Popular Photography - July 2014 PDF

FULL
LAB&
FIELD
TESTS
SONY
a6000
P.72
NIKON
58MM
P.78
TAMRON
16-300
MM
P.80
P.62
P.53
WINNERS!
2014 USA
LANDSCAPE
THE YEAR
PHOTOGRAPHER OF
4K Video
& Great
Stills in One
Small ILC
Panasonic
Lumix
GH4
Picture
American History
Spark Up Your
Contrast
Lighting on
the Cheap
F
U
L
L

T
E
S
T
P.67
P.46
P.40
P.38

Yoscmiic Naiional Iark, csiablishcd in :so, is ihc ihird oldcsi
naiional park in ihc Uniicd Siaics, wiih ihc grcaicsi conccniraiion
o graniic domcs and cxposcd monoliihs in ihc world. Auiumn
in Yoscmiic is a iimc o quici scrcniiy, whcn ihc lighi shiis
and snowy whiic pcaks appcar ai highcr aliiiudcs, proiding
rcmarkablc conirasi againsi ihc cxpansic allcy bclow. Join
ihc Mcnior Scrics and Nikon procssional phoiographcr 1om
Bol and Nikon Ambassador Dac Black or a laic-scason phoio
workshop in Yoscmiic Naiional Iark io cxpcricncc ihc mighiy
siillncss o ihc park irsihand.
1unncl Vicw and El Capiian Mcadow in ihc Yoscmiic Vallcy
proidc cxccllcni icws o Caihcdral Rocks, Bridalcil Ialls,
and Hal Domcihc mosi rccognizablc symbol o Yoscmiic. In
ihc disiancc, you can scc El Capiian, ihc world`s largcsi graniic
monoliih, rising morc ihan ,ooo cci aboc ihc allcy loor.
1hc 1hrcc Broihcrs is anoihcr rccognizablc rock ormaiion [usi
casi o El Capiian, wiih Eaglc Icak ihc uppcrmosi broihcr)
and Middlc and Lowcr Broihcrs rcsiing ma[csiically aboc ihc
surrounding panorama. Vc will schcdulc sunrisc and sunsci
shoois io iakc adaniagc o ihc dccp conirasi o lighi, ihc
changing hucs o ihc surrounding irccs and oliagc, and ihc
grcai siillncss o ihc grand mcadows as ihc wild lowcrs o laic
summcr arc rcplaccd by a lighi dusiing o carly snow.
Visiicd by counilcss phoiographcrs and iraclcrs ihroughoui
ihc ycar, Yoscmiic Naiional Iark is a grand and iconic phoio
dcsiinaiion. Expcricncc ihc park in iis quici simpliciiy, wiih
ihc rarc soliiudc ihai a Nocmbcr isii aords. Join ihc Mcnior
Scrics or a phoio workshop cmphasizing ihc changc o scason
and iconic imagcry o Yoscmiic Naiional Iark. Sign up ioday!
Katie OReilly
Yosemite National Park
Yosemite National Park
November 13-16, 2014

SCHEDULED TO APPEAR Limiicd io :o siudcnis pcr insirucior
Special thanks to our premier sponsor:
WORKSHOP FEE: $1,525
Includcs snacks and waicr on ihc bus, iransporiaiion io cach shooiing locaiion, park
pcrmii and cnirancc ccs, in-icld insiruciion, prcscniaiions, and digiial rcicw scssions.
TOM
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DAVE
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Come to Yosemite and try out some of the
latest equipment that Nikon offers including
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Brent Clark

* 1GB = 1,000,000,000 bytes. Actual user storage less. ** Based on internal testing; performance may vary depending upon host device, OS and application. 1MB = 1,000,000 bytes. SanDisk, SanDisk Extreme, SanDisk
Extreme PRO and CompactFlash are trademarks of SanDisk Corporation, registered in the United States and other countries. CFast and CFast logo are trademarks of CompactFlash Association.
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Sam Nicholson, founder and CEO of Stargate Studios
DRACULA
.
DR WHO
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GHOSTBUSTERS II
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NAKED GUN 33
.
STAR TREK I
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HEROES - NBC
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UGLY BETTY - ABC
MOVING

46PICTURING HISTORY
Are you a history and photography
buff? Pursue both passions by
visiting battle re-enactments.
Theyre popular around the world
and offer clamorous physical action,
colorful costumes, plenty of martial
accoutrements, and more. Let the
shooting begin! By Peter Kolonia
American
Beauty
62 TEN TIPS FOR
FILTER FUN
Think glass filters are pass in this
all-digital age? Think again! Here are
10 killer visual effects that are yours
with the help of over-the-lens optical
filters, and none requires hours of
computer time. By Dan Richards
FEATURES
The first-ever
USA Landscape
Photographer of
the Year contest
results are in and
we showcase the
winners. They
capture the variety,
depth, soul, and, yes,
beauty of this land
we call home.
By Russell Hart
53
HOW TO MAKE GREAT PICTURES JULY 2014 VOLUME 78, NO. 7
POPPHOTO.COM JULY 2014 POPULAR PHOTOGRAPHY 5

POPULAR PHOTOGRAPHY (ISSN 1542-0337) (USPS 504-890), July 2014, Volume 78, Issue 7, is
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Visit www.PopPhoto.com/cs to manage your account 24/7.
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44
6 POPULAR PHOTOGRAPHY JULY 2014 POPPHOTO.COM
13
21
NEXT
13 WE WANT THIS Milled from
solid aluminum, Leicas Audi-designed T
is a camera Steve Jobs would have loved.
14 JUST OUT A hypersensitive Sony,
cross-platform flash, and another glimpse
into the future of cameras from Lytro.
18 STATE OF THE ART Pentax
packs its 645Z with a CMOS sensor, high
sensitivity, and a too-good-to-be-true price.
SHARE
21 PHOTO CHALLENGE
A singular double exposure triumphs.
22 MY PROJECT She discovered
the human side to heavy-metal rockers:
Theyre cat lovers. Who knew?
24 MENTOR SERIES Tapping into
your creativity in the much-photographed
Yellowstone National Park.
26 LETTERS Readers chime in on
weddings, ISO nomenclature, and more.
27 TECH TALK Coming to terms
with those loveable JPEG presets.
28 YOUR BEST SHOT
This month, our winners turned their
cameras on humanity and surprised us.
HOW
33 CREATIVE THINKING
Let humor win over your viewers.
36 TRAVELING
PHOTOGRAPHER Experience
the best of California in a trek down the
legendary Pacific Coast Highway.
38 LIGHTING Learn how two
audacious Russians lit up the Siberian
night for an automotive shot. On the cheap!
40 SOFTWARE WORKSHOP
Tame unruly contrast by relying on the best
of not one, but three image editing apps.
44 YOU CAN DO IT Capture these
easy-to-shoot aquarium dwellers: jellies.
LAB
67 ILC TEST Panasonic Lumix GH4
With spectacular 4K video and faultless
still captures, its close to the ideal camera.
72 ILC TEST Sony a6000
Great pictures, handy controls, and easy
Wi-Fi connections. The camera for you?
78 LENS TEST Nikon 58mm f/1.4G
The Nikkor for weddings. Really.
80 LENS TEST Tamron 16300mm
f/3.56.3 VC Macro Widest focal length
range ever, great macro, and a nice price.
DONT MISS . . .
8 EDITORS LETTER
10 SHOWCASE
90 TIME EXPOSURE
94 BACKSTORY
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EDITORS LETTER
Competitive Edge
As soon as Jim Golden handed me his portfolio,
I saw it. The Grand Prize winner of our Annual
Readers Photo Contest of 2012 occupied the
frst page of this pro photographers book. A
deceptively straightforward shot of a collec-
tion of hundreds of scissors, artfully arranged
into an irregular but harmonious grid on a
white background and shot from above, it had
jumped out from the thousands of entries
Popular Photography received in our biggest contest of the yearand I never
forgot it. At his portfolio review at the Palm Springs Photo Festival this past
April, it still packed a punch. Golden, who had traveled to the California
desert from Portland, OR, to put his work in front of expert eyes, told me
that his scissors photo remains a big hit. And you saw it here frst.
Now in its 21st consecutive year (not counting the similar one this maga-
zine ran in the 1950s), our annual contest identifes photographic talent
among our readers and helps introduce your images to our editors and to
a very wide audience. It rewards winners with publication in the magazine,
as well as payment (by check or gift cards). The contest pulls entries from
all over the world in six subject categories: action/sports, animals, architec-
ture/cities, landscapes/nature, objects/still life, and people (a $1,000 Grand
Prize tops the prize list).
Unlike many other photo competitions, we draw no distinction between
pros like Golden and non-pros like Debbie DiCarlo, a consultant who took
the Grand Prize last year for her beautiful woodland stream. You can
manipulate the image, as long as you disclose what youve donethough
we tend to stick to pictures that read as photographs, not as illustrations. So
fx your contrast, tone, sharpness, and the like; you can even submit com-
posite shots, despite the outrage we sometimes hear about these.
The contest costs $10 per photo, and you enter by uploading it to our
website. Upload the highest-quality JPEG possible, but keep a high-resolu-
tion RAW or TIFF version (if you have one) in case youre a fnalist, since
well need all of the winners to look great in print. (Why not aim for a full
two-page spread, right?) Although this year we did not specify how recent
your photo must be, please send us your best shots taken since September
2013, the end of last years contest. This year, our deadline for entry is
October 17. Youll fnd all the rules, plus galleries of earlier entries, at
PopPhoto.com under the Contests tab.
NEWSSTAND Brian Klutch shot the
Panasonic Lumix GH4 (test, page 67) on
Manfrottos new X Pro 3-Way head (page
18) and updated 055XPRO3 tripod.
SUBSCRIBER Yosemite National Park
as captured by Vincent Boafede, Young
USA Landscape Photographer of the Year
2014. How young? Try 14. See page 53.
POPPHOTO.COM 8 POPULAR PHOTOGRAPHY JULY 2014
FOR CUSTOMER SERVICE AND SUBSCRIPTION QUESTIONS,
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Popular Photography, P.O. Box 6364, Harlan, IA 51593
EDITOR-IN-CHIEF MIRIAM LEUCHTER
ART DIRECTOR Jason Beckstead
SENIOR EDITOR Peter Kolonia
SENIOR EDITOR Dan Richards
FEATURES EDITOR Debbie Grossman
TECHNICAL EDITOR Philip Ryan
TECHNOLOGY MANAGER Julia Silber
ASSOCIATE EDITOR Matthew Ismael Ruiz
GROUP PHOTO EDITOR Thomas Payne
ASSISTANT PHOTO EDITOR Linzee Lichtman
DESIGNER Wesley Fulghum
EDITORIAL COORDINATOR Jae Segarra
CONTRIBUTING EDITORS Laurence Chen, Tim Fitzharris,
Lori Fredrickson, Harold Martin, Ian Plant, Jeff Wignall
POPPHOTO.COM EDITOR Stan Horaczek
ASSISTANT ONLINE EDITORS Dan Bracaglia, Jeanette Moses
IN MEMORIAM Herbert Keppler
BONNIERS TECHNOLOGY GROUP
GROUP PUBLISHER GREGORY D. GATTO
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FINANCIAL DIRECTOR Tara Bisciello
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AD ASSISTANT Sam Miller-Christiansen
DETROIT ADVERTISING DIRECTOR Jeff Roberge
MANAGER Edward A. Bartley
AD ASSISTANT Diane Pahl
DIGITAL SALES MANAGER Adam Miller
ADVERTISING COORDINATOR Irene Reyes Coles
DIRECTOR OF CUSTOM SOLUTIONS Noreen Myers
GENERAL MANAGER, DIGITAL BUSINESS DEVELOPMENT Shannon Rudd
SR. DIGITAL CAMPAIGN MANAGERS Amanda Alimo, Wilber Perez, Ben Chen
DIGITAL MARKETING PRODUCER Joey Stein
DIGITAL CAMPAIGN COORDINATOR Justin Ziccardi
DIGITAL SALES DEVELOPMENT MANAGER Elizabeth Besada
DIGITAL SALES COORDINATOR Mojdeh Zarrinnal
INTEGRATED SALES DEVELOPMENT DIRECTOR Alex Garcia
INTEGRATED SALES DEVELOPMENT MANAGERS Kate Gregory, Kelly Martin, Charlotte Grima
GROUP CREATIVE SERVICES DIRECTOR Ingrid M. Reslmaier
MARKETING DESIGN DIRECTORS Jonathan Berger, Gabe Ramirez
ASSOCIATE ART DIRECTOR Sarah Hughes
DIGITAL DESIGN MANAGER Steve Gianaca
GROUP EVENTS AND PROMOTIONS DIRECTOR Beth Hetrick
PROMOTIONS AND EVENTS DIRECTOR Michelle Cast
ASSISTANT EVENTS & PROMOTIONS MANAGER Vanessa Vazquez
CONSUMER MARKETING DIRECTOR Bob Cohn
RETAIL SINGLE COPY SALES: PROCIRC RETAIL SOLUTIONS GROUP Tony DiBisceglie
HUMAN RESOURCES DIRECTOR Kim Putman
PRODUCTION MANAGER Betty Dong
CORPORATE PRODUCTION DIRECTOR Jeff Cassell
GROUP PRODUCTION DIRECTOR Laurel Kurnides
CHAIRMAN Jonas Bonnier
CHIEF EXECUTIVE OFFICER Dave Freygang
EXECUTIVE VICE PRESIDENT Eric Zinczenko
CHIEF CONTENT OFFICER David Ritchie
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CHIEF OPERATING OFFICER Lisa Earlywine
CHIEF MARKETING OFFICER Elizabeth Burnham Murphy
CHIEF HUMAN RESOURCE OFFICER Leslie Glenn
CHIEF BRAND DEVELOPMENT OFFICER Sean Holzman
VICE PRESIDENT, CONSUMER MARKETING John Reese
VICE PRESIDENT, PUBLIC RELATIONS Perri Dorset
GENERAL COUNSEL Jeremy Thompson
THIS PRODUCT
IS FROM SUSTAINABLY
MANAGED FORESTS
AND CONTROLLED
SOURCES.

THE MOMENT
lifelong stories
LIVE IN A SINGLE FRAME.
TRUST YOUR MOMENTS TO NOTHI NG LESS
THAN A NI KON CAMERA AND NI KKOR LENSES.
NIKON D800, f/5.6, 1/1600, ISO 800, AF-S NIKKOR 50mm f/1.4G
nikonusa.com/experience
Nikon,
NIKKOR

and D800 are registered trademarks of Nikon Corporation. 2014 Nikon Inc.

D
A
N

B
R
A
C
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A
10 POPULAR PHOTOGRAPHY JULY 2014
SHOWCASE
*
SONY a6000

POPULAR PHOTOGRAPHY 11
SUPER STRUCTURE
Our assistant Web editor Dan Bracaglia
stood directly under the Williamsburg
Bridges eastern tower and pointed the
Sony a6000 with 1650mm f/3.55.6
lens (set at the widest end of the focal
range) straight up. His exposure: f/9
at 1/1000 sec, ISO 400. He corrected
the lens distortion at this 24mm (full-
frame equivalent) focal length in Adobe
Photoshop Lightroom 4. For our full lab
and field test of the a6000, see page 72.

The moment when your lens opens your eyes.
This is the moment we work for.
The Touit lens family for Sony Alpha NEX Cameras.
Take your photography up a level, with high-performance optics specically designed to expand
your cameras capabilities. Compact yet robust, Touit lenses render images with exceptional
detail even in difcult lighting conditions, so that you can step bravely into new situations
knowing you have the right tool in hand. Be warned, once you try one, you may never go back.
www.zeiss.com/touitforsony
// PERFECTION
MADE BY ZEISS

NEXT
THE HOTTEST NEW STUFF AND THE TECHNOLOGY TRENDS BEHIND IT
WE WANT THIS
14
16
SONYS NEW LOW-LIGHT FULL-FRAME ILC
AN OLD RUSSIAN LENS, RESSURRECTED
A 50MP, SUB-$9,000 MEDIUM-FORMAT DSLR
18
MILLED FROM a solid block of
aluminum, the Audi-designed
16.3MP Leica T, with its sleek
lines and large touchscreen,
looks a bit like an Apple product.
And with built-in Wi-Fi and a
free iOS app for image transfer
and remote control, it plays well
with actual Apple devices, too.
But unlike most Leicas, this
new APS-C interchangeable-lens
compact is light on the knobs
and dials, so its customizable
LEICA T
16.3MP
APS-C sensor
Built-in Wi-Fi
ISO
10012,500
Micro USB
charging
$1,850,
street,
body only
us.leica-
camera.com
MEET
MR. T
Leica unveils a truly
compact new system
menus and the touchscreens
functionality will likely factor
large in the user experience.
A new T line of autofocus
lenses debuts with a 23mm f/2
and an 1856mm f/3.55.6 zoom,
but with the M-Adapter-T, you
can mount up to 20 different
lenses made for Leicas M line
of rangefinders. The camera
takes SDHC/XC cards, but also
packs 16GB of internal storage.
Myriad accessories abound, from
a tilt-and-swivel EVF to snap-on
cases (the T-Flap, shown here)
and straps that latch onto a novel
new clip system. We cant wait to
put the new system through the
paces in our test lab.

ISO WOW
AFTER A 2013 filled with
cameras that tested the limits
of just how small a full-frame
digital body could be, Sonys
first full-frame ILC of 2014,
the 12.2MP a7S, takes aim at
the sensitivity crown lately
worn by Nikons D4s. With a
top ISO of 409,600, the a7S
sensor matches that DSLRs
sensitivitythough not its
16.2MP pixel count.
But the a7S has something
the D4s doesnt: Ultra HD
video capture. Via HDMI,
it can export video at 4K
resolution (3840x2160 pixels)
to an external recorder. When
limited to
1920x1080p60
at 50Mbps,
it can record
directly to the SD/
Memory Stick Pro slot.
And with only 12.2 million
pixels on the standard 35mm
frame, the larger pixel wells
team with a new logarithm,
Sony says, to promise a wider-
than-usual dynamic range for
video. We cant wait to put this
new low-light tool to the test.
Sonys new full-frame
ILC has hyper sensitivity
*
NEXT JUST OUT
14 POPULAR PHOTOGRAPHY POPPHOTO.COM
Button Up
Lytros innovation lies in
a compound lens called
the micro-lens array
comprising thousands of
tiny lenses placed over
the sensor. It records
more information than
a conventional sensor
by measuring light
at various distances
simultaneouslythe light
field. The new Lytro Illum
has a button to let you
preview this field with
colored overlays while
composing your shot.
INSIDE TECH
> The recently
launched
website
crated.com
is a new
marketplace for
photographers
to sell their
work. The site
lets users
upload their
photographs for
free and pays
out 80 percent
of the profit
made from
sales.
A LONGER LOOK
The evolution of an unusual camera
LYTROS SECOND camera with
a plenoptic light-field sensor,
the new Illum takes on a
more familiar form than its
kaleidoscope-like predecessor.
Its sizeable lens provides
a 30250mm focal range
(equivalent) on its 1-inch sensor,
both of which dwarf their
counterparts on the original
Lytro. The 4-inch, 800x480-
pixel touchscreen is also
a big upgrade from
the tiny original.
Lytro still uses a
cloud-based system
for viewing and
The a7S has
the same EVF
and 3-inch
tilting LCD
found on
the a7 and
a7R, and like
its siblings,
connects to
smartphones
via NFC and
Wi-Fi.
sharing its photos, which allow
viewers to change focal points
and shift perspective long after
the photo was taken (see Inside
Tech for how).
Sony a7S
$2,498, street, body only
www.sony.net
Lytro Illum
www.lytro.com
$1,499, direct

> Think before
you post. A
new algorithm
from MIT
doctoral
candidate
Aditya Khosla
predicts the
popularity of
your Instagram
picture based
on a number of
social and
content
factors. Try it
yourself on his
website:
popularity.
csail.mit.edu.
> With the
support of the
#MissionSmile
campaign,
Mark E. Miller
and Ethan
Hethcote set
the Guinness
record for most
selfies taken in
an hour: 355.
The duo took
to Miamis
South Beach
to find 355
different
people to
include in their
pictures.
> The
American
Museum of
Natural History
Research
Library has
digitized and
uploaded its
entire
collection of
photographs.
More than
7,000 of its
images are
now available
to the public in
a searchable
online
database.
WIRELESS FLASHES open up a world of
lighting opportunities, but products from
different brands rarely work well together.
Cactus, with lots of competition among
third-party flash makers, has made
compatibility its calling card. Its new RF60
is a universal hot-shoe flash with a built-in
wireless transmitter and receiver that can
control up to four groups of other flash
units. But the real star may just be the new
V6 wireless transceiver, which mounts to
any camera with a hot-shoe or PC sync port
and can wirelessly fire and control power
output from Canon, Nikon, and Pentax
flashessimultaneously.
ALL-INCLUSIVE
Flash system from Cactus plays nice with the big boys
WIDE
LOMO
NEXT
*
JUST OUT
POPPHOTO.COM
Cactus RF60 and V6 transceiver
$140 (flash); $55 (transceiver)
cactus-image.com
EYES IN THE SKIES
While regulators are at least a year
away from allowing commercial drone
flights, Jim Williams, the chief of the
Federal Aviation Administrations
unmanned aircraft division, recently
said the agency is looking into ways
to expedite approvals. It is expected
to propose a rule allowing small
commercial drones by November,
which could once again open the skies
to commercial photographers.
THE LOWDOWN
LOMOGRAPHY MADE its name
selling inexpensive plastic
cameras like the Holga and
Diana to vintage aesthetes and
trendy teenagers, but with the
New Russar+, it takes a different
approachnot unlike its
relaunch of the all-brass Petzval.
An overhaul of Russian
lensmaker Zenits 1958 20mm
f/5.6 Russar MR-2, the New
Russar+ upgrades the MR-2s
aluminum to a chrome-plated
brass, and Lomography says
it made significant design
improvements from the
original. These include adding a
modern anti-flare multicoating
and modifying the lens barrel to
make it compatible with both
digital and analog cameras.
Out of the box the New
Russar+ will mount to Leica M
and screw-mount (L39) cameras,
but it can easily be mounted to
ILC systems with the addition of
a third-party adapter.
New life for a classic
Russian ultrawide
Lomography New Russar+ 20mm f/5.6
$649, direct
lomography.com
Filter This
Alien Skin Exposure 6
Digital photo filters
so hot right now. But
to stand out in the
Instagram era, youll
need something other
than Valencia and Hefe.
Enter Exposure 6 ($149,
www.alienskin.com), an
effects plug-in that also
works as a standalone
application. The
streamlined interface is
visually similar to Adobe
Photoshop Lightroom,
albeit without the useful
cataloging features. But
with a borderline-absurd
number of film-emulation
filters and creative
effects, youll be the envy
of your social network.

