8brr VR |e| #NID6102485 .................2b9O.9b .... $100 .....2496.95
24
Mega
Pixels
$100
REBATE!
D800 DS|R
8b.9/24rr C|0S |/ |c|ra| Se|c|
8.2" |CO |c|||c|
0p||:a| |cW-Pa ||||e|
C| & SO Oua| Ca|d S|c|
\|Lc| | |cu|| |e| |cu||
E]e-|e.e| Pe||ap||r V|eW|||de|
1920 / 1080/80/2b/24p HO V|dec
|a|||//Ce||e|-we|||ed/Spc| |e|e|||
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
Bcd] 0||] #NID800 ...................................................299O.9b .... $200 .....2796.95
D800E Bcd] 0||] #NID800E ...................................829O.9b .... $300 .....2996.95
36
Mega
Pixels
$200
REBATE!
D7100 DS|R
|a|e|ur A||c] Bcd]
|c||u|e Re||a||
E/PEEO 8 |rae P|c:ec|
1080p |u|| HO V|dec Cap|u|e
A::ep| \|Lc| A| |e|e
(1.b/ |a:|c|, 8.2" |CO
Oua| SO/SOHC/SO/C Ca|d S|c|
Bu|||-|| ||a| W||| Ccrra|de| |u|:||c|
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
Price Rebate Final Cost
Bcd] 0||] #NID7100 ............................................... 1199.9b ..... $50 ......... 1149.95
||| W||| 18-10brr VR #NID710018105 .................. 1b99.9b .... $150 ........ 1449.95
D7000 ||| W||| 18-10brr VR #NID700018105 .....99O.9b ......... ..........................
Valid Through 2-1-14
24
Mega
Pixels
P
r
o
m
o
t
i
o
n
!
Up to $150
REBATE!
D5200 DS|R
E/PEEO ||| |rae P|c:ec|
|u|| HO V|dec W||| |u||-T|re Se|.c A|
8.0" Va||-A||e |CO ||.e V|eW
Ue \|Lc| A| |e|e (1.b/ |a:|c|,
89-Pc||| A| S]|er W||| 9 C|c-T]pe
\|Lc| ||:. ||r||ed Wa||a||] ||:|uded
Rebates Expire 2-1-14
D5200 is available in Black, Bronze or Red Price Rebate Final Cost
||| W||| 18-bbrr VR #NID52001855* ........................89O.9b .... $150 ....... 746.95
D3200 ||| B|a:L W/18-bbrr VR #NID32001855* .... b99.9b ..... $70 ........ 529.95
D3100 ||| W||| 18-bbrr VR #NID31001855 ............ 429.9b ....... ................
24
Mega
Pixels
P
r
o
m
o
t
i
o
n
!
$150
REBATE!
Page 6
When in New York,
420 Ninth Ave.
of the latest gear
Sales Professionals
Hands-on demos
available
BandH.com/catalog
212-444-6633
www.BandH.com
AF LENSES
Di |c| oc|| d|||a| a|d ||r S|R :are|a Di-II |c| O|||a| S|R 0||] Di III|c|r|||c|-|e:are|aO||]
C = Canon N = Nikon P = Pentax SM = Sony/Minolta SE = Sony E Mount ** Price After Rebate Expires 3-31-14
SKU # Available for Rebate Price
Di-II 60rr|/2.0|DIFMa:|c(55c) #TA602DI* C,N,SM 524.00
Di 90rr|/2.8Ma:|c(55c) #TA9028M* C,N,P,SM 499.00
Di 90rr|/2.8SPMa:|cVCUSD(58c) #TA9028VC* C,N,SM 749.00
Di 180rr|/3.5|DIFMa:|c(72c) #TA18035* C,N,SM 739.00
Di-II 10-24rr|/3.5-4.5(77c) #TA102435* C,N,P,SM 499.00
Di-II 17-50rr|/2.8XR|DIFAphe||:a|(67c) #TA175028* C,N,P,SM 499.00
Di-II 17-50rr|/2.8XRVC|DIFAph.(67c) #TA175028*Q C,N 649.00
Di-II 18-200rr|/3.5-6.3(62 c) #TA1820035* C,N,P,SM $20 179.00**
Di-III 18-200rr|/3.5-6.3VC(62c)B|a:|c|S||.e| #TA1820035S* SE 739.00
Di-II 18-270rr|/3.5-6.3VCPZD(62c) #TA18270* C,N,SM $50 399.00**
Di 24-70rr|/2.8VCUSD(82c) #TA247028* C,N,SM 1299.00
Di 28-75rr|/2.8XR(67c) #TA287528* C,N,P,SM 499.00
Di 28-300rr|/3.5-6.3XR|D(62c) #TA2830035XD* C,P,SM 419.00
Di 28-300rr|/3.5-6.3XRVC(62c) #TA2830035* C,N 629.00
Di 70-200rr|/2.8SPVCUSD(77c) #TA7020028* C,N,SM 1499.00
Di 70-300rr|/4.0-5.6VCUSD(62c) #TA70300* C,N,SM $100 349.00**
Di 200-500rr|/5-6.3|DIF(86Cc) #TA2005005* C,N,SM 949.00
1.4/SPAFP|cTe|e:c|.e|te| #TA14XP* C,N 224.00
2/SPAFP|cTe|e:c|.e|te| #TA2XP* C,N 254.00
AF LENSES & FLASHES
DC o |c| O|||a| S|R 0||] DGOpt|r|/ed|c|D||ta|S|R
H HSM Model with Canon, Nikon, Sigma
