OPer 2014 02

Classic Cool Nikon Df
Chris Burk Follows T rd he Surf Ta o Alaska!
SCENIC WILDLIFE TRAVEL SPORTS
outdoorphotographer.com
Find Your
WINTER HotSpots
Scenics, Wildlife, Pro Tips & More
New Sony & Olympus

Retro, Radical & Raried Quality
12 Flaws&Fixes
Sharpness
FEBRUARY 2014
CaptureInvisible Light!
Nevada Wiers Secrets For Surreal Color
Birds Of Paradise: Tim Lamans Incredible Pursuit
WOW! Try Close-Up Wide-Angle Landscapes
WorldMags.net
Photographed on the
7R. Exposure: 85mm 1/250 sec f/7.1 ISO 400
/ /
WorldMags.net
WorldMags.net
A NEW FRAME of MIND.

Sony 7R Compact Full-Frame Interchangeable Lens Camera
Introducing the no-compromise full-frame thats so small, youll take it everywhere. Interchangeable lenses. 36MP.OLED viewnder. Wi-Fi sharingall in a compact body that will change your perspective entirely. Power of imaging. Be moved. See the difference for yourself at www.sony.com/a7experience
2014 Sony Electronics Inc. The Sony logo is a trademark of Sony. All rights reserved. Reproduction in whole or in part without written permission is prohibited. All other trademarks are trademarks of their respective owners.
WorldMags.net
WorldMags.net
Pro surfer Eric Soderquist braves the icy waters of Iceland near the mouth of the Jkulsrln Glacier Lagoon during an expedition looking for massive waves and new surf breaks. Photo by Lucas Gilman.
WorldMags.net
WorldMags.net
I SHOOT THE WORLDS TOP ATHLETES, AND MY WORKFLOW NEEDS TO BE JUST AS FLUID AND DYNAMIC AS THEY ARE.
Lucas Gilman, Adventure Photographer and Filmmaker
Its no secret that creative workows have become more uid but until now, the way you capture, transfer and share your work has been frozen in time. Thats why we designed the Evolution Series a swappable, expandable dual-bay storage platform that gives creative pros the speed and exibility they need today. The hub of the system is the G-DOCK ev with Thunderbolt, plus two stand-alone G-DRIVE ev USB 3.0 portable drives that each move up to 1TB seamlessly from capture to post to distribution. Use the drives out on location. Then, once back at your workstation, insert the drives into the dock to transfer your work with its ultra-fast Thunderbolt interface. And the whole solution is RAID 0 and 1 congurable. Swap in. Swap out. The evolution starts now at g-technology.com
Up to 136MB/s USB 3.0 Hard Drive
WORKS LIKE A PRO

g-technology.com/WLAP
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. Design by G-Technology in California. G-DRIVE and G-Technology are registered trademarks of HGST, Inc. and its afliates in the U.S. and other countries. G-DOCK ev is a led trademark of HGST, Inc. and its afliates in the U.S. and other countries. 2013 G-Technology, a division of HGST, Inc. All rights reserved.
WorldMags.net
Camera. Lens.
WorldMags.net
Editing software built for photographers by photographers.
Create stunning images with the powerful photo editing tools in Adobe Photoshop Lightroom 5. Experiment fearlessly with color, exposure, and more without overwriting your original image. Edit with precise control, and see the results instantly. Then apply your edits to any number of photos in a few clicks. Lightroom makes it easy to get amazing results with every shot.
Experiment fearlessly.
Because editing in Lightroom is nondestructive, you never have to worry about overwriting your original image. So go ahead. Bump up the contrast. Play with saturation. Convert to black-and-white. And if you want to go back to where you started, you can do that, too.
Youre in control.
Lightroom gives you the power to make dramatic adjustments and precise edits. Fine-tune exposure, color, sharpness, and more to get the details just right. Make changes to a portion of the image without affecting the entire shot. And see your changes instantly without any processing delay.
WorldMags.net
Lightroom.
Edit one shot, apply to all.
If you shoot in one location on a given day, you may find that every photo needs the same type of edit. In Lightroom, you can process images in batches and make the same edits to multiple images fast. Say the shadows are too dark and theres more noise than youd like. With Lightroom, you can lighten the dark areas and decrease the noise in one photo, and then apply to all in a few clicks.
WorldMags.net
Manage >> edit >> share.

Lightroom thinks like a photographer, and its interface is designed to follow a simple photography workflowmanage, edit, and then share. It makes post-processing a natural extension of your workintuitive and seamless.
Available now for just US$149. Learn more at adobe.com/go/lightroomphoto.

Adobe, the Adobe logo, Lightroom, and Photoshop are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other countries. 2013 Adobe Systems Incorporated. All rights reserved.
WorldMags.net
WorldMags.net
WorldMags.net
WorldMags.net
WorldMags.net
CONTENTS
WorldMags.net
January/February 2014 Scenic Travel Wildlife Sports Vol. 30 No. 1
58
48
[ FEATURES]
70 SURF ALASKA
78
[HOW-TO]
64 SHARPNESS: THE DEADLY DOZEN
Defeat these threats to sharp photos and create images that get optimum sharpness from any camera and lens
Text And Photography By Rob Sheppard
P O RT F O L I O
48 ASSIGNMENTS
Top selections from recent Assignments Winners on outdoorphotographer.com
52 INVISIBLE LIGHT
Nevada Wiers color infrared images show the people and places she photographs in an ethereal and surreal way
Text And Photography By Nevada Wier
In the remote Kenai Peninsula, Chris Burkard found landscapes and waves that few, if any, have ever surfed. He brought back photos that showed this unique and special place.
By The Editors Photography By Chris Burkard
T R AV E L
24
58 PRO WINTER HOT SPOTS

Top locations for you to get your best shots this winter
Photography By Richard Bernabe, Justin Black, Russ Burden, Roger Devore, Gary Hart, Cathy & Gordon Illg, Stephen Oachs, Ian Plant, Don Smith and Tom Till
74 CLOSE-UP WIDE-ANGLE
Armed with a Sigma 10-20mm lens on a Nikon D7100 DSLR, we explore the ins and outs of this dynamic compositional technique
By The Editors
30
OP & THE ENVIRONMENT
78 BIRDS OF PARADISE
With the trained eye of a scientist, Tim Laman captures the behavior of the worlds most rare and extraordinary birds
By Amy Gulick Photography By Tim Laman
25
Check out our website @ outdoorphotographer.com
28
WorldMags.net
More On Next Page
WorldMags.net
This may not be the safest location. Dusty and barren Idaho hard pack. And dead in front of 8,000 lbs of stampeding muscle. But this is when your focus sharpens. When the unpredictable can turn out utterly amazing. And the reward is well worth the risk, Just to get one shot.
Finish strong.
EPSON Stylus Pro 3880 $1,295*
EPSON Stylus Photo R2880 $599.99*
Exhibition-quality prints from 13 to 17 wide EPSON UltraChrome K3 with Vivid Magenta, used by the worlds leading photographers for stunning black-and-white and brilliant reds, blues and purples MicroPiezo print head technology for exceptionally precise ink droplet placement World-class service from a dedicated support team
epson.com/finishstrong
3ULFHVDUH0DQXIDFWXUHU6XJJHVWHG5HWDLO3ULFH(3621(36216W\OXV(36218,WUD&KURPH.DQG0LFUR3LH]RDUHUHJLVWHUHGWUDGHPDUNV DQG(3621([FHHG<RXU9LVLRQLVDUHJLVWHUHGORJRPDUNRI6HLNR(SVRQ&RUSRUDWLRQ$OORWKHUSURGXFWDQGEUDQGQDPHVDUHWUDGHPDUNVDQG RUUHJLVWHUHGWUDGHPDUNVRIWKHLUUHVSHFWLYHFRPSDQLHV(SVRQGLVFODLPVDQ\DQGDOOULJKWVLQWKHVHPDUNV&RS\ULJKW(SVRQ$PHULFD,QF
WorldMags.net
CONTENTS
WorldMags.net
84
[EQUIPMENT]
84 FIRST LOOK: OLYMPUS OM-D E-M1

The new flagship Micro Four Thirds camera also replaces the E-5 pro DSLR. At Olympus, it would seem the time of the internal mirror has ended.
86 FIRST LOOK: SONY ALPHA a7 & ALPHA a7R

The age of full-frame, interchangeable-lens mirrorless has arrived
98 GADGET BAG: HDR SOFTWARE

When used in moderation, HDR software helps you maximize the dynamic range in your photos. Heres a look at the tools that are available for doing it.
By Ashley Myers-Turner
SOLUTIONS
86 98
88 ZEISS TOUIT
E-MOUNT LENSES
Ultrasharp line of lenses for Sony NEX E-mount cameras
COLUMNS
32 Tech Tips
Whats In My Bag
By George D. Lepp
DEPARTMENTS
Cover Shot In This Issue Showcase In Focus Favorite Places: Gulf Islands National Seashore, Florida & Mississippi 90 Travel & Workshops 96 OP Marketplace 110 Last Frame 15 17 20 24 38
42 Photo Adventure
Photo Hoarding
By Bill Hatcher
46 Fleeting Vistas
110
5 Steps To More Professional Photographs

By Elizabeth Carmel
31
MORE On The Web
The OP Blog: Posts from photographers Michael Clark, Jon Cornforth, Michael Frye, Jay Goodrich, George Lepp, Jerry Monkman, Ian Plant, Christopher Robinson, Joseph Rossbach and Kevin Schafer. OP Forums: Connect with fellow readers and discuss your passion for nature photography and outdoor adventures in our Outdoor Photographer Forums.
Visit Your Favorite Places: Photographers from all over the world are sharing favorite nature photography locations. You can, too! Learn About New Products: Exciting new products featured in OPs In Focus section appear earlier on the website. In addition, youll see the latest news releases from many different photo companies right away.
Outdoor Photographer (ISSN: 0890-5304)Vol. 30 No. 1is published monthly except bimonthly Jan./Feb. by Werner Publishing Corp. Executive, editorial and advertising ofces: 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Periodicals Postage Paid at Los Angeles, Calif., and additional mailing ofces. Single copy price$5.99. Annual subscription in U.S., Possessions, APO/FPO$23.94. Canada$38.94; other foreign$38.94, including postage and taxes. Payable in U.S. funds. For orders, address changes and all other customer service, phone toll-free (800) 283-4410. POSTMASTER: Send address changes to Outdoor Photographer, Box 37857, Boone, IA 50037-0857. Canada Post Publications Mail Class Agreement No. 1559788. See magazine mast for specic information on solicited and unsolicited contributions and the purchase of back issues.
12 Outdoor Photographer outdoorphotographer.com
WorldMags.net
WorldMags.net
&9&.1-"3:
The new standard for high performance zoom lenses. With a constant F4 aperture and Optical Stabilization, this highly requested lens with a versatile zoom range yields gorgeous images.
NN'%(04)4.
Case and Hood LH876-02 included. USA 4 Year Service Protection
4*(."64#%PDL
Update, adjust & personalize. Customization never thought possible. Sold separately.
SIGMA Corporation of America | 15 Fleetwood Court | Ronkonkoma, NY 11779, U.S.A. | Tel: (631) 585-1144 | www.SigmaPhoto.com Follow us Twitter @sigma_photo and Facebook.com/sigmacorporationofamerica
WorldMags.net
Raven took the sun from the box of daylight and put it in the sky to give us light.
WorldMags.net Outdoor
Photographer
Editorial Editor Christopher Robinson
Senior Editors Maggie Devcich, Wes Pitts, Mike Stensvold Associate Editor David Willis Assistant Editor Ashley Myers-Turner Copy Editors J. Ana Flores, Sava Alcantara Field Editor George D. Lepp
Columnists
#N967 Raven and the Box of Daylight Sterling Silver Earrings $105
Elizabeth Carmel, Bill Hatcher, Dewitt Jones Bob Krist, Frans Lanting, George D. Lepp David Muench, William Neill
Contributing Editors
Jim Clark, Jon Cornforth, Mark Edward Harris Lewis Kemper, James Lawrence David Middleton, Rob Sheppard, Jon Sienkiewicz
Professional Advisors
Daryl Benson, Jim Brandenburg, Carr Clifton, Daniel J. Cox Bruce Dale, James Kay, Robert Glenn Ketchum David Muench, Marc Muench, Michael Nichols John Shaw, David Stoecklein, Art Wolfe
Art
#1622 Banjo Paterson Hat $175
Art Director Kurt R. Smith Assistant Art Director Eric Beckett Graphic Designer Candice Ota
www.outdoorphotographer.com
Online Director Wes Pitts Web Art Director Mike Decker Web Developer Damian Greene Web Production Associate Lisette Rose
Photo Media Group

Publisher/Editor In Chief Steven D. Werner Photography Group Editorial Director Christopher Robinson Executive Art Director Kurt R. Smith
#KBE-3 Hummingbird Earrings $62 Both earring styles above are fishook and shown full size. flat $9 handling per order
Request our catalog or visit our website
PRINTED IN THE U.S.A. Outdoor Photographer is published by Werner Publishing Corp. Executive, editorial and advertising ofces: 12121 Wilshire Blvd., Ste. 1200, Los Angeles, CA 90025-1176, (310) 820-1500. Email us (editorial matters only) editors@outdoorphotographer.com or visit our website at www.outdoorphotographer.com. Copyright 2014 by Werner Publishing Corp. No material may be reproduced without written permission. This publication is purchased with the understanding that information presented is from many sources for which there can be no warranty or responsibility by the publisher as to accuracy, originality or completeness. It is sold with the understanding that the publisher is not engaged in rendering product endorsements or providing instruction as a substitute for appropriate training by qualied sources. EDITORIAL SUBMISSIONS: Outdoor Photographer assumes no responsibility for solicited or unsolicited contributions and materials. Submissions for review should be limited to no more than 40 duplicate photographs. We do not accept original transparencies or negatives. Otherwise, insurance for such materials, in transit or in our possession, must be the responsibility of the writer or photographer. Outdoor Photographer does not accept or agree to the conditions and stipulations printed on delivery memos, packing slips and related correspondence as they are presented without prior notice accompanying submission materials. Exceptions to this disclaimer of liability on the part of Outdoor Photographer must be prearranged, executed in writing and signed by both parties prior to the shipment of materials in question. All submissions must be accompanied by a self-addressed, stamped envelope (SASE) with sufcient postage to cover the cost of return. The class of mail and insurance coverage for returns will be determined by the amount provided for on the SASE. Writer/photographer guidelines are available on request, with the enclosure of an SASE. SUBSCRIBERS: Any obligation we owe to you, including delivery of your magazine, is contingent upon you providing us with your correct mailing address. If the Post Ofce noties us that your magazine is undeliverable, we have no further obligation to you unless we receive a corrected address from you within two years of the Post Ofce notication. BACK ISSUES are available for one year prior to the current issue. To order within the U.S., send $7.00 plus $4.00 postage and handling (Canada: $7.00 plus $5.00; International: $7.00 plus $10.00) for each issue to Back Issue Dept., Outdoor Photographer Magazine, 12121 Wilshire Blvd., Suite 1200, Los Angeles, CA 90025-1176, or go online and visit the eStore. No orders processed without proper funds and specic issue information. Outdoor Photographer is a registered trademark of Werner Publishing Corporation. Copyright 2014 Werner Publishing Corporation. All rights reserved. Reproduction in whole or in part without permission is prohibited.
Akubra Hats from Australia Northwest Jewelry Designs and much more...
800-324-4934 davidmorgan.com
11812 N Creek Pkwy N, Ste 103Bothell, WA 98011
To Subscribe Or For Subscription Questions: www.outdoorphotographer.com or (800) 283-4410

or email OTPcustserv@cdsfulllment.com
Member, Alliance for Audited Media
Member
WorldMags.net
cover shot
WorldMags.net
Happy Holidays
Photographer: Marc Adamus Location: The Tombstone Mountains,
Yukon Territory, Canada Equipment: Canon EOS-1Ds Mark III Situation: Marc Adamus created this extraordinary image of an aurora over the Tombstone Mountains in the Yukon by combining three vertically stacked horizontal images. He also stacked foreground images to create the incredible depth of field. The Tombstone Mountains are located in a particularly remote part of theYukon, and to get there, with winter closing in, Adamus chartered a helicopter. Once in the area, he spent some weeks backpacking and photographing, and on just about every clear night he got an aurora borealis show. The photos that Adamus captured to create this final image were taken over a five-hour period on a single night in October of 2011. At the time, he knew he could use some of the powerful digital blending tools that were becoming available to stitch together an extraordinary final image that would show the detail in the closeup ice, as well as the distant mountain and aurora. Working in the computer when he returned home, Adamus spent several days working up the composite. His goal was to create an image that showed the subject as he saw it when he was there. He applied normal Levels adjustments for tone and color. Photographing any scene at night requires solid technique. Use a sturdy tripod, find a sweet spot between the ISO and the shutter speed to avoid noise, and bracket as much as you can to increase your chances for success.
WorldMags.net
Made in the U.S.A. Sold Exclusively at ReallyRightStu.com 805.528.6321 | 888.777.5557
Outdoor WorldMags.net Photographer

outdoorphotographer.com Advertising/Sales
Los Angeles (310) 820-1500, Fax (310) 826-5008 Debra I. Levine Associate Publisher Scott Luksh Eastern Advertising Sales Manager Denine Gentilella Senior Advertising Sales Manager Claudia Warren Senior Advertising Coordinator
Marketing
Basak Prince Marketing Manager Matthew Wilkinson Marketing Coordinator
Production/Manufacturing
Jesse Garcia Production Director Maggie Devcich Editorial Production Manager Tammy Reyes Production Manager
Consumer Marketing
Dan Regan Consumer Marketing Director Liz Engel Consumer Marketing Manager Sue C. Wilbur Web Audience Manager Joanna Rutkowska Online Advertising Operations Manager Tom Ferruggia Newsstand Sales Manager
ARCA-SWISS monoball
p0
The leader of tripod head design for over 45 years creates a new revolutionary K nobless ballhead. Its called K nobless because the traditional locking knobs have been removed. Equipped with the patented (planetary) p-system, the ARCA-SWISS p0 is a unique tripod head design due to its precision, ease of use and has a powerful, concentric and uniform locking force. It features the patented gravitational force compensation, thus preventing sudden camera movement. The ARCA-SWISS p0 is precise, stylish, strong and weights under 10 ounces. A hand of steel in a velvet glove!
ARCA-SWISS p0 with threaded disk ARCA-SWISS p0 with quickset device slidex starting from $ 229.-
Business/Operations
Lynne Irvine General Manager Paul Schafheitle Controller Lorie Shuman Finance Director J. Ana Flores Trademark & Copyright Manager LaShon Simmons Accounting Assistant Jason Rosenwald Systems Manager Aida Manicom Administrative Assistant
Werner Publishing Corporation

12121 Wilshire Blvd., Suite 1200 Los Angeles, CA 90025-1176 (310) 820-1500, Fax (310) 826-5008 www.wernerpublishing.com Steven D. Werner President Lynne Irvine Vice President To sell Outdoor Photographer at your establishment, contact: RetailVision, (800) 381-1288 or rvmags.com/contact.asp For reprint information, contact: Advertising/Sales, (310) 820-1500 For digital editions: zinio.com/outdoorphotographer For an extensive archive of back issues: www.outdoorphotographer.com For website help: web@outdoorphotographer.com
A R C A
S W I S S
ARCA-SWISS INC Phone: 480 755-3364 Mobile: 480 206-4770 Fax: 773 248-2774 E-mail: arca-swiss@wanadoo.fr
WorldMags.net
in this issue
WorldMags.net
Nevada Wier invited us into the realm of
In the article Pro Winter Hot Spots, you can see some of [the pros] responses. These arent the only places to shoot in the winter, by any stretch, but as you go through the locations and the photographers explanations of why they like these places, I think youll get something new to think about and some places for your destinations list.
ost nature photographers follow a calendar thats similar to Major League Baseball. We gear up in the early spring, and summertime is prime time. When fall comes, theres some great action to be had, but a lot of us have packed it in as the temperatures turn colder. And then theres winter. Its cold, the activity outdoors has really slowed, and most of the action is indoors as we evaluate and plan for the coming spring. For some, though, winter isnt the slow time; its when solitude and angled light give us a chance to enjoy some of the best photo opportunities of the year. In this issue, I reached out to a number of top pros and asked them for their favorite places to shoot in the winter. In the article Pro Winter Hot Spots, you can see some of their responses. These arent the only places to shoot in the winter, by any stretch, but as you go through the locations and the photographers explanations of why they like these places, I think youll get something new to think about and some places for your destinations list. Also under the heading of new things to think about, in the article Invisible Light,
WorldMags.net outdoorphotographer.com
digital infrared photography. If your experience with infrared comes from the film era and thoughts of tree foliage glowing bright white, Wiers article will be eye-opening. Using modified cameras, shes creating some magnificent images with surreal colors and a soft look. Wier goes into detail about how she shoots and processes the photos. Her photos have an inherent softness that comes from the nature of infrared work. It works in these images, but for most nature photography, sharpness is the quest. In the article Sharpness: The Deadly Dozen, we look at some common faults, flaws and misconceptions about sharpness and how to fix them so you never again have that sinking feeling when you get home and look at your photos on a large screen. One of the most common misconceptions is about using your smallest aperture to get maximum sharpness. At /22, many lenses create so much diffraction that any gains in depth of field are completely erased by overall softness in the photo. Ive never been great at wildlife photography, so Im always in awe of those who excel at it. Tim Laman is one of those photographers, and part of why hes so good (and, conversely, why Im so bad) is because he has an eye for framing a photo and a deep understanding of the behavior of the animals hes photographing. In Birds of Paradise, we go inside Lamans 18-year project to show Indonesias rare and magnificent birds-of-paradise. Trained as a biologist, Laman also has the extraordinary patience to sit in a blind in the steaming jungle, quietly observing the birds and showing their remarkable rituals. When I first contacted Laman about the article, he had just returned to Indonesia for yet another weeks-long trek into the rain forest. His insatiable curiosity and desire to understand the birds-of-paradise is one of the reasons why the photos are so good. Lastly, weve just launched the 2014 American Landscape Photo Contest. Its our premier contest, and this year we have thousands of dollars in prizes, including a chance to be published in the pages of the magazine. Go to outdoorphotographer.com for prize details and to learn how you can enter. While youre at the website, check out all of the web-exclusive features on the OP Blog, as well. In this multi-platform era, were working to be sure you can get your fill of OP in print, on your tablet and online. Christopher Robinson, Editor
Nevada Wier
January/February 2014 17
WorldMags.net
NX300. A STEP AHEAD OF DSLR.
Faster Autofocus
A Hybrid AF (autofocus) system combines phase and contrast detection for faster and more accurate autofocusing.
Higher Frame Rate

With 8.6fps continuous shooting, the NX300 lets you capture the moments within the moment with a series of brilliantly clear stills.
Easier Sharing
Dual-band Wi-Fi capabilities and a dedicated Direct Link hot key let you quickly share images with your Samsung devices and the world.
NX300 available in black, white and brown.
samsung.com/us/nxseries
2014 Samsung Electronics America, Inc. All rights reserved. Samsung is a trademark or registered trademark of Samsung Electronics Co., Ltd. All products and brand names are trademarks or registered trademarks of their respective companies. Screen images simulated. Appearance of device may vary. Features and specications are subject to change without prior notication. Based on results from models in the same price range: Nikon D5200, Canon EOS-100D, Canon EOS-700D.
WorldMags.net
WorldMags.net
6-time Olympic gold medalist and world record holder
Shoot fast. Share faster.