2014 S ronics America, Inc. All rights reserved. Samsung is a registered trademark of Samsung Electronics Co., Ltd. All products, logos and brand names are trademarks or registered trademarks of their respective companies.
Screen images simulated. Reprinted from www.reviewed.com, with permission. 2013, 2014 Reviewed.com. All rights reserved. *Based on results from models in the same price range: Nikon D7000, Canon EOS-60D, Canon EOS-70D.
S AMS UNG NX S YS T EM CAMER AS ARE
FAS T ER, L I GHT ER AND S MART ER T HAN DS L R.
With lightning-fast shutter speeds, ultra-compact designs and smart sharing capabilities, Samsung
NX System cameras outperform DSLR in virtually every category.* Its time to #DITCHtheDSLR.

amsung EElect lect
POPPHOTO.COM
>Planning a
vacation to
Yosemite?
Leave your
drone at
home. The
National
Park Service
has banned
the use of
unmanned
aircraft,
arguing that
the noise
disturbs the
wildlife and
other visitors.
> Nokia
engineer Ari
Partinen is
leaving to join
team Apple
in June. He
most recently
led Nokias
successful
Lumia
Photography
division,
hinting at a
new direction
for future
iPhone
cameras.
> Getty
Images iStock
released an
infographic
showing the
top trends in
business stock
photography
for 2014. The
list includes
glass-walled
offices to
illustrate
transparency
and open-
ness and
photos of men
with babies to
demonstrate
father-friendly
workplaces.
WHEN IT COMES to tripod
heads, you generally want
something that will be able
to hold cameras with large,
heavy lenses attached, but
also won't take up too much
room (or weigh too much)
when its time to pack it up.
Manfrotto's new XPro 3-way
head ($140, street) is rated
to hold up to 17.64 pounds.
That's more than enough to
support a Canon EOS-1D X
with the monstrous 800mm
f/5.6L Canon EF IS USM lens
attached. But thanks to its
efficient design, the head
weighs only 2.2 pounds itself.
Friction controls help keep
all that weight from flopping
around while adjusting angles.
The pan/tilt handles retract
over the posts so the head
becomes highly compact. So
on the tripod or in your bag,
they wont get in the way.
Manfrottos XPro 3-way head
folds small, holds heavy loads
0.582
SOURCE: Research In Chinas Global and China CMOS
Camera Modules Industry Report, 2013-2014.
IF THERES ONE clear trend
in medium-format cameras
right now, its the shift toward
CMOS sensors. Ricoh recently
announced that the follow-up
to its well-received Pentax
645D, called the 645Z, will pack
a 51.4-megapixel CMOS sensor.
This new sensors imaging area
of 43.8x32.8mm makes it about
1.7 times larger than a 35mm
(full-frame) sensor.
Both Hasselblad and Phase-
One have also announced
medium-format 50MP CMOS
models, beating Pentax to the
punch. But while those bodies
come with five-figure price
tags, the Pentax is going for a
more reasonable $8,497 for its
new body, which also looks a
bit more versatile than most of
the competition.
The 645Z boasts 76 weather
seals throughout its diecast
aluminum chassis and
magnesium alloy frame,
plus sensitivity up to ISO
204,800 and a tilting 3.2-
inch 1.037-million-dot LCD
screen. All other
medium-format
cameras use
fixed screens,
and the new Hasselblad
and PhaseOne both top out
at ISO 6400. And the 645Zs
27-point autofocus system
(25 of them cross-type) is akin
to what you'd see in a
full-frame or APS-C DSLR.
The 645Z can record HD
video at up to 1920x1080i/60.
Though Wi-Fi isn't built-in, you
can add a special FLU SD card
($100, street, for 16GB) in one
of the camera's two SD card
slots to allow image transfer,
live view, and camera controls
from a smart phone.
If youve ever thought about
printing really large, now may
be time to make the move.
3.78
In billions, number of CMOS sensors
shipped globally in 2013
Billions of units by which the industry
is expected to grow in 2014
HOT HEAD
TOOLBOX
Pentzx 645Z
$8,497, street, body only
www.us.ricoh-imaging.com
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22
28
26
METAL CATS AND THEIR HUMANS
YELLOWSTONES GEYSER BASIN
OUR READERS HUMANITY
JULY 2014 POPULAR PHOTOGRAPHY 21
SHARE
CONVERSATION, INSPIRATION, CONTESTS, AND YOUR QUESTIONS ANSWERED
POPPHOTO.COM
MOUNTAIN MAN
A filmmaker double-exposes
a mountainside selfie
PHOTO CHALLENGE
B
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S
T
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HIKING IN the mountains near
Whitehorse in Canadas Yukon
Territory, Ben Staley stopped to
rest a couple thousand feet above
the city. He scrolled through the
settings menu on his Panasonic
Lumix GH3 and realized that
he had yet to use the cameras
double-exposure mode.
Ben Staley
made his
double
exposure in
his Panasonic
GH3 but
edited the
image on
his iPad in
Snapseed.
lens, he set the GH3 to Auto, set
exposure compensation to 2 EV
to maintain the highlights, and
snapped a selfe. In double-expo-
sure mode, he neatly aligned the
scraggly mountain with his face,
winning our double-exposure
challenge. Matthew Ismael Ruiz
I had a pretty epic beard at
the time, says Staley, 40, who is
a cinematographer/producer for
the Discovery series The Deadliest
Catch and lives in Santa Clarita,
CA. The mountains and foliage
seemed to be a good match.
Using a 20mm f/1.7 pancake
In both Picturing History (page 46) and Fix it Fast (page 34) we feature subjects
wearing costumes from bygone eras. Send your best period-dress portraits by July 31
and you could win $100 and your photo here. For rules, visit PopPhoto.com/contests.

SHARE
*
MY PROJECT
Fur Fiends
Alexandra
Crockett lives
in Seattle. For
more Metal
Cats, visit
facebook.
com/
metaldudes
cats.book
PET OWNERS often have
two voicesone for normal
conversation and a goofier one
for their furry friends. The cat
owners in Alexandra Crocketts
new book, Metal Cats, tend to
take it a step further: Theres
a lot of baby talking, she says,
and a lot of metal vocal talking.
Currently working on her
doctorate in clinical psychology,
Crockett has been making
photos since she was a teenager,
picking up the hobby from her
father. Around the same time,
she became active in the metal
scene in her native Seattle,
snapping promotional photos
for bands and periodically
cat-sitting for them, too. Metal
Cats began in the fall of 2010
when she photographed her
then-partner Jean-Paul Garnier
together with his docile feline.
Other cats werent so easy.
To better capture the finicky,
constantly moving creatures,
Metal music bros
and their feline friends
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POPPHOTO.COM POPULAR PHOTOGRAPHY 23
she switched from film to
the digital Nikon D200 and
originally used stage lights
wrapped with homemade gels
whose heat helped the cats
relax in their owners laps.
After switching to strobes
and taking on subjects who
werent already friends, she
had to develop a getting-to-
know-you routine with both
owner and cat before taking
out her camera.
Metalheads and cats make
for a peculiar combination,
but Crockett points out the
independent creatures make
fine companions for touring
musicians or busy artists.
Beyond that, she adds, cats
have this I-dont-give-a-damn
attitude and theyre gonna
do their own thing no matter
what you think about it. That
showed up in the photos, with
the cats being like, I dont want
to do this, and because youre
trying to make me, I especially
dont want to.
Highly invested in gender
Clockwise,
from top left:
Jason Roberts
and Oliver;
Brandon
Fosse and
Rbo; Aub
Driver and
Freya; Andrew
Beattie and
Dakini; Jeff
Bennet;
Roman
Kovalik and
Lucy; Jeffrey
Poso and
Spazz; Travis
Ryan and
Nico.
and social issues (all proceeds
from Metal Cats will benefit
no-kill shelters), Crockett
photographed only men and
trans-men to challenge gender
expectations and reveal the
inherent tenderness of a group
typically stereotyped as having
aggressive, hypermasculine
traits. Though she kept her
shoots simple and sweet, she
does remember one subject
who became quite emotional,
recalling a difficult time when
having a cat made life that
much easier.
As Crockett compiled
Metal Cats, her Facebook
page Metaldudes Cats Book
amassed more than 700-plus
submissions from metal heads,
both male and female, across
the world, and convinced
Brooklyn-based PowerHouse
Books that there was enough
interest to publish a volume of
her photos.
I did find it adorable
that people would say, I
cant wait for my cat to be
famous! Crockett says. It
was sweet, because they were
so unconcerned with having
attention on them, but really
excited that other people got to
see their cat. Jon Blistein

HOT SPRING
IN HER JOB as a construction
manager for a pharmaceutical
company, Doreen Miller is often
traveling. And while she packs
her camera every time, squeezing
in an extra day at the end of her
trip just to take photos, theres
nothing like having someone else
scout locations for you. Its one of
the things she appreciates most
about her Mentor Series treks.
Theyve already identified
where the great areas to
photograph are," the 50-year-old
from Park Ridge, IL, says. I dont
always have that opportunity.
A veteran of the New York
City, Turkey, and Montana
(Yellowstone National Park) treks,
she finds them conducive to
stoking creativity. Enough so that
photos from her Mentor Series
adventures have been published
in Fodors Travel Guides.
On the streets of New York, she
learned a panning technique to
catch streaking yellow taxis, and
how to get in close on famous
buildings and monuments for
detail shots. When it comes to
popular photo destinations, no one
wants the same picture that the
teeming masses bring back with
them from such trips. You want
to add something, so it doesnt look
like the same picture that a million
people have come back with.
For this photograph of a steaming
geyser in Yellowstone, Miller
was in the parks lower geyser
basin, practicing panoramas and
learning how to compose with
the steam and the setting sun. By
underexposing a bit, she got the
most of the sunsets burning orange
in the background.
All my best pictures have come
from the treks, she admits. Its
such a creative environment.
Matthew Ismael Ruiz
The group brings out this trekkers best
DOREEN
MILLER
For more
more photos
by this avid
traveler, visit
doreenmiller.
com.
While traversing Yellowstones Lower Geyser Basin on a wooden catwalk, Miller managed this
colorful shot by underexposing (0.3 sec at f/11, ISO 100) at the suggestion of mentor John Rettie.
D
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M
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Follow your passion
for photography, while
taking your photo
skills to new heights.
Sign up or Mcnior Scrics
Vorldwidc 1rcks ioday!
MENTORSERIES.COM
PRESENTING SPONSOR
Hands-On Lcarning
Exclusic Ihoio Opporiuniiics
Shooi w/Nikon Iros in ihc Iicld
Spccial Vidco Lighiing Vorkshops
Digiial Rcicw Scssions
Alumni Communiiics
2014 Treks: Montana, Ireland,
Long Island, Puerto Rico Video,
Charleston Lighting, Prague,
Oregon and Yosemite!
SHARE
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MENTOR SERIES

I
t takes a special breed of photo enthusiast to sign up for a 3-day video dog-sledding
adventure in the wilds of Minnesota in late March, when icy temperatures and a
profusion of snow herald the start of mushing season. Under the friendly hands-on guidance
of veteran mentors Corey Rich and Layne Kennedy, and gracious input from seasoned dog-
sledders at the renowned Wintergreen Dogsled Lodge in Ely, our happy a troupe of intrepid
trekkers learned to do two challenging fun things at the same time! 1) Manage a dogsled
as it hurtled past breathtaking northern wilderness scenery. 2) Shoot broadcast-quality
videos of all the incredible action with the latest Nikon HD DSLRs and high-end compact
cameras! As we all discovered, theres no better way to explore the dramatic northern
grandeur of frozen lakes, mountain passes, and the icy wilderness beyond than hitching
a ride behind a team of huskies. And no better way to hone your skills than by capturing
spectacular videos of the action as the sled dogs race along the trail, along with an entire
world of sounds unique to this very special region.
The stars of the show were the magnicent Canadian Inuit sled dogs, whose interaction,
enthusiasm, and engaging personalities provided another whole range of still and video
opportunities that was documented in charming detail by the trekkers. After a challenging,
exhausting, and totally fun day of mushing and shooting, we luxuriated in the comfort and
superb accommodations of the lodge and swapped amazing stories of our day on the trail.
To give you a sense of just how unique, enjoyable, and fullling it was to participate in this
unique video workshop, and how rapidly the trekkers were able to enhance their shooting
skills, here are some brief edited comments from the trekkers themselves:
Im a professional transportation coordi-
nator so I can really appreciate the superb
organization that went into this event.
I started out with little interest in video,
and I thought I could never do this in mil-
lion years, but by the end of the trek I was
transformed into a video enthusiast thanks
to the inspired teaching of the mentors.
- Shari Haushalter
I learned enough at the last morning video
editing session to pay for the course.
- Virginia Jamieson
The excellent team of mentors made learning
how to dogsled through an awesome natural
environment fascinating and fun. The entire
trek was outstanding and working the sled
and capturing video at the same time was
a thrilling once-in-a-lifetime experience.
- Chauncey Davis
Once you experience a Nikon-sponsored
Mentor Video Trek and the unique
camaraderie of a seamlessly organized
photographic adventure rolledintoa total-
immersion course in visual expression, youll
denitely be back for more.
Sign up for our next video adventure
in Puerto Rico, September 11-14, 2014
www.mentorseries.com
MINNESOTA
Dog-Sledding Video Workshop
A look back at our ecstatic experience
Special thanks to our premier sponsor:
Come on a trek and try out some of the latest equipment
that Nikon offers including their high-performance
HD-SLRs, NIKKOR lenses, the Nikon 1 System, and a
variety of COOLPIX compact digital cameras.
Trekker Amiel with his Nikon camera getting up close with the Inuit dogs.
Nikon Ambassador Corey Rich providing in-the-eld
hands-on learning with Nikons latest gear.
Nikon Pro Layne Kennedy using the AW100 to
capture video of the dog sledding action.
COOLPIX A D610 D800
Check out the videos from this trek and more at
mentorseries.com/video
Trekkers capture the dog-sledding action using their newly acquired video skills.

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Hire a Pro
I read Peter Kolonias How to Shoot a Wedding (June
2014) with interest. The best tip was in the beginning
of the article: Get the happy couple to hire a pro. Giving
them money as a wedding gift to help is a great idea. One
more tip: Read Peters article forwards and backwards to
be sure you understand everything! Sam Feinstein
Millville, NJ
PHOTOGRAPHY NEEDS to get with the
program. A 1TB hard drive actually
holds 1,099,511,627,776 bytes, but
no one would advertise it that way.
Similarly, no one cares that a 400K ISO
is actually 409,600. I suggest that large
ISOs could be listed as 12.5K, 25K, 50K,
etc., with this cycle repeating as needed.
This would make life a lot simpler for
everyone. Paul Monaco
Medford, OR
MY HEART always beats a little faster
when I discover my nice, crisp issue
of Popular Photography in the mailbox.
No different as I received the latest
(June) issue with the lab test on the
new Nikon D4s. No doubt, great
commentary on an incredible camera.
However, the Canon EOS 5D Mark III
is not the only other camera that can
claim a Low or better noise rating to
ISO 12,800, as the article suggests.
The Canon EOS 6D (March 2013) also
holds that distinction.
Cyrus Tookes
Jacksonville, FL
EDITORS NOTE: Canons 6D did score a 1.7
(Low) rating for noise at ISO 12,800. We
should have double-checked our test records.
SHARE
*
LETTERS
WRITE TO US!
POPPHOTO
@
BONNIERCORP.COM
HOW TO CONTACT US
Address your questions or
comments on editorial
content to Popular
Photography, 2 Park Avenue,
New York, NY 10016; e-mail,
PopPhoto@bonniercorp.com.
Published letters may be
edited for length and clarity.
We regret that we cannot
answer all letters. Editorial
contributions sent by mail
must include return postage
and will be handled with
reasonable care; however, we
assume no responsibility for
return or safety of
photographs, disks, or
manuscripts.
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REPRINTS AND
EPRINTS
For Reprints email reprints@
bonniercorp.com.

WHEN YOU shoot JPEGs in your DSLR or
ILC, do you set contrast, sharpness,
color saturation, and hue?
Oh, yes you do. Even if you just
flick on the camera and fire away
on Auto, the camera is applying a
set of default parameters that we at
Pop Photo call a JPEG profile (every
camera maker has a different name
for these, listed in the table below).
You can opt for a half-dozen or more
JPEG profiles in your cameras menu.
All digital cameras first capture
in RAW. But if you save images
as JPEGs, the camera converts
the RAW into a compressed file
with certain adjustments applied,
including the JPEG profile. The
typical default profilemost camera
makers call it Standardapplies a
moderate amount of saturation and
sharpening, along with relatively
moderate contrast. From there,
the JPEG profiles can vary all over
the map, from soft, low-contrast
but color-accurate profiles (most
manufacturers call this Neutral)
to highly saturated, sharpened,
contrasty images (Canon: Landscape;
Nikon: Vivid; Pentax: Vibrant).
You are not limited to the specific
settings in a JPEG profile; you can
adjust an individual setting within
a profile, and most cameras let you
save at least one custom profile. Most
DSLRs and ILCs also let you manually
process RAW files in the camera after
capture, so you can try your image
with several different looks and save
the ones you likeno computer
needed. On a computer, the RAW
conversion software that came with
your camera (or a third-party program
like Adobe Photoshop Lightroom) will
let you apply and adjust these JPEG
profiles, too. Dan Richards
The same RAW file was converted with
the extremes of Canon JPEG profiles,
from least to most processed.
Change the
look of your
photo with a
menu click In Profiles
NEUTRAL LANDSCAPE
BRAND JPEG profile term
Canon Picture Style
Fujifilm Film Simulation
Nikon Picture Controls
Olympus Picture Mode
Panasonic Photo Style
Pentax Custom Image
Samsung Picture Wizard
Sigma Color Mode
Sony Image Style
SHARE
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TECH TALK

A Human Touch
Want to
enter? Get
the official
rules and
upload your
images at
PopPhoto.
com/
contests.
SHARE
*
YOUR BEST SHOT
3rd Place
$100 Prize
PAULY PHOLWISES, 20, STUDENT,
CHASKA, MN
I wanted the photo to be dramatic
and emotional, with that nice blurred
background and bokeh. We were shooting
around noon on a big hill covered in
grass and flowers, but the lighting was
not greatI kept getting unwanted
shadows and highlights. After a few
shots, I wasnt satisfied, so I decided to
have her hold the flowers. That was the
moment that I felt really connected with
the photo. From that day, I began to
incorporate props in my photos.
TECH INFO: Canon EOS Rebel T2i with
85mm f/1.8 EF lens; exposure, 1/320 sec
at f/2.8, ISO 100. Minor image adjustments
in Adobe Photoshop CS5.
2nd Place $200 Prize CHEE KEONG LIM, 49, PHOTOGRAPHER, BENTONG, MALAYSIA
On vacation in Bali, Indonesia, I passed this dam. I saw some kids splashing water at each other, and they looked so happy. I asked
them to let me shoot the happy moment, and they immediately lined up neatly and started splashing. One, two, threeand this
beautiful picture formed. TECH INFO: Canon EOS 5D Mark II with 24105mm f/4L Canon EF lens; 1/125 sec at f/11, ISO 250. Cropping and
minor adjustments in Photoshop CS6.
This months winners capture their subjects humanity

William Innes. Changing Photography with 4K Video.
With the new Lumix GH4, William Innes is discovering how easily 4K cinematic in-camera
memory video recording with Fast Tracking Full Area AF, plus simultaneous 8.8-megapixel
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ideal solution for quickly integrating hybrid photography into any photographer's sales kit.
The LUMIX GH4 delivers in-camera creativity across video and stills through an innovative
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See William Inness GH4 wedding stills and 4K video at www.LumixLounge.com.
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I think I succeeded. TECH INFO: Nikon D7000 with
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EXPERT TIPS AND TECHNIQUES FOR BETTER PHOTOS
MASTER CONTRAST WITH APPS
36
40
SHOOT TWO CALIFORNIA CLASSICS: SEASCAPES AND JELLIES
44
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GET GREAT LIGHTING CHEAPLY
For more of
Reynolds
often
humorous
photography,
visit andy
reynolds.com.
CUTAWAY ILLUSTRATIONS never
fail to fascinate, and applying
the cutaway design principle to
a photograph adds a realistic
edge. Thats exactly how Seattle-
based commercial photographer
Andy Reynolds wanted to amuse
viewers with this glimpse inside
a trailer home. Back when my
stock agency commissioned
shoots, my editor and I thought it
would be fun to shoot dioramas
of a trailer family with the trailer
cut open, he says. [The wife]
SLICE OF LIFE
Add a light touch to jack up interest in a scene
CREATIVE THINKING
JULY 2014 POPULAR PHOTOGRAPHY 33 POPPHOTO.COM

FILTERS VS. AUTO WHITE BALANCE
OPTICAL COLOR-BALANCING filterssuch as amber warming and cyan cooling filters
from the film dayshave become somewhat obsolete with digital cameras, which allow
adjustments to color-balance via the white-balance settings. But DSLR shooters may still
want to use color filters over the lens, such as the gold/blue polarizers and enhancing
filters we describe in 10 Ways to Filter Fun on page 82. And some photographers
prefer the look of certain filters (the Tiffen 812 warming filter has many fans). But
beware: Automatic white balance will counteract the color tone of these filters to restore
a neutral color balance. So use a WB preset (sunny, cloudy, etc.), set a Kelvin color
temperature appropriate to the lighting, or set a custom WB with the filter off the lens.
DID YOU KNOW?
HOW
*
CREATIVE THINKING
would be making breakfast,
[the husband] would be reading
the paper, and there would be
chickens on the counter and
other gnarly stuff.
With a green light and a budget
from the agency, Reynolds
proceeded to gather the props
for his vision. His first stop was
Craigslist, where, for $500, he
found the trailer. The woodwork
and fabric were vintage and
gorgeous, says the photographer.
From there, pulling off this
shot was a matter of logistics.
Reynolds found a location (the
middle of nowhere) in eastern
Washington state to park the
trailer, and he arranged with
nearby farmers to supply goats
and chickens. His set decorator
added a few props, and friends
who had modeled for him before
supplied themselves, with their
own tracksuits. There was
only one creative casualty: An
unexpected delay on the morning
of the shoot caused the animals
to be cut from the schedule.
Sawing the front off the trailer
was a little like opening a sardine
canand almost as easy. It
took Reynolds and four others
only about an hour. He then
illuminated the scene with flat,
sitcom-style lighting, using two
large octabanks on either side
of his Hasselblad 500 CM and
Zeiss Planar CF 80mm f/2.8 lens.
Digital capture was with a Phase
One P45 back.
Reynolds directed his models
to do ordinary things. I wasnt
looking for campy or schtick,
he says. The result? The
photographer put a little color
(and a lot of humor) where
things might otherwise be as
mundane asMonday. Lifestyle
stock photos tend to take a
cheery view of things. Reynolds
couldnt resist putting his own
spin on this subject.Or rather,
his chainsaw. Laurence Chen
PAINTERLY PIC
Channeling a long-ago
camera buff
FIX IT FAST
THE FIX-IT FAST team took one
look at Crystal Gonsalvezs image
and said, Vermeer! And while
the picture was taken in Old
Sturbridge Village, MA, and not
Delft, the perspective and play of
light and shadow strongly suggest
the great 17th-century master.
While we often work with
RAW files, here we used the
photographers edited version, as
we felt her choices in exposure,
contrast, and color balance
were right on the money. Then,
inspired by the window light,
we asked ourselves, what would
Vermeer do? Were pretty sure
he would have gone with a
vertical, which works better with
the framing device of the door.
We used the custom panel
in Adobe Photoshop CCs Lens
Correction tool, with a grid
overlay as a guide, to fix the
geometric (pincushion) distortion
in the doorframe, and also
corrected the slight keystoning.
Finally, we thought we would
bring down the brightness of the
doorframe lightly to make it less
distracting; a mask and treatment
with Curves did the trick. Total
time fixing: 15 minutes.
Dan Richards and
Debbie Grossman C
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Crystal Gonsalvez used a Canon EOS 6D with 24105mm
f/4L Canon EF IS lens to capture the image at 1/40 sec and
f/4, ISO 200, with adjustments in Adobe Photoshop CS6. See
more of her photos at mementosphotography.com.

WHEN YOUVE EXPERIMENTED ENOUGH TO FIND WHAT WORKS,
YOU STICK WITH IT.
Dixie Dixon, Fashion Photographer
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MY FAVORITE place along
Californias Highway 1 is McWay
Creek Falls in Julia Pfeiffer Burns
State Park, says photographer
Ron Niebrugge, who splits his
time between Seward, Alaska,
in summers and California and
the Southwest in winters. A
wonderful waterfall drops 80 feet
straight onto a pristine beach.
The Pacific Coast Highway
(officially, California State Route
1) between Monterey and Pismo
Beach is among his favorite drives
in the U.S. Some of the best stops:
Pfeiffer Beach, not far from
Big Sur, is an isolated slice of
coastline with fascinating off-
shore rock formations. This is
one of the few places where you
can easily drive or walk to the
shoreline, Niebrugge says.
The Piedras Blancas Elephant
Seal Rookery below Big Sur
(elephant seal.org) is home to
more than 17,000 northern
elephant seals. A telephoto zoom
Drama and nature on
Californias coastline
Best of
the west
CALIFORNIA
DREAMING
What good is a scenic drive
without interesting places to
stop and ponder them? Here
are a few highlights worth
hitting the brakes for.
O
17-MILE DRIVE www.pebblebeach.
com/activities/explore-the-monterey-
peninsula/17-mile-drive
Going from Pacific Grove to Carmel, this
scenic seaside toll road has been luring
gawkers since the 1800s. Wish-you-were-
here highlights include the 250-year-old
Lone Cypress (youll recognize it when
you see it) and close-up views of sea
lions basking on the rocks.
O
HEARST CASTLE hearstcastle.org
If anything man-made can compete
with the natural views across the road,
this is it: William Randolph Hearsts
incomparable 165-room castle set
among 127 acres of gardens, pools and
walkways in San Simeon. Youll burn
through SD cards faster than Hearst
burned through his millions to create it.
O
MONTEREY BAY AQUARIUM
www.montereybayaquarium.org
On Cannery Row in Monterey, its
home to more than 550 different sea
creatures thriving in almost 200 exhibits.
Among the highlights: one of the tallest
aquarium tanks in the world.
O
WESTON PHOTO GALLERY
westongallery.com
Located in Carmel, it features vintage
works by Ansel Adams, Edward Weston,
Harry Callahan, Imogen Cunningham,
Yousuf Karsh, Maggie Taylor, Brett
Weston and others. Call for an updated
exhibition schedule: (831) 6244453.
in the 100mm to 400mm range is
a useful focal length, he says.
Limekiln State Park, 56 miles
south of Carmel, is a choice place
to camp and shoot. The beach
is rocky, but the rocks are full of
interesting colors and patterns,
making for a great foreground,
says Niebrugge. The 100-foot
Limekiln Falls is a must.
Bixby Creek Bridge crosses
Route 1 over a steep canyon
postcard-pretty. There is a nice
pull-out on the North side of
the bridge which offers a good
vantage point, he says.
Pismo Beach offers weather-
twisted trees and sand dunes,
California classics. Jeff Wignall
Ron
Niebrugge
found this
weathered
tree at
Pismo
Beach and
captured it
with a Canon
EOS-1Ds and
1735mm
f/2.8 Canon
EF lens (at
17mm),
exposing
for 1/3 sec
at f/18, ISO
100.