R Rear Slip-in Gelatin Filter Slot
Canon Nikon Pentax Sigma Sony Rebate Price
DC 4.5rr|/2.8EXC||:u|a|F|he]eHSM
R
#SI4528EXDCC #SI4528EXDCN #SI4528EXDCP #SI4528EXDCSI #SI4528EXDSO 899.00
DG 8rr|/3.5EXC||:u|a|F|he]e
R
#SI835CA #SI835NA #SI835SI #SI835SO 899.00
DC 10rr|/2.8EXF|he]eHSM
R
#SI1028EXDCC #SI1028EXDCN #SI1028EXDCP #SI1028EXDCSI #SI1028EXDCSO 649.00
DG 15rr|/2.8EXD|ac|a|F|he]e
R
#SI1528DGCAF #SI1528DGNAF #SI1528DGPAF #SI1528DGSA #SI1528DGMAF 609.00
DG 20rr|/1.8EXDFRFAphe||:a|(82c) #SI2018CAF #SI2018NAF #SI2018PAF #SI2018SA #SI2018MAF 629.00
DG 24rr|/1.8EXDFAphe||:a|Ma:|c(77c) #SI2418MCAF #SI2418MNAF #SI2418MPAF #SI2418MSA #SI2418MMAF 549.00
DG 28rr|/1.8EXDFAphe||:a|Ma:|c(77c) #SI2818MCAF #SI2818MNAF #SI2818MPAF #SI2818MSA #SI2818MMAF 449.00
DC 30rr|/1.4HSM(62c) #SI3014DCHSMC #SI3014DCHSMN #SI3014DCHSMS 499.00
DG 35rr|/1.4HSM(67c) #SI3514C #SI3514N #SI3514P #SI3514SI #SI3514S 899.00
DG 50rr|/1.4EX(77c)
H
#SI5014C #SI5014N #SI5014PE #SI5014SI #SI5014SOM $100 399.00**
DG 50rr|/2.8EXMa:|c(55c) #SI5028MDGCAF #SI5028MDGNAF #SI5028MDGPAF #SI5028MDGSA #SI5028MDGMAF 369.00
DG 70rr|/2.8EXMa:|c(62c) #SI7028MDGCA #SI7028MDGNA #SI7028MDGPA #SI7028MDGSA #SI7028MDGSAQ 499.00
DG 85rr|/1.4EXHSM(77c) #SI8514C #SI8514N #SI8514P #SI8514SI #SI8514S $75 894.00**
DG 105rr|/2.8EXMa:|cOSHSM(62c) #SI10528MDGCE #SI10528MDGNQ #SI10528MDGS #SI10528MDGSM $300 669.00**
DG 150rr|/2.8EXAPOMa:|cOSHSM(72c) #SI15028AMOC #SI15028AMON #SI15028AMOSI #SI15028AMOS 1,099.00
DG 180rr|/2.8EXAPOMa:|cOSHSM(86c) #SI18028AMEOC #SI18028AMEON #SI18028AMEOQ #SI18028AMEOS $150 1549.00**
DG 300rr|/2.8APOEXHSM(46cRea|) #SI30028DGCAF #SI30028DGNAF #SI30028DGPAF #SI30028DGSA #SI30028DGMAF 3,399.00
DG 500rr|/4.5APOEXHSM(46cRea|) #SI50045DGCAF #SI50045DGNAF #SI50045DGPAF #SI50045DGSA 4,999.00
DC 8-16rr|/4.5-5.6HSM #SI8164556CA #SI8164556NI #SI8164556PE #SI8164556SI #SI8164556SO 699.00
DC 10-20rr|/4-5.6EXHSM(77c) #SI102045DCAF #SI102045DNAF #SI102045DPAF #SI102045DSA #SI102045DMAF $50 429.00**
DC 10-20rr|/3.5EXHSM(82c) #SI102035C #SI102035SN #SI102035P #SI102035SG #SI102035S 649.00
DG 12-24rr|/4.5-5.6EXAphe||:a|HSMII #SI122445C #SI122445N #SI122445SI #SI122445S 949.00
DC 17-50rr|/2.8EXOSHSM(77c) #SI175028CA #SI175028NI #SI175028PE #SI175028SI #SI175028SO $100 569.00**
DC 17-70rr|/2.8-4.0OSMa:|cHSMTSC(72c) #SI1770284DCC #SI1770284DCN #SI1770284DCP #SI1770284SI #SI1770284DCS $50 449.00**
DC 18-35rr|/1.8HSM(72c) #SI183518DCC #SI183518DCN #SI183518DCP #SI183518DCS #SI183518DCSO 799.00
DC 18-200rr|/3.5-6.3OSIIHSM(72c) #SI1820035CQ #SI1820035NQ #SI1820035P #SI1820035SAQ #SI1820035SQ 499.00
DC 18-250rr|/3.5-6.3OSMa:|cHSM(62c) #SI1825035MC #SI1825035MN #SI1825035MP #SI1825035MS #SI1825035MSO $200 349.00**
DG 24-70rr|/2.8EXIFHSM(82c) #SI247028C #SI247028NF #SI247028PS #SI247028S #SI247028SM 899.00
DG 24-105rr|/4.0OSHSM(82c) #SI24105C #SI24105N #SI24105SI #SI24105SO 899.00
DC 50-150rr|/2.8EXAPOOSHSM(77c) #SI5015028CA #SI5015028NA #SI5015028SAF $150 949.00**
DG 50-500rr|/4.5-6.3APOOSHSM(95c) #SI505004563C #SI505004563N #SI505004563P #SI505004563 #SI505004563S $150 1509.00**
DG 70-200rr|/2.8EXAPOOSHSM(77c) #SI7020028CQ #SI7020028NI #SI7020028P SI7020028SIQ #SI7020028SOQ $150 1249.00**
DG 70-300rr|/4-5.6Ma:|c(58c) #SI703004SCAF #SI70300456N #SI703004PAF #SI703004SA #SI703004MAF $25 144.00**
DG 70-300rr|/4-5.6APOMa:|c(58c) #SI703004DGCA #SI70300456AN #SI703004DGPA #SI703004DGSA #SI703004DGMA 189.00