WorldMags.net
Young Monks At Sulamani Temple, Bagan, Myanmar

Nevada Wiers infrared photography has an ethereal quality that comes from the combination of the technology and the subject. In 2011, Wier was in Bagan in Myanmars Mandalay region. This area is famous for its many ancient temples. Wier photographed these monks with a specially modified camera. You can see her detailed discussion of how she works in infrared in the article Invisible Light in this issue of OP.
Nevada Wier
WorldMags.net
WorldMags.net
WorldMags.net
Camera lens and accessories not included
Shoot the next Hollywood blockbuster with the worlds most amazing digital cinema camera!
7KHZRUOGVPRVWPLQGEORZLQJIHDWXUH OPVWHOHYLVLRQFRPPHUFLDOVDQGPXVLF YLGHRVORRNDPD]LQJEHFDXVHWKH\DUH OPHGZLWKGLJLWDO OPFDPHUDV7KHQHZ award winning Blackmagic Cinema Camera is unlike a regular video camera RU'6/5FDPHUDEHFDXVHLWVDWUXHKLJKHQGGLJLWDO OPFDPHUD<RXJHWDWUXH Hollywood cinematic look with 13 stops of dynamic range, interchangeable lenses, OHUHFRUGLQJSOXVPXFKPRUH high quality RAW and ProRes Dramatically Better than DSLR Video The Blackmagic Cinema Camera includes a large 2.5K sensor for super sharp images that eliminate resolution loss HD bayer VHQVRUVVXIIHUIURPZKLOHFUHDWLQJPDQDJHDEOH OHVWKDWDUH not too big! The large screen LCD allows easy focusing and the high speed SSD OHIRUPDWVIRU)LQDO&XW recorder lets you record in ProRes , DNxHD DQG5$: 3UR;DQG'D9LQFL5HVROYH Super Wide Dynamic Range The Blackmagic Cinema Camera captures an incredible 13 stops of dynamic range so you can simultaneously capture the brightest highlights and the darkest shadows all at the same time into the UHFRUGHG OH7KLVPHDQV\RXFDSWXUHPRUHRIWKHVFHQHWKDQDUHJXODUYLGHR FDPHUDFDQVR\RXJHWPRUHIUHHGRPIRUFRORUFRUUHFWLRQIRUDIHDWXUH OPORRN <RXDOVRJHWDIXOOFRS\RI'D9LQFL5HVROYH Film Industry Quality Every feature of the Blackmagic Cinema Camera has been designed for quality. With 2 separate models, you can choose from the worlds most amazing EF or MFT lenses from crafters such as Canon, Zeiss and more. For extreme high end work, you can shoot full 12 bit CinemaDNG 5$:XQFRPSUHVVHG OHVIRULQFUHGLEOHFUHDWLYHUDQJHLQ'D9LQFL5HVROYHFRORU correction, as well as the worlds best chroma keying! Accessories Built In High end cinema cameras often require thousands of dollars of extra accessories to make them work, however the Blackmagic Cinema Camera includes accessories you need built in! You get a large 5 inch monitor, super fast SSD RAW recorder and professional audio recorder all built in! You also get UltraScope software, used via the built in Thunderbolt connection, for on set waveform monitoring!
Blackmagic Cinema Camera
Includes DaVinci Resolve Software
1,995
Learn more today www.blackmagicdesign.com/cinemacamera
WorldMags.net
Greg Kretovic
Lake Superior In A Winter Blizzard
Greg Kretovic braved the challenging conditions to get this dramatic wintery scene of the coast of Michigans Lake Superior during a storm. Photographing Lake Superior during the winter months is truly a unique experience, he says. Throughout the winter, the big lake shows many different personalitiesfrom calm and crisp to angry and dark during a good winter storm. With the shoreline always changing, you could photograph the same location several different times and capture something new every time. Some of the unique winter features along the shoreline include floating icebergs, massive ice shelves and colorful ice caves to explore. See more of Kretovics work at michigannaturephotos.com. Nikon D7000, Sigma 17-50mm F2.8 EX DC OS HSM
WorldMags.net
WorldMags.net
WorldMags.net Get your best images up on the wall.
Standouts
STANDOUTS 3/4"
SIZE E-SURFACE METALLIC
5x7 8 x 10 11 x 14 16 x 20 16 x 24 20 x 30 24 x 30 30 x 40
$12.49 $15.49 $19.98 $35.99 $45.99 $69.99 $92.99 $155.99
$12.99 $15.99 $22.98 $40.99 $49.99 $74.99 $99.99 $159.99
Your choice of LAB CORRECTED or NOCORRECTION for the same price. We offer the highest quality photographic prints in over 80 sizes, up to our 10 ft. Panoramix prints. We also offer a wide variety of other products, including: cards, books, albums, iPhone covers, mugs, metal prints, and much more. Visit our website to browse through all our products and see pricing. You can sign up and begin ordering today.
8x10 $1.69
for only
PROFESSIONAL PRINTS
Ready to hang. No framing or extra hardware necessary. True photographic prints on Kodak Professional Endura Premier Paper E-surface or Metallic. Mounted on 3/4" or 1-1/2" foamcore with banding on the edges. Select sizes available with white edge banding.
Standout pricing includes everything: lab correction by an experienced technician, true photographic printing and mounting on the Standout. Any size order ships to you for a flat fee of just $6.95
Great Prints. GreatPrices. Easy Ordering. Its that Simple.
WorldMags.net www.meridianpro .com | 800-544-1370
IMAGE BY THER
ESA THUR MAN
WorldMags.net
P O C K E T- S I Z E D M I R R O R LE S S
The Panasonic LUMIX DMC-GM1 is a mirrorless interchangeable-lens camera squeezed down to a pocket-sized profile. With a high-quality, 16-megapixel Digital Live MOS sensor, the GM1 shoots both still photos and 1080 HD video at 60i/30p. The metal-alloy frame, with aluminum dials and brushed metal, feels comfortable in your hand and has a stylish retro look. The 3-inch, 1036K-dot LCD screen allows you to set focus and trigger the shutter via touch sensitivity. Silent Shutter mode reduces shutter noise while in the field during sensitive moments. Built-in WiFi connects to your smartphone and tablet for asset transfer, as well as remote triggering using the Panasonic Image App. The GM1 also has integrated creative filters, as well as time-lapse and stop-motion features. List Price: $749. Contact: Panasonic, www.shop.panasonic.com.
W I D E - M E D I U M T E LE P H OTO Z O O M Sigma now provides a versatile standard zoom for full-frame cameras with the 24-105mm /4 DG OS HSM Art lens. The wide-to-medium telephoto range covers basic daily needs for portraiture, landscape, journalism and architecture photography with a constant /4 aperture. Optical Stabilizer technology is designed to counteract camera shake for sharp, handheld images. The Inner Focus system eliminates front lens rotation, improves stability and allows the use of circular polarizing filters. The Hyper Sonic Motor ensures quiet high-speed autofocus. SLD and FLD glass elements prevent unwanted distortions and aberrations through the entire zoom range. The lens is compatible with the Sigma USB dock for firmware upgrades and custom focus parameters. List Price: $899. Contact: Sigma, www.sigmaphoto.com.
R UGG E D D S LR CA S E
The iSeries 1914 Pro DSLR Case from SKB Cases has a waterproof, impact-resistant exterior combined with a versatile, lightweight foam interior that will keep your cameras and accessories safe through your roughest travels. The case accommodates two DSLRs and provides a removable foam insert, tailoring the space to your specific body size with or without a camera grip. Three of the four lens slots are outfitted with three half-inch foam rings that you can remove to fit different-sized lenses. The case has additional compartments for a flash, batteries, memory cards and additional accessories. For quick and secure airport travel, the case is equipped with TSA lockable trigger release latches. SKB backs this case with their Unconditional Lifetime Warranty. Estimated Street Price: $279. Contact: SKB Cases, www.skbcases.com.
WorldMags.net More gear online: www.outdoorphotographer.com/infocus
N I KO N D f : B AC K TO T H E F U T U R E
WorldMags.net
You can trace a natural progression along a timeline with some high-tech devices and science-fiction TV shows and movies. They start as nerdy, then are remembered as being smart and cutting-edge, then retro-cool, and finally theyre ascended to the pantheon of art. This can be seen in the current trend of digital cameras that emulate the styling of past favorites from the film era. Taking design cues from Nikon FE and FM film SLRs, the new Nikon Df features a retro look wrapped around the latest DSLR technology. The Df has the same 16.2-megapixel FX-format (full-frame) CMOS sensor thats found in the Nikon D4. It has Nikons EXPEED 3 image processor, a 5.5 fps shooting speed, built-in HDR capability and a 100% pentaprism eye-level viewfinder. The Df has 2016-pixel 3D Matrix Metering with Scene Recognition System and a 39-point AF system with 9 cross-type points, plus 7 points that can function at /8 with 3D Tracking and Auto Area AF. ISO range is 100-12,800 (expandable to ISO 50 in L1 and ISO 204,800 in H4). As if to emphasize that this is a true still photographers camera, the key controls are all accessed via dials, and the Df doesnt have HD video capability. Estimated Street Price: $2,749 (body only). Contact: Nikon, www.nikonusa.com. V E R S AT I LE S U P P O R T Weighing a featherlight 4 pounds, yet supporting a full 22-pound capacity, the versatile 3POD P5CRH 5-section Carbon-Fiber Compact Tripod with K3 Ballhead by Flashpoint is the perfect travel companion. With wear-resistant lock guards that provide against slippage due to wear and temperature changes, the 5-section legs individually fold and unfold with metal-jacketed twist locks, in addition to three position settings to compensate for uneven surfaces. Each foot has a spike for outdoor trail use with a nonslip rubber cap. Quick moments and tight spaces may call for the P5CRHs monopod configuration, utilizing the center columns reinforced twist-lock technology. The included K3 Ballhead provides smooth 360 panning with two bubble levels and a sliding quick-release plate. List Price: $124. Contact: Flashpoint (Adorama), www.adorama.com.
G ONTO LO
OO
RP H O TOGR
DxO OPTICS PRO 9 Live music, indoor sports and night photography images can be complicated due to low-light shooting conditions. DxO Optics Pro 9 has made advancements in denoising technology to bring these photos to life. The Standard mode adds an additional 3 stops of denoising with finer grain and more detail than DxO Optics Pro v8. The additional PRIME mode also adds another stop, bringing the total to a 4-stop denoising gain. While reducing noise, the software retains the same level of detail as the original image, as well as preserves saturation and texture. The software includes new color rendering with more accurate skin tones, visual presets, denoise previews and a new export system for a smooth workflow. List Price: $169 (Standard); $299 (Elite). Contact: DxO Image Science, www.dxo.com.
S LI N G S T R A P F O R
WO M E N
Designed specifically for the female body by female designers, the Kick strap by BlackRapid makes slinging a camera more comfortable for women. The short shoulder pad includes a built-in curve that kicks webbing toward the center of the chest, making the sling placement well fitting. The shoulder pad is also thicker and wider than the BlackRapid Elle, which also makes it compatible with the Brad underarm system for extra stabilization. Estimated Street Price: $61. Contact: BlackRapid, www.blackrapid.com.
No purchase necessary to enter or win. For a chance to win one of the WIN THIS! products, click on the
WorldMags.net button at outdoorphotographer.com for complete details. Open to legal residents of the 50 U.S. & D.C., 18 or older. Void where prohibited. Sweepstakes end 2/28/14.
G ONTO LO
WIN THIS!
PH
WIN THIS!
A
ER
W W W. O
.C O M
UT
WorldMags.net
F UJ I N O N X F 2 3 m m F / 1 . 4 R
As more professionals add mirrorless cameras to their gear bags, Fujifilm has added the 35mm equivalent Fujinon XF23mm /1.4 R lens to their X-series lens lineup. The compact 10.6-ounce, 2.48-inch lens uses metal parts for the focus and aperture ring, feeling solid as a versatile everyday shooter. The camera-to-subject distance indicator and depth-of-field scale provide manual prefocus tools while the high-torque DC coreless motor provides quick AF. A multilayer High Transmittance Electron Beam Coating ensures durability, as well as an even spread of light across the camera sensor. List Price: $899. Contact: Fujifilm, www.fujifilmusa.com.
S LI M 2 T B H A R D D R I V E A high-capacity, lightweight option for storing and backing up your files while on the go, the WD My Passport Slim portable hard drive with a metal case comes in 1 TB and 2 TB capacities. Measuring 4.33x3.14x0.48 inches for the 1 TB drive, the slim profile fits snugly in your travel bag. The WD Smartware Pro data protection software allows you to back up your files to both the My Passport Slim, as well as your Dropbox account, and back up your Dropbox account directly to the My Passport Slim. The drive has a 256-bit, hardware-based encryption, USB 3.0 connectivity and comes with a 3-year limited warranty. List Price: $99 (1 TB); $149 (2 TB). Contact: WD, www.wdstore.com.
P R I M E LE N S LI N E
The HD PENTAX DA Limited prime lens series by Ricoh Imaging consists of five lenses designed for K-mount DSLRs. G ONTO LO Each lens features Super Protect and high-definition coating for WIN sharp images with reduced THIS! D OO A ghosting and flare. RP H O TOGR A round-shaped diaphragm has been designed to produce a natural bokeh effect. Created from high-grade aluminum, each lens is hand-machined to ensure proportion and feel. Lenses are available in both black and silver. Estimated Street Price: $549 (HD PENTAX DA 15mm /4 ED AL Limited); $699 (HD PENTAX DA 21mm /3.2 AL Limited); $699 (HD PENTAX DA 35mm /2.8 Macro Limited); $749 (HD PENTAX DA 40mm /2.8 Limited); $749 (HD PENTAX DA 70mm /2.4 Limited). Contact: Ricoh Imaging, www.us.ricoh-imaging.com.
W W W. O
UT
R E P LI C H R O M E Totally Rad! Inc. has created Replichrome, a group of Lightroom and Photoshop presets for digital shooters who still relish the look particular traditional film stocks could provide. The company collected 13 popular film stocks, including Fuji 400H, Kodak Portra 400 and Kodak TRI-X, and shot in every lighting condition and with every camera possible. Then, using Noritsu and Frontier scanners, the team created 134 total workflow presets. Each preset gives you additional control over tone, color, grain and density. List Price: $99. Contact: Totally Rad! Inc., www.gettotallyrad.com.
PH
ER
.C O M
WorldMags.net
THE FILMMAKERS CAMERA. RA. RA

Fully equipped with a higher resolution Full Frame CMOS sensor ens n or ns o than its predecessor. Not to mention, Full HD video and our mos mo most t innovative low light system, with an ISO range of 100-25600, 560 6 0, expandable up to 102400. Long Live Imagination. atio tion. n
WorldMags.net
WorldMags.net
G ONTO LO
D
OO
RP H O TOGR
S LI N G PAC K Tamrac has added the Jazz Sling Pack 78 to their lineup, a lightweight pack that provides an easy way to access your gear by sliding it around your body instead of taking off the entire pack. The side zipper door allows fast access to a DSLR with an attached lens up to six inches long, in addition to two small lenses and a flash. The top compartment with a mesh pocket is perfect for storing batteries, flash cards and other accessories. A back zipper pocket protects your iPad, and a side mesh pocket can hold a water bottle, map or other items you may need to reach. The foam padded sling strap keeps the weight of the pack evenly and comfortably distributed. Estimated Street Price: $70. Contact: Tamrac, www.tamrac.com.
APPS FOR OUTDOOR PHOTOGRAPHERS

Compatible with over 300 different camera models, Triggertrap Mobile 2.0 is a free smartphone app that connects to an SLR camera using the Triggertrap WiFi-enabled dongle. Using Triggertrap Mobile 2.0, you control basic shutter, aperture and ISO settings, as well as professional HDR and time-lapse controls. Additional key features include sensor modeusing sound, GPS and vibration for trigger releaseas well as Startrail mode, DistanceLapse, using GPS for distance intervals, and a Wireless Mode to control more than 100 cameras at the same time. Triggertrap Mobile 2.0 is functional on locations without WiFi networks, as the dongle can connect to your smartphone via your phones Personal Hotspot mode. List Price: $31 (Dongle Kit). Contact: Triggertrap, triggertrap.com. Dark Sky is a striking weather app made possible through the backing of Kickstarter supporters. Using GPS, Dark Sky provides up-to-the-minute forecasts for your location up to an hour in advance. Alerts will let you know in advance when rain is about to hit your location, so you can pack up your non-weatherproof gear first. Or, if youre an active storm chaser, follow the smooth radar animation to track the storms movement. List Price: $3.99. Contact: Dark Sky, www.darkskyapp.com. Instead of single-image pseudoHDR, bring true multi-image HDR photography to your smartphone. The Pro HDR app by eyeApps LLC expands your dynamic range with multiple image merging from the palm of your hand. Compatible with front and rear phone cameras, you can use auto capture or manual mode, digital zoom, self-timer and flash. Edit the images by adjusting brightness, contrast and saturation, then save GPS and EXIF data. Compatible with iOS and Android devices. List Price: $1.99. Contact: eyeApps LLC, www.eyeapps.com. Now supporting iOS 7.0, Rick Sammons My Photo Sundial app for iPhone and iPad features an interactive touch screen that shows the position of the sun. Displaying sunrise and sunset times, a 5-day forecast, a sun compass and a shadow meter, this app ensures youre prepared to find the best light given any weather conditions. The app also includes photo sharing and a gallery of Sammons favorite tips. List Price: $1.99. Contact: Rick Sammon, ricksammon.com.
28 Outdoor XX OutdoorPhotographer Photographer outdoorphotographer.com
PH
WIN THIS!
A
ER
W W W. O
.C O M
UT
WorldMags.net
WorldMags.net
WorldMags.net
G ONTO LO
Q U I C K M E M O RY
OO
RP H O TOGR
Transcends 128 GB 600x and 64 GB 300x SDXC UHS-I cards ensure large storage space and high read/write and transfer speeds for professional-quality photo and video files. The 128 GB capacity cards are capable of storing 20,000 high-resolution JPEG files (from a 12-megapixel camera, 6 MB file size), over 8,500 RAW images (14 MB file size) or 32 hours of 1080p HD video footage (at 1920x1080 9 Mb/s H.264AVC). The SDXC UHS-I cards speed up your workflow with incredibly quick transfer rates of 90 MB/s and 45 MB/s for the 128 GB and 64 GB cards, respectively. Each Transcend memory card comes with a free download of RecoveRx software, used to bring back lost or deleted files. Estimated Street Price: $109 (64 GB 300x); $279 (128 GB 600x). Contact: Transcend, www.transcend-info.com.
PH
WIN THIS!
A
ER
LANTING + MANGELSEN + WOLFE

Masters of Nature Photography
Join three nature photography masters, Frans Lanting, Thomas D. Mangelsen, and Art Wolfe, for a unique weekend of photographic inspiration
Friday, February 14 to Sunday, February 16, 2014 High Museum of Art, Atlanta
Sponsored by: For more information and to register, please visit:
W W W. O
.C O M
UT
P R O N D F I LT E R LI N E
Kenko Tokina USA, Inc. has designed a new line of Hoya PROND filters for both still photo and HDSLR video use. The nine filters range from 2 to 10 stops in light reduction. ACCU-ND metallic technology coats the front and back of optical glass, creating the neutral-density effect for a neutral color balance that doesnt add any additional color cast. A one-piece, thin, aluminum frame keeps the filter secure and parallel to the sensor. Available in ND4X through ND1000X densities and sizes 49mm-82mm. Estimated Street Price: Varies by filter size. Contact: Kenko Tokina USA, Inc., www.kenkotokinausa.com.
www.MastersofNaturePhotography.com
In partnership with:
WorldMags.net
WorldMags.net
i G LI D E H A N D H E LD S TA B I LI Z E R Shoot smooth panning, tilting and running shots regardless of the rough, shaky or obstacle-like terrain with the Glidecam iGlide handheld camera stabilizer. Built for POV cameras, compacts and camcorders weighing 4 to 14 ounces, the iGlide uses a 3-axis gimbal with adjustable axis convergence controls to create perfect alignment. The Camera Mounting Platform moves forward, backward and side-to-side for proper horizontal balance, while the no-tools telescoping central post adjusts for height balance, and small Counter Weight Disks may be added on the Base Platform to perfect the weight balance. With a foam-cushioned Handle Grip for comfort, the iGlide comes in black, blue, orange and green color choices. List Price: $149. Contact: Glidecam, www.glidecam.com.
P OW E R U P
The Nissin Power Pack PS 8 externally boosts your electronic flash, making it a great tool to have on hand when you want high performance on location. The improved pack body is made out of a high-strength plastic, making it more compact and reducing the heat output of its predecessor. The quick-loading battery design has increased charge capacity while at the same time decreased battery weight. The pack includes an LED battery level indication light indicating the battery charge level, as well as a USB socket for emergency phone, tablet or data transfer device charging. Two power sockets are provided for dual flash use. Estimated Street Price: $249. Contact: Nissin, www.nissindigital.com.
THE DIFFERENCE BETWEEN TELLING A GREAT STORY AND SHOWING IT.
Request a brochure at EXPEDITIONS.COM, 1.800.EXPEDITION or call your travel agent.
EXPEDITION ALASKA
WorldMags.net
tech tips WorldMags.net
Whats In My Bag
In response to the many questions from readers, Tech Tips details the contents of George Lepps camera bag
[ By George D. Lepp With Kathryn Vincent Lepp ]
LEFT : Watching You Watching Me. George Lepp photographed this lion and her cub in Botswanas Okavango Delta; a 500mm lens maintained a respectful distance. Canon EOS-1D Mark IV, EF 500mm /4L, 1 2000 sec. at /8, ISO 400 BELOW : Lepps Gura Gear Bataae 32L, loaded for bearor any other subject that catches his fancy. The unique design allows quick access to the portion of the case that holds the Canon EF 500mm /4L and Mark IV, while keeping lenses and accessories on the other side safe and dry.
to get my equipment Whats In Your Bag, George? to remote destinations his is one of the most frequent questions I receive, and efficiently access for this column, at my seminars and workshops, it in the field. and during chance encounters in the field. I guess we are, in many ways, defined by the tools we Carry On! depend upon to create our images, although wed A couple of years much prefer to be defined by the images themselves. I suppose ago, we wrote in this this is a statement that could be the basis of a long, contenmagazine that the most tious stream of comments on social media, but for today, well important item the wildjust give the straightforward, current answer to the question life photographer could take on an airline is at hand. a non-photographer companion with one arm First, a little context. When I began my professional career free to carry on the long-lens case. I often fly in in the early 70s, there wasnt any such thing as a photo backsmaller regional aircraft with limited overhead pack. Several friends (Lito Tejada-Flores, Linde Waidhofer, space, and I always have a computer bag, so Ive Bill Ellzey) and I designed our own first version and had a often wished for a compact backpack that would few sewn up by a mountain backpack company for our own accommodate the 500mm or 600mm lens; putting a use. Soon after, a company called Sundog produced a simple $7,000+ lens in a checked bag is risky, nervephoto backpack based on our design. Today, MORE On The Web wracking business. And once you get to your there are abundant options to meet the needs OP columns are available as an archive online of every photographer and every photographic at www.outdoorphotographer.com/columns. photography destination, its not easy to carry situation. Ive relied on Lowepros great packs Find tips, answers and advice from OPs trusted two camera bags or backpacks plus tripods on of world-famous nature photographers! a trek in the field. and now, a new, innovative Gura Gear design stable WorldMags.net
WorldMags.net
M AY BE THE PHOTOGR APHERS ARE THE
',6&29(51(:%,5'6$1'1(:7(&+1,48(6
Photogs. Naturalists. Bird watchers. This festival is all yours. With more than 150 events, including photography seminars, bird walks, boat tours, LQWKH HOGZRUNVKRSVDQGPXFKPRUH
+256(6217+(%($&+:25.6+23
Spend the morning with horses roaming the beautiful St. Augustine beaches. And learn the tricks to capture the scene by creating silhouettes, using steady panning techniques and mastering Manual Mode.
&DSWXUH D IHZ 6W $XJXVWLQH PRPHQWV WKDW \RX ZRQW HDVLO\ IRUJHW Relax on an oceanfront balcony, unwind by the heated pool or stroll our white-sand beach. Enjoy thoughtfully appointed suites, free Wi-Fi, and ZRQGHUIXOVHUYLFHDW%HDFKHUV/RGJH2FHDQIURQW6XLWHV
5$3725:25.6+23 %HDFKHUV/RGJH2FHDQIURQW6XLWHV Your camera is the predator seeking out prey. W hich in this case are $$6RXWK some of the most amazing predators of the bird world perched on RU %HDFKHUV/RGJHFRP WorldMags.net natural setups so you can frame a perfect scene of beauty and power.
ALASKA MARINE HIGHWAY
SEE MORE OF ALASKA ON THE
WorldMags.net
tech tips
Pack your hiking boots, your camera and your sense of adventure. Let our eet of 11 state ferries transport you to hiking, kayaking and wildlife viewing others have only dreamed about. Visit us online for routes, videos and more.
At the 2013 North American Nature Photography Association convention, I checked out a new photo backpack series from Gura Gear that solved both dilemmas. Now, for big-lens jobs, I carry the Gura Gear Bataflae 32L Photo Pack. My Canon EF 500mm /4L with a camera attached fits on one side, and the other side hosts the remainder of my lenses and another body. The butterfly design (Bataflae, get it?) of the packs cover gives easy access to either side separately, or you can open the entire case. The materials are sturdy, yet lightweight, its simple to configure the foam dividers to protect my particular combination of equipment, and it fits into the overhead of every commuter airline Ive flown.
FerryAlaska.com/od 1-800-642-0066
EPSON KONICA BROTHER HP CANON NEC LANIER SAMSUNG
Great Prices Ink Photo SEE M O Ron E O F and ALA S K A Paper O N T Qty H E2+
T048 series color T0481 black
ALASKA MARINE HIGHWAY

orig Epson inkfarm brand orig Epson inkfarm brand orig Epson inkfarm brand orig Epson inkfarm brand orig Epson inkfarm brand orig Epson inkfarm brand 11.91 5.91 16.91 5.91 11.91 6.91 21.91 7.91 11.91 6.91 26.91 9.91 BCI-6 series BCI-3 series black orig Canon inkfarm brand original Canon inkfarm brand original Canon inkfarm brand orig HP remanufactured orig HP remanufactured orig ALPS orig ALPS
T042 series color
APPLE
Pack your hiking boots, your camera and your sense of CI-3 series color adventure. Let our eet of 11 B state ferries transport you hiking, kayaking and wildlife viewing C6656an black others have only T044to 1 black dreamed about. Visit us online for routes, videos and more. C6578a T044 series color
T0321 black 4 pack black 4 pack color
11.91 5.75 11.91 5.75 10.91 5.75 20.91 15.91 57.91 15.91 28.91 28.91
ALPS
RICOH
inkfarm.com the ink & toner supersite.
P R IC E ! NEW LOW
1-800-INKFARM
Okay, But Whats In The Bag? Lenses. The Canon EF 500mm /4L, EF 100-400mm, EF 24-105mm zoom, EF 17-40mm and EF 15mm fish-eye. This collection of lenses covers my photographic needs, from a 180mm fish-eye view to 1400mm when 1.4X and 2X tele-extenders are added to the 500mm. Adding extension tubes to the 24105mm lens gives a reasonable macro combination. (Escalation clause: If macro is my main focus, Ill bring along in a separate bag the EF 180mm macro and possibly the 65mm 1-5x macro lens.) Camera Bodies. A Canon EOS-1D Mark IV (attached to the 500mm) and EOS 5D Mark III. The 1D Mark IV is for action and wildlife photography. The 5D Mark III excels in landscape and macro, and any image demanding high resolution and/or expanded ISO.
Tele-Extenders And Extension Tubes. Canon 1.4X Mark II, 2X Mark
LEXMARK SONY GCC
JU S T R E D U C E D !
D I G I TA L
$8
O K I DATA IBM
QMS
88
) (Wow! Qty 2+
88 Qty 1: $10.red HP 51645a

Remanufactu rtridge. (No. 45) ink ca
$ 991 1
(Save!)
Qty 2+
Remanufactured HP c6657a (No. 57) color ink cartridge.
Qty 1: $20.91
FerryAlaska.com/od 1-800-642-0066
APOLLO S AV I N
WorldMags.net
PA N A S O N I C
II, 12mm extension tube and 25mm extension tube. I often use the tele-extenders on the 500mm lens. The II series will mate if I want to use both, and the 12mm extension tube will fit between extenders if more are to be added or if someone has a III-series extender that wont mate. The 12mm is also an interesting tool for macro work with the 15mm and 17-40mm lenses because it gives a completely different, extremely close perspective. The 25mm extension tube allows closer focus with the 24-105mm, 100-400mm and 500mm lenses. Filters. 77mm Singh-Ray 5-, 10- and 15-stop neutral-density filters, 77mm Singh-Ray Vari-ND Thin 2-8 Stop ND
TEKTRONIX
WorldMags.net
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

WorldMags.net
WWW.NYIP.EDU/OUTDOOR | 1.800.445.7279
WorldMags.net
tech tips
and 77mm Singh-Ray LB Color Polarizer. ND filters and polarizers are usually the only filters I need for digital photography, and in my opinion, SinghRay makes some of the best. The ND filters are for blurred water effects and allow you to use a wider lens opening to capture video with limited depth of field. With the filters, I carry a 72-77mm step-up ring adapter to enable my 77mm filters to fit lenses with a 72mm thread.
Hoodman HoodLoupe 3.0 Loupe And HoodCrane. A loupe is necessary
Ballheads Panheads Quick Releases 5-Year Warranty
to check images and focus on my cameras LCDs. The Hoodman HoodCrane and HoodLoupe also are essential tools for DSLR videography. With them in place, I can monitor the Live View image and focus during video capture. The new Canon EOS 70D (which I borrow from Kathys backpack) lets me concentrate on the framing while the camera does the autofocus. CompactFlash And SD Cards. The Think Tank Photo Pixel Pocket Rocket is a soft, folding case that holds 10 CF cards or SD cards. I use a combination of Hoodman 32 GB CF and SD cards. Flash And Flash Accessories. The Canon Speedlite 580EX flash is used either as my main source of light, if needed, or, more often, as fill light in conjunction with the ambient source. Canon has newer flashes, and someday Ill switch this one out. The collapsible Better Beamer attaches to the 580EX when I need to reach out to a distant subject. This Fresnel system takes little space, yet makes available 3 stops of additional light by focusing the flash on the area covered by the telephoto lens.
MH 1300-657
Two Canon Timer/Remote Controllers TC-80N3. These are electron-
800/735-4373
hpmarketingcorp.com giottosusa.com
MH 3300-550C
ic cable releases and timers for long exposures or time-lapse sequences. I carry two because I often have two cameras going at once on a time-lapse. CamRanger. The CamRanger is a WiFi attachment that plugs into a camera and transmits to a smartphone or tablet, allowing the photographer to control the camera remotely. With the CamRanger, I can frame the subject, focus, capture, switch between video and stills, and even control time-lapse sequences, all without touching the camera. I always have an iPhone with me, but an iPad is the best companion to get
(Contd on page 106)
WorldMags.net
WorldMags.net
Digital Editions
Everything you love about Outdoor Photographer on your favorite mobile device or computer.
www.outdoorphotographer.com/digital
WorldMags.net
WorldMags.net
Text And Photography By Jeff Waldorff a bluff. There are beautiful coastal landscapes as well as an abundance of shorebirds to be found along the waterways. In late spring through the summer months, native and migratory birds are busy nesting among the clusters of sand dunes and sea oats. Ospreys and bald eagles soaring overhead are a common sight. Black skimmers are my favorite bird to photograph as they gracefully skim through the small tidal pools and lagoons looking for small fish to feed on. A rugged coastline or a mountain backdrop wont be found here, but the islands have a subtle beauty all their own. Finding the right composition can sometimes be a challenge, but if you look around, you can always find an interesting foreground of driftwood, shells or elegant ripples of white sand to complement a beautiful sky.
F A V O R I T E
P L A C E S
which is controlled by the Vello Wireless ShutterBoss remote. I always carry a Hoya 6-stop ND filter (Pro 1 Digital Neutral Density 64x Filter) for really long exposures. Once the sun rises, my attention is drawn to the many different shorebirds feeding along the shoreline. To capture these fast-moving subjects, I switch to the Canon 500mm /4L IS lens. In my backpack is a Sigma 150mm /2.8 Macro in case I come across a ghost crab, frog or insect that will make for an interesting close-up shot. You never know what Mother Nature is going to offer you, so come prepared.
Best Times
Fall, winter and early spring provide spectacular sunrises and sunsets. In late spring and through the summer, various birds can be observed. In the winter offseason, you can hike for miles on the island between Navarre Beach and Pensacola Beach in complete solitude when the shorelines are at their most pristine for landscape photography. In addition to being an undiscovered playground for photographers, theres year-round entertainment for the outdoor enthusiast, with strolls down the beach, picnicking, camping, kayaking, hiking, biking and wildlife watching. OP Contact: Gulf Islands National Seashore, (850) 932-9654 (Florida), (228) 875-2358 (Mississippi), www.nps.gov/guis.
Weather
Weather in sunny northwestern Florida is just that...plus hot and humid. Most rainfall occurs during the summer with frequent thunderstorms. Hurricane season runs from June through November. Average yearly temperatures range between lows of 37 F and highs of 90 F. October through April brings drier air and pleasant temperatures. Its rare to see any frozen precipitation in the winter; however, it does frost, on occasion.
Gulf Islands National Seashore,
FLORIDA & MISSISSIPPI