HOW
*
TRAVELING PHOTOGRAPHER

The photog-
raphers shot
with a Canon
EOS 5D
Mark III and
24mm f/1.4L
II Canon EF
lens. The
exposure
was 30 sec at
f/4, ISO 400.
WHEN DETROIT hires the top-tier
car photographers to produce
promo shots for its Mustangs and
Malibus, lighting budgets can top
$100,000. Care to guess what it
cost to light this awesome scene?
About $300, and that included the
services of two ice fishermen.
Pictured is a Chevy Malibu on
Russias massive Lake Baikal in
Siberia in mid-winter, and it was
taken by Dmitry Chistoprudov
and Nikolay Rykov, co-owners of
a Moscow-based photo and video
production company, Vostok. The
K
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SIMPLE COMPLEX
MAKE MAGICAL LIGHT HAPPEN
Create amazing
lighting on the cheap
*
LIGHTING HOW
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F
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OVER ICE
To light this scene, the photographers clamped a divers flashlight onto
an inexpensive, folded tripod (A) and submerged it under the car through
a hole in the lakes surface. (They used a MagicShine MJ-801B light, but
the Pelican Nemo, below, would work.) They then set up an extended-
height tripod (B) (similar to the Gitzo below) for the camera (C). The
photographer (D) controlled the camera wirelessly with a CamRanger
trigger and an iPad (not shown). Two assistants (E) lit the cars exterior
with LED flashlights, while a third (F) moved the light below. The cars
interior was lit by the its own cabin lights. The team worked through the
Siberian night in thick down coats, wearing headlamps.
CamRanger
Wireless
Transmitter
($300,
street)
Gitzo 5 6X
(Giant) Tripod
($1,300,
street)
Pelican
Nemo 4300
underwater
flashlight
($45,
street)
B
car sits on meter-thick, fissured
ice that, thanks to the lakes
clear water, resembles glass in its
transparency. By drilling a hole
through the surfacepaging ice
fishermen!and submerging a
divers flashlight below the car,
the photographers could light the
car from below. The aura-like
glow around the vehicle and the

For Rykov
and Chist-
opru dovs
work, see
their new
website,
www.vostok
photos.ru,
which should
be live as you
read this.
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illuminated fissures that streak
through the surrounding ice like
lightning bolts were created by
moving the divers light during
the 30 sec-exposure.
The take-away here? With a
little creativity, magical lighting
doesnt have to break the bank.
Other unusual challenges of
this shoot included:
Smoothing the ice. The
fishermens studded boots
scratched the ice surface
rendering it unusable as a
background, but the photo-
graphers were able to erase the
marks by pouring water across
the ice. With temps below 20
degrees F, it froze on contact,
forming an unmarred surface.
Clean the scene. From the
hole drilled behind the auto-
mobile, the fishermen excavated
more than 220 pounds of ice
that had to be removed from
the scene by hand. (The team
hadnt thought to bring bags
or shovels.) It took several
people more than an hour to
accomplish. Peter Kolonia

HOW
*
SOFTWARE WORKSHOP
SIMPLE COMPLEX
C
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HAVE YOU ever taken a photo
of a vibrant landscape scene
only to be disappointed by
a lifeless result? And then
noticed that adding contrast
alone wont fix the problem?
Simply sticking to the
contrast slider can easily
impart an unnatural, overdone
look. After all, photographs
can suffer just as much from
having too much contrast as
from not having enough of it.
As with many image editing
tasks, the trick is to strike
exactly the right balance.
Often youll find it useful
and even necessaryto use
several kinds of software in
editing a single image
to achieve the look you
want. No matter the
application, there are a variety
of ways to control tonal
contrast. Adjustments made
in Adobe Photoshop Lightroom
Contrast for
Landscapes
AFTER
Tennant
captured
these waves
crashing
against
rocks and
the iconic
Wind
Combs
sculpture
by Eduardo
Chillida
in San
Sebastian,
Spain.
Use multiple apps on the same
image to get the tone right
CHRIS
TENNANT
A physicist with a
longtime passion
for photography,
Chris Tennnat lives in Virginia
with his wife and three boys.
His award-winning landscapes
and waterfalls can be seen
on his website at www.
christennantphotography.com.
4 or 5, Photoshop CS6 or
Creative Cloud,
and Niks Color Efex
Pro 4 plug-in can work
hand-in-hand by helping
you make progressively
more targeted corrections.
Youll learn to create a
finished photograph that
not only pops, but also
maintains the realism of the
original scene.
Chris Tennant

3
Step 1
Start with basic RAW adjustments.
Find your image in Lightroom
(were using version 4, but 5 will
work, too). Head down to the Lens
Corrections panel and check the
Enable Lens Corrections box to
remove optics-induced distortion.
For more pleasing blues, which
dominate this seascape, change
the profile to Canons Camera
Landscapeother camera makers
offer similar presetsin the
Camera Calibration panel. Finally,
use the Crop & Straighten tools
Angle slider to rotate the image
until the horizon is level.
Step 2
In making global adjustments,
the most obvious way to increase
contrast is to use the Contrast
slider in Lightrooms Basic panel.
While adjusting it, keep an eye on
the histogram to avoid clipping
highlights or shadows. After
increasing the Contrast slider
(set to +25 here), make a similar
decrease in the Highlights (25)
and boost the Shadows (+25) to
preserve detail in each region;
for more midtone contrast,
increase Clarity (+25). Use each
slider with restraint to build a good
foundational image.
Step 3
With the initial adjustments in
Lightroom complete, its time to
import the image into Photoshop
CS6 (or CC). Two of the most critical
adjustments to any image are global
contrast and color cast corrections
this step achieves both. First, create
a new Levels Adjustment layer.
Then adjust each color channel
(red, green, blue) separately by
moving the black- and white-
point sliders to the edge of the
histogram. When done properly,
setting the contrast will naturally
saturate colors and restore vibrancy.
2
1
Tame Distortion
Lightrooms Lens
Corrections panel (far
left) profiles your glass
to tackle vignetting, too.
Custom Camera
Available for most
cameras, these presets
automate color editing.

Step 4
Contrast adjustments do not always have to be
made globally. Using simple masks in Photoshop
for local adjustments, you can target changes
to draw attention to (with higher contrast) or
away from (lower contrast) specific areas. Here
the rocks are getting a bit too dark in the shadow
regions. Lighten them using a dodging layer:
Create a new blank layer and fill it with 50%
gray (Edit > Fill). Next change the layers blend
mode to Soft Light. Then, with a soft, white brush
set to low opacity (10%), paint to selectively
lighten the shadows. (You can burn an area that is
too light simply by changing the brush to black.)
Step 5
Among the many plug-ins for Photoshop, we like
the tonal contrast filter in Niks Color Efex Pro 4
for its exceptionally good contrast control. This
filter provides another degree of refinement by
targeting highlight, midtone, and shadow areas
separately. First create an adjustment layer
(Filters > Nik Collection > Color Efex Pro 4) and
increase the contrast in the Highlights (+30) and
Midtones (+30). This brings out detail and texture
in the crashing waves. But to avoid affecting the
sky, where adding structure to the clouds would
have given the whole image an unnatural look,
add a mask to the layer (Layer > Layer Mask >
Hide All) and with a white brush paint on the
mask to reveal only the water.
Final Step
Notice that with your contrast properly set,
the colors are rich and saturatedno further
adjustments are necessary. Back in Photoshop,
its time to put the finishing touches on the
image. Add a slight vignette to the bottom half
to keep the viewers eye focused on the center of
the image and prevent it from wandering out of
the frame. One simple way to do this is to create
another dodging layer (see Step 4). We used a soft,
black brush set to low opacity to paint (Burn) in
a vignette. After cloning out sensor dust spots
using the Spot Healing Brush tool, and then
sharpening the full image (Filter > Sharpen
> Smart Sharpen), the finished photograph
is ready for display. Making use of several
complementary methods of contrast control, were
able to profit from what each app does best and
create a more visually dynamic image.
HOW
*
SOFTWARE WORKSHOP
4
Artful Dodging
Fill any layer you create for
dodging (lightening) or burning
(darkening) with 50% gray.
Override the Defaults
Photoshop starts with a heavier
hand than we want here. Change
Blending from the default to Soft
Light and Opacity to just 10%.
5
6

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IF LAST MONTHS feature story
about photographing undersea
creatures got your creative
juices flowing (Secrets of the
Deep, June 2014), we have one
word for you: jellies. No longer
called jellyfish (since theyre not
actually fish), jellies displayed
in public aquariums across the
county make excellent subjects
for photographers who are into
capturing sea creatures. Eric
Plante, a nature and wildlife
photographer from Glendale, CA,
offers these reasons why:
They move slowly. This gives
you a better chance at capturing
sharp images of them, even in
relatively low light.
Jellies almost always stay
front and center in their tanks.
Unlike other aquarium species
that will lie at the bottom for
hours or hide under sand, in
kelp, or behind coral, these
creatures generally remain
visible and ready for their close-
ups, according to Plante.
Theyre usually dramatically
lit. Aquariums often light tanks
Eric Plante
waited
hours at the
Aquarium of
the Pacific in
Long Beach,
CA, for this
smack of
jellies (yes,
thats the
collective
noun) to
congregate.
Jelly
Dance
HOW
*
YOU CAN DO IT
Hit the aquarium
for a sure thing

of jellies from both the top and
the bottom, so the creatures are
strikingly suspended in space
against boldly contrasting black
or blue backgrounds.The lighting
is also usually very even in many
areas of the tankperfect for
photographers, Plante says.
Theyre relatively easy to focus
and expose. Despite the dramatic
lighting, the photographer says
For more of
Eric Plantes
nature and
wildlife
photo graphy
go to www.
picturesby
plante.com.
Step 1
In advance of the shoot, visit
the aquariums website. Look for
rules pertaining to photography.
Many aquariums prohibit tripods
and fash. Dont go through the
trouble of bringing them only to be
turned away at the door.
Step 2
Bring the right lens. Plante
stresses the importance of glass
selection. Youll need a wide-angle,
relatively close-focusing, fast lens;
image stabilization (on the lens if
not in the camera); and to avoid
reflections and hold your rig steady
against the tank, a lens shade.
Step 3
Stake a claim. Even if there are
no jellies in the area yet, stake out a
position in front of the best-lit part
of the tank. You want bright, even
lighting that spans a broad area.
Stay patient; eventually they will
float into the lightand your frame.
Step 4
Make your exposures. Set an
ISO that will allow shutter speeds
no slower than 1/60 sec. When
the jellies form an interesting
grouping near the tanks glass
plate, lightly press your lenshood
against the tank. This will stabilize
the camera, eliminate reflections,
and prevent someone from coming
between you and your subjects.
Fire away. Once youve got the
shot, make way for other visitors.
Final Step
Fine-tune your images in
software. For his photo here, I
used Adobe Photoshop CS5.1 to
sharpen, bring down the highlights,
and add a bit of yellow saturation
in order to bring the yellows back to
their natural levels, says Plante.
SIMPLE COMPLEX
that exposing the shot shown
here could not have been easier:
I used the Canon EOS 7Ds
evaluative meter, the center
focusing point, and auto white
balance, he explains.
By the way, the Monterey (CA)
Bay Aquarium, featured in this
months Traveling Photographer
(page 36), is one of the worlds
best for jellies. Peter Kolonia
Using a Canon
EOS 7D (A) and
24105mm f/4L IS
USM Canon lens (B)
with its stabilization
system engaged,
Plante exposed his
jellies for 1/60 sec
at f/5, ISO 800.

LOUD AS
HELL
This view of
a Battle of
Trenton (NJ)
re-enactment
hints at how
loud re-enacted
war can be.
The sounds of
cannons and
guns firing
make dogs
bark and young
children cry.
Bring ear plugs.
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Passionate about history and photography?
Battle re-enactments can engage your
camera, and your imagination, too. The action ranges
from individual hand-to-hand combat to full-scale
battles with hundreds of troops wearing
historically true duds. Let the shooting begin!
By Peter Kolonia

EVERYTHING HAPPENS so quickly,

reports Ken Bohrer, a Philadelphia
photographer and fan of war-
based re-enactments. Wherever
you look theres something or
someone to photograph: Hundreds
of soldiers marching in regiments,
men dashing back and forth on
horses, cannons going off, muskets
fring, smoke rising, and soldiers
shouting. The best stagings are
really like being in battle.
Sound interesting? You bet. A
visit to a battle re-enactment can
be an immersive trip backward in
time. Popular all over the world,
theyre organized around many of
historys most important military
engagements, from the Norman
invasion of England in 1066 to the
Vietnam War. A quick Web search
will list the re-enactments nearest
you, and the good news is that
battle organizers may even wel-
come you with specially located,
roped-off photographer pens.
Battle re-enactments are orga-
nized by (often obsessive) history
buffs who form intricate societies
dedicated to recreating history.
These players often impersonate
actual military regiments of the
past, and they form surprisingly
complex societies with their own
social hierarchies, vocabular-
ies, and values. Witnessing their
intense role playing can be part of
your pleasure.
The most common re-enact-
ments in the U.S. depict battles
fought in Revolutionary and
Civil Wars. And they can feature
literal representations of historic
battlessortie for sortiewith
encampments where soldiers,
women, children, horses, dogs, and
chickens form a living represen-
tation of military camp life. The
encampments give you more than
just handsome uniforms and
smoking cannons to photograph.
According to Del Hilbert, who
owns the Victorian Photography
Studio in Gettysburg, PA, and is a
LOOK FOR
MOOD
Atmospherics
like the
hovering
smoke at
a Battle of
Prairie Grove
(Arkansas)
re-enactment,
and falling
snow for
Washington
crossing the
Delaware
make these
images.
portraitist to Civil War re-enactors,
these fans divide roughly into
three types based on the historical
accuracy of their dress and behav-
iors. If youre photographing a re-
enactment, it helps to know which
type youre dealing with, because
each has different expectations of
your behavior.
The most accurate re-enactors
dress in clothing made from
historically true fabrics (down to
precise thread counts) that are
cut from copies of antique sew-
ing patterns. For posed portraits,
says Hilbert, these perfectionists
wont give your DSLR the time of
daythey only pose for antique
cameras and lenses and for photos
produced by antique processes.
Less-serious re-enactors are
similar in their passion for accu-
racy, but they will sleep in hotels
or RVs, not on bare ground, under
the stars, explains Hilbert.
For both these groups, re-
enacting is an expensive hobby.
Muskets and dress uniforms cost
in the thousands of dollars, and
regiments spend small fortunes
transporting, storing, or renting
cannons and horses, among other R
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WATCH THE
FACIAL EX-
PRESSIONS
Think twice
before asking
a re-enactor
to smile.
Period pictures
of Rebel
soldiers often
portrayed
them as tired,
fearful, or
distressed, as
demonstrated
by this re-
enactor in
Clayton, AL.
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battlefeld accoutrements.
The re-enactors least concerned
about historical accuracy, Hilbert
says, are called mainstreamers.
They go out and buy way more
stuff than they need, and look
more like Hollywood creations
than actual soldiers, he explains.
Mainstreamers are usually merely
tolerated by serious re-enactors,
but they just may be your most
colorful photo subjects.
Ken Bohrer (american
revolutionphotos.com), a career
counselor at Drexel University and
the photographer of the powder
horn above, explains that there are
two main ways to photograph bat-
tle re-enactments. Organizers rope
off areas for photographers (and
their tripods) in places selected for
their unobstructed views of battle
movements, and with no anachro-
nous, illusion-busting glimpses of
modernity to mar the backgrounds.
One advantage to using roped-off
pens is that you can wear contem-
porary clothing. The disadvantage
is that the backgrounds and light-
ing for most of your pictures will all
have a similar look.
Another way to shoot is to
embed yourself as a period
photographer by actually join-
ing it and becoming a re-enactor
yourself. Embedding is a good way
to get close to the action, but those
old-fashioned photographer duds
are scratchy and uncomfortable,
especially in the heat. You must
conceal your camera, either by
holding it down at your side, and
very discretely (and quickly) fring.
You may also camoufage it inside
DETAILS
ADD COLOR
Ken Bohrer
found this
copy of a
Revolutionary
War-era
powder horn
at a Battle of
Bushy Run
re-enactment
outside of
Pittsburgh. Its
one of many
colorful and
historically
accurate
reproductions
that will draw
your eye at
battle re-
enactments.
The objects are
sold to battle
participants
by merchants
called sutlers.
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Re-enactor Jargon
As with many dedicated hobbiest groups, war re-enactors have
developed their own colorfully specialized argot.
O
Campaigner The most obsessive
class of re-enactors. The term nods to
their in-depth knowledge of entire military
campaigns and their desire to fully
immerse themselves in their recreation.
On the battlefield, Campaigners are
joined by the incrementally less serious
Progressives and Mainstreamers.
O
Embed To dress a photographer in
period costume to resemble Mathew Brady
(or his ilk). The embedded photographer
may be shooting with either a concealed
contemporary or a period camera.
O
Farb A derogatory term used to
describe a re-enactor whose costume
and/or behavior isnt historically
accurate. (The adjective is farby.) The
origin of the term isnt commonly agreed
upon, but according to one explanation,
its an acronym for From A Reasonable
(distance), British.
O
Galvanize To flip a re-enactor
from his registered side to that of the
opponents. If too many Union soldiers
register for a battle, a number may be
galvanized to fight as Confederates.
Comes from the metallurgical term for
applying a zinc coating to iron or steel.
O
Living Historian The prefered
term for a re-enactor.
O
Rev War Shorthand for the
American Revolutionary War.

a box resembling a large-format
wooden camera (with darkcloth),
mounted on a wooden tripod.
There are downsides to this. If
youre embedded in a Union
company, the majority of your
pictures are going to be of Union
soldiersnot so cool if the Rebels
have better uniforms.
For photographers, one of the
great pleasures of shooting battle
re-enactments is that most living
historians like being photographed.
Del Hilbert is known for his
authentic-seeming posed portraits
(like the fve soliders at right), and
he has a number of techniques
for getting the right look for Civil
War soldiers. For foot soldiers,
the main thing is to capture them
looking pretty tired, he says.
In most of the period portraits,
the soldiers have an exhausted,
distressed, kind of fearful look.
The look of someone whos been
through war.
Often, you can get these histori-
cally accurate expressions late
in the day when the re-enactors
are tired, hot, and/or bored. Or, as
Hilbert does, you can ask for what
he calls a television face. Its
the look you have when youre
watching TV. Youre not happy or
sad. Its a blank expression. Thats
the Civil War look, he says. (That
look resulted, in part, because the
long exposure times in the 1860s
required subjects to hold still
for 30 seconds and longer. Facial
expressions had to be relaxed.)
Also, when youre posing
subjects, dont make the body
language too casual. People were
very conservative back then. You
cant have slouching shoulders
or crossed legs. The right look is
formal but relaxed, says Hilbert.
Ken Bohrer notes that the equip-
ment and techniques for captur-
KEEP
IT REAL
Richard
Barnes
includes
modern
details for a
more honest
depiction
of living
dioramas.
ing the battle action are a lot like
those of contemporary sports
photography: Fast zooms with
large focal-length ranges used
on rigs mounted to monopods,
or for really long lenses, tripods.
Bohrer likes his Nikon 80400mm
f/4.55.6G ED VR lens, which he
uses on a Nikon D300. The long
focal-length range lets him zoom
out when the action gets close, or
zoom in when its distant. A Kenko
1.4X teleconverter gives him even
more reach. Also nice: The VR
capabilities allow him to handhold
the lens and get sharp pictures of
all the battlefeld action, even as
the light is fading.
SEPIA TONE FOR B&W IMAGES
For an authentic look, use an image
editor to adjust the white balance
of your digital images to mimic the
sepia/platinum tonalities of Hilberts
contemporary wet-plate portrait.
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American
You dont have to be a native to earn a place in the USA
Landscape Photographer of the Year Awards. We received
work by photographers from around the world, which is just
what we were hoping for, says Charlie Waite, the founder
of this new contest. We are delighted to have seen such a
superbly high standard of photography, with distinctive styles
and an incredible variety of images. By Russell Hart
Judges Choice
THE DUNES of California's Death Valley seem formed by etched lines rather than windblown sand in this late-afternoon photo-
graph by Samuel Feron of the hottest place on Earth. But Frenchman Feron got fred up about photography in that climes
antithesis, frosty Iceland. Both places satisfy Ferons passion for the pristinelandscapes offering spectacular forms that invite
him to break the rules of traditional composition. For his winning shot, Feron waited for the walking fgure to reach the top of
the dune. It would have been the classical thing to compose with more empty space in front of him instead of behind, Feron
observes. But because he seemed lost in thought, I wanted to create mystery by cropping out the area hes walking toward.
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Black & White
NEW YORK CITY presents an ever-changing human landscape, as U.K.-based wedding photographer Nicholas Hill
discovered on a recent stroll down Manhattans famous Fifth Avenue. The glass structures of the Apple Store intrigued me
enough to go inside, says Hill, whos as comfortable shooting city streets as he is capturing the raw natural beauty of Scotland,
Norway, and Iceland. Just as the stores security personnel descended on him, he noticed how the translucent landing of its inte-
riors trademark glass staircase turned striding fgures into soft, abstract shapesand quickly aimed his Canon EOS 5D Mark III
and EF 15mm f/2.8, a full-frame fsheye lens, at the underside. Hill captured both the soles of customers and the soaring towers
of midtown Manhattan, making a visual connection that elevates his picture from good to great.
Classic View
THOUGH HIS own vast homeland offers lots of eye-popping topography, that hasnt stopped Australian
photographer Jarrod Castaing from exploring Americas iconic Western landscape. But Castaing doesnt
fall back on the sharp-edged modernism of such West-loving greats as Ansel Adams and Edward Weston.
Consider his photograph of Metlako Falls, highest on the Columbia River Gorges Eagle Creek, made on an icy
winter day from the edge of a steep cliff. The pictorialist approach lends the scene a sense of tranquility, due
to the detail-softening, light-diffusing mist, and his use of a water-blurring eight-second exposure. Castaing's
framing of the falls with the surrounding trees and rocks gives his image an unexpected intimacy.
AMERICAN BEAUTY
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My USA
AS A COMMERCIAL airline captain, Miles Morgan sees much of America from miles high. But Morgans
love of photography, inspired by his photojournalist father, keeps him groundedhere, in a feld of purple
penstemon and faming-red Indian paintbrush erupting from soil enriched by ash from distant Mount St.
Helens, the infamously active volcano not far from his home in Portland, Oregon. Nature contributed her
own electricity to his surging near-far composition. The weather was a surprise, says Morgan, who had
never tried to include lightning in a photograph before. Thunderstorms are relatively rare in this part of the
country, particularly in the morning. I got lucky.
Urban Landscape
ALTHOUGH BRITISH lensman Adrian Almond has taught
geography and geology for many yearsand lives in Englands
fabled, lushly pastoral Lake Districthis dynamic shot of metal
canoes was made in Americas urban heartland. The subject,
a sculpture on Chicagos Lake Michigan shoreline, offered
Almond a wealth of angular shapes and lines not ordinarily
found in nature. To make sure every rod and rivet was tack-
sharp, Almond locked up the mirror on his tripod-mounted
EOS 5D Mark II, setting his Canon EF 28-70mm f/2.8L zoom to a
near-normal 64mm. I was attracted by the warm morning light
blending in with the cool, stark tones of bright aluminum, he
says. I love the fne detail in the scratched metal and cabling.
AMERICAN BEAUTY
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Landscape On the Move
WHEN SHES home in Britain, photographer Claire Onions loves to shoot the timeworn Jurassic-era cliffs
that line the English Channel near her residence in Dorset. She has voyaged several times, though, to the New
Worlds Yellowstone National Park, where a sharp-eyed observer can fnd rock outcroppings ten times older. For
this dreamy shot of the parks Merced River, it was the agent of that erosionmoving waterthat caught her
eye. Id left my SLR in the car, says Onions, who captured this pastel refection of trees and shoreline rocks with
the Panasonic Lumix DMC-TZ8 compact that was, fortunately, in her pocket. It wasnt until later that I realized
it was the photographic equivalent of a Monet painting. To that effect, Onions chose to fip the original image
upside-down before sending it in.
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POPULAR PHOTOGRAPHY
AMERICAN BEAUTY
JULY 2014
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Overall
Youth
Winner
THIS YEARS Young USA
Landscape Photographer of
the Year relied on some time-
honored wisdom. Three years
ago, Vincent Boafedes father
said he would get him his own
camera if he made a promise: to
shoot only in manual mode. That
deal has helped teach Boafede,
now 14, more about the nuts and
bolts of photography than many
auto-only shooters manage to
learn in decades. He hones those
skills on trips with his father to
one of landscape photographys
American meccas, Yosemite
National Park. But his view of the
parks famous valley, with Half
Dome in the distance (far left), has
a tonal range that Ansel Adams
would have struggled to achieve
chemicallythe result of combin-
ing bracketed exposures in Nik
HDR Efex Pro software. Boafede
then converted the high-dynamic-
range image to black and white.
We stopped at Tunnel View just
as a large storm was clearing,
he recalls. There were clouds
over us and mist coming up the
valley. It reminded me of an Ansel
Adams photograph Id seen, and
I wanted to create an image that
made me feel the same way. The
photographer doesnt always go
for the grand view, as evidenced
by his image of splayed tree
trunks, mossy boulders, and a
leafy canopy (left), all suffused in
backlight that he tamed with HDR
technique. For this shot, Boafede
discovered his bucolic subject in
the western slope of Californias
Sierra Nevada mountain range.