DG 70-300rr|/4-5.6OS(62c) #SI7030045C #SI7030045N #SI7030045P 359.00
DG 120-300rr|/2.8OSHSM(105c) #SI120300C #SI120300N #SI120300SIQ 3599.00
DG 120-400rr|/4.5-5.6APOOSHSM(77cRea|) #SI120400C #SI120400N #SI120400P #SI120400S #SI120400SQ 999.00
DG 150-500rr|/5-6.3APOOSHSM(86c) #SI150500C #SI150500N #SI150500P #SI150500S #SI150500M $150 919.00**
DG 1.4/EXAPOTe|e-Cc|.e|te| #SI1.4XDGCAF #SI1.4XDGNAF #SI1.4XDGSA #SI1.4XDGMAF 249.00
DG 2/EXAPOTe|e-Cc|.e|te| #SI2XDGCAF #SI2XDGNAF #SI2XDGSA #SI2XDGMAF $50 249.00**
DG EF-610ST #SIEF610STC #SIEF610STN #SIEF610STP #SIEF610STSI $30 135.00**
DG EF-610Supe|F|ah #SIEF610C #SIEF610N #SIEF610P #SIEF610S $30 225.00**
DG EM-140TT|R||||ht #SIEM140DGC #SIEM140DGN #SIEM140DGP #SIEM140DGS #SIEM140DGM 379.00
28CS-2D||ta|S|a.eShceMcu|tF|ah................ 139.99
36AF-5D||ta|..................................................... 129.99
44AF-1D||ta|ShceMcu|tF|ah.......................... 199.99
52AF-1TT|Tcu:h:|ee|...................................... 300.00
58AF-2TT|D||ta|ShceMcu|tF|ah................... 399.99
45C|-4TT|D||ta|Ha|d|eMcu|tF|ah................ 519.99
45C|-4TT|D||ta|Ha|d|eMcu|tF|ahK|t............ 699.99
76MZ-5TT|D||ta|Ha|d|eMcu|tF|ah.............. 1039.99
Q-1ahTRIO......................................................... 875.00
Q-1ahT5D-R...................................................... 706.00
Q-1ahT5D-Rw|thTu|ocSCBatte|]&Cha|e|.... 1172.00
Q-1ahT5D-Rw|thTu|oc3Batte|]K|t................. 1330.00
Batteries
Batte|]1............... 224.00
Tu|ocSC............... 466.00
Tu|ocB|ade........... 466.00
Tu|oc3................. 624.00
E-F|ahF|atPa|e|K|t#SUFP38............................... 58.95
PF20XDD||ta|S|a.eShceMcu|tF|ah................... 44.95
RD-2000ShceMcu|tF|ah.................................... 64.95
DF3000D||ta||c|Ca|c|,N||c|,Sc|]..................... 69.95
PZ-4000AFTT|ShceMcu|t.................................. 84.95
PZ-40/IIAFTT|ShceMcu|t|/N||c|(S||.e|)............ 69.95
PZ-42/AFTT|ShceMcu|t|c|Ca|c|,N||c|......... 139.00
622Supe|P|cTT|Ha|d|eMcu|tF|ah................. 179.95
285HVP|c|e|c|a|Autc......................................... 85.00
Pea|tc|eSB-4ACAdapte||c|285HV#PESB4........ 14.95
FLASHES
18-200mm f/3.5-6.3 DC II
OS HSM D||ta||e|
t %FTJHOFE FYDMVTJWFMZ
GPS %JHJUBM 4-3T
|c:u 1.b'
tcI||||t]
|a. |a||c.
1.8.8
/2rr |||e|
d|arete|
we|||. 1/.8 c/
70-200mm f/2.8 EX APO
OS HSM DG |e|
t %FTJSBCMF GPS
%JHJUBM 4-3T
||||rur
|c:u. 4.b9'
84-12.8
a||ec|.|ew
//rr |||e|
d|arete|
T||pcd :c||a|
we|||. b0.4 c/
17-50mm f/2.8 XR VC
LD-IF Di II D||ta||e|
GPS %JHJUBM 4-3T
|c:u 11.4"
tcI||||t]
|a. |a||c.
1.4.8
/2rr |||e|
d|arete|
we|||. 1.2b |o
11-16mm f/2.8 Pro DX AT-X II
Wide-Angle D||ta||e|
GPS %JHJUBM 4-3T
wR (wa|e|
Repe||e|t)
:cat||
||||rur
|c:u 1'
|a|||:a||c|
|a||c 1.11.G
we||| 1.2 |o
Expires 3-31-14
** Price After Rebate
$150
REBATE!
Six-Year Warranty
Manual Focus Lenses
In Stock Call for Prices
AF LENSES
DX |c|D||ta|S|RO||] FX De||ed|c||u||||areDS|R
Canon EOS Nikon AF Price
FX 100rr|/2.8P|cDMa:|c(52c) #TO10028PCAF #TO10028PNAF 489.00
DX 10-17rr|/3.5-4.5ATXF|he]e #TO101735CAF #TO101735NAF 669.00
DX 11-16rr|/2.8P|cII(77c) #TO111628PCII #TO111628PNII 599.00
DX 12-24rr|/4.0P|cII(77c) #TO12244DXC 399.00
DX 12-28rr|/4.0P|c(77c) #TO12284DXC #TO12284DXN 549.00
FX 16-28rr|/2.8P|c #TO1628FXC #TO1628FXN 699.00
FX 17-35rr|/4P|c(82c) #TO1735F4FXC #TO1735F4FXN 549.00
Page 7
800-947-9980
212-444-6666
Fax:
212-239-7770
Sunday 10-5 t Mon.-Thurs. 9-7
Saturday Closed
032014
at your leisure
www.BandH.com
When in New York,
420 Ninth Ave.
March 16 ................... Closed
55mm 58mm 62mm 67mm 72mm 77mm
UV Haze SC 18.50 24.95 28.99 31.95 34.00 39.99
UV Haze MRC 010M 35.50 31.50 36.30 42.90 49.89 71.75
Circular Polarizer SC 83.95 85.95 83.50 80.00 73.95 99.00
Circular Polarizer MRC 78.00 87.53 82.50 109.99 89.99 119.99
Circular Polarizer Slim 56.95 49.99 68.00 69.99 59.99 80.00
Skylight KR1.5 (1A) 24.50 25.95 31.95 38.95 42.00 53.95
Digital Pro UV MC 41.95 41.95 44.00
Graduated (N.D. & Colors) 99.95 106.95 99.50 109.50 142.50 152.95
Neutral Density 106 56.00 60.95 97.95 105.95 121.95 137.95
Close-Up Lenses 1, 2, 3, 4, 5 25.95 25.95 31.95 38.95 45.95 53.95
52mm 58mm 67mm 72mm 77mm
UV, Skylight (1B) HMC 16.50 21.50 27.50 29.95 36.20
UV, Skylight (1B) Super HMC 27.89 26.49 33.00 52.95 44.99
Linear Polarizer 16.99 25.00 38.85 36.85 44.90
Circular Polarizer 23.95 29.95 34.95 42.95 38.90
Circular Polarizer HMC 39.95 49.00 55.90 69.00 104.90
Moose Warm Circular Polarizer 35.75 39.55 53.90 55.65 91.50
K2 Yel, X0 Yel/Grn, Grn X1, Or G, Red 25A HMC 23.95 28.35 41.95 46.35 60.90
Close Up Set (+1, +2, +4) 39.99 47.35 53.00 63.00 68.00
Close-Up Set HMC (+1, +2, +4) 52.68 64.88 73.00 100.68 145.35
Intensifer Blue, Green Field, Enhancement (Red) 34.68 39.95 55.08 60.00 71.50
Neutral Density 2x, 4x, 8x HMC 23.88 19.95 36.95 30.99 34.80
Star 6, Star 8 16.89 22.50 43.35 49.90 46.68
Made exclusively with glass from Schott (Zeiss)
the worlds fnest optical glass supplier.
Skylight (1B), UV 39.99 41.99 62.99 77.99 89.99
Skylight (1B), UV SH-PMC 72.99 78.99 103.99 131.99 157.99
Circular Polarizer, Slim Circular Polarizer 115.99 121.99 151.99 180.99 195.99
Circular Polarizer SH-PMC, Slim Circ. Pol. SH-PMC 161.99 171.99 214.99 242.99 275.99
#5, #8, #11, #13, #15, #22, 81A, 81B, 81C 49.99 51.99 78.99 96.99 108.99
Digital Filter 176.99 180.99 222.99 261.99 301.99
FILTERS
B&H SPECIAL! Buy 3 or more Hoya Filters & Get 10% Off.
B&H SPECIAL! Buy 3 or more
B+W Filters & Get 5% Off.
in stock
PHOTOGRAPHY ACCESSORIES
Accepts 2 lltblum-lon batterles
to ehectlvely oouble tbe
camera's battery ll|e
(8atterles not lncluoeo)
Tbe lncluoeo AA battery
boloer allows you to use
6 AA batterles |or aooeo
convenlence (ecept 8G-N3)
Alternate sbutter release
button, maln ano sub
commano olals, ano an
AL-L/AF-L button are
provloeo to |acllltate
sbootlng ln a vertlcal
orlentatlon
8ATTLPY
GP|PS
LiteTrek 4.0 (LT) Series
Whether it's fashion, wedding or portrait
photography, the best way to achieve
professional-looking results in the feld
is by adding fash to the ambient light.
The Impact Mini LiteTrek Battery Pack
provides DC juice to your Impact
LiteTrek 4.0 portable fash or select
Nikon & Canon fashes with optional
power cords as well as Quantum
fashes without adaptation.
LiteTrek 4.0 DC Monolight
Flash Head #IMLTFH ..$499.95
LiteTrek 4.0 DC Monolight Kits
with Mini LiteTrek Battery Pack
1-Light Kit #IMMLTBK ................... $799.95 Instant Rebate -$150 $649.95
2-Light Kit #IMMLTBK2 ............. $1199.90 Instant Rebate -$150 $1049.90
Mini LiteTrek (LT) Battery #IMMLTB ...................................................................... $199.95
Mini LiteTrek (LT) Battery Pack #IMMLTPBP ....................................................... $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
LiteTrek Accessories
Charger for Mini LiteTrek #IMCBP ...$49.95
IM-CZ Canon Flash Cable #IMCZ.....$42.95
IM-CKE Nikon Flash Cable #IMCKE .$42.95
LiteTrek 4.0 Flash Tube #IMFTFH .....$79.95
Refector Adapter (Bowens Adapter) #IMBAFH ........................................................... $24.95
lighting equipment and accessories
Instant Savings on LiteTrek 4.0
Monolight Kits (Expires 1-31-14)
|or Canon 5D Mark ||| .................. 8G-C9 ;vL8GC9 ........ $99.95
|or Canon 5D Mark || ................... 8G-C2 ;vL8GC22 ..... $69.95
|or Canon 6D .................................. 8G-C8 ;vL8GC8 ........ $74.95
|or Canon 7D .................................. 8G-C4 ;vL8GC4 ........ $64.95
|or Canon 60D ............................... 8G-C6 ;vL8GC6 ........ $69.95
|or Canon T5l, T4l, T3l, T2l .....8G-C5.2 ;vL8GC52 ..... $72.00
|or Canon T3 .................................. 8G-C7 ;vL8GC7 ........ $59.95
|or Nlkon D7000 ............................8G-N4 ;vL8GN4 ....... $69.95