Location
Stretching over 150 miles of coastline from Cat Island in Mississippi to Santa Rosa Island in Florida, Gulf Islands National Seashore spans across two island chains from the Florida Panhandle to the coast of Mississippi. In Florida, the barrier islands stretch from Navarre Beach to Pensacola Beach, and the national seashore is flanked
by the Gulf of Mexico and the Santa Rosa Sound, an intercostal waterway with sparkling bluegreen water and sugar-white beaches. Just past the western tip of Pensacola Beach is historic Fort Pickens. On the mainland, Naval Live Oaks Reservation is an ideal spot for coastline shots with plenty of driftwood while Fort Barrancas overlooks the entrance to Pensacola Bay from
Photo Experience
With a 35-pound backpack in tow, my photo excursions normally start with a hike an hour or so before sunrise, which is when I begin shooting using my Canon EOS 7D with a Tokina 11-16mm /2.8 AT-X 116 Pro DX lens for wide-angle landscapes. Long exposures during this time are excellent for smoothing the water for a calming effect or to show the motion of the waves washing up onto the shore. For this, I use the Induro Carbon 8X CT214 tripod with the Manfrotto 468MGRC4 ballhead as a sturdy platform for the camera,
Essential
Gear...
MISSISSIPPI
FLORIDA
Gulf Islands National Seashore
Whats Your Favorite Place?
Explore exciting nature imagery in the Your Favorite Places gallery at www.outdoorphotographer.com. Submit your photos for a chance to be published!
Gimbal tripod heads utilize a specialized construction that provides long, heavy lenses with a support system based on the center of gravity of the lens and camera combination. This unique design allows you to maneuver telephotos as quickly and easily as shorter focal lengths, making a gimbal head vital for capturing the fast-moving action of wildlife.
WorldMags.net
WorldMags.net
In side and Out.
3i 1 9 1 4 8 d s l r
i
3i - 1 8 1 3 5 S N S C
WorldMags.net
WorldMags.net
THE
AMERICAN
Photo by Michael Sherman The 2013 American Landscape Photo Contest Winner
Presented By
WorldMags.net
WorldMags.net 2014 THIRD ANNUAL PHOTO CONTEST
LANDSCAPE
OPs premier contest is open for entries! The 2014 American Landscape Photo Contest is your opportunity to get published in the magazine and win thousands of dollars in prizes, including a DSLR. Go to outdoorphotographer.com and enter today!
Photo by Jeff Stasney Second Place Winner
Photo by DuLaurence Duke Miller Third Place Winner
ENTER TODAY! outdoorphotographer.com/tal2014

WorldMags.net
photo adventure WorldMags.net
Photo Hoarding
How to edit to keep your archive manageable and prioritized
[ By Bill Hatcher ]
ABOVE: Editing doesnt mean only casting aside older photos. This image had certain attributes that made it high priority, and it has an important legacy, as well. The 1991 photo shows Todd Skinner, a climber who was tragically killed in a 2006 accident on a tower thats also visible in the photo.
diting your photography and deciding what you of assignments; all the slides were still in yellow or white slide should keep or what gets sent to the trash is someboxes and are sharp and well lit, but just didnt get pulled in thing we photographers do all the time. If you the initial edits. Instead, these rejects were stored away. Apdont edit your work up front, it can quickly acparently, I did this for years because there are a lot of storage cumulate, and the megabytes will overflow your crates filled with slide boxes. hard drives and worse. I recently discovered worse when reMoving an entire photo business means moving the photo locating my office/studio to my new home in archive, as well. Thats no problem, as I have MORE On The Web Tucson, Arizona. When preparing for the all of my select photos categorized, sleeved and OP columns are available as an archive online move, I discovered thousands of photo slides at www.outdoorphotographer.com/columns. in hanging files. It was simple enough to move I had committed to limbo years ago. These Find tips, answers and advice from OPs trusted those dozen file cabinets. The problem was the of world-famous nature photographers! thousands of boxes of edited slides still in the slides were the remains from editing dozens stable WorldMags.net
WorldMags.net
Viewfinder!
In my experience, Sportsmobile Vans are the ultimate transportation for the outdoor photographer. The 4x4 version can go almost anywhere smaller 4-wheel-drives can go. They offer great comfort between shoots and have the best t and nish of any aftermarket van conversion. Ive had two Sportsmobiles, and they never disappointed.
George Lepp, Canon Explorer of Light, Field Editor of Outdoor Photographer
THE ULTIMATE PHOTO ADVENTURE VEHICLE

Sportsmobile.com l Custom 4x4 Expedition Vehicles WorldMags.net
WorldMags.net
Durable, Affordable
photo adventure
PROFESSIONAL
slide boxes that had accumulated in my storage room, where they remained out of sight and out of mind for many years. These slide boxes were well stored, sealed in Ziplocs, then placed in plastic crates two or three crates high in several rows in the darkest corner of the storage room of my Colorado studio. The crates I discovered contained thousands of slides from dozens of photo stories and expeditions I had worked on from 1988 until around 2006 when I switched to shooting in digital. I figured
I was rewarded with the discovery of some true gems. One of the keepers pulled from the reject crates was this image of rock climber Todd Skinner greeting the morning from a portaledge. This image was taken on the west face of El Capitan about 3,000 feet off the valley floor in late April 1991. The image was made at a time when Todd was setting new standards in free climbs in North America and around the world. In 2006, Todd was tragically killed in a climbing fall on the Leaning Tower, a cliff thats plainly visible from this ledge. This image shares many of the qualities of the
I was rewarded with the discovery of some true gems. One of the keepers pulled from the reject crates was this image of rock climber Todd Skinner greeting the morning from a portaledge. This image was taken on the west face of El Capitan about 3,000 feet off the valley floor in late April 1991. The image was made at a time when Todd was setting new standards in free climbs in North America and around the world. In 2006, Todd was tragically killed in a climbing fall on the Leaning Tower, a cliff thats plainly visible from this ledge. This image shares many of the qualities of the other images I decided to keep. Its technically of high
Max Height: 74.8 in. Max Load: 15.0 lbs. Weight: 7.1 lbs.
PRO 700 DX
quality, its of a recognizable person and location, and this slide even has the year and month stamped on the slide mount. All of this combined to give the image a historical legacy and make it a worthy keeper.
Max Height: 63.0 in. Max Load: 8.8 lbs. Weight: 3.5 lbs. SUPER A.M.T. ALLOY
PRO 330 DX
SUPER A.M.T. ALLOY
SLIK PRO series tripods use Super A.M.T. ( Aluminum, Magnesium, Titanium ) alloy to make them stronger and lighter than standard metal tripods. The best selling SLIK PRO 700 DX tripod is a versatile and professional full sized tripod designed to handle heavy camera equipment. But despite it size it is very light-weight and travels well. The SLIK PRO 330DX is a smaller light-weight tripod designed for the photo enthusiast.
EXCLUSIVE DISTRIBUTION BY:
7642 Woodwind Drive, Huntington Beach, CA 92647
Visit our website for more information at
www.kenkotokinausa.com
there were some 50,000 slides in those boxes, maybe twice that. Ive never considered myself a hoarder, but the crates seemed like clear evidence of that sort of behavior. Like a hoarder, my rationale for keeping these thousands of outtakes is that I might have a need for them later. But, really, it was just fear that I might toss out something good; yep, that must be a hoarders way of thinking. The move of my photos and studio to Tucson was a good excuse to set things right, clean house and clear out the backlog. Before I did any serious editing, I checked for any helpful hints on the web. The Library of Congress advice was to edit images by importance. Other sources were concerned mostly with archiving digital materials, which can be an unstable platform to store information long term, while the transparencies I stored are a relatively stable medium. In editing the outtakes, I kept it simple, keeping images that had a recognizable landmark, personality or had other qualities that placed some personal value on the image. WorldMags.net
other images I decided to keep. Its technically of high quality, its of a recognizable person and location, and this slide even has the year and month stamped on the slide mount. All of this combined to give the image a historical legacy and make it a worthy keeper. The editing task is ongoing as I write this, with only three crates left to edit. I figure that when Im done Ill have saved less than 1% of the original pile of slides. The purging has left me blearyeyed, but with a better appreciation of why its important to keep up with your photo editing. I also learned that a little age could improve ones appreciation for old photos that might have gone to the trash can. I dont plan to digitize these additional saved transparencies since digital mediums are ever changing while transparencies are a fairly stable medium. I think Ill only digitize the slides when I need a duplicate or have to send an image off for publication, as I did for this column. OP You can visit Bill Hatchers website at www.billhatcher.com.
WorldMags.net
THE TOUGHEST FILTERS ON THE PLANET.
WorldMags.net
eeting vistas WorldMags.net
5 Steps To More Professional Photographs

Try these tips to get photos that will stand out from the crowd
[ By Elizabeth Carmel ]
hat separates the photos that clients will purchase as prints or for licensing from the zillions of photos taken daily by everyone with a smartphone? Ive created a list of what I think are a few important distinctions that separate a professional-quality photograph from a snapshot. Ive developed this list over years of working with licensing clients and fine-art buyers, and gathering an understanding of what theyre looking for when purchasing images. I also know from teaching photography workshops that many of the items on this list are skills that take time and expertise to be developed. So while everyone these days can take a picture, actually producing professional-quality images that others value takes a certain level of expertise and requires more than being in the right place at the right time. Whether youre shooting with your DSLR set up on a tripod or youre using your iPhone to take a picture and post to Instagram, you can use some or all of these tips to set your images apart from the sea of imagery that inundates all of us on a daily basis. Get Proper Depth Of Field In Your Images. This is the number-one issue I see during critique sessions at my workshops. Its not easy to master or control depth of field in a photograph. You should have a clear idea of what areas in your image will be in focus and out of focus with a given aperture. For landscape work, especially, I primarily use the aperture-priority setting so I can control depth of field. Often, in landscape photographs, well have a prominent foreground element closer to the lens and also a grand vista in the background. The challenge is to get all the parts of the image in ABOVE: Wildowers at sunset, Lake Tahoe, California. focus. Its not always just a matter of dialing in a small aperture on the camera, since the issue of diffraction at smaller ment in the in-focus area, while still maintaining infinite depth apertures can dramatically affect image quality. of field at the far horizon. Understanding depth of field requires an understanding of I also bracket focus points and apertures during a photo the relationship between aperture settings, lens focal length shoot to make sure I have many frames of a scene to choose and hyperfocal distance. Hyperfocal distance is defined as the from and all parts of a scene in focus. With bracketed focus focus distance that places the furthest edge of a depth of field points, its possible to stack multiple frames to achieve unlimat infinity. So, if hyperfocal distance is 10 feet, everything ited depth of field using Helicon Focus software or Photoshop. from 10 feet to infinity will appear in focus. In addition, focus Its All About The Light. Were usually beholden to the also extends in front of the hyperfocal point at a ratio of onemagic hours at sunrise and sunset to get our most dramatic half the hyperfocal distance so, in reality, everything from half images. Its a rare scene that can make a dramatic landscape the hyperfocal distance to infinity will appear sharp. With a image in the middle of the day, but even a more mundane hyperfocal distance of 10 feet, everything from 5 feet to infinlandscape can become a magical scene with ity will appear in acceptable focus (although it MORE On The Web the right lighting and interesting clouds. We wont necessarily be tack-sharp throughout). OP columns are available as an archive online So, practically, in order to maximize depth of at www.outdoorphotographer.com/columns. rarely get great shots when its convenient. field, you should focus on the hyperfocal dis- Find tips, answers and advice from OPs trusted As an old ski coach told me once (said with a of world-famous nature photographers! tance, which will include the foreground ele- stable (Contd on page 106) WorldMags.net
WorldMags.net
WorldMags.net
WorldMags.net
T h e B e s t O f T h e A s s i g n m e n t s S u b m i s s i o n s F ro m o u t d o o r p h o t o g r a p h e r. c o m
Top selections from recent Assignments Winners from outdoorphotographer.com

IN THIS ISSUE OF OP, IM SPOTLIGHTING THE WINNERS OF SEVERAL OF THE RECENT ASSIGNMENTS AT OUTDOORPHOTOGRAPHER.COM. Each weekly Assignment is like a contest. When the entry period ends, the editors look at all of the submissions and choose a winner whose photo is highlighted on our home page and, as you see on these pages, in the magazine. To be in the running, all you have to do is enter. Christopher Robinson, Editor
WorldMags.net
WorldMags.net
1) Deserts Assignment Winner
PHOTOGRAPHER: Darren White LOCATION: Death Valley National Park, California EQUIPMENT: Canon EOS 5D Mark II, Canon EF 17-40mm /4L USM, 2-stop soft grad filter The photo was taken in Death Valley National Park on Mesquite Flat Sand Dunes near Stovepipe Wells, Calif. My buddy and I were traveling for a photo vacation. We arrived early in the afternoon and were out exploring the dunes. Finding a good ridge without any footprints was the real challenge. I walked up over a dune and saw this ridge without any footprints and the composition looked good. I could see some clouds building as the sun was going down. I knew if I was just patient and waited it would be a good shot. About two hours after this shot was taken, the entire dunes turned into a massive sandstorm as the winds kicked up for several hours.
3 WorldMags.net
2) Waterfalls Assignment Winner

PHOTOGRAPHER: Anthony Bonafede LOCATION: Yosemite National Park, California EQUIPMENT: Canon EOS 5D Mark III, Canon EF 17-40mm /4L USM, Really Right Stuff L bracket, SUNWAYFOTO DB-44 ballhead, SLIK 700DX tripod, Satechi Smart Trigger, Nik Silver Efex Pro 2 Yosemite has become a very special place for me to enjoy my photography. Recently, Ive been sharing this with my son, Vincent, who started with his first DSLR when he was 11. We arrived at the park on an extremely busy day of the Memorial Day weekend in 2013. Parking was tough, so we had to hike from the opposite end of Cooks Meadow to get to the falls. The moonbow was predicted to occur around 11:30 p.m., and we had ample time to find our locations and frame our shots. I wanted to include some foreground to give depth to my image, but still wanted stars included in the frame. It was luck that I included enough room for the Big Dipper to be seen! I tried to use the shortest exposure time to minimize the movement of the stars, yet I didnt want noise to ruin my image. I chose an ISO of 800 and a 43-second exposure; I felt it was a good balance. We were fortunate that the waterfall had enough flow and the winds were relatively calm to minimize the mist landing on our lenses. By the end of the night, we all had the system down of shoot, cover, wipe lens, shoot again. We all came back with great images. One process that worked well for the image was to make an adjustment layer with Nik Silver Efex Pro 2 to bring out the structure and lighten/darken areas of the image that I felt needed to be adjusted. I feel this gave me a lot of control over the scene.
3) Fall Wildlife Assignment Winner

PHOTOGRAPHER: Doug Kliewer LOCATION: Denali National Park & Preserve, Alaska EQUIPMENT: Canon EOS 5D Mark III, Canon EF 500mm /4L IS II USM This photo was taken on September 3, 2013, from the north shore of Wonder Lake in Denali National Park at about 10:30 a.m. Our group had spent the morning attempting grand landscape photos from a rise above the lake when I noticed the beautiful fall foliage reflections in the water. I had just replaced my wide-angle lens with a 500mm lens to direct attention to the lake reflections when a pair of trumpeter swans flew into view. I only had time to grab a few handheld shots before the swans flew beyond the colorful reflections of the fall foliage. The photo was processed with Adobe Lightroom 5, with contrast, color saturation and Levels adjustments, as well as cropping adjustments.
4) Moonshots Assignment Winner

PHOTOGRAPHER: Steve Shuey LOCATION: Bear Valley, California EQUIPMENT: Nikon N90S, Fujichrome Velvia This photo was taken in early August, 1994. There was a bit of previsualization to this shot and a bit of luck on two accounts. No special processing was involved after the photo was scanned, just removal of dust and scanning artifacts and Levels adjustments. Every year my family stays in Bear Valley, on the west side of Ebbetts Pass, for a couple of weeks. Ive always loved the outdoors, and whenever Im up there, I explore the surrounding areas. On one of my explorations, before taking this photo, I had found this tree and had shot it during daytime and sunset. I had always thought it might look nice at night with some star trails or as a silhouette at sunrise and, since I like to put people in my landscapes, I thought that a silhouette of a person would work also. I had taken a workshop with Galen Rowell a few years earlier, and some of his ideas on previsualization still resonated with me (as they do today). I knew, however, that I couldnt be in the photo due to the spacing, so I was able to coax my brother Dave into getting up very early so we could drive to this place and give me time to set up. In addition to Dave being so nice, a couple of strokes of luck helped immensely. First, the year before, a volcano had erupted. It was far from here, but it put so much ash and particulates into the atmosphere that sunrises and sunsets were magical. Secondly, I knew the composition I wanted, but I had no idea the moon would be where it was at the time. When we got there, I actually had to move faster than I thought in order to keep the moon high enough to make it look good. I tried many different compositions, but this one was my favorite.
WorldMags.net
WorldMags.net
WorldMags.net
Invisible
TEXT AND PHOTOGRAPHY BY NEVADA WIER
WorldMags.net
LIGHT
WorldMags.net
Nevada Wiers color infrared images show the people and places she photographs in an ethereal and surreal way
WorldMags.net
Six years ago, I began exploring the challenge of making the invisible visiblephotographing unusual places using a digital camera and the unusual, haunting light of infrared. Im now a devotee of invisible light! Our visual world is limited to the colors of visible light. Beyond what our eyes can see is the iridescent world of the infrared (IR) spectrum. Infrared light has a shorter wavelength than visible light, and is just beyond the range that we humans can detect with our eyesight. IR rests just to the right of visible light on the electromagnetic spectrum chart. For infrared photography, the camera, whether film or digital, needs to be made sensitive to near-infrared wavelengths (700 to 1200 nanometers); far-infrared is the province of thermal imaging, with
wavelengths closer to microwave. Robert W. Wood published the first infrared photographs in 1910, but IR photography was a cumbersome process. In the 1930s, Kodak developed emulsions that were sensitive to infrared light and introduced them to the commercial market. Kodaks black-and-white infrared film was the popular choice, although a number of manufacturers developed different kinds of infrared film. In 1974, I began my photographic adventures working in the wet darkroom with black-and-white film. I loved the alchemy of the darkroom, watching images miraculously emerge from the stop bath. I spent every spare moment developing film and printing images. By the late 1980s, however, I had abandoned blackand-white film and the darkroom for
WorldMags.net
Kodachrome, a color transparency film. My printing days were over. Travel and color photography were my new passions. A number of photographers I admired were working with black-and-white infrared film, and I was entranced by their images. However, I wasnt willing to return to the wet darkroom. From 1998 to 2003, I experimented with Kodak Ektachrome Professional Infrared/EIR transparency film, which could be developed in standard E-6 chemistry. The images didnt have an ethereal feeling, but they did have vivid, kooky, mostly unpredictable colorsgreens became reds, brown water became blue, etc. While I loved it, I couldnt find a commercial use for it. I switched 100% to digital cameras
in 2004. Not only did I prefer the expanded dynamic range of digital images and exposure flexibility, I also knew I was finally going to be able to print my own color images. I had rarely made a print from a color transparency, and after using such beautiful black-and-white papers as Ilford Portriga Rapid and Agfa Brovira, I couldnt bear to print my color images on the generic matte or glossy. But now, with digital, the world of color printing was in a renaissance, with new, stunning archival papers and inks, as well as portable color printers. I was out of the darkroom and into The Grayroom (yes, my walls are 18% gray). I was coming full circle back to my love of printing. I reread Ansel Adams books on
WorldMags.net
printing, studied with some present-day printing masters, experimented with papers and learned enough of Photoshop to craft a print. Crafting a fine-art print is similar to sculpting. The image on a print has to have a soul of its own, and the print of that image needs to stand alone like a sculpture, with presence and depth. In 2007, about the same time as I had my first show of color images, I discovered that digital cameras were the perfect device for recording the hidden beauty of infrared light, and there were many more creative possibilities than before. Digital cameras are so sensitive to infrared light that manufacturers place a filter in front of the sensor to block the infrared light from spoiling regular
WorldMags.net
Known for her work in remote and exotic parts of the world, Nevada Wier has been experimenting with and refining her infrared work for several years. The photos have a surreal look and a glow that make them positively mesmerizing.
OPENING SPREAD, LEFT: Young monk, Thingyan Monastery, Salay, Myanmar, 2009. TOP RIGHT: Oxcart in Ngonegyi Village, Chindwin River, Myanmar, 2013. BOTTOM RIGHT: Great one-horned rhinoceroses, Kaziranga National Park, Assam, India, 2010. THIS PAGE, FAR LEFT: Camel trader at Pushkar Fair, Rajasthan, India, 2010. NEAR LEFT, TOP: Dressed for Carnaval in Barrio Abajo, Barranquilla, Colombia, 2013. NEAR LEFT, MIDDLE: Dongri Khond tribe girl, Sakata village, Orissa, India, 2012. NEAR LEFT, BOTTOM: Young boys from the Tangkhul Naga tribe, Sithai village, Manipur, India, 2012.
photographs. By removing this filter and replacing it with one that blocks most of the visible light, the photographer is able to record near-infrared light with a bit of visible, deep red light. The result is a surreal image with a bit of color, usually shades of blues and amber with occasional magenta. (There are a number of places where you can convert a digital camera to infrared red; I use a company called LifePixel, www.lifepixel.com.) Its possible to avoid having a camera converted and, instead, use a filter to block the visible light from your sensor (usually, a Hoya R72 or Wratten 89B), but the filter is dark and it costs you approximately eight stops of light, so it becomes necessary to use a tripod for exposures
WorldMags.net
that can last up to 30 seconds. I dont often use a tripod because my subjects are usually people who are in motion. Its also very difficult to focus with these filters because the viewfinder becomes virtually opaque. I think it makes much more sense to use an older digital camera and convert it for infrared photography. There are many infrared conversion choicesSuper Color IR, Enhanced Color, Super Blue IR, Deep BW IR and more. Ive worked with a number of the different conversions, and my favorite is the Standard conversion. I like the subtle look of the images and their discreet touches of color. Photographing with IR light has different complications than visible light. The sun is the primary source of infrared light; thus, the best infrared photographs tend to be captured in direct sunlight or bright, open shade. IR light has a longer wavelength, coming into focus at a different point than visible light, so its difficult to predict exactly where the focal point will be in an image. Its possible to convert your camera so you can focus
WorldMags.net
With a camera that has been modified for IR shooting, Wier generates RAW files and applies a custom profile to get the tones and colors just right. ABOVE: A scene from a Dong Tribe festival in Huanggang village, Guizhou, China, 2012.
accurately with your LCD screen, but that isnt convenient for me; I need to work quickly, so using a viewfinder is my preference. Therefore, I keep my IR camera on Aperture Priority at /8 or /11, and I adjust the ISO, as necessary. It does mean that focus can be hit or miss, so sometimes I actually bracket my focusing. This approach has worked well for me so far. Processing and printing an infrared image requires a deft understanding of technology in order to bring forth the subtle colors within. Its necessary to make a custom white balance for your converted IR camera. I usually use a white sheet of paper in direct sunlight; some people like to use green foliage. Unfortunately, most editing programs Adobe Lightroom, Photoshop, Apple Aperture, etc.cant read a custom profile for a RAW infrared image, as the temperature range is beyond these programs. If you use JPEGs instead of RAW, then youre in luck, as the white balance is embedded in your processed JPEG image. Since the image on the back of your camera actually displays a JPEG of your RAW image with the custom white balance, it looks great there. However, as soon as you bring it into Lightroom or another program, it
pops to a wild magenta. Ive found that a lot of people get flustered by this and elect to solve the magenta problem by turning their IR images into black-andwhite images. They then miss out on the subtle colors inherent in an IR image. Initially, I photographed RAW+JPEG and edited the JPEGs in Lightroom. When I found an image I liked, Id process the RAW version in the Canon Digital Photo Professional software, convert the image to a TIFF file and then work on the image in Photoshop. It was a laborious, but effective process. However, recently, I discovered that when I use the free Adobe DNG Converter application, I can make a custom profile for my IR camera. The profile is installed in the Color Calibration menu, and I can use it when importing RAW images into my library. Voil! The custom white balance is revealed. Its a beautiful thing! Infrared images make compelling prints. I currently have a show at the VERVE Gallery in Santa Fe, New Mexico, with 32 infrared images. I make all of my prints in my studio; I feel the same magic today as I did watching images emerge in the darkroom, although now they come from a printer. As with all of my images, I crop sparingly and never change any content. However, I do make choices about how
deep or saturated I want the inherent blue, yellow and, occasionally, magenta tones to appear in a print. Im not ready to completely turn myself into solely an infrared photographer. When Im traveling and photographing, I carry two Canon EOS 5D Mark III cameras one for visible light and one for infrared light. I increasingly reach more and more often for the IR camera. The resulting photographs are truly travel images in a different light. Whats invisible becomes OP artrevealed.
See more of Nevada Wiers photography at www.nevadawier.com.
MORE On The Web
You can see more dramatic travel photography from exotic locales like Burma, India, China, Nepal, Tibet and more on the OP website. Look under the Locations tab at www.outdoorphotographer.com.
WorldMags.net
Michael Clark
WorldMags.net
WorldMags.net
Winter is a proving ground for nature photographers.
WorldMags.net
Cold temperatures take a toll on the body, snow and ice are poised to wreak havoc with photography gear, and short days reduce your time to find compelling scenes in the field. Its not like crab fishing on the Bering Sea, but its not like the pastoral, warm days of summer, either. If you can tear yourself away from binge-watching seasons of Deadliest Catch in the comfort of a heated living room, however, winter serves up some of the best photo opportunities of the year. We reached out to a number of pros to get their input on the best places for shooting at this time of year. You could fill a book with the possibilities. We only have a limited number of pages, so let this guide be a starting point in your quest for the best winter photographs. Do you have suggestions for other winter hot spots? Im running an Assignment at outdoorphotographer.com, where you can share your favorite places and your best photos from those locations with the OP community. Christopher Robinson, Editor
Top locations for you to get your best shots this winter
1|
WorldMags.net
LOCATION >> Emerald Bay, Lake Tahoe, California PHOTOGRAPHER >> Don Smith Ive been visiting Lake Tahoe since my youth. Fresh snow mornings were always exciting, especially because I loved to snow-ski. Now that Im a landscape photographer, theyre exciting in a different way. Emerald Bay is always a great sunrise location, regardless of the time of year, but its especially interesting after a fresh snowfall, as the scene becomes transformed into a kaleidoscope of light and color. After three late-season storms pounded the Tahoe Basin in 2011, I arrived in the dark, and I could see that the storms had subsided just enough for this magical warm dawn light to paint the sky and also reflect off the calm surface of the lake. The fresh snow allowed for detail on and around the pines that surrounded the bay. The best of the light came and went inside of two minutes, but it was one heck of a show! Canon EOS-1Ds Mark III, Canon EF 16-35mm /2.8L USM, Singh-Ray LB Slim Polarizer, Singh-Ray 2-stop graduated neutral-density filter See more of Don Smiths photography at www.donsmithphotography.com.
WorldMags.net
2|
LOCATION >> Bryce Canyon National Park, Utah PHOTOGRAPHER >> Stephen Oachs I often spend a few winter weeks each year in the desert Southwest. Its a much cooler climate, there are few tourists and, if Mother Nature cooperates, snowfall across the alien landscapes makes for some fantastic photographs like the photograph here. In December of 2010, I was in Arches National Park and conditions had been less than ideal. I began researching the weather to help me decide which direction to head next. When I saw there was a large cold front expected to blow over western Utah the next morning, I made the decision to pack up my motor home and make the long drive from Arches to Bryce. Under normal conditions, this would only be a few hours drive; however, the winter conditions would prove to make it a much, much longer journey. I left from Moab around 4 oclock in the afternoon and drove nearly all night, arriving in Bryce just in time for sunrise. As I walked up to the scenic overlook, a bus full of tourists was swarming about. I could tell that the early-morning light was going to be great, so I did my best to work my way to the railing and set up, all the while, tourists bumping into me as they took their snapshots. After about an hour of panoramic shooting, I returned to my motor home for much needed warmth and a catnap! This photograph is actually not one single photo, but 60 images captured in sequence using a multi-row panoramic technique that allows each image to be joined together with software. The end result is an extremely high-resolution photograph. In this image of Bryce Canyon, the final stitched combination is equal to a 551-megapixel photograph and contains enough resolution to be printed the size of a billboard with fine-art quality. (See the article Gigapixel by Stephen Oachs on his technique in the November issue of OP, or you can find it at outdoorphotographer.com.) See more of Stephen Oachs photography at www.apertureacademy.com.
WorldMags.net
outdoorphotographer.com January/February 2014 59
3 4 WorldMags.net
>> Yosemite National Park, California | LOCATION PHOTOGRAPHER >> Gary Hart
3|
LOCATION >> Piedras Blancas, California PHOTOGRAPHERS >> Cathy & Gordon Illg About 20 minutes north of San Simeon, Piedras Blancas has become an important elephant seal rookery. The first elephant seal came ashore here in the early 90s, and the first pup was born on this beach a few years later. More than 3,500 elephant seal pups will enter the world at Piedras Blancas this winter, mostly in January and February. You can access the areas via a boardwalk to several hundred yards of shoreline crowded with elephant seals. Elephant seal bulls usually display and posture a great deal before fighting, so photographers often have time to get into position before the fight occurs. One bull usually retreats quickly, often before a blow has been struck. Many times photographers get in position for nonexistent or very short fights. As with any wildlife behavior image, there was some luck involved in taking this one because we hardly had to move at all, as these two bulls began throwing their weight around, and they went at it for several minutes. When they took their fight into the surf, though, that was when it truly became exciting. Both of us were shooting, one wide with a 100-400mm zoom and the other tight with a 500mm. We decided we liked the tight version better because it was more unusual. How often do you get to look down the throat of an elephant seal? Canon EOS-1D Mark II, Canon EF 500mm /4L IS II USM See more of Cathy and Gordon Illgs photography at www.advenphoto.com.
I cant imagine any sight on Earth more breathtaking than Yosemite with fresh snow. Given its relatively warm temperatures and frequent sunshine, photographing Yosemite Valley blanketed with fresh snow requires being there during the storm. Yosemites storms clear from west to east, so I usually hang out at Tunnel View during the storms most intense periods, when most of Yosemites recognizable features are obscured by clouds. As the clouds part to reveal a winter wonderland, thats the perfect position to capture the classic Yosemite clearing storm images made popular by Ansel Adams, Galen Rowell and many others. With the snowmelt clock ticking, I usually leave Tunnel View even before the show there is over and make a mad dash to as many of the other Yosemite Valley spots as I can. Moving from west to east, I target popular locations like Valley View, El Capitan Bridge, Cathedral Beach and Cooks Meadow, plus a number of unnamed spots along the Merced River. Canon EOS-1DS, Canon EF 17-40mm /4L USM See more of Gary Harts photography at www.garyhartphotography.com.
4
5|
LOCATION >> White Sands National Monument, New Mexico PHOTOGRAPHER >> Justin Black While White Sands can look snowy anytime of year, the white stuff is gypsum, not ice crystals. Visitation slows to a trickle in winter, which means the dunes are blown clean of footprints. This is a photographers playground where careful design and minimalism rule composition. Dont count on balmy temperatures, though. The dunes sit at the bottom of a basin, and temperatures can be downright frigid first thing in the morning. Nikon D800E, PC-E Nikkor 24mm /3.5D ED tilt-shift, Really Right Stuff TVC-24L tripod and BH-55 ballhead See more of Justin Blacks photography at visionarywild.com.
WorldMags.net
6 7 WorldMags.net
>> Yellowstone National Park, Wyoming | LOCATION PHOTOGRAPHER >> Ian Plant
6|
LOCATION >> Bosque del Apache National Wildlife Reserve, New Mexico PHOTOGRAPHER >> Russ Burden Bosque del Apache National Wildlife Reserve, located in New Mexico along the Rio Grande River, is unrivaled for its bird photography. Sandhill cranes appear in the thousands and snow geese are measured in the tens of thousands. The birds flock to the refuge from November through February. The best photography occurs from mid-November through mid-January. Each morning and evening, the skies erupt, as both species fly from ponds to feeding areas and back again. Many species of ducks frequent the area, along with eagles, hawks, owls, herons and egrets. If youre lucky, the rare whooping crane will be present. The flight photography opportunities are off the charts. In that the birds fly in and out at each sunrise and sunset, it simply doesnt get any better. Bosque del Apache is a must-visit in the winter if you love to photograph birds. Long telephoto lenses and tripods are a must. The longer the lens, the better to isolate single birds or groups from afar. A second body with a medium telephoto zoom is advantageous for groups of birds that fly close. A flash with a Better Beamer may come in handy to help fill in shadow areas or on overcast days. Nikon D200, AF-S DX Nikkor 18-200mm /3.5-5.6G ED VR II See more of Russ Burdens photography at www.russburdenphotography.com.
Yellowstone is a world beyond our own, emerging from the mists of time as a remnant of days long past. Here, the engines of creation still churn, steaming with all the fury of the gods of old. Winter is the time when Yellowstone is at its most desolate and desperateand its most beautiful. Clear, cold mornings are best for wildlife and landscape photography, as everything landscape and wildlife alikeis covered in a layer of frost from geothermal steam. Look for bison, elk, coyotes, bighorn sheep and wolves struggling to survive the cold, along with a host of smaller critters. The northern road from Gardiner to Cooke City is kept open to autos (which grants access to Mammoth Springs and Lamar Valley, two photography hot spots), whereas winter access to the rest of the parks interior is by snow coach or snowmobile tour only. Stay a few nights at the Old Faithful Snow Lodge for the ultimate Yellowstone winter experience. Canon EOS-1Ds Mark II, Canon EF 24-105mm /4L IS USM See more of Ian Plants photography at www.ianplant.com.
8|
WorldMags.net
LOCATION >> Costa Rica PHOTOGRAPHER >> Roger Devore Toughing it out in the cold to photograph fresh snowfall is all well and good, but winter is also a perfect time to head south where equatorial sunshine gives you a chance to photograph richly colored tropical environments. Costa Rica offers outstanding opportunities for both unique wildlife and landscapes. Winter is the dry season there, which makes it a particularly good time for photographers. Sony a77, Sony 70-400mm /4-5.6 G2 See more of Roger Devores photography at www.natureworkshops.com.
WorldMags.net
9|
LOCATION >> Anhinga Trail, Everglades National Park, Florida PHOTOGRAPHER >> Russ Burden Florida is arguably the best state in the country to create spectacular bird images. Everything from dramatic portraits to behavioral interaction can be photographed, often at short distances. The approachability factor has to be experienced to be believed. Winter is an ideal time to visit the active birding locations. This time of year, at Anhinga Trail in the Everglades, the birds are found in gorgeous breeding plumage, displaying mating rituals, gathering nesting materials and rearing their young. These are great photo opportunities to capture behavior, and you can do it in a T-shirt and shortsgreat photography and great weather! Species that can be found along the Anhinga Trail are snowy egrets, great egrets, great blue, green, tricolor and little blue herons, ibis, red shoulder hawks, osprey, anhinga and cormorants in addition to many more species of birds and mammals. Its a wildlife photographers paradise. Big telephoto lenses are most commonly used, but there are so many birds that can be approached, theyre not a necessity. If you do carry a long lens, support it on a tripod. A second body with a medium telephoto zoom is advantageous for birds that are close. A flash with a Better Beamer will help on overcast days and to fill in shadow areas. Nikon D300, AF-S Nikkor 200-400mm /4G ED VR II, Induro C313 tripod, Wimberley head See more of Russ Burdens photography at www.russburdenphotography.com.
MORE On The Web
Being in the right place at the right time is the first step to getting a great photo. Go to www. outdoorphotographer.com to discover more secret spots from the best OP pros.
10
10|
LOCATION >> South Rim, Grand Canyon National Park, Arizona PHOTOGRAPHER >> Tom Till I try to visit Grand Canyon at least once or twice every winter. I wait for storms coming from the Pacific, travel to the park before the storm strikes, and shoot when the storm starts to break up and the air is clarified and the snow is fresh. At 7,000 feet, the South Rim is a snow magnet during most years, flocking the forests above on the canyons edges and filling the chasm with alpenglow and moody mists. Sunrise at Mather Point is a favorite spot; the desert east of the canyon is less likely to hold clouds and allows streamers of light to slip in below the clouds. Dont expect these conditions to last for too long. The fresh snow often has a short shelf life, and your magnificent scene can vanish before your eyes if the sun appears and the clouds depart. Nikon D800E, AF-S Nikkor 70-200mm /2.8G ED VR II See more of Tom Tills photography at www.tomtillphotography.com.
1 1|
WorldMags.net
1 1
LOCATION >> Cape Hatteras National Seashore, North Carolina PHOTOGRAPHER >> Richard Bernabe The stretch of Highway 12 that traverses the entire northsouth length of Hatteras Island in North Carolina affords easy access to mile after mile of wild, windswept sand dunes. The dunes themselves and wild sea oats provide for some compelling foregrounds for wide-angle compositions, particularly at sunrise and sunset. The narrow ribbon of land allows spectacular views of both the Atlantic Ocean and the Pamlico Sound from the same spot! This time of year, the tourists who flock to the Outer Banks in summer are nowhere to be seen and the pristine Cape Hatteras National Seashore has a feeling of profound solitude. After a winter storm, you can get lucky and photograph a fresh coating of snow on the dunes, which makes for a surreal image. Canon EOS 5D Mark II, Canon EF 24-105mm /4L USM See more of Richard Bernabes photography at www.richardbernabe.com.
WorldMags.net
Ian Plant
Picture Perfect. Telephoto That Delivers.
SP 70-200mm
F/2.8 Di VC USD
Effortless Performance,Outstanding Resolution, A Class Apart.
;HTYVUZ:7:\WLY7LYMVYTHUJLTT-SLUZKLSP]LYZOPNOYLZVS\[PVU and high performance to cater to the needs of experienced amateurs or professionals who demand the best standards. Whether youre preserving a special moment, capturing the right image to communicate a feeling, or shooting [VTHRLHJV]LYWOV[V;HTYVUZTT-IYPUNZWOV[VNYHWOLYHUK JHTLYH[VNL[OLYPU H^SLZZ\UPZVU;HTYVUZWYVWYPL[HY`<:+<S[YHZVUPJ:PSLU[ Drive) combined with VC (Vibration Compensation) captures action in high-speed without distracting from the momentand without camera-shake. This compact, full-size telephoto zoom lens offers serious photographers the power to capture the TVTLU[MYVTHMHY^OPSLWYLZLY]PUNP[PUOPNO KLSP[`
For Canon, Nikon and S ony* mount
* S ony mount without V C
www.tamron-usa.com
WorldMags.net
Sharpness The
Defeat
WorldMags.net
these threats to sharp photos and create images that
Want Sharp Photos?