SET ON THE spine of the Rocky Mountains, Glacier National
Parks geologic gemsplus a mountain of talentgarnered
Nagesh Mahadev this years USA Landscape Photographer
of the Year Award. A resident of Lewisville, TX, Mahadev shot
each of his three winning images in the Montana park, where
the play of light on peaks and valleys is mesmerizing, to use
his word. Yet it wasnt until Mahadev discovered photography
a few years ago that he truly focused on natures magic show.
I was introduced to a world I hadnt been privy to, he says.
Colors became livelier, and I began to see shapes and textures
Id hardly noticed before. His low-light image of a ghostly
pine tree (bottom right) is a case in point. Mahadevs canny
combination of a low point of view, a wide-angle lens (Nikons
1635mm f/4G at 16mm), and separate exposures for tree and
night sky conjure an ominous mood. In his late-day image of
snow runoff with cloud-shrouded Mt. Reynolds in the distance
Overall Adult Winner
AMERICAN BEAUTY
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(top right), a slow shutter speed of 1/3 sec gave the water its
movementkeeping the viewers attention focused on layers
of ancient rock. And in Mahadevs view of the valley below
Logan Pass (above), he enhances the high dynamic range with
two exposures bracketed with a change in ISO. The shapes
formed by upended sedimentary slabs echo the slant of the
rising suns rays, an effect buttressed by the golden wedge of
trees at the center of the image.

Now that most photographers are
all digital all the time, physical
photo flters may seem like curi-
ous anachronisms, those things
that kept your Uncle Photographer
rummaging through his gadget
bag. But flters are actually more
popular than ever, for very good
reasons. Some flters (split neutral
density, diffusion) let you get the
effect you want right when you
press the shutter, not after some
tedium in an image editor. And
some flters (polarizers, solid neu-
tral density) give effects that would
be a huge time sink in postproduc-
tion. Besides, flters are just plain
fun to fool around with. Try it!
Tips for
Filter Fun
Make a dream
landscape.
This is a trick best for
windy, or at least breezy, days.
With the camera on a steady sup-
port and a very long exposure30
seconds or moreenabled by
use of a solid neutral-density
flter, you get a strange, counter-
intuitive blend of blurry fowers,
leaves, water, or clouds against
sharp solid objects such as fences,
houses, or tree trunks. Many land-
scape photographers we know
at least occasionally experiment
with the effect, and some, like
Darwin Wiggett, have made it into
an almost signature look.
As with the depopulation
effect (number 5 below), a tripod
is absolutely essential. Nature
shooters will stack ND flters with
a polarizer to get polarization plus
the extra 1 or 2 stops of density
that the polarizer will add. A solid
ND plus a split ND to darken a
bright sky is a common stack, too.
Filter the fash,
not the lens, to
balance it with
ambient light.
One very good reason for not car-
rying warming (amber) or cooling
(bluish) flters for color balancing is
that they simply are not necessary
with digital camerasyou can add
digital color fltration through the
white-balance controls. So if you
are shooting an indoor scene lit by
By Dan Richards
A one-stop Singh-Ray ND filter over his 1424mm f/2.8 AF Nikkor let Dany
Eid set a fog-smearing 20 seconds in his Nikon D800 shot of Dubai, U.A.E.
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tungsten lamps, just set your WB
to the tungsten preset. But now, if
you add fash with an accessory
unit for fll on you subject, your
subject will end up looking (literally)
blue. Flash units are balanced for
daylight, not tungsten.
But there is a simple flter fxan
amber acetate flter over the fash
lens. This will balance the color
temperature of the fash with the
WB setting of the camera. Same
trick for fuorescent illumination:
Set the cameras WB for fuorescent,
and put a fuorescent-balancing
flter (magenta) over the fash lens.
These flters are cheap (and a set
may have come with your fash
unit) and incredibly lightweight.
Tilt your split
ND flter.
By now most photogra-
phers are familiar with the split
neutral-density flters, even if they
dont use them. Favored by many
nature shooters, they allow you to
position the dark portion of the flter
to balance a bright sky with darker
water or land below. The most
commonly used type for this is the
hard-edge split ND, which, as its
name suggests, transitions immedi-
ately from clear to neutral gray with
very little featheringgood for solid
horizons over land or water.
But these flters need not be used
on the level. Most users of split NDs
employ Cokin-type holders, which
take a rectangular flter that can
be shiftedor rotatedfor proper
positioning. So you can place the
edge over, say, the edge of a diago-
nal rock face, or a large diagonal
architectural feature in the frame.
Flip your
split ND flter.
Who says the dark por-
tion of a split ND flter always has
to be over the sky (top) portion of
the frame? If the bottom portion
of the frame is signifcantly lighter
than the upper partas with white-
water rapids or a waterfall against
a darker backgroundfip the flter
upside down.
In these kinds of situations,
where the transition from lighter
to darker may be unevena line
of rocks or shrubs, sayit may be
better to use a true graduated split-
density ND. With these, the flters
clear area blends gradually into
the gray area for a more natural-
looking transition.
Use a so-called
depopulation
flter.
Yes, there really is such a thing as
a flter that can make cars on the
highway or people on the street dis-
appear. Its a solid neutral-density
(ND) flter of high density. These
dark but colorless flters allow you
to use much slower shutter speeds
than you ordinarily could. With a
long enough exposure (30 seconds
to a minute or more), moving
people or cars will be blurred to
transparency. (You may end up with
some wispy ghost trails; these can
be cleaned up in postproduction
without much fuss.)
A 9-stop (2.7 density in ND-speak)
will allow an exposure of about
30 seconds at f/22 and ISO 100 in
cloudy bright light; a 4-stop (1.2
density) flter should do the same
for a brightly lit street at night. NDs
can be stackedthe effect is simply
additive: a 3-stop plus a 4-stop will
give you 7 stops of ND.
Preserve that
precious bokeh.
You set out to take some
outdoor portraits in hazy bright
light with your beloved 85mm f/1.4
lens, and decide to use f/2 for a
dreamily defocused background.
Exposure at ISO 100 will be about
f/2 at 1/2000 sec. So far so good.
But you also want to add fll fash
with a portable studio unit. No can
dothe fastest fash sync speed of
your camera is 1/250 sec.
The neutral-density flter can
come to the rescue here too. In
this case, a 3-stop (0.9 density)
flter will be suffcient to knock the
exposure down to 1/250 sec, and
you can use that studio fash. Our
Lighting and You Can Do It articles
sometimes feature this technique.
Polarizer for
landscapes?
No, cityscapes!
By now weve drummed into
your heads why you use a
polarizer for nature shots: They
help deepen blue skies on clear
days, can eliminate unwanted
refections, and boost the satura-
tion of natural colors.
But the polarizer is also a natu-
ral for walking-around shots in the
city. Darkening the sky can make
The two
kimono-clad
women
stood
perfectly still
during Cole
Thompsons
15-second
exposure of
this Tokyo
scene. Other
subjects
blurred,
while many
disappeared
entirely.
Image taken
with a Canon
EOS 5D Mark
II with
24105mm
f/2.8L Canon
EF lens, at
f/14 and ISO
100. B&W
conversion
made in
Adobe
Photoshop
CS4.
Thompson
uses a
Singh-Ray
Vari-ND plus
a solid 5-stop
ND to get up
to 13 stops
of neutral
density.
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lighter colored stone or masonry
buildings pop out of the frame.
With glass buildings, eliminating
refections can make for darker,
dramatic renditions. You might
try to get both darkened skies and
suppressed refections in the same
shot, although this can be tricky
because of differing angles of the
light. Contemporary buildings with
multi-angled glass surfaces can
be particularly great fun with a
polarizer. Tip: If you wear polarized
sunglasses, get a quick preview
of photo effects with themhold
them off your face and rotate
them one way and then the other.
Make your
own variable
ND flter.
Variable neutral-density flters,
which allow you to vary the den-
sity from 2 to as much as 8 stops
with the turn of a ring, are becom-
ing popular with pros and serious
amateurs. They are also very
expensive. Those who played with
science kits as kids know that
when you rotate one polarizing
flter against another, the flters
will lighten and darken continu-
ously. Well, you can do this with
camera polarizing flters, too.
If you have a circular polar-
izing flter already, youll need an
older-type linear polarizer of the
same size. (Major flter makers
like B+W, Heliopan, Hoya, Tiffen,
and others continue to produce
linear polarizers, and they cost
much less than equivalent
circular models.) The circular
polarizer should go on the lens
flter ring frst, with the linear
type threaded into the circular.
We tried this with two Tiffen
polarizers and were able to dial in
up to about 5 stops of density.
Caveats: With a stack of
polarizers (or any flters) there is a
possibility of image vignetting, par-
ticularly with wide-angle lenses.
Weve heard reports of color casts
sneaking into DIY variable NDs,
but we didnt notice it with ours.
Give a flter
a starring role.
We can hear the smirks
of derision: Star flters? How 70s
is that? But our associate Web
editor Dan Bracaglia consistently
brings in star-studded images
that can get past even our cheese-
allergic art director.
The trick is to limit the flters to
situations where they can work
well, notably pop music perfor-
mances, where fash and dazzle
are expected as a matter of course.
Many star flters have an adjust-
able ring, and Bracaglia recom-
mends taking test shots with the
flter in several different positions.
As a rule, fewer stars work better
than a lot of stars. One thing to
note is that you will get some
image degradation, as these flters
are etched with star-producing
grooves. You may want to do some
sharpening in postproduction. And
if you dont want stars, take the
flter off the lens!
Soften your
subject with
diffusion.
Diffusion flters have come a long
way from the old cloudy fog flters
and UV flters smeared with some
goop or another. Modern diffusers
can use dot patterns in the lens, or
lenslets, or other types of pat-
terns designed to smooth out skin
wrinkles and irregularities without
seriously impacting the sharpness
of detail. While all flter makers
offer a variety of diffusers, we have
to say the champion in this feld is
Tiffen, with about two dozen types.
Various factors to consider: The
extent of the softening effectis
it designed to be overall, or lim-
ited to textures and surfaces?
Contrastsome flters are made
to lower contrast, while others are
not. Halationsome flters produce
blooming of highlights; others
suppress it. Glowsome flters
create a certain glow in skin tones.
Glimmerglass flters from Tiffen do
this with sparkly bits in the glass.
Were told that starlets ofahema
certain age insist on it.
Pop Photo
lensman Dan
Bracaglia
shot Janes
Addiction at
Manhattans
Terminal 5
with a Tiffen
six-point
2mm star
filter on his
1735mm
f/2.8D
Nikkor on a
Nikon D3S.
Exposure:
1/6400 sec
at f/2.8, ISO
4000.
Five Filters for Serious Fun
Singh-Ray Gold-N-Blue Polarizer A hit with some pro
nature shooters, this tlter not only polarizes but shifts from
warming gold to oooling blue tones as you rotate it.
Singh-Ray Reverse Graduate ND filter Perhaps
more aoourately a triple-density tlter, this looks like a oon-
ventional olear-to-gray reotangular grad, with an added dark
oenter band to tone down a bright horizon line.
Tiffen Black SoftNet 0noe upon a time a popular Ul
diffuser was a swatoh of blaok mesh stooking over the lens.
1his tlter laminates a uniform blaok mesh in optioal glass,
so it oan never run.
Heliopan Vario ND: 0ne of a number of variable
neutral-density tlters, this allows you to dial in 1 to 6.6
stops of NU, with oalibrations seen on its rim.
Hoya Portrait Glass 1his uses didymium glass as a
band-stop tlter, seleotively blooking some wavelengths
while passing others. 3hort answer: it warms up skin tones
without affeoting other oolors.
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check our website or call for up-to-the-minute prices & information! email your order or inquiry to us at: sales@beachcamera.com
Toll-free Customer Service 800-634-1811 Dial 2
or email us at CS@beachcamera.com
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We Carry Digital Cameras, Lenses, Flashes & Accessories, Camcorders, Printers, Scanners, External Hard
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Camcorders
The Flagship of the VIXIA Series
VIXIA HF G30 offers a Genuine Canon 20x HD Video Lens and 8-Blade Circular
Aperture for superb video quality and natural, beautiful background blur. The new
DIGIC DV 4 Image Processor enables recording in MP4 up to 35 Mbps and AVCHD
up to 28 Mbps and even simultaneously with Dual Recording thanks to two SDXC
memory card slots. A 3.5-inch OLED Touch Panel Display and Built-in Wi-Fi technol-
ogy including remote control functionality via web browser are included. An optional
accessory adds GPS location data to video files.
Share your talents with the World
The VIXIA mini is super slim and weighs approximately 5.6 ounces, so you can
capture beautiful, high-quality video and stills wherever you go. To match its out-
standing image quality, the VIXIA mini features a built-in microphone to liven
and enhance your video with superb stereo sound. Get creative with
a genuine Canon f/2.8 fisheye lens for ultra-wide scenes, then switch to
Close-up mode simply by touching the screen.
Powerfully Equipped
The VIXIA HF R52 with built-in Wi-Fi and 57X zoom is all the
camcorder you need to preserve and share special moments
both big and small. Record up to 12 hours of video on the 32GB
internal flash drive, and enjoy extra storage capacity by record-
ing directly to a removable SD card. Improved built-in Wi-Fi* with the new CameraAccess plus app makes it
easier than ever to share recorded video or live stream it on your Android or iOS device**, and even con-
trol the camcorder remotely.
A World of New Shooting Possibilities
Vixia HF G30
Vixia HF R500 Camcorder
Vixia HF R52
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Perfect for families, budding photo enthusiasts and first-time
SLR users alike, the 18MP EOS Rebel T5 features a
Canons DIGIC 4 Image Processor for easy recording of HD
video and high-resolution photos and has a huge 3.0-inch
LCD screen for Live View recording and review. A 63-zone,
Dual-layer metering system and an expanded ISO range
are also included.
The ILCE-5000 includes refined capabilities in a pocket-
able size that makes it is easy to get beautiful pictures
almost anywhere. Features include exceptional image
quality from the large APS-C image sensor, fast focus-
ing thanks to the BIONZ X processor and inter-
changeable lens capability. NFC enables single touch
image sharing with compatible mobile devices or direct
connection with Android and iOS devices via Wi-Fi.
Includes Nikon Inc. USA limited warranty. 2014 Nikon Inc
EOS Performance Made Simple
EOS Rebel T5
DSLR quality. Wi-Fi convenience.
a5000 Mirrorless
DSC Camera
The Longest Steadiest Lens on Earth
AF18-270mm F/3.5-6.3
Di II VC (Vibration Compensation)
LD Aspherical (IF) Macro
Big Power, Small Size
D3300
The D3300 makes it fun and easy to preserve lifes special
moments in the beauty they deserve: stunning 24.2-megapix-
el photos and 1080p Full HD videos with tack-sharp details,
vibrant colors and softly blurred backgrounds. Like sharing
photos? The D3300 photos can appear instantly on your
compatible smartphone or tablet for easy sharing with the
optional WU-1a Wireless Adapter.
The VIXIA HF R500 camcorder's giant 57x Advanced Zoom! Capture truly
impressive, amazingly realistic 1920 x 1080 Full HD video with the
Canon 3.28 Megapixel Full HD CMOS Image Sensor and DIGIC DV 4
Image Processor. Even the fastest moving subjects are rendered with
crisp detail thanks to 1080/60p recording in easy-to-share MP4 (35 Mbps)
and AVCHD Progressive (28 Mbps) formats, directly to a convenient, removable SD memory card. grounds.
The AF 18-270 covers an angle of view equivalent to that
of a 28mm wideangle to a 419mm ultra telephoto with
just one lens, letting the user capture once-in-the-lifetime
images of panoramic landscape images or close-up pic-
tures of children smiling, without having to get too close
to the subject and without having to change lenses.

JULY 2014 POPULAR PHOTOGRAPHY 67 POPPHOTO.COM
TESTS: SONY a6000, TAMRON 16300MM F/3.56.3 DiII VC PZD MACR0
TEST: NIKON 58MM F/1.4G AF-S LENS
72 80
78
Panasonics new
flagship delivers
both top-notch
stills and video
ILC TEST
16.05MP Four
Thirds-sized
LiveMOS
sensor
4K video
capture
3-inch,
1.04-million-
dot OLED
touchscreen
$1,698 street,
body only
PANASONIC
LUMIX
GH4
CAPTAIN VIDEO
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THE CONVERGENCE thats been
bandied about in tech circles for
years now is finally becoming a
reality for capture of still images
and video. A striking case in
point: Panasonics Lumix GH4
($1,698 street, body only), which
delivers a very high level of still
imaging power with its 16.05MP
Micro Four Thirds sensor, as

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AMATEUR PRO
PANASONIC LUMIX GH4
LAB
*
ILC TEST
well as state-of-the-art video
capture at up to 4K resolution.
This new flagship also includes an
updated AF system, 2.36-million-
dot OLED electronic viewfinder,
and rugged, weathersealed
magnesium-alloy construction.
So lets take this imaging
powerhouse into the Popular
Photography Test Lab and out into
the field to see how it stacks up.
In the Test Lab
When it comes to overall image
quality, the GH4 earned an
Excellent rating from its lowest
sensitivity of ISO 100 through
ISO 400basically the same
level achieved by the GH3
(whose sensitivity bottomed out
at ISO 125). But the GH4 showed
significantly better noise results
than did its predecessor, due
to the new noise-reduction
defaults in the latest version of
the Silkypix SE RAW converter
that ships with the camera.
At the same time, resolution
decreases more at higher ISOs
when those default settings
are applied. From ISO 100
through 400, the GH4 got
Extremely Low ratings in
noisetop honors in this test,
signifying super-clean images.
Further, the GH4 was able to
keep noise to a Low or better
rating up through ISO 6400,
which is quite impressive for a
sub-$2,000 camera. Above ISO
6400, noise takes a steep jump
to an Unacceptable rating.
In our color accuracy test,
the GH4 just barely earned
an Excellent rating with an
average Delta E of 7.8.
Mode dial
lock
AF mode
switch
WHATS HOT
PANASONIC LUMIX GH4
4K video, Low noise to ISO 6400
4K video requires speed class U3 card
Videographers who want 4K or ILC
WHATS NOT
WHO ITS FOR
shooters seeking a do-everything body

To compare, the GH4s main
Micro Four Thirds competitor
in still photography (it doesnt
record 4K video), the less-
expensive Olympus OM-D E-M1
($1,299 street, body only), also
just got by the cutoff for an
Excellent score in color accuracy.
It matched the GH4s overall
image quality rating, though
its images were not as squeaky
clean at lower sensitivity settings.
Furthermore, the E-M1 kept noise
to a Low or better rating only
up to ISO 800 and stepped into
Unacceptable territory at ISO
6400. One thing in Olympuss
favor: Its sensor-shift image
stabilization lets you save money
on lenses and reduce camera
shake even when using legacy
and adapted glass.
For the same price as the
GH4, Sonys a7 ($1,698 street,
body only) employs a full-
frame 24.3MP sensor for higher
resolution, at the expense of
extra noise at higher ISOs. But
its burst shooting is a not-
so-impressive 2.5 frames per
second, compared with the
GH4s 7.5, and video recording
tops out at 1920x1080p60if
that matters to you.
In the Field
The GH4 feels extremely
comfortable in the hand. The
grip is well-shaped and all
essential controls are easily
within reach of your fingers.
There are five customizable
hard buttons, with more than
50 functions you can assign to
any of them. If thats not
enough, you can also assign
up to five soft buttons that
pop out on the touchscreen
when you need them.
The body feels solid, and
its weathersealing means you
can take it out in the rain and
not worry (provided you have
a similarly weathersealed lens
attached). The EVF has enough
resolution to keep most people
from worrying that its not an
optical finder, and its refresh rate
is fast enough so that it remains
relatively smooth when you pan
across a scene. There are still
plenty of photographers who will
use only optical finders, but if you
dont mind an EVF, youll likely be
happy with the one in the GH4.
Given all the attention this
Panasonic is getting for its
ability to record 4K video, we
expected that its footage would
look goodand it certainly did.
There are so many combinations
of file formats, codecs, frame
rates, and compression types
and levels that we have to admit
that we didnt try them all. We
paid closest attention to the
1080p60 mode at 200 Mbps with
ALL-I compression, since this
will show to its best advantage
on most peoples HDTV screens.
That footage was among the best
HD video weve seen in a camera
in this price rangethe realism
and detail that comes along with
this amount of data capture is
extremely pleasing.
When it comes to shooting
4K, there are a few things you
should know. The GH4 can record
at both Cinema 4K (4096x2160)
and 4K (3840x2160). Second, you
can select the cameras system
frequency to match the frame
rate at which you plan to record:
Cinema 4K can be recorded to
a memory card only when the
system is set to 24 Hz; the other
options are 50 Hz, to match
the European TV standard, or
59.94 Hz, which is what cameras
actually use when you select
60p recording. Finally, youll
need a UHS-I Speed Class U3
memory card in order to record
4K with this camera, and these
are currently available only from
Panasonic and Kingston.
If you dont want to record to

a memory card, you can send
footage out from the Micro
HDMI port to an external
recorder or buy Panasonics
DMW-YAGH interface unit,
which has professional-grade
stereo XLR audio inputs and
3G-SDI pro video outputs with
time code. The interface unit
also enables recording in a
10-bit color space that allows
for better color adjustments
in postproduction.
We didnt have an interface
unit on hand for our test, as
it seems like overkill for most
of our readers. But having
recorded both Cinema 4K and
4K, we can safely say that we
havent seen video this good
from any camera weve tested
to date. While we dont expect
many non-pros to delve into
4K right now, the future looks
wonderfully detailed once 4K
becomes more widespread.
Burst shooters will probably
appreciate the 7.5 fps capture
with continuous metering and
AF. Even better, the buffer
TEST RESULTS
IMAGE QUALITY ISO 100400
POOR EXCELLENT
EXCELLENT
RESOLUTION ISO 50
POOR EXCELLENT
1500 2000 2500 3000 3500 4000
EXCELLENT 2540
COLOR ACCURACY
HIGH EXCELLENT
EXCELLENT 7.8
HIGHLIGHT/SHADOW DETAIL
LOW EXTREMELY HIGH
HIGH
CONTRAST
LOW EXTREMELY HIGH
HIGH
UNACCEPTABLE EXTREMELY LOW
3.0 2.5 2.0 1.5 1.0 0.5
NOISE AT ISO
400
800
1600
25,600
LOW 1.8
LOW 1.8
100
200
EXTREMELY LOW 0.7
EXTREMELY LOW 0.7
EXTREMELY LOW 0.9
eUNACCEPTABLE 3.1
eUNACCEPTABLE 6.1
VERY LOW 1.2
VERY LOW 1.3
3200
6400
12,800
Very few
cameras
include a PC
sync terminal
for studio
flashes these
days, so
we applaud
the GH4 for
having one.
PANASONIC LUMIX GH4
LAB
*
ILC TEST
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Compatible with most monolights