|or Nlkon D7100 ......................... 8G-N11 ;vL8GN11 ..... $89.95
|or Nlkon D5200, D5100 .............8G-N6 ;vL8GN6 ....... $59.95
|or Nlkon D3100, D3200 .............8G-N9 ;vL8GN9 ....... $64.95
Digital Essentials Kits
In Stock
DIGITAL HT FILTERS
812 Warming 48.95 74.95 99.95 109.95 129.95
Grad ND 0.6 74.95 63.95 82.90 119.95 139.95
Circular Polarizer 74.10 89.95 119.90 129.95 199.99
Ultra Clear 34.95 38.95 45.95 54.95 54.95
Haze 86 38.95 47.95 56.90 64.95 99.95
ND 1.2 41.50 56.95 74.90 109.95 129.95
ND 0.6 48.95 50.95 69.95 99.95 119.95
Soft FX3 56.95 63.95 82.90 119.95 139.95
Star 4 pt 2 64.95 56.95 74.90 109.95 129.95
Ten -Year Warranty
Made in USA
Multicoated Filter
Technology
FILM B&W AND COLOR
COLOR PRINT
Superia
CA 200 135-24 ..........1.99
CA 200 135-36 ..........3.50
CH 400 135-24 ..........2.25
CZ 800 135-24 ..........3.49
Pro
400H 135-36 .............8.99
400H 120 Roll ............7.95
Gold Max
GC 400 135-24 ..........2.09
GC 400 135-36 ..........2.49
Ektar
100 135-36 ...............5.50
100 120 Roll ..............4.70
Portra
160 135-36 ...............6.99
160 120 Roll ..............5.19
160 220 Roll ............14.70
160 220 PP (5) .........73.50
400 135-36 ...............7.99
400 120 Roll ..............5.85
400 220 Roll ............15.19
400 220 PP (5) .........75.95
800 135-36 ...............9.99
800 120 Roll ..............8.98
COLOR SLIDE
Provia
RDP 100F 135-36 ...10.99
RDP 100F 120 Roll ....7.19
RXP III 400X 135-36 .. 16.09
Velvia RVP
Pro 50 135-36 .........11.59
Pro 50 120 Roll ..........8.55
100 135-36 .............10.64
100 120 Roll ..............7.69
PROCESSING MAILERS
Slide
36 Exposures
(35mm) ....................8.99
Print C41 35mm ......13.49
Print C41 120 Roll ...15.49
Print C41 220 Roll ...30.95
BLACK & WHITE PRINT
Pan F+ 50 135-36 .....6.50
Pan F+ 50 120 Roll ....4.99
FP4+ 125 135-36 ......6.25
FP4+ 125 120 Roll .....4.39
HP5+ 400 135-36 .....4.75
HP5+ 400 120 Roll ....4.09
Delta Pro
100 135-36 ...............6.25
100 120 Roll ..............4.50
400 135-36 ...............6.29
400 120 Roll ..............4.95
3200 135-36 .............7.99
3200 120 Roll ............5.99
XP-2 Super
400 135-36 ...............6.49
400 120 Roll ..............4.75
Infrared
SFX 200 135-36 ........7.99
SFX 200 120 Roll .......7.50
Acros 100 135-36 .....6.59
Acros 100 120 Roll ....4.62
Neopan 400 135-36 ..5.79
Tri-X 400 135-36 ......4.49
Tri-X 400 120 Roll .....4.95
TMX 100 135-36 .......4.95
TMX 100 120 Roll ......4.90
TMY 400 135-36 .......6.95
TMY 400 120 Roll ......4.59
BW 400CN 135-36 ....6.50
REPAIR SERVICE!
TOP QUALITY EXPERIENCED
AT DISCOUNT PRICES! Send your equipment for a
FREE repair estimate to: Cambridge World
60-18 Fresh Poind Rd., Mespeth, New York 11378
Nothing is too Small or too Large Anything Photographic !!!!!
Estate Sales Welcome!!! You can mail your gear or we can pick your gear up.
You can trade-in your gear or we will pay you with a check or with Paypal.
CALL 1-800-221-2253 and ask for Simon Or Email us at
sales@cambridgeworld.com. Send your equipment for a FREE evaluation to:
Cambridge World 60-18 Fresh Pond Rd, Maspeth, NY 11378
TOP DOLLAR$$$
WE PAY FOR YOUR RETIRED GEAR!
ASK
IF YOU DO NOT SEE
IT, IT DOESNT MEAN
WE DO NOT HAVE IT,
1-800-221-2253
LARGE SELECTION
OF PROJECTION
BULBS...CALL ALEX
1-800-221-2253
CALL
B+W, HELIOPAN, CANON, CAMBRON, COKIN,
HOYA, KENKO, LECIA, NIKON,
SINGH-RAY,TIFFEN, ZEISS, ETC
WE HAVE MORE THAN 10,000 FILTERS
IN STOCK. CALL ADAM 1-800-221-2253
Top Quality screw in optical Glass Filters
19-37mm19.95 67-82mm..19.95
40-49mm..9.95 86-95mm..59.95
52-62mm.14.95 105-122mm129.95
Sun Shade Lens Hoods
19-37mm...9.95 67-82mm..19.95
40-49mm...6.95 86-95mm..69.95
52-62mm...9.95 105-122mm..99.95
3 Lens Close-up Macro Lens Sets
19-37mm..29.95 52-62mm.29.95
40-49mm..19.95 67-82mm.39.95
SIGMA
4.5mm F2.8..........838.95
8mm F3.5.............828.95
10mm F2.8...........598.95
15mm F2.8...........568.95
20mm F1.8...........588.95
24mm F1.8...........498.95
28mm F1.8...........308.95
30mm F1.4...........278.95
800mm F5.6.......6698.95
10-20mm F4-5.6....478.95
12-24mm F4.5-5.6..748.95
17-70mm F2.8-4.5...458.95
18-200mmF3.5-5.6..238.95
24-70mm F2.8.....798.95
28-70mm F2.8-4....88.95
28-200mmF3.5-5.6...174.95
28-300mmF3.5-6.3...234.95
35-135mm F4-5.6...99.95
50-150mm F2.8....698.95
50-500mm F4-6.3...948.95
55-200mm F4-5.6...124.95
70-300 F4-5.6......138.95
70-300F4-5.6APO...188.95
100-300mm F4-5.6...99.95
100-300mm F4....1098.95
120-300mm F2.8...2698.95