Just buy a better lens, right? If it were only that easy. Many photographers have tried this solution with unsatisfactory results.
The pros get consistently sharp images. How do they do that, even when theyre not using so-called pro lenses?
One thing they do is pay attention to the 12 challenges in this article and work hard to minimize their damage. I guarantee that if you pay attention to them, too, youll gain consistently sharper photos and youll get the best from whatever gear you own.
RIGHT: Chaparral yucca in the Santa Monica Mountains in Southern California show sharply against the morning sky. FAR RIGHT: These two shots of Balanced Rock in Arches National Park, Utah, look very similar in sharpness at a small size. Enlarged details show the true story. The sharper photo has more contrast and image brilliance. Both were shot on a tripod. The sharpness problem isnt simply blur or not blur. Fig. A and Fig. B look about the same printed small, but enlarge them as seen in Fig. A-1 and Fig. B-1, and theyre denitely not the same.
64 Outdoor Photographer
WorldMags.net
Deadly Dozen
get optimum sharpness from any camera and lens
WorldMags.net
TEXT AND PHOTOGRAPHY BY ROB SHEPPARD
1 The classic rule of thumb for sharp photos is to set a shutter speed equal to 1/focal length as your minimum shutter speed for handheld sharpness. That held true for 35mm film, and
The Minimum Handholding Speed Rule: 1/Focal Length = Minimum Shutter Speed.
[Pro Tip]
When you have to shoot a slow shutter speed handheld, try setting your camera to continuous shooting. Press the shutter and take five to six photos in a burst. Because the camera isnt moving much between shots, youll often get at least one sharp shot in the group, if the shutter speed isnt impossibly slow.
likewise, it applies to full-frame image sensors. With smaller sensors, you need a faster shutter speed. Use the magnification factor for the sensor format and plug in a new focal length: 1.5X for APS-C and 2.0X for Micro Four Thirds (MFT). Heres how that would work for a 100mm lens:
Format Size 35mm Full-Frame APS-C MFT Focal Length 100mm 100mm x 1.5 = 150 100mm x 2.0 = 200 Minimum Shutter Speed 1/100 sec. 1/150 sec. 1/200 sec.
WorldMags.net
WorldMags.net
ABOVE: Traveling light at a location in Japan, I had no tripod. Up close, camera movement is amplied. Shooting the camera continuously gave me a series of shots with at least a few of them sharp. LEFT: This web was shot at 11000 sec., perfect for a sharp photo...or not. This photo isnt sharp because its up close and shot with a long telephoto, both of which magnify any vibration, making sharpness a challenge.
2 I find that a lot of photographers overestimate their ability to get sharp photos with a given shutter speed. The shutter speeds I listed in the Minimum Handholding Rule section truly are a minimum. Ive
Overestimating Your Steadiness.
found that many photographers cant get the full sharpness with a lens at even these shutter speeds. Do a test and compare your shooting handheld versus the camera on a tripod. Ive done this and discovered that, with moderate focal lengths (neither wide nor tele), few people can match tripod sharpness at speeds of less than 1125 sec.
3 Use a tripod and you get sharp photos, right? Yesmost of the time, but having this
Overestimating The Power Of A Tripod.
ABOVE: The camera was locked down on a very solid tripod, but the picture isnt sharp. This day dawned in the Alabama Hills near Lone Pine, Calif., with so much wind that it threatened to knock me down, too. That, combined with a telephoto lens, created so much vibration that it was impossible to get a sharp photo, even on the tripod.
expectation that using your tripod automatically yields a sharp photo can take you in the wrong direction. Tripods help, but you can get poor sharpness even on a tripod when theres vibration causing camera movement during exposure. Wind is a big problem, but also just pressing the shutter too hard, or even mirror bounce, can be a problem. You need to use a fast enough shutter speed to deal with the conditions or do something to minimize camera movement. A cable release can be helpful, but I find them a pain to use, so mostly I use the two-second self-timer to reduce camera shake when Im shooting with the camera on a tripod. Also, Live View is great because the mirror is essentially already locked in the up position.
WorldMags.net
RIGHT: Whenever you have any sort of animal in your photo, the eyes must be sharp or the image looks out of focus. This native California bee was shot with manual focus and Live View. BELOW, RIGHT: This image of chaparral in the Santa Monica Mountains looks okay, until you look closer. The rocky cliffs arent sharp. The camera has autofocused on the wrong part of the scene as seen in the detail shot.
WorldMags.net
4 Now, this may seem odd since a lot of pros use auto-exposure, especially aperture-priority autoAutoexposure.
exposure. Heres the problem: In aperture-priority, you can easily forget to check the shutter speed the camera is setting, so the camera ends up with a shutter speed thats too slow for sharpness, either handheld or on a tripod. The answer: Simply pay attention to shutter speed and use something that will give consistently sharp photos.
5 Pro lenses are designed to be durable and to hold up under tough conditions. Theyre also designed for
Pro Lenses.
optimum sharpness. But you cant get that sharpness if you dont limit the number-one cause of softness in photography: camera shake during exposure. A pro I know once told me about a workshop participant who complained that his Leica lenses werent sharp, yet he refused to use a tripod. A lens is only as good as the photographers technique.
6 Theres no question that image stabilization has been nothing short of revolutionary for photograImage Stabilization.
phers. I love it and use it often. However, image stabilization is limited. It can only compensate for shutter speeds that are a few stops slower than your minimum handholding speed. It doesnt guarantee sharpness, and it wont help if shutter speeds are too slow. Combine this with overestimating your steadiness, and you quickly run into trouble, getting less sharpness than your lens is capable of. Be sure to check your exposure, and be sure your shutter speed isnt too slow.
7 A cheap tripod or filter can destroy the sharpness of even the best lens. Why spend thousands on
Poorly Made Accessories.
8 Yes, indeed, autofocus is terrific. Its hard to imagine life without it! But it can also lull you into thinking you have a sharp
Autofocus.
a camera, but hesitate to spend hundreds for a good tripod that will do more for your photography? A good tripod is an investment in sharpness that cant be matched by simply buying a new camera or lens. Plus, it will have a much longer life than most cameras of today. In addition, a cheap filter can make a really good lens look awful because the lens cant deal with the imperfections of the filter. Get a good tripod, and if you use filters, avoid the cheap stuff that has no name you recognize.
WorldMags.net
photo when you dont. The problem occurs when the camera places focus on the wrong area in the photo. The camera doesnt know what spot should be sharp; it only finds what seems to be important for sharpness. With wide angles and when youre at a distance, this isnt a problem. Up close or using a telephoto, and its definitely a problem. Up close, depth of field is very narrow, and missing the right focus point by even a fraction of an inch can make a photo look out of focus. When photographing wildlife, even insects, the eyes must be sharp or the entire photo will seem soft to the viewer. Lock your autofocus with the shutter release or AF-lock button, or use manual focus. If you need to, use a magnified view in Live View to get accurate focus.
outdoorphotographer.com outdoorphotographer.com January/February January/February2014 2014 67
Mishandling Wide-To-Telephoto Zooms. [Pro Tip] Im not talking about lens quality here. There 9 WorldMags.net are some marvelous wide-to-telephoto lenses available today that are sharp and offer excellent image qualityif you handle them right, and thats the challenge. Remember the Minimum Handholding Rule of 1/focal length = minimum shutter speed. That rule indicates that wide-angle lenses (shorter focal lengths) can tolerate slower shutter speeds than telephotos while maintaining sharpness. Often, I hear misleading information on the Internet about how a lens isnt as sharp at the telephoto setting as at the wide-angle setting when, in fact, thats more about the photographers shooting technique than it is about the lens. These wide-to-tele zooms create two challenges for sharpness at the telephoto end: First, because a faster shutter speed is needed, you need to pay attention as you zoom in; second, these lenses usually stick out from the camera quite a bit as they zoom to telephoto, and this can make them unstable both for handholding and when on a tripod. Be aware of this and use an appropriate shutter speed.
If your lens has a tripod mount or tripod collar, use it! The camera and lens are much more stable when attached by the lens collar and it reduces stress on the lens mount.
LEFT: This paintbrush in the Eastern Sierras should be sharp. It was shot from a solid tripod, but was taken at a telephoto focal length with a lens that had no tripod socket. The lens sticks out and unbalances the camera, creating vibration. The little white lines in the detail shot should be dots of light.
[Pro Tip] 10 Theres no question that lenses arent at their sharpest when shot wide open. But
Have No Fear Of Wide Apertures. Its better to have a sharp photo as lenses have improved, sharpness at maxiwith a little noise mum aperture has gotten better. Also, modthan a soft photo ern lenses become excellent stopped down with no noise.
as little as one stop from maximum. Yet, many photographers fear maximum apertures and consistently stop down their lenses to /16 or smaller. That results in slow shutter speeds and increased diffraction, which reduce sharpness either on or off a tripod. Wide apertures give you the option of fast shutter speeds, which minimizes camera movement during exposure, plus the contrast of a sharp subject against an out-of-focus background makes the subject look sharper.
11 This was explained in detail in Limiting Diffraction in the October issue of OP (you can also find it at www.outdoor
The Diffraction Challenge.
photographer.com). Years ago, some manufacturers made few lenses that stopped down below /16 because image sharpness fell off because of diffraction. Diffraction occurs when the light goes through a very small lens opening (small -stop). The light scatters slightly, which yields softness in the image. Most lenses show a significant drop in image sharpness as you go smaller than /22 (and some show big drops even by /22). Test your lenses to see where diffraction takes hold and your photos begin to look unsharp, and dont assume that just because your lens can go to -stops like /22 or smaller that youll get good image quality at those -stops.
ABOVE: Dont be afraid of shooting wide open or close to it. This aster was shot with a telephoto zoom and extension tubes with the lens stopped down one -stop from maximum.
12 A low ISO was always the key to image quality back in the days of film and also in the early days of digiHave No Fear Of High ISOs.
tal photography. Unfortunately, the impression that you have to use a low ISO has endured, even though newer digital cameras can handle higher ISOs beautifully. Every DSLR or digital interchangeable-lens mirrorless camera Ive seen on the market today can shoot at ISO Rob Sheppards new blog is www.mirrorlessnature.com, and 400 and produce image quality exceeding the ISO 100 his latest books are a series of ebooks from Peachpit Press slide films of a few years ago, and these digital cameras about black-and-white, color and lens choice in nature and handily beat the old high-ISO films. Do some quick tests, landscape photography. and youll see that you can shoot at ISO 400 or 800 with excellent sharpness and overall image quality. OP WorldMags.net
WorldMags.net
For fast service, order online by 8PM for same day shipping
Your pro images begin by scanning here
order online by 8PM

Focus in on pro lenses here
WorldMags.net
In the remote Kenai Peninsula, Chris WorldMags.net Burkard found landscapes and waves that few, if any, have ever surfed. He brought back photos that showed this unique and special place.
Surf Alaska
S
BY THE EDITORS | PHOTOGRAPHY BY CHRIS BURKARD
Self-taught photographer Chris Burkard calls the ocean his muse. As a senior staff photographer for Surfer Magazine and project photographer for Patagonia, Burkard has traversed the globe photographing waves, wind and water and the people who live to work and play with those elements. In May 2013, Burkard had the chance to visit Alaska, traveling with a small group of surfers by boat as they explored the Kenai Peninsula for interesting and unfamiliar surf areas.
We caught up with Burkard, who filled us in on that experience, his technique and how he kept his gear ready to go while working in that remote location. OP: Alaska is hardly the typical location many people think of when they think of surfing. Tell us how you got these photos. Chris Burkard: We did a boat trip there to search for waves throughout the Kenai Peninsula. In Alaska, youre always looking for opportunities where WorldMags.net
When you think of surng, Alaska isnt the rst placeor even the 50th place that comes to mind. When renowned surf photographer Chris Burkard traveled to the Kenai Peninsula, he wanted to bring back photos that showed the dramatic Alaska landscape together with the surfers riding the waves.
WorldMags.net
The only place to nd Flashpoint and same day shipping until 8PM
Scan the Flashpoint collection here
No one gets your gear to you faster - same day shipping until 8PM
Support your gear here
WorldMags.net
WorldMags.net
Alaska
Kenai Peninsula
the weather and the swell arent too harsh. The conditions have to be calm enough to let you in. So, for us, it was a matter of going to Alaska in May to get the tail end of the northwest swells that were coming through. We went on a boat called the Milo thats anchored in Palmer, so we went from there with a captain and a crew and myself and three surfers. We scoured the Kenai Peninsula looking for little nooks and crannies along the coast, searching for inlets or spots where swells might condense and then create interesting waves, whether its a reef or a point break. And we got several days of shooting, but when the weather started to deteriorate, we had to call it and come in. OP: To what areas in Alaska did you travel, specifically? Burkard: Basically, we started in Palmer, and went around the Kenai Peninsula searching the coast. As far as the spots we showed up at, it was basically wherever the waves looked best. Some of the spots were on maps, some of them werent. Some of them were open. Some of the beaches you couldnt access any other way than from the water. Wed have to get in dry suits, and get on surfboards and paddle to the beach and punch the shore break and sort of walk around and explore. OP: Was the experience gritty or...? Burkard: It was about as gritty as it gets. Luckily, when we were there, the weather was really nice, but I remember one time loading up and getting into my dry suit. I had a backpack with $30,000 of camera gear in it and I was jumping on a surfboard paddling in. There were eight-foot waves, and I was getting hit hard and hoping nothing was broken and everything was staying dry. When I was going back to the boat, which was about a half-mile
On the remote beaches and bays of the Kenai Peninsula, Burkard shows how the vastness of the place dwarfs the athletes. Shooting in these circumstances required special gear and techniques for keeping everything charged and protected from the elements.
from the beach, I remember right as I paddled through the shore break, which is brutal on its own because the dry suit was full of air, which makes it really hard to swim, I saw two orca fins. So, I was just paddling right toward them and hoping they didnt notice me. That was a little hectic. OP: What shooting techniques did you use? Burkard: I didnt shoot in the water during the trip. I just had to paddle through the water to get to land. When I was there, I was mainly using telephoto lenses to compress the landscape in the background with the foreground. I really wanted to show the surfers in context. I wanted to give them a sense of place. So, whether it was a big snowy peak in the background or whether it was an icy glacier or just trees or something like that, I really wanted to shoot in a way that showed the landscape and created the sense of place. OP: What did you use in terms of gear? Burkard: I use Nikon. I had a Nikon D7100 and a D300S, as well as the 80-400mm. Typically, when Im shooting on a trip, I bring a Nikon 600mm or a 200-400mm, but I needed something light and a kit that I could bring to the beach in these conditions in a pack withWorldMags.net all of my gear. The 80-400mm was
crucial for this trip. I also travel with a Sony NEX kit, always. It gives me something for lifestyle moments, and its a small camera that I can pull out and use all the time. OP: You also used Goal Zero solar gear on this trip. Burkard: Yes. Theyre a sponsor of mine. Basically, any trip I do, Im off the grid. Ninety percent of the time were camping or on boats, so for me, to charge equipment and gear, I have to roll out a solar panel and bring out a Sherpa 50, which works as a full power converter to charge a laptop, other equipmentpretty much everything. And, so for me, its crucial to keep gear charged so I can edit and back up images and make sure my batteries are working, and generally just have everything powered up. So, in Alaska, every time I paddled to the beach, I would bring the Goal Zero Sherpa 50, as well. I would just set it up while the sun was there. The only hard part was that in Alaska the sun is pretty limited, so I was using every second of it. OP
MORE On The Web
Being in the right place at the right time is the first step to getting a great photo. Go to www. outdoorphotographer.com to discover more secret spots from the best OP pros.
WorldMags.net
shoot like a pro at

Get the action started faster with same day shipping until 8PM
The action starts by scanning here
a case for every need at

When you need a case fast, get same day shipping - order online by 8PM
Find a case for all seasons here
WorldMags.net
WorldMags.net How
>>
Close-Up
Wide-Angle
TEXT AND PHOTOGRAPHY BY THE EDITORS
Armed with a Sigma 10-20mm lens on a Nikon D7100 DSLR, we explore the ins and outs of this dynamic compositional technique
Wide-angle zooms have always been popular with nature photographers. When you venture into the ultrawide arena, a new world of opportunities opens up. Ultrawide zooms typically span the 15-35mm range, meaning they can go from very wide to a slightly wide-of-normal perspective. Thats a lot of versatility in one lens. In this article, were using the Sigma 10-20mm F4-5.6 EX DC to show some of the compositional options in this range. The Sigma lens is designed for APS-C DSLRs. These cameras have a magnification factor of 1.5x or 1.6x, depending on the manufacturer, which gives the Sigma 10-20mm an apparWorldMags.net
ent field of view thats similar to a 15-16mm to 30-32mm lens on a fullframe DSLR. That translates to a range thats ultrawide to slightly wide. When you get wider than this range, youre usually entering into the realm of fisheye lenses, which usually exhibit extreme distortion. At the wide end, the Sigma 10-20mm can get to 9.4 inches from the subject, which gives you some nice compositional options. Too many nature photographers think of the wide-angle lens as a good way to capture a wide angle of view. Its when you start to get close in at that wide angle that photos can become much more dynamic.
WorldMags.net
FAR LEFT: Not every subject lends itself to the ultrawide perspective, of course. With the Sigma 10-20mm at 20mm, this photo has more depth than if it had been photographed with a normal or telephoto lens (which would have created some foreshortening), but it has very little wide-angle distortion. Keeping the camera level also minimizes any distortion.
LEFT: In this sequence, we show an unremarkable landscape scene. The rst image does a ne job of capturing the vista. The bush in the center of the photo is somewhat more interesting than the overall scene. Moving closer and shifting from the 20mm end of the range to 10mm, we hone in on this feature as the main subject. The ultrawide distortion gives the subject dimension and depth. Of course, as you get closer, even with a very wide-angle perspective, you still have to be careful to have sufcient depth of eld. Its easy to get complacent because you can carry a lot of depth of eld at a reasonably wide aperture, but when your subject is close to the lens, you have to pay attention.
ABOVE: Shooting a backlit scene at a wide angle helps you keep the sun very small. Here, the spindly shape of a scrub oak in Southern Californias Malibu Canyon is on display from top to bottom. The lens was set at 16mm, and the camera was positioned so that the sun barely peeked out from behind a branch. Getting in close and aiming the camera created the arching effect of the branches and foliage at the top of the frame.
WorldMags.net
Sigma 10-20mm F4-5.6 EX DC WorldMags.net
e used the Sigma 10-20mm F4-5.6 EX DC lens for this article. An extremely versatile optic, its designed for use on DSLRs with APS-C image sensors. With an angle of view of 102.4 at 10mm and 63.8 at 20mm, its characterized as an ultrawide-angle to slight wide-angle zoom, which means that it can be used to create dramatic wide-angle distortion or almost none at all. The minimum focus distance of 9.4 inches allows you to get up close to a subject if you want to experiment with dramatic close-up effects. The lens features aspherical elements for improved performance and sharpness; its internally focusing so it doesnt change dimensions as you focus, and it has the Sigma EX finish, denoting superior build and optical quality. It takes a 77mm filter, and it weighs 16.4 ounces. The lens is available for Sigma, Nikon, Canon, Sony, Pentax and Four Thirds cameras (HSM is unavailable in Sony and Pentax mounts). Estimated Street Price: $429. Contact: Sigma, www.sigmaphoto.com.
LEFT: Backlight and sidelight almost always make dull foliage come to life. Think about photos of aspen leaves at the height of fall color. When backlit, their yellow leaves are alive with luminosity. Even less dramatic subjects can benet from backlight and sidelight. Taking advantage of the 10mm end of the Sigmas focal range, this scene has depth, and the main subject is transformed from mundane to an interesting study in shape and light. Unfortunately, the shot is ruined by the annoying are at the bottom of the frame. When youre shooting at a very wide angle, its easy to get a bad are like this one when the sun is just out of the frame. A lens shade can help, but it doesnt always fully protect you.
RIGHT: Here, the same subject was photographed, but this time with a hat shading the lens (and just out of the frame) to prevent the are. With the many elements and the wide angle of view, wide-angle lenses can generate a lot of are in an image. Some photographers like the effect, and its denitely something you can experiment with creatively. Filmmaker J.J. Abrams, for example, has a reputation for adding a lot of are effects in the CGI effects in his science-ction movies. In the case of these two images, however, theres no question that the image without the are is superior.
MORE On The Web
Go to outdoorphotographer.com/blog to see our web-exclusive articles on gear, Best Of Assignments, Assignment Winners, feature stories by the OP Bloggers and more.
WorldMags.net
WorldMags.net
shoot for perfection at