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(800) 682.7668
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Make remote shots as convenient as
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Beyond
simply
allowing
4K capture,
the GH4
includes pro-
level video
features
such as
color bars
to calibrate
multiple
monitors,
zebra
patterns
to manage
exposure,
and SMPTE-
compliant
time code
to help sync
audio.
doesnt fill up until youve
captured 40 RAW frames or up
to 100 JPEGs. And the tracking
autofocus did a great job of
keeping up with moving subjects.
The Bottom Line
Panasonics GH4 is one of the
best ILCs you can get these days.
Even if you dont expect to shoot
4K, its 1080p video is stunning.
But for GH3 owners who dont
need 4K video capture, the
GH4 might not make sense as
an upgradeespecially true if
youre primarily a still shooter.
Some videographers might not
be able to resist the appeal of
200Mbps recording, compared
with the GH3s limit of 72Mbps,
but we suspect they'll be few.
Micro Four Thirds fans can
save a few hundred dollars by
opting for the Olympuss OM-D
E-M1, though their savings come
with the promise of noisier
images. At lower ISOs, however,
this may not be a huge issue for
some photographers.
The GH4 finds itself in a
strange spot. The extra cost of
enabling 4K recording puts it
at a disadvantage compared
to some other models. At the
same time, its an amazing
camera that comes as close to
the ideal of a do-it-all still/video
capture device as weve seen
yet. Sonys soon-to-arrive a7S
promises to deliver a similar
level of convergence, but with
its 12.2MP sensor, we do not
expect it to serve up as much
resolving power as the GH4,
even if it delivers better low-light
performance. For now the GH4
just may be the most versatile
ILC you can buy. Philip Ryan
IMAGING: 16.05MP effective, Four
Thirds-sized LiveMOS sensor captures
images at 4608x3456 pixels with
12 bits/color in RAW mode
STORAGE: SD, SDHC, SDXC slot
stores JPEG, RW2 RAW, RAW + JPEG,
and MPO (with optional 3D lens) files
BURST RATE: Full-sized JPEGs (Fine
mode), up to 100 shots at 7.5 fps;
RAW (12-bit), up to 40 shots at 7.5 fps
AF SYSTEM: TTL contrast detection
with 49 focus areas; single-shot and
continuous AF with face detection and
subject tracking; effective range, EV
4 through 18
SHUTTER SPEEDS: 1/8000 to 60
sec, plus B (1/3-EV increments);
shutter rated to 200,000 cycles
METERING: TTL metering with
1,728-zone Multi-pattern (evaluative),
centerweighted, spot (size of spot not
specified). EV 018 (ISO 100)
ISO RANGE: Standard, ISO 200
25,600 (in 1/3-EV increments);
Expanded, ISO 10025,600
VIDEO: Records at 4096x2160
at 24 fps in MOV (100Mbps IPB
compression); 3840x2160 at 30
fps in MOV or MP4 (100Mbps IPB);
1920x1080 at up to 60 fps in
AVCHD, MP4, or MOV (200Mbps
ALL-I or 100Mbps IPB); built-in
stereo microphone; stereo minijack
input; maximum clip length 29
min 59 sec. when recording to
memory card; clean HDMI out for
saving to external recorder
FLASH: Built-in pop-up; GN 40 (feet);
covers 12mm (24mm equiv.) field of
view; flash sync to 1/250 sec
VIEWFINDER: Fixed eye-level
OLED with 2.36-million-dot
resolution; 100% accuracy; 1.34X
magnification (0.67X 35mm-equiv.)
MONITOR: 3-inch articulated
OLED touchscreen with
1.04-million-dot resolution; 7-step
brightness adjustment
OUTPUT: USB 2.0, micro HDMI video,
composite video, minijack stereo
headphone, and Wi-Fi
BATTERY: Rechargeable
DMW-BLF19PP Li-ion, CIPA
rating 500 shots with Panasonic
1235mm f/2.8 lens
SIZE/WEIGHT: 5.2x3.7x3.3 in.,
1.2 lb with a card and battery
STREET PRICE: $1,698, body only;
$3,298 with DMW-YAGH Interface Unit
INFO: www.panasonic.com

SONY a6000
LAB
*
ILC TEST
AMATEUR PRO
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WHATS HOT
SONY a6000
Excellent image quality, small size
Somewhat noisy at higher ISOs
Budget-conscious ILC shooters
WHATS NOT
WHO ITS FOR
RECENT YEARS have seen some
very cool Sony cameras: the frst
full-frame compact camera, the
RX1, as well as the frst full-frame
interchangeable-lens compacts,
the a7 and a7R. In the midst of all
that full-frame hoopla, the APS-C-
format NEX-6 debuted to rela-
tively minor fanfare, although its
fans had much good to say about
the shooting experience.
Now Sony has followed up the
NEX-6 with the a6000. The pixel
count jumps to 24.3MP from
16.1MP, matching that of the still
current Alpha NEX-7. A new hybrid
autofocus system with 179 phase-
detection AF points embedded in
the sensor and 25 contrast-detec-
tion areas promises the fastest
autofocusing you can get. Given
that its predecessor couldnt quite
eke out enough resolving power for
an Excellent rating, we were inter-
ested to fnd out how the extra
pixels performed for the a6000
($648, street, body only; $798 with
1855mm f/3.55.6 OSS lens) in the
Popular Photography Test Lab.
In the Test Lab
Adding those pixels turned out to
be enough to bring the a6000 up
to an Excellent rating in overall
image quality from its lowest
sensitivity of ISO 100 through ISO
400. But readers may remember
that the NEX-6 held its Extremely
High image quality rating all the
way up to ISO 3200, given that it
could keep noise to a Low or better
SONYS LATEST
GIFT TO APS-C
SHOOTERS DOES
MANY THINGS WELL
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rating through that sensitivity.
The a6000s extra resolving
power, on the other hand, comes
with extra noise. The camera
maintained a Low or better noise
rating only up to ISO 400 and
reached Unacceptable by ISO
3200. To compare, the NEX-6
turned in 2225 lines per picture
height at ISO 100, while the a6000
served up 2640 lines at the same
sensitivity. Even at ISO 3200, the
new camera delivered 2470 lines,
but it dropped off substantially
on the way up to its maximum
sensitivity of ISO 25,600, where
it still managed to capture 2170
lines in our test.
So depending how you like
to shoot, the a6000s extra
resolution might outweigh the
difference in noise. Given that
the noise doesnt become too
extreme even at Unacceptable
levels, and that the camera is
aimed at a wider audience who
might not be too averse to some
noise, the tradeoff could be okay.
In our color accuracy test, the
a6000 matched the NEX-6s result
with an Excellent rating based on
an average Delta E of 7.9.
In the Field
Many would be hard-pressed to
see much of a difference between
the NEX-6 and a6000 bodiesand
thats a good thing in our book.
The a6000s grip is great, with
plenty to hold onto, while not
being too bulky: Its shape, quite
well thought-out, lets you securely
dangle the camera at your side
while walking around, and the
grip combines nicely with the
gently curved thumb area on the
back to let you angle the camera
as needed with minimum effort.
While you can certainly fnd
bodies with more buttons, the
a6000 provides direct access to an
ample number of camera settings
for a body in this price range. It
also offers a pleasing amount of
customization. One of our pet
peeves is having to press a button
to access exposure compensa-
tion when shooting in shutter- or
aperture-priority modes. The
a6000, though, lets you assign
exposure comp to either of the
two command wheels; we set it
to the rear wheel, which helped
make for a more seamless shoot-
ing experience during feld tests.
The OLED electronic viewfnder,
with 1.4 million dots, made its
own contribution to our experi-
ence in the feld. Its bright, sharp
display made framing images
a joy, and the amount of infor-
mation accessible helped the
process. As always, we like being
able to keep our eye at the fnder
when reviewing a just-captured
image or looking through camera
menus. The magnifcation isnt
amazingabout the same as
0.7X on a full-frame camera.
But, again, in this price range
you wont fnd any EVFs that will
outclass this one.
Fans of a touchscreen might
shed a tear to learn that the
3-inch tilting LCD on the a6000s
back wont acknowledge your
fngertips. But the ability to angle
it up or down helps when fght-
ing glare in bright sunlight. Plus,
you can shoot with the camera
extended above your head or held
down at waist level.
Burst shooters should very
much appreciate the 11-frames-
per-second capture rate, which
maintains metering, though not
continuous AF, during the burst. If
you want AF as well, you can step
back to a still-impressive 6-fps
burst rate.
As we did with the NEX-6,
we ran our lab tests using the
1650mm f/3.55.6 power zoom
kit lens. While we often end up
switching to fancier lenses during
feld testing, this kit zoom did
impress us. It can focus remark-
ably close, has optical stabiliza-
TEST RESULTS
IMAGE QUALITY ISO 100400
POOR EXCELLENT
EXCELLENT
RESOLUTION ISO 100
POOR EXCELLENT
1500 2000 2500 3000 3500 4000
EXCELLENT 2640
COLOR ACCURACY
HIGH EXCELLENT
EXCELLENT 7.9
HIGHLIGHT/SHADOW DETAIL
LOW EXTREMELY HIGH
HIGH
CONTRAST
LOW EXTREMELY HIGH
HIGH
UNACCEPTABLE EXTREMELY LOW
3.0 2.5 2.0 1.5 1.0 0.5
NOISE AT ISO
EXTREMELY LOW 0.9
VERY LOW 1.2
LOW 1.7
1600
3200
eUNACCEPTABLE 4.5
eUNACCEPTABLE 3.8
eUNACCEPTABLE 4.3
eUNACCEPTABLE 3.8
6400
12,800
25,600
100
200
400
800
If you want
to mount
Sony or
Minolta
A-mount
lenses on
the a6000,
you can use
the LA-EA4
adapter
($348,
street).
MODERATELY LOW 2.2
MODERATE 2.9
tion, and produced very pleasingly
sharp images.
We also used Sonys excellent
Zeiss-branded 24mm f/1.8, and
mounted both an A-mount Sony
50mm f/1.4 and a Minolta-era
100mm macro with an off-
cial Sony adapter. All worked
seamlessly, with full communi-
cation between the lenses and
camera body. Fans of old glass or
manual focusing should note that
SONY a6000
LAB
*
ILC TEST

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the a6000s focus peaking can help
when focusing manually.
Video shooters can count
on very nice footage at up to
1920x1080p60 in AVCHD format.
To help you keep overexposure
to a minimum, Sony added zebra
stripes, which place stripes over
the areas of the image that are
overexposed as you frame your
scene. Some level of overexposure
is sometimes unavoidable, but
zebra stripes can help you keep it
under control.
Built-in Wi-Fi and NFC let you
easily connect the a6000 to your
smartphone so you can control
the camera or transfer images or
video using Sonys PlayMemories
mobile app. We didnt encounter
any problems when using the
a6000 with a Samsung Galaxy S3
phone. The level of control and
access to menu items still isnt
as exhaustive as on apps from
Panasonic or Olympus, but it was
adequate for most of our needs.
Sony made a big deal about
the a6000s focusing speed when
the camera was frst announced.
And indeed, it autofocuses faster
than any ILC weve tried yetat
times it felt almost instantaneous.
(Our current AF speed tests do not
measure this type of autofocus
system precisely, but weve found
that most current ILCs focus with
plenty of speed until you get into
very dim light.)
The Bottom Line
Sonys a6000 is a terrifc all-pur-
pose camera. Priced just above
entry-level DSLRs, its advantage
in size and weight over those
cameras justifes the extra bucks.
Compared with other ILCs in
this price range, the a6000 offers
detailed images, a great control
system, and convenient wire-
less capabilities. As long as you
dont hate EVFs (we no longer
do, especially compared with not
having a viewfnder at all), there
are many points in the a6000s
favor, though we do hope that
Sony will be able to control noise
a little better in the next version
of this camera. Philip Ryan
In addition
to Wi-Fi
camera
control, the
a6000 is
compatible
with Sony's
Camera
Apps which
can add
capabilities,
such as Stop
Motion,
which
creates a
stop-motion
video from a
series of
images.
IMAGING: 24.3MP effective,
APS-C-sized CMOS sensor captures
images at 6000x4000 pixels with
12 bits/color in RAW mode.
STORAGE: SD/Memory Stick
Pro slot stores JPEG, ARW RAW,
and RAW + JPEG files
BURST RATE: Full-sized JPEGs
(Fine mode), up to 60 shots at
6 fps; RAW (12-bit), up to 23 shots at
6 fps using an SDHC UHS-I card.
AF SYSTEM: TTL hybrid phase/
contrast detection with 179 phase
and 25 contrast focus points;
single-shot and continuous AF; Sensitivity
rated down to EV 0 (at ISO 100, f/2.8)
SHUTTER SPEEDS: 1/4,000
to 30 sec, plus B (1/3-EV increments);
shutter life not rated
METERING: TTL metering with 1,200-
zone Multi-segment (evaluative),
centerweighted, spot (size of spot not
specified); EV 020 (ISO 100)
ISO RANGE: Stills, ISO 10025,600 (in
1/3-EV increments); Video, ISO 100
12,800 (in 1-EV increments)
VIDEO: Records at 1920x1080p at up to
60 fps in AVCHD v. 2.0; at 1440x1080p
at 30 fps in MPEG-4 MOV format; built-in
stereo microphone; no built-in mic input
FLASH: Built-in pop-up; GN
20 (feet); Multi Interface shoe for
dedicated flash or other accessories;
flash sync to 1/160 sec.
VIEWFINDER: Fixed eye-level OLED with
1.44-million-dot resolution.
LCD: 3-inch TFT with 921,600-dot
resolution; 5-step brightness adjustment
OUTPUT: USB 2.0, micro HDMI video,
composite video, analog audio, and Wi-Fi
BATTERY: Rechargeable NP-FW50
Li-ion, CIPA rating 310 shots (with EVF)
or 360 (with LCD screen)
SIZE/WEIGHT: 4.8x2.9x1.8 in., 0.8 lb
with a card and battery.
STREET PRICE: $648, body only;
$798, with E-mount 1650mm
f/3.55.6 OSS retractable zoom lens
INFO: www.sonystyle.com
SPECIFICATIONS
SONY a6000
LAB
*
ILC TEST

C R E AT E , E DI T AND P R I NT WI T H ADOR AMA
42 W 18TH ST NYC
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Sony Alpha A7R
Mirrorless Digital Camera
Worlds smallest, lightest
interchangeable lens
camera
$2,298.00
Wacom Cintiq DTK1300
13HD 13.3 InterActive Pen
Display Full control for
editing and illustration
$1,029.99
Epson Stylus Photo
R2000
Ink Jet Printer High-
performance, pigment
printing technology
$499.00
Apple
MacBook Air
11.6 Notebook Computer
1.4GHz Dual-Core Intel
Core i5, 4GB RAM,
128GB Flash Storage
$899.00
Size 5x7 8x10 11x14 16x20 20x24
1.4 96.8 95.9 93.5 88.6 82.4
2.0 97.0 96.1 93.9 89.4 83.7
2.8 97.2 96.4 94.4 90.2 85.1
4.0 97.6 96.8 95.1 91.6 87.3
5.6 97.9 97.2 95.7 92.7 89.1
8.0 98.0 97.4 96.0 93.4 90.2
11.0 97.8 97.2 95.6 92.7 89.1
16.0 97.2 96.3 94.2 90.3 85.4
A+ A B+ B C+ C D F
KEY
NIKON'S FULL-FRAME, high-
speed, high-end 58mm f/1.4G
($1,697, street) joins its 24mm
and 85mm lenses to form an
impressive lineup of new-age
f/1.4 primes. Together, they could
arguably comprise the perfect kit
for many a shooter. An 87mm
equivalent on DX bodies, the
58mm is an update of the old
58mm f/1.2 Nikkor and provides
most of Nikons latest bells and
whistles: Nano Crystal coating,
aspheric elements, and the quiet
SWM focusing motor.
At just under a pound, the lens
weighs about what you would
expect for a normal-range f/1.4.
It looked and handled well on
our test camera, the Nikon D4,
as well as on the D4s tested here
in June 2014. While by no means
small, it offers great handling,
especially compared to the
howitzer-class Zeiss Otus 55mm
f/1.4, which is approximately
twice the size, weightand price.
Taking 72mm filters, the Nikon
58mm is attractively marked and
includes a depth-of-field scale,
albeit for f/16 only. Due to the
relatively large chunk of f/1.4
glass, the lens autofocuses on the
slow (though acceptable) side.
But the AF is extremely quiet,
and that large aperture delivers
a noticeably bright viewfinder
image. Its manual-focus ring
has a well-damped, even
turn perfect for video.
Among the sharpest lenses
we've ever mounted on our
optical bench, the 58mm f/1.4G
delivered SQF numbers that
averaged 94.8%, just slightly
below those of the Zeiss Otus
55mm f/1.4 (94.9%) and the
category-leading Sigma 50mm
f/1.4 EX DG (95.9%). The newer
Sigma 50mm f/1.4 DG HSM Art
lens, as well as the Canon, Nikon,
and Sony full-frame 50mm f/1.4s,
all produced Excellent-range
numbers averaging slightly below
those of this new Nikon.
In our DxO Analyzer 5.3
distortion tests, we found Slight-
range barreling (0.22%)a bit high.
It wasnt, for example, on par with
the recently tested Sigma 50mm
or the Zeiss Otus 55mm (0.02%
pincushion and 0.09% barrel
distortion, respectively.)
The Nikon 58mm matched the
edge falloff of Sigmas new 50mm
and beat the other recently tested
high-speed normals, nearly all
of which suppressed vignetting
by f/2.8. Other tests such as
maximum magnification and
close focusing found only marginal
differences among manufacturers.
This Nikon is priced midway
between the Zeiss Otus ($3,990)
and less costly 50mm f/1.4s,
which run from $400 to $900.
Nikon-wielding wedding shooters
looking for a detail lens may
be tempted by the optically
superiorbut olderSigma
50mm f/1.4 EX ($499), or by
Nikons 50mm G lenses. But
video shooters should consider
this gem for its amazingly silent
manual focus. Julia Silber
By bumping
the focal
length out
to 58mm,
Nikon
can claim
(especially
with DX
bodies) that
the lens is
suitable for
portraits as
well as other
classic wide-
aperture
subjects.
Sharp One
SPECIFICATIONS
58MM (57.99mm tested), f/1.4 (1.46
tested), 9 elements in 6 groups. Focus ring
turns 140 degrees.
DIAGONAL VIEW ANGLE: 40 degrees
WEIGHT: 0.92 lbs FILTER SIZE: 72mm
MOUNTS: Nikon AF
INCLUDED: Lenshood, soft case
STREET PRICE: $1,697
WEBSITE: nikonusa.com
TEST RESULTS
DISTORTION: 0.22% (Slight) barrel
LIGHT FALLOFF: Gone by f/2
CLOSE-FOCUSING
DISTANCE: 20.87 inches
MAXIMUM MAGNIFICATION
RATIO: 1:6.92
NIKON REVAMPS
A CLASSIC NORMAL
WHATS HOT
NIKON 58MM F/1.4G AF-S NIKKOR
Super fast, sharp, and quiet
Pricey and somewhat slow AF, with
a bit more distortion than expected
WHATS NOT
WHO ITS FOR
Nikon wedding and event shooters
who need killer pictures in low light
2
.
7
7

i
n
.
3.32 in.
NIKON 58MM F/1.4G AF-S
LAB
*
LENS TEST
AMATEUR PRO
0.52 in.
D
A
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B
R
A
C
A
G
L
I
A
58
MM

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Size 5x7 8x10 11x14 16x20 20x24
3.5 96.0 94.8 91.9 86.3 79.7
4.0 96.0 94.7 91.8 86.1 79.2
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11.0 96.0 94.8 91.9 86.4 79.8
16.0 95.8 94.5 91.4 85.4 78.3
22.0 95.1 93.6 90.0 82.9 74.2
Size 5x7 8x10 11x14 16x20 20x24
4.5 96.1 94.9 92.1 87.1 81.4
5.6 96.0 94.8 92.0 86.9 81.0
8.0 96.0 94.7 91.9 86.7 80.7
11.0 96.0 94.7 91.9 86.7 80.7
16.0 95.7 94.3 91.2 85.6 78.9
22.0 94.8 93.2 89.4 82.2 73.4
29.0 94.3 92.6 88.4 79.9 69.6
Size 5x7 8x10 11x14 16x20 20x24
5.6 95.8 94.5 91.5 86.3 80.4
8.0 95.4 94.0 90.7 84.8 78.0
11.0 95.4 93.9 90.6 84.6 77.7
16.0 95.2 93.7 90.2 83.9 76.5
22.0 94.7 93.0 89.2 82.0 73.5
32.0 94.1 92.2 87.9 79.1 68.5
36.0 93.8 91.9 87.3 77.9 66.3
Size 5x7 8x10 11x14 16x20 20x24
6.3 92.4 88.6 77.7 62.1 51.4
8.0 92.4 88.7 78.0 62.5 52.0
11.0 92.6 88.9 78.4 63.5 53.3
16.0 92.6 88.9 78.4 63.5 53.3
22.0 92.5 88.7 78.1 62.8 52.0
32.0 91.6 87.5 75.5 57.7 44.7
40.0 90.9 86.3 72.9 53.1 39.4
A+ A B+ B C+ C D F
KEY
16
MM
35
MM
100
MM
300
MM
TAMRON HAS once again thrown
down the all-in-one zoom
gauntlet, delivering the widest
zoom range ever, 18.8X, in its
16300mm f/3.56.3 DiII VC PZD
Macro ($629, street). Covering
an APS-C-sized sensor, the lens
provides the full-frame equivalent
of about a 24.8465mm in a
confoundingly petite package.
The lens boasts a stylish design
with crisp, easily legible numerals
and overall unshowy barrel
markings that struck us as classy
and restrained. Only the subject-
distance scales caused some
hesitation: Both feet and meters
are in white, and we like the
convenience of seeing these scales
in contrasting colors.
The lens Piezo Drive
autofocusing motor is quiet,
fast, and accurate. Its manual-
focus ring turns with a smooth,
even action and a not-too-long-
or-too-short 130-degree turning
radius. At less than a half-inch
across, though, the MF ring feels
somewhat skimpy in scale.
On our optical bench, the
zoom produced Excellent SQF
scores at three focal lengths
but, as is common for all-in-
one zooms, it dipped two levels
to Average numbers at its long
end. The Tamrons SQF numbers
and distortion, as measured by our
tests using DxOs Analyzer 5.3, ran
neck-and-neck with recently tested
all-in-ones, including the Pentax
18270mm, Sigma 18250mm, and
Tamron 18270mm.
Optically, the lens comes into
its own in the macro range. First,
its subject magnification of 1:2.30
makes it the mightiest magnifier
of recent all-in-ones. Second, it
produced no edge vignetting at
all in the macro range. And third,
our tests found almost a complete
absence of distortion (0.01%
pincushioning) at its tight 12.75-inch
close-focusing distance.
Another distinguishing virtue?
At only one of its four tested focal
lengths did we detect any edge
falloff and, for that one (16mm), the
vignetting disappeared by an easily
forgivable f/4.
Between that (almost) 19X zoom,
and its macro might, you could
arguably shoot almost anything
with this Tamron. Julia Silber
Tamrons
newest
all-in-one
features
a barrel-
mounted
zoom lock,
but in our
field tests
it proved
unneces-
sary, as the
lens showed
no zoom
creep.
ZOOM KING
SPECIFICATIONS
16-300MM (16.61299.76mm tested),
f/3.56.3 (f/3.31n.a. tested*), 16
elements in 12 groups. Focus ring turns
130 degrees. Zoom ring turns 80 degrees.
Focal length marked at 16-, 35-, 50-, 70-,
100-, 200-, and 300mm.
DIAGONAL VIEW ANGLE: 82.5 degrees
WEIGHT: 1.28 lbs FILTER SIZE: 67mm
MOUNTS: Canon AF, Nikon AF, Sony AF
INCLUDED: Lenshood
STREET PRICE: $629
WEBSITE: tamron-usa.com
TEST RESULTS
DISTORTION: At 16mm, 0.70% (Visible)
barrel; at 35mm, 0.33% (Visible) pincushion;
at 100mm, 0.30% (Slight) pincushion; at
300mm, 0.18% (Slight) pincushion
MACRO DISTORTION: At 300mm, 0.01%
(Imperceptible) pincushion
LIGHT FALLOFF: At 16mm, gone by f/4;
at 35mm, 100mm, and 300mm, none
MACRO LIGHT FALLOFF: At 300mm, none
CLOSE-FOCUSING
DISTANCE: 12.93 inches
MAXIMUM MAGNIFICATION RATIO:
At 16mm, 1:12.59; at 35mm, 1:5.34;
at 100mm, 1:2.98, at 300mm, 1:2.30
IMAGE STABILIZATION: 2.0 stops
MACRO STABILIZATION: 2.0 stops
TAMRON UPS THE
ALL-IN-ONE ANTE
WHATS HOT
TAMRON 16300MM F/3.56.3 DIII VC PZD
Awesome zoom range, great price,
fantastic macro capabilities
Slightly soft at 300mm
WHO ITS FOR
APS-C fans wanting the convenience
of one-stop lens shopping
4
.
0
2

i
n
.
7
.
1
9

i
n
.
2.87 in.
TAMRON 16300MM F/3.56.3 DIII VC PZD MACRO
LAB
*
LENS TEST
AMATEUR PRO
0.42 in.
1.11 in.
D
A
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B
R
A
C
A
G
L
I
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WHATS NOT
*
T
E
S
T
E
D

M
E
A
S
U
R
E
M
E
N
T

N
O
T

A
V
A
I
L
A
B
L
E

D
U
E

T
O

I
N
S
T
R
U
M
E
N
T

L
I
M
I
T
A
T
I
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N
.