120-400 F4.5-5.6...938.95
150-500mmF5-6.3...948.95
200-500mm F2.8 APO EX DG...................25998.95
300-800mm F5.6 EX BE HSM.....................7698.95
1.4X APO............218.95 2X APO...............278.95
8-16mmF4.5-5.6 DC...618.95
17-50mm F2.8
EX DCOS HSM..548.95
60mm F2.8...........278.95
10-20mm F3.5........548.95
18-250mm F3.5-5.6.358.95
70-300mmDGOS.248.95
70-200mm F2.8....888.95
50-200mm F4-5.6.148.95
85mm F1.4...........848.95
400mm F5.6.299.95
19mm F2.8...........178.95
30 mm F2.8174.95
35mm F1.4.848.95
500mm F4.5.......4598.95
50-150mm F2.8968.95
70-200/2.8OS..1148.95
105mm F2.8........458.95
150mm F2.8.......688.95
180mm F2.8.......1488.95
300mm F2.8.......2998.95
70mm F2.8..........468.95
50mm F2.8..........234.95
50mm F1.4..........358.95
28-70mm F2.8.....318.95
10-20mm F4.398.95
18-35mm F1.8.748.95
18-50mmF2.8-4........188.95
18-50mmF2.8............375.95
TOKINA
10-17mm F3.5-4.5...444.95
28-200mm F3.5-5.6....99.95 11-16mm F2.8......564.95
12-24mm F4.........424.95
16-50mm F2.8......594.95 80-400mmF4.5-5.6....638.95
50-135mm F2.8....674.95
100mm F2.8.........384.95
16-28mm F2.8 .....748.00
17-35mm F4........719.00
300mm F6.3.299.95
12-28mm F4598.95
TAMRON
14mm F2.8...........989.99 90mm F2.8..........348.95
28mm F2.5.............99.99 180mm F3.5........628.95
24mm F2.5.............79.95 500mm F8...........198.95
11-18mm F4.5-5.6...434.95
17-50mm F2.8.....334.94
18-200mmF3.5-6.3...158.95
18-250mmF3.5-6.3...414.95
18-270mm............398.95
19-35mmF3.5=4.5...159.95
20-40mm F2.7-3.5...298.95
24-135mmF3.5-5.6...398.95
28-105mm F2.8....298.95
28-200mmF3.8-5.6...118.95
24-70mm F3.3-5.6...89.95
28-75mm F2.8.......348.95
28-80mm F3.5-5.6...68.95
28-300mmF3.8-5.6...294.95
28-300mmF3.8-5.6VC....584.95
200-400mmF5.6......298.95
55-200mm F4-5.6...128.95
70-200mm F2.8...664.95
60mmF2 Macro........399.95
1.4X Converter....124.95 2X Tele Converter.....138.95
1.4X SP Converter...178.95 2X SP Converter...208.95
24-70mm F2.8......1195.00
75-300mm F4-5.6...128.95
200-500mm F5-6.3..758.95
10-24mmF3.5-4.5....458.99
10-24mm F3.5-4.5...429.95
70-300mm F4-5.6 329.95
50/2.8 HMSuper Angulon.........................................3498.99
90/4.0 HMMakro-Symmar.......................................3198.99
120/5.6 HMAspheric Apo-Digitar...........................4698.99
NEW SCHNEIDER PC TS LENSES
KENKO TELECONVERTER
1.4x..99.95 1.5x..84.95 2X..129.95 3X..219.95
LENSES FOR MOST MANUAL
& AUTOFOCUS AF CAMERAS
24mm F2.8.............79.95 135mm F3.5..........29.95
28mm F2.8.............49.95 135mm F2.8..........49.95
35mm F2.8.............39.95 200mm F3.5..........79.95
50mm F1.8.............69.95 300mm F5.6..........99.95
50mm F1.4...........189.95 400mm F6.3..........99.95
100mm F3.5.........119.95
500mm F8.............99.95
500mm 1000mm combination.........................129.95
19-35mmF3.5-4.5....149.95 28-80mm F3.5-5.6...79.95
28-105mm Zoom...99.95 28-210mmF3.5-5.6...99.95
28-300mm F4-6.3..169.95 35-105mmZoom.....119.95
70-210mm Zoom...79.95 75-150mm F3.5.......49.95
100-300mmF5.6-6.7....99.95 100-500mmF5.6-8...395.95
1000-4000mm zoom.........................................349.95
1.4X Teleconverter..............................................99.95
2X Teleconverter......29.95 3X Converter...69.95
1.5X Teleconverter...69.95 1.7X.Converter..99.95
75-300mm F4.5 Macro Zoom Lens..................89.95
8mm F3.5.............279.95 14mm F2.5..........398.95
85mm F1.4...........308.95
500mm F6.3........124.95
800mm F8............219.95 1000mm F11.......799.95
650-1300mm F8 Long Zoom Lens...................249.95
0.42X Fisheye Lens............................................39.95
0.45X Wide Angle Lens.....................................39.95
We Offer MORE THAN 1,000 DIFFERENT
LENSES at LOW DISCOUNT PRICES!!!
Canon, Cosi na, Ni kon, Pent ax, Ol ympus, Lei ca, Sony, Mi nol t a,
Vi vi t ar, Schnei der, Mami ya, Hassel bl ad, Rodenst ock, Zei ss, et c.
LENSES
SAMYANG/ROKINON/BOWER
500mm F8...99.99
7.5mm F3.5...299.00
85mm F1.4299.00 35mm F1.4499.00
14mm F2.8399.00 8mm F3.5299.00
500mm mirror..119.99 500mm F6.3..159.99 800mm F8...219.99
650-1300mm f8-16 Zoom Lens....279.99
24mm F1.4...$699.00 24mm F3.5 Tilt and Shift..999.00
FILTERS
CINE LENSES
8mm T3.8...329.00 14mm...T3.1...449.00 24mm T1.5 749.00
3.5mm T1.5...549.00 85mm...T1.5...349.00
* Large selsctions of new
and used Rollei and Rolleiflex
cameras,lenses and accessories
at discount prices!!!!!