The only camera headquarters that offers same day shipping until 8PM
Scan for your perfect camera here
zoom in to the best brands at

And focus on the only store that gives you same day shipping until 8PM
Scan your prime destination for lenses here
WorldMags.net
Birds Of
WorldMags.net
With the trained eye of a scientist, Tim Laman and extraordinary birds
Paradise
BY AMY GULICK | PHOTOGRAPHY BY TIM LAMAN
captures the behavior of the worlds most rare
Patience, persistence and ear waxthree requirements for photographing the worlds 39 species of birds-of-paradise. (Yes, ear waxmore on this later.) It only took eight years and 18 expeditions to New Guinea and Australia for photographer Tim Laman to pull off this remarkable photographic and scientific achievement. Theres a reason why no one has ever done a serious job of photographing all of the birds-of-paradise, says Laman. Its virtually impossible to walk around a rain forest carrying a camera and get a picture. The birds are too high up in the trees or too hard to approach closely. So Laman spent countless hours climbing trees, rigging blinds and hauling gear up as high as 160 feet into the canopy of the rain forest. And then he waited. And waited. And waited. In
todays frenzied world, where instant is the new normal, some things cant be rushed. Theres no substitute for good, old-fashioned patience, a virtue that Laman has in droves. He built more than 100 photo blinds, and together with ornithologist Edwin Scholes, spent more than 2,000 hours crouching and waiting for those magical moments when the birds appeared. Their patience was rewarded and the results are beautifully displayed in their book, Birds of Paradise: Revealing the Worlds Most Extraordinary Birds (National Geographic Society, 2012). But nothing about the project was easy, and 10 days into Lamans first expedition, he hadnt made a single publishable photo. He wrote in his journal, What have I gotten myself into?
WorldMags.net
WorldMags.net
Out
r oo
Photog r
Th
e E n vir o n
ABOVE: A cloud forest with misty valleys at sunrise near Mount Hagen, Papua New Guinea. FAR LEFT: Twelve-wired bird-of-paradise (Seleucidis melanoleuca), Badigaki Forest, Wokam Island in the Aru Islands, Indonesia. NEAR LEFT: Adult male greater bird-ofparadise in static display, Badigaki Forest, Wokam Island in the Aru Islands, Indonesia.
en
h ap
er
An
WorldMags.net
Its a question that Alfred Russel Wallace no doubt asked himself many times when he explored the dense, mountainous jungles of the Malay Archipelago some 150 years before Laman arrived. The first Western naturalist to see birdsof-paradise display in the wild, Wallace authored The Malay Archipelago: The Land of the Orang-Utan and the Bird of Paradise (1869). Wallace is also credited with developing the theories of how species evolve, along with his more wellknown counterpart Charles Darwin. Fastforward to the 1980s, when Laman read Wallaces book while working as a research assistant in the tropical rain forest of Borneo, home to orangutans. The book piqued his interest to someday get to the island of New Guinea, home to the birds-of-paradise that Wallace described as the most beautiful and the most wonderful of living things. Laman continued his scientific research in the rain-forest canopy of Borneo with a grant from the National Geographic Society, and earned a PhD in ecology and evolutionary biology from Harvard University. But he was frustrated writing theoretical scientific papers that few would read. I was motivated to do more popular articles that would reach a wider audience and get more people interested in rain-forest issues, he says. With his spirit of adventure, scientific background and experience pho80 Outdoor Photographer outdoorphotographer.com
ABOVE, LEFT: Lesser bird-of-paradise male displaying high in the rain-forest canopy at his display site. ABOVE: Young male Paradise Riflebird performing a practice display. LEFT: Photographer Tim Laman with laptop, shooting in Live View mode from his canopy blind, controlling a camera in a different tree with a wide-angle view of a greater bird-of-paradise display site. NEXT PAGE: Laman peers out of one of his hides in the Arfak Mountains. This hide was made from poles and ferns with help from local landowners.
tographing in the rain forests of Borneo, Laman published his first story in National Geographic in 1997 on wildlife high in the canopy of strangler fig trees. He went on to publish a dozen or so more stories for the magazine on subjects including orangutans, hornbills and glider species. By the time he pitched the birdsof-paradise story in 2003, he felt ready to take on what would become his most challenging project to date, much tougher than even he anticipated. New Guinea, where the bulk of the 39 species of birds-of-paradise resides, is the worlds second-largest island after Greenland. Coincidentally, the shape of the island is often said to resemble the head of a tropical bird. A spine of mountains, the New Guinea Highlands, dom-
WorldMags.net
inates the landscape, stretching 1,000 miles from the head to the tail of the island. The highest mountains soar to 16,000 feet, contain several glaciers and contribute to heavy rainfall from the equatorial atmosphere. Half of all of the species of birds-of-paradise live in montane forests at high elevations, with most of the species found between 5,000 and 7,000 feet. There are few roads in this rugged part of the world, so most travel is by small aircraft and boat. In addition to the geographical challenges of the landscape, New Guinea is politically divided into two countries, Indonesia and Papua New Guinea. We were almost always working on private land, which required negotiating with local people and hiring guides, porters and cooks, says Laman. A lot
WorldMags.net
seek a higher office at
Get down to business faster with our same day shipping until 8PM
Scan office equipment that works for you
scope out more selection at

Target the only store to give you same day shipping until 8PM
Scan to target your search for scopes here
WorldMags.net
of advance planning was necessary before we even started to look for the birds. Once on the ground, or in the trees, Laman knew that his goal to photograph each of the 39 species was a monumental task, but he knew it wouldnt be enough to just create identification shots of each species. He wanted to document as much behavior as he could, both for photographic and scientific purposes. In addition to the birds brilliant colors and elaborate feather configurations, their courtship displays have been described by evolutionary biologists as bizarre and absurd exaggerations. And some of the courtship displays have
WorldMags.net
I take advantage of whatever technology is available and push the limits of whats possible, says Laman. But I dont spend my days reading technical websites. I figure out how to use the tools and then do something cool with them. One of his most gratifying images is of a greater bird-of-paradise displaying high in a tree overlooking the misty rainforest canopy as dawn lights the sky. The complex and labor-intensive setup to make the shot involved climbing a display tree and mounting a camouflaged leaf-cam, climbing a nearby tree and building a blind, waiting for the birds to come, and then controlling the leaf-cam
near-threatened by the International Union for Conservation of Nature Red List. Preserving the forest habitat that all of the birds-of-paradise need is paramount for their future. The good news is that theres still a lot of rain forest in New Guinea, says Laman. But the pressures on the forests are increasing rapidly as supplies of timber run out in other places like Borneo and Sumatra. Logging companies from Malaysia and China are now coming to New Guinea, and what weve been seeing in the last 10 years is a huge increase in road building, logging, mining and clearing the forests for palm oil plantations. Laman and project partner Edwin Scholes are teaming up with conservation organizations, both at the local and international levels, to use the photographs and videos they have created to showcase the birds-of-paradise as flagship species for the region. The hope is to encourage landowners and governments to preserve a network of nature reserves to ensure the survival of the birds. And by protecting habitat for the birds, many other species benefit, too, including the people who have lived within the forest and alongside its creatures for millennia. Im pretty optimistic because were ahead of the curve with birds-ofparadise conservation, says Laman. We just have to make sure it stays OP that way.
never before been seen or described. Pushing the frontiers of knowledge, discovering new species and behavior, and making contributions to science all motivate me to get out of bed at 3:30 in the morning and spend an hour climbing a tree to get ready to shoot something, says Laman. At the same time, making good photography to tell the story to a broader audience pushes me to get the best images I can. During the eight years Laman spent on the project, the technology of DSLRs evolved rapidly, and new advancements played a significant role in his ability to capture extraordinary images and behavior, both with still photographs and video.
MORE On The Web
Find more articles about how to get involved in environmental causes as a photographer at www.outdoorphotographer.com.
from his laptop computer in the blind. The success of the shot also involved ear wax. Local people insisted that the birds would only come if he used a traditional hunting blind and rubbed a bit of his own ear wax on the tree prior to scaling it. Not wanting to offend his hosts, Laman obliged. The locals built for him a customary leafy cocoon blind, he rubbed ear wax on the tree, and up he went. Sure enough, the birds appeared a testament to a beautiful blend of the technical and the traditional. Local knowledge played a large role in helping Laman document all of the birds, and local support will be crucial to conserving the forests that both the birds and the people rely on for survival. Of the 39 species of birds-of-paradise, only three are considered threatened with extinction, but seven others are approaching that status, having been classified as
WorldMags.net
Tim Laman is a field biologist and wildlife photojournalist affiliated with the Museum of Comparative Zoology at Harvard University. A fellow of the International League of Conservation Photographers, he has photographed 20 stories for National Geographic. View his work or order a signed copy of his Birds of Paradise book at www.tim laman.com. Amy Gulick is a photographer, writer and fellow of the International League of Conservation Photographers. View her work at www.amygulick.com. Learn more about the Birds-of-Paradise Project at www.birdsofparadiseproject.org.
WorldMags.net
develop your creative skills at the learning center

Daily original videos Workshops Online tutorials Product reviews Gear guides
Your headquarters for free creative education.

Scan and go straight to video here
create great theater at

Start the action sooner with same day shipping by 8PM
Scan for your home theater options here
WorldMags.net
first
LOOK
WorldMags.net
3GDMDV @FRGHO,HBQN%NTQ3GHQCRB@LDQ@@KRN QDOK@BDRSGD$OQN#2+1 S.KXLOTRHSVNTKC RDDLSGDSHLDNESGDHMSDQM@KLHQQNQG@RDMCDC
T b
he original Four Thirds System was introduced in 2003 based around a 17.3x13.0mm image sensor that was smaller than the 23.6x15.6mm APSC sensors used in most DSLRs of the time. The idea was that by designing a system around a smaller sensor, the camera and lenses could be considerably smaller and lighter than the APSC cameras and lenses, while producing excellent image quality through lenses designed specifically for that sensor. That first Four Thirds camera, the Olympus E-1 pro DSLR, wasnt all
that much smaller than contemporary APS-C cameras. More than a dozen Four Thirds models followed, compact, but not so much more so that they dented the APS-C market share. So, in 2008, the Four Thirds consortium introduced Micro Four Thirds. Based around the same 17.3x13.0mm sensor, the MFT cameras did away with the SLRs bulky (and costly) mirror, mirror box, focusing screen and pentaprism or pentamirror finder, replacing them with electronic viewfinders or just the external LCD monitor. This cut down camera size WorldMags.net noticeably. Two MFT body styles
were available: mini-DSLR, which looked like a DSLR, only much smaller; and flat compact, which resembled a typical compact digital camera. Back to the present, Olympus has announced the successor to the E-5, the last of the MFT DSLRs. And its replacement, the new OM-D E-M1, is also the flagship model in Olympus MFT line: a mini-DSLR with a rugged freeze-, dust- and splashproof body, a state-of-the-art, 16.3-megapixel Live MOS sensor and powerful new TruePic VII processor, and a feature set that goes well beyond that of the E-5.
With this new AF system, the camera automatically engages 37-point on-sensor phasedetection AF when Four Thirds lenses are used and 81-point contrast AF when MFT lenses are mounted. When continuous AF is selected with an MFT lens, both AF systems work together to improve tracking performance. There are 57 Four Thirds and MFT lenses currently available, including 32 Zuiko and M.Zuiko Digital ones from .KXLOTROQNUHCHMFENB@KKDMFSGREQNLLLSGQNTFGLLOKTR@MLL RGDXD 6HSGSGDRDMRNQR7ENB@K length factor, this provides users with focal lengths equivalent to 16mm through 600mm on a 35mm camera. You can choose a single AF point or activate a 3x3-point group, or let the camera choose the AF area. Super 2ONS %KDSRXNTOHMONHMSENBTRNM@SHMXRTAIDBSNQ@SHMX@QD@NE@RTAIDBS 3GDQDRMNSNMKXE@BDCDSDBSHNM % but also eye-detection AF, which can be set for nearest-eye, right-eye or left-eye priority. You can also quickly focus anywhere in the image merely by touching the spot on the LCD monitor. For manual focusing, focus peaking is available. 3GDQDR@ M@STQ@KPTDRSHNM@ANTSHL@FDPT@KHSXVGDM@ MTLADQNEOHWDKRNMSGDRDMRNQ@QDCDUNSDCSNSGD AF system. Approximately 6% of the 16.3 million pixels are devoted to AF, and the Olympus engineers have CDUDKNODCGHFGKXD DBSHUD@KFNQHSGLRENQHMSDQONK@SHMFSGDC@SDEQNLSGNRDOHWDKR %QNLSGDBNL O@QHRNMHL@FDRVDVDQDRGNVMAX.KXLOTRSGDXUDCNMD@MDWBDKKDMSINAVHSGSGDHMSDQONK@SHNM .TQNARDQU@SHNMRVDQDA@BJDCTOAXLNQDQHFNQNTRSDRSHMF 3GD.,#$,R3QTD/HB 5((OQNBDRRNQCDKHUDQRD DBSHUDMNHRDQDCTBSHNM@MCKDMR@ADQQ@SHNMBNQQDBSHNMR and the sensor produced the highest score yet (by a point) for a Four ThirdsENQL@SRDMRNQHM#W.,@QJ BNLRSDRSHMF
Dual Fast AF.
WorldMags.net
5-Axis Sensor-Shift Stabilization. The E-M1 incorporates the Olympus 5-axis sensor-shift image-stabilization system, which compensates for yaw, pitch and roll, as well as vertical and horizontal shift, and works with all lenses. The system allows you to handhold steadily at shutter speeds 4 EV RKNVDQSG@MVHSGNTSODQ"(/ LD@RTQDLDMSBNMCHSHNMR
MDV RTODQK@QFD DXDKDUDK DKDBSQNMHB UHDV MCDQ ED@STQDR LHKKHNM CNSR @MC @ 7 7 LLB@LDQ@ DPTHU@KDMS L@FMH B@ tion, with a minimal 0.029-second display-time lag. The EVF is complemented by a 3.0-inch, 1037K-dot tilting touch-screen LCD monitor.
5H QHG (9)
(DV\$FFHVV7R .H\&RQWUROV There are lots of control dials and buttons, making it quicker and easier to set many camera functions, and a lot of customization is possible. The BLN-1 lithium-ion battery provides RGNSRODQBG@QFDODQ"(/ RS@MC@QCSGDNOSHNM@K'+#!@SSDQX&QHOGNKCR@RDBNMCA@SSDQX@MCCNTAKDR shooting capacity. Wi-Fi Built In. Wi-Fi, in conjunction with the Olympus Image App, lets you upload images to your smartOGNMDVHQDKDRRKXNODQ@SDSGDB@LDQ@EQNLXNTQRL@QSOGNMD@MCFDNS@FHL@FDRTRHMFSGDRL@QSOGNMDR&/2
+'56KRRWLQJ6SHHG$QG,Q&DPHUD( HFWV3VNHMB@LDQ@'#1LNCDR'#1@MCSGDRSQNMFDQ

D DBS'#1@TSNL@SHB@KKXL@JDENTQAQ@BJDSDCDWONRTQDRSGDMBNLAHMDSGDLHMB@LDQ@SNOQNCTBD@MHL @FDVHSG DWO@MCDCCDS@HKEQNLRG@CNVSGQNTFGGHFGKHFGS 3GDQDR@KRN@TSNAQ@BJDSHMFENQONRSOQNBDRR'#1 (3 or 5 shots at 2.0 or 3.0 EV intervals, or 7 shots at 2.0 EV intervals). The built-in intervalometer will shoot 1 to 999 images at intervals from one second to 24 hours. The E-M1 can shoot at 10 fps with focus locked @SSGD QRS DWONRTQD@MC EORVHSGBNMSHMTNTR % AHF AT DQKDSR XNTRGNNSTOSN1 6NQ)/$&HL@FDRHM'@CU@MBDLNCD 3VDKUD QS %HKSDQR @MC DHFGS QS $ DBSR OQNUHCD D@RX BQD@SHUD NOONQSTMHSHDR (many can be applied to videos as well as still images).
+'9LGHR Video capabilities include 1080p, 720p and 640x480, all at 30

EOR 2NTMCHRRSDQDNUH@ATHKSHMNQDWSDQM@KLHBQNOGNMD 3GDQDR@KRN@O 10 fps time-lapse mode.
6SHFV W W HMBGDR NTMBDR (VWLPDWHG6WUHHW3ULFH $1,399 (body only) &RQWDFW Olympus, www.getolympus.com
WorldMags.net
first
LOOK
The age of full-frame interchangeable-lens mirrorless has arrived
WorldMags.net
S ony Alpha a7 And Alpha a7R

O
ne of the main reasons why mirrorless interchangeable-lens cameras were designed was to provide DSLR image quality without the bulk. From the very start (the first mirrorless interchangeablelens camera was introduced about five years ago), serious photographers wondered wheneven if there would be full-frame mirrorless interchangeable-lens cameras. In 2012, Sony introduced the RX1, a truly compact camera with a fullframe sensor (the same one used in the
WorldMags.net
companys SLT-A99 DSLR), but with a fixed wide-angle lens. Now, Sony has introduced the first full-frame mirrorless interchangeablelens camera. The two models are almost identical with the following exceptions: The Alpha a7 features a 24.3-megapixel, full-frame Sony Exmor CMOS sensor, and the Alpha a7R has a 36.4-megapixel unit with no OLPF (optical low-pass, or anti-aliasing, filter). The a7s sensor also provides Sonys Fast Hybrid AF.
Fast Hybrid AF. The Sony a7 has the companys on-sensor phase- and contrast-detection AF
for improved performance on action subjects: the a7 can shoot at 5 fps with nonstop AF tracking in Speed Priority Continuous mode. First, PDAF, via 117 phase-detection AF points in a 13x9 grid in the center of the frame, moves the lens to quickly establish focus on the subject; then contrast AF, via 25 points in a 5x5 grid that covers the entire EQ@LD MDSTMDRENBTR The a7Rs higher-res sensor is contrast-detect AF only, and its contrastbased Fast Intelligent AF is about 40% faster than that in the NEX-7 camera: the a7R can do 4 fps in Speed Priority Continuous mode, which is quick, especially considering the huge 36.4-megapixel sensor.
WorldMags.net
No Low-Pass Filter. The image sensors in most DSLRs and mirrorless interchangeable-lens cameras incorporate an OLPF to do away with the moir and artifacts that are produced by the demosaicing process needed with conventional Bayer-array sensors. Since the photodiodes in image sensors cant CDSDBSBNKNQRNMKX AQHFGSMDRRBNKNQHRNAS@HMDC AX SSHMF@ KSDQ FQHCNUDQSGD sensor, which allows each pixel to receive only red, green or blue light. The missing colors for each pixel are obtained by interpolating data from neighboring pixels using complex proprietary algorithms. This demosaicing process producDRLNHQVHSG MDKXO@SSDQMDCRTAIDBSR@MC@QSHE@BSR 3GD.+/%NQ@MSH@KH@RHMF KSDQCNDR@V@XVHSGSGDRDATSRKHFGSKX blurs the image in the process. 6GDMOHWDKRHYDADBNLDRRL@KKDMNTFGCH Q@BSHNMETMBSHNMR@R@M@MSH@KH@RHMF KSDQNERNQSRDKHLHM@SHMFSGDMDDC for the blurring OLPF. This seems to occur with a pixel size of just under 5 microns, the size found in 16-megapixel APSC sensors and 36-megapixel full-frame ones. Thus, some newer cameras feature sensors without the OLPF D DBSF@HMHMFRG@QODQHL@FDONSDMSH@K@SSGDRKHFGSQHRJNELNHQVHSGRNLD MDKXO@SSDQMDCRTAIDBSR Nikons D800E, D7100 and D5300; Pentaxs K-5 IIs and K-3; and Sonys RX1R and now a7R.
Lens Mount. The new Alpha a7 models feature a new FE lens mount, and Sony introduced
UD%$LNTMSKDMRDRVHSGSGDB@LDQ@RSGDLL .22@MCLL& YNNLR@MC"@QK9DHRR2NMM@Q3 LL 9 2NMM@Q3 LL 9 @MC5@QHN3DRR@Q 3 LL9 .22 8NTB@M@KRNTRDDWHRSHMF2NMX @MC$LNTMSKDMRDRUH@@C@OSDQR Regular Sony E-mount lenses were designed for the NEX cameras, which feature smaller APS-C sensors, so theyll vignette if used in full-frame mode on the new a7 cameras, but B@MADTRDCUH@@C@OSDQHM /2"LNCD %TKKEQ@LD2NMX LNTMS#2+1KDMRDR@MCKDF@BX *NMHB@,HMNKS@,@WWTLKDMRDRB@MADTRDC@KRNUH@@C@OSDQ 6GDMTRDCVHSGSGD+ $ NQ LA-EA4 adapters, you get phase-detection AF via the Translucent Mirror Technology AF system in the adapter. Sony DT A-mount lenses were designed for APS-C sensors, and like the E-mount lenses, will vignette if used in full-frame mode on the a7 cameras. But the cameras will automatically switch to APS-C crop when such a lens HR@SS@BGDCNQXNTB@ML@JDSGDRVHSBGL@MT@KKXVHSG@MXKDMR (MBQNOLNCDSGDQDR@ 7BQNOE@BSNQ@MCHL@FDRHYDR CQNOSN@@MC@1LDF@OHWDKRQDRODBSHUDKX
Image Sensors. Sonys 24-megapixel, full-frame Exmor CMOS sensors have been impressive from their introducSHNM@OOD@QHMFHMSGD2+3 17171VHSGNTS.+/%@MCMNVSGD@VHSGNMRDMRNQ/# % 3GDQD@QD@KV@XRPTDR SHNMR@ANTSSGD2NMX@MC-HJNMRDMRNQRADHMFNMD@MCSGDR@LDADB@TRDNESGDHQL@MXRHLHK@QHSHDRNMO@ODQ 5DQXKHJDKX Sony had a hand in the 24-megapixel, full-frame sensors used in Nikons D600 and D610. The 36-megapixel, full-frame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very similar in spec and performance, and according to some tests, theyre the best that are available today.
Shared Features.3GDSVNMDV@B@LDQ@RRG@QD@MTLADQNEED@STQDRHMBKTCHMFBNLO@BSANCHDR W W HMBG DR NTMBDRENQSGD@@MC NTMBDRENQSGD@1YNMDLDSDQHMF(2.RDSSHMFREQNLOKTR@ *CNSDXDKDUDK3QT MCDQ HMBG*CNSSHKSHMF+"#LNMHSNQ@MCATHKSHM6H%HVHSG-%"ENQD@RXBNMMDBSHNM Both can do 1080p video at 60 fps and 24 fps, with stereo sound via built-in or external microphone, and headphone ONQS (L@FDR@QDRSNQDCNM2#2#'"2#7"B@QCRNQ2NMX,DLNQX2SHBJ#TN/1.#TN/1.'&#TNLDCH@ MNOSHNM@K battery grip doubles the cameras shooting capacities. Estimated Street Price:@@1 Contact: Sony, www.sony.com WorldMags.net
Solutions... WorldMags.net
Prime Options For Mirrorless

Zeiss Touit lenses for Sony and Fujifilm mirrorless APS-C cameras are fast, sharp and rugged tools
egular readers of OP will know that we love mirrorless cameras, except for the name mirrorless (see In This Issue in the November 2013 issue). As a class, mirrorless cameras have everything most of us wantlarge, high-resolution image senfor mirrorless cameras. The 12mm sors, powerful onboard imTouit on an APS-C-sensor camera age processors, a compact gives us perspective thats similar to design that makes them an 18mm lens on a full-frame camera. good traveling companThats wide without being excessively ions and the ability to shoot wide. Think Stanley Kubrick rather than RAW files for maximum conHawaii Five-0. The 32mm Touit yields trol over the images. a perspective similar to a 48mm on a is so important because it means other One area where the mirrorless modfull-frame camera. Its a solid normal perspectives on the market are entering els fall short compared to their DSLR lens thats good for everything from the fray. A camera maker might make kin is in the breadth of lenses and accesstreet photography to landscapes. a decision that some focal lengths or sories. Thats only natural. DSLRs and In creating these lenses, Zeiss wasnt lens types only have a small demand SLRs have been photography mainstays out to make ordinary run-of-the-mill and its not worth their time to develop for more than 50 years. Mirrorless digioptics. Both lenses have nine-blade and manufacture a lens at that scale. tal cameras have been around for just irises, which, when combined with the On the other hand, an independent lens a couple of years, and mirrorless mod/2.8 and /1.8 maximum apertures, maker might find that size demand to els arrived in an era when photography respectively, give you the ability to be an excellent opportunity. The upshot technology is evolving at an incredibly create beautiful, smooth bokeh effects. for us as photographers is that we get rapid pace. More accessories are comOf course, the fast maximum apertures more niche focal lengths and more oping to market, and lens lineups are getgive you low-light shooting opportunitions overall. ting more complete every year. ties, too. Each lens also has the Zeiss Zeiss has worked closely with Sony As mirrorless cameras expand their T* multicoatings for maximum light for several years, so its perhaps no foothold, lens manufacturers have starttransmission, edge-to-edge sharpness surprise that the company would come ed developing models. This is excellent and even exposure. These are highout with some very intriguing lenses news for photographers. It means that end lenses for serious photographers. for the Sony E-mount, which are now not only are mirrorless mounts being Estimated Street Price: $999 (12mm); also available for the Fujifilm X-mount. seen as here to stay, but theres more $720 (32mm). The Zeiss Touit 12mm /2.8 and 32mm choices of focal lengths. Participation OP /1.8 lenses were designed specifically from these independent lens makers Contact: Zeiss, lenses.zeiss.com. ABOVE: Available in 12mm and 32mm focal lengths, the Zeiss Touit lenses are compatible with APS-C-sensor Sony E-mount and Fujilm X-mount cameras. WorldMags.net
WorldMags.net
boost your computing power at

Increase your speed with same day shipping until 8PM
Scan to upgrade your technology here
build your professional image at

Start your workow sooner with same day shipping until 8PM
Your pro workow starts by scanning here.
WorldMags.net
travel & workshops
WorldMags.net
Barefoot Contessa Photo Adventures

Year-Round
Visionary Wild
Year-Round
Visionary Wild continues to exceed expectations with its world-class workshops and photo travel experiences. Featuring such acclaimed photographers as Jack Dykinga, John Shaw, Justin Black, Jeff Foott, Roy Toft and Marc Muench, Visionary Wild instructors are selected for their dedication to sharing their extensive expertise and unique vision, as well as for their ability to deliver an overall experience thats deeply rewarding and full of fun. Highlights in 2014 include an African Wildlife Safari at Masai Mara and Chobe River (long lenses provided!); the landscape of Iceland; the Mayan underworld of the Yucatan; the Oregon Coast at Bandon; the Redwood Coast of California; jaguars of the Pantanal; the Grand Staircase-Escalante National Monument at Boulder, Utah, and Tucsons Catalina Mountains. Rich photographic opportunities, personalized mentorship, great amenities and upbeat group dynamics are hallmarks of a Visionary Wild workshop. These inspiring experiences deliver the tools to advance your photography and will leave you looking forward to the next adventure. For more information, contact: Visionary Wild, (202)-558-9596, info@vision arywild.com, www.visionarywild.com. Arizona Highways Photo Workshops
Jan/Feb 2014
Inspiring destinations! Quality education! Spectacular images! Thats