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Mega
Pixels
Powershot S120
5.2-2Orr |/1.8-5./ (85rr e(u|..
24-120rr 8.0" Tcu:|:|ee| |CO
SO/SOHC/SO/C Ca|d S|c|
|u|| HO 1080/O0p V|dec |S0 12800
E||a|:ed w|-|| Capao|||||e
#CAPSS120B* .............. 449.99 12
Mega
Pixels
Stylus XZ-2 iHS
8.0" SW|.e||| Tcu:|:|ee| |CO
O-24rr |/1.8-2.5 (85rr e(u|..
2/-108rr |e| 11 A|| ||||e|
|u|| HO 1080p V|dec Re:c|d||
#OLXZ2B 12
Mega
Pixels
You' re On Steady Ground
Tri pods wi th Bal l Head
UelachabIeLegandLoIumnFormMonopod
NonHolalngTwslLockLegs
CroovedcenlercoIumn BubbIeLeveIs
HubberFeelHelraclabIeMelaISpkes
IncIudedpaddedcarrybag
Model Bal l Head
Load
Capaci ty
Max.
Hei ght Fol ded Wei ght SKU # Pri ce
Anodized Aluminum Tripods
AT-3421 BIDST S.SIb 59" IS.B E.7Ib DBTS4EIIDST $159.95
AT-3431 BIDBT B.BIb SI.S I7.S E.BIb DBTS4SIIDBT $199.95
AT-3441 BIIIT IIIb SS.4 I7.5 S.5Ib DBTS44IIIIT $249.95
AT-3451 BIIST IS.EIb S5.5 IB.I S.SIb DBTS45IIIST $289.95
AT-3461 BII7T I7.SIb S7.I IBS 4.5Ib DBTS4SIII7T $299.95
6x Carbon Fiber Tripods
CT-3431 BIDBT B.BIb 5S.5 I7 E.5Ib DBLTS4SIIDBT $399.95
CT-3451 BIIST IS.EIb SI.S I7.I E.5Ib DBLTS45IIIST $479.95
CT-3461 BII7T I7.SIb S4.5 I7.4 S.IIb DBLTS4SIII7T $479.95
CT-3481 BIEST ES.4Ib SB IB.S S.BIb DBLTS4BIIEST $499.95
CT-3521 BIDST S.SIb 5S.4 I4.B E.4Ib DBLTS5EIIDST $379.95
CT-3531 BIDBT B.BIb SD.B I5.5 E.5Ib DBLTS5SIIDBT $399.95
CT-3551 BIIST IS.EIb SE.4 IS E.SIb DBLTS55IIIST $469.95
CT-3561 BII7T I7.SIb S4.S IS.B S.IIb DBLTS5SIII7T $349.95
CT-3581 BIEST ES.4Ib S7.S IS.S S.SIb DBLTS5BIIEST $369.95
AT-3421
CT-3481
CT-3561
CyberShot DSC-RX100 II
8.0" T||||| /||a |||e |CO Bu|||-|| w||e|e
8.O/ 0p||:a| Zccr /.2/ O|||a| Zccr
10.1-8/.4rr |/1.8-4.9 (85rr e(u|..
28-100rr Ca|| Ze| Va||c-Sc||a| T |e|
|S P|c Ouc/P|c H0-Ouc, SOHC/SO/C
Ca|d S|c| |u|| HO 1080|/p V|dec a| O0 & 24 |p
#SODSCRX100M2 20
Mega
Pixels
Coolpix P530
8.0" |CO E|e:||c||: V|eW|||de|
42/ 0p||:a| Zccr 82/ O|||a| Zccr
4.8-180rr |/8-5.9 VR (85rr e(u|..
24-1000rr SO/SOHC/SO/C Ca|d S|c|
|u|| HO 1920 / 1080 V|dec Re:c|d||
w|-|| W||| 0p||c|a| wU-1a Adap|e|
#NICPP530* ...........................449.95 .... Less $100 Rebate .. 349.95 16
Mega
Pixels
$100
REBATE!
Expires
5-31-14
Lumix DMC-FZ70
8.0" |CO SO/SOHC/SO/C Ca|d S|c|
|u|| HO 1080| AVCHO V|dec a| O0 |p
O0/ 0p||:a| Zccr 5/ O|||a| Zccr
8.58-215rr |/2.8-5.9 (85rr e(u|..
20-1200rr OC Va||c |e|
C|ea||.e Cc|||c|, Pa|c|ara, a|d Re|cu:|
#PADMCFZ70B* 16
Mega
Pixels
SDHC Secure Digital High Capacity
Delkin Kingston Sandisk
Pro Micro Std Micro
Class
10
Class 4
Mobility
Class
4
Class
4
4GB 7.95 5.95 5.95
8GB 9.95 6.95 6.95 7.95
16GB 13.95 10.95 13.95 11.95
32GB 23.95 19.95 18.95 21.95
CF Compact Flash
Delkin Kingston Lexar Sandisk
500x 700x 1000x 1050x
Ultimate
266x
Ultimate
600x
800x 1066x
Ultra
50MBs
Extreme
120MBs
Extreme Pro
90MBs 160MBs
16GB 29.95 39.95 59.95 18.95 35.69 47.95 76.95 49.95 50.95 74.95
32GB 45.67 63.50 99.99 109.95 34.95 52.74 69.95 124.25 94.99 84.95 129.99
64GB 84.50 124.00 219.95 219.95 57.74 122.50 242.95 149.99 279.95 281.95
128GB 229.95 349.95 449.95 234.95 484.95 289.95 599.00
256GB 469.95 999.95 959.99
512GB 939.95
XQD High-Speed for Nikon D4
Sony
N Series
125MBs
S Series
180MBs
32GB 99.95 199.95
64GB 189.95 307.95
SDXC-UHS1 Extended Capacity -UHS2
Delkin Kingston Lexar Sandisk Sony Sandisk
600x 633x
Class 10 Class 10 Micro Class 10 Micro
80MBs
Class 10 Class 4 Extreme Pro
233x 200x 400x 600x 633x 30MBs 80MBs 95MBs 40MBs 94MBs Micro Backup 280MBs
64GB 73.50 89.95 54.95 40.54 53.95 69.95 69.95 62.95 79.95 98.95 79.95 35.95 74.28 39.99 57.50 244.95
128GB 167.68 97.95 135.95 124.99 149.99
256GB 389.95 Note: Not all devices support SDXC cards
SDHC-UHS1 Ultra High Speed -UHS2
Delkin Kingston Lexar Sandisk Sony Sandisk
600x 633x
Class 10 Class 10 Micro Ultra
30MBs
Extreme
80MBs
Extrm Pro
95MBs
Micro
80MBs
Class 10 Class 4 Extreme Pro
233x 200x 400x 600x 633x 40MBs 94MBs Micro Backup 280MBs
8GB 18.95 19.95 12.95 9.95 17.95 21.95 8.39 13.49 8.86
16GB 23.50 32.95 16.95 12.95 17.95 26.50 26.95 14.95 26.95 37.95 27.95 11.99 19.90 12.95 19.50 74.95
32GB 38.95 59.95 29.95 23.95 28.95 39.95 44.95 24.95 39.95 49.95 39.95 18.99 36.00 19.95 27.99 129.95
Extreme Pro
CFast 2.0 memory card
|ee| ||e dera|d c|
o|cad:a|, :||era,
a|d p|c|c|ap|]
U|p|e:ede||ed ||a||e|
peed c| up |c 450|B/
60GB .......$649.95 120GB .. $1,199.95
NEW
!

50mm f/2 Macro ED Zuiko
Digital Lens
t %FTJHOFE FYDMVTJWFMZ GPS %JHJUBM 4-3T
|dea| |c| ra:|c p|c|c|ap|]
a|d a|c a a pc|||a|| |e|
|a|||:a||c| 1.2
EO |a e|ere||
|||. |c:u. 9.45"
52rr |||e|
d|are|e|
we|||. 10.O c/
HVL-F60M
S|ce-|cu|| O|||a| ||a|
Oed|:a|ed ||a| a|d V|dec ||||
Bcu|:e & SW|.e| Head
0u|de \c. O0'
H||-Speed S]|:
Au|c w|||e Ba|a|:e
Ccrpe|a||c|
||a| Ccrpe|a||c|
0pe|a||c|
w||e|e Ra||c Cc|||c|
Ad.a|:ed O||a|:e |||e|a||c|
16-80mm f/3.5-4.5
Carl Zeiss T* DT Digital Lens
|dea| |c| |ap|c|,
pc|||a||, |||e||c|,
c| cu|dcc| :e|e|]
85rr e(u|..
24-120rr
|||. |c:u. 18.8"
O2rr |||e|
d|are|e|
we|||. 15.5 c/
18-135mm f/3.5-5.6 ED AL (IF)
DC WR Digital Lens
SP Cca||| Repe| Ou|,
wa|e|, & 0|eae
wea||e| |e||a||
0u|:|-S||||
|c:u S]|er
|||. |c:u. 1.8'
O2rr |||e| d|are|e|
we|||. 14.8 c/
Flash System
||-800R ||a| ...................................................... 169.95
||-O00R ||a| ...................................................... 299.95
||-50R ||a| ........................................................ 499.95
R|-11 R|| ||a| .................................................. 249.95
SR|-11 R|| ||a| Se| .......................................... 559.95
T|-22 TW|| ||a| .................................................. 449.95
ST|-22 TW|| ||a| Se|........................................... 739.95
Zuiko 4/3 System Digital Lenses
8/8.5 |||-e]e EO ................................................. 799.99
85/8.5 |a:|c EO (52c ......................................... 229.95
50/2.0 |a:|c EO (//c ......................................... 499.95
150/2.0 EO (82c ............................................... 2,499.95
800/2.8 EO ....................................................... 6,999.95
/-14/4.0 EO (/2c ............................................. 1,799.95
11-22/2.8-8.5 EO (/2c ........................................ 799.95
12-O0/2.8-4 EO SwO (/2c ................................... 999.95
14-42/8.5-5.O EO (58c ........................................ 249.95
18-180/8.5-O.8 EO (O2c ...................................... 499.95
85-100/2.0 EO (//c ......................................... 2,499.99
40-150/4-5.O EO (58c ......................................... 279.95
50-200/2.8-8.2 EO SwO (O/c ........................... 1,199.95
90-250/2.8 EO (105c ....................................... 5,999.95
EC-14 1.4/ Te|e:c|.e||e| ...................................... 439.95
EC-20 2/ Te|e:c|.e||e| ......................................... 479.95
||-1 0| |e| Adap|e| ........................................... 83.95
AF Flash System
A|-8O0|0Z .....................................................................
A|-540|0Z || ...................................................................
DA Digital AF Lenses
14/2.8 EO || (//c ...........................................................
15/4.0 EO A| HO ||r||ed (49c .........................................
85/2.8 |a:. HO ||r||ed (49c ..........................................
55/1.4 ||r||ed (58c ........................................................
21/8.2 A| ||r||ed 'Pa|:a|e' (49c ...................................
40/2.8 ||r||ed 'Pa|:a|e' (49c ........................................
/0/2.4 HO ||r||ed (49c ...................................................
200/2.8 EO || ..................................................................
800/4.0 EO || SO| (//c .................................................
10-1//8.5-4.5 EO || (//c ...............................................
12-24/4 EO A| || (//c ....................................................
1O-50/2.8 EO A| || SO| (//c .........................................
1/-/0/4.0 A| || SO| (O/c ..............................................
50-185/2.8 EO || SO| (O/c ............................................
50-200/4-5.O EO wR (52c ..............................................
55-800/4-5.8 EO (58c ....................................................
O0-250/4.0 EO || SO| (O/c ............................................
AF Lenses for 35mm & Digital SLRs
81/1.8 ||r||ed (58c ........................................................
50/1.4 (49c ....................................................................
48/1.9 ||r||ed 'Pa|:a|e' (49c ........................................
50/2.8 |a:|c (52c W||| Cae ..........................................
///1.8 ||r||ed (49c ........................................................
100/2.8 O |A Aw |a:|c (49c ..........................................
Compatible with Maxxum DSLRs
Flash System
HV|-|20| ............................................................ 149.99
HV|-|20S............................................................. 149.99
HV|-|48| ............................................................ 398.00
HV|-|O0| ............................................................ 548.00
Digital Lenses
1O/2.8 |||-e]e .................................................... 999.99
20/2.8 (/2c ......................................................... 749.99
24/2 Ca|| Ze| (/2c ......................................... 1,399.99
85/1.4 0 (55c................................................... 1,499.99
50/1.4 (55c ......................................................... 449.99
50/2.8 |a:|c (55c............................................... 599.99
85/1.4 Ca|| Ze| (/2c ...................................... 1,699.99
100/2.8 |a:|c (55c............................................. 799.99
185/1.8 Ca|| Ze| (//c .................................... 1,799.99
185/2.8 ST| (/2c ............................................. 1,399.99
800/2.8 0 AP0 || ............................................... 7,498.99
11-18/4.5-5.O OT (//c ........................................ 799.99
1O-85/2.8 ZA SS| Ca|| Ze| (//c .................... 1,999.99
1O-80/8.5-4.5 OT Ca|| Ze| (O2c ........................ 999.99
1O-105/8.5-5.O OT (O2c ...................................... 699.99
18-250/8.5-O.8 OT (O2c ...................................... 649.99
24-/0/2.8 Ca|| Ze| (//c ................................. 1,999.99
/0-200/2.8 0 AP0 (//c .................................... 1,999.99
/0-800/4.5-5.O 0 (O2c ........................................ 999.99
1.4/ Te|e:c|.e||e| ................................................. 549.99
2/ Te|e:c|.e||e| .................................................... 549.99
Alpha NEX-6 ||||c||e S]|er Care|a
|a| H]o||d A| W|||
P|ae-Oe|e:||c| A|
8.0" |CO
Ue Sc|] E-rcu|| |e|e
/0A 0|EO T|u-|||de| EV|
Cap|u|e 1080 HO V|dec
SO/SOHC/SO/C & |S P|c Ouc/
P|c H0-Ouc Ca|d S|c|
w|-|| Capao|e
|a| 10|p Bu|| S|cc|||
P|a]|erc||e Care|a App
with 16-50mm Lens .............................#SONEX6L* 16
Mega
Pixels
Lumix DMC-GH3 ||||c||e S]|er Care|a
|a|e|ur A||c],
wea||e|-Sea|ed Bcd]
|u|| HO 1080p V|dec a| O0|p
8.0" ||ee-A||e |CO
||:|c |cu| T|||d S]|er
||.e V|eW |||de|
20|p Cc||||ucu S|cc|||
|u||-A|ea Au|c |c:u S]|er, P||pc||| A|
Bu|||-|| w|-|| |c |||| |c Sra|| Oe.|:e
Body Only........................................... #PADMCGH3B 16
Mega
Pixels
Alpha A7 OS|R
|u|| ||are E/rc| C|0S Se|c|
SO/SOHC/SO/C, |S P|c Ouc/
P|c H0-Ouc Ca|d S|c|
O||e:| Ccrpa||o||||]
W||| E-rcu|| |e|e
8.0" T|||ao|e T|T |CO
Bu|||-|| w|-|| a|d \|C
O||e:| A::e |||e||a:e
|u|| 1080/O0p W|||
U|:crp|eed 0u|pu|
Bcd] 0||] #SOA7B
||| W||| 28-/0rr |e| #SOA7KB 24
Mega
Pixels
OM-D E-M1 ||||c||e S]|er Care|a
8.0" T||||| |CO Tcu:|:|ee|
T|ueP|: V|| |rae P|c:ec|
||:|c |cu| T|||d S]|er
|u|| HO 1080p V|dec
|AST Oua| P|ae- &
Cc|||a|-Oe|e:||c| A|
Bu|||-|| w||e|e Cc||e:||.||]
10 |p a|d 1/8000 e:. Tcp S|u||e| Speed
Ou|/Sp|a|/||ee/ep|cc| |a|e|ur A||c] Bcd]
#OLEM1* 16
Mega
Pixels
Alpha A5000 ||||c||e S]|er Care|a
8.0" T||||| |CO
Ue Sc|] E-rcu|| |e|e
|S P|c Ouc/H0-Ouc//C-H0 Ouc
Ha|d-|e|d TW||||| |cde
|S0 100-1O000
|u|| HO 1080p V|dec a| O0 |p
P|c|c C|ea||.||] a|d P|:|u|e E||e:|
Bu|||-|| w|-|| Cc||e:||.||] W||| \|C
A.a||ao|e || B|a:|, S||.e| c| w|||e
Kit with 16-50mm OSS Lens ................ #SOA5000* 20
Mega
Pixels
Lumix DMC-GX7 ||||c||e S]|er Care|a
|u|| HO 1080p AVCHO
V|dec a| O0 |p
8.0" T||||| Tcu:|:|ee| |CO
||:|c |cu| T|||d S]|er
90 T||||| EV|
|c:u Pea||| a|d
|a||||:a||c| w||dcW
Bu|||-|| w||e|e a|d \|C Cc||e:||.||]
A.a||ao|e || B|a:| c| S||.e|/B|a:|
with 14-42mm I ILens ........................ #PADMCGX7K* 16
Mega
Pixels

Page 4
When in New York,
420 Ninth Ave.
of the latest gear
Sales Professionals
Hands-on demos
available
BandH.com/catalog
212-444-6633
www.BandH.com
EOS-5D Mark III DSLR
3.2" Clear View High Resolution LCD
DIGIC 5+ Image Processor
O1-Pc||| H|| Oe|||] A|
Ue Ca|c| E| |e|e
Oua| C|, SO Ca|d S|c|
|u|| HO 1080/80p & /20/O0p |c|ra|
E/|e|ded |S0 Ra|e (50-102400
Bu|||-|| HOR & |u|||p|e E/pcu|e |cde
Rebates (Mail-in) Expire 7-5-14 Price Rebate Final Cost
Bcd] 0||] #CAE5D3* ..............................................8899.00 ........$200 ..... 3199.00
||| W||| 24-105rr | |S #CAE5D324105 .................8999.00 ........$200 .....3799.00
EOS-6D DSLR
|u||-||are C|0S Se|c| 8.0" |CO
O|0|C 5+ |rae P|c:ec|
Ue Ca|c| E| |e|e
Bu|||-|| w|-|| a|d 0PS Cc||e:||.||]
|u|| HO 1080p W||| |a|ua| Cc|||c|
E/|e|ded |S0 Ra|e c| 50-102400
Up |c 4.5 |u|| Rec|u||c| |PS
Bu|||-|| HOR & |u|||p|e E/pcu|e |cde
Rebates Expire 6-28-14 Price Rebate Final Cost
Bcd] 0||] #CAE6D ................................................. 1899.00 ........$200 ..... 1699.99
||| W||| 24-105rr |/4 | #CAE6D24105 .................2499.00 ........$200 .....2299.99
20
Mega
Pixels
Digital Rebel T5i DSLR
8.0" Va||-A||e Tcu:|:|ee| |CO
Ue Ca|c| E| |e|e (1.O/ |a:|c|
ST| |e| Suppc|| |c|
0u|e| A| || |c.|e
|u|| HO 1080 V|dec W||| Cc||||ucu A|
|S0 100-12800, E/pa|dao|e |c 25O00
Kit with 18-55rr |S ST| #CAEDRT5IK ....................849.99 ........$100 ....... 749.99
T5 Kit W||| 18-55rr |S || #CAEDRT5K .....................549.99 .........$50 ........ 499.99
T3 Kit W||| 18-55rr |S #CAEDRT3K .......................449.99 .........$50 ........ 399.99
T3i Kit W||| 18-55rr |S #CAEDRT3IK .....................599.99 .........$50 ........ 549.99
EOS-1Dx DSLR
Oua| O|0|C 5+ |rae P|c:ec|
|a|e|ur A||c] Bcd]
E]e-|e.e| Pe||ap||r V|eW|||de|
8.2" |CO |c|||c|
Ue Ca|c| E| |e|e
Oua| C| :a|d |c|
1920 / 1080 HO V|dec Cap|u|e
||.e V|eW S|||| a|d V|dec Re:c|d||
O1-Pc||| H|| Oe|||] Au|c |c:u
Body Only #CAE1DX* ..........................................................6799.00 18
Mega
Pixels
EOS-70D DSLR
Oua| P|/e| C|0S A| W||| ||.e V|eW
O|0|C 5+ |rae P|c:ec|
Ue Ca|c| E| & E|-S |e|e
8.0" Va||-A||e Tcu:|:|ee|
/ |p Cc||||ucu S|cc|||
Bu|||-|| w||e|e Cc||e:||.||]
|u|| HO 1080p V|dec
Bcd] 0||] #CAE70D ................................................ 1199.00 ........$200 .......999.00
Kit with 18-55rr ST| #CAE70D1855 ................... 1849.00 ........$200 ..... 1149.00
EOS 60D Bcd] 0||] #CAE60D ..................................899.99 ........$200 ....... 699.99
EOS 60D Kit W||| 18-185rr |S #CAE60D18135 .... 1199.00 ........$200 .......999.00
20
Mega
Pixels
18
Mega
Pixels
$100
REBATE!
$200
REBATE!
$200
REBATE!
$200
REBATE!
$200
REBATE!
EOS-7D DSLR
Re:c|d HO V|dec 8" |CO
Ue Ca|c| E| |e|e
Ou| a|d wea||e| Re||a||
C| Ca|d S|c| Se|e:|ao|e V|dec
E/pcu|e a|d ||are Ra|e
|S0 100-O400 (e/pa|dao|e |c
12800 8 |p Bu|| |cde
19-Pc|||, A|| C|c-T]pe A| S]|er
Bcd] 0||] #CAE7D .................................. 1499.00 ....$200 .... 1299.99
||| W||| 18-185rr |S #CAE7D18135 ...... 1/99.00 ....$200 .... 1599.99
||| W||| 28-185rr |S #CAE7D28135 ...... 1O99.00 ....$200 .... 1499.99 18
Mega
Pixels
22
Mega
Pixels
EOS Flash System MAP Rebate Final
2/0E/ || ...................................................1O9.99....
$20 .......149.99
820E/ ............................................................................... ..................
480E/ || ...................................................299.99....
$40 .......259.99
O00E/-RT.................................................549.99....
$50 .......499.99
|R-14E/ R|||||| ....................................549.99.............. ..................
|T-24E/ TW|| ||a| ..................................829.99....
$60 .......769.99
EF-S Digital Lenses MAP Rebate Final
(\c| :crpa||o|e W||| |u|| ||are :are|a
O0/2.8 US| |a:|c (52c ...........................4O9.99....
|
$50 .......419.99
10-22/8.5-4.5 US| (//c .........................O49.99....
$50 .......599.99
15-85/8.5-5.O |S US| (/2c ...................../99.99..
|
$100 .......699.99
1/-55/2.8 |S US| (O/c ............................8/9.99....
|
$60 .......819.99
1/-85/4-5.O |S US| (O/c ........................599.99.............. ..................
18-55/8.5-5.O |S (58c || ...........................199.99.............. ..................
18-185/8.5-5.O |S (O/c ...........................499.99.............. ..................
18-200/8.5-5.O |S (/2c ...........................O99.99.............. ..................
55-250/4-5.O |S US| (58c ......................299.99.............. ..................
55-250/4-5.O |S ST| (58c.......................849.00.............. ..................
EF Lenses MAP Rebate Final
20/2.8 US| (/2c .....................................539.99....
$50 .......489.99
24/2.8 |S US| (58c .................................599.99....
$50 .......549.99
28/1.8 US| (58c .....................................509.99....
$60 .......449.99
28/2.8 |S US| (58c .................................549.99....
$50 .......499.99
85/2 |S US| (O/c ....................................599.99....
$50 .......549.99
40/2.8 ST| Pa|:a|e (52c........................199.99....
$50 .......149.99
50/1.8 || (52c ..........................................125.99....
$15 .......110.99
50/2.5 |a:|c (52c...................................299.99....
|
$30 .......269.99
50/1.4 US| (58c .....................................399.99....
$50 .......349.99
|P-E O5/2.8 1/-5/ |a:|c (58c ..............1049.00..
|
$100 .......949.00
85/1.8 US| (58c .....................................419.99....
$50 .......369.99
100/2 US| (58c ......................................499.99....
$50 .......449.99
100/2.8 US| |a:|c (58c .........................599.99....
|
$50 .......549.99
28-185/8.5-5.O |S US| (/2c ...................4/9.99.............. ..................
/0-800/4-5.O |S US| (58c ......................O49.99..
|
$250 ... 399.99**
/0-800/4.5-5.O O0 |S US| (58c ............1899.00.............. ..................
/5-800/4.0-5.O ||| (58c ............................199.99.............. ..................
/5-800/4.0-5.O ||| US| (58c ....................284.99.............. ..................
W||| pu|:|ae c| E0S-OO, /O, /0O, c| O0O
TSE MF Lenses MAP Rebate Final
1//4.0 | .................................................2499.00..
|
$200 .....2299.00
24/8.5 | || ..............................................2199.00..
|
$200 .....1999.00
45/2.8 ...................................................1899.00..
|
$100 .....1299.00
90/2.8 ...................................................1899.00..
|
$100 .....1299.00
EF "L" Lenses MAP Rebate Final
14/2.8 US| || .........................................2859.00
|
$200 .....2159.00
24/1.4 || (//c ........................................1/49.00
|
$200 .....1549.00
85/1.4 US| (/2c ...................................14/9.00
|
$150 .....1329.00
50/1.2 US| (/2c ...................................1O19.00
|
$200 .....1419.00
85/1.2 US| || (/2c ................................2199.00
|
$200 .....1999.00
100/2.8 |S US| |a:|c (O/c ...................1049.00
|
$150 .......899.00
185/2.0 US| (/2c .................................1089.00
|
$100 .......989.00
180/8.5 US| |a:|c (/2c .......................15/9.00
|
$150 .....1429.00
200/2.8 US| || (/2c ................................819.99...
|
$50 .......769.99
200/2.0 |S US| (52c .............................5999.00.............. ..................
800/4.0 |S US| (//c .............................1449.00
|
$100 .....1349.00
800/2.8 |S US| || (52c |ea| ..................../299.00.............. ..................
400/5.O US| (//c .................................1889.00
|
$120 .....1219.00
400/2.8 |S || (52c |ea| .........................11,499.00.............. ..................
500/4 |S US| || (52c |ea| ....................10,499.00.............. ..................
O00/4.0 |S || (52c |ea| .........................12,999.00.............. ..................
8-15/4.0 |||-e]e US| ...........................1499.00
|
$150 .....1349.00
1O-85/2.8 US| || (82c ...........................1O99.00
|
$200 .....1499.00
1/-40/4.0 US| (//c ...............................889.99
|
$100 .......739.99
24-/0/4.0 |S US| (//c ..........................1499.00
|
$300 .....1199.00
24-/0/2.8 || US| (82c ...........................2299.00
|
$300 .....1999.00
24-105/4 |S US| (//c ...........................1149.00.............. ..................
28-800/8.5-5.O |S US| (//c .................2O89.00.............. ..................
/0-200/4.0 US| (O/c ............................./09.99...
|
$80 .......629.99
/0-200/4.0 |S US| (//c ........................1849.00
|
$200 .....1149.00
/0-200/2.8 US| (//c ...........................1449.00
|
$150 .....1299.00
/0-200/2.8 |S || US| (//c .....................2499.00
|
$300 .....2199.00
/0-800/4.0-5.O |S US| (O/c .................1599.00
|
$200 .....1399.00
100-400/4.5-5.O |S US| (//c ...............1O99.00
|
$200 .....1499.00
EF Teleconverters MAP Rebate Final
1.4/ ||| ......................................................499.99...
|
$50 .......449.99
2/ ||| .........................................................499.99...
|
$50 .......449.99
SLR Lenses and Flashes
Instant Rebates Expire 6-28-14 Mail-in Rebates Expire 7-5-14
Call for Current Rebates & Promotions
A|| ||er W||| |a.e a| Instant Rebate & a|e .a||d |||u O-28-14
A|| ||er W||| | |a.e a Mail-in Rebate & a|e .a||d |||u /-5-14 N
ote
!