CALL William 1-800-221-2253
Rollei & Rolleiflex
Headquaters
Special Prices on
Rollei 6000 Series
New IPro 3 Lens Set for
Apple iPhone 4, 4s, 5 & 5S
All for $229
2X Telephoto Lens
Macro Lens
Wide Angle Lens
High Resolution
Top Quality Lenese
NEW POLAROID INSTANT
DIGITAL CAMERA
Print your pictures 148.99
Large selections of NEW &
USED LEICA cameras, lenses,
filters and accessories at low discount
prices ASK for Joseph
LEICA HEADQUARTERS!!!
VIVITAR
NEW SERIES 1 LENSES
7mm F3. 5. . 324. 95 13mm F2. 8409. 95
35mm F1. 4499. 95
85mm F1. 4324. 95
500mm F8. 107. 95 500mm F6. 3. . 169. 95
650-1300 F8-16...299.95
800mm F8...239.00
NEW FLASHES
16M19. 95 DF 183 AF. 44. 95
DF 283 AF89. 95 285HV. . . 87. 00
DF 293 AF89. 95 DF 383 AF124. 95
385 HV. . . . . . . . . 149. 95 DF 483 AF159. 95
LARGE SELECTIONS OF NEW AND USED
CLASSIC CAMERAS
LENSES AND ACCESSORIES IN STOCK AT LOW DISCOUNT PRICES!
Agfa, Alpa, Ansco, Arca-Swiss, Bolex, Bronica, Canon, Contax, Contarex, Edixa,
Exa, Exakta, Fuji, Fujica, Gami, Hasselblad, Kodak, Konica, Kowa, Leica, Leitz, Linhof,
Mamiya, Mercury, Minolta, Minox, Miranda, Nikon, Nikonos, Olympus, Pentacon, Pentax,
Petri, Plaubel, Polaroid, Praktica, Praktina, Retina, Revere, Ricoh, Robot, Rollei, Rolleiflex,
Sea & Sea, Stereo Realist, Tessina, Topcon, Toyo, Voigtlander, Wollensak, Yashica, Zeiss, Etc.
EXPOSURE LIGHT METERS
Cambron, Gossen, Kenko, Sekonic, Minolta, Pentax,
Polaris, Shepard, Soligor, Spectra, Wein, Etc. - CALL
FLASHES
Ansmann, BRNO, Canon, Cambron, Elinchrome, Gary Fong,
Novatron, Olympus, Pentax, Photogenic, Quantum,
Sunpak, Sony, Vivitar, Etc. CALL
Sigma, Stroboframe,Stratos, Smithvictor,
Metz, Minolta, Multiblitz, Nikon, Novacon, Norman,
PROJECTORS & VIEWERS
Braun, Canon, Epson, GEPE, Kodak Carousel and
Ektagraphic,Kaiser, Panasonic, Optoma, Sanyo, Sharp, Telex,
Da-Lite Screens, Slide Mounts,Vue-all Etc.
CALL
DARKROOM / ENLARGERS
Beseler, Durst, Fujimoto, KAISER, LPL, Omega, Etc.
Enlarging Lenses & Darkroom Accessories.
Large selection of papers available
(Kodak, Ilford, Fuji, Forte, Etc.) - CALL
LARGE & MEDIUM FORMAT
Alpa, Arca Swiss, Bronica, Contax, Fuji, Cambron, Hasselblad,
Linhof, Kiev, Mamiya, Pentax 645D Digital Camera,
Rollei, Rolleiflex, Toyo, Wista,
Yashica, Etc. CALL
TRIPODS
Arca Swiss, Bogen, Cambron, Cullman, Berlebach, Giottos,
Davis & Sanford, Gitzo, Impact, Linhof,
Manfrotto, Slik, Sunpak, Tiltall, Vanguard, Velbon, Etc. -
CALL
FILM (ALL SIZES)
Kodak, Ilford, Fuji, Polaroid, AGFA, Etc. CALL
PANORAMA
Fuji, Hasselblad XPAN, Horizon, Horseman,
Linhof, Noblex, Silvestri, Widelux, Etc. CALL
CASES & GADGET BAGS
Billingham, BobLBee, Domke, Lowepro, Pelican, Rimowa,
Tamrac, Tenba, Zero Halliburton
CALL
NOVOFLEX
Adapters Lenses
Accessories..................CALL
NEW DIGITAL & FILM CAMERAS
LENSES, FLASHES, SCREENS
PAPER AND ACCESSORIES
Canon, Casio, Fuji, Hasselblad, Kodak, Leica, Mamiya, Nikon, Olympus,
Panasonic, Pentax, Polaroid, Samsung, Sanyo, Sigma, Sony, Vivitar, Etc -
Delkin, Kington, Lexar, SanDisk, Nikon
Fuji, Olympus, Sony, Panasonic, Etc............CALL
Memory Cards
Large selection of BATTERIES available at discount prices....CALL
Canon rebel 2000......89.99
Canon rebel XT.....299.99
Kodak Retina IIIc...99.95
Maxxum 7000.........49.95
Maxxum 9000.........69.95
Nikon N90..............99.99
Nikonos V.............179.99
Topcon super RE249.99
Voigtlander Bessa...599.99
Voigtlander Bessamatic...129.99
Yashica FX3............69.99
Exakta VX..............99.99
Hasselblad 500C..149.99
Bronica S2A, EC...... Call
Bronica ETR...........99.95
Minolta XTi............59.95
Maxxum 5D..........199.95
Canon F1...............119.99
Contax G2.............699.99
Contax RTS III........699.99
Mamiya RB67.......199.99
Leica IF.................499.99
Nikon F3...............129.99
Nikon F5...............349.99
Nikon D200..........499.99
Olympus OM1........99.99
Pentax K1000..........99.99
Pentax 645.............249.99
Rolleicord V..........149.99
Zeiss Contarex.........299.99
Fuji S5 digital.......599.95
Canon A2E .............79.99
Canon Elan 7E .......49.99
Leica IIIF...............299.99
Leica R3................199.99
Nikkormat FTN.......99.95
Nikon F...................99.99
Nikon FA..............169.99
Canon 5D.....999.00
Canon 40D.299.00
Contax Aria299.95
Exakta 66....999.99
Leica M6.....999.99
Minolta SRT 101..69.95
Bronica GSI...............399.50
Bronica SQ camera.....199.99
Canon VT....................299.99
Contax N1...........349.99
Exakta RTL................149.99