XX Outdoor OutdoorPhotographer Photographer outdoorphotographer.com outdoorphotographer.com 90
Arizona Highways Photo Workshops (AHPW) commitment to you. For over three decades, theyve educated photographers in the creative, technical and professional practices of photography through an extensive lineup of workshops from capture to print. Whether you enjoy landscape, wildlife, portraiture or postprocessing, their professional experts are passionate about teaching their craft and helping with yours. Their full-service approach takes the guesswork out of planning your trip. AHPW provides the complete package, and they also manage the workshop arrangements. In 2014, their best of the west lineup includes photo favorites such as Slot Canyons, Monument Valley, Glacier, Grand Canyon, Grand Tetons, Havasupai, Lake Powell, Navajolands, California Redwoods, Rafting the Colorado River and Winter in Yellowstone. So whether youre just getting started or are a seasoned pro, AHPW has the perfect opportunity for you. For more information, contact: Arizona Highways Photo Workshops, info@ahpw.org, (602) 712-2004, www.ahpw.org.
travel & workshops
Join fellow photographers for fun-filled workshops in great locations here and abroad. With a maximum 6:1 ratio of 12 participants and two instructors, Margo Pinkerton and Arnie Zann, youre guaranteed plenty of individual instruction. In fact, they stay with you the whole time, putting their students first, helping them seek their own vision, giving them the tools they need to make eye-catching photographs, and sending them home with a stronger eye and the knowledge they need to continue to grow as photographers. In 2014, workshop locations will be: New Orleans; weekend workshop in N.C.; Cuba; Charleston; Outer Banks (2); Acadia; Provence; Burgundy; Bruges/Paris; Midcoast Maine; Canyon de Chelly; Arches and Canyonlands; Colorado; New England; Death Valley; etc. They also run private photo as well as Lightroom workshops, and have opened up scouting/shooting days to two students before most workshops. For more information, contact: (919) 643-3036 before 9 p.m. EST, T B C @ B C p h o t o a d ve n t u r e s . c o m , www.BCphotoadventures.com.
Justin Black
WorldMags.net
Margo Taussig-Pinkerton
For more workshop listings, go to www.outdoorphotographer.com and click on Travel & Workshops.
Alaska
WorldMags.net Creative Macro & Garden

Photography Workshops
www.charlesneedlephoto.com 425-968-2884
Remote. Untouched. Unbelievable.
Join us at some of North Americas and the worlds most inspirational locations. Usually not more than 8 participants per instructor. In our 18th year! Our Schedule: Feb 05-09 - S FL Birds & Gators Feb 23-Mar07 - Costa Rica Apr weekends - TX Wildflowers May 11-16 - N Arizona May 12-16 - FL Everglades Experience May 21-28 - San Francisco & CA Coast Jun 11-15 - Palouse Area, WA State Jun 24-Jul 02 - Switzerland Jul 11-15 - FL Summer Skies & Lightning Jul 14-21 - Glacier Bay NP. AK Jul 25-Aug 09 - Kenya Aug 16-20 - Yellowstone NP, WY Aug 24-28 - Glacier NP, MT Sep 01-09 - Denali & Kenai Fjords NP, AK Sep 19-23 - Grand Teton NP, WY Oct 21-25 - FL Everglades Experience Nov 02-07 - Bryce Canyon & Zion NP, UT Sponsored by: Lowepro, Manfrotto/Gitzo Tripods, Panavue ImageAssembler, Helicon Software, HDR Software, Wimberly, Essential HDR, Breathing Color
travel & workshops
ST. PAUL ISLAND
Photography Tours Available 1-877-424-5637

www.alaskabirding.com
7 Ryan Circle, Lebanon, IL 62254-1948 618-589-1729
The Nature Workshops
www.natureworkshops.com Domestic
WorldMags.net
travel & workshops
WorldMags.net
Chiles Atacama Desert And Easter Island

May 25-June 5, 2014 & October 19-30, 2014
Muench Workshops
2014
Marc Muench and Andy Williams have been running photo workshops since 2007. Their mantra is they put the work in workshop, and they promise to get you to the right place at the right time to make images youll be thrilled with. Workshops are held all over the U.S. and worldwide, and typically are all-inclusive, so you dont have to worry about hotels, meals, transportationmore time to spend on photography! A typical day: out before sunrise, then critique/instruction during the day, back out for sunset. After dinner, time for more, doing star/night photography. Some of their 2014 workshops: Hawaii, Tanzania, Iceland, Death Valley, Yosemite, Tuolumne Meadows, Eastern Sierras (with David Muench), Scotland and more. Groups are small, allowing for personal instruction. For more information, contact: Andy Williams, +917-854-8118, www.muenchworkshops.com. Birds Of Florida
March 21 to 27, 2014
travel & workshops
Starting in Lakeland/Orlando youll visit an area for sandhill crane babies with their parents. To finish the trip, youll spend a morning on a boat at a rookery thats one of the best around with more than 100 birds covering more than a dozen species, including roseate spoonbills that put on a nice show. For more information, contact: Andy Long, (303) 601-2828, andy@ firstlighttours.com, www.firstlight tours.com. Iceland Bird Photography
May 20 & June 6, 2014
Led by American photographer/ guide Rex Bryngelson, a longtime resident and operator of unique photo safaris in Patagonia, this modestly priced tour begins with five nights based from the picturesque desert oasis of San Pedro de Atacama. Days are spent exploring the areas best-known geologic wonders like the Rainbow Valley, Geysers of Tatio and the Valley of the Moon, and evenings devoted to observing and capturing images of the Atacamas brilliant night sky. Following Atacama, you fly to Easter Island, home to one of humanitys greatest unsolved mysteries, to spend another three full days enjoying Easters mild sub-tropical climate while photographing all the islands famous stone Moai, petroglyphs and other important archeological sites. For more information contact: Rex Bryngelson, 56982909371, rex@patagoniaphoto.com, www. patagoniaphoto.com.
Ultimate Guide To Workshop Listings Online
Visit outdoorphotographer.com and click on the Locations tab to view the ultimate guide to Travel & Workshops, plus photos. This directory will help you pick your next workshop from a listing that includes some of the best programs in the world!
Nesting roseate spoonbill, reddish egret, wood stork, skimmers, egrets, herons and plenty of shore birds are some of the birds encountered on this workshop. The trip will be based in the Orlando/Lakeland area and Pinellas County, each a bird photographers gem. Youll learn behavior patterns for anticipating peak action, flight photography techniques and sunrise/sunset exposure tips to bring out great colors and more.
Iceland has some of the worlds largest bird colonies offering unique photography opportunities. Join Sigurjn Ptursson for two eight-day tours in the summer of 2014 to prime locations in Iceland for bird photography concentrating on puffins and other sea birds, as well as waterfowl. Lake Mvatn in the northeast of Iceland for Barrows goldeneye, long-tailed duck, scaup, tufted duck, rednecked phalarope, horned grebe, and harlequin. Ltrabjarg and the southeast coast for puffins, common guillemot, Brnichs guillemot, kittiwakes, fulmars and great skua. They also do custommade tours of any length for summer and winter for landscapes, volcanoes, waterfalls, lava fields, the largest black beaches in the world, etc. Max group size is three, so youll be given full individual attention. For more information contact: Sigurjn Ptursson + (354) 894-0652, sigurjonp@gmail.com, www.sigurjon petursson.com
Harry Behret
WorldMags.net
Rex Bryngelson
WorldMags.net
Wolves-Wolves-Wolves A Photo Center In The East

Best photo ops available anywhere and you dont have to leave home. Arctic, Tundra and Timber Wolves in Natural Settings
Lakota Wolf Preserve 89 Mt. Pleasant Rd., Columbia, NJ 07832 TOLL-FREE: 877-SEE-WOLF
www.lakotawolf.com e-mail:photography@lakotawolf.com
travel & workshops
subscribe
at the low introductory rate.
CALL TOLL FREE
today
1-800-537-4619
www.outdoorphotographer.com
WorldMags.net outdoorphotographer.com January/February 2014 93
travel & workshops
WorldMags.net Capture the Seasons

Natures Image Photo Field Workshops
with Bill and Linda Lane. . .
travel & workshops
Topics: opi op o pics: cs: e c exposure/natural expo xpo xp po p os su sure u e/nat ure /n / nat atu ural al lig a light, l ig ght, ht, ht , ll ash, creative visualization, composition renement, technique, equipment...
Expert Expe E Ex xpe xpe xp per rt t instruction in in nstr nst st str tru tr uc uct ucti cti c ct ti t ion on Outstanding locations & subjects Camaraderie & food
Joel Sartore, www.joelsartore.com
Look us up on the web for further details:
(804) 883-7740
Bill and Linda Lane
lanephotoworkshops.com
International
KEEP IT IN FOCUS
Subscribe to the iLCP newsletter
www.ilcp.com
Iceland
The Land of Ice and Fire
Custom made tours for individuals and groups Lets have fun together!
XXXTJHVSKPOQFUVSTTPODPNtsigurjonp@gmail.com Phone: + (354) 894 0652
Specializing in comprehensive, professionally-led, natural history & photo tours of the Galpagos Islands. Monthly departures on 14-16 passenger yachts. (800) 969-9014 www.galapagostravel.com
783 Rio Del Mar Boulevard, Suite #49, Aptos, CA 95003
Reach
PHOTO, TRAVEL and OUTDOOR enthusiasts who want to

know about your products and services. call 310-820-1500 ext: 135 for classified advertising rates
Furthering environmental and cultural conservation through ethical photography
WorldMags.net
WorldMags.net
BRING YOUR PASSION YOUR PATIENCE & YOUR GEAR Wild India LLC specializes in
travel & workshops
Indias wildlife and wild places. Butch Lama, experienced photographic field guide & naturalist, leads all escorted & private tours. Butch knows Indias wildlife like few others. Let his skills complement yours.
www.butchlama.com
outdoorphotographer.com/ enewsletter
Stay connected with the latest in outdoor and digital photography with the Outdoor Photographer eNewsletter!
BANGLADESH BHUTAN BORNEO BURMA CAMBODIA CENTRAL ASIA CHINA / TIBET IRAN INDONESIA INDIA JAPAN KOREA LAOS MALAYSIA MONGOLIA NEPAL PAPUA NEW GUINEA SRI LANKA THAILAND VIETNAM
Photograph stunning remote scenery, tribal festivals, colorful markets, mountains, monuments and wildlife throughout Asia. Join our ground-breaking trips or old classics in small groups or on a private luxury tour designed just for you!
Log on and sign up today!
Asian Pacific Adventures since 1986

Extraordinary tours of Asia www.asianpacificadventures.com 800-825-1680
WorldMags.net outdoorphotographer.com January/February 2014 95
market place
[ Your source for products and services ]
WorldMags.net
OMNI-BOUNCE
Used by Professionals around the world, to achieve soft natural lighting with most of the popular brand flash units. Ideal for wide-angle shots, macro work, portraits and news coverage. Custom mounting with no Velcro required. Specify your strobe when ordering.
Only: $19.95 + $2.50 shipping. Visa & Mastercard
Expert Service On All Photographic Equipment

Servicing all major brands, including
STO-FEN PRODUCTS 800-538-0730

P.O. Box 7609, Santa Cruz, CA 95061, USA www.stofen.com
BIG IDEA,
SMALL SPACE
Find out how to effectively reach a large audience in a small space. Contact Debra Levine at (310) 820-1500, ext. 111 or at dilevine@wernerpublishing.com
NIKON MINOLTA PENTAX CANON OLYMPUS FUJI MAMIYA HASSELBLAD LEICA KODAK CONTAX AND MORE... CAMERAS, LENSES, DIGITAL WE DO THEM ALL
Authorized Service Center

Serving Professionals Since 1976
629 Fifth Avenue, Pelham, NY 10803 (914) 738-6500 FAX (914) 738-0837
WorldMags.net
WorldMags.net
WorldMags.net
gadget bag
HDR Software
BY ASHLEY MYERS-TURNER
WorldMags.net
When used in moderation, HDR software helps you maximize the dynamic range in your photos. Heres a look at the tools that are available for doing it.
hoto manipulation has always been employed to enhance details, even out exposure and increase contrast. Local dodging and burning was done in film darkrooms, with Ansel Adams and W. Eugene Smith leading the way. Digital darkrooms, such as Lightroom, Photoshop, Aperture and other processing software, use similar concepts in a different methodology to make similar enhancements and manipulations. In essence, HDR (high dynamic range) photography focuses on more accurately representing the full spectrum of shadows and highlights that the human eye can see at one time instead of, for instance, the higher-contrast (sometimes silhouetted) visuals that are a technicality of the cameras optics. HDR achieves this eye-like field of vision by merging together several images at bracketed exposures. Similar to a collage, youre able to capture details from both the shadows and highlights in the over- and underexposures, as well as choose the contrast, color, lighting and depth of field from each shot that work best together to create an overall image representative of the scene you visualized in the field. Over the past few years, while HDR photography has gained public interest, it has also been engulfed in controversy over how much is too much. Once the technology became easily available to the public, it was liberally applied in degrees varying from slight adjustments for a natural look, to surreal explorations
of hyperrealism, to synthetic-pop grunge art, creating a diverse field of art. For some, this artistic flair has caused a backlash, but for us as nature photographers, HDR is about matching the viewers eye, which can be done when maintaining a subtle hand with the technique. HDR is a tool for any photographer in situations where youre dealing with difficult contrast, yet you still want to maintain a natural look. Each person sees colors and light differently, and there will be varying opinions about when the limit or excess of HDR manipulation has been reached. Through experimentation and experience, you can develop your own technique and discerning eye to decide when your images have reached the perfect level for you. As HDR software develops, new features are constantly being introduced. One challenge when merging photos is ghosting, which occurs when a subject doesnt line up perfectly between multiple images. This could be due to shooting handheld instead of on a tripod, or wind blowing through trees. Some software auto-corrects for this issue locally. Unified Color Technology has upgraded the standalone software HDR Expose 3 and 32 Float V3
Photoshop plug-in to allow multiple frames to merge from handheld bracket shooting. The new file browser automatically detects bracketed exposures using thumbnails instead of filenames and can employ a batchmerge function. Upgraded alignment capabilities, including fully automatic and manual assist options, calculate proper fit, while the reengineered deghosting algorithms reduce movement in a scene by using a key frame for other frames to reference. New Adaptive Tone Mapping enhances local control of contrast, color and detail retention. List Price: $119 (HDR Expose 3); $89 (32 Float V3). www.unifiedcolor.com Color fringing, or chromatic aberration, is another problem that haunts HDR images more often than single images. Chromatic aberration is when a line of red, green, blue or magenta occurs at a boundary of contrast. This is magnified when working with
(Contd on page 108)
TOP TO BOTTOM: Photomatix Pro 4; Unified Color Technologys HDR Expose 3 and 32 Float V3
WorldMags.net
800-947-9953
Fax: 212-239-7770
420 Ninth Avenue WorldMags.net 212-444-6653 Corner of 34th Street

New York, N.Y 10001
The Professionals Source Store & Mail Order Hours: Sunday 10-5 | Mon-Thurs 9-7 | Friday 9-1 EST/9-2 DST | Closed Saturday
Over 300,000 products, at your leisure
www.BandH.com
B&H Online
- Search Capabilities Find products fast - Podcasts B&H experts provide essential product information in video interviews - Product Demos View products from every angle, right on your computer screen - Customer Reviews Useful feedback from other customers to help you decide - Live Help Chat online with support staff
When in New York,
Visit our SuperStore

- Over 70,000 square feet of the latest gear - The most knowledgeable Sales Professionals - Hands-on demos - Convenient free parking available
We Buy, Sell, and Trade
888-520-3010
Speak to a Sales Associate
www.BandH.com/used
Shop conveniently online
Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2014 B & H Foto & Electronics Corp.
NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer General Lic. #0907906
WorldMags.net
WorldMags.net
tY0QUJDBM;PPN tY%JHJUBM;PPN t NNG NNFRVJW NN
t5PVDI4DSFFO-$ % tNJDSP4 % NJDSP4 % )$$BSE4MPU t'VMMQ) %7 JEFPXJUI4UFSFP4PVOE t#VJMU*O8J'J t%JGGFSFOU* 4.PEFT
Black or Silver #CAPSE530*
Powershot Elph 530HS
Coolpix S6500
t#VJMU*O8J'J t'VMM) %Q7 JEFP t)7( "-$ % tY0QUJDBM;PPN t NNG NNFRVJW NN
t4 % 4 % )$ 4 %9$$BSE4MPU t7 JCSBUJPO3FEVDUJPO*NBHF4UBCJMJ[BUJPO
Black, Orange, Red or Silver #NICPS6500* ......................... 219.95 .... Less $50 Rebate .... 169.95
Expires 11-23-13
$50 REBATE!
10
Mega Pixels
16
Mega Pixels
Powershot G16 The Professionals Source

t-$ % t'VMM) %Q7 JEFP tY0QUJDBM;PPN tY%JHJUBM;PPN t NNG NNFRVJW NN
t4 % 4 % )$ 4 %9$$BSE4MPU t&OIBODFE8J'J$BQBCJMJUJFT t$POUJOVPVT4IPPUJOHBUGQT
#CAPSG16 .............................................. 549.99
Coolpix P520
Expires 11-23-13
tY0QUJDBM;PPN tY%JHJUBM;PPN t 7BSJ" OHMF-$ % tNN G NNFRVJWNN

t 'VMM) %J7 JEFPXJUI4UFSFP 4PVOE t4 % 4 % )$ 4 %9$$BSE4MPU
$70 REBATE!
www.BandH.com
When in New York, Visit our SuperStore
12
Mega Pixels
Black, Dark Grey or Red #NICPP520* ........................... 449.95 .... Less $70 Rebate .... 379.95
18
Mega Pixels
Lumix DMC-FZ70
t-$ % t4 % 4 % )$ 4 %9$$BSE4MPU t'VMM) %J"7$) %7 JEFPBUGQT tY0QUJDBM;PPN tY%JHJUBM;PPN t NNG NNFRVJW NN
%$7BSJP-FOT t$SFBUJWF$POUSPMT 1BOPSBNB BOE3FUPVDI
#PADMCFZ70B*
CyberShot DSC-RX100 II
t5JMUJOH9USB'JOF-$ % t#VJMU*O8JSFMFTT tY0QUJDBM;PPN tY%JHJUBM;PPN t NNG NNFRVJW NN
$BSM;FJTT7BSJP4POOBS5 -FOT t . 41SP%VP 1SP)( %VP 4 % )$ 4 %9$ $BSE4MPU t'VMM) %JQ7 JEFPBUGQT
420 Ninth Ave.

Corner of 34th Street
16
Mega Pixels
#SODSCRX100M2
20
Mega Pixels
New York, N.Y. 10001
MEMORY CARDS
CF Compact Flash
Delkin 500x 8GB 16GB 32GB 64GB 128GB 19.95 29.95 48.95 89.95 700x 37.95 66.95 132.95 229.95 1000x 59.95 114.99 249.95 349.95 1050x 134.95 294.95 639.95 Std 12.95 Kingston Ultimate Ultimate 266x 600x 22.50 36.95 36.50 59.95 69.95 Lexar 800x 27.95 47.95 82.95 148.95 283.50 1000x 79.95 147.95 357.95 726.50 Ultra 30MBs 52.95 Sandisk Extreme Pro Extreme 60MBs 120MBs 160MBs 28.95 47.00 54.95 74.95 79.99 89.95 130.95 145.95 159.95 297.99 299.95 649.95
256GB Extreme Pro CF Card

t0QUJNJ[FEGPS,7JEFP3FDPSEJOH t 6 QUP . #T 3FBE4QFFE t 6 QUP . #T 8SJUF4QFFE #SAEPCF256GB.............. $999.95
SDHC-UHS-1 Ultra High Speed

Delkin 600x 633x 8GB 18.95 22.95 Kingston Class 10 233x Elite 9.95 Lexar Sandisk Sony Class 10 Class 10 Ultra Extreme Extrm Pro Micro 200x 400x 600x 30MBs 80MBs 95MBs 80MBs 40MBs 94MBs Micro 13.95 19.89 20.97 9.95 17.50 9.95 27.99 49.99 39.95 27.99 15.95 27.50 15.95 60.95 49.50 26.50 43.74 26.50
SDHC Secure Digital High Capacity

Delkin Pro Class 10 8.96 10.95 14.95 26.00 Kingston Lexar Std Micro Std Class Class 4 Class 4 Mobility 4 6.92 7.50 8.95 12.95 14.95 15.59 19.95 23.95 27.95 Sandisk Std Micro Class Class 4 4 6.95 6.95 7.95 12.95 13.95 21.95 21.95
16GB 24.95 44.95 17.50 32GB 45.95 74.95 32.99
15.95 17.00 22.50 34.95
29.95 29.95 39.95 61.95 37.95
4GB 8GB 16GB 32GB
SDXC-UHS-1 Extended Capacity

Kingston Lexar Sandisk Sony Class 10 Class 10 Class 10 Class 10 Micro 233x Elite 200x 400x 600x 30MBs 80MBs 95MBs 80MBs 40MBs 94MBs Micro 64GB 65.95 86.51 117.95 59.50 54.95 59.50 84.50 124.95 62.95 98.95 119.95 98.95 53.95 77.88 54.95 400x 600x 633x 128GB 149.95 189.95 256GB 179.95 237.95 594.80 199.95
Note: Not all devices support SDXC cards
Delkin
XQD High-Speed for Nikon D4

16GB 32GB 64GB Lexar 1100X 155MBs 228.50 389.00 Sony H Series 125MBs 78.50 S Series 168MBs 199.95 289.00
Over 70,000 square feet of the latest gear The most knowledgeable Sales Professionals Hands-on demos Convenient free parking available
AC-1321
3-Section
AC Series Aluminum Tripods

You're On Steady Ground
AC-1461
4-Section
The AC Series of aluminum legs and ball heads combines light weight, impressive load capacity, and precision adjustability. All have angled rubber 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, maximum 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 BandH.com/catalog 212-444-6633
Included Head
Load Capacity
Max. Height
Folded
Weight
SKU #
Price $99.95 $119.95 $139.95 $159.95 $169.95 $99.95 $119.95 $139.95 $169.95 $189.95
WorldMags.net
Anodized Aluminum Series with Head 57.5" 23.4" AC-1321 BA-106 6.6 lb 59.6" 24.5" AC-1331 BA-108 8.8 lb 61.8" 24.8" AC-1341 BA-111 11 lb AC-1351 BA-113 13.2 lb 65.3" 27" AC-1361 BA-117 17.6 lb 67.5" 27.3" 57.6" 20.6" AC-1421 BA-106 6.6 lb 59.5" 21" AC-1431 BA-108 8.8 lb 61.6" 21.3" AC-1441 BA-111 11 lb AC-1451 BA-113 13.2 lb 65.9" 23.1" 23.8" AC-1461 BA-117 17.6 lb 69"
2.9 lb 3.3 lb 3.3 lb 4.1 lb 4.35 lb 2.9 lb 3.25 lb 3.3 lb 4.1 lb 4.35 lb
# OBAC1321106 # OBAC1331108 # OBAC1341111 # OBAC1351113 # OBAC1361117 # OBAC1421106 # OBAC1431108 # OBAC1441111 # OBAC1451113 # OBAC1461117
E-P5 PEN .JSSPSMFTT4ZTUFN$BNFSB

t5JMU5PVDITDSFFO-$% t5SVF1JD7**NBHF1SPDFTTPS t .JDSP'PVS5IJSET Y$SPQ'BDUPS
t4%4%)$4%9$$BSE4MPU t 'VMM)%Q7JEFPJO .07"7*'PSNBUT t#VJMU*O8J'J$POOFDUJWJUZ t"YJT*NBHF4UBCJMJ[BUJPOXJUI*4"VUP t"WBJMBCMFJO#MBDL 4JMWFSPS8IJUF
#OLEP5*
WorldMags.net
t .BHOFTJVN"MMPZ 8FBUIFS4FBMFE#PEZ t'VMM)%Q7JEFPBUGQT t'SFF"OHMF-$% t.JDSP'PVS5IJSET4ZTUFN t4%4%)$4%9$$BSE4MPU t-JWF7JFX'JOEFS tGQT$POUJOVPVT4IPPUJOH t'VMM"SFB"VUP'PDVT4ZTUFN 1JOQPJOU"' t#VJMU*O8J'JUP-JOLUP4NBSU%FWJDFT
Lumix DMC-GH3 .JSSPSMFTT4ZTUFN$BNFSB
16
Mega Pixels
Body Only........................................... #PADMCGH3B
16
Mega Pixels
The Professionals Source
Alpha NEX-5T .JSSPSMFTT4ZTUFN$BNFSB

t'BTU)ZCSJE"VUPGPDVT t5JMUJOH5PVDITDSFFO-$% t6TFT4POZ&NPVOU-FOTFT t . 41SP%VP .4130)(%VP 4%4%)$4%9$$BSE4MPU t*40 t$POUJOVPVT4IPPUJOH3BUFPGGQT t'VMM)%JQ7JEFPBUPSGQT t"VUP0CKFDU'SBNJOHBOE"VUP)%3.PEFT t#VJMU*O8J'JBOE/'$$POOFDUJWJUZ
with 16-50mm Lens ..........................#SONEX5TLB
Alpha NEX-6 .JSSPSMFTT4ZTUFN$BNFSB

t 'BTU)ZCSJE"'XJUI 1IBTF%FUFDUJPO"' t-$% t6TFT4POZ&NPVOU-FOTFT t9("0-&%5SV'JOEFS&7' t$BQUVSFT)%7JEFP t 4 %4%)$4%9$.41SP%VP 1SP)(%VP$BSE4MPU t8J'J$BQBCMF t'BTUGQT#VSTU4IPPUJOH t1MBZ.FNPSJFT$BNFSB"QQT
www.BandH.com
16
Mega Pixels
16
Mega Pixels
with 16-50mm Lens .............................#SONEX6L*
Alpha SLT-A58 DSLR

t5SBOTMVDFOU.JSSPS5FDIOPMPHZ t5JMUJOH-$%.POJUPS t 4 POZ"NPVOU-FOT .PVOU YGBDUPS
t . 41SP%VP .4130)(%VP 4% 4%)$ 4%9$$BSE4MPU t 'VMM)%JQ7JEFP BUPSGQT t 4 UFBEZ4IPU*/4*%& *NBHF4UBCJMJ[BUJPO
Kit with 18-55mm SAM II Lens........... #SOSLTA58K
Alpha SLT-A99 DSLR

t 4 POZ%VBM"'4ZTUFN5SBOTMVDFOU.JSSPS t'VMM'SBNF&YNPS$.044FOTPS t9("0-&%&MFDUSPOJD7' t5SV#MBDL5JMUJOH-$% t 6TFT4POZ"MQIB-FOTFT t . 41SP%VP)(%VP 4%4%)$4%9$$BSE4MPU t *OUFSOBM4UFBEZ4IPU*NBHF 4UBCJMJ[BUJPO t'VMM)% YQ7JEFP3FDPSEJOH
20
Mega Pixels
Body Only.........................................#SOSLTA99V*
24
Mega Pixels
800-947-9953 212-444-6653
Fax:
Flash System '-3'MBTI 169.95 '-3'MBTI 299.95 '-3'MBTI 499.95 3'3JOH'MBTI 249.95 43'3JOH'MBTI4FU 559.95 5'5XJO'MBTI 449.95 45'5XJO'MBTI4FU 739.95 Zuiko 4/3 System Digital Lenses 'JTIFZF&% 799.99 .BDSP&%
229.95 .BDSP&%
499.95 &%
2499.95 &% 6999.95 &%
1799.95 &%
799.95 &%48%
999.95 &%
249.95 &%
499.95 &%
2499.99 &%
279.95 &%48%
1199.95 &%
5999.95 &$Y5FMFDPOWFSUFS 439.95 &$Y5FMFDPOWFSUFS 479.95 .'0.-FOT"EBQUFS 83.95
AF Flash System "''(; "''(; SMCP-DA Digital AF Lenses &%*'

&%"-
.BD-JNJUFE
-JNJUFE
"--JNJUFEi1BODBLFw
-JNJUFEi1BODBLFw
-JNJUFEi1BODBLFw
&%*' &%*'4%.
&%*'
&%"-*'
&%"-*'4%.
"-*'4%.
&%*'4%.
&%83
&%
&%*'4%.
AF Lenses for 35mm & Digital SLRs -JNJUFE

-JNJUFEi1BODBLFw
.BDSP
XJUI$BTF -JNJUFE
%'""8.BDSP

Compatible with Maxxum DSLRs Flash System )7-'. 149.99 )7-'4 149.99 )7-'. 398.00 )7-'. 548.00 Digital Lenses 'JTIFZF 999.99
749.99 $BSM;FJTT
1399.99 (
1499.99
449.99 .BDSP
599.99 $BSM;FJTT
1699.99 .BDSP
799.99 $BSM;FJTT
1799.99 45'
1399.99 ("10** 7498.99 %5
799.99 ;"44.$BSM;FJTT
1999.99 %5$BSM;FJTT
999.99 %5
699.99 %5
649.99 $BSM;FJTT
1999.99 ("10
1999.99 (
999.99
249.99 Y5FMFDPOWFSUFS 549.99 Y5FMFDPOWFSUFS 549.99
212-239-7770
Store & Mail Order Hours:
Sunday 10-5 t Mon.-Thurs. 9-7 Friday 9-1 EST/9-2 DST Saturday Closed
420 Ninth Ave.