Page 5
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D4s DSLR
|/-|c|ra| (|u||-||are C|0S Se|c|
14-B|| RAw |||e & 12-B|| RAw S
|c|ra| 8.2" |CO
|u|| HO 1080p V|dec a| O0 |p
E/PEEO 4 |rae P|c:ec|
Ccrpa||o|e W||| |c| \|||c| 0p||:
11 |p S|cc||| |c| 200 S|c|
W||| AE/A| |S0 50-409O00
C| T]pe 1 & /0O Ccrpa||o|e
1000 Bae-T 0|ao|| w||ed |A\ Suppc||
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Body Only #NID4S .....................................6496.95 16
Mega
Pixels
D610 DSLR
|/-|c|ra| (|u||-||are C|0S Se|c|
Ue \||c| A| |e|e 8.2" |CO
O |p Cc||||ucu S|cc|||
E/pa|dao|e Se||||.||] |c |S0 25O00
|u|| HO 1080p V|dec Re:c|d|| a| 80 |p
|u|||-CA| 4800 A| Se|c| W||| 89 Pc|||
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Bcd] 0||] #NID610 .................................................... 199O.95 .... $100 ..... 1896.95
||| W||| 24-85rr VR |e| #NID6102485 .................259O.95 .... $200 .....2396.95
24
Mega
Pixels
Up to $200
REBATE!
D800 DSLR
85.9/24rr C|0S |/ |c|ra| Se|c|
8.2" |CO |c|||c|
0p||:a| |cW-Pa ||||e|
C| & SO Oua| Ca|d S|c|
\||c| | |cu|| |e| |cu||
E]e-|e.e| Pe||ap||r V|eW|||de|
1920 / 1080/80/25/24p HO V|dec
|a|||//Ce||e|-we|||ed/Spc| |e|e|||
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Bcd] 0||] #NID800 ...................................................299O.95 .... $200 .....2796.95
D800E Bcd] 0||] #NID800E ...................................829O.95 ....... ................
36
Mega
Pixels
$200
REBATE!
D7100 DSLR
|a|e|ur A||c] Bcd]
|c||u|e Re||a||
1080p |u|| HO V|dec Cap|u|e
A::ep| \||c| A| |e|e
(1.5/ |a:|c| 8.2" |CO
Oua| SO/SOHC/SO/C Ca|d S|c|
Bu|||-|| ||a| W||| Ccrra|de| |u|:||c|
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Bcd] 0||] #NID7100 ............................................... 1199.95 .... $100 ........ 1099.95
||| W||| 18-105rr VR #NID710018105 .................. 1599.95 .... $200 ........ 1399.95
24
Mega
Pixels
Up to $200
REBATE!
D5300 DSLR
|u|| HO 1080p V|dec a| O0 |p
8.2" Va||-A||e |CO |S0 100-25O00
Ue \||c| A| |e|e (1.5/ |a:|c|
Bu|||-|| w|-|| a|d 0PS Cc||e:||.||]
\||c| ||:. ||r||ed Wa||a||] ||:|uded
Rebates Expire 5-31-14
D5300 18-55 Kit is available in Black, Grey or Red Price Rebate Final Cost
||| W||| 18-55rr VR || (B, 0, R #NID53001855* ........89O.95 ..... $50 ........846.95
||| W||| 18-140rr VR (B|a:| #NID530018140 ......... 1299.95 .... $250 ..... 1049.95
D5200 ||| W||| 18-55rr VR #NID52001855* .......... /99.95 .... $100 ....... 699.95
24
Mega
Pixels
Up to $250
REBATE!
D3300 DSLR
|u|| HO 1080p V|dec Re:c|d||
8.0" |CO 5 |p S|cc|||
Ue \||c| A| |e|e (1.5/ |a:|c|
E/pa|dao|e |S0 25O00
Ea] Pa|c|ara |cde a|d 0u|de |cde
\||c| ||:. ||r||ed Wa||a||] ||:|uded
D3300 is available in Black, Grey or Red Price Rebate Final Cost
||| W||| 18-55rr VR || #NID33001855* ......................O4O.95 ..... $50 ........ 596.95
D3200 ||| B|a:| W/18-55rr VR #NID32001855* .... 529.95 ..... $50 ........ 479.95
24
Mega
Pixels
Rebates Expire 5-31-14
$50
REBATE!
SLR Lenses and Flashes
Instant Savings on Lenses with purchase of any Nikon DSLR
AF Flashes Price Rebate Final
SB-800 ....................................................14O.95........... .....................
SB-/00 ....................................................82O.95........ $30 .......296.96
SB-910 ....................................................54O.95........ $50 .......496.95
R1 w||e|e TW|| ||a| .................................................... .....................
R1C1 w||e|e TW|| ||a| S]|er .................................... .....................
DX ED-IF Lenses for Digital Only Price Rebate Final
10.5/2.8 |||-E]e ........................................................... .....................
85/1.8 0 A|-S (52c .................................19O.95........... .....................
40/2.8 0 A|-S ||:|c (52c ........................2/O.95........ $30 .......246.95
85/8.5 0 EO VR ||:|c ...............................52O.95....... $100 ......426.95
10-24/8.5-4.5 0 A|-S (//c ............................................ .....................
12-24/4 0 A|-S (//c ..................................................... .....................
1O-85/8.5-5.O 0 A|-S VR (O/c ....................................... .....................
1/-55/2.8 0 A|-S (//c .................................................. .....................
18-55/8.5-5.O 0 A|-S || (52c ......................................... .....................
18-55/8.5-5.O 0 A|-S VR (52c .................19O.95........... .....................
18-55/8.5-5.O 0 A|-S VR || (52c ..............24O.95........... .....................
18-105/8.5-5.O 0 A|-S VR * .....................89O.95......$100 * .....296.95
18-140/8.5-5.O 0 A|-S VR ** ...................49O.95..... $200 ** ....296.95
18-200/8.5-5.O 0 A|-S VR || .....................59O.95........... .....................
18-800/8.5-5.O 0 A|-S EO VR (//c ..........99O.95........... .....................
18-800/8.5-O.8 0 A|-S EO VR (O/c ..........89O.95....... $100 ......796.95
55-200/4-5.O 0 A|-S (52c ............................................. .....................
55-200/4-5.O 0 A|-S VR ..........................24O.95....... $100 ......146.95
55-800/4.5-5.O 0 A|-S VR .......................89O.95....... $150 ......246.95
D-Type AF Lenses Price Rebate Final
14/2.8 O EO ................................................................... .....................
1O/2.8 O (89c W||| Hccd ................................................ .....................
20/2.8 O (O2c................................................................ .....................
24/2.8 O (52c................................................................ .....................
24/1.4 0 A|-S EO (//c .................................................. .....................
24/8.5 O EO PC-E (//c .................................................. .....................
28/1.8 0 A|-S (O/c .................................O9O.95........... .....................
28/2.8 O (52c................................................................ .....................
85/2.0 O (52c................................................................ .....................
85/1.4 0 A|-S EO (O/c .................................................. .....................
85/1.8 0 A|-S EO (58c ............................59O.95........... .....................
45/2.8 O EO PC-E ||:|c (//c ......................................... .....................
50/1.8 O (52c................................................................ .....................
50/1.8 0 A|-S (58c .................................21O.95........... .....................
50/1.4 O (52c................................................................ .....................
D-Type AF Lenses Price Rebate Final
50/1.4 0 A|-S (58c ....................................................... .....................
58/1.4 0 A|-S (/2c ...............................1O9O.95........... .....................
O0/2.8 O ||:|c (O2c (1.1 .............................................. .....................
O0/2.8 0 A|-S EO ||:|c (O2c ......................................... .....................
85/1.8 O (O2c W||| Hccd ................................................ .....................
85/1.8 0 A|-S (O/c .................................49O.95........... .....................
85/1.4 O || (//c ............................................................ .....................
85/1.4 0 A|-S (//c ....................................................... .....................
85/2.8 PC-E ||:|c (//c ................................................. .....................
105/2.8 0 A|-S EO-|| VR ||:|c (O2c .............................. .....................
105/2.0 OC O W||| Hccd (/2c ........................................ .....................
180/2.8 O EO-|| (/2c..................................................... .....................
200/4 O EO-|| ||:|c W||| Cae (O2c ............................... .....................
200/2 0 A|-S EO-|| VR || (52c ........................................ .....................
800/4.0 O A|-S EO-|| (//c ............................................ .....................
800/2.8 0 A|-S VR (52c-R ............................................. .....................
400/2.8 0 A|-S VR EO (52c............................................ .....................
500/4.0 0 A|-S VR EO (52c............................................ .....................
14-24/2.8 0 A|-S EO-|| ..........................199O.95........... .....................
1O-85/4.0 0 A|-S EO VR (//c ................125O.95........... .....................
1/-85/2.8 O A|-S EO-|| (//c ......................................... .....................
18-85/8.5-4.5 A|-S 0 EO (//c ................./4O.95........... .....................
24-/0/2.8 0 A|-S EO-|| (//c .................188O.95........... .....................
24-85/2.8-4.0 O || (/2c ................................................ .....................
24-85/8.5-4.5 0 A|-S EO VR ....................59O.95....... $100 ......496.95
24-120/4.0 0 A|-S EO VR (//c ..............129O.95........... .....................
28-800/8.5-5.O 0 A|-S EO VR ................104O.95....... $150 ......896.95
/0-200/4.0 0 A|-S EO VR (O/c ..............189O.95........... .....................
/0-200/2.8 0 A|-S EO-|| VR || (//c ........289O.95........... .....................
/0-800/4.0-5.O 0 (O2c .................................................. .....................
/0-800/4.5-5.O 0-A|S VR ........................58O.95....... $200 ......386.95
80-200/2.8 O W||| Cc||a| (//c ........................................ .....................
80-400/4.5-5.O O VR (//c ............................................. .....................
80-400/4.5-5.O 0 A|-S EO VR (//c ........2O9O.95........... .....................
200-400/4 0 A|-S EO VR || (52c ..................................... .....................
TC-14E || (1.4/ Te|e:c|.e||e| .......................................... .....................
TC-1/E || (1.// Te|e:c|.e||e| .......................................... .....................
TC-20E ||| (2/ Te|e:c|.e||e| ............................................ .....................
* Instant Savings ONLY when purchased with a D7100 body
** When purchased with a D3100, 3200, 3300, 5200, 5300 or
7100 body
Rebates Expire 5-31-14 Call for Current Rebates and Promotions

Page 6
When in New York,
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AF LENSES
Di |c| oc|| d|||a| a|d ||r S|R :are|a Di-II |c| O|||a| S|R 0||] Di III for mirror-less cameras Only
C = Canon N = Nikon P = Pentax SM = Sony/Minolta SE = Sony E Mount ** Price After Rebate Expires 6-30-14
SKU # Available for Rebate Price
Di-II 60mm f/2.0 LD IF Macro (55) #TA602DI* C, N, SM 524.00
Di 90mm f/2.8 Macro (55) #TA9028M* C, N, P, SM 499.00
Di 90mm f/2.8 SP Macro VC USD (58) #TA9028VC* C, N, SM 749.00
Di 180mm f/3.5 LD IF Macro (72) #TA18035* C, N, SM 739.00
Di-II 10-24mm f/3.5-4.5 (77) #TA102435* C, N, P, SM 499.00
Di-II 17-50mm f/2.8 XR LD IF Aspherical (67) #TA175028* C, N, P, SM 499.00
Di-II 17-50mm f/2.8 XR VC LD IF Asph. (67) #TA175028*Q C, N 649.00
Di-II 18-200mm f/3.5-6.3 (62 ) #TA1820035* C, N, P, SM $20 179.00**
Di-III 18-200mm f/3.5-6.3 VC (62 ) Black or Silver #TA1820035S* SE 739.00
Di-II 18-270mm f/3.5-6.3 VC PZD (62 ) #TA18270* C, N, SM $70 379.00**
Di 24-70mm f/2.8 VC USD (82) #TA247028* C, N, SM $100 1199.00**
Di 28-75mm f/2.8 XR (67) #TA287528* C, N, P, SM 499.00
Di 28-300mm f/3.5-6.3 XR LD (62) #TA2830035XD* C, P, SM 419.00
Di 28-300mm f/3.5-6.3 XR VC (62) #TA2830035* C, N 629.00
Di 70-200mm f/2.8 SP VC USD (77) #TA7020028* C, N, SM $100 1399.00**
Di 70-300mm f/4.0-5.6 VC USD (62) #TA70300* C, N, SM $100 349.00**
Di 200-500mm f/5-6.3 LD IF (86C) #TA2005005* C, N, SM 949.00
1.4x SP AF Pro Teleconverter #TA14XP* C, N 224.00
2x SP AF Pro Teleconverter #TA2XP* C, N 254.00
AF LENSES & FLASHES
DC - |c| O|||a| S|R 0||] DG Optimized for Digital SLRs
H HSM Model with Canon, Nikon, Sigma
R Rear Slip-in Gelatin Filter Slot
Canon Nikon Pentax Sigma Sony Rebate Price
DC 4.5mm f/2.8 EX Circular Fisheye HSM
R
#SI4528EXDCC #SI4528EXDCN #SI4528EXDCP #SI4528EXDCSI #SI4528EXDSO 899.00
DG 8mm f/3.5 EX Circular Fisheye
R
#SI835CA #SI835NA #SI835SI #SI835SO 899.00
DC 10mm f/2.8 EX Fisheye HSM
R
#SI1028EXDCC #SI1028EXDCN #SI1028EXDCP #SI1028EXDCSI #SI1028EXDCSO 649.00
DG 15mm f/2.8 EX Diagonal Fisheye
R
#SI1528DGCAF #SI1528DGNAF #SI1528DGPAF #SI1528DGSA #SI1528DGMAF 609.00
DG 20mm f/1.8 EX DF RF Aspherical (82) #SI2018CAF #SI2018NAF #SI2018PAF #SI2018SA #SI2018MAF 629.00
DG 24mm f/1.8 EX DF Aspherical Macro (77) #SI2418MCAF #SI2418MNAF #SI2418MPAF #SI2418MSA #SI2418MMAF 549.00
DG 28mm f/1.8 EX DF Aspherical Macro (77) #SI2818MCAF #SI2818MNAF #SI2818MPAF #SI2818MSA #SI2818MMAF 449.00
DC 30mm f/1.4 HSM (62) #SI3014DCHSMC #SI3014DCHSMN #SI3014DCHSMP #SI3014DCHSMS #SI3014DCHSSM 499.00
DG 35mm f/1.4 HSM (67) #SI3514C #SI3514N #SI3514P #SI3514SI #SI3514S 899.00
DG 50mm f/1.4 EX (77)
H
#SI5014C #SI5014N #SI5014PE #SI5014SI #SI5014SOM 499.00
DG 50mm f/2.8 EX Macro (55) #SI5028MDGCAF #SI5028MDGNAF #SI5028MDGPAF #SI5028MDGSA #SI5028MDGMAF 369.00
DG 70mm f/2.8 EX Macro (62) #SI7028MDGCA #SI7028MDGNA #SI7028MDGPA #SI7028MDGSA #SI7028MDGSAQ 499.00
DG 85mm f/1.4 EX HSM (77) #SI8514C #SI8514N #SI8514P #SI8514SI #SI8514S 969.00
DG 105mm f/2.8 EX Macro OS HSM (62) #SI10528MDGCE #SI10528MDGNQ #SI10528MDGS #SI10528MDGSM $300 669.00**
DG 150mm f/2.8 EX APO Macro OS HSM (72) #SI15028AMOC #SI15028AMON #SI15028AMOSI #SI15028AMOS 1,099.00
DG 180mm f/2.8 EX APO Macro OS HSM (86) #SI18028AMEOC #SI18028AMEON #SI18028AMEOQ #SI18028AMEOS $200 1499.00**
DG 300mm f/2.8 APO EX HSM (46 Rear) #SI30028DGCAF #SI30028DGNAF #SI30028DGPAF #SI30028DGSA #SI30028DGMAF 3,399.00
DG 500mm f/4.5 APO EX HSM (46 Rear) #SI50045DGCAF #SI50045DGNAF #SI50045DGPAF #SI50045DGSA #SI50045DGMAF 4,999.00
DC 8-16mm f/4.5-5.6 HSM #SI8164556CA #SI8164556NI #SI8164556PE #SI8164556SI #SI8164556SO 699.00
DC 10-20mm f/4-5.6 EX HSM (77) #SI102045DCAF #SI102045DNAF #SI102045DPAF #SI102045DSA #SI102045DMAF $50 429.00**
DC 10-20mm f/3.5 EX HSM (82) #SI102035C #SI102035SN #SI102035P #SI102035SG #SI102035S 649.00
DG 12-24mm f/4.5-5.6 EX Aspherical HSM II #SI122445C #SI122445N #SI122445SI #SI122445S 949.00
DC 17-50mm f/2.8 EX OS HSM (77) #SI175028CA #SI175028NI #SI175028PE #SI175028SI #SI175028SO $100 569.00**
DC 17-70mm f/2.8-4.0 OS Macro HSM TSC (72) #SI1770284DCC #SI1770284DCN #SI1770284DCP #SI1770284SI #SI1770284DCS 499.00
DC 18-35mm f/1.8 HSM (72) #SI183518DCC #SI183518DCN #SI183518DCP #SI183518DCS #SI183518DCSO 799.00
DC 18-200mm f/3.5-6.3 OS II HSM (72) #SI1820035CQ #SI1820035NQ #SI1820035P #SI1820035SAQ #SI1820035SQ 499.00
DC 18-250mm f/3.5-6.3 OS Macro HSM (62) #SI1825035MC #SI1825035MN #SI1825035MP #SI1825035MS #SI1825035MSO $200 349.00**
DG 24-70mm f/2.8 EX IF HSM (82) #SI247028C #SI247028NF #SI247028PS #SI247028S #SI247028SM $100 799.00**
DG 24-105mm f/4.0 OS HSM (82) #SI24105C #SI24105N #SI24105SI #SI24105SO 899.00
DC 50-150mm f/2.8 EX APO OS HSM (77) #SI5015028CA #SI5015028NA #SI5015028SAF 1099.00
DG 50-500mm f/4.5-6.3 APO OS HSM (95) #SI505004563C #SI505004563N #SI505004563P #SI505004563 #SI505004563S $150 1509.00**
DG 70-200mm f/2.8 EX APO OS HSM (77) #SI7020028CQ #SI7020028NI #SI7020028P SI7020028SIQ #SI7020028SOQ $200 1199.00**
DG 70-300mm f/4-5.6 Macro (58) #SI703004SCAF #SI70300456N #SI703004PAF #SI703004SA #SI703004MAF $25 144.00**
DG 70-300mm f/4-5.6 APO Macro (58) #SI703004DGCA #SI70300456AN #SI703004DGPA #SI703004DGSA #SI703004DGMA 179.00
DG 70-300mm f/4-5.6 OS (62) #SI7030045C #SI7030045N #SI7030045P CALL
DG 120-300mm f/2.8 OS HSM (105) #SI120300C #SI120300N #SI120300SIQ 3599.00
DG 120-400mm f/4.5-5.6 APO OS HSM (77 Rear) #SI120400C #SI120400N #SI120400P #SI120400S #SI120400SQ 899.00
DG 150-500mm f/5-6.3 APO OS HSM (86) #SI150500C #SI150500N #SI150500P #SI150500S #SI150500M $170 899.00**
DG 1.4x EX APO Tele-Converter #SI1.4XDGCAF #SI1.4XDGNAF #SI1.4XDGSA 249.00
DG 2x EX APO Tele-Converter #SI2XDGCAF #SI2XDGNAF #SI2XDGSA $50 249.00**
DG EF-610 ST #SIEF610STC #SIEF610STN #SIEF610STP #SIEF610STSI #SIEF610STS $30 135.00**
DG EF-610 Super Flash #SIEF610C #SIEF610N #SIEF610P #SIEF610SI #SIEF610S $30 225.00**
DG EM-140 TTL Ringlight #SIEM140DGC #SIEM140DGN #SIEM140DGP #SIEM140DGS #SIEM140DGM $30 349.00**
28 CS-2 Digital Slave Shoe Mount Flash ................ 139.99
24 AF-1 Digital Shoe Mount Flash ............................ 89.99
36 AF-5 Digital ..................................................... 129.99
44 AF-1 Digital Shoe Mount Flash .......................... 199.99
52 AF-1 TTL Touchscreen ...................................... 300.00
58 AF-2 TTL Digital Shoe Mount Flash ................... 399.99
45 CL-4 TTL Digital Handle Mount Flash ................ 519.99
76 MZ-5 TTL Digital Handle Mount Flash .............. 1039.99
Q-fash TRIO ......................................................... 875.00
Q-fash T5D-R ...................................................... 706.00
Q-fash T5D-R with Turbo SC Battery & Charger .... 1172.00
Q-fash T5D-R with Turbo 3 Battery Kit ................. 1330.00
Batteries
Battery 1 ............... 224.00
Turbo SC ............... 466.00
Turbo Blade ........... 466.00
Turbo 3 ................. 624.00
E-Flash Flat Panel Kit #SUFP38 ............................... 58.95
PF20XD Digital Slave Shoe Mount Flash ................... 44.95
RD-2000 Shoe Mount Flash .................................... 64.95
DF3000 Digital for Canon, Nikon, Sony ..................... 69.95
PZ-4000 AF TTL Shoe Mount .................................. 84.95
PZ-40x II AF TTL Shoe Mount f/Nikon (Silver) ............ 69.95
PZ-42x AF TTL Shoe Mount for Canon, Nikon ......... 139.00
622 Super Pro TTL Handle Mount Flash ................. 179.95
285HV Professional Auto ......................................... 79.95
Pearstone SB-4 AC Adapter for 285HV #PESB4 ........ 14.95
FLASHES
18-200mm f/3.5-6.3 DC II
OS HSM Digital Lens
t %FTJHOFE FYDMVTJWFMZ
GPS %JHJUBM 4-3T
|c:u 1.5'
to Infnity
|a. |a||c.
1.8.8
/2rr |||e|
diameter
we|||. 1/.8 c/
70-200mm f/2.8 EX APO
OS HSM DG Lens
t %FTJSBCMF GPS
%JHJUBM 4-3T
||||rur
|c:u. 4.59'
84-12.8
angle of view
//rr |||e|
diameter
T||pcd :c||a|
we|||. 50.4 c/
17-50mm f/2.8 XR VC
LD-IF Di II Digital Lens
GPS %JHJUBM 4-3T
|c:u 11.4"
to Infnity
|a. |a||c.
1.4.8
/2rr |||e|
diameter
we|||. 1.25 |o
11-16mm f/2.8 Pro DX AT-X II
Wide-Angle Digital Lens
GPS %JHJUBM 4-3T
wR (wa|e|
Repellent)
coating
||||rur
|c:u 1'
|a|||:a||c|
|a||c 1.11.O
we||| 1.2 |o
Expires 5-31-14
** Price After Rebate
$200
REBATE!
Six-Year Warranty
Manual Focus Lenses
In Stock Call for Prices
AF LENSES
DX for Digital SLRs Only FX Designed for full frame DSLRs
Canon EOS Nikon AF Price
FX 100mm f/2.8 Pro D Macro (52) #TO10028PCAF #TO10028PNAF 399.00
DX 10-17mm f/3.5-4.5 ATX Fisheye #TO101735CAF #TO101735NAF 559.00
DX 11-16mm f/2.8 Pro II (77) #TO111628PCII #TO111628PNII 525.00
DX 12-24mm f/4.0 Pro II (77) #TO12244DXC 399.00
DX 12-28mm f/4.0 Pro (77) #TO12284DXC #TO12284DXN 489.00
FX 16-28mm f/2.8 Pro #TO1628FXC #TO1628FXN 629.00
FX 17-35mm f/4 Pro (82) #TO1735F4FXC #TO1735F4FXN 489.00