Exakta VX 1000......129.50
Hasselblad 503CW.....499.95
Leica M3.....................499.99
Minolta X700................99.99
Maxxum HTsi...........69.99
Maxxum 7D................299.99
Nikon FM10...............129.99
Nikon D40..................199.99
Nikon N55....................66.99
Olympus OM4............179.99
Pentax LX...................299.99
Rollei 35M..................119.99
Rolleiflex F3.5............499.99
Zeiss Icarex................149.99
Canon Elan....................69.99
Maxxum 5000...............39.95
Maxxum 700I.............119.95
Nikon N8008................79.95
Nikonos II.....................79.95
Topcon UNI..................79.95
Vitomatic II..................99.95
Yashica FR1..................69.95
Vittesa......................99.95
Canon XTi .................399.99
Retina Reflex ................99.99
Canon 1V....................499.99
Canon 1X......................69.99
Fuji Digital S3....299.95
Leica IIIG....................699.99
Nikkormat FT2...........119.94
Leica R8......................749.99
Nikon F2.....................119.99
Nikon F100.................199.99
Nikon 35TI.....369.50
Nikon FM 3A.399.00
Nikon F4.299.00
Nikon D300........699.00
Nikon D200....499.00
Olympus E-520..249.00
Mamiya 110mm RZ lens...229.99
Pentax 120mm 645macro..399.99
Pentax 80-160mm645zoom.229.99
We have more than 30,000 Used items. Email us your Wish Listat
sales@cambridgeworld.com or CALL 1-800-221-2253 and we will
assist you and SAVE you $$$$$$. No item is too small or large.
Listing is very partial.
USED DEPARTMENT
OlympusXA........79.99
Minolta160.......69.99
Minolta70........49.99
Canon120.........79.99
Canon105.........49.99
Leicaminilux.....199.99
ContaxT2.........199.99
YashicaT4.........99.99
Nikonlitetouch...49.99
Konica120.........49.99
NikonosII.........99.99
Olympus140........49.99
Pentax115.........59.99
MinoxGT...........199.99
Rollei 35..........129.99
Canonrebel X.......49.99
Minota7000.........39.99
Petri V.............79.99
Exa.................69.99
PrakticaTL.........69.99
RicohXRP...........99.99
Canoncanonet.......49.99
Canondial..........49.99
CanonP............239.99
Hasselbladx-pan...999.99
Mamiya500DTL......79.99
Leicac-lux.........299.99
LeicaC1........... 199.99
Mamiya7............699.99
Mamiya645E.........199.99
MamiyaC220..........99.99
Yashicamat..........129.99
Minolta70...........59.99
Minolta9Xi..........149.99
KodakC800............49.99
Samsung170...........69.99
Pentaxauto110.......69.99
NikonF100............169.99
OlympusIS.............79.99
MirandaFV.............99.99
PentaxPZ1.............109.99
ContaxIIa.............139.99
Contarex...............249.99
Nikon35Ti.............299.50
Nikon28Ti.............349.95
Canon 24mm F1.4 ........989.00
Canon 50mm F1.4 ..........79.50
Canon 85mm F1.2 .....1,299.00
Canon 300mm F2.8 ...2,199.00
Canon 16-35mm F2.8 ...889.00
Canon 24-105mm F4 ....789.00
Canon 28-300mm F3.5 ...1,299
Canon 70-200mm F2.8 ...1,199
Canon100-400mmF4.5 ....1,199
Canon 430EX ...............129.00
Canon 580EX................269.00
Canon 24-70mm F2.8 ...899.95
50mm F1.4 Zeiss Planar...209.00
80-200mm F4 sonnar.....199.00
Hasselblad 150mm F4 ..299.00
Leica35mmF2SummicronM...899
Leica50mmF2SummicronM...399
Leica135mmF4.5Hektor Screw..129
Leica50mmF2SummicronR..349.50
Mamiya 55mm F2.8 ........99.00
Mamiya 180mm F4.5....149.00
Minolta 50mm F1.7.........19.00
Minolta 80-200mm F4.5..69.00
Minolta 5400HS...............79.00
Maxxum 50mm F1.7 .......69.95
Nikon 50mm F1.4............69.00
Nikon 18-200mm F3.5..349.00
Nikon 80-200mm F2.8 ......399
Nikon SB600 ................269.00
Nikon SB900 ................349.00
Olympus50mmF1.8Zuiko...39.00
Olympus70-210mmF4.5.......99.00
Olympus 50mm F1.4.......99.95
Panasonic14-50mmF2.8....479.00
Pentax 28-80mm F3.5.....39.00
Pentax 35-80mm F4........44.00
Sigma 70mm F2.8.........379.00
Sony 16-80mm F3.5......499.00
Sony 55-200mm F4.........99.00
Vivitar 500mm F8 ..........69.00
Vivitar 283Flash..................29.95
2XTeleconverter ExtendedLens..29.95
3XTeleconverter ExtendedLens..39.95
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YES! I would like to enter the contest. I am enclosing $4.95 per
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entry date). Please consider my work for publication in future issues
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Photographer Erich Hartman
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We did a lot of work in the
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