50mm f/2 Macro ED Zuiko Digital Lens

t%FTJHOFEFYDMVTJWFMZGPS%JHJUBM4-3T t *EFBMGPSNBDSPQIPUPHSBQIZ BOEBMTPBTBQPSUSBJUMFOT t.BHOJ DBUJPO t&%HMBTTFMFNFOU t.JOGPDVT t NN MUFS EJBNFUFS t8FJHIUP[
18-135mm f/3.5-5.6 ED AL (IF) DC WR Digital Lens

t %FTJHOFEFYDMVTJWFMZGPS%JHJUBM4-3T t 41$PBUJOH3FQFMT%VTU 8BUFS (SFBTF t8FBUIFSSFTJTUBOU t 2VJDL4IJGU 'PDVT4ZTUFN t.JOGPDVTh t NN MUFSEJBNFUFS t8FJHIUP[
HVL-F58AM 4IPF.PVOU%JHJUBM'MBTI
t;PPN)FBE NN
t#PVODF4XJWFM)FBE t(VJEF/Ph t55-%FEJDBUJPO t7BSJ1PXFS t)JHI4QFFE4ZOD t"VUP8#"EKVTUNFOU t 8JSFMFTT 3BUJP$POUSPM t8FJHIUP[
16-80mm f/3.5-4.5 Carl Zeiss T* DT Digital Lens

t%FTJHOFEFYDMVTJWFMZGPS%JHJUBM4-3T t *EFBMGPSTOBQTIPUT QPSUSBJUT JOUFSJPST PSPVUEPPSTDFOFSZ t NNFRVJW NN t.JOGPDVT t NN MUFS EJBNFUFS t8FJHIUP[
We Buy, Sell and Trade
WorldMags.net
012014
WorldMags.net
t7BSJ"OHMF5PVDITDSFFO-$% t 6TFT$BOPO&'-FOTFT YGBDUPS
t4%4%)$4%9$$BSE4MPU t 4 5.-FOT4VQQPSUGPS 2VJFU"'JO.PWJFT t 'VMM)%7JEFPXJUI$POUJOVPVT"' t*40 &YQBOEBCMFUP
Rebates Expire 11-23-13 Price Rebate Final Cost
Digital Rebel T5i DSLR
$50 REBATE!
EOS-6D DSLR
#PEZ0OMZ #CAEDRT5I ............................ 699.99...... $50 ......... 649.99 Kit with 18-55mm IS STM #CAEDRT5IK . 8 49.99...... $50 ......... 799.99 T3 Kit with 18-55mm IS #CAEDRT3K .... 449.99...... $20 ......... 429.99 T3i Kit with 18-55mm IS #CAEDRT3IK .. 599.99...... $30 ......... 569.99
t'VMM'SBNF$.044FOTPS t-$% t%*(*$*NBHF1SPDFTTPS t6TFT$BOPO&'-FOTFT t4%4%)$4%9$$BSE4MPU t#VJMU*O8J'JBOE(14$POOFDUJWJUZ t'VMM)%QXJUI.BOVBM$POUSPMT t&YUFOEFE*403BOHFPG t6QUP'VMM3FTPMVUJPO'14 t#VJMU*O)%3BOE.VMUJQMF&YQPTVSF.PEFT
18
Mega Pixels
#PEZ0OMZ #CAE6D ............................................................ 1899.00 Kit with 24-105mm f/4 L #CAE6D24105 ............................ 2499.00
20
Mega Pixels
EOS-70D DSLR
www.BandH.com
t%VBM1JYFM$.04"'XJUI-JWF7JFX t%*(*$*NBHF1SPDFTTPS t4%4%)$4%9$$BSE4MPU t6TFT$BOPO&'&'4-FOTFT t7BSJ"OHMF5PVDITDSFFO tGQT$POUJOVPVT4IPPUJOH t#VJMU*O8JSFMFTT$POOFDUJWJUZ t'VMM)%Q7JEFP Mega
$100 REBATE!
EOS-5D Mark III DSLR

t$MFBS7JFX)JHI3FTPMVUJPO-$% t%*(*$*NBHF1SPDFTTPS t1PJOU)JHI%FOTJUZ"' t6TFT$BOPO&'-FOTFT t%VBM$' 4%$BSE4MPUT t 'VMM)%QBOE 720/60p Formats t&YUFOEFE*403BOHF
t#VJMU*O)%3.VMUJQMF&YQPTVSF.PEFT
#PEZ0OMZ #CAE5D3* ......................................................... 3399.00 Kit with 24-105mm L IS #CAE5D324105 ............................ 3999.00
20
Pixels
Rebates Expire 11-23-13
Price
Rebate
Final Cost
420 Ninth Ave.

#PEZ0OMZ #CAE70D................................................ 1199.00 ........ $100 ..... 1099.00 Kit with 18-55mm STM #CAE70D1855 ................... 13 49.00 ........ $100 ..... 1249.00 EOS 60D #PEZ0OMZ #CAE60D .................................. 8 99.99 ........$200 ....... 699.99 EOS 60D Kit with 18-13 5mm IS #CAE60D18135.... 1199.00 ........$200 ....... 999.00
22
Mega Pixels
EOS-7D DSLR
t3FDPSE)%7JEFP t-$% t6TFT$BOPO&'-FOTFT t$'$BSE4MPU t%VTUBOE8FBUIFS3FTJTUBOU t 4 FMFDUBCMF7JEFP&YQPTVSF BOE'SBNF3BUFT t * 40 FYQBOEBCMFUP
tGQT#VSTU.PEF t 1PJOU "MM$SPTT5ZQF"'4ZTUFN
Body Only #CAE7D ............................................................. 1499.00 Kit with 18-135mm IS #CAE7D18135 .................................. 1799.00 Kit with 28-135mm IS #CAE7D28135 ................................. 1699.00
EOS-1Dx DSLR
t%VBM%*(*$*NBHF1SPDFTTPST t.BHOFTJVN"MMPZ#PEZ t&ZF-FWFM1FOUBQSJTN7JFXGJOEFS t-$%.POJUPS t6TFT$BOPO&'-FOTFT t%VBM$'DBSETMPUT tY)%7JEFP$BQUVSF t-JWF7JFX4UJMMBOE7JEFP3FDPSEJOH t1PJOU)JHI%FOTJUZ"VUP'PDVT
18
Mega Pixels
Body Only #CAE1DX* .......................................................... 6799.00
18
Mega Pixels
SLR Lenses and Flashes

Instant Final EOS Flash System MAP Rebate Price 270EX II ...................................................169.99........ $20 ....... 149.99 320EX ............................................................................... .................. 430EX II ...................................................299.99........ $40 ....... 259.99 600EX-RT.................................................549.99........ $50 ....... 499.99 MR-14EX Ringlight............................................................. .................. MT-24EX Twin Flash..................................829.99........ $60 ....... 769.99 Instant Price (Not compatible with full frame cameras) MAP Rebate Price 60/2.8 USM Macro (52)...........................469.99........ $50 ....... 419.99 10-22/3.5-4.5 USM (77) .........................649.99........ $50 ....... 599.99 15-85/3.5-5.6 IS USM (72) .....................799.99...... $100 ....... 699.99 17-55/2.8 IS USM (67)............................879.99........ $50 ....... 829.99 17-85/4-5.6 IS USM (67) ................................................. .................. 18-55/3.5-5.6 IS (58) .............................199.99.............. .................. 18-135/3.5-5.6 IS (67) ...........................499.99.............. .................. 18-200/3.5-5.6 IS (72) ...........................699.99.............. .................. 55-250/4-5.6 IS USM (58) ......................299.99.............. .................. 55-250/4-5.6 IS STM (58).......................349.00.............. .................. Instant Final EF Lenses MAP Rebate Price 20/2.8 USM (72) .....................................539.99........ $50 ....... 489.99 24/2.8 IS USM (58) .................................599.99........ $50 ....... 549.99 28/1.8 USM (58) .....................................509.99........ $60 ....... 449.99 28/2.8 IS USM (58) .................................549.99........ $50 ....... 499.99 35/2 (52) ......................................................................... .................. 35/2 IS USM (67) ....................................599.99........ $50 ....... 549.99 40/2.8 STM Pancake (52)........................199.99........ $50 ....... 149.99 50/1.8 II (52) ..........................................125.99........ $15 ....... 110.99 50/2.5 Macro (52)...................................299.99........ $30 ....... 269.99 50/1.4 USM (58) .....................................399.99........ $60 ....... 339.99 MP-E 65/2.8 1x-5x Macro (58) ..............1049.00...... $100 ....... 949.00 85/1.8 USM (58) .....................................419.99........ $60 ....... 359.99 100/2 USM (58) ......................................499.00........ $50 ....... 449.99 100/2.8 USM Macro (58).........................599.99........ $50 ....... 549.99 28-135/3.5-5.6 IS USM (72) ...................479.99.............. .................. 70-300/4-5.6 IS USM (58) ......................649.99.............. .................. 70-300/4.5-5.6 DO IS USM (58) ....................................... .................. 75-300/4.0-5.6 III (58) ............................199.99.............. .................. 75-300/4.0-5.6 III USM (58) ............................................. .................. EF-S Digital Lenses
Instant Rebates Expire 11-30-13 Mail-in Rebates Expire 1-04-14
Instant & Mail-in Rebates on Lenses & Flashes

Mail-in Final TS-E "L" MF Lenses MAP Rebate Price 17/4.0 L.................................................2499.00...... $200 ..... 2299.00 24/3.5 L II ..............................................2199.00...... $200 ..... 1999.00 45/2.8 ...................................................1399.00...... $100 ..... 1299.99 90/2.8 ...................................................1399.00...... $180 ..... 1219.00 Mail-in Final EF "L" Lenses MAP Rebate Price 14/2.8 USM II .........................................2359.00...... $200 ..... 2159.00 24/1.4 II (77) ........................................1749.00...... $200 ..... 1549.00 35/1.4 USM (72) ...................................1479.00...... $150 ..... 1329.00 50/1.2 USM (72) ...................................1619.00...... $180 ..... 1439.00 85/1.2 USM II (72) ................................2199.00...... $200 ..... 1999.00 100/2.8 IS USM Macro (67) ...................1049.00...... $150 ....... 899.00 135/2.0 USM (72) .................................1089.00...... $100 ....... 989.00 180/3.5 USM Macro (72).......................1579.00...... $150 ..... 1429.00 200/2.8 USM II (72) ................................819.99........ $50 ....... 769.99 200/2.0 IS USM (52) ........................................................ .................. 300/4.0 IS USM (77) .............................1449.00...... $100 ..... 1349.00 300/2.8 IS USM II (52 rear)............................................... .................. 400/5.6 USM (77) .................................1339.00...... $120 ..... 1219.00 400/2.8 IS II (52 rear)....................................................... .................. 500/4 IS USM II (52 rear).................................................. .................. 600/4.0 IS II (52 rear)....................................................... .................. 8-15/4.0 Fish-eye USM...........................1499.00...... $180 ..... 1319.00 16-35/2.8 USM II (82) ...........................1699.00...... $200 ..... 1499.00 17-40/4.0 USM (77) ...............................839.99...... $100 ....... 739.99 24-70/4.0 IS USM (77)..........................1499.00...... $300 ..... 1199.00 24-70/2.8 II USM (82) ...........................2299.00...... $300 ..... 1999.00 24-105/4 IS USM (77)...........................1149.00.............. .................. 28-300/3.5-5.6 IS USM (77) ............................................ .................. 70-200/4.0 USM (67) .............................709.99........ $80 ....... 629.99 70-200/4.0 IS USM (77)........................1349.00...... $200 ..... 1149.00 70-200/2.8 USM (77) ...........................1449.00...... $150 ..... 1299.00 70-200/2.8 IS II USM (77) .....................2499.00...... $300 ..... 2199.00 70-300/4.0-5.6 IS USM (67) .................1599.00...... $200 ..... 1399.00 100-400/4.5-5.6 IS USM (77) ...............1699.00...... $200 ..... 1499.00 Instant Final EF "L" Teleconverters MAP Rebate Price 1.4x III ......................................................499.99........ $50 ....... 449.99 2x III .........................................................499.99........ $50 ....... 449.99
BandH.com/catalog 212-444-6633
WorldMags.net
1 J3 .JSSPSMFTT%JHJUBM$BNFSB
t&91&&%"*NBHF1SPDFTTPS t-$% t*OUFSDIBOHFBCMF/*,,03-FOT4ZTUFN t.PUJPO4OBQTIPUBOE-JWF*NBHF$POUSPM t4%4%)$4%9$$BSE4MPU t'VMM)%YJ7JEFP t4JNVMUBOFPVT)%.PWJFBOE4UJMM$BQUVSF tGQT$POUJOVPVT4IPPUJOHXJUI"VUPGPDVT t /JLPO*ODMJNJUFEXBSSBOUZJODMVEFE
Available in Black, Beige, Red or White
WorldMags.net
Rebates Expire 11-23-13 Price Rebate
Up to $450 REBATE!
D610 DSLR
14
Mega Pixels
Final Cost
t'9'PSNBU 'VMM'SBNF
$.044FOTPS t6TFT/JLPO"'-FOTFT t-$% t&91&&%*NBHF1SPDFTTPS t4%4%)$4%9$$BSE4MPU tGQT$POUJOVPVT4IPPUJOH t&YQBOEBCMF4FOTJUJWJUZUP*40 t'VMM)%Q7JEFP3FDPSEJOHBUGQT t.VMUJ$"."'4FOTPSXJUI1PJOUT t /JLPO*ODMJNJUFEXBSSBOUZJODMVEFE
Rebates Expire 11-23-13
$100 REBATE!
24
Price Rebate
Mega Pixels
,JUXJUINN73 #NI1J31030* ............................. .... $200 ....... 396.95 ,JUXJUINN73 #NI1J32LK* ................ .... $350 ....... 496.95 ,JUXJUINN73 #NI1J310100* ........................ .... $450 ....... 596.95
Final Cost
#PEZ0OMZ #NID610.................................................... ....... ................ ,JUXJUINN73-FOT #NID6102485 ................. .... $100 ..... 2496.95
D5200 DSLR
t&91&&%****NBHF1SPDFTTPS t'VMM)%7JEFPXJUI'VMM5JNF4FSWP"' t7BSJ"OHMF-$% t-JWF7JFX t6TFT/JLPO"'-FOTFT YGBDUPS
t4%4%)$4%9$$BSE4MPU t1PJOU"'4ZTUFNXJUI$SPTT5ZQF t /JLPO*ODMJNJUFEXBSSBOUZJODMVEFE
Rebates Expire 11-23-13 D5200 is available in Black, Bronze or Red Price
$100 REBATE!
D800 DSLR
tYNN$.04'9'PSNBU4FOTPS t-$%.POJUPS t0QUJDBM-PX1BTT'JMUFS t$'4%%VBM$BSE4MPUT t/JLPO'.PVOU-FOT.PVOU t&ZF-FWFM1FOUBQSJTN7JFXGJOEFS t YQ)%7JEFP t.BUSJY$FOUFS8FJHIUFE4QPU.FUFSJOH t /JLPO*ODMJNJUFEXBSSBOUZJODMVEFE
Rebates Expire 11-23-13 Price Rebate
$200 REBATE!
Rebate
,JUXJUINN73 #NID52001855* ........................ .... $100 ....... 796.95 D3200 ,JU#MBDLXNN73 #NID32001855* .... .... $100 ....... 499.95 D3100 ,JUXJUINN73 #NID31001855 ............ ..... $70 ........ 429.95
n! tio mo Pro
24
Mega Pixels
www.BandH.com
36
Mega Pixels
Final Cost
Final Cost
#PEZ0OMZ #NID800 ................................................... .... $200 ..... 2796.95 D800E #PEZ0OMZ #NID800E ................................... .... $300 .....2996.95
D7100 DSLR
Valid Through 11-23-13
t.BHOFTJVN"MMPZ#PEZ t.PJTUVSF3FTJTUBOU t&91&&%*NBHF1SPDFTTPS tQ'VMM)%7JEFP$BQUVSF t "DDFQUT/JLPO"'-FOTFT YGBDUPS

t-$% t%VBM4%4%)$4%9$$BSE4MPUT t#VJMU*O'MBTIXJUI$PNNBOEFS'VODUJPO t/JLPO*ODMJNJUFEXBSSBOUZJODMVEFE
Price
Up to $150 REBATE!
D4 DSLR
t3"8 5*'' +1&( 3"8+1&('JMFT t'9GPSNBU GVMMGSBNF
$.044FOTPS tQ)%#SPBEDBTU2VBMJUZ7JEFP t&91&&%*NBHF1SPDFTTPS t-$%4DSFFOXJUI-JWF7JFX t$PNQBUJCMFXJUI.PTU/JLLPS0QUJDT t .BUSJY $FOUFS8FJHIUFE 4QPU.FUFSJOH t*40 t$'5ZQF92%$PNQBUJCMF t /JLPO*ODMJNJUFEXBSSBOUZJODMVEFE
Body Only #NID4 ....................................... 5996.95
Rebate
#PEZ0OMZ #NID7100 ............................................... ..... $50 ......... 1149.95 ,JUXJUINN73 #NID710018105 .................. .... $150 ........ 1449.95 D7000 ,JUXJUINN73 #NID700018105 ... .... $300 .......... 999.95
SLR Lenses and Flashes

AF Flashes Price Rebate Final 4# 4# 4# $30 296.95 4# $50 496.95 38JSFMFTT5XJO'MBTI 3$8JSFMFTT5XJO'MBTI4ZTUFN DX ED-IF Lenses for Digital Only Price Rebate Final 'JTI&ZF ("'4
("'4.JDSP
(&%73.JDSP $100 426.95 ("'4
("'4
("'473
("'4
("'4**
("'473
("'473* $100 296.95* ("'473** $300 296.95** ("'473** $250 596.95 ("'4&%73
("'4
("'473 $100 146.95 ("'473 $150 246.95 D-Type AF Lenses Price Rebate Final %&% %
XJUI)PPE %
%
("'4&%
%&%1$&
("'4
%
%
("'4&%
%&%1$&.JDSP
%
("'4
%

Instant Savings on Lenses & Speedlites with purchase of any Nikon DSLR
n! tio mo Pro
24
Mega Pixels
Final Cost
16
Mega Pixels
Instant Savings!
800-947-9953 212-444-6653
Fax:
Expire 11-23-13
Expires 11-23-13
212-239-7770
D-Type AF Lenses Price Rebate Final ("'4

("'4
%.JDSP

("'4&%.JDSP
%
XJUI)PPE ("'4
%*'
("'4
1$&.JDSP
("'4&%*'73.JDSP
%$%XJUI)PPE
%&%*'
%&%*'.JDSPXJUI$BTF
("'4&%*'73**
%"'4&%*'
("'473 3
("'473&%
("'473&%
("'4&%*' ("'4&%73
%"'4&%*'
"'4(&%
("'4&%*'
%*'
("'4&%73*** $100 496.95*** ("'4&%73
("'4&%73 $150 896.95 ("'4&%73
("'4&%*'73**
(
("'473 $200 386.95 %XJUI$PMMBS
%73
("'4&%73**
5$&** Y
5FMFDPOWFSUFS 5$&** Y
5FMFDPOWFSUFS 5$&*** Y
5FMFDPOWFSUFS
420 Ninth Ave.

WorldMags.net
* Instant Savings ONLY when purchased with a D7100 body. ** When purchased with a D3100/3200/5200/5300/7100 body. *** Special! Receive an additional $100 in savings when purchased with a D600 body.
012014
WorldMags.net
In Stock Call for Prices
AF LENSES
Six-Year Warranty
Manual Focus Lenses
FLASHES
DiGPSCPUIEJHJUBMBOE MN4-3DBNFSBT t Di-IIGPS%JHJUBM4-3T0OMZ t Di IIIGPSNJSSPSMFTTDBNFSBT0OMZ

N = Nikon P = Pentax SM = Sony/Minolta SE = Sony E Mount ** Price After Rebate
C = Canon
Expires 12-31-13
www.BandH.com
Di-II Di Di Di Di-II Di-II Di-II Di-II Di-III Di-II Di Di Di Di Di Di Di Di
NNG-%*'.BDSP
NNG.BDSP
NNG41.BDSP7$64%
NNG-%*'.BDSP
NNG
NNG93-%*'"TQIFSJDBM
NNG937$-%*'"TQI
NNG
NNG7$
#MBDLPS4JMWFS NNG7$1;%
NNG7$64%
NNG93
NNG93-%
NNG937$
NNG417$64%
NNG7$64%
NNG-%
NNG-%*' $
Y41"'1SP5FMFDPOWFSUFS Y41"'1SP5FMFDPOWFSUFS
SKU # 5"%* 5". 5"7$ 5" 5" 5" 5"2 5" 5"4 5" 5" 5" 5"9% 5" 5" 5" 5" 5" 5"91 5"91
Available for $ / 4. $ / 1 4. $ / 4. $ / 4. $ / 1 4. $ / 1 4. C, N $ / 1 4. 4& $ / 4. $ / 4. $ / 1 4. $ 1 4. C, N $ / 4. $ / 4. $ / 4. $ / 4. C, N C, N
Rebate $100 $50 $50 $20 $70 $100 $100 $100
Price 524.00 499.00 649.00** 739.00 449.00** 499.00 599.00** 179.00** 739.00 379.00** 1199.00** 499.00 419.00 629.00 1399.00** 349.00** 164.00 949.00 224.00 254.00
$4%JHJUBM4MBWF4IPF.PVOU'MBTI 139.99 "'%JHJUBM 129.99 "'%JHJUBM4IPF.PVOU'MBTI 199.99 "'55-5PVDITDSFFO 300.00 "'55-%JHJUBM4IPF.PVOU'MBTI 399.99 $-55-%JHJUBM)BOEMF.PVOU'MBTI 519.99 $-55-%JHJUBM)BOEMF.PVOU'MBTI,JU 699.99 .;55-%JHJUBM)BOEMF.PVOU'MBTI 1039.99 2 BTI53*0 875.00 2 BTI5%3 706.00 2 BTI5%3XJUI5VSCP4$#BUUFSZ$IBSHFS 1172.00 2 BTI5%3XJUI5VSCP#BUUFSZ,JU 1330.00 Batteries #BUUFSZ 224.00 5VSCP#MBEF 466.00 5VSCP4$ 466.00 5VSCP 624.00 &'MBTI'MBU1BOFM,JU46'1 58.95 1'9%%JHJUBM4MBWF4IPF.PVOU'MBTI 44.95 3%4IPF.PVOU'MBTI 64.95 %'%JHJUBMGPS$BOPO /JLPO 4POZ 69.95 1;"'55-4IPF.PVOU 69.95 1;Y**"'55-4IPF.PVOUG/JLPO 4JMWFS
69.95 1;Y"'55-4IPF.PVOUGPS$BOPO /JLPO 139.00 4VQFS1SP55-)BOEMF.PVOU'MBTI 179.95 )71SPGFTTJPOBM"VUP 85.00 1FBSTUPOF4#"$"EBQUFSGPS)71&4# 14.95
Expires 12-31-13 ** Price After Rebate
AF LENSES
DX oGPS%JHJUBM4-3T0OMZ FX o%FTJHOFEGPSGVMMGSBNF%4-3T
FX DX DX DX DX FX FX NNG1SP%.BDSP
NNG"59'JTIFZF NNG1SP**
NNG1SP**
NNG1SP
NNG1SP NNG1SP
Canon EOS 501$"' 50$"' 501$** 50%9$ 50%9$ 50'9$ 50''9$ Nikon AF 501/"' 50/"' 501/** 50%9/ 50'9/ 50''9/ Price 489.00 669.00 599.00 449.00 549.00 699.00 549.00
420 Ninth Ave.

AF LENSES & FLASHES

DCoGPS%JHJUBM4-3T0OMZ t DGo0QUJNJ[FEGPS%JHJUBM4-3T
H HSM Model with Canon, Nikon, Sigma R Rear Slip-in Gelatin Filter Slot
DC DG DC DG DG DG DG DC DG DG DG DG DG DG DG DG DG DG DC DC DC DG DC DC DC DC DC DG DG DC DG DG DG DG DG DG DG DG DG DG DG DG DG
NNG&9$JSDVMBS'JTIFZF)4.R NNG&9$JSDVMBS'JTIFZFR NNG&9'JTIFZF)4.R NNG&9%JBHPOBM'JTIFZFR NNG&9%'3'"TQIFSJDBM

NNG&9%'"TQIFSJDBM.BDSP
NNG&9%'"TQIFSJDBM.BDSP
NNG)4.
NNG)4.
NNG&9
H NNG&9.BDSP
NNG&9.BDSP
NNG&9)4.
NNG&9.BDSP04)4.
NNG&9"10.BDSP04)4.
NNG&9"10.BDSP04)4.
NNG"10&9)4. 3FBS
NNG"10&9)4. 3FBS
NNG)4. NNG&9)4.
NNG&9)4.
NNG&9"TQIFSJDBM)4.** NNG&904)4.
NNG04.BDSP)4.54$
NNG)4.
NNG04**)4.
NNG04.BDSP)4.
NNG&9*')4.
NNG04)4.
NNG&9"1004)4.
NNG"1004)4.
NNG&9"1004)4.
NNG.BDSP
NNG"10.BDSP
NNG04
NNG04)4.
NNG"1004)4. 3FBS
NNG"1004)4.
Y&9"105FMF$POWFSUFS Y&9"105FMF$POWFSUFS &'45 &'4VQFS'MBTI &.55-3JOHMJHIU
Canon 4*&9%$$ 4*$" 4*&9%$$ 4*%($"' 4*$"' 4*.$"' 4*.$"' 4*%$)4.$ 4*$ 4*$ 4*.%($"' 4*.%($" 4*$ 4*.%($& 4*".0$ 4*".&0$ 4*%($"' 4*%($"' 4*$" 4*%$"' 4*$ 4*$ 4*$" 4*%$$ 4*%$$ 4*$2 4*.$ 4*$ 4*$ 4*$" 4*$ 4*$2 4*4$"' 4*%($" 4*$ 4*$ 4*$ 4*$ 4*9%($"' 4*9%($"' 4*&'45$ 4*&'$ 4*&.%($
Nikon 4*&9%$/ 4*/" 4*&9%$/ 4*%(/"' 4*/"' 4*./"' 4*./"' 4*%$)4./ 4*/ 4*/ 4*.%(/"' 4*.%(/" 4*/ 4*.%(/2 4*".0/ 4*".&0/ 4*%(/"' 4*%(/"' 4*/* 4*%/"' 4*4/ 4*/ 4*/* 4*%$/ 4*%$/ 4*/2 4*./ 4*/' 4*/ 4*/" 4*/ 4*/* 4*/ 4*"/ 4*/ 4*/ 4*/ 4*/ 4*9%(/"' 4*9%(/"' 4*&'45/ 4*&'/ 4*&.%(/
Pentax 4*&9%$1 4*&9%$1 4*%(1"' 4*1"' 4*.1"' 4*.1"' 4*1 4*1& 4*.%(1"' 4*.%(1" 4*1 4*%(1"' 4*%(1"' 4*1& 4*%1"' 4*1 4*1& 4*%$1 4*%$1 4*1 4*.1 4*14 4*1 4*1 4*1"' 4*%(1" 4*1 4*1 4*1 4*&'451 4*&'1 4*&.%(1
Sigma 4*&9%$4* 4*4* 4*&9%$4* 4*%(4" 4*4" 4*.4" 4*.4" 4*%$)4.4 4*4* 4*4* 4*.%(4" 4*.%(4" 4*4* 4*.%(4 4*".04* 4*".&02 4*%(4" 4*%(4" 4*4* 4*%4" 4*4( 4*4* 4*4* 4*4* 4*%$4 4*4"2 4*.4 4*4 4*4* 4*4"' 4* 4*4*2 4*4" 4*%(4" 4*4 4*4*2 4*4 4*4 4*9%(4" 4*9%(4" 4*&'454* 4*&'4* 4*&.%(4
Sony 4*&9%40 4*40 4*&9%$40 4*%(."' 4*."' 4*.."' 4*.."' 4*4 4*40. 4*.%(."' 4*.%(4"2 4*4 4*.%(4. 4*".04 4*".&04 4*%(."' 4*40 4*%."' 4*4 4*4 4*40 4*%$4 4*%$40 4*42 4*.40 4*4. 4*40 4*4 4*402 4*."' 4*%(." 4*42 4*. 4*9%(."' 4*9%(."' 4*&'454 4*&'4 4*&.%(.
Rebate $100 $100 $50 $75 $200 $150 $50 $50 $100 $75 $150 $200 $75 $150 $150 $150 $25 $50 $100 $100 $25 $50 $30 $30 $30
Price 899.00 799.00** 649.00 609.00 629.00 549.00 449.00 499.00 899.00 399.00** 369.00 449.00** 894.00** 769.00** 1,099.00 1549.00** 3,399.00 4,999.00 649.00** 429.00** 649.00 849.00** 594.00** 499.00 799.00 349.00** 349.00** 824.00** 899.00 949.00** 1509.00** 1249.00** 144.00** 199.00 309.00** 3599.00 899.00** 969.00** 224.00** 249.00** 135.00** 225.00** 349.00**
BandH.com/catalog 212-444-6633
18-200mm f/3.5-6.3 DC II OS HSM Digital Lens

t %FTJHOFEFYDMVTJWFMZ GPS%JHJUBM4-3T t 'PDVTh UP*O OJUZ t .BHSBUJP t NN MUFS EJBNFUFS t8FJHIUP[
70-200mm f/2.8 EX APO OS HSM DG Lens

t %FTJSBCMFGPS %JHJUBM4-3T t .JOJNVN GPDVTh t BOHMFPGWJFX t NN MUFS EJBNFUFS t5SJQPEDPMMBS t8FJHIUP[
17-50mm f/2.8 XR VC LD-IF Di II Digital Lens

t %FTJHOFEFYDMVTJWFMZ GPS%JHJUBM4-3T t 'PDVT UP*O OJUZ t .BHSBUJP t NN MUFS EJBNFUFS t8FJHIUMC
11-16mm f/2.8 Pro DX AT-X II Wide-Angle Digital Lens

t %FTJHOFEFYDMVTJWFMZ GPS%JHJUBM4-3T t 83 8BUFS 3FQFMMFOU
DPBUJOH t .JOJNVN 'PDVTh t .BHOJ DBUJPO SBUJP t8FJHIUMC
$150 $150 WorldMags.net REBATE! REBATE!
$50 REBATE!
WorldMags.net
#"55&3: (3*14
t "DDFQUTMJUIJVNJPOCBUUFSJFT UPF FDUJWFMZEPVCMFUIF DBNFSBhTCBUUFSZMJGF #BUUFSJFTOPUJODMVEFE
t 5IFJODMVEFE""CBUUFSZ IPMEFSBMMPXTZPVUPVTF ""CBUUFSJFTGPSBEEFE DPOWFOJFODF FYDFQU#(/
t "MUFSOBUFTIVUUFSSFMFBTF CVUUPO NBJOBOETVC DPNNBOEEJBMT BOEBO "&-"'-CVUUPOBSF QSPWJEFEUPGBDJMJUBUF TIPPUJOHJOBWFSUJDBM PSJFOUBUJPO
lighting equipment and accessories
LiteTrek 4.0 (LT) Series