Page 7
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55mm 58mm 62mm 67mm 72mm 77mm
UV Haze SC 18.50 24.95 28.99 31.95 34.00 39.99
UV Haze MRC 010M 35.50 31.50 36.30 42.90 49.89 71.75
Circular Polarizer SC 83.95 85.95 83.50 80.00 73.95 99.00
Circular Polarizer MRC 78.00 87.53 82.50 109.99 89.99 119.99
Circular Polarizer Slim 56.95 49.99 68.00 69.99 59.99 80.00
Skylight KR1.5 (1A) 24.50 25.95 31.95 38.95 42.00 53.95
Digital Pro UV MC 41.95 41.95 44.00
Graduated (N.D. & Colors) 99.95 106.95 99.50 109.50 142.50 152.95
Neutral Density 106 56.00 60.95 97.95 105.95 121.95 137.95
Close-Up Lenses 1, 2, 3, 4, 5 25.95 25.95 31.95 38.95 45.95 53.95
52mm 58mm 67mm 72mm 77mm
UV, Skylight (1B) HMC 16.50 21.50 27.50 29.95 36.20
UV, Skylight (1B) Super HMC 27.89 26.49 33.00 52.95 44.99
Linear Polarizer 16.99 25.00 38.85 36.85 44.90
Circular Polarizer 23.95 29.95 34.95 42.95 38.90
Circular Polarizer HMC 39.95 49.00 55.90 69.00 104.90
Moose Warm Circular Polarizer 35.75 39.55 53.90 55.65 91.50
K2 Yel, X0 Yel/Grn, Grn X1, Or G, Red 25A HMC 23.95 28.35 41.95 46.35 60.90
Close Up Set (+1, +2, +4) 39.99 47.35 53.00 63.00 68.00
Close-Up Set HMC (+1, +2, +4) 52.68 64.88 73.00 100.68 145.35
Intensifer Blue, Green Field, Enhancement (Red) 34.68 39.95 55.08 60.00 71.50
Neutral Density 2x, 4x, 8x HMC 23.88 19.95 36.95 30.99 34.80
Star 6, Star 8 16.89 22.50 43.35 49.90 46.68
Made exclusively with glass from Schott (Zeiss)
the worlds fnest optical glass supplier.
Skylight (1B), UV 39.99 41.99 62.99 77.99 89.99
Skylight (1B), UV SH-PMC 72.99 78.99 103.99 131.99 157.99
Circular Polarizer, Slim Circular Polarizer 115.99 121.99 151.99 180.99 195.99
Circular Polarizer SH-PMC, Slim Circ. Pol. SH-PMC 161.99 171.99 214.99 242.99 275.99
#5, #8, #11, #13, #15, #22, 81A, 81B, 81C 49.99 51.99 78.99 96.99 108.99
Digital Filter 176.99 180.99 222.99 261.99 301.99
FILTERS
B&H SPECIAL! Buy 3 or more Hoya Filters & Get 10% Off.
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PHOTOGRAPHY ACCESSORIES
Accepts 2 lltblum-lon batterles
to ehectlvely oouble tbe
camera's battery ll|e
(8atterles not lncluoeo)
Tbe lncluoeo AA battery
boloer allows you to use
6 AA batterles |or aooeo
convenlence (ecept 8G-N3)
Alternate sbutter release
button, maln ano sub
commano olals, ano an
AL-L/AF-L button are
provloeo to |acllltate
sbootlng ln a vertlcal
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8ATTLPY
GP|PS
LiteTrek 4.0 (LT) Series
Whether it's fashion, wedding or portrait
photography, the best way to achieve
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The Impact Mini LiteTrek Battery Pack
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LiteTrek 4.0 DC Monolight
Flash Head #IMLTFH ..$499.95
LiteTrek 4.0 DC Monolight Kits
with Mini LiteTrek Battery Pack
1-Light Kit #IMMLTBK ................... $799.95 Instant Rebate -$150 $649.95
2-Light Kit #IMMLTBK2 ............. $1199.90 Instant Rebate -$150 $1049.90
Mini LiteTrek (LT) Battery #IMMLTB ...................................................................... $199.95
Mini LiteTrek (LT) Battery Pack #IMMLTPBP ....................................................... $549.95
Mini LiteTrek (LT) Pack & Charger Kit with CKE Nikon Cable #IMMLTPBPK1 ... $573.95
Mini LiteTrek (LT) Pack & Charger Kit with CZ Canon Cable #IMMLTPBPK2 ..... $577.95
LiteTrek Accessories
Charger for Mini LiteTrek #IMCBP ...$49.95
IM-CZ Canon Flash Cable #IMCZ.....$39.95
IM-CKE Nikon Flash Cable #IMCKE .$39.95
LiteTrek 4.0 Flash Tube #IMFTFH .....$79.95
Refector Adapter (Bowens Adapter) #IMBAFH ........................................................... $24.95
lighting equipment and accessories
Instant Savings on LiteTrek 4.0
Monolight Kits (Expires 5-30-14)
|or Canon 5D Mark ||| .................. 8G-C9 ;vL8GC9 ........ $99.95
|or Canon 5D Mark || ................... 8G-C2 ;vL8GC22 ..... $69.95
|or Canon 7D .................................. 8G-C4 ;vL8GC4 ........ $64.95
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|or Canon T5l, T4l, T3l, T2l .....8G-C5.2 ;vL8GC52 ..... $72.00
|or Nlkon D7100 ......................... 8G-N11 ;vL8GN11 ..... $89.95
|or Nlkon D5200, D5100 .............8G-N6 ;vL8GN6 ....... $59.95
|or Nlkon D3100, D3200 .............8G-N9 ;vL8GN9 ....... $64.95
|or Nlkon D600, D610 ................. 8G-N10 ;vL8GN10 $79.95
|or Nlkon D800, D800L ..................8G-N7 ;vL8GN7 . $89.95
Digital Essentials Kits
In Stock
DIGITAL HT FILTERS
812 Warming 48.95 74.95 99.95 109.95 129.95
Grad ND 0.6 74.95 63.95 82.90 119.95 139.95
Circular Polarizer 74.10 89.95 119.90 129.95 199.99
Ultra Clear 34.95 38.95 45.95 54.95 54.95
Haze 86 38.95 47.95 56.90 64.95 99.95
ND 1.2 41.50 56.95 74.90 109.95 129.95
ND 0.6 48.95 50.95 69.95 99.95 119.95
Soft FX3 56.95 63.95 82.90 119.95 139.95
Star 4 pt 2 64.95 56.95 74.90 109.95 129.95
Ten -Year Warranty
Made in USA
Multicoated Filter
Technology
FILM B&W AND COLOR
COLOR PRINT
Superia
CA 200 135-24 ..........1.74
CA 200 135-36 ..........3.50
CH 400 135-24 ..........2.25
CH 400 135-36 ..........3.99
CZ 800 135-24 ..........3.49
Pro
400H 135-36 ...........10.99
400H 120 Roll ............7.95
Gold Max
GC 400 135-24 ..........2.09
GC 400 135-36 ..........2.79
Ektar
100 135-36 ...............5.50
100 120 Roll ..............4.99
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 ...............7.35
400 120 Roll ..............6.49
400 220 Roll ............15.19
400 220 PP (5) .........75.95
800 135-36 ...............9.99
800 120 Roll ..............8.98
COLOR SLIDE
Provia
RDP 100F 135-36 ...10.51
135-36PP (5) .......52.55
RDP 100F 120 Roll ....7.19
135-36PP (5) .......35.95
Velvia RVP
Pro 50 135-36 .........11.59
Pro 50 120 Roll ..........8.55
100 135-36 .............10.64
100 120 Roll ..............7.69
PROCESSING MAILERS
Slide
36 Exposures
(35mm) ..................10.59
Print C41 35mm ......13.49
Print C41 120 Roll ...15.49
Print C41 220 Roll ...30.95
BLACK & WHITE PRINT
Pan F+ 50 135-36 .....6.50
Pan F+ 50 120 Roll ....4.75
FP4+ 125 135-36 ......5.99
FP4+ 125 120 Roll .....4.39
HP5+ 400 135-36 .....4.75
HP5+ 400 120 Roll ....4.09
Delta Pro
100 135-36 ...............6.25
100 120 Roll ..............4.50
400 135-36 ...............6.29
400 120 Roll ..............4.95
3200 135-36 .............7.99
3200 120 Roll ............5.99
XP-2 Super
400 135-36 ...............6.49
400 120 Roll ..............4.75
Infrared
SFX 200 135-36 ........7.99
SFX 200 120 Roll .......6.99
Acros 100 135-36 .....5.99
Acros 100 120 Roll ....4.62
Neopan 400 135-36 ..5.79
Tri-X 400 135-36 ......4.49
Tri-X 400 120 Roll .....4.85
TMX 100 135-36 .......4.95
TMX 100 120 Roll ......4.49
TMY 400 135-36 .......4.95
TMY 400 120 Roll ......4.59
BW 400CN 135-36 ....6.50

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Top Quality screw in optical Glass Filters
19-37mm19.95 67-82mm..19.95
40-49mm..9.95 86-95mm..59.95
52-62mm.14.95 105-122mm129.95
Sun Shade Lens Hoods
19-37mm...9.95 67-82mm..19.95
40-49mm...6.95 86-95mm..69.95
52-62mm...9.95 105-122mm..99.95
3 Lens Close-up Macro Lens Sets
19-37mm..29.95 52-62mm.29.95
40-49mm..19.95 67-82mm.39.95
4.5mm F2.8..........838.95
8mm F3.5.............828.95
10mm F2.8...........598.95
15mm F2.8...........568.95
20mm F1.8...........588.95
24mm F1.8...........498.95
28mm F1.8...........308.95
30mm F1.4...........278.95
800mm F5.6.......6698.95
10-20mm F4-5.6....478.95
12-24mm F4.5-5.6..748.95
17-70mm F2.8-4.5...458.95
18-200mmF3.5-5.6..238.95
24-70mm F2.8.....798.95
28-70mm F2.8-4....88.95
28-200mmF3.5-5.6...174.95
28-300mmF3.5-6.3...234.95
35-135mm F4-5.6...99.95
50-150mm F2.8....698.95
50-500mm F4-6.3...948.95
55-200mm F4-5.6...124.95
70-300 F4-5.6......138.95
70-300F4-5.6APO...188.95
100-300mm F4-5.6...99.95
100-300mm F4....1098.95
120-300mm F2.8...2698.95
120-400 F4.5-5.6...938.95
150-500mmF5-6.3...948.95
200-500mm F2.8 APO EX DG...................25998.95
300-800mm F5.6 EX BE HSM.....................7698.95
1.4X APO............218.95 2X APO...............278.95
8-16mmF4.5-5.6 DC...618.95
17-50mm F2.8
EX DCOS HSM..548.95
60mm F2.8...........278.95
10-20mm F3.5........548.95
18-250mm F3.5-5.6.358.95
70-300mmDGOS.248.95
70-200mm F2.8....888.95
50-200mm F4-5.6.148.95
85mm F1.4...........848.95
400mm F5.6.299.95
19mm F2.8...........178.95
30 mm F2.8174.95
35mm F1.4.848.95
500mm F4.5.......4598.95
50-150mm F2.8968.95
70-200/2.8OS..1148.95
105mm F2.8........458.95
150mm F2.8.......688.95
180mm F2.8.......1488.95
300mm F2.8.......2998.95
70mm F2.8..........468.95
50mm F2.8..........234.95
50mm F1.4..........358.95
28-70mm F2.8.....318.95
10-20mm F4.398.95
18-35mm F1.8.748.95
18-50mmF2.8-4........188.95
18-50mmF2.8............375.95
10-17mm F3.5-4.5...444.95
28-200mm F3.5-5.6....99.95 11-16mm F2.8......564.95
12-24mm F4.........424.95
16-50mm F2.8......594.95 80-400mmF4.5-5.6....638.95
50-135mm F2.8....674.95
100mm F2.8.........384.95
16-28mm F2.8 .....748.00
17-35mm F4........719.00
300mm F6.3.299.95
12-28mm F4598.95
14mm F2.8...........989.99 90mm F2.8..........348.95
28mm F2.5.............99.99 180mm F3.5........628.95
24mm F2.5.............79.95 500mm F8...........198.95
11-18mm F4.5-5.6...434.95
17-50mm F2.8.....334.94
18-200mmF3.5-6.3...158.95
18-250mmF3.5-6.3...414.95
18-270mm............398.95
19-35mmF3.5=4.5...159.95
20-40mm F2.7-3.5...298.95
24-135mmF3.5-5.6...398.95
28-105mm F2.8....298.95
28-200mmF3.8-5.6...118.95
24-70mm F3.3-5.6...89.95
28-75mm F2.8.......348.95
28-80mm F3.5-5.6...68.95
28-300mmF3.8-5.6...294.95
28-300mmF3.8-5.6VC....584.95
200-400mmF5.6......298.95
55-200mm F4-5.6...128.95
70-200mm F2.8...664.95
60mmF2 Macro........399.95
1.4X Converter....124.95 2X Tele Converter.....138.95
1.4X SP Converter...178.95 2X SP Converter...208.95
24-70mm F2.8......1195.00
75-300mm F4-5.6...128.95
200-500mm F5-6.3..758.95
10-24mmF3.5-4.5....458.99
10-24mm F3.5-4.5...429.95
70-300mm F4-5.6 329.95
50/2.8 HM Super Angulon.........................................3498.99
90/4.0 HM Makro-Symmar.......................................3198.99
120/5.6 HM Aspheric Apo-Digitar...........................4698.99
NEW SCHNEIDER PC TS LENSES
KENKO TELECONVERTER
1.4x..99.95 1.5x..84.95 2X..129.95 3X..219.95
LENSES FOR MOST MANUAL
& AUTOFOCUS AF CAMERAS
24mm F2.8.............79.95 135mm F3.5..........29.95
28mm F2.8.............49.95 135mm F2.8..........49.95
35mm F2.8.............39.95 200mm F3.5..........79.95
50mm F1.8.............69.95 300mm F5.6..........99.95
50mm F1.4...........189.95 400mm F6.3..........99.95
100mm F3.5.........119.95
500mm F8.............99.95
500mm 1000mm combination.........................129.95
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Canon rebel XT.....299.99
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Nikonos V.............179.99
Topcon super RE249.99
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Voigtlander Bessamatic...129.99
Yashica FX3............69.99
Exakta VX..............99.99
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Minolta XTi............59.95
Maxxum 5D..........199.95
Canon F1...............119.99
Contax G2.............699.99
Contax RTS III........699.99
Mamiya RB67.......199.99
Leica IF.................499.99
Nikon F3...............129.99
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Olympus OM1........99.99
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Canon 5D.....999.00
Canon 40D.299.00
Contax Aria299.95
Exakta 66....999.99
Leica M6.....999.99
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Bronica SQ camera.....199.99
Canon VT....................299.99
Contax N1...........349.99
Exakta RTL................149.99
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Leica M3.....................499.99
Minolta X700................99.99
Maxxum HTsi...........69.99
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Nikon FM10...............129.99
Nikon D40..................199.99
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Olympus OM4............179.99
Pentax LX...................299.99
Rollei 35M..................119.99
Rolleiflex F3.5............499.99
Zeiss Icarex................149.99
Canon Elan....................69.99
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Retina Reflex ................99.99
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Nikon F4.299.00
Nikon D300........699.00
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Canonrebel X.......49.99
Minota7000.........39.99
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RicohXRP...........99.99
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Samsung170...........69.99
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NikonF100............169.99
OlympusIS.............79.99
MirandaFV.............99.99
PentaxPZ1.............109.99
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Contarex...............249.99
Nikon35Ti.............299.50
Nikon28Ti.............349.95
Canon 24mm F1.4 ........989.00
Canon 50mm F1.4 ..........79.50
Canon 85mm F1.2 .....1,299.00
Canon 300mm F2.8 ...2,199.00
Canon 16-35mm F2.8 ...889.00
Canon 24-105mm F4 ....789.00
Canon 28-300mm F3.5 ...1,299
Canon 70-200mm F2.8 ...1,199
Canon 100-400mmF4.5 ....1,199
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Canon 580EX................269.00
Canon 24-70mm F2.8 ...899.95
50mm F1.4 Zeiss Planar...209.00
80-200mm F4 sonnar.....199.00
Hasselblad 150mm F4 ..299.00
Leica35mmF2SummicronM...899
Leica50mmF2SummicronM...399
Leica135mmF4.5Hektor Screw..129
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Nikon SB600 ................269.00
Nikon SB900 ................349.00
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on photographing animals by Jack
Fields whose pictures taken for this
article were all appealingand
otherwise very sharp.
Robot Royal
For roughly 20 years (since 1935)
the Robot 35mm camera offered
a unique and valuable feature.
Using a heavy-duty spring motor,
the Robot could shoot a series of
sequence pictures in one burst:
there was no need to wind the
film or cock the shutter after
each exposure. Over the years,
improvements were made,
culminating in the Robot Royal
reviewed here by Ed Feingersh, a
leading photojournalist. It had a
coupled rangefinder, an all-metal
guillotine shutter with speeds
up to 1/500 sec, and could use
standard 35mm film to make
up to 55 1x1-inch exposures.
Interchangeable lenses included
a 40mm Xenon f/1.9 and a 75mm
Tele-Xenar f/3.8. The camera (with
40mm lens) cost $295.
What to Do Right
A brief, handy
introduction to
portraiture was provided by Joseph
Foldes, a well-known photographic
writer and teacher. Shown here is a
simple yet effective home setup for
taking pictures of friends and family
that was sure to enhance your
reputation as a photographer.
Harold Martin
TIME EXPOSURE
*
JULY 1954
60
YEARS
AGO
We advised
readers of
How To Get
Along With
Your Camera
Dealer.
Dog Run
When photographer Glen
Fishback needed a model for
this months cover, he called
upon his lovely daughter Judy.
Directing her to run with the
dog, he panned his Rolleiflex
and captured the action with
an exposure of 1/500 sec at f/2.8
on Daylight Type Ansco Color
film. The result was not only an
appealing cover, but a prize in
the l953 Ansco Color Contest.
What Not to Do
Our features typically stress what
to do right when taking pictures.
but in this case, we show a horrible
example of what
to do wrong. This
photographer used
a too-slow shutter
speed, so instead
of a sharp monkey,
the result was a
surrealist blur. This
was part of a feature

WI T H H I G H Q U A L I T Y O P T I C S
F R O M A D O R A M A
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Zeiss 10x30 B MC T*
Conquest,
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Angle of View
$399.90
Coronado PST Personal
Solar Telescope
A hand-held, entry-level
telescope for viewing the
sun.
$699.00
Meade 10
254mm f/10 LX200-ACF
Advanced Coma-Free
Telescope, UHTC Coatings
make images appear
signicantly brighter.
$3,499.00
Celestron Nightscape
8300 CCD Camera
An 8.3MP, one-shot color
CCD camera featuring the
highly acclaimed Kodak
KAF-8300 sensor.
$1299.95

A R E A T A D O R A M A
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Trigger Kit Wireless
control for your ash up
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Manfrotto KLYP Case
LED light to make your
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I INVESTIGATE Mars
with HiRISE, the larg-
est telescope sent to
another planet. There are
14 CCD sensors on the
HiRISE, and each CCD
is128x2048 pixels.Dur-
ing capture, the camera
halves each CCD into
two 1024-pixel-wide
channels and results
in 28 strips. Each line
is a record that is then
stitched back together.
Compressed images
average between 400 and
800MB, but have been as
large as 2GB.
Our team fnds land-
ing spots for rovers
and assures mission
control that their robots
can safely navigate the
terrain on touchdown.
We can rule this area
out as a landing site
because of the deep
gullies caused by frozen
carbon dioxide eroding
the surface.
Light from the sun
provides contrast in the
brighter areas of the
land. These images are
assembled line by line
128 times as the satel-
lite orbits Mars, moving
at roughly 11,000 feet
per second over the
focus area. Then the
data is beamed back
to us across an average
of 140 million miles in
15 minutes.
As told to Elbert Chu
IMAGING
MARS
Interplanetary Ph.D.
Alfred McEwen
BACKSTORY

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Wedding
Your next story starts today.
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