Whether it's fashion, wedding or portrait photography, the best way to achieve professional-looking results in the field is by adding flash to the ambient light. The Impact Mini LiteTrek Battery Pack provides DC juice to your Impact LiteTrek 4.0 portable flash or select Nikon & Canon flashes with optional power cords as well as Quantum flashes without adaptation.
LiteTrek 4.0 DC Monolight Flash Head #IMLTFH..$499.95
www.BandH.com
GPS$BOPO%.BSL***#($ GPS$BOPO%.BSL**#($ GPS$BOPO% #($ GPS$BOPO% #($ GPS$BOPO%#($ GPS$BOPO5J 5J 5J 5J#($ GPS$BOPO5#($ GPS/JLPO% #(/ GPS/JLPO% #(/ GPS/JLPO% % #(/ GPS/JLPO% % #(/
7&#($ 7&#($ 7&#($ 7&#($ 7&#($ 7&#($ 7&#($ 7&#(/ 7&#(/ 7&#(/ 7&#(/
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
Instant Savings on LiteTre k 4.0 Monolight Kits (Expires 12-31-13)
LiteTrek Accessories
Charger for Mini LiteTrek #IMCBP ...$49.95 IM-CKE Nikon Flash Cable #IMCKE .$42.95 IM-CZ Canon Flash Cable #IMCZ.....$42.95 LiteTrek 4.0 Flash Tube #IMFTFH .....$79.95 Reflector Adapter (Bowens Adapter) #IMBAFH ........................................................... $24.95
PHOTOGRAPHY ACCESSORIES
FILTERS
B&H SPECIAL! Buy 3 or more Hoya Filters & Get 10% Off.
UV, Skylight (1B) HMC UV, Skylight (1B) Super HMC Linear Polarizer Circular Polarizer Circular Polarizer HMC Moose Warm Circular Polarizer K2 Yel, X0 Yel/Grn, Grn X1, Or G, Red 25A HMC Close Up Set (+1, +2, +4) Close-Up Set HMC (+1, +2, +4) Intensifier Blue, Green Field, Enhancement (Red) Neutral Density 2x, 4x, 8x HMC Star 6, Star 8 52mm 16.50 27.89 16.99 23.95 39.95 35.75 23.95 39.99 52.68 34.68 23.88 16.89 58mm 21.50 26.49 25.00 29.95 49.00 39.55 28.35 47.35 64.88 39.95 19.95 22.50 67mm 27.50 33.00 38.85 34.95 55.90 53.90 41.95 53.00 73.00 55.08 36.95 43.35 72mm 29.95 52.95 36.85 42.95 69.00 55.65 46.35 63.00 100.68 60.00 30.99 49.90 77mm 36.20 44.99 44.90 38.90 104.90 91.50 60.90 68.00 145.35 71.50 34.80 46.68
in stock B&H SPECIAL! Buy 3 or more B+W Filters & Get 5% Off.
UV Haze SC UV Haze MRC 010M Circular Polarizer SC Circular Polarizer MRC Circular Polarizer Slim Skylight KR1.5 (1A) Digital Pro UV MC Graduated (N.D. & Colors) Neutral Density 106 Close-Up Lenses 1, 2, 3, 4, 5 55mm 58mm 62mm 67mm 72mm 77mm 18.50 24.95 28.99 31.95 34.00 39.99 35.50 31.50 36.30 42.90 49.89 71.75 83.95 85.95 83.50 80.00 73.95 99.00 78.00 87.53 82.50 109.99 89.99 119.99 56.95 49.99 68.00 69.99 59.99 80.00 24.50 25.95 31.95 38.95 42.00 53.95 41.95 41.95 44.00 99.95 106.95 99.50 109.50 142.50 152.95 56.00 60.95 97.95 105.95 121.95 137.95 25.95 25.95 31.95 38.95 45.95 53.95
800-947-9953 212-444-6653
Fax:
212-239-7770
Ten -Year Warranty Made in USA

Digital Essentials Kits In Stock 812 Warming Grad ND 0.6 Circular Polarizer Ultra Clear Haze 86 ND 1.2 ND 0.6 Soft FX3 Star 4 pt 2 52mm 48.95 74.95 74.10 34.95 38.95 41.50 48.95 56.95 64.95
Made exclusively with glass from Schott (Zeiss) the worlds finest optical glass supplier. 55mm 58mm 67mm 72mm 77mm 39.99 41.99 62.99 77.99 89.99 Skylight (1B), UV 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
DIGITAL HT FILTERS 58mm 62mm 72mm 74.95 99.95 109.95 63.95 82.90 119.95 89.95 119.90 129.95 38.95 45.95 54.95 47.95 56.90 64.95 56.95 74.90 109.95 50.95 69.95 99.95 63.95 82.90 119.95 56.95 74.90 109.95
Multicoated Filter Technology

77mm 129.95 139.95 199.99 54.95 99.95 129.95 119.95 139.95 129.95
420 Ninth Ave.

FILM B&W AND COLOR

COLOR PRINT Superia CA 200 135-24 .......... 1.79 CA 200 135-36 .......... 3.99 CH 400 135-24.......... 1.99 CZ 800 135-24 .......... 3.49 Pro 400H 135-36 ............. 8.00 400H 120 Roll ............ 7.95 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 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 ............... 5.95 400 120 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 .... 5.95
Provia RDP 100F 135-36 ..... 9.89 RDP 100F 120 Roll .... 7.19 RXP III 400X 135-36 .. 16.09 RXP III 400X 120 Roll 10.25
Velvia RVP Pro 50 135-36......... 11.69 Pro 50 120 Roll.......... 8.55 100 135-36 ............. 10.64 100 120 Roll .............. 7.69
PROCESSING MAILERS Slide 36 Exp. (35mm) . 8.99 B&W 35mm ............. 16.75 B&W 120 Roll .......... 16.75
Print C41 35mm ...... 13.49 Print C41 120 Roll ... 15.49
Gold Max GC 400 135-24.......... 2.09 GC 400 135-36.......... 2.49
WorldMags.net Print C41 220 Roll ... 30.95
012014
tech tips
(Contd from page 36)
WorldMags.net
eeting vistas
the most benefit from the CamRanger.

Really Right Stuff Ultimate OmniPivot Package. The three parts of this
RRS camera-mounting package allow for precise capture of vertical panoramas and multi-row panoramas.
Really Right Stuff BP-CS MultiCamera Plate. You never know when
you might need to use someone elses camera on your tripod, so this universal plate comes in handy. Batteries. Four AA batteries for the flash, two backup CR2015 3V batteries for the Canon Remote Controllers and three charged batteries for each of the camera bodies.
Apple iPad Adapter For SD Cards.
My pro cameras have both SD and CompactFlash slots. While I nearly always capture in RAW on the CF card, sometimes I write small JPEGs to the SD card in a camera so I can check images on the iPad. This adapter allows the small files to be viewed on the tablet. Miscellany. I carry pocket guides for the Canon EOS 5D Mark III and EOS1D Mark IV, in case I need a quick reference, model/property releases and a pen, two-axis bubble levels to keep my cameras level, a tiny tube of sunscreen, and a partial, flattened roll of toilet paper for, well, you know. Oh, My Achin Back As light as it is, my Gura Gear 32L, loaded with all this gear, weighs 36 pounds! Strap on the Gitzo Explorer tripod that I always carry, and its easy to understand why I have back issues. But its nice to know that the zippers and fabric of the 32L are water-resistant, a feature Ive personally tested. Last summer, while wearing the pack, I fell backward into a rocky stream. The backpack kept me from hitting my head on the rocks, but I was stuck, like a turtle on its back, helplessly waving my limbs and unable to right myself without assistance! Much pointing and laughing from my companions ensued. It all ended well, with no damage to my person or photo gear. My ego, however, took a OP big hit. Follow George Lepps exploits, see his latest photographs and be part of the discussion on his Facebook page: www.facebook.com/georgelepp.
Norwegian accent), If you want to be good, you have to put a little effort into it. I remind myself of this saying when I would rather not have to get up at 4 a.m. in the summer to get the first light on the wildflowers. Ive seen countless dramatic landscapes under harsh, contrasty midday light, and have many of these photos that just take up space on my hard drives, never to be used again. Its the shots Ive taken in the fleeting seconds of magic hour that have the most impact. There are always time pressures during magic houryou have to work quickly to properly expose difficult lighting conditions, sometimes in difficult weather. I feel that I always run out of time as the sun sets. The key is doing some pre-scouting of a location before the magic hour to be ready.
Make Dramatic Compositions.
puter geek in order to make the most of your image files. Always maximize the resolution of your photography by shooting at the highest-quality setting of your camera. If you get an amazing shot that you want to make into a print, you need a lot of pixels, even to get to a 16x20-inch print. Ive seen in my workshops that some people are unsure of what the highest-quality setting is on their camera, how to set it to aperture priority and how to set the focus points, so become an expert in how your camera operates to make the most of the dynamic range and resolution of your files. Its a good idea to download your camera manual to your smartphone and iPad and read it.
Be A Ruthless Editor Of Your Work.
What separates a photograph from a snapshot is often the sense of depth in the image. Its easy to take snapshots because you point and shoot with no consideration of depth of field. A photograph requires artistic intent to compose an image that feels threedimensional. This is usually done by finding an interesting foreground that will lead the eye into a dramatic background. Often, Ill scout a location for interesting foregrounds, such as rocks or reflections in a body of water, interesting foliage or colorful fallen leaves. Use of standard compositional rules such as the Rule of Thirds and leading lines can make a big difference in your picture quality. Another fact that we nature photographers have to deal with is that nature is messy. All those branches, twigs and weeds everywhere can be very distracting. A big challenge, especially with the tighter compositions, is to simplify the scene and boil the subject down to its essence by eliminating distracting elements.
Maximize Dynamic Range And Resolution. Modern digital cameras
can capture a large dynamic range of light to dark tonalities. This is data in the image file that can be extracted during processing of the RAW file in your image-editing software. Learn how to maximize the color tones and dynamic range by mastering your image-editing software. I think being a photographer nowWorldMags.net requires being somewhat of a com-
Theres no need to post every image you take online. I know only a very small percentage of the shots Ive taken are worth showing to others. Develop the skill to pick out your best work to show on your website or in your portfolio book, and store the other images away on your hard drives. Ive seen many websites that will show 10 views of a scene that was maybe worth showing once in a vertical composition and once in a horizontal composition. Most of the time you should only show a scene once, and if you get a better shot of it, then retire the old one from your site and portfolio. I know I can become attached to an image because it was hard to get, but eventually you have to be honest about the quality of the image on its own. Dont rely on others to edit for you since this skill is part of developing an artists eye and sensibility. Over time, you may find that you develop a distinct style of photography thats evident throughout your body of work. Final Thoughts. Mastering these five steps is really a never-ending process. I feel Im working on improving my skills in these areas constantly. As technology evolves, so must our learning curve and our ability to adapt. By improving in these five areas, ultimately, we can better express what we see because, as the artist Degas said, Art is not what you see, but what you make others see. OP See more of Elizabeth Carmels photography at elizabethcarmel.com and thecarmelgallery.com. Workshop information is available by visiting elizabethcarmel.com.
WorldMags.net
"We've Got You Covered"
LensCoat makes unique, protective covers for camera lenses, bodies, and accessories. Made from 100% closed-cell neoprene, LensCoat products protect your gear from bumps and scratches, they keep rain and mist away from sensitive equipment, and they also insulate your hands from cold equipment. Lens Covers
t "WBJMBCMFXJUIBDVTUPNGJU GPSNPTUQPQVMBSMFOTFT t $MFBS GMFYJCMFXJOEPXPWFS UIF"'*473DPOUSPMTBOE UIFEJTUBODFTDBMFXJOEPX t $VTUPNIPMFTUIBUSFWFBM UIFSFEEPUGPSFBTZ BMJHONFOUUPUIFDBNFSB CPEZXJUIPVUSFNPWJOH UIFDPWFS t " MTPBWBJMBCMFJOXIJUF GPS$BOPOMFOTFT
Hoodie Lens Caps

t 'JUTTOVHMZBSPVOEZPVS MFOTIPPEPSTIBEF t 'FBUVSFTBSFJOGPSDFE SFNPWBCMFGSPOU QSPUFDUJPOEJTD t "WBJMBCMFJO DPMPST
www.BandH.com
X-Small ..2.75" to 3.25" Small ......3.25" to 3.75" Medium ..3.75" to 4.25" 2X-Large ..5.5" to 6.25" Large ......4.25" to 4.75" 3X-Large .....6.25" to 7" X-Large ..4.75" to 5.25" 4X-Large .....7" to 7.75"
Battery Pouches
t$POTJTUTPG1PVDIFT t1PVDIFT4OBQ5PHFUIFS t EJGGFSFOUDPMPSTQBUUFSOT t#FMU)PPQ t .PEFMT"" %4-3 %4-3 PS1SP%4-3
NEW
Memory Wallets NEW

t-JHIUXFJHIUXBUFSQSPPG t &BTZDMJQPOUFUIFS t EJGGFSFOU DPMPSTQBUUFSOT t EFTJHOT$' 4% $PNCP
BodyGuard Series CB
Same as BodtGuard plus: t$MFBSQMBTUJDCBDL t5XPQMBTUJDXJOEPXTPOUPQ t 'JOHFSBDDFTTTMJUTPOUIFTJEF t 'PVSTJ[FT4UBOEBSE $PNQBDU $PNQBDU XJUI(SJQ 1SP
800-947-9953 212-444-6653
Fax:
212-239-7770
LegCoat Wraps (set of 3)

t 8SBQBSPVOEUIFVQQFSMFHPGZPVSUSJQPE t 5 JHIUMZHSJQTUPZPVSUSJQPE TPUIFZXJMMOPUTMJEF
BodyBag Series
t*EFBMGPSTUPSBHFPSUSBWFM t 7FMDSPDMPTVSF t "WBJMBCMFTJ[FTUPGJUB QPJOUTIPPUUPB %4-3DBNFSB
BodyBag PS (Point & Shoot) 9 colors BodyBag PS Large Zoom 11 colors BodyBag Small 9 colors BodyBag Bridge 11 colors BodyBag 4/3 11 colors BodyBag 9 colors BodyBag with lens 5 colors BodyBag Telephoto 5 colors
BodyBag Compact 5 colors Compact with Grip 5 colors Compact with lens 5 colors Compact Telephoto 5 colors BodyBag Pro 5 colors Pro with Lens 5 colors Pro Telephoto 5 colors
420 Ninth Ave.

RainCoat RS (Rain Sleeve)

t-JHIUXFJHIU XBUFSQSPPGNBUFSJBM t3FBSBDDFTTUPDBNFSBDPOUSPMT t EJGGFSFOUDPMPSTQBUUFSOT SmallGJUT%4-3XJUIMFOTVQUP MediumGJUT%4-3XJUIMFOTVQUP LargeGJUT%4-3XJUIMFOTVQUP
Medium
RainCoat
t-JHIUXFJHIU 8BUFSQSPPG.BUFSJBM t3FBS"DDFTTUP$BNFSB$POUSPMT t5BQF4FBMFEGPS.BYJNVN1SPUFDUJPO StandardP[
GJUT%4-3XJUIMFOTVQUPNNG
Standard

Pro
Small
ProP[
GJUT%4-3XJUIMFOTVQUPNN
Other Innovations from LensCoat t(JNCBM1PVDI t$#(JNCBM1PVDI t .BOGSPUUP(JNCBM1PVDI t3341(1PVDI t#FBNFS,FFQFS t'JMUFS1PVDI t'JMUFS1PVDI t5SBWFM$PBU t-FOT1PVDIFT t'MBTI,FFQFS tJ1BE4 MFFWF t-FH$PBU8SBQT
WorldMags.net
012014
gadget bag
WorldMags.net
Batch processing can be done with RAW files. Additionally, you can upload directly to social media. While easy to use, this level of custom control is great for those with some previous HDR experience. List Price: $89. www.everimaging.com Photomatix from HDRsoft has been a go-to software choice for HDR enthusiasts for some time. Available as standalone software or as a plug-in for Lightroom or Aperture, Photomatix Pro 4 software merges multiple images with the ability to batch process. Auto alignment and selective ghosting make merging of handheld brackets quick and easy. Photomatix also features noise reduction and chromatic aberration reduction, as well as final adjustments of sharpening and contrast. List Price: $99. www.hdrsoft.com Another software package that has gained a following among HDR enthusiasts is Topaz Adjust. This software makes HDR adjustments to one image instead of merging multiples. Using Intelligent Detail Enhancement,
HDR, since HDR is all about contrast. This is something to look out for when working with images, and your software should be able to help compensate for it. Everimagings standalone HDR Darkroom 2 Pro uses a clean interface for control over 30 parameters for local and global tone mapping, including lens correction for chromatic aberration, curve adjustments, color temperatures and full color space management, along with highlight/shadow adjustment and noise reduction. Alignment and ghost reduction are done easily upon import.
In-Camera HDR
From the advanced DSLRs to the iPhone, companies are adding auto-HDR features to their cameras at an increasing rate. Depending on your situation, you may decide to take advantage of this feature or save your HDR for full software postprocessing. The Pros 1. Each camera manufacturer is intimately familiar with the sensor they use in their cameras, knowing both the best selling points, as well as what areas may need improvement. Because of this, any in-camera HDR feature developed by the company should take these sensor factors into consideration and compensate for any contrast bias their sensor may have. 2. The auto HDR feature is also a huge convenience, saving you quite a bit of screen time by allowing you to experiment with the technology, with quick processing time instead of hours in front of your computer. 3. HDR may become a more utilitarian need, leading HDR for a high-contrast shot to be quickly shuffled in while shooting other wildlife or journalism shots, making the HDR button as necessary as an autofocus button. The Cons 1. The ease of in-camera HDR processing is attractive, but there are some drawbacks. While this is a feature in flux, many in-camera HDR functions are only available with JPEG files, which may be a workflow hiccup for RAW shooters. 2. Depending on the camera, the feature uses only 2 to 3 images, while full postprocessing can entail 5, 7, 9 or more images, which brings up the issue of full customization. 3. If you want to work with and personalize your image to your eyes vision to your full satisfaction (and on a screen larger than your cameras LCD), then full postprocessing is your best bet.
it enhances textures and details without boosting noise. Adaptive Exposure adds contrast to different areas of the image depending on the areas tonality. Adaptive Color mode analyzes the entire image to determine color saturation. You have control over colors, curves, details, noise reduction and exposure, as well as local adjustments for dodging and burning. List Price: $49. www.topazlabs.com/adjust HDR Efex Pro from the Nik Collection of plug-ins easily integrates with Adobe and other Nik software to merge multiple images or make adjustments to a single image. Ranging from natural to artistic one-click presets, you can explore a diverse set of HDR looks, or customize tones and details for your preferences. A before-and-after button lets you take a quick look at the adjustments youve made. List Price: $149 (full Nik Collection). www.google.com/nikcollection For fans of open-source communitybased software, Luminance HDR is a free (donation-based) software for Linux, Windows and iOS machines. The creators take improvement suggestions from the community, and the community also shares updates (for instance, HDR presets). While sticking mostly to the basics, Luminance HDR merges RAW files, allows tone mapping, rotating, sizing and cropping. It can copy EXIF data between images and has an antighosting mask. And a unique feature for Luminance is the Portable Mode (for Windows)the ability to load and use the software on a USB drive. qtpfsgui.sourceforge.net OP
MORE On The Web
The Gadget Bag column is available as an archive in the Gear section of the OP website at www. outdoorphotographer.com. Youll nd information and reviews on new and exciting gear, including cameras, lenses, printers and more!
LEFT TO RIGHT: HDR Efex Pro from the Nik Collection; Luminance HDR
WorldMags.net
WorldMags.net
www.BandH.com
800-947-9953 212-444-6653
Fax:
212-239-7770
420 Ninth Ave.

WorldMags.net
012014
last frame
WorldMags.net
Manfred Delpho
Ice Fishing
In the cold winter, kingfishers look for open stretches of water so they can hunt little fishes, says photographer Manfred Delpho, whos based in Hesse, Germany. If a lucrative source of food is in the garden of a nature photographer, its a great stroke of luckfor both. The kingfisher gets enough food to survive the cold winter and the photographer succeeds with wonderful photos directly in front of his door. A few years ago in autumn, a kingfisher came to my plot of land where there are two little ponds. Theyre warm springs that dont freeze up in the coldest winter. Of course, the kingfisher took full advantage of this, and he came the whole winter to the plots to hunt little fishes. To photograph the kingfisher when hes hunting from a close proximity, I built a camo tent at the banks of the ponds. Gradually, the kingfisher lost his trepidation, and finally, I could go very near. Every single day, the kingfisher hunted little fish in the icy water. When it was very frosty, the kingfisher captured up to 50 fishes.
Nikon D2X, AF Zoom-Nikkor 80-200mm /2.8D ED
WorldMags.net
The moment a passion WorldMags.net becomes the love of your life. This is the moment we work for.
// FASCINATION
MADE BY ZEISS
Touit 2.8/12 and Touit 1.8/32 Introducing the new ZEISS Touit lensesfor photographers who are passionate about their image making. Designed for the Sony NEX and Fujilm X Series cameras, these luxurious autofocus lenses deliver the legendary precision and performance of ZEISS optics, for stunning images that go straight to the heart.
www.zeiss.com/touitfascination
WorldMags.net
WorldMags.net
05;96+<*05.
(*(4,9((:
-( : ;
(:@6<(9,
The blazing fast revolutionary Olympus OM-D E-M1. The heart of our OM-D E-M1 is our new TruePic VII image processor designed for maximum performance and speed. The E-M1s new 16MP Image Sensor, with a Dual FAST Autofocus System, automatically switches between Contrast Detection and Phase Detection so you can focus at an astonishing speedno matter which Olympus Zuiko lens you use. This, paired with a 1/8000-second mechanical shutter and 10fps sequential shooting ensures youll have all the speed you need to take incredible images anywhere you go. Move into a new world. www.getolympus.com/em1
One of the smallest and lightest bodies in its class at 17.5 ounces* Built-in Wi-Fi Full system of premium, interchangeable lenses
*E-M1 body only
With the E-M1s new Dual AF System, I get the stopping power and agility I need for rock solid performance.
-John Sterling Ruth, Professional Photographer and Olympus Visionary. Image shot with the E-M1 and Zuiko Digital ED 35-100mm f2.0 Lens.
Move into a New World WorldMags.net

OPer 2014 02

Transféré par

Informations du document

Description originale:

Titre original

Copyright

Formats disponibles

Partager ce document

Partager ou intégrer le document

Options de partage

Avez-vous trouvé ce document utile ?

Ce contenu est-il inapproprié ?

Droits d'auteur :

Formats disponibles

OPer 2014 02

Transféré par

Droits d'auteur :

Formats disponibles

Classic Cool Nikon Df

Chris Burk Follows T rd he Surf Ta o Alaska!

SCENIC WILDLIFE TRAVEL SPORTS

New Sony & Olympus

Birds Of Paradise: Tim Lamans Incredible Pursuit

WOW! Try Close-Up Wide-Angle Landscapes

7R. Exposure: 85mm 1/250 sec f/7.1 ISO 400

A NEW FRAME of MIND.

Up to 136MB/s USB 3.0 Hard Drive

WORKS LIKE A PRO

Manage >> edit >> share.

Available now for just US$149. Learn more at adobe.com/go/lightroomphoto.

58 PRO WINTER HOT SPOTS

OP & THE ENVIRONMENT

More On Next Page

EPSON Stylus Pro 3880 $1,295*

EPSON Stylus Photo R2880 $599.99*

84 FIRST LOOK: OLYMPUS OM-D E-M1

86 FIRST LOOK: SONY ALPHA a7 & ALPHA a7R

98 GADGET BAG: HDR SOFTWARE

5 Steps To More Professional Photographs

MORE On The Web

12 Outdoor Photographer outdoorphotographer.com

#1622 Banjo Paterson Hat $175

Photo Media Group

Request our catalog or visit our website

To Subscribe Or For Subscription Questions: www.outdoorphotographer.com or (800) 283-4410

Member, Alliance for Audited Media

14 Outdoor Photographer outdoorphotographer.com

Photographer: Marc Adamus Location: The Tombstone Mountains,

Made in the U.S.A. Sold Exclusively at ReallyRightStu.com 805.528.6321 | 888.777.5557

Outdoor WorldMags.net Photographer

Werner Publishing Corporation

16 Outdoor Photographer outdoorphotographer.com

Nevada Wier invited us into the realm of

NX300. A STEP AHEAD OF DSLR.

Higher Frame Rate

NX300 available in black, white and brown.

6-time Olympic gold medalist and world record holder

Shoot fast. Share faster.

Young Monks At Sulamani Temple, Bagan, Myanmar

20 Outdoor Photographer outdoorphotographer.com

Camera lens and accessories not included

Blackmagic Cinema Camera

Includes DaVinci Resolve Software

Learn more today www.blackmagicdesign.com/cinemacamera

22 Outdoor Photographer outdoorphotographer.com

Lake Superior In A Winter Blizzard

WorldMags.net Get your best images up on the wall.

$12.49 $15.49 $19.98 $35.99 $45.99 $69.99 $92.99 $155.99

$12.99 $15.99 $22.98 $40.99 $49.99 $74.99 $99.99 $159.99

Great Prints. GreatPrices. Easy Ordering. Its that Simple.

WorldMags.net www.meridianpro .com | 800-544-1370

ESA THUR MAN

24 Outdoor Photographer outdoorphotographer.com

WorldMags.net More gear online: www.outdoorphotographer.com/infocus

26 Outdoor Photographer outdoorphotographer.com

WorldMags.net More gear online: www.outdoorphotographer.com/infocus

THE FILMMAKERS CAMERA. RA. RA

APPS FOR OUTDOOR PHOTOGRAPHERS

28 Outdoor XX OutdoorPhotographer Photographer outdoorphotographer.com

WorldMags.net More gear online: www.outdoorphotographer.com/infocus